We all know where our favorite bottle of the bubbly comes from right? Champagne, France of course, and for those of you who didn't know that, the Champagne Bureau in the USA hopes to reclaim it's name and remind consumers of it's true and only origins with a new ad campaign. The first print ad “Maine lobster from Kansas” is a gentle reminder and to the point, created by ad agency Creature.

Full press release below, visit www.champagne.us for more.

Champagne Only Comes From Champagne, Reaffirms New Ad Campaign

Campaign Highlights Importance of Knowing Products’ True Geographic Origins
WASHINGTON – The Champagne Bureau, USA, representing the growers and houses of Champagne, today launched a new national advertising campaign as part of a large-scale effort to reclaim its name in the U.S. marketplace. Champagne, the sparkling wine of legends, can only come from the unique region of Champagne, France, where centuries of experience with specific soils and climate have enabled the people to develop a tradition and expertise that makes all the difference. The ad campaign is designed to remind consumers of the unique role location plays in creating their wines and to tap into growing American consumer interest in geographic origin. Posing questions like “Maine Lobster from Kansas?” the ad reminds consumers of the importance of authenticity and of knowing products’ true origins.

The ad, which will appear in print, outdoor and digital formats and can be seen at www.champagne.us,
highlights the gap between American consumers’ growing desire to know the true origins of their purchases
and persistent legal loopholes that create confusion about where certain products actually originate. The
campaign reminds consumers that Champagne only comes from Champagne, France, just as Napa Valley wines come from Napa Valley and Maine Lobster from Maine.

“More than ever before, U.S. consumers are seeking information about how and where their wine and other
goods are produced,” said Sam Heitner, director of the Champagne Bureau, USA. “This campaign uses humor and well understood U.S. location based products to encourage consumers to take a moment and consider the authenticity of what they are buying. U.S. consumers are savvy and this reminds them to say ’of course not‘ when faced with products that lack authenticity and to seek out products that come from unique places like Champagne from Champagne, France, Maine lobsters from Maine and Napa Valley wines from Napa Valley, California.”

The ad highlights a legal loophole in federal law that allows a few U.S. sparkling wine producers to mislead
consumers by labeling their products “Champagne” even though they do not originate from Champagne,
France. In December 2006, Congress passed legislation banning the future misuse of 16 wine place names, including Champagne. While that seemed a step in the right direction, the legislation did not address the
grandfathering of labels currently misusing Champagne’s name and those of 15 other wine regions.

Unfortunately, almost half of the bottles in stores and restaurants still misuse the Champagne name, which
makes the grandfathering particularly problematic for consumers who want authentic Champagne.
The United States is one of the last industrialized countries in the world to fail to adequately protect the
Champagne name. In fact, the majority of the world’s countries, including the European Union, China, and a
growing number of other wine-producing countries from Australia to Chile reserve the Champagne name for
sparkling wines from Champagne, France. A bottle with the term “California Champagne” or “American
Champagne” cannot be sold in Mexico and, come Jan 1, 2014, will not be able to be sold in Canada. In this
area, the United States is out of step with the majority of truth-in-labeling laws.

The campaign uses light-hearted examples such as “Maine lobster from Kansas,” but the practice of
misappropriating the names of other places is a trend that faces many regions, and it has the potential of
misleading the consumer. “Truth-in-labeling is a very important issue for U.S. consumers and for the Maine Lobster community,” said Marianne LaCroix, acting executive director at the Maine Lobster Council. “We continue to see restaurants and retailers advertising Maine lobster, yet serving lobsters that are from other places. We are proud to stand with Champagne to remind U.S. consumers to know where their products come from and not stand for those who mislead.”

“Napa Valley wines come from Napa Valley and Champagne comes from Champagne, France. These are
important facts that consumers need to be able to believe in when they see these names on wine labels,” said
Linda Reiff, executive director of the Napa Valley Vintners. “Unfortunately we all have to fight to protect our
names as some seek to profit off them by deceiving consumers. We are honored to be a part of Champagne's advertising campaign and hope it encourages consumers to demand more truthful and accurate wine labeling.”

The ads will appear in a wide range of print and digital formats including placements in The New Yorker, Food & Wine, and Travel + Leisure as well as on billboards in New York, San Francisco, Los Angeles and Washington, DC and online on a wide variety of sites including New York Times.com, Vanity Fair, GQ and the Wall Street Journal.

Santa Doesn't Do Poor Countries is the newest ad for Unicef. The commercial might seem harsh, but that's the point.

The ad, by Forsman & Bedenfors, starts off like so many Christmas commercials, with jolly St. Nick laughing merrily in his workshop, snow falling gently outside. But it quickly takes a left turn when he inspects one box of presents and realizes it contains nothing but medical supplies. Taken aback, he insists that such gifts, life-saving though they may be, simply aren't good Christmas presents—and he flatly refuses to deliver them. "I don't do poor countries," he says with a grim stare. via: adweek

Credits:
Client: Unicef
Agency: Forsman & Bedenfors, Stockholm, Sweden
Production Company: Acne
Director: Tomas Skoging

The Diesel Island

Diesel has started new adv campaign «Diesel Island» within the limits of strategy «Be Stupid».
If you do not manage to advance the outlooks on life in an old society, it's necessary — to keep away from those who does not accept innovative principles, and to organize the own state. Diesel continues to throw brushwood in a movement fire «Be Stupid», starting new advertising campaign «Diesel Island».

Freedom Island for Free People

Is a story of desperate young people which were tired of a boring society with all its interdiction dictated by «big brother's mind». The young people has landed on paradise islands to create the new nation to take all best principles of the device of the existing countries and forever to eliminate social injustice.

People on a photos, it «the pioneers, which profits on Diesel Island in search of rescue from tyranny, an economic crisis, political corruption and reality shows», begin new life in which there is no place for silly restrictions of the usual world.

The army of these people consists of pair-three the person, armed with soft pillows, inhabitants of this kingdom of rest project ecological means of transportation (for example, the car which copes from a strength of wind), and also gradually steal Wi-Fi from neighboring countries. Being children of a wind, the sun and freedom, they do not accept all totalitarian powers.

Whole Foods Market will require all products sold in its U.S. and Canadian stores to carry a label by 2018 saying whether they contain genetically modified organisms (GMOs), the organic and natural grocery seller said on Friday.

The U.S. is the world's largest market for foods made with genetically altered ingredients. Many popular processed foods — including soy milk, soup and breakfast cereal — are made with soybeans, corn and other biotech crops whose genetic traits have been manipulated, often to make them resistant to insects and pesticides.

Whole Foods — whose 340-plus stores in the U.S., Canada and the U.K. include four in the greater Toronto area and four in Vancouver — said the prevalence of GMOs in the U.S., coupled with a lack of labeling requirements, has made it very difficult for retailers to source non-GMO options and for consumers to identify them.

"We are stepping up our support of certified organic agriculture, where GMOs are not allowed, and we are working together with our supplier partners to grow our non-GMO supply chain," Walter Robb, co-chief executive of Whole Foods, said in a statement.

The U.S. does not require safety testing for genetically modified ingredients before they go to market. The food industry says the products are safe, but critics say there is not enough independent research to make that determination.

While the U.S. and Canada still have no GMO labelling laws, more than 60 countries do, the company said, noting several U.S. states are considering mandatory labelling initiatives.

"We're responding to our customers, who have consistently asked us for GMO labeling and we are doing so by focusing on where we have control: in our own stores," Robb said.

The announcement from Whole Foods comes as the U.S. Food and Drug Administration appears to be on the path to approving genetically engineered salmon.

At the same time, consumer groups are working at the state and federal level to require labels on products that contain GMOs.

Dozens of countries already have genetically modified food labeling requirements, with the European Union imposing mandatory labeling in 1997. Since then, genetically modified products and crops have virtually disappeared from those markets.

Whole Foods in 2009 began putting its 365 Everyday Value product line through non-GMO verification. The chain currently sells 3,300 non-GMO Project verified products, such as its organic tofu, and plans to increase that number.

The company's holdings include seven outlets in the U.K., where labeling is already required for all foods or feeds that intentionally contain or are produced from GMOs.

By: Lisa Baertlein | LOS ANGELES | REUTERS

IKEA begins an ambitious sustainability strategy, People & Planet Positive, the strategy is an integrated part of the IKEA Group long-term growth direction and builds on the company’s long history of working with sustainability by outlining a new set of goals and actions for delivery up to 2020.

New strategy will see IKEA Group become energy independent and help millions of people live an affordable, sustainable life at home.

A $1.95 billion investment in solar and wind projects, the retailer plans to gather 70% of its energy demands from renewable energy sources by 2015, leveraging wind farms in six European countries that generated 152 gigawatt hours of electricity last year, about 12% of the total needed for its stores and distribution centers.

“We want to create a better every day for the many people. A better life includes living more sustainably. We have been working towards that goal for many years and have already done a lot, and we are now ready to take the next big step. People & Planet Positive will help us to do that; transforming our business and having an even greater positive impact on the world,” said Mikael Ohlsson, President and CEO, IKEA Group.

After 25 successful years in Canada, Corona Extra is proud to launch their new brand campaign encouraging consumers to step outside of their comfort zone, lead an extraordinary life and ‘Live Mas Fina’.

Created by Toronto based agency of record Zulu Alpha Kilo, the new positioning reaches out to attract new Corona drinkers with a rallying cry of Live Mas Fina (Live the Finer Life). The new tagline is inspired by the heritage and message emblazoned on the beer’s iconic ceramic label since 1925, La Cerveza Mas Fina.

“The campaign is a challenge to live life on your own terms and never accept ordinary.” says Drew Munro, President & CEO at Modelo Molson Imports L.P, “Corona Extra is no ordinary beer, it is the original Cerveza with the unique lime ritual, sold in over 180 countries around the world — it’s time for everyone to get out there and experience it.”

“You can live on the sidelines, be beige, boring and never take any risks. Or you can choose to Live Mas Fina and live in an extraordinary way,” explains Zak Mroueh, Chief Creative Officer and President at Zulu Alpha Kilo. “You can choose to be interesting, inspired and follow your own path, not someone else’s.”

The campaign launched online last week with a 60-second commercial that was previewed to the brands Facebook community, asking consumers to reflect on how they’ve been living. Phase 1 of the brand’s new website went live simultaneously at www.LiveMasFina.com along with Twitter #LiveMasFina and YouTube channels. National broadcast support began on Monday, March 18th.

Credits:
Spot Title: Live Mas Fina
Client: Modelo Molson Imports L.P.
Clients: Drew Munroe, Stewart Priddle, Lindsay Wilson
Product: Corona Extra
Agency: Zulu Alpha Kilo
Creative Director: Zak Mroueh
Creative Director: Shane Ogilvie
Art Director: Mooren Bofill
Writer: Erin Beaupre
Agency Producer: Melanie Lambertsen
Group Account Director: Kate Torrance
Account Director: Dic Dickerson
Strategic Planner: Shari Walczak
Production Company: Boxer Films / Frank Content
Director: Jonathan Hyde
Executive Producers: Beth George, Danielle Kappy
Line Producer: Maeliosa Tiernan
Director of Photography: Jonathan Hyde
Post Production: The Vanity
Music & Sound Design: Pirate
Music Director: Chris Tait
Sound Engineer: Keith Ohman
Producer: Kate Freed
Song: Lightning Tent
Artist: Wildlife

Roxy, the world’s leading women’s lifestyle company, partnered with Digital Brand Architects and ClickFire Media to ask girls around the world: are you living life to the fullest? To extend this question to Roxy’s worldwide fan base, the boutique agency and digital design studio combined their expertise to create “Dare Yourself,” a social media campaign that challenged women to push their limits and empower themselves.

The “Dare Yourself” initiative challenged customers and fans of the Roxy brand to measure their exciting lifestyles against other women across a range of social media platforms, including Facebook, Instagram, Twitter, Pinterest, and YouTube. Contestants participated by submitting a 150-word response along with three photos or a one-minute video demonstrating how they “Dare Themselves” every day. By entering, five women between the ages of 18-28 got a chance to win a trip of a lifetime. Additionally, contestants continue to interact with the brand via the #ROXYDARES Photo Challenge, an Instagram based gallery that invites women to submit photos of themselves completing weekly challenges.

To all the ROXY girls who Dare Themselves. This is for YOU!

The global campaign, which went live simultaneously in over 40 countries and 11 different languages, received 2,500 entries and collected some 245,887 “Likes” on Facebook, bringing the total to more than 2,879,000 to date. On Twitter, the #DAREYOURSELF hashtag earned an impressive 1.6M impressions while over 6,357 users shared their submissions via the #ROXYDARES Photo Challenge on Instagram, generating over 686,000 impressions.

As part of a growing trend of user-generated campaigns, “Dare Yourself” succeeded largely through the collaboration between DBA, ClickFire Media and the Roxy brand, which generated an online strategy that engaged fans with a positive message. Digital Brand Architects collaborated closely with Roxy on the aggressive influencer outreach effort, brokering partnerships with targeted media and bloggers – including Wavelength Surf Magazine, The Contrast Magazine, among many others – to secure exposure and engagement for the campaign among targeted audiences. This strategic prowess is matched only by the campaign’s technical underpinnings. ClickFire Media’s team of technologists and developers constructed a multi-lingual Facebook experience that coordinates user uploads, submissions, and voting through a custom-made content-management system. The Facebook experience also featured a dynamic photo gallery that pulls from the ever-growing collection of #ROXYDARES-tagged photos on Instagram, and an interactive map that used Google API to track submissions from Roxy girls across the world.

The new campaign is a logical follow-up to Roxy’s wildly successful 2012 ‘Let the Sea Set You Free’ campaign. “‘Let The Sea Set You Free’ campaign proved Roxy’s fans are not only fun-loving, adventurous, and epitomizing everything the brand stands for, but were also eager to engage and share their own content with the Roxy community,” explained Digital Brand Architect’s Annabelle Smith.

Credits:
Client: Roxy
Campaign: “Dare Yourself”

Social Media Agency: Digital Brand Architects
Digital Design/Development: ClickFire Media

via: Trust Collective

The Rome based Latte Creative Ad Agency recently created a 2 minute PSA promo spot for Solidar entitled "Rights First".

Solidar is a European network of NGOs working to advance social justice in Europe and worldwide. The 59 member organisations in 25 countries which include national NGOs in Europe, as well as some non-EU and EU-wide organisations, brought together by its shared values of solidarity, equality and participation.

SOLIDAR voices the concerns of its member organisations to the EU and international institutions by carrying out active lobbying, project management and coordination, policy monitoring and awareness-raising across its different policy areas.

Credits:
Ad Agency: Latte Creative, Rome
Brand: Solidar
Advertising Agency: Latte Creative, Rome, Italy
Creative Director / Copywriter: Eugenio Orsi
Illustrator: Camilla Falsini
Animator: Emanuele Colombo

Walmart officially launches the Empowering Women Together campaign through the retail giants Global Women's Economic Empowerment Initiative. The online destination Empowering Women Together gives shoppers who want to buy unique and interesting products the opportunity to do so while supporting small women-owned businesses around the world.

With each purchase, consumers lift and empower the women behind these products to create new jobs and improve both their own lives and the lives of their families and communities. Currently, Empowering Women Together is offering shoppers more than 200 items from 19 businesses in nine countries.

In the Initiatives own words:

Women in the world's economically-challenged nations − and even here in our own backyard − dream of a better life. Yet for most, entrepreneurial success is an exception, not because they lack the ability or drive, but because so often they lack the opportunity.
At Walmart, we're working to change that. As part of our commitment to empower women worldwide, we've launched Empowering Women Together, a Store For Good, and a dedicated space on Walmart.com that connects products from women-owned businesses around the world with U.S. consumers. Our hope is to provide these hard-working women with opportunities to improve their own lives, while creating new jobs and enhancing the lives of their families and their communities. Each supplier in the Empowering Women Together program is a woman-owned business or an aggregator with the mission of supporting women-owned businesses.

In some respects the business world has never been smaller. Globalization, mass communication and the internet have all put new markets within reach for businesses of all sizes. But linguistic and cultural barriers still remain, and marketers need to take care when venturing across these divides.

Lost in translation There are numerous instances of companies whose message has been lost in translation. When Pepsi took their slogan “Come alive with the Pepsi Generation” to Taiwan it was mistranslated as “Pepsi brings your ancestors back from the dead” — a claim that even the staunchest of Pepsi fans might have difficulty backing up. Not to be outdone, Kentucky Fried Chicken's famous “Finger lickin' good” was translated into Chinese as “Eat your fingers off.”
Companies are advised to check that their actual brand and product names give the right impression abroad. Ikea, for example, brought out a mobile work desk for kids. The name 'Fartfull' suggested speed and mobility in Swedish, but caused more of a stink elsewhere.
Good quality translation is clearly essential when taking your brand abroad. This ideally means working with native speaking translators. They will not only avoid linguistic errors, but can also identify any cultural issues and nuances that might otherwise be missed.
Attention to detail is obviously important in a major international marketing campaign, but the same rule should also be applied even if you are just localizing your website. Automatic translation tools such as Google Translate can be useful for getting the gist of foreign texts. But they’re prone to misunderstandings, contextual errors, and do not deal well with colloquialisms, slang, linguistic variations or commonly used acronyms and abbreviations.
English might remain the single most widely used language online, but it still represents only around a quarter of total usage. Studies have shown that customers place far more trust in websites in their own language. Localization can help you break into new markets, but a badly translated site can do as much harm as good.
Cultural issues There can also be issues arising from a lack of cultural understanding or foresight. As well as translating the language, consider the use of images carefully. Sexually charged images and innuendo can end up being more risky than risqué, and even images that may be considered relatively innocuous in your home market can cause grave offence in another.
Even the use of color can have different connotations within different cultures. In most of the western world, for example, white is associated with weddings and purity, while in India, Japan and China it is more likely to be associated with death and mourning. In Ireland, orange can have political and religious connotations. Using an inappropriate color scheme is unlikely to cause rioting in the streets but it can set the wrong tone and trigger a negative subconscious response in viewers.

A knowledge of slang, colloquialisms and naughty words in particular can also come in handy. Like many other companies, Swedish medical suppliers Locum sent Christmas cards to their customers. It's a little touch that can mean a lot — but their seasonally loved up logo took on a different meaning in North America and the UK.
The above example might have been no more than a faux pas that raised a chuckle and provided a few red faces, but some mistakes are far more serious. They can also occur not just when dealing with foreign markets but also within a single multicultural market.
In 2002 the British sportswear company Umbro (which would later be bought out by Nike) was forced to withdraw its Zyklon range of running shoes and issue a hasty apology. 'Zyklon' means 'cyclone' in German, which may have been an appropriate name for a running shoe if not for some unfortunate and horrible connotations. Zyklon B was the trade name of the poison used by Nazis to murder Jews and other concentration camp victims during World War II.
Dr Stephen Smith, co-founder of the Beth Shalom Holocaust Centre in Nottinghamshire, said: "Commercial appropriation of words carrying connotations of mass murder is utterly unacceptable.”
It’s important to give careful thought to potential cultural oversights and misunderstandings. Native-speaking translators can again help avoid mistakes and faux pas and, at the very least, material should be tested with a sample group from the target market. Without a little attention to detail it can be relatively easy for a company to either make itself a laughing stock or, even worse, to cause serious offence and alienate a huge swathe of potential customers.
About the author Christian Arno is the founder of Lingo24, a top translation service in the USA. Launched in 2001, Lingo24 now has over 150 employees spanning three continents and clients in over sixty countries. In the past twelve months, they have translated over forty million words for businesses in every industry sector, including the likes of MTV, World Bank and American Express. Follow Lingo24 on Twitter: @Lingo24.

A museum in the port city of Volos in eastern Greece will host the replica of Argo, the legendary ship propelled by 50 oars-men and sail on which according to Greek mythology, Jason and the Argonauts sailed from Iolcos to the Black Sea to retrieve the Golden Fleece.

Currently, the replica of the ship – inaugurated in 2007 and entirely built with traditional methods and materials used at the time like oak, beech, pine, ash and fir wood (for the mast and oars) – is still at the port of Volos, in the gulf of Pagassitikos, for students and tourists who want to go on board and discover the story of its mythical trips.

”But Argo, which is owned by Volos, doesn’t just aim to be an attraction for tourists,” said Deputy Mayor Fotis Lambrinidis, who is in charge of technical services at the municipality of Volos. ”This ship represents for us an element of culture, a real symbol of our city. The objective of the competition we called as a first concrete step for the creation of a museum to valorise Argo, is to gather proposals for the creation of a thematic museum to turn the contemporary Argo into a monument, presenting its history through myth and historical elements connected to it,” concluded Lambrinidis.

Source: ANSA [February 25, 2014]

The 2nd Vegas, or is better?..

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All around the hull of the longest Viking warship ever found there are swords and battle axes, many bearing the scars of long and bloody use, in an exhibition opening in Copenhagen that will smash decades of good public relations for the Vikings as mild-mannered traders and farmers.

The exhibition, simply called Viking, which will be opened at the National Museum by Queen Margrethe of Denmark on Thursday, and to the public on Saturday, will sail on to to London next year to launch the British Museum's new exhibition space.

In contrast to recent exhibitions, which have concentrated on the Vikings as brilliant seafarers, highly gifted wood- and metal-workers, and builders of towns including York and Dublin, this returns to the more traditional image of ferocious raiders, spreading terror wherever the shallow keels of the best and fastest ships in Europe could reach, armed with magnificent swords, spears, battleaxes and lozenge-shaped arrows. "The arrow shape did more damage," Pedersen explained, "the wounds were bigger and more difficult to heal than a straight-edged slit."

Other powers employed the fearless warriors as mercenaries, including Byzantium and Jerusalem, but some were anxious to keep weapons of mass destruction out of their hands: a Frankish law forbade selling swords to Vikings. They got them anyway, as the exhibits prove.

A skull from a grave in Gotland bears the marks of many healed sword cuts, but also decorative parallel lines filed into the warrior's teeth, like those recently found on teeth from a pit of decapitated bodies in Dorset, in what must have been an excruciating display of macho bravado.

"Probably only a small percentage of the Vikings ever went to sea on raiding parties, but I think those who stayed home would have told stories of great warriors, great ships and great swords they had known," Pedersen said. "It was very much part of the culture."

Some of the objects assembled from collections in 12 countries, such as a heap of walnut-sized pieces of amber, or jewellery made to incorporate Islamic and Byzantine coins, probably did come through trade. Others, such as a pair of brooches from the grave of a Viking woman made from gold intricately twisted into tiny animals, originally panels chopped up from a shrine made in Ireland to hold the relics of a saint, certainly were not.

One magnificent silver collar found in Norway has an inscription in runes saying the Vikings came to Frisia and "exchanged war garments with them" – but that may be a black joke. Iron slave collars from Dublin confirm that the wealth they sought wasn't always gold and silver.

This is the largest Viking exhibition in more than 20 years, bringing together loans from across Europe, including hoards from Yorkshire, Norway and Russia, a silver cross and a diminutive figure of a Valkyrie, a mythological battlefield figure, both found in Denmark only a few months ago. Loans from Britain include some of the famous Lewis chessmen carved as fierce Viking warriors, biting on the edge of their shields in an ecstasy of rage.

The most spectacular object, fitting into the gallery with just 1.7 metres (5ft6in) to spare – the new space in Bloomsbury has already been measured carefully – is the sleek, narrow hull of the longest Viking warship ever found, specially conserved for the exhibition and on display for the first time. Just over 36m in length, it was built to hold at least 100 men on 39 pairs of oars.

The ship was found by accident at Roskilde, home of the famous Viking ship museum. The museum was built 50 years ago to hold a small fleet of Viking boats that were deliberately sunk 1,000 years ago to narrow and protect the approach to the harbour. In the 1990s, workers building an extension chopped through the massive timbers of what turned out to be nine more ships, including the awesome length of the warship, estimated to have taken around 30,000 hours of skilled labour to build: only a king could have afforded such a vessel.

Recent scientific tests show it was built from oak felled in 1025 near Oslo, probably for King Cnut the Great – the sea-defying Canute to the English – who conquered England in 1016, and Norway in 1028. Only a quarter of the timbers survived, but they included the entire length of the keel.

Although the exhibition includes sections on Viking politics, strategic alliances through marriage and trade, and beliefs including the contents of the grave of a sorceress with her iron magic wand and little pots of narcotic drugs, the warlike tone was dictated by the ship, which was itself a weapon of war. Vikings sang about ships – one refers to a new ship as "a dragon" – played as children with toy ships and, if rich enough, were eventually buried in ships.

The displays and some of the contents will change in London, but in Copenhagen the ship is spectacularly displayed against an animated backdrop of stormy seas and a ferocious raid that leaves the target settlement in flames.

The animation was made in the United States and the Danish team was initially dismayed as it appeared to show raiders attacking a much later medieval walled town. Eventually, curator Peter Pentz said, a Hampshire site saved the film: they agreed it was plausible that the towers and curtain walls could represent the ruins of a Roman shoreline fort, such as Portchester castle near Portsmouth.

As well as the swords, some bent like a folded belt to destroy their earthly use as they went into a warrior's grave, there is one unique weapon, a battleaxe with an intricately decorated golden shaft. Such golden axes are described in the sagas, but this, from a settlement in Norway, is the only real example ever found.

"I think the main point was to impress, not to kill somebody," Pedersen said, adding with satisfaction: "but you can kill somebody with it if you want.

Viking, National Museum of Denmark, Copenhagen, until November 17 2013

Author: Maev Kennedy | Source: The Guardian [June 19, 2013]

Ole, in the first of five fun new ads from the Travelocity "Go & Smell The Roses" campaign "Bulls", the Roaming Gnome is dropped into a scene from the world famous running of the bulls in Pamplona, Spain saying, "Here's a thought: You'll never survive the running of the bulls unless you attend the running of the bulls."

"Contrary to popular belief, watching paint dry can actually be fun – but you've got to be there to enjoy it." This one take's the Travelocity Roaming Gnome to India where he finds himself being handed off from one person to the next at the Holi Festival.

Our friend the Gnome becomes one with a sand sculpture. "Sparkly water and pure white sand may not get you off your couch but there's not a creature on earth that can resist this." I could go for the girl and do less with the sand up my...never mind.

In this one he is not checking emails, cleaning the grass or mowing the lawn, not making calls or spreadsheets, it's less couch, more beachy.

"Go & Smell the Roses is more than a tagline in an advertising campaign, it's a rally cry," said Bradley Wilson, chief marketing officer at Travelocity North America. "With this new campaign we are using our most powerful asset, the iconic Roaming Gnome, to inspire and instigate people to get off the couch, to go and smell the roses."

"'Go' is the operative word," Wilson said. "And we mean 'go' anywhere whether that is a weekend road trip, a family event, or a once-in-a-lifetime adventure similar to those the Roaming Gnome is fortunate enough to take."

Last one I promise. The Roaming Gnome takes in a majestic alpine view on a ski lift: He says, "You might be interested to know that other countries have couches exactly like ours."

Since we're on the subject of travel, remember we always seem to end up doing stupid things in a group, don't believe me? Check out these 6 controversial new ads for Chariot Travel entitled You Do Stupid Things In A Group.

Outdoor Lions became the first of traditional nominations in whom have handed over awards on Cannes Lions 2009.

Happy Man

Alka-Seltser positioning in the former Soviet Union countries is a remedy against hangover. That gives a lot of inspiration for ads. A hangover can be very dangerous, that's why you need a remedy that will quickly get everything in order.

The Ukrainian agency PROVID (former PROVID/BBDO) proceeds with its anti-hangover campaign with a new, New Year image.

Advertised brand: Alka-Seltzer;
Advertising Agency: PROVID (Kiev, Ukraine);
Creative Director: Kirill Chichkan;
Art Director: Denis Music;
Copy-writer: Sergii Zinoviev;
Photographer: Igor Chursin;
Post Production: Denis Music.

Re-imagining Alka-Seltzer

Here is a sneak peek into The Perrier Secret Place campaign that brilliantly combines modern day marketing strategies. We received our preview invite kit today which included the stamp to get in, and we were also given a special invite code to share with our visitors here at Great-Ads, find it and the link after the campaign Q&A's and credits below.

Perrier Secret Place Premise: If you were at a Secret and Exclusive party and you wanted to party as long as possible, you’d make sure you were as refreshed as possible. And no one can throw a party and ensure you are refreshed to party as long as you can like Perrier.

Q. Tell us about this latest digital initiative for Perrier?
Perrier Secret Place puts you in the shoes of a guest who goes to a very very special evening party. A hidden place in an alley in Paris, behind a laundry mat. An evening where all guests will have the opportunity to live their craziest fantasies. And you'll have the best seat in the house to enjoy since all the characters that you see on the screen are clickable. With one click you find yourself in their skin. Living their fantasy.

Q. How did you come up with this idea?
We started from the following insight: drinking Perrier during the evening party is the best way to take full advantage of all the opportunities available to you… and until the end of the night. In Secret Place, not only are you at the Ultimate Party living out the experience of the Ultimate Party Guest from the beginning, but you also live out the ultimate evening of 60 other guests who are in the apartment.

Q. And there is something to win, right?
Yes. At the ultimate party, we’ve hidden a very special bottle of Perrier. 5 clues are hidden in the rooms of the apartment. They will lead you to the bottle where you are entered into a drawing to win an exclusive invitation to the wildest night of the world party in St Tropez, New Year in Sydney, Miami Art Basel, Carnival in Rio and the closing of the season Ibiza. Only the most experienced gamers will succeed, believe me... Among thousands of different scenarios during the evening, only one leads to the bottle.

Q. So, it’s a game or an interactive film?
Both! This project mixes Brand Entertainment and Gaming. We produced 1 hour and 20 minutes of content that allows all users to experience a unique evening scenario. We also used digital interactivity to inject this dimension of Gaming. This involves the quest of finding the bottle and the opportunity to live the lives of all guests by clicking on them.

Q. Why Secret Place?
This was inspired by the emerging phenomenon of speak easy. A party venue at the rear façade that has absolutely nothing to do with the place. This is quite in line with Perrier. Completely unexpected.

Q. How are you using social networks to amplify this experience?
In partnership with the agency Buzzman, we worked on a social strategy:
Become a fan on Perrier Facebook and regularly you will get tips to find clues that will lead you to the secret Perrier bottle. We'll give you a little tip. Slip into the skin of the young man who looks through the keyhole and live out his fantasy. Or play a game of "Pillow Fight" (Sounds weird, but it is Perrier!)

Q. How will the experience function on the mobile?
We have specifically developed an application that runs on iPhone / Android / iPad. This is not a replication of the desktop experience but a concept designed for specifically for the mobile device. By downloading the application you enter the rooms of the Perrier apartment and you can navigate through each room. The challenge: find the Secret hidden bottle of Perrier in the apartment.

Q. What was the biggest challenge to pull off this experience?
This is the most ambitious project to carry. We spent 18 months writing lots and lots of different scenarios. Produced a film in which we choreographed each scene so that it is connecting with one another when the user clicks on the characters. Sound design work has also been a real challenge. Imagine having to reproduce the sound of a bottle on a bar as many times as there are people in the room who can hear it.

Q. Where will Secret Place be launched?
The experience will be available worldwide but open to 20 countries to play in the major markets for Perrier France, United States and Canada. This is the first time that Perrier launches a project of this magnitude in the United States. The challenge is enormous. Positioning is also a little different there. Much more premium. We really hope that the French touch--its audacious content-- is embraced well there.

Q. What results do you expect?
There is a counter on the site that counts the number of lives that all users worldwide will live on the site. 1 life = 1 click on a character. I want to hear from Perrier that this idea made 10 million lives by the end of week five of the experience’ launch.

Q. How is this truly innovative?
We believe Secret Place is truly a digital first. Not because it’s the first time you can click on something and enter into his point of view. But, the ambition was really to say: Imagine you enter in any movie theater, have the quality screenwriting and the direction of cinema but also to have permanent control over the course of the story.

Q. What kind of partner did you work with to make this type of project?
Fighting Fish is our production partner based in Paris. This is the first time that we’ve made a digital experience for Perrier conducted by the French. This is an opportunity to remind the world that France is in a good position on Digital Excellence.

Beyond the fact that Fighting Fish is based in Paris, it was able to fulfill the requirements demanded by this project. The team assembled to deliver this feature was made up of an interactive-hybrid. On the team was Lawrence King, the director of the experience and who is currently working on his own film. Arnaud XXX is the production designer and there were the script writers. Franck Marchal oversaw the sound design – having conducted several reputable orchestras before working with us. Fighting Fish puts digital at the heart of its "production thinking" and Ogilvy Paris thinks the same way. This allows a real synergy between the film's producers and those who are thinking through its interactivity.

Q. Why is Secret Place the right creative approach for Perrier now?
Digital and social are playing an increasing role in Perrier's Communications strategy. They have an important, specific role: communicating the edgier, younger, hottest facet of the brand. Reaffirming that Perrier is a must have brand and product when it comes to partying and socialising. And proving, again and again, that the brand loooooves creativity, surprise and inventiveness. This is what Secret Place brilliantly does in my mind. – Benoit de Fleurian, Managing Director | Ogilvy&Mather Advertising.
The digital space has opened up a new opportunity for brands. It's solved a contradiction that exists in the real world. Physically, you can't make an exclusive experience accessible to everybody. But with Secret Place, that's exactly what we've achieved. We give people the opportunity to live an experience they wouldn't normally live, but have always dreamed about. Like those exclusive parties you've always longed to be invited to. And thanks to Perrier, you can live it not once, but multiple times, through the eyes of multiple characters. This is an idea that is only possible thanks to the technology we have at our disposal today, and a bit of creative thinking. — Chris Garbutt, Chief Creative Officer | Ogilvy&Mather Paris, Group

Q. The Director is who? And why did you choose this director?
Laurent King. We chose him because of his ability to manage this kind of project: half movie, half digital and interactive experience. It's really important to have this kind of new director that knows how to direct with all the constraints that a digital experience impose.

Q. Where did you shoot and tell me one challenge with organizing the shoot or a challenge that arrived at the shoot? How did you overcome the challenge?
We filmed in an amazing appartement in Paris that was almost a piece of art by itself. We loved the parisian kind of architecture of it, with lovely rooms, very different to each other. It's very rare to find a place with different moods and atmosphere in it. Moreover, we were looking for a place where you can imagine secret parties happening in it. The biggest challenge was to choreograph all the action of the 60 guests. It was a real challenge because every character had a link to each other in terms of scenario.

Q. Is there a music track?
The track of the experience is played live by the group called "TOYZ".

Q. Would love to hear from one of the party-go’ers at this Ultimate Party...
The Host: All Secret Places have their secrets. You understand why I'll keep this one...

Credits:
Secret Place, a campaign imagined by Ogilvy, produced by Fighting fish while Buzzman was in charge of the Social Media and PR strategy.
Format: Digital/Brand Entertainement
Chief Creative Officer: Chris Garbutt
Creative Director: Frederic Levron, Thierry Chiumino
Copywriter: Baptiste Clinet, Nicolas Lautier, Florian Bodet
Art Director: Baptiste Clinet, Nicolas Lautier, Florian Bodet, Chris Rowson,
Global Business Leader: Constance Capy Baudeau
Account Supervisor: Stanislas Vert
Film Producer: Diane de Bretteville
Digital producer: Hugo Diaz, Cyril Duval, Sandra Petrus
Production company: Fighting Fish, Olivier Dormerc, Cyril Couve de Murvil, Adrien Moisson, Benjamin Przelspolewski
Sound Design: Le COMPTOIR DU SON / Franck MARCHAL & Alexandre POIRIER
Film Director: Laurent King
Story development: Olivier Domerc
Story editor: Benjamin Bloch
Production manager: Caroline Petruccelli
Production designer: Arnaud Roth
Director of Photography: Frédéric Martial Wetter
Line Producer: Vincent RIVIER
Location manager: Timothée TALANDIER
Main title music: Toys
Client: NWFB head of marketing and category, Muriel Koch. Sparkling Brand Director, Fabienne Bravard. Perrier International Brand Manager Armelle Roulland
Social Media & ePR Strategy Buzzman:
Georges Mohammed-Chérif (CEO & DC)
Hubert Munyazikwiye (Head of Social Media & PR)
Nicolas David (Social Media Manager)

Visit www.perriersecretplace.com and use the invite code "PE757 " enjoy the party.

Important Quality of Your Idea

DPZ Propaganda has thought up fine ideas for the Brazilian competition of advertising. «The good idea is capable to win any» — a slogan of prints of the international competition of a print advertising "the World award of publicity" opens idea of competitions: not important from what you the countries and as long you work in advertising — the main thing, are how much good your Idea.

Print advertising competition «Premio de Propaganda o Globo» is founded in 1996. The committee from nine judges which number includes the most known advertisement makers of Brazil, selects winners in nine categories.

The Excellent Idea is Pleasant to All!

Prints inform on value of good idea and conclusive appeal to any person. The Argentina football fan with good idea (a burning bulb — the international symbol of idea) drinks beer with the Brazilian fans. The Motorcyclist-idea withdraws the girl directly from under a wreath. The nice girl acquaints with the father ugly (but "ideological") the guy.

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As part of Greenpeace's global "Detox" campaign, more than 700 people, in over 80 cities, in 20 countries around the world protested, staged street theatre and conducted "mannequin" walk-outs to demand ZARA commit to eliminating the use of all hazardous chemicals throughout its supply chain.

The participants, from Bangkok to Buenas Aires, also called on ZARA store managers to forward Greenpeace's Detox demands to their headquarters, after new research found traces of hazardous chemicals in ZARA clothing items, some of which can break down in the environment to become hormone-disrupting or even cancer-causing substances.

Now the only question is when will the world's largest fashion retailer — which responds so swiftly to changes in fashion trends — react to this global call for toxic-free fashion?