Ellen DeGeneres spends a few minutes with three Christmas Elves in a new JC Penny commercial. No big deal right? Oh but wait, The One Million Moms got all up in arms again.
Joe.My.God posted the official statement by One Million Moms about the ad (below) I've watched this 20 times, maybe I'm stupid but what in the world are they upset about, oh wait Ellen is gay. Shame on you OMM!!
"Since April, JC Penney's has not aired Ellen DeGeneres in one of their commercials until now. A new JCP ad features Ellen and three elves. JCP has made their choice to offend a huge majority of their customers again. Christians must now vote with their wallets. We have contacted JC Penney's several times in the past with our concerns, and they will not listen. They have decided to ignore our complaints so we will avoid them at all costs."
Gary Busey lends his talents to a new ad campaign for The Ellen Shop. "The ellen shop does not sell mattresses" ironically is the best line in the commercial considering Busey is on one throughout the entire ad.
Translation has unveiled the second chapter of its ongoing brand campaign for Champs Sports with “Game Loves an Audience,” a dynamic new marketing program for the back-to-school season. Seizing on the pins-and-needles feeling of anticipation that comes along with every new school year, “Game Loves an Audience” is all about looking good, and wanting everyone to see it. The campaign reinforces Champs’ well-established “We Know Game” tagline with three :30 spots, daily content for Champs Sports’ social media channels, digital banners, and a custom digital hub.
“The first day back to school is more than just a day,” notes Translation CCO John Norman, “it’s the red carpet moment of the school year. It’s a reunion, a chance to try something new, and a special moment to stand out. It’s the perfect time for a brand like Champs Sports to help you show off your game with new kicks, stylish tees, and a fresh look.”
“Game Loves an Audience” is the follow-up to “Game Never Sleeps,” Translation’s summer campaign for the athletic footwear and apparel retailer. Each element of the new campaign – from the music, to the fashion, to the storylines of the individual films – is rooted in a commitment to cultural relevancy, continuing Translation’s overarching strategy of appealing to both the on- and off-field passions of the modern day student athlete. The new digital hub, allows users to rank the most #FirstDayWorthy gear in Champs’ colossal inventory of new styles with a contemporary “swipe-to-like” design.
“Translation, through its new brand work, has done an exemplary job of expanding on the idea of ‘We Know Game’,” explains Champs Sports Director of Marketing Scott Burton. “We’re showing that ‘Game’ is as much about athletic skill as it is about swagger and confidence in all other arenas. Moreover, the work is done through the lens of a high school athlete, making the impact and its meaning to our consumers relevant during this time of year when students are going back-to-school.”
Creative Credits: Brand/Client: Champs Sports Campaign Title: Champs Sports Back to School Campaign Spot Title: “Joy Ride,” “First Period,” “Practice” Launch Date: August 2014
Agency: Translation Chief Executive Officer: Steve Stoute Chief Creative Officer: John Norman President: Nils Peyron Executive Creative Director: Jay Berry Executive Creative Director: Marc d’Avignon Creative Director: Mat Jerrett Associate Creative Director, Copywriter: Matt Herman Associate Creative Director, Art Director: Matthew McFerrin Art Director: Adam Chang Copywriter: Greg Dyer Art Director: Allison Bulow Copywriter: Jameson Rossi Director of Content Production: Miriam Franklin Producer: Carole McCarty Assistant Producer: Monica Johnson Head of Brand Strategy: Tim Flood Strategist: Shon Mogharabi Music Supervision: Nick Pacelli VP Account Director: Daniel Mize Account Supervisor: Patrice Caracci Account Executive: Steven Molinari Asst. Account Executive: Jackson Brodie
Production Company: @radical.media, Los Angeles Director: Michael Lawrence Director of Photography: Alex Disenhof Executive Producer: Donna Portaro Line Producer: Scott Cunningham
Editorial Company: Cut + Run NYC Editor: Dayn Williams Assistant Editor: Katie Pehowski Post Executive Producer: Rana Martin Post Producer (“Joy Ride,” “First Period”): Olivia Chiu Post Producer (“Practice”): Ellen Lavery
Telecine Company: CO3 NYC Colorist: Damien Vandercruyssen Producer: Katie Andrews Assistant Colorist: Matt Paul
On line: Cut + Run Flame Artist: Joseph Grosso Assistant: Matt Dolven Producer: Julia Williams
A young nurse learns the shocking secret behind her brand new medical degree in the second ad for Band-Aid brand bandages. Check out the Band-Aid Musical here .
Credits:Agency: Mommy Space Island ProductionsDirector: Will KindrickProducer: Jeffrey BenavidesDirector of Photogrpahy: Chris SaulComposers: Adam Deibert Editor: Tony HelloSound: Ryan KnouffCasting Director: Brighton Hertford, Ellen HoulihanProduction Design/Art Department: Adirenne Garcia, Sharmila Ray, Sonja JohnsonHair/makeup: Jill GalstererWardrobe: Ashli Pingry1st Assistant Director: Trina K SandalGrips/PA'S: Joe Lujan, David Yeaman, Kyle Wright, Charlie Valencia, Aaron WhitePost Production Supervisor: Tony HelloStarring:Brighton HertfordMichael Coady Brody Fitzgerald
A Twitter ad campaign, developed by BBDO Belgium, to invite people to discover the new Volvo-model XC60 which is characterized with a revolutionary braking system.
View the case study video of how Volvo invited tweeps to discover the new XC60, see how @FollowedByVolvo was able to get some of the most influential Belgium Twitter's to follow them.
Credits: Client: Volvo Cars BeLux Sebastien De Valck: Creative Director Frédéric Zouag: Art Director Nicolas Gaspart: Copywriter Wouter Has: Digital Project Leader Tom Verdeyen: Account Manager Inge Wertelaers: Account Executive Bart Muskala: Head of Digital Jelle Willaert: Social Writer & Publisher Ellen Pottoms: Social Writer & Publisher
An exhibit of American Indian art at the Metropolitan Museum of Art throws the connection between art and collector into unusually sharp relief.
A feathered basket from the early 20th century, made of plant fiber and quail feathers from Pomo, California is on display in New York in this photo provided to Reuters on January 17, 2012 by the Metropolitan Museum of Art in New York City. An exhibit of American Indian art at the Metropolitan Museum of Art throws the connection between art and collector into unusually sharp relief. The show features key pieces from The Coe Collection of American Indian Art, the life's work of a Ralph T. Coe, a collector and museum director who played a central role in reviving interest in American Indian art [Credit: Reuters/Metropolitan Museum of Art]The show features key pieces from The Coe Collection of American Indian Art, the life's work of a Ralph T. Coe, a collector and museum director who played a central role in reviving interest in American Indian art.
"The exhibit honors Coe and the role he played in the acceptance and understanding of the Native American work," said Julie Jones, head of the museum's Department of the Arts of Africa, Oceania, and the Americas.
The show includes about 40 objects representing a wide range of materials, from stone to animal hide, as well as time, place and distinct peoples.
Most of the Coe collection dates from the 19th to early 20th century when Native Americans came in contact with outsiders ranging from traders to missionaries to the U.S. army.
"Coe had some particular interests, one of them being objects that have come to be called souvenir art," Jones explained.
Souvenir art melded Native American art with European art, such as mocassins embroidered with European-like floral designs. Work from the people of the Great Plains evokes the men on horseback wearing feathers and buckskin.
Masks and head dress ornaments, sometimes used in theatrical ceremonies and story-telling, are another aspect of the exhibit.
An imposing sculpture of a Noble Woman by the Northwest Coast Haida artist Robert Davidson, dated to 2001, is a contemporary expression of a long tradition of carving wood. Most of the objects were made by artists who were schooled by their predecessors.
"Traditions were handed down," Jones said.
The man behind the collection
Born in 1929 in Cleveland, Ohio, Coe grew up in a home with filled with works by Renoir, Pissarro, Monet and Manet, all collected by his father, a trustee of the Cleveland Museum of Art.
"Coe came from a solidly Eurocentric point of view. He grew up in a house full of European paintings and learned to love them," Jones said.
But a book by Miguel Covarrubias, a Mexican artist and amateur archaeologist sympathetic to tribal art, was a catalyst for Coe to turn his attention to the art of Native Americans.
Soon after reading it, Coe bought a carved model of a totem pole, his first work of American Indian art that would eventually form part of the Coe Collection, a group of more than 1,100 objects, some dating from prehistoric times.
He became a champion of American Indian art, a mutualism that continued for the next half-century.
By 1962 Coe, a curator at Kansas City's Nelson-Atkins Museum of Art, organized "The Imagination of Primitive Man," an exhibit designed to illuminate the creative imagination of tribal peoples.
The most ambitious campaign Coe waged on behalf of this art resulted in "Sacred Circles: Two Thousand Years of North American Indian Art," shown in London as part of the United States Bicentennial in 1976, and in Kansas City one year later.
Its nearly 700 objects revealed the Indian approach to nature and nature's relationship to man, myth, time and space to a public that was unfamiliar with it.
"'Sacred Circles' changed the popular presentation of American Indian art and influenced a generation of collectors and museum professionals," Jones said.
For his last large exhibition — "Lost and Found Traditions: Native American Art, 1965 -1985" — Coe crisscrossed North America, seeking works of art that used traditional forms and materials, but were redefined by contemporary visions.
It marked Coe's transition from art historian to an advocate for the new, larger world of North American Indian contemporary art, and was shown in several museums in 1986.
Author: Ellen Freilich | Source: Reuters [January 17, 2012]
We Are All Watching: Westbrook is the second in the series of NBA Playoffs 2013 commercials. This spot takes us around the world for a glimpse at fans from Buenos Aires to Beijing watching Oklahoma City Thunder's Russell Westbrook in the pivotal game 5 against the Los Angeles Lakers in the Western Conference Finals. Tied at 70 in the third quarter, Westbrook intercepts a pass to Kobe Bryant then races down the court. Westbrook is fouled and he puts up a spectacular shot which was the catalyst to win the series.
Credits: AGENCY: Goodby Silverstein & Partners Executive Creative Director: Jeff Goodby Creative Director: Nick Klinkert Creative Director: Adam Reeves Copywriter: Nick Morrissey Art Director: Tim Green Producer: Benton Roman Executive Producer: Tod Puckett Director of Broadcast Production: Cindy Fluitt Account Director: Jason Bedecarre Account Manager: Janice McManemy Account Manager: Heather Morba Senior Business Affairs Manager: Julie Petruzzo PRODUCTION COMPANY: Biscuit Filmworks Director: Christopher Riggert Managing Director: Shawn Lacy Executive Producer: Holly Vega Head of Production: Rachel Glaub Line Producer: Rick Jarjoura Director of Photography: Tim Hudson Production Designer: Seba Serra EDITORIAL: Spot Welders Editor: Brad Waskewich Assistant Editor: Kai Yu Executive Producer: Joanne Ferraro Producer: Ellen Lavery VISUAL EFFECTS: Method VFX Supervisor: Ben Walsh Executive Producer: Stephanie Gilgar Producer: Pip Malone Co-ordinator: Zack Whitley Lead Flame: Matt Trivan Flame: Mike Plescia Paint: Pam Gonzales Roto: Scott Crafford, Daniel Linger MIX: Lime Sound Engineer: Rohan Young Executive Producer: Jessica Locke MUSIC: Human
Credits: Advertising Agency: 72andSunny, USA Production Company: Golden Wolf Chief Executive Officer: John Boiler Chief Creative Officer: Glenn Cole Creative Director: Aaron Howe Senior Copywriter: Eric Burnett Designer: Jaclyn Markle Copywriter: Ryan Iverson Junior Film Producer: Helena Yueh Senior Film Producer: Ellen Pot Film Producer: Erin Goodsell Brand Manager: Autumn Abbruzzi Brand Coordinator: Jaimie Mazzola Strategist: Kelly Wright Business Affairs: Cecilia Harvey Production /Editorial / Animation / Design: Golden Wolf Ingi Erlingsson: Creative Director Art Director / Director: Ewen Stenhouse Producer: Ant Baena Lead Designer: Norm Breyfogle Storyboards: Ewen Stenhouse, Norm Breyfogle, Yohan Auroux Animators: Ewen Stenhouse, Tim Whiting, Peter Dodd, James Duveen, Carlos De Faria, Sam Taylor, Jerry Forder, Joe Sparrow, Matthew Timms, Isobel Stenhouse Compositors: Alex Fernadez and Stefano Ottaviano Designers: Norm Breyfogle, Ewen Stenhouse, Jonathan Djob Nkondo, James Duveen, Marie Ecarlat, Yohan Auroux, Bobbie Jean Litsenberger Music: Willy Moon, "What I Want" Sound Effects: Barking Owl Sound Designer; Michael Anastasi Executive Producer / Creative Director: Kelly Bayett Mixer: Brock Babcock Finishing: Barking Owl Executive Producer: Elexis Stern Producer: Abisayo Adejare VFX Artist; Mark Holden
"We Are All Watching" is the first in a series of NBA Playoffs 2013 commercials. This spot features reigning Champion LeBron James in his most acclaimed Playoff performance during game 7 against the Boston Celtics in the 2012 Eastern Conference Finals. Fans from all over the world are glued to their screens when James makes a spectacular alley-oop play
Credits: Advertising Agency: Goodby, Silverstein & Partners, USA Executive Creative Director: Jeff Goodby Creative Directors: Nick Klinkert, Adam Reeves Copywriter: Nick Morrissey Art Director: Tim Green Producer: Benton Roman Executive Producer: Tod Puckett Director of Broadcast Production: Cindy Fluitt Account Director: Jason Bedecarre Account Managers: Janice McManemy, Heather Morba Senior Business Affairs Manager: Julie Petruzzo Production Company: Biscuit Filmworks Director: Christopher Riggert Managing Director: Shawn Lacy Executive Producer: Holly Vega Head of Production: Rachel Glaub Line Producer: Rick Jarjoura Director of Photography: Tim Hudson Production Designer: Seba Serra Editorial: Spot Welders Editor: Brad Waskewich Assistant Editor: Kai Yu Executive Producer: Joanne Ferraro Producer: Ellen Lavery Visual Effects: Method VFX Supervisor: Ben Walsh Executive Producer: Stephanie Gilgar Producer: Pip Malone Co-ordinator: Zack Whitley Lead Flame: Matt Trivan Flame: Mike Plescia Paint: Pam Gonzales Roto: Scott Crafford, Daniel Linger Mix: Lime Sound Engineer: Rohan Young Executive Producer: Jessica Locke Music: Human
Mattress commercials aren’t typically known in ad land for being creative hotbeds, but an upstart Los Angeles-based agency has changed all that with a cheeky television campaign for mattress giant Sealy, Inc.
Last December, Arcana Academy opened with the North Carolina-based brand as its founding client and the following brief: launch the Optimum memory foam version of Sealy’s famous Posturepedic mattress, a product designed to compete with specialty mattress maker Tempur-Pedic.
So, the agency conceived several playful TV spots to remind viewers that mattresses are made for more than just sleeping. The tagline: “It’s better on springs. Whatever you do in bed, Sealy supports it.”
The campaign’s latest spots brim with simplicity and innuendo. In “Tester,” the camera zooms in on an actual, rump-shaped mattress tester as plunges down into a bed as coquettish French music extolling the product features plays on the soundtrack.
Similarly, “Good Neighbors” suggests much without showing anything. In the ad, mysterious noises emanating from the abode of an unseen owner of a Sealy Posturpedic begins attract several curious and irritated neighbors. What’s actually happening is never shown, so any inferences are entirely the viewers’ own.
Since Arcana Academy began working for Sealy, Optimum mattress sales have gone up. Tempur-Pedic’s stock price, meanwhile, dropped to nearly 1/3 of its value despite outspending its competitor by more than $150 million. Then, in a classic if-you-can't-beat-'em-join-'em move, Tempur-Pedic bought Sealy, Inc, forming the largest mattress consortium in the world.
Created by Arcana Academy founders and award-winning creatives Shane Hutton (ex-Modernista!) and Lee Walters (ex-Arnold Worldwide), the campaign has breathed new life into a sleepy category and attracted a more youthful, vibrant audience to the brand.
The agency is housed in a converted Victorian mansion in Los Angeles. Its offices’ Baroque interiors pay homage to its mysterious name: ‘school of secrets.’ The walls are adorned with gold leaf, esoteric antiques, strange artwork and of course, advertising trophies but underneath it all is a team that aims to give consumers a fresh perspective on familiar products.
“We started Arcana Academy because a window of opportunity had opened — the kind of window that, if it were ever to close, you would spend the rest of your life saying, ‘what would have happened had I jumped through?’ says Walters. “So we did.”
“We have no illusions about taking over the world,” adds Hutton. “We want to stay small, offer our clients highly personalized service and continue to give them more, for less, faster. If that sounds suspiciously like a promise of turning lead into gold, well, it is.”
Credits: Title: Good Neighbors Client: Sealy Inc. Agency: Arcana Academy Creative Director/Writer: Shane Hutton Creative Director/Art Director: Lee Walters Agency Producer: Charles Wolford Director: Arni & Kinski Production Company: aWHITELABELproduct Executive Producer: Annique De Caestecker, Ellen Jacobson-Clarke, Oliver Hicks Post Production: Cindy Chapman, Les Sorrentino, Gizmo Rivera Editor: The Whitehouse, Los Angeles — Heidi Black Music: The Lodge
Title: Tester Client: Sealy Inc. Agency: Arcana Academy Creative Director/Writer: Shane Hutton Creative Director/Art Director: Lee Walters Agency Producer: Timmi Goldstein Director: Blind/Greg Gunn Production Company: Blind Executive Producer: David Kleinman Post Producer: S. Tobin Kirk Editor: Justine Gerenstein Music: Beacon Street Studios
A man wakes up from a coma and finds himself in a Band-Aid themed musical.
Credits: Mummy Space Island Productions Director: Will Kindrick Producer: Jeffrey Benavides Director of Photogrpahy: Chris Saul Production Design/Art Department: Adirenne Garcia, Sharmila Ray, Sonja Johnson Casting Director: Brighton Hertford, Ellen Houlihan Choreographer: Charme Morales Hair/makeup: Jill Galsterer Wardrobe: Ashli Pingry Grips/PA'S: Trina Sandal, Joe Lujan, David Yeaman, Kyle Wright, Aaron White, Charlie Valencia Composers: Amos Watene, Christian Davis Sound: Ryan Knouff, Ryan Augustine, Justin Faker, Aaron Hatch Visual Effects: Will Kindrick, Skyler Brummer, Jason Carr Colorist: Jorge Garduno Editor: Will Kindrick
Gulf States Toyota launched a new campaign titled “Where We Come From,” which highlights Tundra and Corolla plants in Texas and Mississippi. Despite what some people might think, these two models are among the vehicles that Toyota builds right here in the United States. Above we meet Rick Cunningham, a plant work from San Antonio, watch him has he goes about his day and discuss' the Toyota way of doing things. "Kaizen is continuous improvement — Kaizen is all around the shop. How do we go the extra mile? With blood, sweat and tears that go into making all our Toyota Tundras."
Never heard the word "Kaizen" before? It's Japanese for "improvement", or "change for the better" refers to philosophy or practices that focus upon continuous improvement of processes in manufacturing, engineering, and business management.
In these two webisodes, Gulf States Toyota takes you behind the scenes through a day in the life at these two plants and showcases, through beautiful cinematography, the end result: new Toyota vehicles manufactured with pride.
Gulf States Toyota, one of the Friedkin Group companies, is an independent private distributor of Toyota vehicles in a five-state region which includes Texas, Oklahoma, Louisiana, Arkansas, and Mississippi. The company serves a network of 154 dealerships, providing marketing, management support, and vehicle distribution.
Credits: Creative Agency — MMB Sara Ventetuolo – Executive Producer Ellen Stafford – Producer Fred Bertino – President Mike Wilson – Copy Writer Larry Bowdish – Art Director Liz Vanzura – Chief Marketing Officer Jon Greeley – Management Supervisor Production Company – Tool North America Matt Ogens – Director Oliver Fuselier — Executive Producer Tami Reiker – Director of Photography Mark Imgrund — Editor Noise Floor — Music Edit, Sound Design and Mix
