“Dear Digitas, this will be my farewell, even though I’m gone, I’ll always hope that you fare well” is the poetic hook in this hip-hop farewell from an as-yet-unknown staffer who’s obviously moving on–but not without waxing nostalgic about account management, making sandwiches in the break room and other hardcore shit. Our lyrical genius even has a sidekick who sings the hook, just for added dramatic flair we imagine. Should Digitas–sorry, DigitasLBi–be flattered or embarrassed by this sentimental shout-out? We’re not sure, but somehow, we made it to the very end, though not without a little chuckle here and there. See if you can do the same while we just sit here crossing our fingers that this heralds an agency rapper renaissance.
Bi-coastal creative studio/prodco Logan & Sons somehow enticed Jane Fonda to voice a new spot for Prada called “The Future of Flesh” and the results are really creepy. I guess that’s to be expected when the word “flesh” is right there in the title.
Whether or not intentional, the Luke Gilford-directed spot leaves me feeling a little uneasy. According to a release, the spot is “set in a strange futuristic world where humans evolve to fit the style of the season.” Without that bit of clarification, I have to wonder how anyone would figure out what the hell is going on. The answer: they probably don’t. Actually, even with that info it’s still kind of hard to piece together. Gilford, offers this further explanation (not that it helps all that much), saying, “Compare magazine covers over the decades, you’ll see how much hair and physique change with the clothes. Now as body modification accelerates, facial features and bone structure are changing as well. The body is beginning to merge with fashion in very interesting ways…I find this sexy as well as strange – a science fiction fantasy becoming a reality.”
The spot takes place in some kind of futuristic society, one seemingly set apart from the rest of the world. Jane Fonda‘s voice really ads to the creepiness factor as she describes the process of joining this closed-off society (or something like that) and says nonsensical things like “each tear authenticated.” Throughout the spot there are close ups of people’s creepy-looking flesh, which seems to morph throughout the spot. Again, this is weird stuff. The wardrobe, provided entirely by Prada, does look pretty fetching, however. I’m certainly no fashion expert, but my girlfriend (who knows a thing or two about fashion) confirmed that the clothes in the spot do look quite appealing. So maybe in a fashion ad, that’s all that matters. Or maybe Logan & Sons and Prada want to scare you, you know, since it’s October.
Poppin’ Layers is not a good commercial (or music video). The Trident Player is not a good rapper. Rapping about Trident Layers gum for four minutes and 34 seconds is not very funny. At this point in pop culture, the vaguely racist whiteboy poser with a fake rapper voice is just about the laziest choice for any creative or artistic project. It was lazy/dumb 10 years ago when Malibu’s Most Wanted came out. Trident and Hollywood’s Mischievous Studios, which is behind this music video, can do better.
It would be easy to mock this campaign and be mean, but I’m not going to. You really don’t have to watch more than the first 15 seconds to get the video’s full effect. You may not know that the actors in the clip are all popular on Vine, which is mostly irrelevant, because it’s Vine. However, everyone should use this opportunity to learn from mistakes. Using Vine as a marketing platform is not very wise, especially with Instagram and SnapChat clearly dominating social media video sharing. Using lazy stereotypes is, well, lazy and uninteresting. The only press that can come from something like this is bad press from people who think it lacks any sort of awareness or intelligence. I get that gum brands are supposed to be cool and irreverent, but Poppin’ Layers is just amateurishly off the mark.
M&C Saatchi gained the attention of passing pedestrians in Milan by creating an installation that looks like a submarine emerging in Milan’s Piazza Mercanti, crashing into a nearby motorist.
The surreal stunt was created for insurance companies Genertel IT and Europ Assistance IT as part of their “Protect Your Life” campaign. It featured a rescue team, a group of stunned sailors, and one irate Smart Car driver. To make sure the point (Which is what exactly? It’s really hard to extract from this confusing scene) was not lost on pedestrian witnesses, “a man in scuba diving gear was on hand to speak to people about the importance of safeguarding their possessions.” Because anytime people need something explained to them: bam, a man in scuba gear.
I’m a fan of good old-fashioned Italian surrealism, so I can appreciate this from that point of view. But I can’t really make much sense of it from a marketing standpoint. Protect your possessions because you never know when a submarine will emerge out of nowhere? If you can make some sense of this, let us know in the comments section.
Independent creative agency Red Tettemer O’Connell & Partners announced a new agency initiative today searching for imaginative interactive talent.
This initiative from the Philly-based agency comes with the announcement of a tongue-in-cheek paper website that visitors can print out or request to be delivered via mail in 6-8 weeks. How’s that for a selling point?
The paper website is housed at Create Cool Shit, offering “a wide analog collection of information about the agency and its interactive department including a paper demonstration of responsive design, a print out of the agency’s Twitter feed, obligatory parallax and more.” We don’t expect to see the paper website schtick replicated anywhere, because why would it be? Repeat: This is your chance to have a paper website mailed to you. Don’t blow it.
If you’ve already burned through Friday Night Lights, Parks and Recreation, New Girl, Bob’s Burgers, The League, Orange Is The New Black, and basically any other TV series worth watching on Netflix, set phasers to the documentary section for the 2011 film Jiro Dreams of Sushi. Directed by David Gelb, the movie is a portrait of 85-year-old world-renowned sushi master, Jiro Ono, who’s dedicated (literally) almost every waking moment of his life to perfecting his craft.
The film goes to great lengths to show how far Jiro strives to make the most perfect sushi in the world while simultaneously begging the questions, “What if your entire life was dedicated to only one pursuit? How would that affect your personal relationships? How do you then define success, if the concept of ‘success’ is even an ascertainable goal in your mind?” It’s as troubling a portrayal as it is fascinating, causing the viewer a level of introspection that few other films can achieve. It only made sense, then, for Gelb to follow-up his documentary on the world’s best sushi by filming its American equivalent, Papa Murphy’s Take and Bake pizza, for a new campaign from Wong, Doody, Crandall, Wiener.
It’s clear that Gelb employs some Jiro Dreams of Sushi-style camera work here. However, whereas his documentary focuses on getting to know the people behind the food, his spot has no time to do so. So, we instead get some creepy anonymous hands, kneading pizza dough in slow motion. We get some mom feet, with a mom arm shooting into frame from above to half-hug her child. Finally, we get some assorted family hands, each reaching out of nowhere to grab pizza slices (again, in slow-motion). All of this while creepy piano-plinking plays menacingly in the background.
While watching Jiro Dreams of Sushi, I was nervous that perhaps someone in Jiro’s immediately family would comment on his coldness, or his chef-before-father mentality. While watching this spot for Papa Murphy’s, I was worried that someone would be murdered. Credits after the jump.
Trolli gummy candy wants to get funky. Apparently, the bright colors and odd shapes weren’t quirky enough, so the candy company called upon Minneapolis-based Periscope for some creative legwork. The result is the new “Weirdly Awesome” campaign, which features a couple of thirty-second spots that are off the reservation. Periscope seems to be tapping into a “Napoleon Dynamite” aesthetic that hasn’t really been relevant in the eight years or so. The only other comparable campaign I’ve covered in the last year is this strange bit of Bugle buffoonery from Canada. Trolli’s campaign is a little more appropriate because of the sour candy product, but I’m not so sure that weird is the new currency of cool.
You can watch the second spot and sort through some credits after the jump.
We actually had no idea this was being turned into a series of sorts, but since we’ve already broached the topic today, why not keep the party going. A month after Atlanta-based agency Ames Scullin O’Hare unveiled its short parody film, “The Merger,” which of course happened to take aim at you know what, the agency returns with part two. In the second installment, we jump ahead four months post-merger of fictitious agency network, Uniglobal Advercom, and see how an agency-client relationship has evolved (or devolved in this case). Obviously, subtlety has no place in ASO expressing their thoughts on the actual Omnicom-Publicis merger. But hey, we don’t really mind when the frustrated little guy wants to throw a few stones and take the piss.
ASO managing partner/creative Patrick Scullin says, “We want to show how this “Bigger is Better’ relationship withers, and we suspect this scene will be played in many corporate offices in the upcoming months. This ad agency network merger is going to entail a lot of growing pains and we’ll be there to document it and offer a better solution.” We’ll see what that solution is when the time comes, but in the meantime, you can expect at least one more installment in this series. Hooray?
Advertisers use sex to sell products all the time, so why not use sex to sell the idea of in-image advertising? Right, guys? Guys?
At least that’s the idea behind GumGum’s painful promo for their in-image advertising platform. The whole idea, really. There’s no thought put into it whatsoever. The spot, “Where Images and Ads Hook Up,” is just an attractive girl and guy beginning to hook up. When they reveal their undergarments, ugly yellow text appears superimposed on them, saying “IMAGE” on the girl, “ADVERTISEMENT” on the guy. At this point, feel free to shout “Really!?” at your computer, plant your face in your palm, or begin throwing things. We’re all a little dumber for having just watched this. Credits after the jump. Read more
Jung von Matt/Alster Werbeagentur GmbH go for the “just throw a bunch of crazy shit together” approach over the “actually makes sense” approach with their “Add Power” spot for Vodafone.
The 1:38 spot, directed by RadicalMedia’s Sebastian Strasser, feels more like a trailer for a Michael Bay movie than a commercial for a telecommunications network. It features everything from robocats and shark riding to a rocket train (that the spots’ protagonist somehow manages to keep a grip on while it’s moving at supersonic speed).
Presumably, all this craziness is a testament to the Vodafone high speed network. It’s pure testosterone over common (or any other kind of) sense. The spot certainly left me with a lot of questions: What kind of drugs is this dude on? How exactly does one ride a shark? How might I acquire a robocat? Will Vodafone be partnering with Axe Bodyspray in the future? These and other questions remain unanswered.