It was fun last week, discussing and debating the Super Bowl ads. It felt particularly special since it’s so rare that we all share an experience. The digital/mobile takeover consigned such commonality to the past, now that we build networks conformed to our own perspectives.
When even our media gravitate toward the niches Chris Anderson famously dubbed ‘the long tail,‘ how can you attract people back to mass platforms like network television, the long tailed beast’s metaphorical body?
Like any marketing challenge, successful solutions require a brilliant strategy. Just over three years ago, some clever people promoting Denmark’s TV2 created video content that is as strategically brilliant as it is emotionally powerful …
Celebrating not what divides us but all that we share; this is a resonant insight brought to tone-perfect life through writing, casting, music, and edit. There’s such delightful surprise in the discovery of our collective commonality and the unexpected things we share.
Locked off so much of the time in our own corners, it’s helpful to be reminded of that. Helpful, and reassuring.
By hooking up decibel meters to red lights, the police assessed honking noise in real time and then, through an admirably perverse algorithm, delayed green lights, resetting the countdown if the honking volume exceeded 85 decibels. In their words, the idea was “honk more, wait more.”
While admirable, this effort feels rather ironic coming from a country that acknowledges the free-for-all nature of their chaotic roadways with the admonition “Good brakes, good horn, good luck.”
Will this clever trial quell India’s addiction to honking?
Hard to tell, but in a country with 11 times the population density of the United States and no subway or mass transit system, the question really is ‘what can it hurt?’
Fingers crossed and holding my ears for you Mumbai…
PS: Hat tip to Greg Popp who steered me to this story in the NYT. Good luck with your shoot in NZ, amigo.
Now that the game is over and all the teasers and tie-ins have played out, that great arbiter of Super Bowl commercial rankings — USA Today’s Admeter — has declared a winner: Jeep’s charming and hysterical “Groundhog Day.”
Bill Murray killed it. So Jeep killed it. But Highdive? The agency that created this spot? They totally killed it.
Just not for the obvious reason.
Sure, their new spot is a note-perfect comedy gem, a meticulous recreation that adds wonderful new gags. It’s a spot we all wish we had done.
But just one year ago, Highdive was a relatively young startup agency with a handful of employees that somehow produced a :60 for the Super Bowl.
And their spot got savaged on social media.
Their ad featured a Dr. Martin Luther King sermon, artfully edited to highlight Ram Truck’s tagline “Built to Serve.” Critics cried foul, pointing out that MLK’s full remarks specifically argued against aggrandizing yourself by buying fancy cars. With Black Lives Matter very much in the headlines, their debut spot was roundly panned for being tone deaf.
So Highdive had their moment in the sun. And failed. Very publicly.
Many have written about the lessons of failure, about how much adversity can teach you for the next time. And all too many creative people lose heart when critics pounce, believing their chance is over, they missed, there will be no next time.
Happily, Highdive didn’t. And now here they are, just one year later, occupying the highest perch in the advertising landscape. They took the hit, learned from it, and bounced back with a vengeance.
And a groundhog.
Kudos to them. May many more good things lie ahead.
PS: One other lesson from this year’s ads? If you want a quick primer on how music shapes viewer emotion, pay attention to how the score and SFX of this one and this one generate inspiration and the start and stop of this one drives the comedy. Wonderful craftsmanship.
Maybe you’re bumming at the end of a week when you realize that laws, rules, and the constitution no longer seem to matter. That dishonest, self-centered, Russian-influenced behavior barely registers a head nod on this Friday.
It’s easy to lose faith in our political system when you feel it no longer represents the American people (thanks Citizens United!).
But then, if you’re lucky, you come across something that’s purpose isn’t to further divide or scare us. You discover something whose intent is actually, exactly the opposite…
Thank you, random committed Jon Bon Jovi fan in the park. And thank you random fellow citizens. Humanity and humor is so much stronger than party politics.
Marketers tend to consign User Experience discussions to digital executions. But last July, South Africa and Norway gave a sculpted bench as a gift to the United Nations that perfectly embodies branded UX.
As a physical piece, it is elegantly simple: a long, spare, gracefully curving, arc.
But as a User Experience, it is quietly effective; sitting down puts you in close proximity to anyone else sharing the bench.
And that’s exactly the point. The Norwegian design firm Snøhetta took their inspiration from a Nelson Mandela quote:
“The best weapon is to sit down and talk.”
Nelson Mandela, Mandela: The Living Legend, BBC 2003
Mandela’s words reflect the United Nations’ mission to maintain international peace and security. As an experience, “Best Weapon” is entirely on brand. And in these exhausting days of showboating, self-interested politicians posturing as leaders, this sculpture’s core human truth resonates in powerful silence.
You might know it as a Hollywood landmark and an official Los Angeles Historical-Cultural Monument. The cylindrical mid rise peeks over the shoulders of DiCaprio and Pitt in Tarentino’s latest movie. And whether intentional or not, the Capitol Records building visually suggests vinyl albums stacked on a spindle.
The 63 year-old building’s architect Louis Naidorf repeats his protest that such an allusion was never his intention in a recent Billboard interview. His bosses didn’t tell him who the building’s namesake company would be; the then 24 year old Naidorf was simply told to design a 150 foot tall, 13-story building on Vine Street with work spaces of equal size and no corner offices. When Naidorf eventually learned the principle tenant’s identity, he worried his design might be considered a cheap, gimmicky stunt.
And at first, it was. The Capitol Records people initially passed, wanting a more traditional, rectangular building. But here’s where the story really resonates. Naidorf says the other tenant of the building, an insurance company, argued for his singular design. He recalls them advising the Capitol Records team “You’re not on Hollywood Boulevard, you’re up some damn side street and you’re only occupying half of the building and leasing out the rest. People won’t laugh at the building, but they will notice it and that’s damn good for leasing. Do the round one.”
“People won’t laugh at the building, but they will notice it and that’s damn good for leasing. Do the round one.”
Getting noticed rarely comes from expected solutions; noteworthy ideas spring from the new, the novel, the innovative. And anything new, novel, and innovative introduces risk.
Happily, the insurance execs recognized this and had more trust in Naidorf’s idea than their hepcat record label counterparts. They saw it wasn’t truly risk, but rather uncertainty. If Naidorf’s design came together, they would be leasing office space in a hot property everyone would recognize. And to them, that sounded good.
In the creative world, where ideas are the only currency, not pushing for the new, the novel, and the innovative is actually a far greater risk. Because safe thinking leads to the absolute worst outcome of all: disinterest. No reaction is more soul crushing than “meh.”
With his very first professional project, Louis Naidorf crushed it. Looking back on his long and successful career, he seems to recognizes that. “It’s a sweetheart. I like the building. Sixty seven years is a pretty long time for a design to hold up.”
It certainly is. Your idea literally changed the landscape Mr. Naidorf. So glad they went with the round one.
A brilliant new driving safety campaign out of New Zealand badges injuries to stress the importance of wearing seatbelts. Every year, ninety Kiwis die because they weren’t wearing theirs during a crash, but a new campaign from Clemenger BBDO sets out to address that for their client, the New Zealand Transport Agency.
Because younger men are less likely to use one, the agency partnered with VICE to find younger New Zealanders whose lives were saved because they were wearing their seat belt during a crash. Hundreds of survivors responded and ultimately, the agency chose ten for their campaign.
To visually brand the idea, the agency brought in the FX makeup team PROFX to recreate each victim’s crash injuries. Using post-crash photographs, they recreated the physical imprint of the belts on the survivors for a powerful print and outdoor campaign. The final portraits feature survivors wearing their seatbelt imprints with palpable appreciation.
The survivor pictured above is Liam, whose car was T-boned by a truck. On the Belted Survivors website, we learn he woke up from a coma just in time to witness the birth of his daughter. Story details like this add a powerfully human and visceral urgency to the work’s imagery.
The NZ Transport’s message aims to change the perception that buckling your seatbelt is only for kids or old people. With powerful visuals like these, they should be very successful at achieving their goal. This is powerful work, beautifully and memorably done.
Whether you think Elon Musk’s new electric pickup looks badass or just plain bad, you can’t dismiss its market impact. As of late last night, Tesla had signed 250,000 pre-orders for the Cybertruck. That’s a quarter of a million in less than a week for an unproven, forty thousand dollar vehicle promoted with just one event in Los Angeles.
Just. One. Event.
No ad campaign: no celebrity endorsers or catchy licensed pop songs or feature film product placements. Somehow, Tesla’s Cybertruck currently drives twice the Google searches of Ford’s stalwart F150.
Admittedly, the pre-order commitment only amounts to one hundred dollars but still, this is not how things generally work in automotive advertising, a sector famous for gargantuan promotional budgets. Besides, at a Benjamin each, that’s twenty five million dollars in deposits.
That’s not to say the look of the Cybertruck is universally loved, far from it. “A Toblerone on wheels”…”Someone take away Elon’s Lego’s”…”Like it’s from a racing game on Nintendo 64.”
But the look of the Cybertruck is definitely universally discussed. It’s singular design dominates late show monologues and automotive blogs. It’s also launched a thousand memes; unsurprising given Elon’s love for that medium. In fact, one popular online theory contends “Elon only made the Cybertruck because he loves memes so much.”
Musk’s achievement builds on a product trend that James Dyson and Target’s designer collaborations have worked over the past few decades. In our increasingly visual culture, anything that stands out draws outsized attention. And the Cybertruck certainly stands out.
Admittedly, few advertising clients would dream of designing such an aggressive, shareworthy product, but if the Cybertruck isn’t an argument against the fading relevance of mass market invisibility, nothing is.
My daughter forwarded me this Halloween clip that blew up across social media today. Click the link on the photo and make sure to turn up the sound as you watch..
A quick bit of Googling revealed that the man who posts on Instagram as @Shauhindavari is Shaw Duvari, a professor at Orange Coast College in Newport Beach where he teaches public speaking. He also coaches the OCCSpeech, Debate, and Theater team, which he drolly describes as “incredibly successful.”
A quick scan of his posts show his typical viewcount averages in the low hundreds, but something about this one struck a nerve. He’s already eclipsed 20,000 views due in no small part to a share from Barstool Sports.
No, he might never match the viral success of this oh-so-relatable post. But today, Shaw wins the internet. Good on you guy.
I’ll admit. I’m a sucker for happy endings. I love those viral clips that demonstrate human kindness and thoughtfulness writ large. Nothing is as contagious as uncontrollable laughter.
Still, it’s easy to feel bummed out these days, particularly if you use social media. Most recognize how Facebook gamed our feeds to garner more attention, and in the process fiercely stoked polarization to the detriment of our democracy. It’s depressing to see how quickly even benign social media comments get weaponized into political spew. And political debate on the nightly news rarely elevates beyond schoolyard name-calling. Given this news environment, it’s only natural to consider our society as little more than a tumble of feral, clawing tomcats in a bag.
And then, right at the moment when hope fades, along comes a day-brightening bit of undeniable evidence proving the exact opposite.
Of the 3,019 emojis in the Unicode Standard version 12.0. the top two used are Face with Tears of Joy and Heart: 😂 and ❤️.
Those are the two symbols we reach for more than any other: emojis symbolizing happiness and love. Those are the emotions we express the most. And yes, I consider that very good news indeed.
I realize emoji choices aren’t long on anger or division, but don’t harsh my mellow here. I like that we have a language predicated on love and support for each other.
Admittedly, I don’t use emoji myself. I have nothing against them and will frequently type “heart” or “thumbs up” but I prefer the written word. No judgment, just preference. And I won’t deny that strings of these colorful hieroglyphics brighten up many an Instagram response.