- Among its minions, BlackBerry brags about celebu-users. How very AmEx. (Props to Adrants reader Atif for this.)
- Droga5 becomes agency of record for method! Kick-ass.
- The McCain campaign asked YouTube to stop taking down its campaign videos. (The videos purportedly violate copyright because many contain snippets of music that the campaign did not have permission to use.) And YouTube was all, "Bitch, please." What, McCain? You're all for Joe Plumber but can't pay licensing fees?
In "Fridge Magnet," a Guinness truck stops in a Buenos Aires neighborhood, gets all magically magnetic and starts drawing refrigerators to itself.
Notably, one random guy looks down at his glass of Guinness, which appears to be frothing mischievously. There's a beer with some naughty ideas ... and possibly a deep-seated affection for puns. "It's alive inside," the ad concludes -- half-joking, half-not.
By Irish International BBDO. I liked Saatchi & Saatchi's "Spoken Word" better, but "Fridge Magnet" is more in line with the casual "beer" persona. It also manages to pull that off without forsaking Guinness's sense of playful enigma. Nice.
This is disturbing. Seriously disturbing. Like a scene out of a old Vincent Price movie, a talking mousetrap taunts a mouse on the prowl for the cheese bait atop the trap. With equal levels of confidence and outright psychotic insanity, the trap beckons to the mouse until...snap...the trap captures the mouse.
But that's not where the story ends. Oh no. As the trap continues to creepily taunt the mouse quietly listens then makes an important decision. It eats the cheese and, because this is a dairy product ad touting the category's strengthening qualities, lifts the mousetrap bar and scurries away to the dismay of the mousetrap.
There quote a few of these oddities over ar Must Drink More Milk.
Created by Tribal DDB Vancouver, the commercial is for the British Columbia Dairy Foundation.
Here's a spot comparing the Chevy Traverse to "a sudden downpour of shoes." It's the latest in a campaign that debuted during the Beijing Olympics. (Remember the ad with the half-nekkid man ironing shirts?)
Facile premise: the Traverse is everything you've ever wanted. To illustrate that point, stereotypes of everything "we've" ever wanted are used. Hot men that iron? A hailstorm of shoes?
If nothing else, this spot's more coherent than the last. In August, I spent at least eight minutes on Twitter trying to figure out Shirtless Man's relation to folding seats.
Belgian born Peter Forret, who recently took a trip to Bulgaria, noticed an ad campaign for Mastika, an aphrodisiac used as an ingredient in mixed drinks or in the yogurt drink Ayran. He remarked the standard of advertising in Bulgaria appears to be far different than that of his home country, Belgium.
The print campaign employs visuals of scantily clad women foisting their curvaceous features towards the viewer. A commercial has two guys ogling a girl who passes them by on the beach and casts a shadow on the sand suggesting a figure of, shall we say, larger than normal proportions. Sadly, the commercial employs the tired, much over used male arousal tactic.
Oh wow. This ad, capturing the precious moment between two people when they decide to ask and answer one of life's biggest questions which, in a big way, will determine how they live the rest of their lives together, is, by far, one of the best we've seen.
With nothing but a ball of string and some ingenuity, one man expresses his eternal love for the woman of his dreams. Love does, indeed, rock.
Created by The Richards Group for Zales, this commercial features music created specifically for the ad by Robert Francis. The song is entitled Don't Forget Love and was produced by PrimalScream Music Creative Director and EVP Nicole Dionne.
What better way to get self-conscious Millennials to the ballot than with a bunch of celebs being gratuitously cool, slightly ironic and occasionally almost (but not quite!) deep?
Look, look, it's Bill Maher in a blazer, prattling about elitists. It ends with "Vote for BBQ" -- except BBQ is written in a Mad Libs sorta way, so you know the "vote for" is open to whatever motivation, however bizarre or irrelevant, you've got.
Because hey, that's democracy.
Weiden + Kennedy has created another beautiful commercial for Nike. This one is direct by David Fincher and illustrates the glory of life's successes and accomplishments by following the lives and differing skills of two child athletes turned NFL football players, LaDainian Tomlinson and Troy Polamalu.
Adding appropriate emotion to the commercial is a remix of Ennio Marricone's moving L'estasi Dell'oro from the classic film The Good, The Bad and the Ugly, a film everyone should see if only for its grandiose spaghetti western cheesiness. Not to mention Clint Eastwood in his early cowboy years.
Money Shot, Butchered
May 8, 2005: When Tiger Woods made that famous 16th hole shot, leaving the Nike golf ball hanging on the edge of the cup, swoosh visible for two long seconds before dropping in, the ad industry speculated wildly over over how Nike would turn this moment into a commercial. Well, three weeks passed, nothing was released and the industry gave up hope. In the meantime - actually, the day the shot occurred, Joe Jaffe, pointed out this perfect opportunity for Nike and created a spec spot on his own. Simply and without un-necessary editorializing, Jaffe's version illustrated the miraculous moment and ended quietly with "Just do it." It took a fantastic sporting moment, which needed no additional explanation, and commercialized it beautifully.
May 6, 2007: With the simple but true tagline, "The Faster the Speed, the Bigger the Mess," this :60, launched April 26, from Ireland's Road Safety Authority and Northern Ireland's Department of Environment delivers a powerful but simple message: The faster the speed, the bigger the mess. Entitled "Mess," the commercial is born from statistics that find 30 percent of Republic of Ireland and 24 percent of Northern Ireland road fatalities are due to excessive speed. The spot is part of an increasing trend towards the use of reality-based shock and brutal honesty to deliver the message.