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Budweiser has launched its first-ever Twitter account – www.twitter.com/budweiser. The account went live last night.

The iconic brand marked the occasion with another "first" involving the Budweiser Clydesdales – tweeting the first photo of a member of the elite "Budweiser Clydesdales Class of 2013," a beautiful 150-pound baby born the morning of Jan. 16. It was the brand's first-ever Tweet.

Using #clydesdales, Budweiser also is asking Twitter followers of @Budweiser and Facebook friends to help name the young equine star, who will be seen by an estimated 110+ million viewers next Sunday during Super Bowl XLVII.

"This newest member of the Budweiser Clydesdale family was 7 days old on the day this part of the Super Bowl commercial was filmed," said Jeff Knapper, general manager of Clydesdale operations. "A star was truly born on Jan. 16."
More than 30 baby Clydesdales are expected to be born this year at the 300-acre Warm Springs Ranch, the state-of-the-art breeding facility for the Budweiser Clydesdales in Boonville, Mo.

On Super Bowl Sunday on Feb. 3, the Budweiser Clydesdales will appear in a new 60-second spot, "Brotherhood," which chronicles the bond a Clydesdale foal shares with his trainer. Partially shot at Warm Springs Ranch, "Brotherhood" will take the Clydesdales advertising into new territory by providing a new level of access to their early years.

This is the Clydesdale's 23rd Super Bowl spot since first appearing in a big game spot in 1986.

In addition to the baby foal born this month that will appear in the spot, other young Clydesdales, including an 8-month-old and a 2-year-old, will be featured, in addition to a full hitch of eight adult horses.
Budweiser's Twitter channel debuts after the social media platform introduced age verification, allowing the beer to restrict its tweets to users 21 and older.

2013 A MILESTONE YEAR
The Clydesdales celebrate a major milestone in 2013 – the 80th anniversary of their association with Anheuser-Busch. The Budweiser Clydesdales have been an integral part of Anheuser-Busch's heritage since April 7, 1933, and their strength and majesty symbolize Budweiser quality as well as integrity, achievement, success, perfection and team spirit. They were formally introduced to celebrate the repeal of Prohibition for beer.
"The symbol has become synonymous with Budweiser — the quality that goes into the beer, as well as the time, energy and passion we put into taking care of the horses," Knapper said.

How is the baby Clydesdale featured in the commercial doing? Both mother, 7-year-old Darla, and baby are doing well, reports John Soto, supervisor of the breeding operations at Warm Springs Ranch in mid-Missouri.
"We have had two foals born so far this year and they're both doing very well," Soto said.

"We take great pride in each and every one of our horses, and Warm Springs Ranch is a great home," Knapper said. "The Budweiser Clydesdales are the envy of the equine world. We treat them like royalty, and they are among the best-cared-for animals in the world."

Anheuser-Busch has about 200 Clydesdales in its herd, with about half of them at Warm Springs Ranch in Cooper County.

via: PR Newswire

"Tastes change, fashions change, and the advertiser has to change with them." Thomas J. Barrat, aka. "the father of modern advertising".

The industry of advertising has not failed to realize the emergent customization of literally anything that surrounds us. Being one of the many social changes the digital world has brought, advertisers soon understood the benefits of tailoring their products to specific audiences. This goes in line with other customization trends that this decade of the twenty-first century has seen, such as 3D printing technologies allowing you to have a different -and brand new!- cereal bowl every day; or the striking objects and architectures that digital design has freed from the idea of 'the mass'.

Advertisers have slowly, but steadily, started to implement this new approach in a variety of ways, both virtual and analog. While predicting the future is always a slippery thing to do, one could start to see a tendency to favour all things bespoke, to the detriment of audiences understood as homogenous masses of identical individuals. This had started shyly with the television, where toys would be advertised in the middle of children’s programs, and alcoholic beverages after late-night movies. The exploitation of these customization techniques, however, has undergone a radical makeover with the arrival of the Internet and the subsequent acceptance of the digital realm. Customization of a company's advertising campaigns comes hand in hand with other public relation strategies, as a matter of fact, and is intimately related to the company's brand identity. When a PR agency embarks the task of developing developing a corporate brand identity, it will typically begin by asking just that: who are our customers? Clarifying what your audience’s needs are is a step in the right direction when it comes to bespoke advertising, based on the potential customers' specific tastes and likings, rather than blindly advertising to an obscure mass of unknown individuals.

You might have realized that the advertising in sites such as YouTube or your e-mail service provider varies according to your latest web searches or the messages you have exchanged with your contacts. Indeed, the algorithm sometimes gets things wrong, such as the day my German boyfriend sent bussi (kisses), and a bunch of adverts of Finnish bus companies (bussi) appeared in Suomi all over my web browser! If you are yet to realize about these changes, you might well have received a newspaper in the post, with your own name printed in the headline instead! University prospectuses these days are also customized to the prospective student's interests, and displaying their name on every other page. Could this be the doomsday of mass advertising?

Advertising is arguably as old as human society, and it started as a way to inform the public, ie. the audiences and potential clients, about one's own services. Never before, however, has advertising had the possibility of selecting its audiences as carefully as before. Flyers have been put up by blacksmiths and doctors alike, while stall owners at markets have sung and shouted about their products in all cities worldwide. Nowadays, more than a decade into the twenty-first century, it is more urgent than ever to utilize digital technologies in order to do something that these advertising methods did not: optimization. These methods were targeting all passers-by, without carefully selecting them in order to direct their message only to those who might have been interested in the services offered. In other words, optimized advertising means sending out one's message only to interested audiences, and thus avoiding unnecessary expenses.

Moving away from mass advertising means entering an era of optimal advertising. Thankfully, this is possible because the means are now available. All successful businesses are acutely aware of it, but not all strands of possibility have been explored. Television and cinema, not to mention newspapers, are only the grandparents to the new universes of interactive and multi-media advertising that gadgets such as tablets and smartphones have opened before us. Advertising brought to you in a silver tray.

A guest post from Fortune PR.

Photo Credit: Mackenzie King addressing an outdoor audience on his Western Tour, 1941. William Lyon Mackenzie King. Library and Archives Canada, C-068667

On September, 11th, 2001 Barack Obama has arrived to an anniversary of acts of terrorism to a memorial to victims of terrorists in the Pentagon, informs CNN.

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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

Engine Room Creates New NASCAR On Air Graphics/Branding Package For Fox Sports; Photo-Real CG Show Open Establishes An Exciting New Look for NASCAR ON FOX

Hollywood, CA — Engine Room’s latest NASCAR project for Fox Sports revved into high gear during the Daytona 500 broadcast. The expansive, high-energy package will air throughout the NASCAR ON FOX fourteen-week season and involved the creative development, design and production of the Show Open (Daytime and Night versions) as well as two new NASCAR ON FOX branding icons to be rolled out in the coming weeks.

For the last two seasons, Fox Sports has tapped Engine Room for custom animation pieces involving intensive and rapidly produced, animated comic-style CG recaps of each weekly NASCAR race. This year’s the collaboration went into overdrive, with Engine Room delivering an entire broadcast sports package that showcases the thrills, spills and upsets intrinsic to NASCAR, all with a beautiful new hyper-real look. As part of the Open’s signature design, are animated race cars that reflect the evolution of new 2013 custom body styles from the big three automakers in a wild race to the finish line. Engine Room was also tasked with designing two new branding icons for FOX SPORTS to be used throughout the racing season. The new chrome, energy infused Fox X-Car and its high-tech robot driver Speedus, a powerful 3D animated cousin to FOX Football robot Cleatus, is a lightning-fast racing mascot on wheels.

VFX Supervisor Dave Piedra, Creative Director Dan Schmit and EP Michael Caplan led the Engine Room design and animation team throughout the intensive process that spanned nine months, from the design phase to the execution of each deliverable in the campaign, which included two complete packages, the first for day races and a second to air during the season’s night competitions.

“Our work with Fox Sports is always incredibly rewarding thanks to the vision and passion of EVP/Creative Director Gary Hartley and his team,” says Engine Room’s Dan Schmit. “We are proud of how our ongoing collaboration with Fox Sports has evolved for more than a decade from a relationship based on our live action skills, to now providing large scale creative branding projects where we have been invited to do it all, from developing original concept, through feature-level visual effects CG execution. Gary saw our potential early on and we look forward to many more years of exciting collaboration and visionary work in support of Fox Sports.”

About Engine Room:
Engine Room is a global creative arts studio specializing in visual effects, live action and design for television, commercials, feature film and new media.

Black Thursday in USA

On October, 28th, 1929 The Wall Street Journal left under heading: Dow Jones Industrial has fallen on 38,33, that meant index falling on 12,82%. Next day the index has fallen to 30,57 points or 11,73 %. These two days of falling of the market of a steel the second and the third among record days of falling of an index in percent the relation.

Within 6 days the index (Dow Jones Industrial Average) has lost more than 96 points or about 30%. Within six days the industry has lost 96 points is about 30 % of cost. So one of the most serious economic crises in history began: «Great Depression».

In a photo — the leading article of newspaper The London Herald from October, 25th, 1929 with heading «WALL STREET CRASH!» And article describing events «Black Thursday in America».

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Stardust acted as the fully integrated creative agency + production arm, from concept through final distribution, for a new campaign for China's wildly popular messaging app WeChat. The app is expanding its global reach, kicking off an international ad campaign this month, featuring soccer superstar Lionel Messi.
Both spots have a fatherhood theme. In the first, Messi is shown trading voice messages (in Spanish) with Grandma, who is trying to soothe his crying infant son. He gets the baby to laugh by — surprise! — performing soccer juggling tricks shown to the baby via WeChat's video chat function. The video posted on YouTube by WeChat India netted more than 1.7 million views after just one week.
The global campaign targets 15 markets, including Argentina and Spain where Mr. Messi is a superstar. The others are: Brazil, Hong Kong, India, Indonesia, Italy, Malaysia, Mexico, Nigeria, the Philippines, Singapore, South Africa, Thailand and Turkey. In addition to being posted on YouTube, the two spots will air on television in the 15 markets. There will be accompanying print and outdoor advertising in at least some markets.
“Our goal was to show Messi in relatable, down-to-earth scenarios so our audience could easily identify with him and his use of the product; versus building the more common, larger-than-life concept around him that only puts distance between him, the product and the consumer base," Stardust Co-Owner/Managing Partner Dexton Deboree said in a statement provided by Tencent. “The opportunity for Stardust was one that really allowed Stardust to rely on our unique strengths to tackle a large brand’s challenge. We worked hand-in-hand with the team at Tencent and WeChat to concept a campaign that would work for launching their product to a large number of new countries, around the globe, while utilizing some consistencies between other non-US campaigns they had done in other markets, all within a single campaign, all within very tight logistics in both the execution and deployment.”
“We were intimately involved from beginning to end. Both cultural and time zone challenges presented hurdles we don't usually have to jump. In this case, I think it is the versatility of the Stardust team that allowed us to work across 3 time zones seamlessly,” added Stardust Co-Owner and ECD Seth Epstein.
WeChat already has more than 300 million registered user accounts, including 70 million outside China, mostly in Asian markets. WeChat started as a messaging app similar to WhatsApp, but the addition of video calls, photo sharing, location-based services and other Social features also make it similar to Instagram, Facebook, Twitter and Skype. WeChat's popularity outside of China has soared recently, growing by 20 million registered user accounts to reach 70 million in only six weeks. The growth is attributed to promotional campaigns, special WeChat deals provided through some Asian telco operators, and the increasing number of smartphone users in target markets. WeChat has not officially launched in the U.S., though Tencent has an American office doing groundwork and studying the market.

Credits:
Client: WeChat
Spot Titles: “Good Luck”: 30; “Father’s Day”: 30
Creative Advertising Agency & Production Company: Stardust
Executive Creative Director: Seth Epstein
Managing Partner/Executive Producer: Dexton Deboree
Copywriter(s): Seth Epstein & Dexton Deboree
Director: Seth Epstein
Live Action Executive Producer: Dexton Deboree
Producer: Sarah Casillas
Local (Spain) Live Action Executive Producer: Esther de Udaeta & Ernest Gual
Line Producer: Thersea Lucas

Visual Effects Company: Stardust
Art Director/Lead Designer: Ling Feng
Designers: Lynn Cho, Luis Salcedo, Karen To
Editor: Fred Fouquet
Flame Artist: Todd Mesher
2D Animators/Compositors: Taekyu Kim, Richard Taylor, Pietro Desopo
Rotoscope/Clean-Up Artist: Michael Plescia

Music & Sound Design Company: Stardust
Sound Design & Mix: Brian Peyton
Music Composer: Jesse Mattson

Serve Marketing has once again partnered with the Coalition for Children, Youth and Families to bring attention to the need of foster care families in Wisconsin. They worked with foster parents, foster children, college students and the surrounding communities to create the "Shelter From the Storm" campaign. A follow-up to last year's Silver Anvil nominated "Turn A Life Around" handstand campaign, umbrella flashmobs across the state will occur throughout the month of May (Foster Care Awareness month). These bright yellow umbrellas symbolize the safe haven that a foster family can provide to a child in need.

Billboards and a televised PSA direct viewers to FosterParentsRock.org, where information about becoming a foster parent is available. Through traditional and social media outreach, Serve was able to garner the attention of communities to join the events and support the cause. At these events, potential foster care parents were able to interact with other foster families to learn more about this unique parenting challenge and erase the negative stigmas that surround foster care.

"These kids’ lives are like being caught in a virtual storm every day," explains the campaign’s creator, Gary Mueller. "That’s why we chose to use iconic yellow umbrellas as the metaphor for foster parenting and what it means to these children. That when you become a foster parent, you’re literally giving kids shelter from the storm."

"Our end goal in this campaign is to change the stigma about what it means to be a foster parent," Colleen Ellingson, CEO of the Coalition for Children, Youth and Families, says. "By getting out there, being visible in the community and giving passerby the opportunity to talk to real foster families, we hope to inspire people to make a difference in a child’s life and be their support system."

Credits:
Created by Serve Marketing — an all-volunteer, nonprofit advertising agency.
Print Credits
Art Director: Scott Krahn
Creative Director: Gary Mueller
Copywriter: Gary Mueller
Photographer: Nick Collura
Photo Retoucher: Anthony Giacomino
Producer: Terri Burmester

PSA Credits
Director: Rob Fischer
Exec Producer: Sue Karpfinger
Editor: Dave Kuhnen
Audio: Peter Batchhelder, Independent Studios

Google celebrates Moms with it's latest ad entitled "Here's To Moms" for Mother's Day. The spot is a collection of wonderful mom moments from YouTube all set to the music of Tim Myers and the song "I Just Want To Thank You."

Visit g.co/mom for more ways to celebrate the Moms of the world. Have a Mom you want to thank? Upload your own video, photo or note with #HeresToTheMoms

Apple's newest TV commercial for this Thanksgiving is all about Turkey and the iPhone 5 Shared Photo Stream function of iOS 6 ("it's as easy as pie"). The ad is narrated by the new voice of Apple Jeff Daniels, you know...the Dumb and Dumber guy but more recently better known as Will McAvoy, the fictional news anchor of Aaron Sorkin's HBO show "Newsroom."
It's a shame has the comments disabled on their YouTube channel, the haters would have a field day with this one.