Beyond the low-hanging fruit…

As we approach Thanksgiving, I’m compelled to say a little something about gratitude. After all, gratitude is the very definition of giving thanks. Many of us (myself included) often experience a lapse in gratitude. We get caught up in the business of work and the mostly silly dramas that govern our lives.

I once heard a parable that I’d like to paraphrase here:

Every day a group of men set out to forage in the savannah by their village. They ventured far in order to get to the forest and its abundance of resources. Half way existed a lone, large tree in which they took a break to rest and eat lunch. “A shame this tree,” one man said. “It has no fruit for eating.” The others agreed. “And its wood isn’t suitable for building either.”

The men failed to realize the great benefit the tree provided. In fact, the old tree was a refuge. Though dead and barren, it provided shelter from the noonday sun without which their journey would have been infinitely more treacherous. This critical benefit was lost on the men.

I recall a company meeting at my previous agency. We’d had a tough year. Morale was low. The employees were skeptical about their agency’s future. Many used the setting as a forum to voice their complaints: Management was inept, they cried. Our clients are bound to mediocrity. Woe is us!

During my turn to speak I told the story about the old tree. Though our agency was, in fact, beleaguered I wanted us to appreciate all that we had: jobs, community and a place to voice our grievances freely and without fear of reparations.

In some respects I was talking to myself. I shared many of my fellow’s misgivings but I wanted healing words. Not apathetic ones. We’d had plenty of those already. Change was needed. And change would come. But on that day I needed gratitude. I worked for one of the greatest advertising agencies in the world. It had been hobbled but it was still there. Despite our weakened position, so were we.

That first winter for the pilgrims was a brutal one. Many did not make it. Yet, a precious few did. With help from the Indians, they not only survived the second winter; they thrived. Despite their many hardships the frail community held a great feast. The rest is history.

Steff\’s Twitter

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It must be national bad hair week and I hadn’t noticed. Nothing else would seem to explain the sudden profusion of hair-related controversies in the media.

Most recent is the shocking case of Australian cricket legend Shane Warne’s hair loss. He and his follicularly-challenged partner in crime Graham Gooch have just been banned. But not, you’ll be glad to hear, from playing cricket. No, it’s much more trivial than that. The Advertising Standards Authority has cracked down on an ad created for trichologist Advanced Hair Studio – promoting its laser therapy and “strand by strand” technology – to whom our two sporting heroes have been lending not only their prestige but their balding pates.

I’m a little at sea over why the ASA has taken two years to reach such a Draconian verdict. After all, the ad doesn’t actually say that AHS cures hair loss.

Which moves me neatly on to hair crisis number two: the case of Cheryl Cole’s false locks. How come that Elvive can get away with plying a palpably false impression of bountiful, bouncing, natural hair, while AHS isn’t even given the benefit of a few reimplanted strands? The answer, as so often, lies in the small print. The ASA found in favour of Elvive because it provided subliminally small disclaimers about Cheryl’s hair not being entirely her own (quite a lot is nylon, I gather). This is not, I’m afraid, a finding which sits happily within the ASA remit of  upholding “legal, decent, honest and truthful” advertising. Such dishonesty is more widespread in cosmetics advertising than we would like to believe.

The third bad hair advertising controversy is not so much a case of fairness as of silliness. I refer to the opening rounds of our forthcoming general election campaign and the two stunningly original poster ads it has so far produced: one for the Conservative Party (Euro RSCG) and one for Labour (Saatchi & Saatchi), both pillorying each other as the Jedwards, whose twin misfortunes are to have been evicted from the X-Factor, and to be burdened with a hairstyle that must make Shane Warne think twice about the wisdom of hair implants. The ASA won’t be allowed to touch these ads, more’s the pity.

Wearing your heart…

Presumably you’re in advertising or you wouldn’t be reading this blog -unless, of course, you’re my mother. Hi Mom! That means you’re well aware how much our profession has taken it on the chin lately. And not just because of the recession. Other shit that has hurt our industry, in no particular order: too many awards shows. Corrupt awards shows. Scam ads. Holding companies. Ageism. A woeful lack of diversity. Closings. Firings. Layoffs. Bogus pitches. Greedy consultants. Cheap clients. Evil bloggers. And yes, bad product. As Lee Clow so eloquently put it, “Ninety percent of advertising is shit.” He may have said “Ninety five percent.” He may have used the word “crap.” I’m paraphrasing.

In any event, I bet we could all use a reminder of why the ad game is still so much fun…

I look forward to Mondays. I really do. Part of the reason is because I am subordinate to everyone in my home, including the dogs, whereas at work I am the CHIEF CREATIVE OFFICER.

Anyway, other than recklessly wielding incredible power, here’s what makes me happy about advertising, often on a daily basis. First and foremost: I like coming up with ideas and selling them. The moment of creation is a blessed event in my life. Breaking through. Nailing it. However you describe the ah-ha moment. I love that. Unlike some of my peers, I also like selling ideas. Unveiling creative ideas to clients is exciting and fun. Not always, sure. But it’s supposed to be. After all, we’re showing the client a glorious new campaign. For some, this has become a fear driven affair. I’m lucky. Pitching and presenting thrill me to the core. Losing sucks, yes. But today we’re talking about what we like about advertising. What I like anyway.

I like the people. We are crazy, neurotic, brilliant, damaged, and young at heart. We dress up. We dress down. We ride our bikes to work. We are inappropriate. We have fun, even if it’s in a crazy, neurotic, damaged way.

I like the technology! The moment Apple created a laptop my agency gave me one. They’ve been giving me one ever since. I’m typing on it now. Advertising also gave me my Blackberry. We have more flat screens than an ESPN Zone. Down the hall is a full blown recording studio. Try finding that in a bank.

I like the travel. Milan, Paris, London, Shanghai. I’ve been all over the world. Especially L.A. and New York. And this isn’t just because of luck although I most certainly am lucky. Many creatives go many places, provided they are good at coming up with ideas and selling them.

Most advertising creatives adore production. Up before sunrise. 14-hour days. Hurry up and wait. That said you meet the coolest people on production. Like the film crew, who are cooler than you because you are now the client! Still, you’re making a film in Hollywood. It’s like being in the center of a reality TV show. What’s not too like?

I will finish where I began: Coming up with ideas and selling them. For me, nothing is as satisfying. This is why I like Mondays better than Fridays. This is why I love advertising.

Steffan\’s Twitter address

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Me llama la atención esta noticia al respecto de que el spot viral para internet que creó la agencia Euro RSCG para la marca de agua Evian, ha ganado el récord Guinness del anuncio más visto en la historia de la humanidad, con la nada despreciable cantidad de 45 millones de visitas:

Y la sorpresa no viene precisamente porque sea un anuncio X, sino porque, a mi juicio, es un fusil de un anuncio que salío en México hace ya un par de años para galletas Marías de Gamesa, donde salía un bebé bailando una canción de rap:

¿No sienten el parecido? De hecho, creo que las dos ideas son bastante regulares, nada sorprendentes.

Out of the mouths of babes…

Along with editorial about the nefarious side of our industry, the inimitable George Parker (Adcam/the Horror!) often posts sexy photos of supermodel, Kate Moss. English and silly; it’s like page 3 in the UK’s Daily Star, which is devoted to topless women. This is but one of the reasons why Parker’s blog is so popular.

The other day Parker had a story to go along with the photo of Kate. Apparently, Miss Moss was asked if she had any favorite mottos. She replied: “Nothing tastes as good as skinny feels.” According to Parker, she took some heat for saying it. Promoting anorexia in young women, etc…

Moral implications aside, as a piece of copy, I love this saying. For all the back and forth on dieting and body image, Kate’s axiom hits the sweet spot, or soft spot, depending on your point of view. The statement is persuasive in the extreme. It rings true (even if it isn’t.) It motivates. It’s a great line.

Given I recently wrote about annoying phrases we could do without, it seems only fitting I write about pieces of language that still hold their power. Sentences like that are pretty special; they don’t feel manufactured or repurposed. True or not, I feel as though Kate made this one up herself. And I say to myself: ‘Ah, that’s it. Now I know how and why supermodels stay thin.’

During an interview about new business pitches, I once made the following statement: “Losing feels worse than winning feels good.” I’ve since heard it used before. Yet, at the time, I felt I’d come up with it. Both lines (mine and Kate’s) are great reminders at how powerful the human language can be.

Ernest Hemingway was obsessed with making sure every sentence he wrote was perfect. Subsequently, most of them were. But once in a while schlubs like me, or Kate Moss, get it right as well.

Adscam post

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Steffan\’s novel!

So the benchmark has been set. Over 45,000,000 views says so. BETC Euro RSCG and Evian’s ‘Rollerbabies’ ad on YouTube were awarded an official Guinness World Record for the most viewed online ad of all time this month. Whichever way you look at it, the fact that it was seeded heavily with paid promotion, it’s still makes the mark as a ’successful’ ad. Converted to sales? I’m unsure. But this sort of exposure now takes planning, time, and a lot of testing. No longer can ‘home videos’ make for easy viral brand success.

Coochie, coochie, coochie, coo!

Cute article in the December issue of Vanity Fair, by Jim Windolf entitled Addicted to Cute. In it, the author discusses the “tsunami of cute” rolling over modern America. “We’re drowning in puppies and kittens and bunnies and cupcakes.”

Try living with three little girls, Jim.

But seriously (if serious is possible in a story like this), the author is on to something. Cuteness has become more than just the providence of young girls and their grandmothers. All one has to do is look at how many immensely popular websites are devoted to cuteness or what the keeper of YouCan’tMakeItUp called “bittersweet sadness and heart-splosioning adorablosity.” She’s talking about a collection of photos featuring small animals in casts. Kittens with leg braces!

Windolf’s essay opens with a discussion about a YouTube video called “Hahaha.” Perhaps you’ve seen it. It’s about a laughing baby. It has over 100 million views. Apparently YouTube officials showed it to Queen Elizabeth when she visited their headquarters in London. She said it was “lovely.” 100 million views? Queen Effen Elizabeth? It’s a laughing baby, folks.

Where all this gets interesting is where you least expect it. Take the phenomena of the Mini Cooper and the Smart Car. These adorable vehicles come off the assembly line smiling and America can’t get enough of them. Low gas milage? Sure. But it’s their unabashedly cute aesthetic that is driving sales.

And speaking of cars, Wildoff points to the GEICKO Gecko as a commercial manifestation of the cuteness pandemic. Over the years the popular spokes-creature has evolved from skanky reptile to adorable critter. His color has been warmed, his scales diminished and his eyes widened. Bigger eyes are a surefire marker of cuteness. Just ask the Japanese. Hello Kitty!

Finally, consider our President, Barak Obama. That smile. That gleam in his eye. All that hope! Could the guy be any cuter? Yes he could. By adding the perfect American family, right down to a dog named “Bo.” Let’s face it: the edgiest thing about our President is his skin color. Obama is the Commander in Chief of Cuteness.

So, what is up? Is cuteness backlash to the crippling financial crisis? Lord knows that’s been depressing. Is cute the antidote? Can puppies and cupcakes take our frazzled minds off staggering unemployment and underwater mortgages? Do laughing babies and big-eyed lizards placate the unemployed? Obama’s been in the Oval Office a full year. If nothing else, Cash for Clunkers was a cute idea. Public Health Care not so much.

Whether cuteness is spoiling our country or merely distracting it, we can hardly avoid its presence. Or can we? I recommend a good zombie movie. Try Dawn of the Dead, the original or remake. Of course zombies are my answer for everything.

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“You said it not me.”

Recently, I came across a list of “annoying phrases we’d like to see gone.” Unfortunately, I can’t recall who the “we” is. My apologies. Lists are ubiquitous in popular culture. Top ten. Bottom ten. And everything in between. We love our lists!

On this list I recall one phrase in particular. It happens to be a phrase I like and use and, honestly, would be sad to see go away. The phrase: “perfect storm.” For the record, a “perfect storm” is when circumstances collude forming an ideal environment for a particular event or phenomenon. The phrase is based, of course, on the best selling story of an ill-fated fishing expedition caught unawares by a terrifying storm.

I like this phrase. Adore it even. So I was saddened to discover it on a list of things we can do without. To me the perfect storm is an edgy, poetic and timely way to make a certain point. Or at least it was!

Funny, I can’t recall any other phrase or expression that was on this list. But there is one I wish was: the hackneyed summation clause, “at the end of the day.”

I once had a boss (who shall remain nameless) that used this expression every time she spoke. It drove me bonkers. I became obsessed. In meetings, I would wait apprehensively for her to utter those words. I did not have to wait long. At the end of every comment she said it: at the end of the day. She was like a parrot: Bawk! At the end of the day! Bawk! At the end of the day!

Granted, part of my problem was with the messenger. But to coin another hackneyed phrase, What are you going to do?

I bring all this up because advertising copy often employs, and sometimes even introduces, such phrases into the lexicon. I was part of the team who launched “Not your father’s Oldsmobile.” A week doesn’t go by where I don’t see a variation of this line. Has it worn out it’s welcome too?

I make it a point to avoid such catch phrases. I once thought they implied ignorance in the user. I’m not so sure anymore. I know plenty of very smart people who are stuck on certain statements. We all know people who overuse words like “like” and “you know.” Just as pervasive are the adverbs “basically” and “frankly.” I tend to think we use these banal terms to buy time when we’re speaking, like, you know, to get our thoughts in order. I also notice people applying them when they’re speaking to an audience, when such quirks are least desirable. Unfortunately, nervousness tends to breed the use of clichés. We get anxious. We want to say just the right thing. And we can’t. The perfect storm.

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Miracle Whip vs. Stephen Colbert. Round II

A remarkable story from those adorable guttersnipes at Agency Spy; it’s about one of our clients (Kraft) and a competing agency (McGarry Bowen) so I have to tread carefully.  Some background. Last month, on his popular show, Stephen Colbert teed off about Miracle Whip’s new advertising campaign. In his inimitable style, he took the salad spread to task for trying to be hip and edgy. It’s all here: Colbert & Miracle Whip on Agency Spy

So, Colbert ridicules another advertising campaign. Funny sure. But for him a lay up. Skewering commercials, pop stars and politicians is what he does. Most of his victims invariably take it on the chin, especially national advertisers. What are they supposed to do –fight back? Make a spectacle of them selves? PR 101 suggests clients remain above the fray. Don’t draw any more attention to the matter.

Kudos to Miracle Whip for not listening to this advice… What. So. Ever. According to Agency Spy, the brand took out a full-page newspaper ad today making light of the whole affair. It’s quirky, unexpected and that’s not the half of it. Adhering to their own brand strategy (We are Miracle Whip and we won’t back down), the brand taunts Colbert by stating their intent to run creative (the very creative he made fun of) during every commercial break on his show this evening. “In a sense,” they wrote, “We own you.”

Even if Colbert sarcastically thanks Kraft for throwing all those ad dollars at his show (what I’d do) I still think the proverbial shoe is on the other foot. Miracle Whip making him their bitch is pretty damn radical. Way outside the box wouldn’t you say?

Knowing the people, places and things associated with this story, I think it’s stunning. And brilliant. No matter what Colbert does he’s playing into their hands. More talk. More story. More buzz for Miracle Whip. In other words: social currency. Which, if I’m not mistaken, is what every agency is promising, and only sometimes delivering, for their clients.

And finally, props to Agency Spy for seeing this story for what it is. As of this writing the trades hadn’t.

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“Why is goodness so gosh-darned boring?”

In my novel, The Happy Soul Industry God decides to hire an advertising agency to market Heaven. Frustrated by how few converts organized religion is bringing in, She (that’s right, She) reasons a modern advertising agency might capture the imaginations of young people better than current theological tropes. If the bible (and similar texts) serves as advertising copy for goodness then, God observes correctly, few are bothering to read it, let alone be motivated. Nobody reads body copy anyway, right?

One of the things that prompted me to write the book was the poignancy of God’s dilemma: that no one is paying much attention to goodness. A big question then is how come goodness is so darn boring?

It’s easy to fault ancient rhetoric. After all what’s more archaic than scripture? By definition it’s old. In the age of instant gratification and Twitter how can old-fashioned goodness possibly compete? It can’t and never could.

The Devil has always been a better showman than God. Even now, popular culture is rife with evil characters, from Twilight’s sexy vampires to legions of vapid, self-serving reality stars wallowing in their own depravity. Even the good guys need a dark side in order for us to identify with them. House is a doctor but he’s self-centered to the extreme and a drug addict! Indeed, the Seven Deadly Sins are pretty much standard fare these days. Lord knows we play fast and loose with them in Advertising. “We make you want what you don’t need,” reads the header to my blog. That’s envy, gluttony, lust, greed, pride and sloth. We’re only missing Wrath!

But why are God and Heaven uninteresting to us? How come they can’t compete with evil’s myriad titillations? Why does goodness come off the bus sleeping?

Already my kids dislike church. They were bored from day one. Is this the best way to ignite their tiny, vulnerable flames of spirituality -via hot air? Must religion be dull, uninviting and, er, preachy?

I suppose snake handlers bring excitement to their message. Certain Baptist groups rattle the rafters with hymns of joy. I love that Bono sings about God versus getting laid. But by and large mainstream religion is duller than a bag of hammers. When it is exciting it is usually violent. Sister Mary is going to thrash you! You’re gonna burn in Hell! Yikes. My children’s illustrated copy of the Old Testament manages to be both dull and terrifying. So much is wrong with this picture…

The average person is neither beast nor saint. If on balance, we are neutral then it stands to reason we can be motivated in either direction. So why has evil always been seductive and goodness not?

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I keep seeing this bizarre spot from US Cellular about battery swapping. Or at least I think it’s about battery swapping. To be honest, I get wierded out by the commercial so I never really pay attention to its message. Even as I write this I don’t actually know what this commercial is about. Yes, I could have studied the clip (I posted it after all) but I chose not to on purpose. Why? My ignorance is relevant to this discussion. I maintain the spot is so odd (and oddly boring) that I can’t (or won’t) discern what it’s about. I am made bored and uncomfortable by this commercial. An oxymoron I know. But that’s my reaction every time I see it.

A monosyllabic robot is playing jump rope with a strangely unresponsive child. As the robot turns the rope he delivers a message. Somewhere along the way the robot malfunctions…I think. The girl then stares at the robot with a look that can best be described as robotic. Unfortunately, I’m pretty sure her catatonic reaction is unintentional. I honestly think the child simply can’t act or hasn’t been directed properly or both. I feel sorry for her. It’s all I remember from the commercial. See for yourself. It’s creepy.

Am I missing something? Is this TVC actually charming? Is the little girl cute? Is the robot cool? US Cellular is running the hell out of the spot so they must like it, right?

I’m not hating on this spot… per se. Hate seems too strong a word for this oddity. I don’t loathe it like I did “Saved by Zero” or, for that matter, the Progressive Insurance lady –both campaigns I punched around recently. Yet, with those campaigns at least I knew exactly what they were selling. Not so here.

What say you, Gentle Reader: Is this spot confusing and weird or am I just missing the point?

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The Adchick featured a pretty terrific German TV commercial the other day. Highlighting the spot here also gives me a chance to introduce la femme d’advertising to you. Adchick runs a small agency in “Hooterville” (her words). The small-town perspective she brings to the urbane but jaded world of Adland is always appreciated… and fun. Bookmark this lady, folks. You won’t regret it.

Adchick, you dirty bird!

As for the pro-bono TV commercial, it’s the perfect subject matter for my blog. It’s not that we haven’t seen the idea before. Variations on its theme are ingrained in popular culture. The idea of following a piece of currency (in this case 50 Euros) from one person to another reminds me of countless stories, films and, if you think about it, the evolution of communication itself. Is not the telephone game a variation on this theme?

Here the currency circulates through society’s grimy underbelly, from stripper to thug to drug dealer, eventually being put to “good” use helping a worthy cause. Such a simple idea, as old and universal as organized religion. Good triumphs over evil.

Understandably, most of the TVC focuses on evil. That’s what makes the spot cool, right? Yes, but I’d also argue there’s deeper meaning here, perhaps more so than even the filmmakers intended. While the currency is inanimate it symbolizes mankind’s descent into Hell. Money is the root of all evil, right? In this short film we partake in all seven deadly sins: Lust, Gluttony, Greed, Sloth, Wrath, Envy, Pride. Why? Because hitting bottom is a necessary part of recovery. We need to wallow in depravity before getting saved.

Then redemption. When the banknote is finally placed in the charity jar the story is complete. More than a happy ending, through this act of contrition, the giver receives salvation. In a sense, we all do.

Out of pride, I’m sure the creators of this film only wanted to win some awards… but their creator found them as well! God works in mysterious ways. Especially the Gods of Advertising!

Adchick

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“Together we get rid of pounds ”

Agenţia: Euro Rscg, Zurich, Elveţia
Executive Creative Director: Frank Bodin
Creative Director: Axel Eckstein
Art Director: Rob Hartmann
Copywriter: Nemi Gajic
Grafic Designer: Roswitha Brülisauer/Isabelle Bühler
via

“We Want You! We Are You!”

I had an angry, violent reaction to the radio this morning. I am only just recovering. Hopefully, putting these thoughts down will mitigate the pain. I don’t know…

Some context: My wife was obliged to drive me to work, a rare event. My three daughters were also in the car, on route to school. As we all know, “morning drive time” is still a bastion of mass media -a radio stronghold. Mrs. Postaer had on a particular show: Eric & Kathy in the Morning.

I know Eric and Kathy from their innocuous billboards around Chicago. I am aware of their radio show from bits and pieces. However, I have never had to endure more than a few minutes with them. Until today.

Today, I learned why America’s mainstream is also a clogged artery. Today, I learned why terrorists want to kill us. Today, I became a victim of Eric & Kathy in the Morning. After 10 minutes of excruciating, inane patter I wanted to end my marriage – if for no other reason than to avoid becoming anything like them. After 15 minutes I wanted to become gay and/or black (same reason as above). After 20 minutes I wanted to end my life, but not without taking them out first!

Listening to Eric and Kathy, as one colleague so efficiently put it, is like listening to people who watch The View. For those unawares, Eric & Kathy represent the typical white suburban couple. They talk about American Idol and Dancing with the Stars. They make fun of gross celebrities and local buffoons. They cheer our sports teams and jeer their enemies. They finish each other’s sentences. They use an ampersand in their ads. So cute! Like those bushy, multi-colored sweaters Bill Cosby made us wear in the 80’s, they are inexplicably a part of Middle America’s wardrobe. Why, my God why, do people put them on in the morning?

My wife laughs at me during my tirade. “They’re funny,” she says. “They’re harmless.”

You agree with her, don’t you? You think I’m being melodramatic. Eric and Kathy can’t be as bad as, say Jon and Kate. Here’s why they’re worse: Unlike the Gosselins, Eric and Kathy believe they are on some kind of high road. Eric and Kathy believe you relate to them. When they joke about secretly loving the Olive Garden they know you do too! The Gosselin’s want no part of Middle America. Eric & Kathy want it slathered in mayonnaise!

Full disclosure: When I drive, I sometimes listen to sports talk. The knuckleheads manning the mics are not above criticism. Far from it. But at least they speak of things that matter, like the over/under on Monday night’s game.

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To virtually kill your friends seems to be the new trend in buzz creation. 13ème rue, a french channel launched, in association with the agency EuroRSCG, a website called jetueunami.com (Iamkillingafriend.com traduced in English). Upload a photo of your friend, choose a hired killer and look at the video of the virtual murder. This video will be sent to your friend, who could investigate to find his murderer.A website created by Publicis Montreal for Ubisoft Canada uses the same “game” to promote the new video game Assassin’s Creed II. Missionassassin.com permits users to connect their Facebook accounts to choose friends they want to kill in the game.The question is: Except the outstanding work on website’s design and intuitive navigation, are these websites ethical?

Le principe est plutôt glauque et pas mal controversé sur la toile suite à la sortie du microsite Jetueunami.com lancé pour promouvoir la chaîne française 13^ème rue.

Voici un slogan plutôt anodin pour la promotion d’une chaîne de télévision. Cependant, l’agence EuroRSCG qui a misé sur une campagne très virale a tout à fait remporté son pari.

Jetueunami.com vous propose purement et simplement de tuer un de vos amis (pour rire bien évidemment).

Il vous suffit de télécharger une photo de votre ami avec son visage de face et de choisir parmi cinq tueurs à gage ayant des modes opératoires plus effrayants les uns que les autres :

Ca y est, votre choix est fait entre Big, Ivan, Toni, Monika ou Oliver ?

Vous recevrez alors un court métrage très bien réalisé de l’assassinat que vous avez commandité. Votre ami, quant à lui, recevra ce type de message effrayant:

Il pourra par la suite mener l’enquête pour découvrir qui a organisé son assassinat et, bien sur, vous rendre la pareille.

Voila une opération de marketing viral réussie. EuroRSCG a demandé à des bloggeurs de relayer l’information et désormais on en parle un peu partout (blogs, Twitter, Facebook…) en bien ou en mal. La question demeure : Malgré son interdiction aux moins de 16 ans, ce site est il trop violent ?

Une chose est sure, aux niveaux de « la viralité » de l’opération et de la qualité du site, le débat n’aura pas lieu.

13^ème rue a de nouveau réussi à faire parler d’elle !

Dans le même état d’esprit, parlons du microsite missionassassin.com destiné à la promotion du jeu vidéo Assassin’s Creed II dont la sortie est prévue le 17 novembre 2009. Cette campagne a été réalisée par Publicis Montréal qui a décroché son premier mandat interactif avec Ubisoft Canada.

Le site plonge l’utilisateur à l’époque de la Renaissance Italienne (époque durant laquelle se déroule le jeu) et lui demande d’effectuer une mission sécrète qui lui permettra d’entrer dans une confrérie. Auparavant, le joueur devra assassiner ses amis via Facebook. Avec Facebook Connect, il choisit un ami puis remplace le visage d’un personnage par le visage de son ami (grâce à la possibilité d’utiliser les photos de profil Facebook de son ami). Le microsite télécharge alors un court métrage de l’assassinat de son ami.

La victime recevra la vidéo par courriel et devra mener l’enquête sur son assassin.

Fidèle au décor du jeu vidéo, cette campagne fera grand bruit !

Le fonctionnement des deux sites est donc très similaire avec ce rapprochement entre le réel (amis réels) et le virtuel (assassinat virtuel) dans un contexte violent.

Le débat a éclaté sur le site Emarketool : Outre la très bonne qualité des sites, on en vient à se demander si cette violence ne vient pas flouter la morale numérique. Personne ne peut empêcher un enfant d’accéder au site et de tuer virtuellement ses proches…

Qu’en pensez-vous ?  Jusqu’ou aller pour faire un buzz ?

Sources : emarketool.fr ; infopresse.com ; lepost.fr ; jetueunami.com ; missionassassin.com

Two peas in a pod?

“Much of the Simpsons’ success can be traced to two main sources: an independence from network interference and a complete dedication to the writing…”

-John Ortved, The Unauthorized History of the Simpsons

The Simpsons TV show is the creative standard by which all comedy writing (perhaps all script writing) is measured. Few ever meet those standards. Many duck them all together. The Simpsons is also one of the most successful things ever created. Period. No part of popular culture (ours or anyone’s) is unaffected by this quirky cartoon. How and why can be summed up in the above quote.

As you might imagine, the above quote is sweet music to any creative person’s ears, especially if you’re a copywriter. Unfortunately, it is a song we seldom get to play or hear in the creative department. We get “network interference” all the time, so much so it is considered part of the “process.” And while we may have a complete dedication to the writing, few others in a typical agency do. And why should they? Writing is not their skill set. They are executives, strategists and managers. Their skill set, if you get right down to it, is to affect the writing, generally via “comments.” Comments can be good. Comments can be bad. My point is we don’t work in a vacuum.

The “curiously strong mints” campaign is my Simpsons. In my own unauthorized untold true story of Altoids, I make a similar statement to Ortved’s. A great campaign for many reasons but, in the early going, its meteoric success comes down to the same two things: autonomy and an obsession for writing. I obsessed over those headlines as my partner, Mark Faulkner obsessed over images, color scheme and typography.

In that first year we answered to no one, save for our creative director, who was only appreciative and supportive. Obviously, the client had to sign off (they were a joy by the way) but “network interference” was negligible. Why? No one in the agency cared. The budget was tiny and TV never an option. (Remember this was 1995 and this was Leo Burnett. TV was king.) Anyway, the rest is history: Wrigley bought Altoids and Lifesavers for $1.5 billion dollars.

Ultimately, many would contribute in the case study of Altoids (I’ve named them in previous posts as well as in an Adweek story) but year one it was just a creative team and an assignment.

So, what do we make of “network interference” aka the age-old battle between suit and creative? We are both on the same team, working for the same “network.” But the partnership is strained. Necessarily perhaps. And maybe that’s healthy. But for those once-in-a-lifetime campaigns –“Think Different” “Just do it.” “Curiously Strong Mints”- I’m guessing it’s the creative lonely man who called the tune.

I see the diaspora of talent from BBH has claimed another emigré. This time, it’s from the creative department. Mick Mahoney, a creative director, has quit to become ECD at Euro RSCG – which has been bereft of a creative chief since Mark Hunter went to TBWA\London, back in April.

At least Mahoney didn’t defect to a WPP agency. For a while, it was beginning to look personal; or, alternatively, as if WPP lacked imagination in the talent department.

“OMG, ‘Tis a mighty fine fireplace!”

Yes, I still read the morning paper. I can’t live without my laptop and PDA but I have this theory that technology is a hassle –albeit a minor one- first thing in the morning. A newspaper’s words and pictures are easier to stomach at this time, kind of like corn flakes instead of beef stew. Few advertisers care about we holdouts, however, hence the shrinking size of papers and their audience.

Among those still using newspapers as a primary advertising vehicle are the good folks at the Amish Fireplace Company. Every day I see a full page advert in the Chicago Tribune hawking oak mantles supposedly made by “Amish craftsman working their fingers to the bone…to make sure everyone gets their delivery in time for Christmas.”

Without getting into the particulars, the advertiser offers a ‘buy this, get that’ scheme featuring a heating mechanism and prefab oaken mantle or “portable encased Amish fireplace.” Extremely long copy employs every selling trick in the book: an endorsement from Good Housekeeping, a made-up “calling zone” dividing the United States into three bogus temperature regions, a 48 hour deadline for ordering from the “hot line,” and so on… The flowery and sensational copy reads like a 30-minute infomercial.

But my favorite part of this corny newspaper ad is the visual, which depicts a bustling workshop filled with overall-wearing Amish craftsman busily building fireplaces. Helping the men folk are numerous plaintive females, replete with long dowdy dresses and puritanical head wraps. Oh yeah, and they’re in a barn! It’s like Santa’s Workshop, but instead of elves the workers are all characters from American Gothic.

In addition to the corniness of the photograph is how wonderfully fake it is. Given the Amish theme, it’s ironic how much retouching is going on. In a blatant use of Photoshop, every stage of the building process has been crammed into a visual narrative: sawing, hammering, staining, polishing, etc. Subsequently, way too many people are doing way too many things. No way the Amish or, for that mater, OSHA would allow such conditions.

Looking again at the photo reveals many fake and hilarious details. Despite the close quarters, none of the workers are interacting. Each Amish person is religiously going about his or her appointed task. The effect is creepy not inspiring. About half way through the assembly line, the fireplaces are suddenly on! A worker applies stain on one as its fake logs burn. Scattered blocks of wood and shavings complete the surreal tableau.

Finally, we have the fireplaces. Little more than glorified space heaters, these oaken monstrosities couldn’t be more ugly. Just the idea of a movable, pre-fab, fake fireplace is tacky, let alone the garish finished product. It all seems so un-Amish. A separate inset photo shows a horse drawn buggy carrying the hideous contraptions down a lovely country road. Crazy!

Is this an exploitation of the Amish? I wonder if and how they are getting paid for this? Before declaring them victims, bear in mind most of our country’s mobile homes are built, in part, by the Amish. My point? Despite famously strict values, the Amish are on the record for being tacky as they are industrious. And what if they’re responsible for the product, outright? Is Amish Fireplaces really an Amish fireplace company? Why not? Native Americans run casinos. The website, amishfireplaces.com is hosted by Heat Surge, LLC, which suggests otherwise.

Whatever. I don’t much care. Ultimately (and ironically), the real victim of this scam is sense and sensibility.

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“Honey, this spot rocks!”

Here’s a Halloween treat from the Gods of Advertising: A double feature!

First up, from The Daily Beast, the 11 scariest movies of all time as chosen by famed director, Martin Scorsese. Few of his picks would be on my list (Where are the zombies, Martin?) but it’s a cerebral and global selection. On it you’ll find everyone’s favorite shocker, The Shining.

Martin\'s top 11 horror movies!

Which brings us to the next part of our double feature. My brother, Jeremy Postaer just completed two new Bing spots, where he serves as Creative Director and, of all things, voiceover! Both spots are surprisingly fun and a wee bit scary. Barely back from client approvals, here is the first, Vampire just in time for Halloween.

Client: Bing, Microsoft
Agency: JWT
Creative Director: Jeremy Postaer
Writers: Dave Ekholm, Brock Kirby
Art Directors: John Cornette, Andrea Schnieder
Producer: JD Williams
Dirtector: Craig Gillespie

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From grimy to shiny!

In exchange for advertising and naming rights, The City of Chicago has agreed to let Apple renovate a dilapidated train station at North and Clybourn. The rehab will cost Apple approximately $4 million, according to Thomas Corfman of AdAge.com, who broke the story. The plan coincides with Apple’s new store slated to open in the area.

Folks, I love this idea. Unlike selling out a beloved institution like Soldier Field, Wrigley Field and the Sears Tower (now Willis Tower), the financially strapped city of Chicago can save or make money via its numerous, often decrepit train stations.

As I understand it, the station stays essentially the same, only now it will be cleaned and fixed as well as tricked out by some of the coolest ads on the planet.

Like a lot of cities and towns, Chicago is in financial trouble. Mayor Daley has announced he will be dipping into our cash reserves to mitigate the huge and growing deficit. We already pay higher state taxes than almost anyone else in the country. Under these trying circumstances, I say, go for it! Sell all the stations you can.

Station domination by Apple (or anyone) won’t end Chicago’s financial crisis but it’s that rare solution without a conspicuous downside –or one that I can see, anyway. And, as I stated earlier, commercializing an “L” stop won’t offend the romantic sensibilities of our citizenry. On the contrary, it might make visiting these places less gruesome and maybe even fun.

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“Hey, Irish, let’s make the world a better place!”

Watching the Notre Dame game this weekend, I was taken aback by the university’s advertising. Why? Because it’s good. Not awards show material, but solid. The campaign answers to the tagline: We are the fighting Irish. But instead of playing up the famous football team and the college’s illustrious all-American history, ND chooses a more enlightened interpretation to the line and, in turn, toward marketing their campus. Notre Dame is fighting for the environment, fighting for a healthy global economy, and fighting for the rights of handicapped athletes.

Normally, the obligatory commercial for each school playing in a televised game is just that: obligatory. Typically, we see students bent over their textbooks in the library or gallivanting across their picturesque campus. Often the propaganda intersperses famous alumni and iconic buildings. These are the motifs most often associated with college advertising. The approach is understandable, given budget constraints and financial priorities.

It’s not that Notre Dame avoids these elements in the construction of their advertising; it’s how they put them together. Most are well written, well produced and, in their own way, powerful.

Lest you think I’m a Notre Dame alum or fan, I’m not. Basically, I grew up hating Notre Dame and its goody-goody reputation. The fact that they always won drove me and countless others crazy. The fact that they have been losing of late mostly makes me happy, as it does my brother, Daniel who went to USC. I say mostly because my great friend, John Coveny (writer/producer: The Closer & Trust Me) is a Notre Dame alumnus. For his sake I want the team competitive. Sort of.

Regardless of one’s fandom, we have to give props to Notre Dame’s advertising campaign, especially the long form commercials. They portray ND as enlightened, world class and compassionate.

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Progressive or just plain annoying?

My friends at Ad Pulp wrote a post the other day on the ubiquitous “Progressive Insurance Lady.” (She’s doing her thing in the above clip.) Adpulp wondered if folks were grooving on the quirky, in your face character or hating on her. In either case, they correctly noted that she has already left a mark on pop culture.

Or is it a stain? While I must concede her notoriety, I don’t like the character. I don’t like her flirty, in your face attitude. Nor do I like her pseudo hip, cleaned up bohemian shtick. (Ooh, maybe she’s got a tattoo under that nurse outfit!) Can you say Janeane Garofalo? I could go on (and I will) but the bottom line is she drives me crazy in a bad way, not unlike the Verizon “Can you hear me now?” guy.

Fittingly, her name is “Flo,” which, as you know, is also the nickname many women attach to their periods. How apropos!

That said, according to a linked article on Adpulp, a growing number of people are enamored of the Progressive Girl; as a matter of fact, she seems to be attracting a cult following. By the way, the actress’s name is Stephanie Courtney and she claims to be “floored” by all the attention she’s getting.

Enjoy it while you can, Steph, it may become your legacy. Like Madge “You’re soaking in it” or the above-mentioned Verizon geek, you are rapidly becoming a human stain on our culture. You are conspicuous and hard to forget. As I implied in the opening, this may or may not be a bad thing for the advertiser. That all depends on what you think advertising is supposed to do. If sales and awareness are up it’s hard to argue with her. We still can, by the way. And sometimes should. If an ad campaign achieves its primary goals that does not absolve it of any wrong doing. Remember the yipping Chihuahua for Taco Bell?

But is Progressive building its client base? Just because a group of viewers developed a stalker-like fetish over this whitewashed hipster doesn’t mean the brand is deriving any benefit. If the Progressive Insurance Chick has a fan club, are any of its members switching to Progressive? I doubt it.

Characters we love to hate fascinate me. Maybe she’s one of those? I don’t know. Right now I just hate her. A lot. In fairness, and in conclusion, I should point out that it could be the scripts I dislike more so than the actor. So far the spots I’ve seen are cloying and pushy. And what’s with all that white space? Kind of reminds me of a 70’s version of heaven…for reasons unknown.

The Adpulp story

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