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BETC
Paris
While this agency's logo pays homage to the bee colony it tends atop its roof terrace-which happens to be some of the finest real estate in Paris, boasting a 360-degree view-the insect imagery also gives a nod to the creative chaos inside the shop that has brought such sweet results. "We like the idea of a hive with its hustle and bustle," explains Stéphane Xiberras, president and executive creative director. "When you watch bees work, you have the impression it's pure mayhem, but there's a logic to it. With us, it's exactly the same thing." Launched 20 years ago as an offshoot of Euro RSCG, now Havas, BETC's work became the stuff of global fascination. In 2009, Evian's "Roller Babies" became the most downloaded commercial in the world. Last year, "The Bear," a spot for Canal+, received more awards than any other commercial, while Evian's "Baby & Me" was the year's most viewed online campaign. After expanding to London and São Paulo, BETC now has the states in its sights, with plans to open a New York outpost next year.

Stéphane Xiberras, president, photographed on the banks of the Seine by Emmanuel Fradin.



Forsman & Bodenfors
Gothenburg
In 1986, four guys started an ad agency in this Swedish industrial port, an unlikely location seeing as the country's ad industry is centered in Stockholm. Since then, F&B has not only become Scandinavia's best-known agency but has also developed a global reputation after winning 85 Cannes Lions, including its recent sweep for Volvo Trucks' "Epic Split" starring Jean-Claude Van Damme. F&B was also named Independent Agency of the Year at this year's festival. "Our initial objective was to challenge the establishment and try to compete with the best agencies in Stockholm," says F&B's CEO Erik Sollenberg. "That underdog mentality has been an important ingredient in our success. We're still David against Goliath, since we now identify ourselves as a small independent agency from close to the North Pole that competes with the best agencies in the world." In that battle, F&B, which has a second office in Stockholm, counts 120 staffers-a relatively modest head count considering its profile and awards, but also one that enables it to send as many creatives as possible to Cannes every year, not only senior management.

Erik Sollenberg, CEO, and Anna Qvennerstedt, creative chairman, photographed in the archipelago of Gothenburg by Morten Koldby.



Arcade
Singapore
Founded in 2010 by four former executives at large agency networks, this Singapore shop set out to create a smaller, more nimble, free-flowing business model that has since expanded to Shanghai, Tokyo and Jakarta. "We wanted to remove departmentalization by media and put the focus firmly back on storytelling and sparking lively conversation," says CEO and founding partner Nick Marrett. "This fosters a new breed of creative mind, one that is media-agnostic and thinks across all channels, even invents new ones." Despite its entrepreneurial underpinnings, Arcade shares the global ambitions of its Asian clients, creating work that travels not just through the region but also around the globe. For Apple, Arcade delivered the single largest retail day in the brand's history with a Chinese New Year pitch in China. It also launched Unilever's Clear shampoo in North America; created the first Android concept store in the world in Indonesia, which has become the blueprint for a global retail rollout; and introduced beauty brand Motions in South Africa. It all caught the attention of Publicis Worldwide, which acquired a stake in August.

(L. to r.) Mark Taylor, Gary Tranter and Matt Cullen, ecds/co-founders; and Nick Marrett, CEO/co-founder, photographed at the Marina Bay Sands by Darren Soh.



Fred & Farid

Grégoire Chalopin (l.) and Feng Huang, creative directors,
photographed near the agency's offices by Chad Ingraham.


Shanghai
Founded in Paris, this agency is now considered one of the hottest shops in mainland China, capturing the possibilities and lightning speed of business there. The digital agency, located in an old opium warehouse on the Bund, communicates 24/7/365 with Parisian staffers through a wall of giant screens, with details on all projects shared among all employees across the six-hour time difference. "Beijing decided that despite the size of the country, China would be on one time zone," notes co-founder Fred Raillard. "That creates a mass phenomenon that is incredible. Movements on social media are incomparable to any other. Hot topics engage everyone in China at the same time." Three years ago, Raillard went to China with a creative director colleague from Paris, Feng Haung, who wanted to return to his native Shanghai. Raillard planned to stay long enough to open a small office. But four days later, all that changed when he decided to relocate permanently. "I fell in love," he says. "China is five years ahead of the Western world regarding digital and social media, so it influences our digital practice in the West. It makes us reinvent our approach to business."




Ogilvy & Mather, India
Mumbai
India always had a special place in David Ogilvy's imagination. In fact, his agency was the first multinational to enter the country, with origins going back 86 years. Now working with both local and global clients like Vodafone, Unilever and IBM, Ogilvy, based in Mumbai, is not only the country's largest agency but also its most award-winning, having been recognized with the highest honors of the Advertising Club of India for the last 16 years, in addition to accolades picked up at Cannes, the Effies and The One Show. But Piyush Pandey, executive chairman, creative director, stresses that diversity of creative expression trumps industry acclaim. "Our philosophy is to create communication that first delights people on the streets of India. If that work happens to delight international award juries, it's a bonus," says Pandey, noting that most staffers in the agency speak three languages: English, Hindi and one of the country's 22 other official languages. "We try to create an environment where creativity is welcomed from across functions and disciplines," he adds. Case in point: Last year's Google ad "Reunion," centered around the partition of India, which triggered a strong response in India and Pakistan and went viral even before its TV debut.

(L. to r.) Abhijit Avasthi and Rajiv Rao, national creative directors; Piyush Pandey, executive chairman/creative director, South Asia; Madhukar Sabnavis, vice chairman/country head, planning; and Kunal Jeswani, chief digital officer, photographed at the Gateway of India by Vishal Kullarwar.



Africa
São Paulo
São Paulo shop Africa was one of the big local ad players behind this year's World Cup in Brazil, creating the games' official logo and producing work for clients like Itaú Bank, Brahma beer, Budweiser and Vivo telecom. But while the 12-year-old agency enjoys a high profile in Brazil and has on several occasions been selected as one of the country's most admired companies by national media, it doesn't have the global reputation it might have earned by now. One reason is Africa's early avoidance of awards shows. When it bent that rule in 2007 and finally entered work in Cannes' Cyber competition, it became the second most-awarded agency in the category. The Grupo ABC shop also has an office in Rio de Janeiro, specializing in content and entertainment, as well as an outpost in New York, where it works on behalf of Brazilian brands that aspire to go global. Founded by former executives of Omnicom's DM9DDB, the shop maintains a strong point of view about its business model. "We like to say we are kind of the Relais & Châteaux of advertising-we handle fewer clients, with exclusive offices and dedicated teams," says CEO Marcio Santoro. "My partners and I are deeply involved in each client's business, with direct participation throughout the process."

Sergio Gordilho (l.), co-president/CCO, and Marcio Santoro, co-president/CEO, photographed on the roof of the agency's offices by Jonne Roriz.



(L. to r.) Adrian Mills, managing director; Pat Baron, ecd; and
Ben Lilley, chairman/CEO, photographed on Hosier Lane by
Lynton Crabb.

McCann
Melbourne
The first signs of a turnaround at McCann came not by way of its towering New York headquarters but from this Australian bayside outpost. In 2012, McCann Melbourne's "Dumb Ways to Die," a rail-safety campaign, quickly went viral, generating in its first two weeks more than 700 media impressions and $50 million worth of free global mentions, all for an animated public service effort that cost a fraction of a standard TV ad to produce. The previously under-the-radar office became, in 2013, the industry's most-awarded agency, taking home a record five Cannes Lions Grand Prix and bringing some much-needed attention to a global network undergoing its own reinvention. The office's success follows the acquisition of indie shop Smart three years ago, which added some of the country's best talent to the McCann ranks. "The creative focus since 2011 has been on solving clients' problems first and creating work that not only makes brands famous but has a lasting impact on pop culture around the world," says Pat Baron, ecd.




Adam & Eve DDB
London
Though in business for just two years, the merged shop won Agency of the Year honors at the Cannes Lions International Festival of Creativity thanks to work like Harvey Nichols' "Sorry, I Spent It on Myself" holiday campaign, which swept this June's Lions. After Omnicom's acquisition of hot indie Adam & Eve, management took over DDB London, reviving the network office. A crop of new business quickly followed, including Virgin Atlantic's global creative, Sony's consumer electronics in Europe, and the global launch of Haig Club, a new Scotch from Diageo and David Beckham. The agency also earned attention for work like "End Marmite Neglect" for the savory spread and John Lewis' "The Hare & The Bear." "The key to bringing together two successful creative cultures was to be unambiguous about what success looked like, leveraging the creative energy and hunger of a startup through the power of a major network agency," says James Murphy, CEO of Adam & Eve DDB. "Two years ago, we wouldn't have dared to expect the results to be so positive so quickly."

(L. to r.) James Murphy, CEO; David Golding, chief strategy officer; Ben Tollett and Emer Stamp, ecds; and Ben Priest, founding partner/ ecd, photographed on Waterloo Bridge by Jude Edginton.



Grape/Hungry Boys

(L. to r.) Vladimir Garev, creative director, Grape; Vladilen
Sitnikov, CEO, Hungry Boys; Alexei Nikolaev, head of
production, Hungry Boys; Andrey Anischenko, CEO, Grape,
photographed outside St. Basil's Cathedral by Stanislav
Solntsev.


Moscow
One of the first digital agencies in Russia, launched in 2002, Grape has over the last three years been ranked as one of the country's top interactive shops. It has made its name working on behalf of clients like Unilever, PepsiCo, Johnson & Johnson and Mondelez, all marketers looking for long-term agency relationships and the kind of full-service digital creative, planning and media offerings provided as part of WPP's global interactive unit Possible. Two years ago, Hungry Boys was formed as a Grape creative boutique collaborating with Grape while also generating its own work. Drawing marketers seeking riskier, experimental work, Hungry Boys has already gotten attention for its campaigns for L'Oréal, Yum Brands and Heineken. "We both deliver a similar set of services and back up every idea with real-world insights to create work that makes a difference and a measurable impact," says Grape CEO Andrey Anischenko. "Each of us has grown its own unique culture and both provide high value creative services, but each has a separate creative point of view that appeals to different clients."




(L. to r.) Tony Njuguna, creative head, Scanad; Sandeep
Madan, managing director, Scanad; and Bharat Thakrar, CEO,
Scangroup, photographed on the roof of the agency's offices
by Barbara Minishi.

Scangroup
Nairobi
WPP unit Scangroup is Africa's largest marketing services group and an industry powerhouse on the continent, ringing up more than $45 million in revenue last year. (In 2006, it became the first marketing communications company to be listed on the Nairobi Securities Exchange.) Through international partnerships, Scangroup has become a pioneer in African digital, mobile and Internet marketing. "This offers immense growth opportunities in Africa with the key benefits of creating and increasing diverse job opportunities that capture the imagination of the African youth, who are increasingly being looked upon to be the main drivers of the continent's economies," says CEO Bharat Thakrar. While the shop counts WPP brands in its operating portfolio, Scanad is its agency flagship, doing business across six sub-Saharan countries for clients including Coca-Cola, Diageo, Unilever and Kenya Airways. Scanad has been named Agency of the Year by the Marketing Society of Kenya over the last two years and has been recognized for mobile work for clients such as Diageo and Vodafone.








What's the show you just can't miss on TV or streaming? Which mobile app (or video game, or celebrity or sports site) makes life worth living? Which magazine is your go-to source for the latest on Ukraine, home design or Ariana Grande? These are the series, apps, websites, tech gadgets and magazines you will select as the year's best in Adweek's Hot List Readers' Choice Poll.

Along with mainstays like Hottest Show and Hottest Magazine of the Year, new this year are categories like Hottest Magazine Design (will it be Bon Appétit or Lucky Peach?), Hottest Gear, Gadgets and Gizmos (GoPro, Fitbit or Google Glass?) and Hottest Celebrity on Social Media (Twitter queen Katy Perry throws down with Kanye, Miley and Taylor Swift). Click below to vote for all your favorites in TV, Digital and Magazines, and vote as many times as you'd like. Then, on Oct. 27, we will narrow the choices to the top 3 in each category according to your votes as of that date. The Hot List Readers' Choice Poll will close on Dec. 1.

Winners of the Readers' Choice Poll as well as winners of this year's Hot List-which is determined by the editors and staff of Adweek, and also includes Magazine Publisher and Editor of the Year, TV Executive and Creative of the Year, and Digital Executive and Editor of the Year-will be unveiled on Dec. 8 in our weekly magazine and here on Adweek.com.

Now, do your civic duty-vote!

TV
Digital
Magazines







Social activism reached a tipping point this summer with the ALS Association's unstoppable Ice Bucket Challenge, which to date has raised nearly $100 million while soaking millions more.

In the latest brand-activist mashup, Dr. Martens and Tavi Gevinson's Rookie Magazine are advancing a teen-focused native advertising and social media campaign spotlighting six advocates whose causes range from gender equality to female empowerment, which they began last year.

Starting Sept. 16, Dr. Martens and the publisher will update their #StandForSomething effort by promoting the activists' progress via native ads. The campaign will run on Rookie's site as well as across Say Media's 13 other properties, including xoJane and its extended network of more than 500 partner portals.

#standforsomething | Teen activists take a stand in this
Rookie/Say/Dr. Martens campaign

"Dr. Martens stands for individuality and self-expression," said Sara LaHaie, U.S. brand marketing and PR manager. "It is really the individuals who wear our boots and shoes that bring the brand to life, and we are giving them a platform to share what they stand for."

Social media has become what click-to-give banners used to be, with brands increasingly using these online platforms to raise awareness of causes they support. "We're seeing a lot of commercial brands take this approach," noted Jennifer Catto, Say Media's vp, global solutions. "They get their own platform to speak to their audience of consumers, and they have the ability to affect social change in the way editors do."

Marketers were all too eager to take on the Ice Bucket Challenge-and with flourishes intended to make their brands stand out. For example, KFC announced in its viral video that it would donate $1,000 to the cause-plus an additional $100 for anyone who completed the task using a KFC bucket. "It's just a great way to leverage something that has taken off in a huge way," a KFC rep said.

But these efforts must be handled with extreme care, noted BIA/Kelsey senior analyst Abid Chaudhry. Artificially attaching a brand to causes or trending stories can be perceived as tone deaf or even result in a massive PR debacle, such as when Entenmann's hijacked the murder suspect Casey Anthony #notguilty hashtag to talk about its treats.

That makes KFC's call to use its iconic buckets questionable, as it has nothing to do with ALS, Gartner research director Julie Hopkins pointed out. But the fast-food chain claims to have received a "hugely positive" response and almost 115,000 video views.

Hopkins also cited Samsung's use of the Ice Bucket Challenge to showcase its Galaxy S5's waterproof capabilities as potentially off-putting: "It's about putting something forward so a target group doesn't feel like they're really being manipulated. There's a risk in going too far."

Then again, Samsung's stunt encouraged many users to upload personal YouTube videos of their phones' liquid-resistant qualities. "Hey, it worked for them. We're talking about it," BIA/Kelsey's Chaudhry said.

#shinestrong | Pantene encouraged women to stop apologizing for being themselves.







Marketers will keep close watch on Apple's Sept. 9 event when it is set to introduce the iPhone 6, the next evolution of its phone that dominates the U.S. and is central to mobile advertising.

The Cupertino, Calif.-based tech giant is expected to make wide-ranging and far-reaching changes to its flagship product, which has been updated annually since launching in 2007. Leaked images and multiple reports show there could be two iPhone 6 models-4.7 inches and 5.5 inches-that are larger than the previous version. This change-with vivid viewing-would come just as mobile ad leaders like Facebook and Twitter are selling more rich media, video and in-feed promos.

"Folks gravitate to the larger screen, and some think ‘banner ad,' but that's outdated thinking," said Gian LaVecchia, managing partner at MEC. "We're seeing programming delivered through mobile feeds. And there's going to be a new richness to the canvas."

Facebook wouldn't discuss its strategy for larger iPhone screens, but what's clear is that it'll offer a different experience when compared to other platforms like Android. Just last week, Facebook launched Hyperlapse, an Instagram companion app that uses Apple technology.

Indeed, any changes to the iPhone will affect more than 40 percent of smartphone users in the U.S., per comScore. From screen adjustment to policy changes around location tracking, there could be profound impacts on how marketers attack mobile going forward. And the latest operating system is reportedly more powerful, giving increased flexibility to developers. For instance, new services will allow users to monitor health signs, which marketing experts said could push pharmaceutical brands to engage more on mobile.

And that may just be the tip of the iceberg when it comes to consumer utilities. Reports indicate the iPhone 6 may have innovative abilities to sync up with wearable devices.

What's more, Alan Simkowski, vp of mobile solutions at GMR, remarked that the in-store marketing technology called iBeacon-an area that Apple dominates-is just starting to take off.

The iPhone 6 could help perfect the iBeacon, he said, by limiting the amount of battery it drains when it uses Bluetooth to communicate with shoppers' phones.

"We know pilot programs are taking place, and there's a lot of activity testing going on with brands and the iBeacon," Simkowski explained. To his point, marketers for Faberge, Tribeca Film Festival and the Orlando Magic have recently trialed iBeacon campaigns.

And Apple's latest iOS 8 software, always released before the company delivers a new device, will likely emphasize how notifications appear via its phone. Notifications are a key part of the iBeacon experience because it is what alerts consumers to offers and promotions when they walk the aisles.

One rumor is that the Apple logo on the back of the iPhone will light up when notifications arrive, which would represent a small-but-nostalgic change-a glowing logo is a classic look in past Apple products.

"With enhanced notifications, it's even better for brands and retailers," Simkowski said. "On the brand side, there are opportunities to engage people based on their location if they opt in. Then it's clear sailing."







text These Are the NFL's 7 Social Branding MVPs
Sun, 31 Aug 2014 16:07:31 PDT

The NFL season has yet to begin, but Russell Wilson, the reigning Super Bowl champion quarterback for the Seattle Seahawks, is already retweeting sponsors like Braun. The 25-year-old represents a new era of sports spokespeople where athletes' performances on social media channels are almost as important as how they play on the field.

Here's the bottom line for brand sponsors: Those that align themselves with players who engage with large social audiences are getting the biggest bang for their bucks. Tech vendor Stout Social pulled data from Facebook, Twitter, Instagram, YouTube and Google+ to generate its MVP Index (with 1.0 being a perfect score), crunching reach, conversation and engagement stats to zero in on the top seven NFL players in terms of social impact. Six are quarterbacks, with Seattle's outspoken cornerback Richard Sherman proving to be an exception to the rule. Everyone loves a winner, indeed.







As the traditional wisdom goes, a brand that prospers is the one that answers the needs of its market. The nimble R&D team at BMW AG proved this maxim at the Moscow International Automobile Salon yesterday, by unveiling armored versions of its X5 SUV. Consistent with so many other aspects of German engineering, when BMW says its car is bulletproof, it's not kidding: Both the X5 Security and X5 Security Plus, as the vehicles are known, can withstand a full-on barrage from an AK-47.

"The risk of armed violence-and in particular, attack with automatic weapons like the AK-47-is a fact of everyday life for certain customers," the company said in a statement.

Also known as the Kalashnikov, the AK-47 is the world's most common assault rifle and the choice of malefactors everywhere. By one estimate, there are up to 100 million of the rifles loose in the world, which tallies to one gun for every 60 human beings.

While Russia under Vladimir Putin has largely emerged from the Yeltsin-era terrors of organized crime (the country's homicide rate dropped from 27,343 murders in 2004 to 14,574 in 2010, according to United Nations figures) it's still a potentially dangerous place to do business-and many U.S. companies do, from John Deere to McDonald's to Pepsico. A report from security-management firm Globe Risk International lists Russia among its top 10 countries for corporate kidnapping, predicting that "given the continued predilection for corruption among governments in the former Soviet Union, as well as the strength of the Mafia organizations in these countries, [Russia] could see a steady rise in this type of kidnapping in the future."

Which means that daring executives from U.S. brands might want to head to a BMW dealership in Moscow. There are 15 of them (here's a directory.)

The X5 series features Kevlar flooring, a steel-reinforced passenger compartment and bullet proof glass which BMW claims can withstand withering fire from AK-47s during roadside ambushes, reported The Wall Street Journal. The bullet-proof Beemers also come equipped with all wheel-drive powered by a 450-horsepower turbocharged engine for off-road getaways. "Sometimes a hasty retreat is the best form of defense," according to the German manufacturer.

The armor-plated BMWs start at $180,000 and go up to a quarter million for the X5 Security Plus model. Both are designed to look like your standard, off-the-lot luxury SUV.

The concomitant rise of corporate globalism and global terrorism has created quite a growth industry for armored vehicles. Jaguar offers armor-plated models (British Prime Minister David Cameron's official car is an armored Jaguar XJ), as do Mercedes, Volkswagen and Audi. There are also any number of U.S.-based companies like Texas Armoring and International Armoring Corporation that'll refit your off-the-lot car with enough plating to get you past an improvised explosive device.

Meanwhile, BMW's hot new armored car hitting the Russian market begs a big question: Will Vladimir Putin buy one?

Not likely. According to the leader's personal website, "Putin prefers Russian cars." A 2012 story in the Christian Science Monitor revealed that Putin was actually planning to toss out the keys to the customary Mercedes and BMW armored limos favored by his predecessors, and opt for a new ZiL model 4112P. Boosting his brand, a ZiL spokesman said that the enormous black car "is much better looking than the Cadillac Obama drives around in-which is a scary submarine, scary to look at."







There are fewer explosions and more dialogue in Barton F. Graf 9000's new ads for the Clash of Clans mobile game. In the process, we see a softer, less violent side of the Wizard featured character.

In "Preparation," he looks into his bedroom mirror, peels back his hoodie to reveal a massive black pompadour and psyches himself up for another long day on the battlefield. In "Magic," he halts his fireball throwing in the middle of the battlefield to pull a white rabbit out of his hoodie-but don't worry, he hasn't turned into a kids' party magician.

The spots have more than 6 million views each since being posted to YouTube on Thursday. They'll break on TV this weekend. (Last year's 60-second spot has 22 million YouTube views.) Rounding out the campaign are five outdoor posters, each with a different character and headline. "Look into the eyes of my moustache," says one with a close-up of Barbarian's face, "and know despair."

See all the work below.


CREDITS
"Preparation"
Client: Supercell
Agency: Barton F. Graf 9000
Chief Creative Officer, Founder: Gerry Graf
Executive Creative Directors, Partners: Scott Vitrone, Ian Reichenthal
Copywriters, Art Directors: Kate Overholt Placentra, Matt Rogers
Head of Production: Josh Morse
Producer: Erica Kahr
Account Director: Kate Faux
Account Supervisor: Michael Andreozzi
Mix: Heard City
Audio Engineer: Evan Mangiamele
Music Supervisor: Good Ear Music Supervision

"Magic"
Client: Supercell
Agency: Barton F. Graf 9000
Chief Creative Officer, Founder: Gerry Graf
Executive Creative Directors, Partners: Scott Vitrone, Ian Reichenthal
Copywriters, Art Directors: Joseph Ianno, Matthew Smith
Head of Production: Josh Morse
Producer: Erica Kahr
Account Director: Kate Faux
Account Supervisor: Michael Andreozzi
Production Company: Psyop
Directors: Fletcher Moules, Dan Vislocky
Managing Director: Neysa Horsburgh
Executive Producer: Amanda Miller
Producer: Shannon Alexander
Mix: Heard City

Out of Home: Barbarian, Wizard, Hog Rider, Wall Breaker, P.E.K.K.A.
Client: Supercell
Agency: Barton F. Graf 9000
Chief Creative Officer, Founder: Gerry Graf
Executive Creative Directors, Partners: Scott Vitrone, Ian Reichenthal
Senior Designer: Matt Egan
Designer: Toga Cox Creative
Director: Dave Canning
Creative Director: Dan Treichel
Copywriters, Art Directors: Joseph Ianno, Matthew Smith
Head of Integrated Production: Josh Morse
Account Director: Kate Faux
Account Supervisor: Michael Andreozzi
Art: Psyop
Creative Director: Fletcher Moules
Executive Producer: Amanda Miller
Producer: Shannon Alexander
Lead Technical Directors: Stephen Delalla (3-D), Matt Lavoy (2-D)
Modelers: Jon Balcome, Luis Sanchez
Texture Artist: Yuo Tengara
3-D Character Poses: Chris Meek, Dan Vislocky
Lighters: Stephen DeLalla, Yuo Tengara
Compositor: Matt Lavoy
Designers, Retouchers: Jacqueline Jocson, Edmund Liang
Studio: Box Graphics







LG launched its #MomConfessions campaign earlier this year with a series of cynically amusing TV spots, and since then, real moms have started to get in on the confessional action.

While the appliance brand and agency Hill Holliday seeded the campaign with their own Tumblr posts ("I go running to relieve stress. Just kidding, I drink margaritas."), there are plenty made from the keyboards of your next door neighbor or PTA president and submitted to MomConfessions.com.

Some of them are funny, some are actually from dads, and some are quite brilliant ("My child thinks the ice cream truck is a music truck. We dance as it goes by."). Of course, some left me making a face like I just had a bite of day old yogurt, know what I mean?

Here are a few of the better ones, slowly transitioning to the rather sad:







Rejoice, Friends enthusiasts! Your dream of sipping coffee at the iconic Central Perk will soon become a reality.

It's been 20 years since Ross, Phoebe, Monica, Joey, Chandler and Rachel first graced our TV screens, and the love for the gang remains strong, if all of the people on my Facebook feed are to be trusted. To celebrate two decades of shouting "Pivot!" every time a friend announces he's moving, Warner Bros. Television Group, Warner Bros. Consumer Products and Eight O'Clock Coffee are partnering to create a Central Perk pop-up in New York.

It'll be short-lived-the shop, created with help from agency Source Marketing, will open Sept. 17 at the corner of Lafayette and Broome Streets, and close Oct. 18-but fans can hang out on the weird orange couch, listen to a rendition of Smelly Cat, see some special guests (Gunther will be there) and maybe, I don't know, try to figure out how Rachel afforded to live in a sprawling Manhattan apartment on a barista's salary.

It's a brilliant partnership for Eight O'Clock, which will also be adding a special Central Perk blend to its coffee line next month, if you want to K-Cup your way to a Friends-in-your-travel-mug experience.

UPDATE: Turns out, it will only be available in bags, not as K-Cups. So maybe you could just brew a pot for all your-Wait for it! Wait for it!-friends.







Eventually, every celebrity and politician (though hopefully not every brand) will have taken the Ice Bucket Challenge. So, what next?

The moment the ALS campaign went crazy, we braced for the inevitable slew of copycats. The only question is, Which one will completely hijack your news feed next?

Below, Adweek takes a look at some of the contenders.


Lather Against Ebola Challenge

More than 3,000 people have been infected with Ebola, and more than 1,500 have died. Though the disease has a horrifically high mortality rate of 90 percent if untreated, Ebola can be spread only through contact with the bodily fluids of an infected person. So, simple measures like hand washing can prevent outbreaks. Edith Brou, an Ivory Coast blogger, was inspired by the ALS trend to create the Lather Against Ebola Challenge. Ebola hasn't yet spread to the coast, and Ivorians are determined to keep it that way with the challenge and some catchy tunes. There is no specific fund to donate to-awareness of prevention is the key of this campaign.

Pros: Easy to remember, easy to complete.
Cons: No direct benefit to those already suffering.
Rating: Three ice cubes out of five.


Bear Mace and Waterboarding Challenge

A gentleman in a "Party with Sluts" T-shirt was challenged ALS style and upped the ante by getting bear maced and waterboarded to raise awareness of suicide by veterans. An average of 22 veterans commit suicide each day, and a little waterboarding and bear mace are apparently not nearly as bad as what many of our veterans experience. There's no specific charity affiliated with this challenge, and it's unlikely it will catch on-but hey, now you're aware of it.

Pros: With a lot of blog coverage, more people are aware of how many veterans are lost to suicide every day.
Cons: Who in their right mind would take this challenge? (Actually, a surprising number of people.)
Rating: Two ice cubes out of five.


Taco Beer Challenge

It started as a Twitter joke by @AndreaGrimes, but now the Taco Beer Challenge is legit making money and headlines for pro-choice organizations. What do tacos and beer have to do with abortion rights? Well, what does ice have to do with ALS? Adventurous pro-choice advocates are taking it up a notch by eating a taco and drinking a beer while donating.

Pros: It's really easy to eat a taco and/or drink a beer.
Cons: Pro-lifers attacking you directly on Twitter.
Rating: One ice cube out of five.


Plant a Tree for Groot Challenge

Did you enjoy Guardians of the Galaxy, in which Vin Diesel plays a glorified Ent (sentient tree creature) named Groot? Then you will probably enjoy joining Diesel's followers in helping to plant a tree for Groot. The Plant a Tree for Groot Challenge is simple, and the benefit is obvious. The only thing better than funding research is being the change you want to see in the world. Besides, we should probably be more concerned about guarding the future of this planet than the future of the galaxy writ large.

Pros: Celebrity backing, connection with popular movie, large fan base.
Cons: No specific charity. Get on it, Arbor Day Foundation!
Rating: Four ice cubes out of five.


Rubble Bucket Challenge

Unable to find ice cubes in a war zone? Clean water too precious a commodity to pour over your head? Ayman al Aloul, a journalist, wanted to raise awareness of the conflict in Gaza but had to improvise with a bucket of rubble from damaged buildings. He doesn't challenge specific people, but does challenge us all to be empathetic to the suffering in Palestine and raise awareness of the situation with #remainsbucketchallenge. And he does it while making Westerners feel really stupid about wasting clean water and ice, which we can easily get in abundance.

Pros: Draws attention to the first-world nature of the ALS challenge.
Cons: No specific charity. Difficult to replicate.
Rating: Two ice cubes out of five.


Rice Bucket Challenge

Perhaps the best pun-based version on the Ice Bucket Challenge is the Rice Bucket Challenge in India. It's easy. Give a bucket of rice to someone in need, or if you can't, donate to sponsor meals for children. The Rice Bucket Challenge was created by Manju Latha Kalanidhi, who thought the waste of water was impractical. With tens of thousands of likes in just a few days and massive amounts of Indian press coverage, you can expect local versions to pop up in other countries.

Pros: Immediate, local effect with zero waste.
Cons: It would have to be altered to spread out of Asia, but this one could go all the way.
Rating: Five ice cubes out of five.


No Ice Bucket Challenge

For all the haters out there, the No Ice Bucket Challenge is the anti-Ice Bucket Challenge. The gist is, just donate to the charity of your choice and then shut up about it, geez. Ironically, it's basically bringing us back to the time before ice buckets when people just gave to charity sans gimmick. Except for those T-shirts and one-for-one products and stupid races and-look, the point is we're already sick of the whole thing.

Pros: No water waste. Haters gonna hate.
Cons: Trading stupid ice water videos for self-righteous whining about said same videos.
Rating: Two ice cubes out of five.


Camel Toe Challenge

While camel toe is generally an undesirable situation, the Camel Toe Challenge encourages it-for cervical cancer awareness. Easy to replicate and sure to make a splash in your Facebook feed, you can expect to either be rolling your eyes or enjoying this challenge a little too much for at least a month.

Pros: Lots of camel toe pictures, if you're into that.
Cons: Lots of camel toe pictures, if you're not into that.
Rating: One ice cube out of five.


ISIS Bucket Challenge

Radio host Mike Slater from the conservative network The Blaze posted a YouTube video where he appeared to scald himself with hot soup and challenged Jon Stewart, Rachel Maddow and Michael Moore to do the same. Then, on second thought, he says, "No wait, this goes to the guy in the black hood from ISIS." Slater admitted later that the whole thing was faked and he did not actually scald himself with hot soup. Of course, he's not the only one to have noticed that "ice" and "ISIS" sound similar, so there are a couple of these popping up, but don't expect it to become the next big thing.

Pros: Did you have any idea who Mike Slater was before this?
Cons: Attempting to hijack a charity message for strange political grandstanding.
Rating: Zero ice cubes out of five.







In the case of a true disaster, how prepared will your family be? A bleak new PSA raises the question in ways that emergency managers hope will get Americans thinking.

Preparedness is the watchword in Deutsch New York's pro-bono campaign for the Federal Emergency Management Agency. The effort, released through the Ad Council and timed to coincide with National Preparedness Month in September, encourages families to devise emergency plans before catastrophe strikes.

"The first step to preparing for disasters is simple, and it's free-talk to your family and make a plan," said FEMA administrator Craig Fulgate. The goal should be to determine a place to meet and a way to communicate if cell service is disrupted, he said.

The organization estimates that 60 percent of families have no contingencies in place, and fewer than 30 percent updated their supplies (bottled water, canned food, flashlights) in the past year.

The centerpiece of the multimedia campaign-which directs audiences to Ready.gov and Listo.gov for more information-is "Waiting," a minute-long commercial from Danish director Nicolai Fuglsig. Set in a relief shelter, the spot focuses on a mom and dad who can't find their son after a tragedy has struck their community.

Fuglsig takes a restrained approach that captures a mood of quiet yet intense desperation. Viewers get the message that waiting is among the hardest parts of such situations, and that taking steps in advance can help ease their fear and anxiety.

CREDITS

Deutsch, New York
Chief Creative Officer: Kerry Keenan
Executive Creative Director: Matt McKay
Copywriters: Nick Partyka, Jeff Vinick, Matt Moyer
Associate Creative Director, Art Director: Dan Read
Designer: J.C. Pagan
Director of Integrated Production: Joe Calabrese
Executive Producer: Crissy Cicco
Director of Integrated Workflow: Jeremy Gelade

Production Company: MJZ
Director: Nicolai Fuglsig
Director of Photography: Greig Fraser
Executive Producer: Emma Wilcockson
Producer: Betsy Oliver

Editing: Cosmo Street
Editor: Stephane Dumonceau
Assistant Editor: Joshua Berger
Executive Producer: Maura Woodward
Producer: Heather Richardson

Color Transfer: Company 3
Senior Colorist: Tom Poole
Producer: Dana Bloder
Conform: Method Studios
Online Editor: Jared Pollack
Producer: Christos Montzouros
Executive Producer: Cara Buckley

Sound Design Company: Stimmung
Sound Designer: Gus Kovin
Executive Producer: Ceinwyn Clark

Audio Post Company: Heard City
Engineers: Philip Loeb, Evan Mangiamele
Executive Producer: Gloria Pitagorsky
Assistant Producer: Katie Flynn

Shoot Location: Burbank, Calif.

Additional Deutsch Credits:
Chief Executive Officer, Deutsch, New York: Val DiFebo
Executive Vice President, Group Account Director: Talia Handler
Senior Vice President, Account Director: Paulette Stone
Account Director: Laura Schrager
Chief Strategic Officer: Brent Vartan
Global Planning Director: Ole Pedersen
Vice President, Planning Director: Anthony Mariello
Director of Broadcast Business: Kris Weiner
Group Director of Business Affairs: Maria Taris







There was plenty of star power in this week's collection of best commercials, and it was mostly put to comic use.

Ricky Gervais, Johnny Manziel and Jean-Claude Van Damme also turned in amusing performances, even if it wasn't quite clear whether the latter was really in on the joke. And we even had a celebrity director handle one big fall TV campaign.

Also this week, we had one hell of a product demo from a Bissell brand manager, who went way beyond the call of duty while scrubbing the floor of a Toronto subway.

Check out our picks below, and vote for your favorite. And let us know in comments if we missed any ads this week that were particularly amazing.







Vintage. Classic. Throwback Thursday (#tbt). Flashback Friday (#fbf). It's hip to be nostalgic these days.

And the comfort foods and brands that have thrived through the generations-in some cases 100 years or more-are cashing in on our renewed interest in history with ad campaigns that promote their staying-power.

Longtime brands such as Jolly Time, Tater Tots, Cinnamon Toast Crunch, Snuggle and a British gin called Boodles popular in the ‘70s and ‘80s are celebrating milestones while dusting off their images with the help of social media and online marketing.

"I would say that to survive for a hundred years you have to be nimble and flexible and relevant," Garry Smith, president of American Pop Corn told The New York Times.

American Pop Corn's Jolly Time popcorn is celebrating its centennial anniversary with an online video and a "virtual museum" of the company's evolving history on its website.

Meanwhile, a new campaign for Jockey features iconic figures such as Babe Ruth, Buzz Aldrin and George S. Patton sporting the tighty whities.

Talking about exposing laundry, social media wasn't even a twinkle in the sewed-on eye of Snuggle Bear when the fabric softener the stuffed cuddler represents became a dryer staple some 30 years ago.

But that hasn't stopped the brand and others from tweeting and posting as part of their recent campaigns. Snuggle Bear is a big tweeter and Mr. Boodles, representing Proximo Spirits' revived brand of gin, offers a few tips on high-class society in his #sendforboodles promotion, such as the proper way to tie a tie and how to make herb frittata.







Johnny Manziel isn't Johnny Football when he's hungry. He's Johnny JamBoogie.

In this new Snickers ad from BBDO New York, the Cleveland Browns quarterback stars as a Spandex-clad man leading an aerobics class full of women. That is, until he's rescued by a teammate bearing a candy bar.

It's a variation on a joke that by now is familiar. Last year, the late, great Robin Williams possessed a football coach in a commercial for the brand. In another, Kenny G sat in for a boring storyteller. Before that, Joe Pesci, Don Rickles, Aretha Franklin, Betty White and Abe Vigoda all had their moments. This February, we learned that even Godzilla is a pretty fun guy when he isn't peckish.

But Manziel is topical, and his buffoonery helps keep the idea going.

USA Today, meanwhile, wonders why Snickers used an actor as his savior, instead of a second, actual Browns player. And on the ad's YouTube page, one armchair quarterback takes issue with a different point: "A better ending would have backup quarterback Manziel eating a Snickers bar and turning into starting quarterback Brian Hoyer."

Zing. Regardless, plenty of football fans seem to be getting a kick out of the clip-it has more than 500,000 views since being posted on Thursday.



CREDITS
Client: Snickers
Spot: "Johnny JamBoogie"

Agency: BBDO, New York
Chief Creative Officer, Worldwide: David Lubars
Chief Creative Officer, New York: Greg Hahn
Executive Creative Directors: Gianfranco Arena, Peter Kain
Director of Integrated Production: David Rolfe
Group Executive Producer: Amy Wertheimer
Executive Producer: Alex Gianni
Producer: Patrick Smith
Executive Music Producer: Melissa Chester

Global Account Director: Susannah Keller
Account Director: Joshua Steinman
Account Manager: Dylan Green

Production Company: Radical
Director: Steve Miller
Executive Producers: Frank Scherma, Gregg Carlesimo
Producer: Barbara Benson
Production Supervisor: Ted Liotopoulos
Director of Photography: Mandy Walker
Production Designer: Tom Foden
Recording Studio: HeardCity

Mix House: Heard City
Audio Engineer: Philib Loeb

Editing House: Cutting Room
Editor, Managing Partner: Chuck Willis
Executive Producer: Melissa Lubin
Producer: Anna Petitti

Visual Effects House: Light of Day

Colorist: Tim Masick, Company 3

Music Track: "You're My Love"







The latest ads in Carmichael Lynch's master and apprentice campaign for Steak 'n Shake continue to use sound effects and choice props to comic effect.

This time, the main featured sound effect is the comically exaggerated air karate chop. The latest series of wooshes reminds us fondly of Weird Al's absurd dance sequence in his 1988 parody of Michael Jackson's Bad ("Because I'm fat ..."). As for the prop, it's a black blindfold that the master wears in his Pin-the-tail-on-the-donkey-like search for a milkshake in the desert. The tagline remains, "Hunger wisely."

As with last year's spots, these were directed by Harold Einstein.





CREDITS
Client: Steak ‘n Shake
Spots: "Kung Fu Elbow," "Blindfold"
Agency: Carmichael Lynch, Minneapolis
Chief Creative Officer: Dave Damman
Executive Creative Director: Marty Senn
Art Director: Matt Pruett
Art Director (Food): Teela Shandess
Writer: Nick Nelson
Director of Production: Joe Grundhoefer
Executive Content Producer: Freddie Richards
Senior Content Producer: Jon Mielke
Producer (Food): Jenny Barnes
Business Manager: Vicki Oachs
Account Service Team: Stacy Janicki, Sarah Brehm
Senior Project Manager: Lisa Brody
Postproduction Company: Dummy Films
Director: Harold Einstein
Executive Producer: Eric Liney
Director of Photography: Ramsey Nickell
Editing House: Arcade Edit
Executive Producer: Sila Soyer
Editor: Dave Anderson
Assistant Editor: Mark Popham
Online Artist: Tristian Wake
Telecine: CO3
Colorist: Tim Masick
Sound Design: Butter; Heard City
Audio Post: Heard City
Mixer: Keith Reynaud
On-Camera Talent: Mark Montgomery (Master), Alex Miles (Apprentice)
Voiceover Talent: Tom Hair







text Intel Is Reviewing its Creative Agency
Thu, 28 Aug 2014 10:22:09 PDT

Following the appointment this spring of CMO Steven Fund, Intel began a review of its creative agency earlier this month, according to sources.

Intel's search has already moved beyond the initial request-for-proposals phase, and the company should reach a decision sometime this fall, sources said. The company is not working with a consultant on the search.

"We regularly review and evaluate our agency partners," a representative for Intel said. The rep declined to provide more detail.

Fund was hired in May and joined in June from Staples, where he served as svp of global marketing.

The company spent more than $85 million on media in 2013, up from the company's $54 million spend in 2012, according to Kantar Media.

Incumbent Venables Bell & Partners, which has worked for the tech giant on and off since 2009 and won the business back from Tribal DDB and DDB Worldwide in 2012, is defending. OMD handles media buying and planning; it is unclear if the assignment is affected.

Venables Bell & Partners' latest work for the tech giant was Intel's current global campaign, "Look Inside."







Starting today, New Yorkers who tweet their shoe size and address with the hashtag #ReebokHDS could get a visit from the brand's Human Dispatch Service.

The team of runners will personally rush pairs of Reebok's new ZJet sneakers to people at home or at work. Venables Bell & Partners devised the stunt, which, according to Reebok, "brings the ZJet concept to life" by demonstrating how the shoe-which features air channels for maximum cushioning-"propels the runner forward with the power of air."

It's a fun idea that harkens back to a bygone era of personal service, at a time when many advertising stunts strive to confuse and frighten consumers to generate viral videos.

This is the client's second creative promotion this summer, following its July CrossFit Games tie-in from VB&P that saw Reebok send bacon to athletes abiding by Paleo diets. The HDS team won't be delivering any savory pork products, but the focus on shoes gives the ZJet stunt some steak to go with the sizzle.



CREDITS
Client: Reebok
Brand: ZJet
Executive Creative Directors: Paul Venables, Will McGinness
Creative Director: Erich Pfeifer
Associate Creative Director: Eric Boyd
Design Director: Cris Logan
Art Directors: Sean Flores, Rich North, Matt Miller
Copywriters: Nate Gagnon, Craig Ross, Matt Keats
Designer: Jarrett Carr
Head of Strategy: Michael Davidson
Communications Strategy Director: Beatrice Liang
Brand Strategist: Jake Bayham
Experiential Production House: Mkg
Production House: Fertl
Director: Jordan Bloch
Director of Photography: Derrick Monks
Line Producer: Mikyo Clark
Editing Company: Fertl
Editor: Derrick Monks
Sound Design: Richard Devine
Music: Marmoset Music
Mix: M Squared
Director of Integrated Production: Craig Allen
Director of Interactive Production: Manjula Nadkarni
Experiential, Broadcast Producer: Nalina Baratz
Production Coordinator: Megan Wasserman
Digital Producer: Marc Mclean
Account Manager: Ashton Atlas
Project Managers: Daniela Contreras, Shannon Duncan







When you get to a certain point, usually around your mid-20s, you realize there's not much more to life than drinking delicious beer. Imagine a world where you only wake up when it's time to imbibe a bottle of suds.

That's the strange reality in this dark, surreal Brazilian ad for Skol by agency F/Nazca Saatchi & Saatchi, in which sleeping bat-people, hanging upside down all over town, wake up when they hear a Skol Beats beer opening.

I can dig it. Take a look below, and see if you're willing to suspend your disbelief (from the ceiling ... without spilling your beer).

CREDITS
Client: Ambev
Product: Skol Beats
Agency: F/Nazca Saatchi & Saatchi
Spot: "Morcegos" ("Bats")
Creative Executive Directors: Fabio Fernandes, Eduardo Lima
Creative Director: Theo Rocha
Creative Staff: Theo Rocha, Thiago Carvalho
Account Supervisors: Marcello Penna, Ricardo Forli, Rafael Cappelli, Marcela Paiva
Planners: José Porto, Guilherme Pasculli, Victor Marx, Felipe Santini
Media: Fabio Freitas, André Cais, Bruno Storace, Vivian Simões, Caroline Pascuinelli
Agency Producers: Victor Alloza, Renato Chabuh, Gisele Campos, Maira Massullo, Rafael Paes
Production Company: Zohar Cinema E Comunicação Ltda
Director: 300 Ml
Executive Producers: Carlos Paiva, Isabelle Tanugi
Director of Photography: Enrique Chediak
Producer: Angelo Gastal
Editor: Rami D'aguiar
Motion, Postproduction: Full Frame
Sound: A9
Client Supervisors: Pedro Earp, Fábio Baracho, Pedro Adamy, Taciana Ávila







How do you get young people to care about recycling? Free burgers couldn't hurt.

DDB Stockholm and McDonald's collaborated on a campaign in Sweden which allows customers to pay for hamburgers, cheeseburgers and even Big Macs with recycled cans. Billboards placed around Stockholm announce the campaign with a roll of plastic bags that can be used to collect cans for recycling. Each bag also explains the custom pricing for the promotion: 10 cans nets you a hamburger or cheeseburger, while 40 will get you a Big Mac. The billboards are mostly centered around parks or summer festival areas, where, as DDB Stockholm puts it, "you'll find a lot of young people with empty drink cans and empty wallets."

Simon Higby, a DDB Stockholm creative, told Fast Company the challenge of the campaign was getting young people into McDonald's following summer festivals or days spent in the park. "Youngsters don't always have so much cash, but sometimes they can get empty cans," he said. "So, accepting cans in return for burgers gets them to McDonald's and the cans to the recycling depot. Everyone's happy."

The campaign makes a lot of sense for McDonald's, since it not only aligns the often criticized brand with a cause, but also gets a younger crowd inside the store-an age group which the brand has struggled to appeal to (at least stateside). And once in the store, many customers could opt for fries or a drink to go with the burger, increasing sales of such items.

The campaign is just the latest example of brands aligning with causes. McDonald's latest attempt to align itself with environmental concerns especially calls to mind Coca-Cola's recent cause marketing efforts, including PlantBottle and "Happiness Arcade," a push in Bangladesh featuring arcade machines that accepted empty Coke bottles as currency.







For years, Gap's ads-and its clothes-were all about bubbly, drenching color. But this fall, it's time for a new look in both, as the brand has brought in David Fincher to drain the color, quite literally, from the TV work-and tell enigmatic stories in artful, cinematic black-and-white instead.

Four spots below, created by Wieden + Kennedy in New York as part of the new "Dress Normal" campaign, were released online Thursday (fittingly, perhaps, given their throwback vibe). The story lines are brief and somewhat inscrutable snapshots of guys and girls pursuing each other-with off-kilter payoff lines like "Dress like no one's watching," "Simple clothes for you to complicate" and "The uniform of rebellion and conformity."

The black-and-white style evokes film noir, though the vibe is lighter than that-and the lack of color (except for the Gap logo at the end of the spots, presented in various hues) ties directly into a product Gap is pushing hard this season: black denim.



"We want these films to get people talking," says Seth Farbman, Gap's global chief marketing officer. "Each one features a confident woman at the center and tells a story of how liberating it is when you are being your most authentic self. We believe everyone who watches them will identify with one or more of the characters.

"We were thrilled to work with David Fincher, one of the greats of modern American cinema and a superb storyteller. His highly detailed and authentic style resonates with the Gap brand and these films truly bring to life what our 'Dress Normal' message means."

What the line means is certainly up for debate, as we mentioned in covering the print component of the campaign. (It appears to be Gap's take on normcore, which it seems to want to half-embrace and half-reject.) But it's definitely a provocation.

And for a company long addicted to celebrity talent on camera, putting this particular celebrity director behind it certainly shifts the brand in an interesting direction. By moving into the shadows, perhaps Gap can actually emerge from them.



CREDITS
Client: Gap

Agency: Wieden + Kennedy, New York
Executive Creative Directors: Susan Hoffman, David Kolbusz
Creative Directors: Stuart Jennings, Susan Hoffman
Copywriter: Sheena Brady
Art Director: Kim Haxton
Head of Content Production: Nick Setounski
Executive Producer: Alison Hill
Producer: Lisa Delonay
Brand Strategists: Erik Hanson, Hayley Parker
Account Team: Tamera Geddes, Dipal Shah, Patty Ehinger
Business Affairs: Lisa Quintela

Production Company: Reset
Director: David Fincher
Executive Producer, Chief Operating Officer: Dave Morrison
Executive Producer: Jeff McDougall
Line Producer: Laura Miller
Director of Photography: Jeff Cronenweth
Production Designer: Don Burt
Costume Designer: Trish Summerville

Editing Company: Work Editorial
Editor: Kirk Baxter
Post Producer: Sari Resnick
Post Executive Producer: Erica Thompson
Editorial Assistants: Nate Gross, Mike Horan, Billy Peake

Visual Effects Company: Mill
Senior Executive Producer: Sue Troyan
Producer: Dan Roberts
Coordinator: Jillian Lynes
New York Producer: Clairellen Wallin
2-D Lead Artists: Tim Davies, James Allen
2-D Artists: Robert Murdock, Tara Demarco, Timothy Crabtree, Jale Parsons, Brandon Danowski, Jamin Clutcher

Telecine Company: Light Iron
Colorist: Ian Vertovec

Mix Company: Sound Lounge
Mixer: Tom Jucarone
Sound Designer: Tom Jucarone
Producer: Vicky Ferraro

Music: Drive
Song: "L'amour LaMort"
Artist: Martial Solal

Music: Golf
Song: "Wait A Minute"
Artist: Performed by Eddie Ray; licensed by Bank Robber

Music: Kiss
Song: "Kiss"
Artist: David Holmes

Music: Stairs
Song: "Inner Babylon"
Artist: Written by Shabaka Hutchings; performed by Sons of Kemet







text How a Radio Personality Got Into Advertising
Thu, 28 Aug 2014 07:45:33 PDT


Specs
Who Shelley Stewart, founder and CEO
What Creative agency
Where Birmingham, Ala.

In 1967, radio personality Shelley Stewart decided he wanted to start an ad agency that would work for marketers who advertised on his show. As an African American in civil-rights-era Birmingham, Ala., Stewart knew he needed a partner so he sought out an old friend, Cy Steiner, with whom he formed Steiner Advertising (Steiner was the face, Stewart was the silent partner). Through the years, the shop went through many iterations, ending up in the 1990s as o2ideas and graduating to national brands. Today, o2ideas works for the likes of Verizon, Gateway and the Mattie C. Stewart Foundation. The 80-year-old has no plans to stop. "I don't like the term retire," said Stewart. "I'll reduce activities, yes, but I want to be with [o2ideas] as long as they'll let me."







text BBDO Names a Global Account Chief on J&J
Thu, 28 Aug 2014 04:17:00 PDT

Paul Roebuck is returning to BBDO as evp, worldwide senior business director with oversight of the agency's Johnson & Johnson consumer business.

Roebuck had been president, CEO at BBDO Guerrero/Proximity in the Philippines for five years before moving to Saatchi & Saatchi as " target="_blank">chief of its Singapore and Malaysia operations in 2011.

"When Paul was with us in the Philippines, he did a fantastic job and the agency punched way above its weight. Since he left three years ago, (BBDO CEO Asia, Middle East and Africa) Chris Thomas and I have wanted to get him back," said BBDO global CEO Andrew Robertson.

"Paul has got excellent CPG experience and global perspective which will be incredibly important on all Johnson & Johnson brands but especially Johnson & Johnson Baby which has a big focus globally and is a big opportunity," Robertson added. "He has the experience, knowledge and maturity to make the most of that."

Before joining BBDO Guerrero, the 40-year-old was chief operating officer at Saatchi & Saatchi Jakarta and regional account director and strategic planning director at Saatchi Kuala Lumpur. He also has client-side experience, having worked as a London-based Guinness marketing manager for stout and ales, Africa. He began his career at Saatchi London.

Roebuck's BBDO role is new and he'll relocate to New York, where he starts at the end of October.







text How Once-Cool Urban Outfitters Lost Its Mojo
Thu, 28 Aug 2014 03:00:02 PDT

The namesake brand of Urban Outfitters continues to struggle, based on results that the Philadelphia-based specialty retailer released last week.

Following a 5.2 percent tumble in Q1, Urban Outfitters' sales fell another 2.4 percent for Q2. The company's better performing Anthropologie and Free People brands took up the slack-Q2 revenues overall rose by 7 percent-but the Urban Outfitters brand continues to disappoint. Comp sales fell by 10 percent.

In a statement, the company blamed a 194 basis point decrease in its gross profit rate on "underperformance at the Urban Outfitters brand." While a report published this week by Zacks noted that "performance has improved sequentially," the Urban Outfitters concept has been troubled for some time, having lost its CEO two years ago and endured a number of high-profile embarrassments.

Those with a long enough memory might recall how Urban Outfitters was the specialty-retail darling of the mid 1990s, choosing college-student-heavy locales for its 9,000-square-foot stores, distinctive for their expanses of bare concrete and crackle glass front windows, and for mixing novelty housewares amid racks of earthy, cheap clothing. The chain made a practice of fitting into the existing urban fabric by renovating existing buildings rather than raising big-box stores and selling the sort of funky threads that youngsters couldn't find elsewhere.

So what happened?

Various factors have been blamed for Urban Outfitters' obvious loss of countercultural clout. In January, the company found itself in hot water over printed T-shirts reading "depression" and "eat less," which critics blasted as insensitive to those suffering mental illness and eating disorders. Last year, Urban Outfitters-which has always carried amusing and quirky home/dorm accessories-stocked its shelves with drink ware that resembled prescription bottles (since pulled) and a T-shirt that read "Misery Loves Alcohol" (no longer in stock). Both angered those in recovery, and some bloggers, too.

Then there were the other PR disasters, including a "Navajo" liquor flask upholstered in a traditional rug pattern. The Navajo Nation sued over that one, calling it "derogatory and scandalous." Urban Outfitters also made the news when various outlets reported that the company president Richard Hayne had given money to Rick Santorum, whose anti-gay political views are at variance with those of many of the store's customers. One of the pissed off patrons happened to be Miley Cyrus, whose angry tweets did not help the company's image.

But the bigger problem may be that Urban Outfitters success has been successfully replicated by newer concepts. While Hayne told Philly's Business Journal in May that the brand was "working diligently to regain its fashion footing," that job is not as easy as it used to be. Urban Outfitters attracted many of its early fans back when chains like Forever 21 and H&M were mere rumors. Now, these chains-plus category killers like Target-are all vying for the youth clothing dollar.

Going forward, Urban Outfitters is betting on a new, in-store concept called Without Walls, which began a rollout this spring. The collection focuses on young, physically active shoppers into personal fitness, cycling and hiking.

It's also targeting surfers. Which is what Hollister-still another competitor-now does, too.







text The World Eats 3 Cans of Spam Every Second
Wed, 27 Aug 2014 17:54:15 PDT

London in late December 1942 wasn't a very merry place. The blitz had dragged into its second year, damaging or destroying nearly a million buildings. Londoners slept in the Underground each night. Over 150,000 families had no water, gas or electricity. Amid the desultory landscape, CBS broadcaster Edward R. Murrow began his Christmas broadcast for CBS radio listeners in America.

Spam Hawaiian was a pretty shrewd recipe to pitch at
postwar shoppers. Not only did over 2 million American boys
serve in the Pacific in World War II, but many also came home
with a taste for pineapple. To this day, Hawaii is America's No.
1 Spam state, with an average of 5.6 cans consumed per
person per year. Surely, that figure renders Spam as "dandy,"
at least in the 50th state.

"This is London," Murrow intoned. "Although the Christmas table will not be lavish, there will be Spam luncheon meat for everyone."

Oh, boy.

That the world's most influential journalist found encouragement in a 12-ounce can of vacuum-sealed pork shoulder says much about the times. It also says a lot about the staying power of a brand.

Fickle foodies and city snoots might be unaware of the fact, but Spam-which turned 75 years old in 2012-remains one of the most popular and enduring packaged foods in the world. The publicity folks at Hormel report that Spam is for sale on every continent except Antarctica and sits on 99 percent of grocery shelves in America. Every year, citizens of the world buy 122 million cans of Spam and eat them at a rate of three every second.

Given that sort of popularity, it might seem like advertising Spam would be a breeze. But as the ads here show, not quite.

Spam isn't just a unique food (for the record, the ingredients are pork, water, salt, potato starch, sugar and sodium nitrate)-it's one with a unique marketing challenge. When the U.S. government contracted with Hormel during World War II to send 150 million pounds of Spam overseas as K-rations and U.K. relief packages, even initial fans of "miracle meat" got sick of it fast. (Monty Python's witheringly hilarious Spam routine from 1970 was rooted in this very thing.) So when Hormel ramped up its postwar advertising, it had to overcome Spam fatigue.

How? As this 1959 ad from Reader's Digest shows, the trick was distancing Spam from its meat-in-a-can image and casting it as dinner. "You can't go wrong with a picture of the food and an idea of what you can do with it," observed Bill Winchester, chief creative officer of Lindsay, Stone & Briggs, which has worked with leading packaged-food brands.

‘You can't go wrong with a picture of the food and an idea of what you can do with it.' | Bill Winchester, chief creative officer, Lindsay, Stone & Briggs

Indeed, Winchester added, "that's what they were doing then, and it's what they're doing now." He's referring to this 2014 Spam ad, which seems to be taking its creative cues from decades past by presenting Spam as an appealing entrée (and consigning the can to a lower corner of the ad).

It's also no accident that these dishes have a decidedly Far Eastern tint. Then and now, Spam easily swapped places with salted pork used in stir fry. And in much of Southeast Asia, Spam gift packs are reportedly popular wedding gifts. Look it up.

1. The chopsticks and square plate continue the Spam marketing tradition of nodding to Asia. Also, "this ad's colors, yellow and blue, are Spam colors," Winchester added. "So they pulled that brand attribute in."

2. In 1950s America, a stir fry was probably a bit exotic for the home kitchen. But today, as Winchester points out, an ethnically diverse consuming population would take to this dish called Spam Fried Nice! (yes, that's the name) naturally.

3. This is Sir Can-A-Lot. He appeared in 2012 as part of Spam's 75th anniversary. According to the company website, his "crusade [is] to rescue the world from routine meals."







text Porsche Adds Third Shop to Agency Roster
Wed, 27 Aug 2014 11:06:38 PDT

Porsche Cars North America has added Minneapolis-based Solve to its agency roster. Cramer-Krasselt and Omnicom Media Group, a division within OMD, in Chicago will continue to work on the brand's creative and media business, respectively.

Solve will focus on revamping the brand experience, working to make it more intimate and engaging, according to John Colasanti, CEO of Solve. This scope of work is new for Porsche; there was no incumbent agency handling it prior to the search.

Nearly 15 agencies vied for the business with four making it to the finals.

Porsche spent nearly $40 million in media last year, almost doubling 2012's $23 million spend, according to Kantar Media.

"What really impressed us about [Solve] is their knowledge of enthusiast brands," said Scott Baker, manager of marketing communications for Porsche. The agency also works for another Volkswagen brand, Bentley. "The fact that we're both part of VW family is what made it OK and, actually, it played to their strengths."