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We all hear the rumblings of the beginning of the decline of Facebook: It's getting too old, people aren't using it as much. But one look at the social giant's ubiquity in the modern American's life explains why Carolyn Everson stands atop the 2014 incarnation of the Adweek 50-which honors those executives who help their bosses (in Everson's case, Sheryl Sandberg and Mark Zuckerberg) bedazzle Wall Street and investors. Everson, who moves up from No. 2 in last year's 50, has overseen meteoric revenue growth, thanks to new "people-based marketing," which is a fancy way of connecting marketers with consumers on whatever device they're on. Digital marketers, salespeople and content developers occupy more Adweek 50 slots than ever, a reflection of the transformation across media, marketing and technology. But the best and brightest in television, print and the agency world can also be found across our list, selected by Adweek's editors and staff. Congratulations to all for earning their spot through hard work, innovation and creativity. -Michael Burgi

Photo: Jeremy Goldberg

Carolyn Everson
VP, global marketing solutions
2013 revenue $7.9 billion

Carolyn Everson has had quite a year at Facebook. Looking back, a pattern emerges, the outlines of which look very much like the future of digital advertising.

Facebook calls it "people-based marketing"; Everson calls it her team's biggest achievement over the last 12 months.

Facebook relaunched the Atlas ad server in September, a new step for the social network in targeting ads to users across the map-via their mobile phones, tablets and desktops. It enables Facebook to pinpoint actual users rather than merely a data profile that may or may not be accurate.

"I am most proud of how the team has rebuilt Atlas to focus on people-based marketing," says Everson, 42. "Atlas helps marketers serve more relevant advertising across devices, platforms and publishers, and it is able to measure the impact of those ads across devices-down to whether they drove sales."

But there is more. At its developer conference in April, Facebook also launched the mobile Audience Network. It also bought LiveRail to enhance its video ad potential. These are the technological pieces that could eventually make Facebook the most powerful player in online advertising---not to mention that the social network boasts 1.3 billion users, owns both Instagram and WhatsApp, has a popular Messenger app and, with the acquisition of Oculus Rift, has identified virtual reality as the most important category in the coming years.

Everson likes to repeat a refrain her boss Mark Zuckerberg is fond of. "At Facebook, we feel like we are less than 1 percent done with our journey-with billions more people to be connected, and millions of businesses to work with to make a difference in their growth trajectory," she says. "I feel our work is just getting started."

That's a sobering prospect for competitors like Google and Twitter. Facebook grew its revenue by 55 percent last year to $7.9 billion, and that figure is expected to grow to some $11 billion this year.

Facebook and Everson are focused on bringing the Internet-and Facebook-to emerging markets by way of initiatives such as Internet.org. Also, video remains a key ad medium; as the company starts to show more video than YouTube, it aims to make money from that traffic.

"In the year ahead, you will see us continue working to be the best mobile ad platform, driving a significant amount of video consumption for consumers and marketers, and bringing Instagram into a fully scalable offering across the globe," Everson says.

While Facebook is busy building a fully stacked ad business, the team also works closely with brands and agencies to help them get the most out of their marketing campaigns. Workshops called "spark sessions" serve as one-on-one training for brands. "We are not building a sales team-we are building a group of consultative business advisors who are completely focused on our clients' business," Everson says.

And she means business, because nothing is a matter of "if." "For those of us who work at Facebook," she says, "it is all about the 'when.''" -Garett Sloane

No. 2
Ted Sarandos
Chief content officer, Netflix
2013 revenue: $4.37 billion

Just a few years ago, if you wanted to watch exceptional TV, the last place you would turn to is your computer. Enter the binge-watching era. Netflix changed what we expect from Web programming and how we consume it with award-winning shows like House of Cards and Orange Is the New Black. Its library is continuously growing, with more cult favorites joining as streaming options and a full-on launch into original features, starting with a sequel to Crouching Tiger, Hidden Dragon and a four-movie deal with Adam Sandler. European and South American expansion has already taken place, and there are plans to breach Asia. There's no stopping the on-demand streaming company from taking over the world. And Sarandos, 50, is leading that charge. -Michelle Castillo

Photo: Fernando Decillis

No. 3
Tom Daly
Global group director of mobile, Coca-Cola Co.
2013 media spend: more than $4 billion

How did Coca-Cola make this year's World Cup its most digital yet? By getting consumers to submit more than 200,000 selfies that were then used to create a 3,015-square-meter "Happiness Flag" displayed during the opening match in Rio de Janeiro. Behind the scenes was Daly, 52, and his mission to transform Coca-Cola into a mobile powerhouse, which goes way beyond building branded apps. Daly develops marketing with 50 billion connected devices in mind, meaning that simple tactics like text messaging are still important ways to connect with consumers. Stay tuned for more mobile-heavy work from Coke during the 2016 Summer Olympics. "It would be safe to say you'll see these ideas continued and expanded," Daly promises. -Lauren Johnson

No. 4
B. Bonin Bough
Vp of global media and consumer engagement, Mondelez
Estimated 2013 media spend: $182 million

Few industry speakers riff on digital as passionately as Bough. But the 36-year-old marketing dynamo backs up his talk with execution, wowing South by Southwest goers with a high-tech 3-D Oreo cookie maker that registered 42 million consumer impressions. More recently, Bough forged a partnership with Google and Fullscreen that will shift 10 percent of the marketer's ad budget to online video, and he is at the forefront of millennial marketing with targeted Kik and Snapchat endeavors. -Christopher Heine

No. 5
Sridhar Ramaswamy
Svp of ads and commerce, Google
2013 ad revenue: $50.57 billion

Ramaswamy, 48, used to work closely with Susan Wojcicki before she took over at YouTube-now the high-profile advertising position is all his own. He is a member of the elite L Team, CEO Larry Page's inner circle. Google is connecting on all fronts-devices to homes to cars to areas yet explored-and behind it all is its powerful advertising engine that could help it become the first trillion-dollar company. This year the digital giant took steps to get more brands to spend across YouTube and DoubleClick, and ad revenue continues to grow-even though competition is tougher with the rise of Facebook. But there's no doubting who the biggest of the bunch is-and that's not changing anytime soon. -G.S.

No. 6
Michael Lombardo
President of programming, HBO
2013 revenue: $4.9 billion

Lombardo, 58, is one of those veteran programmers who never seems to lose his touch-the exec has been president of programming since 2007, when the media was awash in think pieces about how the finale of The Sopranos meant that HBO's golden age had ended. With Game of Thrones, Girls, True Blood and True Detective, Lombardo proved them wrong over and over. And with the new HBO Go streaming app set to debut without a cable sub next year, it looks an awful lot like the company has surpassed traditional cable networks yet again. -Sam Thielman

No. 7
Wanda Young
VP of media and digital marketing, Walmart
Estimated 2013 media spend: $860 million

Thanks to her leadership, @WalmartLabs isn't just an incubator for shiny new tech-marketing toys-it's altering the retail landscape. Most recently, Young, 45, orchestrated the rollout of Savings Catcher, a feature on Walmart's smartphone app that lets customers get money back if a nearby competitor offers lower prices. Young also engineered a data partnership with The Weather Channel that will influence how the brand targets advertising on TV, radio, Facebook, Twitter and mobile networks. -C.H.

No. 8
John Hayes
CMO, American Express
2013 U.S. media spend: $300 million

At 59, Hayes is old enough to remember the good old days when the marketing department controlled the message-but he doesn't miss them. Under Hayes, the world's largest card issuer has evolved from iconic ad lines ("Membership has its privileges") to adapting to how consumers actually live. In addition to creating Small Business Saturday, Hayes has launched some 200 new financial products, including the Serve prepaid card. He's partnered with Vevo and YouTube to launch the "Unstaged" concert series. And he's made AmEx into one of the first fiscal behemoths to speak Twitter. With Q2 net income up by 9 percent, it's clear that shoppers are listening. -Robert Klara

No. 9
Kevin Brady
Executive creative director, Droga5
Revenue on Brady's accounts: $14 million

If there were an advertising award for listening, Brady, 48, would win it hands down. His knack for taking in the challenges that marketers face enabled him to help Prudential find hopefulness in retirement planning and define wholesomeness for Honey Maid in a modern way, casting gay and tattooed parents in ads that have exploded online. Thoughtful and empathetic, Brady, who also leads work on BelVita and Dun & Bradsteet, is known as the conscience of Droga5, ever striving for higher meaning in ads. -Andrew McMains

No. 10
Ilonka Laviz
Digital brand director of global e-business, Procter & Gamble
2014 global media spend: $9.2 billion

Eighteen years into her P&G tenure, Laviz, 40, is now making waves to prove that digital moves the sales needle for packaged-goods marketers. Laviz spearheads partnerships with Facebook, Google and Yahoo and is credited in pushing digital spending to record levels over the past few years. She's also responsible for beefing up earned media across 23 brands. The focus on brand-building seems to be paying off-this year's buzzy and female-empowering #LikeAGirl campaign has amassed nearly 50 million YouTube views since debuting in June. -L.J.

Photo: Christopher Gabello

No. 11
John Costello
Chief global marketing and innovation officer, Dunkin' Donuts
2013 media spend: $121 million

When Dunkin' Donuts signed its first franchise in 1955, a doughnut shop with decent coffee was a novelty. Today, a host of specialty chains like Starbucks continue to raise expectations, and every fast-food chain now serves breakfast. Fortunately, Dunkin' has 66-year-old Costello. "Coffee is one of the most competitive categories," he says, "and we think our coffee can compete anywhere." He's proven it can: Marketing the combination of barista quality at popular prices, Costello has helped make Dunkin' the No. 1 retailer of hot and iced coffee in America and the No. 2 retailer of breakfast sandwiches. The doughnuts aren't bad, either. -R.K.

No. 12
David Levy/Donna Speciale
President, Turner Broadcasting /president, ad sales, Turner Broadcasting
2013 revenue: $10 billion

It's no surprise to see Levy, 52, a longtime Turner vet, finally in charge of the whole enchilada these days, while Speciale, also 52, takes his place at the helm of the good ship ad sales. The Time Warner-owned group generated some $3.5 billion in domestic ad revenue last year (including CNN, which is under Jeff Zucker), making it among the most profitable cable portfolios in the world. It's actually smaller than many of its competitors-10 networks in total where other groups have dozens. But among properties like TNT, Cartoon, Adult Swim and TBS, Turner punches well above its weight. -S.T.

No. 13
Adam Brotman
Chief digital officer, Starbucks
Estimated 2013 media spend: $95 million

Out of all of Starbucks' many digital efforts, its mobile innovations-led by Brotman-take the proverbial cake (or pumpkin scone, as it were). Brotman, 45, commandeers a mobile payment initiative that is revolutionizing the quick-serve sector. In March, the brand unveiled Shake to Pay, a feature that lets consumers pay for their coffee and tip the barista by simply shaking their smartphone. What's Brotman got in store next to draw foot traffic? Wireless phone charging at every location. -C.H.

No. 14
Robert Kyncl
Vp, global head of content, Google/YouTube
2013 revenue: $5.6 billion

The latest challenge for Kyncl, 44, is to convert the billions of eyeballs YouTube attracts into revenue. The service's stars didn't become household names until the company featured a handful in a splashy national campaign that highlighted the premium content on its Web video platform. Its success fed the Google Preferred program, which allows brands and agency partners including DigitasLBi, OMD, IPG, Carat and SMG to advertise on the top 1 and 5 percent of YouTube videos with audience guarantees. Marketers like Taco Bell, Ford and GE, which want to get bitten by the viral video bug, are enrolling in the Brand Partner Program, a three-day course that aids brands in creating buzzy content that will connect with an always-online audience. -M.C.

No. 15
Frank Cooper III
Global CMO, PepsiCo
2013 U.S. media spend: $865 million

A beverage company as large as Pepsi can draw customers by just sitting there, but Frank Cooper has pushed the 49-year-old brand to build "authentic relationships" by getting away from what he calls "mountain top" messaging and getting behind serious content. Cooper, 50, is the force behind Pepsi's Twitter-streamed Summer Beats Concert Series starring Katy Perry and Nicki Minaj, and last year's $50 million multiyear creative partnership with Beyoncé-including the Super Bowl halftime show that drew nearly 113 million visitors. -R.K.

Photo: Karl J. Kaul/Wonderful Machine

No. 16
Kent Alterman
President, content development and original programming, Comedy Central
2013 ad revenue: $464 million

Alterman's star is on the rise at Comedy Central. Boosted to his current post last year, the 57-year-old exec already had plenty of great credits: sketch programs Key & Peele, Kroll Show and Inside Amy Schumer, which also happen to be killing it online. Interestingly, he declared his intent to pursue more straightforward scripted fare. He's getting his wish: Ben Stiller-produced Big Time in Hollywood, FL, is due next year. -S.T.

No. 17
Network Television Ad Sales Chiefs
Jo Ann Ross
President, ad sales, CBS Television Network
Estimated 2014 upfront revenue: $2.4 billion

Geri Wang
President, sales and marketing ABC
Estimated 2014 upfront revenue: $2 billion

Linda Yaccarino
President, ad sales, NBCUniversal
Estimated 2014 NBC upfront revenue: $2.3 billion

Toby Byrne
President, ad sales, Fox Broadcasting Co. and Fox Sports Media Group
Estimated 2014 upfront revenue: $1.55 billion

Why bundle the network sales heads? Frankly, the 2014 TV upfront season was equally mediocre for each of the Big Four. And the road won't get any easier, as the industry nears the tipping point where TV budgets are no longer a sure thing-as they have been for the last 50 years. If anyone has a slight edge, it is NBCU's Yaccarino, 51, whose upfront haul was up slightly over 2013. All the other nets saw their upfront dollar haul slump between 5 and 15 percent, while CPM increases were nominal. Can the gradual but steady shift on the buyers' part to accepting commercial ratings with longer periods of DVR usage baked in help the networks get their mojo back? Prevailing wisdom among the buyers is that most viewers still skip through ads-if that functionality hasn't been disabled-regardless of how many studies the nets trot out to indicate otherwise. That won't stop Ross, 61; Wang, 54; and Byrne, 44, from continuing to exhort their teams back up to higher heights each year-since their bosses and Wall Street still demand it. -Michael Burgi

No. 18
Angela Ahrendts
Svp, retail and online stores, Apple
2013 revenue: $1.71 billion

Ahrendts, 54, understands that the key to a brand's success is the experience it provides consumers. The former Burberry CEO has focused her efforts into expanding the mammoth tech brand's position across the globe (especially China), as well as improving how customers shop. Whether that means seamless in-store customer service or easy mobile payments through the Apple Pay system, she's on board to guide consumers' connected future. -M.C.

No. 19
Ed Erhardt
President, global customer marketingand sales, ESPN
2013 ad revenue: $4 billion

In some ways, Erhardt, 57, has the best job in cable: No rival has a product that comes anywhere close to ESPN's domination of live sports. But it's also a difficult one, involving notoriously tricky relationships with major sports leagues. Erhardt's job is to make sure the network stays ahead of the curve, and with a massive digital portfolio on top of the linear net, he's able to realize incredible sums from nearly every blue-chip advertiser in the business. -S.T.

No. 20
Chris McCumber
President, USA Network
2013 ad revenue: $1 billion

McCumber, 47, runs one of the largest networks on your remote. Now on his own after former co-president Jeff Wachtel ascended to the upper ranks of NBCU's producing structure, McCumber is charged with launching a ton of new shows on the channel, from the tongue-in-cheek Chrisley Knows Best to Middle East-set thriller Dig. It's a full plate, to say the least, as McCumber adjusts the network's "blue skies" programming to accommodate some clouds in its darker new shows.-S.T.

No. 21
Richard Alfonsi
Head of global sales, Twitter
2013 revenue: $665 million

Twitter has built-and bought-one of the most impressive mobile ad platforms, and that success is owed in part to Alfonsi, 43. Once a simple 140-character message board, Twitter is now a dynamic, multimedia social network that brands can't ignore. This year the advertising and targeting got more sophisticated with app installs, direct-response marketing and an Amplify program that lets powerhouses like the NFL reach fans and sponsors. -G.S.

No. 22
Michael Clinton
President, marketing and publishing director, Hearst Magazines
Estimated 2013 revenue: $1 billion+

Clinton, 59, oversees some of the most storied names in print, from Cosmo to Elle and Good Housekeeping. And while the world may bemoan the decline of magazine media, Clinton is proving it's still a booming industry: In the past year, he's spearheaded Hearst's biggest-ever September ad paging, the continued expansion of Dr. Oz The Good Life, and the pilot launch of a new freemium weekly, TrendingNY, all while serving as MPA chairman. -Emma Bazilian

No. 23
Antonio Lucio
Global chief brand officer, Visa
Estimated 2013 media spend: $129 million

The Winter Olympics proved that Lucio, 54, has serious game. His team generated 28 million digital engagements; it tallied 9.2 million impressions on Twitter; and his credit card had the top branded Olympics Facebook video for a week. To create contextual content, Lucio enlisted the Visa 360 Cam-a panoramic video mobile app that took consumers behind the scenes. -C.H.

No. 24
Lou Latorre
President, ad sales, Fox Cable Networks
2013 ad revenue: $3.1 billion

Things have gotten interesting at Fox Cable in the last year: FX's sister network FXX had its coming-of-age moment with a marathon of The Simpsons. The cable concern took a huge jump in ratings, and with FX making waves with edgy prestige shows like American Horror Story, the always-diplomatic LaTorre, 60, is the guy to sell it. As the cable outfit grows, so does his profile. -S.T.

No. 25
Joe Abruzzese
President, ad sales, Discovery Networks
2013 ad revenue: $2.7 billion

Well-liked both in-house and among competitors, Abruzzese keeps careful track of the market year-round and has been rewarded for it time after time. Discovery is changing-its operations are rapidly expanding overseas-but the best dressed man in ad sales remains constant. The 65-year-old exec manages to push the needle further every year. -S.T.

No. 26
Mel Berning
President, ad sales, A+E Networks
2013 ad revenue: $2.4 billion

Berning's sales acumen is too often unsung in the publicly traded world, largely because A+E Networks is jointly owned by Disney and Hearst. As such, it doesn't get bragged about on quarterly earnings calls the way NBCU does. But the 60-year-old Berning's contributions to the business can't be overstated: The ad sales division at the multibillion-dollar collection of networks like A&E, History and Lifetime remains strong. And Berning's enjoying the windfall from stealth hit Vikings. -S.T.

No. 27
Jon Steinlauf
Evp, ad sales and marketing, Scripps Networks
2013 ad revenue: $1.6 billion

Steinlauf, 57, who led Scripps to its third billion-dollar upfront this year; remains one of the most influential ad chiefs in television. Part of that is due to the quality of the Scripps portfolio-it has perfected the whoa-I've-been-watching-Food-Network-all-afternoon lineups-but much of the credit goes to Steinlauf's commitment to patiently working out difficult and deep deals with his partners. Scripps' integrations broke ground and set the standard for the industry; now that the DVR is eating larger chunks of traditional 30-second spots, it's a model that rivals are adopting left and right. -S.T.

No. 28
Joanna Coles
Editor in chief, Cosmopolitan; editorial director, Seventeen
Audience: 39 million (including print, Web, mobile, video)

For Coles, 52, transforming the legendary women's magazine's reputation from that of a "how-to-please-your-man" bible to the go-to destination for politically savvy millennials (who still want their sex tips alongside their candidate endorsements) wasn't enough. Now, she's turning her eye to a younger audience as the new editorial director of Seventeen. And her latest side project? Producing an NBC comedy about a political blogger turned Cosmo sex writer. -E.B.

No. 29
Keith Grossman
Publisher, digital and digital products, Bloomberg
Bloomberg Digital audience: 21 million

As associate publisher of Wired and Ars Technica, Grossman made a name for himself as an innovative executive (he won two consecutive Project Isaac awards for his efforts). Now, the 34-year-old is heading up Bloomberg's digital side, where he's been tasked with translating CEO Justin Smith's vision of a multiplatform, global business into reality. Since joining in July, Grossman has successfully launched several new ad platforms and products while also overseeing the rollout of Bloomberg's new mobile strategy and digital video network. -E.B.

No. 30
Joel Stillerman
Head of programming, AMC Networks
2013 revenue: $438.5 million

Seemingly overnight, AMC Networks went from a sleepy little channel that reran Clint Eastwood movies to a drama powerhouse. Now, Stillerman, 53, has to show he's willing to take risks as dangerous-and as successful-as Mad Men and Breaking Bad. He's done it once with The Walking Dead, and he's been aggressive about greenlighting new shows. Martial arts drama Badlands and sci-fi show Humans are both set for next year. It's a safe bet neither of the shows will resemble anything else on TV. -S.T.

No. 31
John Patroulis
Chief creative officer, Bartle Bogle Hegarty
2013 revenue: $33 million (New York office)

There's an athleticism in Patroulis' creative leadership, but it's about tenacity and calm amid chaos, not flashiness. And it was chaotic after he joined BBH in August 2011. The following year, Greg Andersen stepped down as CEO and key client Google shifted its business elsewhere. But the 46-year-old runner and onetime boxer weathered the blows and helped craft some amazing work, including "Susan Glenn" for Axe and "Greatness Awaits" for Sony PlayStation. In short, he's a passionate and genuine leader who marketers readily embrace. -A.M.

No. 32
Eddy Moretti
Chief creative officer, Vice Media
Total audience: 150 million

Vice Media, the multimedia empire valued at more than $2.5 billion, knows a thing or two about what millennials want. Moretti, 43, originally joined the company in 2000 to help launch its film division, but has recently led projects including Vice News, Vice Sports and Vice's Emmy-winning HBO series. He's still involved in the movie business, too: So far this year, Vice Films has released two feature-length documentaries, with a third (described as an "Iranian vampire Western") on the way. -E.B.

Photo: Karl J. Kaul/Wonderful Machine

No. 33
Claudia Cahill
Chief content officer, Content Collective, OMD
OMD 2013 revenue: $2.1 billion

Cahill's career has focused on the relationship between brands and entertainment, and after joining OMD four years ago, she made the agency a top player in branded content. Cahill, 60, spearheads all of the Content Collective's initiatives, including client Pepsi. As the architect of OMD's Final Front, she connects content producers with advertisers in a one-of-a kind event: "We've gone from content being a conversation in the shadows to where it's mainstream marketing now," she says. -Noreen O'Leary

No. 34
Eric Harris/ Jonathan Perelman
Evp of business operations/vp of BuzzFeed Motion Pictures, BuzzFeed
Estimated 2014 valuation: $850 million

This is a new media force unlike any seen in quite some time, thanks in part to Harris, 45, and Perelman, 33. This year, BuzzFeed has climbed the top 50 Internet property charts in the U.S. and is now close to the top 25, ahead of Gawker, Pinterest and The New York Times in traffic, according to comScore. Also, it's built a robust ad platform with native and video content. To maintain its meteoric growth, BuzzFeed raised $50 million this year. -G.S.

No. 35
Paul FichtenbauM
Editor, Time Inc. Sports Group
Audience: 41 million (print, Web, mobile, video)

Since assuming his role in 2012, Fichtenbaum, 53, has transformed his group-which includes Sports Illustrated, Golf, SI Swim and SI Kids-into Time Inc.'s most innovative division. Not only was SI the first Time Inc. title to integrate its print and digital staffs, but it was also the first to take advantage of a new digital video unit (SI now produces numerous live shows and specials) and has expanded its newly relaunched website into a full digital network with multiple editorial franchises. Editorially, the brand is hotter than ever, too, breaking massive stories like LeBron James' return to Cleveland and Jason Collins' coming out.-E.B.

No. 36
Dawn Ostroff
President, Condé Nast Entertainment
Audience: 1 billion video views

As the founding head of Condé Nast's entertainment group, former CW head Ostroff has handled the daunting role of conquering uncharted territory with impressive finesse. Aided by the industry veterans she tapped to lead CNE's digital content, television and feature film divisions, Ostroff, 53, has masterminded the creation of 14 video channels based on Condé Nast magazine titles, struck a first-look deal with 20th Century Fox Television and set up more than a dozen projects at movie studios, some with Oscar-level talent attached. Not bad for a trailblazer. -E.B.

No. 37
Frank Holland
Corporate vp of advertising and online business, Microsoft
2013 online services revenue: $3.2 billion

Under new leadership for the first time in more than a decade, Microsoft is still among the five most valuable companies in the world. Advertising mostly falls under its online services division-50-year-old Holland's turf-which grew 12 percent last year. MSN continues to be a lucrative property with brand partners, while Bing is basically Google's only rival in search. Also, Microsoft owns Skype, a key player in mobile messaging. With new devices and services, the blue-chip giant is one of the few tech companies with the infrastructure to make a mark on mobile advertising. -G.S.

No. 38
John Muszynski
Chief investment officer, Spark
2013 billings: $1.5 billion

Muszynski has been tag-teaming Spark's transformation with CEO Chris Boothe since early 2012. Boothe even credits Muszynski, 56, with having instant credibility in new business pitches. Under their leadership, Spark has changed the way it goes to market and its approach to clients, which proved successful with recent wins like REI, ConAgra Foods and Red Lobster. Muszynski is a big believer that data should inform all client investment decisions. -Kristina Monllos

No. 39
Cameron Clayton
President, product and technology, The Weather Co.
21% two-year CAGR digital revenue growth

Weather affects daily life, which is why Clayton, 38, believes it informs consumer behavior. TWC's WeatherFX platform, which has attracted clients like Walmart, uses location-based weather to determine what goods people will want at a given time-and then serves up the appropriate ad. But the digital division relies not just on data but also creativity. For example, its innovative frizzy hair day local forecast for P&G's Pantene nabbed honors including a Clio Award and Adweek's Project Isaac and Media Plan of the Year awards. -M.C.

No. 40
Patrick Yee
Evp of marketing and content strategy, Refinery 29
2013 revenue: $29.1 million

Refinery29 might be a women's lifestyle site, but to Yee, 37, it's all about numbers. He takes a quantitative approach to help bolster editorial, offering insights before an article is written to predict what will resonate. That's great news for marketers like Neiman Marcus, H&M and Nordstrom, which expect their branded content will get in front of the right eyeballs. -M.C.

No. 41
Jim Squires
Director of marketing, Instagram
Estimated 2014 revenue: $500 million

Facebook continues to make headlines because teenagers seem to be migrating elsewhere, but that elsewhere is sibling Instagram. Squires, 38, maintains strict control of Instagram advertising, but the platform is opening up to more big-name sponsors. In just the past year, since the launch of advertising, Instagram marketing has exploded and the technology behind it is getting more sophisticated with plans for better targeting and measurement capabilities-as well as video. -G.S.

No. 42
Evin Shutt
Chief operating officer, 72andSunny
Estimated 2013 revenue: $120 million (global)
As 72andSunny's first employee a decade ago, Shutt did everything from drilling holes in desks to early brand management. Now the agency's only female partner, she continues to be indispensable, helping guide the growth to 450 staffers, opening an Amsterdam office, constructing a production studio and launching in-house training. A former educator in the Teach for America corps, 35-year-old Shutt says, "It's been a natural transition. 72andSunny is about personal growth and creative expression." -N.O.

No. 43
Nuno Teles
CMO, Heineken USA
Estimated 2013 media spend: $76 million

Already an advertising star in Brazil, Teles wasted little time making his mark here after being named U.S. marketing chief in February. Teles, 42, encouraged World Cup fans to play hooky from work-or pull off a #BrazilianNoShow-and enjoy fútbol with a pilsner instead. The hashtag went viral, as did whip-smart videos starring comics Patrick Neal Harris and Fred Armisen. And last week, Teles forged an exclusive $40 million sponsorship with Major League Soccer. -C.H.

No. 44
Penry Price
Vp of global sales, marketing solutions LinkedIn
2013 revenue: $360 million

The social network for professionals has made big strides in advertising this year, following a path blazed by Facebook and offering a unique marketing proposition: the ability to reach high-income and business-minded people. Under Price, 45, LinkedIn this year launched Direct Sponsored Updates, which lets marketers test and target their ads. New software tools for publishing partners are also available. -G.S.

No. 45
Emily White
COO, Snapchat
Active users: 100 million

Like Facebook's Sheryl Sandberg, White, 36, is one of those people who accepted a ticket on a rocket ship. White came over from Instagram within the past year, and she is key to the fledgling business plans of the popular messaging app. Snapchat has quickly embraced brands, which are finding crazy engagement on the platform. Users will soon start seeing paid ads. Snapchat doesn't yet attract meaningful revenue, but is worth an estimated (and mind-boggling) $10 billion. -G.S.

No. 46
Robin Steinberg
Evp, director of publishing investment and activation, MediaVest
2013 revenue: $500 million

With a roster of A-list clients including Mondelez, Walmart, Coca-Cola, Starwood and Comcast, Steinberg is indisputably one of the most important figures in media buying. Steinberg, 46, made a name for herself as a print buyer, but also oversees select portal relationships and cross-channel deals for MediaVest, and serves on the agency's digital leadership and executive teams. Additionally, she's an active member of the Audit Bureau of Circulations, the Advertising Club of New York, the 4A's Print Committee and the MPA's Tablet Task Force. -E.B.

No. 47
Khartoon Ohan
Chief growth officer, MediaCom
2013 billings: $600 million

Maybe it's the competitive athlete in Ohan, but in her first year at MediaCom she's landed some solid wins. Clients like the American Legacy Foundation, DSW, eBay and ADT Home Security Systems, among others, were some of the additions-part of her effort to secure a large portfolio of retail business for the WPP agency. While Ohan, 36, lives for the thrill of the hunt, she's also in it for the long haul with client partnerships. She works to discern between what's interesting and what's important in business, using that as a filter for bringing clients the right solutions. -K.M.

No. 48
Paul Guyardo
Chief revenue and marketing officer, DirecTV
2013 revenue: $25 billion

Under Guyardo's guidance, DirecTV has successfully rebranded as the premium brand in the pay-television category. Known for encouraging candor, Guyardo, 52, asks that his nearly 800 employees tell him what he needs to hear, not what they think he wants to hear. Since joining in 2005, Guyardo has grown DirecTV's subscriber base from 15 million to over 20 million and more than doubled revenue. DirecTV's also successfully launched several new products such as the NFL Sunday Ticket and DirecTV Cinema. -K.M.

No. 49
Brett Craig
Executive creative director, Deutsch LA
2013 revenue: $115 million

Craig's work has helped grow Deutsch clients like Taco Bell from one project to among the agency's largest. Plus, he's overseen the brand's expansion into breakfast. For Dr Pepper, the 42-year-old increased critical relevance metrics and the "Always One of a Kind" pitch made the soda a top six social brand with 16 million Facebook fans. "Brett's a creative black belt. He can produce quality and quantity at the same time," says Mike Sheldon, CEO of Deutsch LA. -N.O.

No. 50
Beth Greve
Chief revenue and partnerships officer, AwesomenessTV
DreamWorks Animation SKG bought it for $33 million cash and $117 million in consideration in 2013

Greve, 45, who came over from managing sales, strategy and business development at YouTube, has been able to convince brands like Coca-Cola, Royal Caribbean and Kohl's that if they want to target today's youth, they need to include the multichannel network in their spend. It's not an easy task when you have a fickle audience that's notoriously picky, but she's helped cement the online empire as a purveyor of cool. -M.C.

Whether or not you love its distinctive tangy, spicy taste, Sriracha sauce has certainly become a cultural phenomenon. The red and green bottle is instantly recognizable. And that rooster, well, there's a story behind that rooster.

The rooster is a symbol of strength. David Tran, founder of Sriracha maker Huy Fong Foods, was born in 1945, a year of the rooster, according to the Chinese Zodiac calendar. For Tran, the rooster represents his tenacity. "I've had a tough life from being a refugee in Vietnam," he tells Modern Farmer, "so I'm trying to show that I'm strong-you know, I persevere."

Photo: Getty Images

Back in the '70s in Vietnam, Tran saw a street artist and asked him to draw a rooster. He kept that sketch with him for years and used it to label the caps on the bottles of his original chili pepper sauce. Years later, after he fled to the U.S., he had an artist draw a larger version from the original. That bird is now part of the iconic Sriracha bottle design which is also on socks, iPhone cases and water bottles.

So, who was the original artist? Tran never asked the man's name.

"Even me, I don't remember who he is," he says.

Social Media Profile (as of 10/20/14)
Facebook Likes: 245,902
Twitter Followers: 1,048
Instagram Followers: 1,988


Our #srirachafriend Travis is back and in Halloween spirit!! By @jo1974 "My son is ready for Halloween! @huyfongfoods #Sriracha #34spicyyears #srirachacostume #srirachahalloween #sriracha @ptflip" via @PhotoRepost_app

View on Instagram

The brand may not boast huge social media numbers, but as demonstated by the post above, it has a loyal customer base that loves to show off the brand's bottle.

Fast Facts

YouTube censors who greenlight nudity as long as it's artistic must have spent a fair bit of time on this video from the Musée d'Orsay in Paris-advertising an art show about the influence of the Marquis de Sade on representation of sexuality.

That's because almost every frame could be age-gated.

It was made by video artists David Freymond and Florent Michel. "In the end, it doesn't come off as something pornographic or obscene. It's rather beautiful, very aestheticized, like a painting by Renoir, Courbet, or a Rodin," Emmanuèle Peyret writes in Libération, per Artnet. "In brief, another artwork amid those already inhabiting the museum."

Video contains nudity and is NSFW.

It can be tough to get your work featured in the advertising magazine Lürzer's Archive. But René Schultz and Casper Christensen found a way around that.

The Danish art directors, who were looking for a job, went ahead and created their own physical replica of the creative magazine, filled it with their own work, and sent it to agencies. See how they did it-and whether it worked-in the video below.

As you might have guessed, the whole thing came full circle when the prank was written up in Lürzer's Archive itself. "Of course I was delighted with this gem," writes Lürzer's editor Michael Weinzettl. "They copied the magazine to perfection."

UPDATE: And guess who did this 10 years ago!

If you're the type of jet-setter who flies a seaplane to a Scottish estate so you can put on a tuxedo and have a drink with a handful of your posh friends, David Beckham would like you to buy some of his new whisky.

The recently retired soccer icon stars in this glitzy launch ad for Haig Club, a single grain scotch that Beckham produced with liquor giant Diageo and American Idol creator Simon Fuller. Filmmaker Guy Ritchie, a friend of Beckham's-who directed him in this H&M ad last year-directed this one, too (and makes a cameo as the fisherman under the bridge).

It's worth watching mostly for the gorgeous scenery (shot in the Scottish Highlands, at locations like Glen Affric). The people are pretty, too. Alt-J's "Left-Hand Free" serves as the soundtrack. The storyline is thin, leaving you free to focus on the lush trappings-not unlike a fashion or perfume ad. That's all the more appropriate, given that the bottle looks like it should hold something you splash on your person, not pour down your gullet.

Regardless, you should also be ready to drink it at the Great Wall, Easter Island, the Egyptian pyramids and Antarctica, among other places. In other words, get your travel budget in order-and don't forget to bring your point-and-shoot camera, because everyone still uses those.

If you're LeBron James, hell yes you can go home again.

The playbook calls for high drama as the King returns to the Cleveland Cavaliers after four years and a pair of championships in Miami. And this stirring spot from R/GA for Powerbeats2 wireless headphones from Beats by Dre delivers.

Intensity always runs high in this brand's sports-themed ads, but it's off the charts in "Re-established 2014," the campaign's 150-second centerpiece.

A shirtless, extremely determined-looking James pumps iron in a gym that bears his name at St. Vincent-St. Mary, his high school in Akron, Ohio. Images of his beloved hometown and personal flashbacks flit past. All the while, Hozier's rock-gospel anthem "Take Me to Church" swells on the soundtrack. In a voiceover, James' mom Gloria says, "This is the city that raised you. I'm so proud of you. Welcome home, son."

The clip is nearing 4 million YouTube views just two days after it was posted.

Shorter edits focus on different aspects of the big guy's love for Akron, including one with James' unequivocal commentary: "I mean everything to this city, and the city means everything to me." He's got the words "Akron Est. 1984" tattooed across his left shoulder, so I'm inclined to believe him. (The four-time NBA most valuable player no doubt has some fondness for Beats as well. As a shareholder, he reportedly made $30 million in June when Apple acquired the company for $3 billion.)

Just a year ago, his warm and fuzzy feelings for balmy South Beach were on display in this Nike commercial. We'll find out if James can still take the heat on Christmas Day, when the Cavs make their first visit of the season to Miami.


Client: Beats by Dr. Dre

Head of Global Marketing: Omar Johnson
Vice President, Global Marketing: Jason White
Senior Marketing Director: Kevin O'Connor
Director of Advertising: Diallo Marvel
Executive Producer: Kerli Teo
Broadcast Producer: Ana Julfayan
Postproduction Producer: Cindy Chapman

Agency: R/GA
Creative Directors: William Esparza, Zach Hilder
Associate Creative Director: Lauren Smith
Senior Art Director: Rance Randle
Junior Copywriter: Kervins Chauvet
Global Account Director: James Stephens
Account Supervisor: Marco Koenig

Production Company: Sword Fight
Director: Nabil Elderkin
First Assistant Director: Giovanni Cotto-Ortiz
Director of Photography: Danny Hiele
Executive Producer: Justin Benoliel

Editing Company: Spot Welders
Editor: Leo Scott
Executive Producer: Carolina Sanborn
Post Producer: Brittany Neff
Assistant Editor: J.C. Nunez

Visual Effects Company: Shipping + Handling
Visual Effects Supervisor, Lead Flame Artist: Casey Price
Executive Producer: Brigitte Stanovick
Flame Assistant: Lauren Riedel

Sound Company: 740 Sound
Sound Artist: Rommel Molina

Sound Company: Innercircle Sound
Sound Engineer: Josh Eichenbaum

New York Giants receiver Victor Cruz was sobbing after suffering a season-ending knee injury against the Philadelphia Eagles Oct. 12. But Cruz wasn't the only one feeling the pain as Gap Factory's carefully choreographed PR strategy to unveil his global holiday campaign immediately fell apart. ABC's Good Morning America dropped a Cruz segment planned for early this week. The debacle illustrates how athletic endorsers can be risky business.

An athlete on crutches can't show up for production shoots where they're expected to perform athletic feats, noted sports marketer David Schwab of Octagon. They also can't inspire fans to buy products if they're away from the spotlight doing rehab.

Cruz's agent, Carlos Fleming of IMG, said injuries can sometimes work to a sponsor's advantage since the athletes have more time for personal/press appearances. But he acknowledged some sponsors have "minimum play" clauses that allow them to wriggle out of payment if an athlete is injured.

Here's some athletes whose injuries tore up marketing plans:

Vonn: Harry How/Getty Images; Cruz: Jim Mcisaac/Getty Images

Steven Overman has been passed a torch that is very bright but awfully heavy. On Oct. 1, he was named CMO of Kodak. Remember Kodak? With the first handheld camera and roll film, Kodak was the brand that taught Americans to take pictures. It's also the brand that filed a $6.75 billion bankruptcy in 2012, the digital era's most visible victim. (Fact: Kodak had actually invented the digital camera but, tragically, realized its potential too late.) Now, minus most of its famous assets, Kodak is a small company that makes touch-screen sensors and printing technology. Overman's job will be figuring out how to market a brand to a world that has largely turned its back on it. We reached Overman-Day Seven in his new job-on the phone in London.

The press release said that you are "responsible for leading a global, company-wide renewal of the Kodak brand." That's a tall order.
We're in an interesting situation. We're one of the most famous brands in history, and admittedly we're the most famous brand to get into some really tough times. But that gives me an opportunity. I'm starting with a clean sheet of paper. We have a massive amount of legacy at our disposal. So what I'll be doing is synthesizing future opportunities with this legacy. In a world suffused with technology, social patterns are changing, and there's an opportunity to create new products and services.

Prior to this gig, you were with Nokia-another brand that got its lunch eaten. Will your experiences with Nokia help you with Kodak?
It's really tempting to make direct comparisons between brands that faced disruption, but Kodak is in a very different place in its journey.

Kodak worked for decades to become synonymous with film, but today that association means little to the digital world. Is it strange for you to have a legacy that's also a liability?
Nostalgia and legacy can be assets-but also challenges. You may have fond memories of your first kiss, but that doesn't mean the person you first kissed is the person you'd marry. But the fact that trust in Kodak lasted for such a long time means we have the opportunity to renew that trust.

Just not in film, though.
I suspect the average person today thinks less about film and more about the picture. It's about the concept, not the medium.

You went to the Rhode Island School of Design, worked on the 1993 film Philadelphia and have had your photography exhibited around the world. Does being an artist help you with a marketing job?
My background as a creative person will be useful. It's going to take a lot of creativity to renew this brand. It's going to take ingenuity and creative thinking. It's going to take a lot of innovation in how we introduce this brand to a new generation.

Speaking of that generation, what do you think of the criticism that the ease of digital pictures means people take too many of them?
We're in the middle of a picture revolution. At the same time, the image plays a different role than it used to. Its role is more vital. We use pictures as often as we use language.

Yeah, that's what keeps people like me awake at night.
And what keeps me up at night is how to manage all of that.

Do you take selfies?
I force myself to take selfies. What I try to do is tell a story with every one I take. But I will admit, it's not a natural thing.

Photo: Nick Ferrari

James Bond kept one in his pocket for the ladies. Indiana Jones had a lucky one with a clover on it. Ricky Ricardo pulled his out at the club. And Don Draper's is key to the guy he really is. What is this incredible tool that all the leading men secret in their trousers?

The Zippo lighter, stupid. Specifically, the Zippo regular windproof lighter, patent number 2032695. There are lots of ways to light a cig-uh, sorry, we mean a campfire-but only one of them dispenses a heady cloud of American cool along with that whiff of lighter fluid. No matter who you are, said a writer for Cracked magazine, "it's impossible not to look like a badass when holding a Zippo."

And plenty of us do. Nobody's sure how many Zippos are out there, but two years ago, the company turned out its 500 millionth one. There are lots of proud American brands out there, but only Zippo is still selling a signature product that's stayed the same since 1933-and 2013 was Zippo's biggest year to date.

What can account for such a steady burn? Some say it's the legacy. Pennsylvania oilman George G. Blaisdell invented the Zippo in 1933 after watching his golf partner struggle with a clunky lighter, and the Bradford-based company still turns out 70,000 lighters a day. Perhaps it's Blaisdell's unconditional lifetime guarantee: "It works or we fix it free," a refrain the company still sings. Ask Zippo's global brand manager Brent Tyler, and he'll offer you another good reason.

"A Zippo lighter is a sensory-rich product," Tyler said. "The simple styling for the eyes, the distinctive sound of the opening, the familiar smell of the fluid, the substantial weight and signature shape in the hands, and the taste … well, we guess that's up to the user."

But perhaps the best reason is the one that encompasses all of the above. Zippos are one of the rare products that confer a national identity by conferring millions of individual ones. In the 160 countries in which Zippo is sold, nothing says America better than … a Zippo. During World War II, journalist Ernie Pyle called the Zippo "the most coveted thing in the army." His words held true a generation later, when 200,000 servicemen carried a rifle and a Zippo into Vietnam. Even in the jungle, the lighters always lit. One of them, in 1966, stopped a bullet.

Today, eight decades after George G. Blaisdell sold his first Zippo, the lighter's signature click continues to turn up in songs, just like its glinting steel case has flashed on the screen in over 1,500 movies and TV shows. It's too bad none of them dealt with the time a Zippo turned up in the belly of a great northern pike. The astonished fisherman pulled the lighter out.

In a world where there's a shortage of transformational agency leaders capable of delivering sustainable business success, why are there almost no female CEO and CCO candidates to lead the biggest creative agency networks globally and in North America?

Leadership is the key determinant of business success, and there's a chronic shortage of effective leaders in the creative agency space. And yet the shortlists for these leadership roles continue to be drawn from the same gene pool of male talent. Why?

llustration: Magoz

My sole recollection from the philosophy module of my degree at Oxford was the difference between priori and posteriori knowledge. That is, stuff you're born with (nature) versus stuff you learn (nurture). In my 20 years in executive search, I have never pitched a role to a male candidate whose response has been to question whether he is ready to step up. And yet I have often pitched roles to female candidates who were eminently qualified and who nevertheless asked me whether I was sure that they were up to it.

Are men born to believe that they can do anything, or are they raised to believe so? It may be a generational issue, but women who are currently 40-plus do not exhibit the collective confidence and ambition of their male counterparts. This is to some extent a societal issue, but it has been massively reinforced by agency leadership and agency cultures. Agencies need to install drivers that give women a completely different set of expectations at the start of their careers.

A burden of responsibility also falls on the small number of women who assume leadership roles. Historically, of the handful of women who have been either global or North American CEOs, most have climbed the corporate ladder only to pull it up behind them and use it to beat down other women in the organization. They suffered from Margaret Thatcher syndrome-surrounding themselves with men and rather enjoying their queen bee status.

They may have had a female chief talent officer or female chief strategic officer, but their leadership teams were predominantly male and they perpetuated the male leadership model. And if the agency world is dominated by male CEOs, their global or North American CCO partners are, with just a couple of exceptions, all men as well. Female rising stars who quit work for a few years to raise a family have, by and large, been deprived of the opportunity to recapture the momentum in their careers. Indeed, on many occasions the careers of women on maternity leave were sacrificed to deliver a promotion to a less talented male colleague who had forced his employer's hand. There's been a historical default position of men promoting men.

While there are no women leading a creative agency network, and only two leading significant North American groups, there are more female leaders among the top advertisers in the U.S. The Fortune 500 employ about 50 female CMOs or svps of marketing in an obvious acknowledgement that the vast majority of purchasing decisions are made by women (even if the product or service is for men).

In summary, I don't want to be producing all-male shortlists for these key leadership roles in years to come. I want there to be a richer pool of leadership talent and for creative agencies to be able to leverage the largely untapped pool of talented women.

One bright spot to be hopeful about is the role of technology in blurring the lines between professional and personal. The trend should continue to make it easier for women with families to work more flexibly and be on top of the business without necessarily being at their desk. As a man, I can't truly understand the conflict that arises for some women when they make the decision to delay their career to have children. However, as the CEO of the world's biggest provider of senior talent in the agency space, I know how difficult it is to find transformational leaders.

If agency cultures help create a different set of expectations and drive a different set of behaviors among women (and men), and we make it easier for women to resume their careers and fulfil their professional potential, we will have a richer pool of leadership talent in the future.

Gary Stolkin (@talentbusiness) is global chairman and CEO of The Talent Business.

Who Director Mike Navarrete (l.) and global CEO and co-founder Benj Chilcott (r.) flank managing director Adam Abrahami
What Global strategic consultancy
Where New York

True to its name, Concise-part of iris Worldwide-seeks to set itself apart from other shops through a laser focus on results through data science, creativity and pragmatic problem solving. "The branding of Concise is about getting straight to the point and being easy to work with," said Adam Abrahami, managing director of the shop's New York arm, which celebrates its one-year anniversary this month. Founded in 2002, Concise is fully integrated with the larger iris agency, giving clients everything from consultation to marketing campaigns, a full-service package that has kept major clients like Intercontinental Hotels Group on board for seven years or more. With only 10 staff in the U.S. and 55 worldwide, the small shop has still transformed the landscape of loyalty programs and recently worked with Barclays to revamp the way the brand conducts reviews of its sponsorship portfolio.

Financial institutions might have a public relations problem, but the fact is that everyone still needs a place to put their cash. One way banks can repair that relationship is by creating content that helps customers make important financial decisions. And it turns out that the group most receptive to such content is millennials.

Download "The Trust Transaction: How Content Can Transform the Way Banks Connect With People"

This is the takeaway of a recent study we conducted about content marketing in the financial services industry. As seen in the graphic below, over half of respondents said they would feel more loyal to their banks if they provided helpful content like investing tips and advice about household finances. Specifically, millennials said they would prefer to see non-finance related content from banks, too, such as travel tips, career guidance, and technology news.

These findings, together with some practical advice for content marketers trying to reach financial services customers, are assembled in our new guide, "The Trust Transaction: How Content Can Transform the Way Banks Connect With People."

In addition to a focus on millennials, which were found to be the most engaged audience, there are also insights about how banks can prove ROI with content as well as case studies on Barclay's, HSBC, and other financial brands proving the value of content marketing.

To learn more about content marketing and best practices for financial institutions, download "The Trust Transaction":

The Slow Mo Guys are shifting into the fast lane.

As part of YouTube's ongoing effort to introduce its popular channel stars to a wider audience, Gavin Free and Dan Gruchy are appearing in a multimedia push that includes TV, print, billboard and online ads. The campaign, breaking now in the U.K., is tagged "You make every second epic," and also highlights Vice News and beauty vlog Zoella. (In the U.S., YouTubers like Bethany Mota and Michelle Phan starred in similar ads earlier this year.)

"YouTube stars are not only entertaining us through their quirky videos and updates, but building long-lasting relationships with their fans," says Ben McOwen Wilson, who oversees partnerships for the Google-owned service.

The 30-second Slow Mo Guys teaser shows highlights from some of their nearly 100 videos shot at 10,000 frames per second. Watermelons and paintballs explode in plumes of color, and a teacup tossed through the air disgorges its contents in caramel cascades. This sampling merely hints at the channel's treasure trove of dazzling footage, which has garnered almost 430 million total views and 4.5 million subscribers in the past four years.

It feels right that the Slow Mo Guys were chosen to take part in YouTube's mainstream crossover push, because their oeuvre encompasses elements of old and new media. Free and Gruchy condense the frantic, silly vibe of shows like You Can't Do That on Television and America's Funniest Home Videos into highly shareable bites. They add dashes of Bill Nye-style scientific curiosity and genuine artistry (some of their slow-motion work is amazing). Even their goofy Brit-bro personalities are in sync with the times, reminding viewers that these are average Joes using technology to create amazing stuff.

At times, the guys present serious, brand-centric material, including a couple of clips that showcase General Electric's cutting-edge tech. Such efforts are informative and boast hypnotic imagery, but the real fun comes from their sillier escapades. You'll gasp at the epic cuteness of dogs and cats frozen in mid-air, striking impossible ballet poses. You'll cringe as milky puke sluggishly slithers from Gruchy's twisted, lactose-tortured lips. You'll jump in your seat when dozens of mousetraps dance in an insanely prolonged (and painful) chain reaction.

These are awesome time wasters. No matter how slow the antics, the minutes fly by.

Homeless signs have been a font of ideas for creatives, but rarely has the focus been on the fonts themselves.

The Arrels Foundation in Barcelona has created Homelessfonts-typefaces based on the unique handwriting of the homeless people it helps. Each font comes with the story of the person who penned it and their personality. After all, few things are more personal than our handwriting.

The work not only helps fund the foundation, it humanizes the homeless and lets people see them as unique individuals, not as an amorphous problem. The video about the process is moving, but moreover, the fonts are actually good. The glyphs were captured with fat Sharpies on poster board and then transformed by volunteer typographers.

If you are a typographer, you can donate your time and expertise to help create more fonts. If you just like the concept, you can download a free app to use the fonts in social media (be a nice person and make a donation, too). And if you're a brand, you can purchase the fonts and the stories that come with them for professional use at surprisingly affordable prices.

Samples of the scripts as they might appear on packaging are included, so you can see just how beautiful and unique the font-and the people behind them-truly are.

Big-name marketers have descended on Orlando this week at the ANA Masters of Marketing conference. So far, it's clear that digital has taken over with some intriguing results backed up by data.

Here are the seven most interesting stats we've heard so far.

1. Target's massive data breach racked up 150 billion media impressions between December and July. But, Target's CMO and evp Jeffrey Jones is optimistic about his brand going into the holiday season, largely because of digital.

Jones shared a slew of mobile stats during a presentation this morning.

  • Online conversion is up 40 percent year-over-year as a result of a new Web site and mobile app
  • Two-thirds of Web traffic is mobile and that's expected to hit 75 percent by the end of the year
  • Mobile app usage has increased 50 percent since the retailer rolled out in-store Wi-Fi

2. Earlier this month, Chobani ran a promotion in New York City with transportation app Lyft. New riders received a case of pumpkin spice yogurt in exchange for booking a car, resulting in 19,000 people who received free yogurt in two hours, according to CMO and brand officer Peter McGuinness.

3. Facebook's squeeze on organic content over the past year has killed some brands' reach. Red Vines' organic reach was down 72.9 percent, said Michael Kelly, media and communications manager at American Licorice Co. Sour Punch's reach was down 78.1 percent.

4. According to stats shared by Kellogg's during an innovation lab with the Mobile Marketing Association, 27 percent of millennial moms (out of a sample group of 649) look for product reviews on mobile while in a store. Nineteen percent of Gen Xers do the same and 18 percent of Boomers said the same. But, it's important to note that groups of about 1,050 were surveyed for Gen X and Boomers.

5. Kraft has been doubling down on data for 18 months, with some campaigns already paying off, evp and CMO Deanie Elsner said.

During an Easter campaign for a bunny-shaped cake, Kraft built target segments to push the recipe to people who had been to its site and shown an interest in similar content. Sales for Jell-O, Cool Whip, Baker's Angel Flake and Jet-Puffed increased 23 percent in April. The campaign also led to a four-times return on investment.

Kraft has 100 million online visits each year, which collect 22,000 different pieces of data. The data then help determine which products and recipes consumers want.

The Northfield, Ill.-based brand serves more than 6.6 billion ad impressions, which are bought based on more than 500 segments of consumers. The average Kraft brand uses data from 10 to 15 custom segments when buying media.

6. Eighty to 90 percent of car shopping now starts online, said Nissan's CMO Roel de Vries. That stat has made digital a top priority in the automaker's direct-response and brand marketing.

7. Cisco's svp and CMO said that 85 percent of business-to-business marketers use social media to make business decisions, particularly on LinkedIn.

Bolloré Group, already a dominant shareholder of Havas Group, now wants to take majority control.

In a brief conference call today, Havas Group confirmed that Bolloré had made an offer that would increase its stake from 36 percent to more than 50 percent. Havas CEO Yannick Bolloré described the offer as "friendly," but said his board had appointed an independent expert to assess the terms. The board also has scheduled a meeting in mid-November to discuss the proposal.

Even before the offer, Bolloré had strengthened its ties to the advertising holding company through the installation of Yannick Bolloré as CEO this year. Yannick Bolloré is the son of Bolloré Group chairman and CEO Vincent Bolloré, who first invested in Havas in 2004. The younger Bolloré succeeded David Jones in the top job.

During the conference call, Havas' CEO said that the offer was in stock, with the company offering nine shares of its stock to minority shareholders of Havas for every five shares they hold. As a result of the proposal, share trading in both companies was suspended in Europe.

Havas, whose agencies include Havas Worldwide, Arnold and Havas Media, is the sixth-largest ad holding company, with total revenue of $2.4 billion at the end of 2013. The company employs some 16,000 staffers worldwide.

Market leader WPP Group had revenue of $18.5 billion last year, followed by Omnicom Group, at $14.5 billion, and Publicis Groupe, at $9.5 billion. The number four and five players are Interpublic Group, which had $7.1 billion in revenue last year, and Dentsu, at $6.3 billion.

A lavish celebrity fragrance spot. A six-hour preroll ad. A great pop-up store stunt. An ad remake with some crazy stunt driving. And a hilarious spot about the most nondescript product imaginable.

Those are your choices for the week's best ad. Check them out and vote below!

Android wants to be with you. Everywhere. All the time. Is that so wrong?

The Google-developed platform doubles down on the "togetherness" theme in work touting its new Android 5.0 Lollipop OS. That system runs across mobile, wearables, TVs and a range of other devices, including the Nexus 6 smartphone (built by Motorola) and Nexus 9 tablet (from HTC), both of which dropped this week amid much fanfare.

"Be together. Not the same" is Android's new tagline, introduced in a trio of 30-second animated spots on Sunday during the season premiere of AMC's The Walking Dead. The South Park-y visuals are strictly G-rated and give the ads, which teased the Nexus 6 and 9 handsets a few days before their Wednesday release, a distinctive flair.

Those clips were followed by a pair of minute-long spots that expand the campaign's message by emphasizing the "And" in Android. One mixes animation with live-action shots of diverse folks enjoying life and interacting in positive ways with technology (backed by the inspired musical choice of Andrew W.K.'s anthemic "Party Hard").

The second spot ditches the animation but really lays out Google's vision. A voiceover begins: "Remember back in school, when you either invited the new kid over to your table, or you didn't? If you did, that was a cool move. That was an and move. 'And moves' take guts, but they can mean everything."

Footage of the Wright Brothers and Martin Luther King Jr. follows, stressing how inclusiveness combined with independent thought drives innovation and change. "Everyone doing the same thing won't move us forward. Everyone doing their own thing, together, can."

"As you switch from one screen to another, the experience should feel the same. So Lollipop has a consistent design across devices," writes Sundar Pichai, svp of Android, Chrome and Apps, on Google's blog. "Now, content responds to your touch, or even your voice, in more intuitive ways, and transitions between tasks are more fluid."

Overall, the campaign, devised by Google Creative Lab, presents an appealing tech-topian notion that's on point for our hyper-connected times. Still, there's a nagging Big Brother vibe just beneath the surface. Isn't Google ubiquitous enough already? When we're "being together" with others, must a piece of software participate in every interaction?

Does McDonald's put horsemeat in its burgers? What about pink slime? Would you feed McDonald's food to your kids?

So many questions. But now, taking its cues from a well-received transparency campaign from McDonald's Canada, the chain is responding to whatever hate its American critics want to throw at it. And it's hired former MythBusters host Grant Imahara to be your third-party, completely unbiased, totally trustworthy, quasi-celebrity McMyth investigator.

Imahara's first three videos have already dropped, where he visits a Cargill plant and answers the following: Is McDonald's beef real (and are there eyelids in there)? Why are the patties frozen (when fresh should theoretically be much tastier)? Why are the burgers so cheap (you get what you pay for, right)?

It's everything you'd expect from a hard-reboot, Domino's-style brand turnaround. What I most admire is that they're letting the comment feed on YouTube be just as brutal as it wants to be. And man, is it brutal. It's hard to tell the legit processed-food concerns from the horsemeat crazies.

Though honestly, that's good for Micky D's. The more they can discredit the really nutty folks by letting them be themselves-and there are some excellent conspiracy theorists blowing up the feed-the less McDonald's itself actually needs to say.

That said, I'm probably not going to bite the bullet like Imahara and munch a Big Mac anytime soon. But those sodium acid pyrophosphate fries, man. Who can resist those fries?

Rob Lowe keeps sinking in DirecTV's campaign.

Having already been introduced to Creepy Rob Lowe and Less Attractive Rob Lowe, now we get to meet Painfully Awkward Rob Lowe. Like his fellow lesser Rob Lowes, Painfully Awkward Rob Lowe has cable instead of DirecTV-which obviously explains the fanny pack, hiked-up pleated khakis, lisp, agoraphobia and weirdly winged hair.

"Don't be like this me," suave Hollywood actor Rob Lowe says at the end, leaving his ungainly doppelgänger cringing at a urinal.

With at least two more spots from Grey New York are on the way, it begs the question: How low can Lowe go?

Client: DirecTV
Agency: Grey NY
Chief Creative Officer: Tor Myhren
Executive Creative Director: Dan Kelleher
Group Creative Director: Doug Fallon
Group Creative Director: Steven Fogel
Agency Executive Producer: Andrew Chinich
Agency Producer: Lindsay Myers
Agency Music Producer: Zachary Pollakoff, Amy Rosen
Account: Chris Ross, Beth Culley, Anna Pogosova, Aaron Schwartz, Meredith Savatsky, Eddie Mele
Strategy: Michelle Leo
Production Company (location): MJZ LA
Director: Tom Kuntz
Producer: Emily Skinner
Production Supervisor: Daniel Gonzalez
Director of Photography: Hoyte Van Hoytema
Editorial Executive Producer (person & company): Sasha Hirschfeld, Mackenzie Cutler
Editor (person & company): Gavin Cutler, Mackenzie Cutler
Assistant Editor (person & company): Ryan Steele & Mike Rizzo, Mackenzie Cutler
Mixer + Sound Designer (person & company): Sam Shaffer, Mackenzie Cutler
VFX (company): Method Studios, NY
VFX Supervisor (person & company): Jay Hawkins, Method Studios
VFX Producer (person & company): Carlos Herrera & Christa Cox, Method Studios
Casting (OCP): Francine Selkirk, Shooting From the Hip
Casting (VO): Nina Pratt and Jerry Saviola, Avenue 3 Casting
Color: Tim Masick, Company 3

Being sidelined by a dramatic injury isn't stopping New York Giants star Victor Cruz, who has landed a global endorsement deal with Gap Factory.

Cruz will serve as a "global ambassador" for Gap Factory, said Amondo Redmond, Gap Inc.'s global director of strategy and content. The Pro Bowl receiver will star in the retailer's holiday ad campaign with supermodels Chrissy Teigen and Chanel Iman, with ads breaking this week.

Gap Factory signed the 27-year-old IMG client before he suffered a season-ending knee injury against the Philadelphia Eagles Oct. 12 that left him screaming in agony on national TV. It's moving ahead despite knowing he won't be able to do as much press. "His popularity and brand essence won't change because of this injury. If anything it will continue to add to his portfolio," Redmond said.

Cruz has starred in campaigns for Nike, Pepsi, Time Warner Cable and Hugo Boss. He said he's developing his own clothing line called Young Whales. "It's definitely difficult for NFL athletes to break into certain areas of fashion. I feel like I've done a good job," said Cruz, who'll hold his first HalloweenLand charity event in New York Oct. 25 to benefit the Boys & Girls Clubs of America.

Starting Oct. 21, Cruz will star in 15 different Gap Factory print ads running in magazines such as GQ, People, Us Weekly, Cosmopolitan and Elle. He'll also appear in online ads.

The American athlete's image will also be displayed at Gap Factory's 350 global stores. Cruz will appear on billboards and bus ads in New York, London, Paris and Tokyo. "That's something we've never done before," said Redmond. Cruz succeeds Matt Kemp of MLB's Los Angeles Dodgers who starred in the fall ad campaign.

It's one of the first deals inked by an NFL player since TMZ released the horrifying video of Baltimore Ravens star Ray Rice knocking out then-fiancée and now wife Janay Rice Sept. 8. The once-teflon NFL has been under fire ever since from critics and Congress for its inept handling of a string of domestic abuse cases.

With the NFL under fire for its feeble response, league stars are not hot properties among advertisers. But Cruz (who speaks fluent Spanish) is in demand since he appeals to both mainstream and Hispanic audiences and plays in the media/marketing capital of New York.

The biggest problem for sponsors dealing with injured endorsers is an athlete on crutches can't run or jump on production days. Due to their physical limitations, they also often can't do as many press appearances, said sports marketer David Schwab, who links brands with celebrities at Octagon.

But the fallout from an injury like Cruz's is not as bad as it would have been before the rise of social media. "Even if an (athlete) is not performing weekly, they still have the ability to grow their personal audience and relationships with fans via their 24/7 communications," Schwab said.

A film crew investigates "superhero" sightings in India, Kenya and Mexico, interviewing needy kids in this touching spot for Save the Children.

"They did something magical and the maize grew from the ground," one child says. "He came and destroyed the mosquitoes," reports another. "She flies with the clouds and she gives water," says a third.

These are real kids, not actors, and their performances infuse this minute-long pseudo-documentary with considerable energy, charm and emotional resonance. Of course, the superheroes in question aren't of the Justice League variety, a point conveyed with great poignancy and perfect pitch by creative agency Don't Panic and Unit 9 directors Greg Hardes and Jacob Proud.

"The key to this project was the imagination of the kids," says Proud. "It was important that we only planted the seed of a story in their minds, and then let them run away with that story in the way only a child can. They were writing the script for us-all we had to do was turn the camera on and let their imaginations run wild."

The film supports Save the Children's Race for Survival campaign, and its release is timed to coincide with today's UN International Day for the Eradication of Poverty. (This marks the third stirring Save the Children effort for Don't Panic and Unit 9, which previously teamed up for "Reverse" and "Most Shocking Second a Day," both of which dealt with the conflict in Syria. The pair also collaborated on "Everything Is Not Awesome," a film for Greenpeace calling on Lego to end its relationship with Shell.)

"Superheroes: Eyewitness Reports" was shot on three continents in roughly a week. "The pure scale of the task was intimidating," Proud says. "The locations were so photogenic. Our natural instinct was to capture nicely composed, well-lit shots, but we kept having to remind each other that we were playing the role of a run-and-gun documentary crew and it needed to not feel too cinematic."

The footage is beautifully photographed, with the accents on hope rather than despair. It's the perfect way to deliver the message that caring is the ultimate "superpower," so anyone can #BeASuperhero.

Chevrolet shut down its Twitter page last Friday so it only included baseball fans, a General Motors rep tells Adweek. From noon until 4 p.m., Major League Baseball's 3.8 million followers on the digital platform were permitted exclusive access to the event.

Participants had the opportunity to answer trivia questions and win baseball-oriented prizes. The grand prize included tickets to next year's Opening Day, All-Star Game, World Series and other high-profile happenings.

During the four hours, the event's hashtag, #ChevyAtBat, was among global trending topics in the Twitter community.

Meanwhile, other automotive companies have achieved marketing success with Twitter events. In August, Honda launched a five-day #Cheerance event, during which they posted cheerful videos, memes, GIFs, and other cheerful media to its 400,000-plus followers.

IDEA: Even for a company known for great design, Squarespace 7 was a revelation. The elegant upgrade to the website maker's interface, called a "UX dream" by Wired, completely does away with the backend, allowing users to edit in WYSIWYG format.

In fact, it's so different from Squarespace 6 that the company felt like it was starting from scratch-and wanted its ads to do the same. So, it brought in SpecialGuest-a new creative agency founded by Aaron Duffy, known for his own impeccably designed ads as a 1stAveMachine director-for a campaign embodying Squarespace's love of design while suggesting it's completely up to you what you do with it.

A launch spot does this by showing how people's ideas and passions can be translated for the web, while two short films tell the stories of celebrity Squarespace users-the climber Alex Honnold and the musician St. Lucia.

"With Squarespace 7, it was like starting with a blank canvas. That was a good creative seed for the launch film," said Squarespace chief creative officer David Lee. "We also have a very eclectic and fantastic set of personalities and brands that utilize Squarespace. We wanted to wrap all that up into a concise campaign."

COPYWRITING: The 65-second launch spot shows writers, photographers, artists, hat designers, musicians and more practicing their craft in real life, and juxtaposes that with how they might design their websites-in the process showing off the software's creative tools. There is no dialogue.

On-screen copy at the end says: "Introducing Squarespace 7. Start here. Go anywhere."

The focus is partly on the technology and partly on the people. "The thread I often think of is: How is technology more human, and less techy?" said Duffy, who served as executive creative director.

The Honnold and St. Lucia spots are mini documentaries with their subjects speaking in voiceover and footage of them in action. Both use to Squarespace to speak for themselves, countering what the media might say about them.

They're different people, "but Squarespace is perfect for both of them," said creative director Jonathan Emmerling "in the sense that everybody wants to have great design, but not everybody knows how to achieve it. Squarespace helps close that gap."

ART DIRECTION: The launch film is very much about framing set pieces of action. The camera remains still in almost every shot, often looking down from above, with only the occasional subtle zoom in or out. Visually, it's clean and simple, but not overly rigid-the vignettes flow freely enough to imply a great range of possibilities for the user.

The carefully considered use of white space is reminiscent of how Google brings web pages to life in its ads-perhaps not surprisingly, as Duffy has directed a lot of Google work, including the famous "Parisian Love" spot. Here, online and offline seamlessly mix together, implying that you really can show the world the real you with a Squarespace website.

TALENT: Honnold and St. Lucia were chosen from what Lee said are a great number of brands and celebrities that use the platform. They won't be the only two-Squarespace is planning more such spots.

"We have a very, very deep bench," Lee said. "We pick people who we feel have an interesting story. And it can't just be about their website. We try to curate a set of collaborators to tell very different stories."

MEDIA: The online spots are being cut into :30s and :15s for broadcast and will air during the World Series. The Honnold spot will also likely run in cinemas.


Client: Squarespace
Chief Creative Officer: David Lee
Senior Producer: Rich Minkoff
Designer: Luis Gonzalez

"Squarespace 7: Start here. Go anywhere."

Agency: SpecialGuest
EP: Cheri Anderson
ECD: Aaron Duffy
CD: Jonathan Emmerling
Art Director: Jesse Packer
Producer: Barry Gilbert
Lead Compositor/Animator: Gerald Mark Soto
Additional Compositor: Lu Liu
Editor: John McSwain
Sound Design and Audio: Color, NY
Original Music: "It's All the Same" by MPSO
Color Grading: Ricart & Co

Production Company: 1stAveMachine
EP: Sam Penfield
Co-Directors: Jonathan Emmerling and Karim Charlebois-Zariffa
Director of Photography: Zak Mulligan
Live Action Producer: Garrett Fennelly
Production Designer: Alexandra Schaller

"Squarespace Presents: St. Lucia"

Agency: SpecialGuest
EP: Cheri Anderson
ECD: Aaron Duffy
CD: Jonathan Emmerling
Art Director: Jesse Packer
Producer: Barry Gilbert
Editor: John McSwain
Sound Design and Audio: Color, NY
Original Music: "Elevate" by St. Lucia
Color Grading: Ricart & Co

Production Company: 1stAveMachine
EP: Sam Penfield
Director: Jonathan Emmerling
Director of Photography: Tucker Bliss
Live Action Producer: Garrett Fennelly
Production Designer: Adam Pruitt
Wardrobe: Becky Vanderway

"Squarespace Presents: Alex Honnold"

Agency: SpecialGuest
EPs: Cheri Anderson, Sam Penfield
ECD: Aaron Duffy
CD: Jonathan Emmerling
Post Producer: Barry Gilbert
Live Action Producer: Garrett Fennelly
Editor: John McSwain
Additional Editor: Chelsey Blackmon
Sound Design and Audio: Color, NY
Original Music: "Daybreak" by Panam
Color Grading: Ricart & Co

Production Company: RXR
Director/Photographer: Jimmy Chin
Consulting Director: Jonathan Emmerling
DP: Dirk Collins
Camera Operator: Robert Frost
Line Producer: Shannon Ethridge

There are enough distractions when you're driving. Your phone, the tunes, your coffee. But Russian drivers have to put up with so much more-like meteors fall from the sky, and very suggestive truck-side billboards.

A Russian mobile advertising company recently sent a fleet of 30 trucks out on the streets of Moscow with self-promotional ads on the side showing breasts cupped by a pair of hands and copy that translates to "They attract"-to illustrate the power of truck-side ads.

And attract they did-to the tune of 517 traffic accidents in one day, says the Daily Mail.

"I was on my way to a business meeting when I saw this truck with a huge photo of breasts on its side go by," said Ildar Yuriev. "Then I was hit by the car behind who said he had been distracted by the truck. It made me late and left my car in the garage, and although I am insured I am still out of pocket."

A spokesman for the company, AdvTruck, added: "We wanted to draw attention to this new format with this campaign. In all cases of accidents, the car owners will receive compensation costs from us that aren't covered by their insurance."

The image above has been blurred. See the (NSFW?) version below.