Guest post by: David Rogers is the Executive Director of the Center on Global Brand Leadership at Columbia Business School.
After 25 years, we still don't understand what the Internet is.
At least that is the more charitable view of the Federal Trade Commission's new regulations that will fine bloggers who endorse a product without disclosing any free samples or other compensation that they received.
To attempt to regulate speech (however sleazy and deceptive) on "blogs" is not at all equivalent to regulating speech on radio or television. What it is equivalent to is trying to regulate all speech printed on paper – newspapers, office memos, classroom handouts, post-its, and handwritten notes on your kitchen fridge.
I surely hope the FTC will quickly kill its regulation, and not force the courts to rule on the disastrous precedent it is setting.
If the FTC truly feels that bloggers flogging shampoo that they get for free is an affront that demands government action, I suggest they scrap their rules and start over with an approach based on the following:
Regulate only those who solicit undisclosed endorsements. Companies that pay endorsers would need to take steps to ensure their gifts are clearly disclosed by recipients, and to cut off the goodies to any endorsers who fail to disclose in the future. Bloggers themselves would not be regulated.
Make a distinction between giving free sample products vs. cash or additional gifts. I should be able to give out free cupcakes in front of my bakery without a disclaimer. But if I fly 50 bloggers to an all-expense weekend in Miami so I can ply them with products, I would need to request that they disclose this when talking about the products, and make a good faith effort to follow up and de-list anyone who repeatedly fails to disclose. (A minimum value for gifts requiring disclosure could also be set, say $500 per year.)
Apply the rules to every media… As the law currently stands, magazine editors are still not obligated to disclose all the free products they receive, while your mother with 12 people following her on Twitter can be fined $11,000 for posting about the same thing.
… and yes, even spoken speech. The rules should apply to those who solicit verbal endorsements as well, including "word of mouth" marketing agencies like BzzAgent. If you can't write a law that's constitutional in regulating spoken speech, then it isn't fit to regulate speech on the Internet.
Actually enforcing such a policy might seem daunting, but it would involve policing thousands of companies and marketing agencies, rather than the hundreds of millions of citizens using social media who are covered by the current law. In large part, it could be enforced by the community ratting out the most egregious violators.
Three students launches D&AD Creative Search as a tool for other students during the D&AD Students Award 2010.
The Internet has a huge role in the everyday life of creatives. We use services such as Google, Wikipedia, YouTube, Twitter, blogs and news sites are something that we use everyday. It’s very easy to become overwhelmed with information when we perform a simple search on a new subject. This demands more mental activity than necessary in order to sort the results. D&AD Creative Search sifts through results from the major services we all have daily contact with. You get a simple, flexible, and structured overview of your search. The results can provide new angles as you see the subject yield images, texts, films and music in the same place.
During the coming month Creative Search will launch more exciting features and services.
Creative Search is created by: Peter Prinz, Kaspar Prinz and Philip Cristofor Beckmans College of Design, Sweden
In Advertising we always try to find the next big, hip cool way to advertise our products.
We are in a constant battle to get more people talking about our products & brands and to find new ways that haven’t been done before.
Recently I came across a young, hip company that offers a brand new technology that can do just that. CamSpace is a promising technology company from Israel. It has developed a unique platform, based on computer vision that turns any object or product (tub of yogurt, can, box, bottle, etc) into an interactive computer controller and that lets the controller operate games and experiences. The platform knows how to detect a particular brand of product and you can even use just your hands to navigate through a website! You can run this technology in POS, outside activities and the internet which give you an interesting cross media and platform solution.
New York, NY - October 5, 2009: New York Festivals 2010 International Advertising Awards officially announced its Call for Entries on Monday, October 5th. For 53 years, NYF’s International Advertising Awards has honored the World’s Best Work™ in all media from 71 countries around the world: television, cinema, print, outdoor, interactive, design, mixed media, collateral, radio and student advertising.
New York Festivals online judging system ensures that each entry receives the proper amount of time and attention, in an environment that is free from outside distractions and unsolicited opinions. The online judging system is the first line of defense against “scam ads”. Judges are allowed to “flag” a suspected scam ad simply by checking a box when viewing an entry online. NYF Grand Jury members are encouraged to write confidential comments online to support their suspicions, once entries are flagged, an investigation into the allegations will commence.
Leo Burnett Forms Integrated Iberian Regional Leadership Team
CHICAGO – Oct. 9, 2009 – Following his dynamic success as the General Creative Director of Leo Burnett Lisbon, Leo Burnett Worldwide today announced that Chacho Puebla will now serve as the Executive Creative Director for the newly formed Leo Burnett Iberia.
Since taking the creative helm at Leo Burnett Lisbon, Puebla reached global acclaim by winning eleven Lions at this year’s Cannes Lions International Advertising Festival, an honor he shared with Tura, his faithful companion and the most awarded creative dog in the world.
Due in large part to Puebla’s creative leadership, Leo Burnett Lisbon earned the title of the 7th Most Creative Agency in the world, according to the 2009 Creativity Report.
"Chacho is a world class creative and a new breed of integrated thinker,” said Mark Tutssel, Global Chief Creative Officer of Leo Burnett Worldwide. “His stellar, award-winning performance over the last few years is testimony to his outstanding creative talent. Under his leadership and Tura’s magnetic personality, I look forward to Leo Burnett Iberia reaching new heights of creativity in the future.”
Known for his creative spark and unrelenting passion, Puebla was a natural fit for the recently established Leo Burnett Iberia management team. He joins Isabel Ontoso, the new Regional President of Iberia, and Miguel Simoes, Director of New Business for the Iberian Region, who will also continue to serve as the Managing Director for Leo Burnett Lisbon.
Giorgio Brenna, President of Leo Burnett Europe, echoed Tutssel’s confidence: “I have tremendous faith in the talents of Isabel, Chacho, Miguel and their teams and know that they will successfully lead this ambitious Iberian project for Leo Burnett.”
New York, NY – October 7, 2009: The Global Awards, honoring creative and marketing excellence in healthcare communications, and Bravo!, a group of Australian healthcare specialists, have joined forces to celebrate the competition’s 2009 award winners at the World Premier Global Awards gala in Sydney Australia. The awards presentation will take place on Friday November 6, 2009 at bel mondo, located in Sydney’s historic Rocks area. The event opens with a cocktail and canapés reception followed by an awards ceremony. Michael Demetriades, Executive Director of The Global Awards, will present the trophies to the international award winners. The event will be sponsored by Medical Observer, Julie Dang & Associates, SMC People, Mail Marketing Works IDS, Momentum and the AFA.
Last year, Bravo launched the first ever award presentation in Australia to honor Global Award winners from both Australia and New Zealand. The event was designed to enlist healthcare agencies and clients to band together to produce outstanding work. The decision to include winners from around the world was based on the success of the previous year’s award show. The Global Awards world premier was initiated by Bravo’s advisory committee, which includes representation from healthcare agencies, as well as the Advertising Federation of Australia and The Global Awards.
Since 1993, The Global Awards reputation for recognizing innovative campaigns crafted through creative problem solving has attracted entrants from around the world. This year healthcare advertising has taken on additional challenges during these tough economic times. Graham Stuart, of CJB Advertising, Sydney commented. “In 2009, the Globals really reflected the battering of the world economic meltdown. Confidence was down, with clients and creatives retreating to safe work. The cream rose, as always, and the brave work really stood out. This year, smart clients will again be demanding work that leaps out against the grey backdrop of a slow recovery. And once again, the Globals will provide an excellent measure of how well we are doing.”
The Global Awards, now in its 15th year, receives entries from healthcare corporations, hospitals, advertising agencies, production companies and design studios that produce communications for medical, pharmaceutical and healthcare related products. All entries are judged by a panel of international industry experts, representing the top creative minds in the field of healthcare advertising. Entries for the 2009 competition were received from 30 countries, spanning 5 continents. Global judging sessions took place in the following locations: Germany, Australia and the United States. All winning entries will be featured at: www.theglobalawards.com, and are promoted by our network of representatives in 84 countries around the world.
Tickets for the 2009 Global Awards gala in Sydney Australia can be purchased online though the AFA website; prices are in Australian dollars, at $130 per ticket or two tickets for $240.
Adapted from How To Write An Inspired Creative Brief (iUniverse.com)
By Howard Ibach
Dateline: October 5, 2009
It turns out that no two briefs look exactly alike. That’s good.
It speaks well for a document that it can be so important and still be adaptable. It’s organic, not static. (And it’s not rocket science!)
The creative briefs you’ll review here are, quite simply, well-written and inspired documents. And they’re different in one way or another from each other.
But pay close attention to what they have in common. And to the vocabulary used by the writers to answer each section. These examples are from UK agencies. The UK is the birthplace of the art and science of account planning. Many believe that our British cousins are the finest creative-brief writers on the planet. I agree.
It’s my job to help correct this imbalance. Beginning with you. Let’s examine each brief for its strengths and, if we can find them, weaknesses.
Amsterdam, 23 September 2009 – DAY Creative Business Partners in Amsterdam (www.day.nu) has designed the first Nike Sportswear pilot store in Europe. The store, opening in Paris this month, is the first of a series throughout Europe launched by Nike Sportswear, a new division of Nike.
The new Nike Sportswear collection is based on timeless sports apparel and shoes, with a brand identity which includes images of classic gyms, well-used equipment, and urban environments. DAY’s brief was to push the existing US conceptual retail style further, using the location – an old bookstore in the heart of Paris’ Le Marais district – to influence the concept.
Creative Partner, Gesina Roters, said:
“The heritage of the building itself directly influenced the concept development. The store had been left closed but intact for more than 40 years, so we were able to use traces of wear and tear - such as the floor, which had been repaired but not restored - to our advantage. The result is a store which balances heritage with a modern contemporary twist in sports performance.”
As the first of its kind in Europe, the store is a high-visibility example of DAY’s creative business solutions and interdisciplinary design expertise.
DAY was established in 2006 by Dennis de Rond (Strategy Partner), Louk de Sevaux (Managing Partner) and Gesina Roters (Creative Partner). With offices in Amsterdam, Dubai and New York, the company combines creative thinking methods with brand strategy, interdisciplinary design and advertising as a key asset in business development.
The retail and interior design concept for Nike EMEA is headed up by Creative Partner Gesina Roters and Managing Partner Louk de Sevaux, with Mette Hoekstra (design).
A cross between management consultancy, brand consultancy, advertising agency and design bureau, DAY services international companies and markets, including Nike (new retail concept and pilot shop in Paris), Bugaboo (event concepts and interior design), Orange (brand strategy and adaptation across all consumer touch-points), Ziggo (full retail business strategy and model, including store design), and the Van Gogh Museum. From Dubai, DAY is the preferred supplier in all aspects of brand and management consultancy for the DAL Group, the largest privately owned company in the Sudan.
New York, NY – September 28, 2009: New York Festivals hosted the 2009 International Advertising Awards World Tour Ceremony on Monday, September 21st at Madrid’s Museo Del Traje. The event, showcasing the “World’s Best Advertising™”, was one of five international awards ceremonies presented by NYF, and the first awards ceremony held by NYF in Spain. Telecinco’s sports anchor Sara Carbonero hosted the awards presentation, featuring a screening of the 2009 NYF Advertising Awards Gold Winners, awards ceremony and cocktail party. The spotlight was on the winning work of advertising agencies from Spain, Portugal, and Europe. Eight Gold World Medals, eight Silver and thirteen Bronze were awarded at the gala event.
Madrid photos with Sara Carbonero
NYF GrandJury members honored Spain with one Gold World Medal, one Silver World Medal and eight Bronze Medals. Murcia’s Eduardo Del Fraile agency received a Gold World Medal in the Design competition for client Soso Salt. TBWA Espana garnered a Silver World Medal in the Outdoor competition for Spontex Dishcloth and a Bronze for Spontex Contacto Gloves; in addition, TBWA accepted two Bronze Medals for client Sony Playstation, in the TV/Cinema competition for “Blood Rain” and in the Radio competition for “Fight and Battle”. McCann Erickson Madrid garnered a Bronze Medal in the TV/Cinema competition for client Madrid Metro. Barcelona’s Atletico International received a Bronze Medal for VAESA/AUDI and zapping/M&C Saatchi of Barcelona accepted a Bronze Medal in the Print competition for Laboratorios Intervet.
M. O'Rourke with TBWA
Portuguese agencies took home one Silver World Medal and three Bronze Medals in this year’s NYF Advertising Awards. McCann Erickson Lisboa was recognized with a Silver Medal in TV/Cinema for “Animals” for Global Warming. McCann also received two Bronze Medals for the Portuguese League against AIDS campaign entitled “Will”, accepting medals in both the TV/Cinema and Radio competitions. Euro RSCG Lisboa was awarded a Bronze Medal in the Print competition for “Wake Up” for client Delta Cafes.
Advertising Agencies from Germany and the Netherlands accepted an impressive number of medals at the NYF World Tour in Madrid. Agencies included: Serviceplan, Kolle Rebbe Gmbh, Ogilvy Frankfurt, TELEMAZ Commercials GmBh Berlin, and Ogilvy Group the Netherlands.
Serviceplan of Munich/Hamburg garnered three Gold World Medals, three Silver and three Bronze medals. The agency was awarded Gold Medals for Expedia.de, “Expedia Weather Channel” in the TV/Cinema competition: Amnesty International “Amnesty Promotion: Woman in a Suitcase” in the Collateral competition; and for client Verlagsgruppe Luebbe GmbH “Book on Paper Handerkerchiefs” in the Collateral competition. Kolle Rebbe GmbH was honored with two medals in the Design competition for client Anthony’s Wine Garage and accepted a Gold Medal for “Oilchange” and a Silver Medal for “Powerfuel”. Three Gold Medals went to Ogilvy Frankfurt, two in the Outdoor competition and a third in the Avant-Garde for client IKEA for the campaign “Bigger Storage Ideas”. Berlin’s TELEMAZ Commercials GmBh took home a Gold Medal in the Student competition for client Orange. In addition, Ogilvy Group The Netherlands received a Gold World Medal in the Outdoor competition and Silver in the Avant-Garde competition for client MTV International.
The 2009 Grand Jury™ was comprised of 255 Senior Creative Directors from 56 countries, representing the largest and most diverse jury of any advertising competition in the world. This year’s GRANDJURY honored the “World’s Best Advertising™” from 71 countries around the world, awarding 6 Grand Trophies, 149 Gold Medals, 173 Silver Medals and 243 Bronze Medals in the following competitions: Art & Technique, Avant-Garde, Collateral, Design, Digital + Interactive, Mixed Media, Outdoor, Print, TV/Cinema, Radio, and Student.
The New York Festivals 2009 International Advertising Awards hosted World Tour events in Chicago, Manila, Shanghai and Madrid. NYF Awards presentations will take place in Mumbai and Santiago de Chile in October.
All winning entries of the NYF Advertising In All Media Award are featured in the Showcase section of our website www.newyorkfestivals.com. Additional award winning work, along with interviews with creatives, can be seen on www.newyorkfestivals.TV.
I’ll admit it upfront, so diehard fans of AMC’s Mad Men are forewarned: I’m one of the few people who’s not completely infatuated with the show. But as someone who does branding for a living, I’m intrigued by how it reconstructs the ethos of an era using brands and pop cultural references.
The launch of the new www.your-life.com website has created a platform accessible to users worldwide and brought the motto „Talk Contraception“ to life, through worldwide events both online and offline.
The event kicked off yesterday with a live worldwide interactive Online Press Conference involving journalists from all over the world, where the online youth survey „Talking Sex and Contraception“ was premiered.
Berlin, September 24th, 2009 – At the core of the concept, as conceived of by KREATIVEKONZEPTION*, is the formation of a Web 2.0 community where young people can interactively deal with issues and questions related to love, sexuality and contraception. This direct interaction makes the message „Let’s talk about it“ a hands-on reality, and keeps it alive even after World Contraception Day 2009 on September 26th.
I read the terms "virals", "viral ads", "viral videos" everywhere used incorrectly.
The so called viral ads are advertisements that are created with the intention to be distributed through social media channels, such as video sharing sites, blogs, traditional news channels and any other non-payed media. These ads usually feature content that is funny, unusually helpful, amazing, surprising or controversial in nature. The main advantage of such distribution is the low or non-existent media cost. Secondarily, these ads are usually introduced to the consumer by their friends, which makes the context more personal and thus the viewer will be more perceptive to the message.
However these ads most of the time should not be called virals. Going viral means the ad has been distributed by a significantly high number of people through various channels. What constitutes a high number is a subjective matter, but clearly something that got 1000 views on YouTube did not yet go viral. Viral starts at tens of thousands of views or impressions.
Instead of the incorrect term "viral ads" for ads created for the social space, I would like to coin the phrase "social ad", which is more descriptive in my opinion and doesn't depend on how much the ad was distributed.
In the event a social ad gets shared extensively the adjective viral can be added. Proper use would be "social ad that went viral", "viral social ad" or it can be simply shortened to "viral ad".
I would suggest put the minimum number of views or impressions for social ads created for an international audience at 100,000 uniques before it can be called a viral. On a national level depending on the size of the subculture even 10,000 uniques can be enough to qualify.
Update: I removed the block until I can find a smarter way to do it. All is back to way it was before.
I am experimenting with blocking hotlinking of images from Ads of the World because of excessive bandwidth usage. I would like to get your opinion on this measure.
Hotlinking is when somebody posts an image on his site by copying the url of the image instead of copying the image itself. Therefore every time somebody looks at his site the images are served from Ads of the World servers instead of his own server. With the block in place they will see a placeholder image (see on the right), which is only 7K instead of several hundred Kilobytes.
Our bandwidth is going over 3 Terabytes a month and a big percentage of it is a result of hotlinking. We love the fact that people share our content, but sometimes our servers are strained and we get no links back in return. It's a measure I really don't want to take, but forced to.
Most blogs copy the images and upload them to their own servers and link back to AotW and this is the ethical and correct way to do.
If you have no means to upload your own images or you have a problem with this new policy because of historical reasons, please let me know and I will add your site to the list of sites who are excepted from this block.
We only want to block abusers, not our fellow advertising bloggers. So we're currently looking into other more efficient ways to do this in order to prevent abuse, but allow reasonable amount of hotlinking.
There’s one indisputable truth about brand naming: your name is only as good as your company, product, or service. Consumers rarely invest in something based solely on the perceived quality of its name. They invest in a product’s or brand’s reputation. Names can influence purchase decisions, but they don’t unilaterally prevent or guarantee them.
Which leads us to the phenomenon of brand names that go bad.
In the 1950s, a top US automaker decided to elevate one of its existing brands to the level of luxury car, creating room for a new sub-luxury brand. The company did its due diligence and came up with a plan. The brand would represent a new business division. It would place the parent company in a parity position with other major US automakers.
The car launched with significant fanfare. But in just a few short years, the party was over. The company was Ford, and the brand was Edsel—a name that has become synonymous with colossal public failure. Speculation as to why the Edsel failed is endless. But one thing is fairly certain: it wasn’t because of the name alone. If that was the case, then brands like DeSoto, Chrysler, Buick, Cadillac—names that are no more or less odd-sounding than Edsel—would have failed just as quickly.
Consumer research done after the Edsel proved unpopular revealed, among other things, that the name was a problem. That’s a bit of a post-rationalization. What’s more likely is the car was a flop and took its name down with it. If the car had been a popular success, the brand name would be upheld as an example of how an unusual family name (Edsel Ford was the car’s namesake) can have breakthrough brand significance and stimulate record sales.
Read the comments on In Defense of Advertising and download the pdf below.
“. . . a unique, well-crafted, and timely book defending the existence of advertising to its many and varied critics. . . . If you buy Rand, you must clearly buy Kirkpatrick’s dismantling of the critics....well worth the read for any academic, practitioner, or researcher interested in adver- tising, the philosophy of science, marketing’s background in economic exchange, or simply for its fine writing.” —Journal of the Academy of Marketing Science, Spring 1995
“Congratulations on producing an interesting and passionate defense
of advertising. . . . Well done. —Shelby D. Hunt, Jerry S. Rawls and P. W. Horn Professor of Marketing, Texas Tech University, March 1995
“The author combines his knowledge of marketing with Randian philosophy and Misesian economics to create a truly powerful and compelling case for advertising. The general reader will benefit from the author’s ability to distill the criticisms of advertising and his responses to them to their most fundamental form while the specialist in mar- keting, economics, and philosophy will gain a working knowledge of the other disciplines as they relate to advertising.” —The Freeman, June 1995
“Kirkpatrick presents a compelling defense of advertising as an institution in this intellectually challenging book....His analysis combining reason, ethical egoism, and laissez-faire capitalism is solid. . . . an important advancement in the theory of advertising and its relationship to society.” —Journal of Consumer Affairs, Summer 1995
“...a highly sophisticated theoretical thesis....[This defense] stimulates the reader to reflect on many social, economic, and moral issues.” —Southern Business and Economic Journal, October 1995
“Every advertising professional is required, at some point, to come out in defense of his or her activity—even within each one’s confines of family or circle of friends—and this book In Defense of Advertising provides us with all the thoughts we need. In fact, it is well worth read- ing even for purposes other than mustering defensive arguments, for this is a book which gives us a better understanding of what we do.” —Roberto Duailibi, President, DPZ Propaganda, São Paulo, Brazil. From the Foreword to Em Defesa da Propaganda, Portuguese translation published in Brazil in 1997
“For those who study advertising and ponder its social and economic effects, [this book] provides an intriguing and well-articulated challenge to what has become the common wisdom in these matters. . . . Kirkpat- rick charges all of us to rethink our assumptions and [he] provides the historical and philosophical ammunition to do it.” —The Journal of Media Economics, 11(2) 1998
New York, NY – September 14, 2009: In light of the recent “scam ad” scandal, New York Festivals President, Michael O’Rourke commented today that “New York Festivals has long been aware of and proactively involved in preventing so-called “scam-ads” – ads that ran without the consent of the client or were lifted from other agencies.”
According to O’Rourke, “Our first line of defense is our online judging system. We’ve found that having judges together in the same room in an isolated resort location can have a chilling effect on diligence. Its human nature: no one wants to accuse an agency or creative team, especially if the person you’re accusing is a friend or associate of someone in the room. “
New York Festivals initiated a system whereby GrandJury™ judges are allowed to “flag” a suspected scam ad simply by checking a box when viewing an entry online. Additionally, NYF judges are encouraged to write confidential comments online to support their suspicions. Upon being flagged, we will commence an investigation into the allegations.
In the past few years New York Festivals has denied entries or disqualified them based on the evidence collected from our judges. “As a truly international show-- we have entries from over 71 countries-- we applaud more recent efforts, like those of the One Show to prevent scam ads from being awarded and hope that other award shows follow suit on these aggressive and very necessary approaches towards eliminating scam,” said O’Rourke.
This year’s International Advertising Awards GRANDJURY honored the “World’s Best Advertising™” from 71 countries around the world. The 2009 jury awarded 6 Grand Trophies, 149 Gold Medals, 173 Silver Medals and 243 Bronze Medals in the following competitions: Art & Technique, Avant-Garde, Collateral, Design, Digital + Interactive, Mixed Media, Outdoor, Print, TV/Cinema, Radio and Student.
The 2009 GRANDJURY was comprised of 255 Senior Creative Directors from 56 countries, representing the largest and most diverse jury of any advertising competition in the world.
All winning entries of the NYF International Advertising Awards are featured in the Showcase section on www.newyorkfestivals.com. Additional award winning work, along with interviews with award winning creatives, can be seen on NYF’s newly launched www.newyorkfestivals.TV.
In collaboration with CreatAd, Utrecht University initiates today (31 August) a viral competition for the development of its new national and international marketing campaign. CreatAd is a platform specialising in creating user-generated advertising campaigns. Utrecht University hopes the partnership will result in virals that demonstrate in a single glance that it is the best university for talented and ambitious students. The winning entries will be used in the university marketing campaign.
High-end London retouch and CGI collective Happy Finish has recreated the TWA Flight Center in News York in CGI so it can be used as a unique, freely accessible and photorealistic shoot location. The collaboration with award winning photographer Benedict Redgrove saw Saarinen’s futurist thin-shell structure digitally rebuilt as a photorealistic environment in all the glory of its 1960s heyday.
New York, NY – August 17, 2009 The AME Awards for Advertising & Marketing Effectiveness announced the Call For Entries for the 2010 competition. Now in its 16th year, the AME Awards honor work that successfully demonstrates groundbreaking solutions to challenging marketing problems. This year’s AME competition will offer a redefined category lineup to feature the new array of tools in use by advertisers and marketers. In addition, the 2010 competition will introduce regional competitions to allow the preliminary competitions to take place within specific regions.
The 2010 AME competition has strategically redefined entry categories to reflect the current trends in the evolving advertising and marketing industry. Categories of note are: Marketing Specialties, such as integrated and interactive; Social Media/Online; Use of Medium: Mobile; and The Green AME.
Want to reward your kid for a job well done? Take him to McDonald's and get him a happy meal. Every kid's favorite without exception. Except your kid may end up with PETA's UnHappy meal that is distributed outside dozens of restaurants in the USA. Here is what PETA has to say about the campaign:
McDonald's markets its food to children by packaging it in brightly colored boxes with enclosed toys, but most kids would probably lose their lunch if they knew about the animal suffering that goes into the company's "Happy Meals." That's why PETA created Unhappy Meals to make sure that families know that the lives of the chickens who were killed for those McNuggets were anything but happy.
(New York) July 29, 2009 Iconix Brand Group (NASDAQ: ICON) (the “Company”) announced today that international supermodel, Gisele Bündchen will appear in its London Fog® brand’s fall marketing campaign. The multi-media marketing campaign will debut in October issues of fashion, lifestyle and entertainment magazines, outdoor billboards and online.
New award recognizes authentic depictions of people with disabilities in television advertising
FORT WORTH, Texas – American Airlines and the American Association of People with Disabilities (AAPD) are pleased to announce the creation of the “Altitude Award” honoring the best U.S. television commercials featuring authentic depictions of people with disabilities.
“One of the highest priorities at American Airlines is our continuous endeavor to promote workplace diversity and inclusion and equal employment opportunities for all individuals,” said Dan Garton, Executive Vice President – Marketing. “We are looking forward to reviewing all of the entries and know that our judging panel – and the public – will have many worthy commercials to consider.”
Two name changes—or more correctly, modifications—have received attention in the media and branding worlds recently. Pizza Hut has announced that its boxes and select locations will carry the name “The Hut,” and RadioShack plans to unveil new creative for “The Shack,” its shorter, catchier moniker.
These name shortenings are proof of what professional namers already know: names acquire meaning, they don’t create meaning. Once meaning is established, the brand name can be reduced to a shorthand version of itself, signaling its secure place in the realm of consumer awareness.
In the case of Pizza Hut and RadioShack, there’s also a more tactical motivation. As brands move away from their legacy offerings and expand product assortments, they outgrow their descriptive names. Today, Pizza Hut sells more than pizza, and RadioShack has more than radios on its shelves. The two brands are larger than their original products; their names stand for tangible and intangible experiences.
Many people asked this question in email, so I thought it's informative to put on the blog.
Ads of the World is a website targeted at advertising professionals. Therefore the criteria for selection in general is to please you. To serve you I try to select ads that answer one of the following criteria:
Inspiring. Ads that either in their approach, idea or execution inspires you to do better work.
Informative. Ads that are created for global and well known brands. This is in order for creatives to be in the know.
Interesting. Ads that are interesting in one way or another. For example a campaign from an obscure country or a very unusual product.
The ads are selected by one person (me) who consults several friends and colleagues both within and outside of the industry when in doubt.
There is an element of subjectivity in the selection because unfortunately there is no clear way to select the good from the bad. It can't be measured with a scale or a tape. The selection will never be to 100% liking to everybody. But over the years I've learned what the audience likes and I try to be as close to everybody's taste as possible.
One thing is sure. A campaign that is recognized as such by everybody will always gets published.
If a campaign is rejected from publication on the front page it is not a reflection on the quality of work. It means it doesn't answer any of the 3 criteria above. At the same time it can be a campaign that produces results for the client, so it would still qualify as good advertising.
Ads of the World is completely independent, so the decision to publish material is not influenced by any network.
New York, NY – July 28, 2009: New York Festivals 2009 World Tour of the NYF International Advertising Awards hosted their first ever awards presentation in Shanghai China on Saturday July 25th. The spectacular day long series of events, held at Jiading SINO ADI Creative Zone culminated with a gala award presentation and screening of the 2009 New York Festivals Gold Winners in TV and Film. Legendary ad man Neil French was presented the 2009 New York Festivals Lifetime Achievement Award. CumminsNitro, Brisbane received the newly minted Boutique Agency of the Year Award, along with a Grand Trophy; Revolver Films, Sydney took home the just launched Production company of the Year Award; and Big Ant International, New York was bestowed the celebrated Grand Trophy.
NYF President Michael O'Rouke with Lifetime Acheivement Award recipient Neil French
On the heels of producing one of the most successful automotive viral films in history, (over 20 million downloads to date), Mad Media has completed work on a new Gymkhana project dubbed “Ken Block’s Gymkhana TWO: The Infomercial”. The project was designed to promote Ken Block’s new DC Shoes TeamWorks Clothing Collection. Block’s design inspirations for his collection all stem from his Gymkhana TWO car, and each feature his rally sponsors’ colorways and graphics.
With Google's new “location extensions” addition to its AdWords platform announced last week, small businesses will soon have the ability to extend their AdWords campaign by attaching their business addresses to their ads. So what does this actually mean for local businesses advertising online?
This feature is the latest extension of Google’s Local Business Center, which launched in 2005 and has not really gotten significant traction. Google is clearly making a big effort to add value for its small business owner customers through LBC, and to that end I think the location extension feature it is a good small step.
For advertising professionals, this is very good news. Including location in ad formats works well for many local businesses, and this puts yet another key tool at their disposal. Using this functionality is important as Google Maps is the fastest growing part of Google and increasingly where a large share of local search is happening. While this change is good for ad pros, the big question from my perspective is, ‘Do local business owners really want to service their own ad accounts?’ All of this infrastructure assumes the small business owner has the time and the inclination to manage all of this on his/her own. Given that 40% of small and medium size businesses do not even have a website, I do not see this as being useful to the majority of small businesses for some time.
Anyone who names things for a living will tell you a name is simultaneously the most important and least important signifier of a brand. It’s the most important because it’s the most succinct verbal expression of everything the brand stands for. It’s the least important because that “everything” is what gives the name value. The name alone—or out of its brand context—doesn’t mean anything aside from its dictionary definition, assuming there is one.
Now think of all the places you’ve been—especially those places that conjure up fond memories or positive associations. The place names stand for something much larger than their geographic locations. Even places you’ve never been can have very specific associations. Cary Grant and Deborah Kerr at the top of the Empire State Building. Dr. King and the March on Washington. Paris, France. Wasilla, Alaska. Each place name has its own narrative, real or fictional, that gives it significance beyond the everyday. The name represents the story that is the brand experience.
Have you experienced the frustration of account executives and clients not being able to understand the value of your creative campaign. Do they make your professional life miserable. Here is a way to release some pressure.
Colloquial speech is a powerful force, especially when it comes to brand names. In both cases above, a registered trademark is being invoked, but most consumers aren't aware of it. "Band-Aid" is a registered trademark of Johnson & Johnson, and "Laundromat" was a trademarked name created by the Westinghouse Electric and Manufacturing Company in the 1930s.
To receive the Agency of the Year Lion, DDB Brazil's president and CEO Sergio Valente went up the Palais des Festivals stage with all his team members that are in Cannes, France for the 56th Cannes Lions International Advertising Festival.
And with a quick "Yes, we can", he celebrated the Agency of the Year 2009 title.
This was the fourth time that the agency -founded in 1989 by Nizan Guanaes and Guga Valente - won a worldwide title in Cannes.
The first two titles were in 1998 and 1999, when it was still headed by Mr. Guanaes, who is now chairman of Brazilian Communications group ABC (20th largest Marketing Communications group in the world). ABC has a minority share of the winning agency, along with other Advertising, Marketing services, Content and Entertainment companies.
Before I start my rant, let me say that I love award shows. They generate the best ideas in the industry and they take advertising forward. Award shows also bring attention to the best talent and a great occasion to celebrate ourselves.
However, there are several things wrong with them and they should change to make them promote creative values even stronger. When I'm talking about reforms, I refer to reforms to our own AotW Awards as well.
Here are the four things I consider needs change:
1. Effectiveness isn't considered
Effie award winning creative work.
Most award show jury members do not take effectiveness into consideration. While creativity is something very subjective and hard to measure precisely, there is one aspect of an advertising campaign that is possible to measure objectively. Effectiveness can be measured by return on investment. Let's put on the table how much profit did you make for spending each advertising dollar. Did the campaign raise brand awareness or perceived value measurably? Such numbers have been measured by all large brands for years. Why aren't they influencing the award show results at all?
One might argue that award shows are about creativity and not business. However we should not forget that the process of advertising is only complete with it's audience. It's mass art that supposed to be understood by the target. If only the only people who get it are insiders and the jury it failed to do its job and it can't be categorized as good advertising. It still can be great conceptual art, but then we should call the award shows art competitions, not advertising competitions.
My suggestion is that ROI is taken into consideration when judging creative and if an ad is counter productive or generates negative ROI it should never be awarded regardless how "creative" it is.