Mack Trucks is a cultural icon—a brand that has become part of the American lexicon...a symbol of toughness and strength. After all, how many people have felt like they've been “hit by a Mack Truck!”
Since WWI, when the bulldog became the official symbol of Mack Trucks, the consistency of the brand image was often sacrificed for other business priorities. Inconsistencies of usage abounded, diluting the proud, strong, iconic brand. Mack Trucks' agency of record, VSA Partners, recently embarked upon a comprehensive brand strategy and brand revitalization program, pulling together the best, most potent parts of Mack Trucks identity--the bulldog and the wordmark--to create a carefully refined and coherent brand expression system centered around an authentic purpose and promise. The result is an iconic American brand that is now positioned to deliver consistently on a well-earned reputation for speaking honestly and directly, for working harder than the next guy, for making incredible products that inspire the imagination and for loving every corner of the trucking industry.
Below, Born Ready - Inside the New Mack Brand Reveal this week in Las Vegas.
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.
Heineken introduces new limited edition star bottles, the first time they've redesigned it's packaging since 1946.
The new "Star Bottle" design (above) is for U.S. consumers and scheduled to be on shelves nation wide by March of next year. The James Bond Skyfall limited editions bottles are below.
"The newly designed Star Bottle allows Heineken to take a huge step forward in the globalization of the brand, which started with our 'Open Your World' marketing campaign and our more recent draught program," says Colin Westcott-Pitt, VP of Marketing, Heineken USA. "The Heineken bottle has gone through a number of progressions but has always maintained its core iconography that has become a symbol of upscale premium beer, and this philosophy will remain the same with the new Star Bottle design."
"The Star Bottle will be available in 12 oz. and 22 oz. sizes and features a taller, thinner shape giving it a more modern and premium look. The bottle also features an embossed thumb groove that improves grip and encourages people to hold the bottle at a lower point, keeping the beer colder. While the bottle is changing, consumers can still expect the same smooth, full-bodied beer with a complexity that balances fruity notes with mild bitterness that has been synonymous with Heineken for more than 100 years."
From The Aids Council of Finland and ad agency McCann Worldgroup, Helsinki come two new ads reminding us just how important using condoms are. The ad's entitled "Places for Women" and "Places for Men" begin as what surely looks to be a romantic experience with a young couple, until the pin map symbol that we've grown to love pops up with a friendly reminder of just how many people have been to the region before you.
Advertising Agency: McCann Worldgroup, Helsinki, Finland Creatives: Jyrki Poutanen, Timo Silvennoinen Graphic designers: Kari Mikkonen, Piia Seppälä, Kim Takala Agency Producer: Jyrki Poutanen, Yrjö Haavisto Production company: Ragnar Jansson Productions Producer: Ragnar Jansson Director: Ragnar Jansson DOP: Niklas Nyberg Editor: Ragnar Jansson Animation: Fake Graphics / Sami Syrjä Music: Husky Rescue Sound: Marko Nyberg On-line: Post Control / Markus Johnson Camera assistant: Erik Ericsson Styling: Patrik Brodin Make up: Regina Törnwall Others: Petteri Lillberg
Palazzo Strozzi is presenting The Springtime of the Renaissance. Sculpture and the Arts in Florence, 1400-1460, an exhibition which sets out to illustrate the origin of what is still known today as the “miracle” of the Renaissance in Florence predominantly through masterpieces of sculpture, the form of figurative art in which it was first embodied. Following its debut in Florence, where it is on view from 23 March to 18 August 2013, the exhibition will be shown at the Musée du Louvre in Paris from 26 September 2013 to 6 January 2014.
The lengthy preparation that has gone into the staging of the exhibition, which is curated by Beatrice Paolozzi Strozzi, director of the Museo Nazionale del Bargello, and Marc Bormand, curator-in-chief of the Département des Sculptures in the Louvre, has been accompanied by an extensive restoration campaign in both Italy and France with joint funding from the Fondazione Palazzo Strozzi and the Louvre. Visitors to the exhibition are able to admire many Renaissance masterpieces, including works by Ghiberti, Donatello, Dello Delli, Filippo Lippi, Nanni di Bartolo, Agostino di Duccio, Michelozzo, Francesco di Valdambrino and Mino da Fiesole, in their newly-conserved splendour.
One of the most significant projects undertaken for this exhibition is the conservation of Donatello’s imposing bronze statue depicting St Louis of Toulouse, 1425, from the Museo dell’Opera di Santa Croce where it has been throughout the restoration in a workshop especially set up in the museum and open to the public. The conservation was entrusted to Ludovica Nicolai, who was responsible for restoring Donatello’s David in the Bargello, with the assistance of the Opificio delle Pietre Dure’s scientific laboratory. The procedure was directed by Brunella Teodori, Soprintendenza Speciale PSAE e per il Polo Museale della città di Firenze.
The exhibition will be presented in ten theme-based sections.
Section I: The Legacy of the Fathers
The exhibition opens with an intriguing overview of the rediscovery of the classical world with some splendid examples of the 13th and 14th century works by Nicola and Giovanni Pisano, Arnolfo, Giotto, Tino di Camaino and their successors, who also assimilated the expressive richness of the Gothic style, in particular from France.
Section II: Florence 1401. The Dawn of the Renaissance
The ‘new era’ coincided with the start of the new century and is represented in the exhibition by two panels depicting the Sacrifice of Isaac by Lorenzo Ghiberti and Filippo Brunelleschi from the Baptistry doors, and Brunelleschi’s model for the cathedral dome. At that time, the writings of the great Humanists, singing the praises of the Florentine Republic’s political achievements, its economic power and its social harmony, were spreading the legend of Florence as heir to the Roman Republic and as a model for other Italian city-states.
Section III: Civic and Christian Romanitas
Monumental public sculpture, through the masterpieces of Donatello, Ghiberti, Nanni di Banco and Michelozzo, created for the city’s major construction sites – the Cathedral, the Bell Tower, Orsanmichele – is the first and loftiest expression of the transformation under way and of the triumph of Florence and its civilisation.
Section IV: “Spirits” Both Sacred and Profane; Section V: The Rebirth of the Condottieri
The exhibition also sets out to illustrate the other themes of classical antiquity that were assimilated and transformed through sculpture in this new Renaissance language, which lent its voice not only to the city’s creative fervour but also to its spiritual and intellectual mood.
Section VI: Sculpture in Paint
Sculpture, and more especially statuary, was thus to have a tremendous impact on the painting of the leading artists of the time, men such as Masaccio, Paolo Uccello, Andrea del Castagno, Filippo Lippi and Piero della Francesca.
Section VII: History “in Perspective”
The search for a “rational” space and Brunelleschi’s discovery of perspective were implemented in the most advanced forms in the art of sculpture, in Donatello’s bas-reliefs – for instance in the predella of his St George from the Bargello or in his Herod’s Banquet from the Musée des Beaux-Arts in Lille. This echoed well into the middle part of the century in the work of Desiderio da Settignano and Agostino di Duccio in an ongoing dialogue/debate with painting, including that of the classical era.
Section VIII: The Spread of Beauty
From the 1420s onwards, the new standards of sculpture perfected by the great masters and illustrated in the exhibition by several masterpieces such as Donatello’s Pazzi Madonna from Bode Museum in Berlin, the Kress Madonna from the National Gallery in Washington, and the Madonna from the Diocesan Museum of Fiesole attributed to Brunelleschi, spread out via a seemingly endless output of bas-reliefs for private devotion (in marble, stucco, polychrome terracotta and glazed or “Della Robbia” terracotta), which fostered the widespread propagation of a taste for the ‘new’ beauty in every level of society.
Section IX: Beauty and Charity. Hospital, Orphanages and Confraternities
At the same time, the most prestigious artistic commissions in Florence, which were almost always from public entities, began to focus on venues of solidarity and of prayer (churches, confraternities and hospitals), where sculpture once again played a primary role.
Section X: From City to Palace. The New Patrons of the Arts
Thus, arranged around the city’s absolute symbol – the wooden model of Brunelleschi’s Cupola for Santa Maria del Fiore – the exhibition offers a retrospective of themes and types of sculpture that were also to have a crucial impact on the development of the other figurative arts, in a direct debate with their classical predecessors, from the tombs of the Humanists, to the inspiration provided by ancient sarcophagi, to the rebirth of the equestrian monument and the carved portrait. The carved portrait, which became popular towards the middle of the century – in the marble busts of Mino da Fiesole, Desiderio da Settignano, Antonio Rossellino and Verrocchio – heralds the transition from the fiorentina libertas, represented by public patrons, to the private patronage that already bore the mark of the Medici family’s impending hegemony. This transition is effectively captured in the culmination at the end of the exhibition with the Wooden Model of Palazzo Strozzi, the most illustrious private residence of the Renaissance.
On Sunday, on May, 17th, US president Barack Obama has made speech at university I Notr-will give the State of Indiana, considered largest Catholic university of the country.
Obama has risen on a tribune in a professorial cloak as has honourable scientific degree. Speech of the president, basically has been devoted a problem of abortions.
In beginning Barack Obama has called supporters and opponents of abortions not to be so irreconcilable to the point of view of the opponents, to respect each other and to aspire to mutual understanding. Speech has been apprehended extremely emotionally: while supporters interrupted time and again the president with an applause, opponents were not kept from barrackings "Abortion is a murder!", "Cease to kill our children!"
On the eve of arrival of the president to criticism Notes-ladies called a management I Notr-will give to cancel the appointed event, however their appeal has been ignored.
"I do not consider, that discussions on an abortion problem should be stopped, — has declared Obama. — Everyone will be and to protect henceforth the point of view, passionately and with conviction... But let's work together reducing number of the women daring at abortion. Let's reduce number of not desired children. We will assist also support to the women bearing the child". By approximate calculations, to the Mr. of the president listened not less than 12 thousand persons.
Some students have decorated the hats-konfederatki with a symbol of the protest against abortions — a cross and traces of children's legs.
Supporters of the American president could be noticed on inscriptions on headdresses — "Viva Obama".
During speech of the president the protesting scanned outside of an audience: "One, two, three, four. Throw Obama out the door!". The police has detained, on different data, from 22 to 27 persons expressing the disagreement with a position of the American leader.
It is necessary to notice, that about half from 60 million the Catholics living in the USA, agree with the right of the American women to abortion. Approximately 42 % insist that abortions should be outlawed.
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.
Replica of the Argo [Credit: ANSA]The city of Volos is hosting a competition for projects on the ”Creation of a museum to value the ship of Argo.” The application deadline for those wishing to take part in the competition expired at the beginning of the month. The 68 projects sent from architects in Greece and Italy as well as other countries, will be evaluated next spring and then construction work will begin.
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.
Evian follows up the incredibly successful Roller Babies ad with the launch of the new Baby & Me ad/film.
Press: The newest video campaign from evian continues to focus on the brand’s longstanding commitment to the Live Young® lifestyle: that youth is not a matter of age; it’s an attitude. Baby & Me aims to offer another vividly entertaining moment that shows us a reflection of our own personalities and inner youth. Characters in the video are seen walking through a busy street when they suddenly meet with their inner babies in storefront window reflections. Upon the initial discovery, the adult characters begin to interact with their inner babies resulting in an energetic virtual dance off with themselves, demonstrating the feeling of freedom, of letting go and spontaneity that Living young triggers. “The babies embody ‘Live Young’, the evian mantra, and remind us that we are all youthful in our own, unique way. Babies are also the ultimate symbol of natural purity, exactly what evian water is. This is why we are so excited to continue this iconic campaign in a fresh and entertaining way“said Jerome Goure, Vice President of Marketing for Danone. Produced by award-winning creative agency BETC, and directed by We are from LA, the Baby & Me video is remixed by electronic music producer, Yuksek for evian. 90’s dance hit “Here comes the Hotstepper” serves as the soundtrack to the new film, which instantaneously brings the energy of the video to life. In addition to the Baby & Me video, evian will be launching a Baby & Me application mid-May. Available on Android, iPhones and Facebook, fans will be able to meet their own inner baby. Developed by BETC Digital and software company, B-Reel, the application uses advanced facial recognition software allowing users to take their own photo and those of friends and upload to the application, which will then “babified” and reveal your inner baby. Photos can be uploaded to Facebook and Twitter to share with their friends, using #EVIANBABYANDME, which will be a globally used hashtag. Credits: Music and song title: Here comes the Hotstepper — Evian remix by Yuksek Agency: BETC Directors: We are From LA Production team: Iconoclast & Mikros
The courageous act of the young Norwegian writer of Arabian origin — Sara Azmeh Rasmussen — which during meeting on Youngstorget in honor of the International Women's Day has burnt the yashmak as "a symbol humiliating the woman". Yashmak was burnt under shouts of the indignant Moslems...
Martell XO releases a new ad campaign / web film entitled "We All Have Wings." The new global campaign pays tribute to Martell's unique heritage, using its emblem, the swift. Legend has it that in 1715, a swift led Jean Martell to Cognac, where, he founded what would become the oldest of the great Houses of Cognac.
In this film the swift becomes a symbol of one's potential to achieve great things — just like Jean Martell nearly 300 years ago. Martell XO invites us all to spread our wings and take flight to rise above.
The music is soundtrack preformed by the members of the London Symphony Orchestra and mixed by Oscar-winning sound engineer Etienne Colin.
Credits: Ad Agency: BEING, France Creative director: Paul Wauters Art director: Matthieu Camilieri Copywriter: Kate McMullen Accounts: Alexa Pantanella, Lise Abou-Bechara, Fanny Buisseret Strategy: Nicolas Chemla Director: James Gray Director of Photography: Darius Khondji
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.
In the United States of America there was a book under the name «101 most influential invented person» in whom authors have tried to investigate as fruits of another's imagination influence our life. The list of the most influential was headed by courageous American cowboy Malboro who has appeared in 1950 and has helped to increase sales of cigarettes.
Second number in the list — the Big brother from the book «1984» George Oruell, the third — King Arthur embodying as authors speak, lines of the ideal monarch, and fourth place Santa Claus.
«Santa Claus operates all our economy in the last quarter of year, and without the Christmas grandfather many firms would be ruined», — one of authors of the book Allan Lazar has told. Barbie — «the plastic babe» who became the sample for imitation for millions little girls, having introduced the new standard of beauty and style», — is on 43rd place.
In the list there are also beings absolutely not similar to the person, for example: King-Kong and the Godzilla, the Cinderella and Ancient Greek tsar Midas, Faust and uncle Sam — a symbol of the USA.
The movie Alma (in English, “Soul”) – made by Brazilian production company Sentimental Filme – has just won two awards at the prestigious D&AD competition, in London. This brings the tally of international prizes to 12 for this short film conceived by advertising agency F/Nazca Saatchi & Saatchi.
The first Leica brand campaign in Brazil, the film is part of the launch activities for the German camera maker’s unique concept store in the country – in São Paulo – and features the new M Monochrom digital camera designed to produce stunning photos in black and white.
Alma won for Best Direction and for Cinematography in the Film Advertising Crafts' category with accolades for Vellas and André Faccioli respectively. "The D&AD is possibly one of the hardest prizes to win. The level is very high and the festival showcases many films from all around the world made by influential production companies and filmed by top directors. Just being nominated for a D&AD was something incredible for us, but to win two golden pencils [the statues based on the British awards symbol] was really beyond our expectations and very gratifying. Really amazing", said the director Vellas. This year Brazilian productions bagged four of the coveted D&AD pencil trophies.
Between wars and loves, this is an engaging story of a photographer narrated from the unusual point of view of his own camera. In black and white, the movie sports unconventional angles and, sometimes, deliberately blurred images, as if the camera was held in the actual hand or slung round the neck of the photographer himself.
Hopes are now high that following the film’s success at D&AD Alma will be in the running at the prestigious Cannes Lions 2013, which take place from 16 to 22 June.
The production company... In 11 years of creative activity, Sentimental Filme has become one of the most important advertising film producers from Brazil. Winner of several national and international awards, including a Bronze Lion at Cannes, three Clio Awards, and two One Show prizes, the company also has a division that produces content for TV, internet, entertainment, interactive advertising, corporate communications and new media. Its major clients include Fiat, Ford, Panasonic, Volkswagen, Visa, Procter & Gamble and AB Imbev.
Credits: Production company: Sentimental Filme Director: Vellas Director of Photography: André Faccioli Executive Producers: Marcos Araújo, Marcelo Altschuler Production Director: Eduardo Venturi Editing: Talles Martins Sound: Satélite Áudio Voiceover: Christine Behm Post-production: Sindicato VFX Agency: F/Nazca Saatchi & Saatchi Creative Directors: Fabio Fernandes | Eduardo Lima Art Director: João Linneu Creative team: Bruno Oppido | Thiago Carvalho | João Linneu RTVC: Victor Alloza Accounts: Marcello Penna | Melanie Zmetek Planning: José Porto | Rafael Paes Approval | Client: Luiz Marinho
The Royal Ontario Museum unveiled The Forbidden City: Inside the Court of China’s Emperors, presented by the Robert H.N. Ho Family Foundation with Manulife as Lead Sponsor. The exhibition is on display in the Garfield Weston Exhibition Hall from Saturday, March 8 until Monday, September 1, 2014. Presented in collaboration with Beijing’s Palace Museum, the show brings to Canada for the first time approximately 250 treasures that were part of Chinese imperial life for five centuries in a city strictly off-limits to all but the emperor, his family, and his personal servants. These objects are the relics of a momentous chapter in China’s long and fascinating history.
More than 80 of the exhibition’s objects, including textiles, calligraphy, paintings, and armour, have never before travelled outside the Forbidden City. Complemented by stunning artifacts from the ROM’s own internationally celebrated Chinese collections, these objects tell captivating stories and reveal the fascinating characters that made the Forbidden City the centre of an immense empire for more than 500 years. Due to the significant number of light-sensitive textiles and paintings, there will be an extensive rotation of objects half way through the exhibition’s engagement, presenting a new opportunity to experience the stories and exquisite objects of the Forbidden City.
The emperor's role as head of the military required special ceremonial 'armour'. Worn for reviews, it was made more for show than active battle [Credit: ROM]“The ROM’s exhibition takes visitors on a remarkable journey to the heart of the Forbidden City — once off limits to all but a privileged few,” said Janet Carding, ROM Director and CEO. “Carefully selected by our curatorial team, these extraordinary artifacts from Beijing's Palace Museum will give visitors an inside view of life within the Forbidden City and immerse them in China’s rich history. The exhibition is the centerpiece of the Museum’s Centennial, bringing to life our promise to connect our visitors with their communities, world, and with each other.”
The ROM has partnered with Beijing’s Palace Museum to create an exhibition that uncovers untold stories about life in the courts of the Chinese emperors. Dr Chen Shen is the exhibition’s lead curator and the ROM’s Vice President, World Cultures and Senior Curator, Bishop White Chair of East Asian Archaeology. He said, “This exhibition allows Canadians to see, for the first time, the finest objects hidden from view in the Forbidden City. We have worked with our Palace Museum colleagues to develop untold stories about life in the courts of the Chinese emperors; ensuring ROM visitors will enjoy many of China’s national treasures, many of which have never left the palace. These objects — both luxurious and everyday — provide the unique opportunity to advance our understanding of the people who lived within the walls of the Forbidden City.”
The emperor's role as head of the military required special ceremonial 'armour'. Worn for reviews, it was made more for show than active battle [Credit: ROM]In December 2012, Dr. Shen travelled to China with co-curator Dr Wen-chien Cheng, the ROM’s Louise Hawley Stone Chair of Far Eastern Art, and curatorial advisor Dr. Sarah Fee, the Museum’s Curator, Eastern Hemisphere Textiles and Fashion to spend time in the vaults of the Palace Museum and select the most compelling objects in the vast and storied collection.
Robert H. N. Ho, Founder of The Robert H. N. Ho Family Foundation, said “The Foundation is pleased to present The Forbidden City: Inside the Court of China’s Emperors in Canada. Advancing the understanding and appreciation of Chinese culture is a key mission of our foundation. Robust educational programming in support of the exhibition should encourage wider exploration by the public, especially teachers and students. The Foundation is also proud to once again be working with the ROM, an outstanding institution which together with Beijing’s Palace Museum, has developed this wonderful exhibition, bringing to life the 600-year-old imperial palace and revealing for the first time many of its treasures and secrets. ”
This gemstone-decorated gold ewer was used only on special occasions such as the emperor’s birthday [Credit: ROM]“The Forbidden City is a true celebration of Chinese culture and history," said Nicole Boivin, Chief Branding and Communications Officer for the exhibition’s Lead Sponsor Manulife, “As a global company, Manulife is committed to engaging the international communities in which we live and work, including China where we've been operating since 1897. Partnering with the ROM to support this exclusive exhibit is an excellent way to honour the China-Canada Cultural Exchange and the ROM’s 100th anniversary.”
The ROM’s exhibition uncovers the stories of the Forbidden City and China’s last emperors who led their lives deep within the palace’s opulent interior. Through intimate encounters with everyday objects, visitors meet a cast of real characters, including emperors, court officials, concubines, and eunuchs — castrated men who served the imperial families. The ROM’s exploration of life inside the mysterious Forbidden City transports visitors through increasingly restricted areas — the palace’s great halls, grand courtyards, and intricate terraces and roofs, until visitors ultimately gain access to the most private space of all: the emperor’s personal study.
'Being Ruler is Tough' was the motto Emperor Yongzheng inscribed on this seal. At his wish, copies of this seal were placed in different rooms for his use and as a reminder of his role [Credit: ROM]Upon arrival, before reaching the admissions desk, visitors are introduced to the Forbidden City in the exhibition’s Prologue. An intricate model including many of the complex’s significant features is displayed in the Thorsell Spirit House, complemented by the one of the ROM’s most recent acquisitions — a yellow-glazed bowl, commissioned by Ming Emperor Wanli. The colour yellow was strictly reserved for royal families and could not be used in any way outside the Forbidden City unless explicitly permitted by the emperor himself.
Thrones were not made for comfort, but as a symbol of the ruler’s imperial and authoritative power. All the pieces here are part of the 'throne set' [Credit: ROM]Visitors next enter The Inner Court, the residential space where only the imperial family and their eunuchs lived. Empress Dowager Cixi, a towering presence over the Chinese empire for almost half a century, is profiled in this section. Stunning gilt silver nail guards represent her. Up to six inches long, they protected the extremely long nails of imperial women — signifying their leisure status. Also on display are the opulent objects of the emperor’s everyday life including silk dog coats, gold eating utensils, and the last emperor’s gilt bath tub.
The exhibition’s climatic section takes visitors inside the Emperor’s personal spaces that were once forbidden to all but the emperor. As rulers, emperors were bound to strict institutionalized governance. However, their choices were their own in collecting and personal cultivation. This area showcases some of the most exquisite objects in the imperial collection including jades, calligraphies, and ceramics and an exceedingly rare porcelain “chicken” cup, commissioned by Emperor Chenghua for his mother; only two such cups exist today in the Palace Museum. In this section, a British-made musical clock and the character of a Western missionary represent the foreign dignitaries who gained access to the Forbidden City with gifts from their homelands — pieces much admired by Qing dynasty emperors.
Pages like this, in a fourteen-sheet album, presents the emperor assuming various ethnicities and characters – in each he is accompanied by an animal or a bird. [Credit: ROM]Finally, Twilight of the Last Dynasty portrays the Forbidden City’s last chapter as it began its transformation to the Palace Museum. Here, visitors learn of the fall of the empire during the last dynasty and the imperial collection’s fate. The magnificence of imperial life is countered by the poignancy of the last emperor’s departure. As visitors are brought back to their own world, they gain an appreciation for the Forbidden City then and now.
The Forbidden City
China’s imperial palace, known to the world as the Forbidden City, was built from 1406 – 1420. It was the center of government and home to China’s last 24 emperors of the Ming (1368 – 1644) and Qing (1644 – 1911) dynasties. Made up of about 980 buildings and 8700 rooms in over 90 architectural complexes, the Forbidden City remains to this day the largest palace complex in history. Once strictly forbidden to all but the emperors, their families, servants, invited guests, and most trusted officials, the palace gates are now open to all.
The Palace Museum
The Forbidden City became the Palace Museum in 1925, one year after the last emperor was forced into exile. Located in the heart of Beijing, the magnificent site spans over 720,000 square metres and houses the largest collection of China’s imperial treasures. Designated by China’s State Council as one of that country’s most important protected cultural heritage sites in 1961, it became a UNESCO World Heritage site in 1987. Today, it is considered one of the world’s most important museums. Popularly called The Forbidden City, it houses over 1.8 million art treasures spanning 5,000 years of Chinese history with many from the Qing imperial court. It is one of the world’s most visited museums, welcoming a record 182,000 visitors on October 2, 2012.
Sol brings ‘Espiritu Libre’ to the streets of London. The original Mexican beer films office workers as they ‘lose the tie’ and live a free-spirited life.
Sol, the original Mexican beer born in 1899, has revealed the hidden ‘free spiritedness’ of London’s desk-bound, 9-to-5ers in a film that sees them ‘Lose the tie, gain some Espiritu Libre’.
The campaign was created for the HEINEKEN-owned premium packaged lager by The Marketing Store, and captures the reactions of a host of city workers as they answer the call to break free and ‘recycle’ their ties.
It’s early evening at Canary Wharf and, after a long day at work, city workers are commuting home at Canary Wharf Underground station. At the station, standing next to the standard recycling bins, many are intrigued to see a tie recycling bin, with the words ‘Espiritu Libre’ printed on it.
We see lots of male city types strip off their ties and drop them into the recycling bin. The intrigue continues when the bin makes an unusual whirring noise as if it’s processing something and, much to the amusement of the men and passers by who have gathered around, we see the severed ends of their ties appear at the flap below. A note is attached to it by a Sol bottle top, bent into a clasp.
The note reads “Free Beer for a Free Spirit…” and offers a complimentary bottle of Sol at The Ledger Building Bar that evening.
The film ends by showing one of the men handing over his severed tie at the bar in exchange for a Sol. The barman pins it up on a board next to lots of other chopped-up ties.
The video is part of Sol’s ‘Espiritu Libre’ experiential activity, which saw the tie recycling bin appear at Jubilee Plaza, Canary Wharf on 21st February.
Vicente Cortina, Sol Global Manager says: “Sol’s ‘Free Beer for Free Spirits’ movement brings Espiritu Libre to the streets of London. The video shows the magic that can happen when you help city workers declare their independence and enjoy a Sol with friends.”
Graham Wall, Executive Creative Director at The Marketing Store, says: “The tie can be a symbol of power and success, but it can also be seen as a shackle, part of the daily grind. We wanted to give office workers back a sense of their true selves – to make bold choices and be rewarded for it. The ‘Espiritu Libre’ activity brings out that free-spirited sense of liberation that every bogged-down city worker has in his heart.”
Credits: Director, Phil Hawkins Production, Little Fish Films Executive Creative Director, Graham Wall, The Marketing Store
Sporting New Eyewear Supports The Police DDB Canada launches arresting campaign for the Vancouver Police Foundation
Vancouver, August 6, 2013 — Recently, the Vancouver Police Foundation launched its first communications campaign aimed to increase awareness and garner support for the charitable organization. The Vancouver Police Foundation provides funding for emerging technology and innovative ideas as well as a wide range of community policing and youth-at-risk outreach programs not included in the police department’s annual operating budget.
Developed by DDB Canada’s Vancouver office, the goal of the integrated campaign is to raise awareness for the Vancouver Police Foundation and better connect the public to the police via a line of iconic, mirrored aviator sunglasses. These sunglasses not only serve as a visual symbol of support that Vancouverites can wear proudly, but they also play a central role to all of the creative aspects within this campaign.
“The iconic sunglasses pay homage to a signature look inherently tied to police and act as a badge of support that buyers can wear,” says Cosmo Campbell, executive creative director, DDB Canada. “This becomes an opportunity and conversation piece for Vancouverites to demonstrate their support for the police and look good doing it.”
The sunglasses play a primary role in two 30-second television spots, titled “Hoodslide” and “Deflated,” which kicks off the campaign and aims to drive sales of the sunglasses. Taking a humourous twist to popular TV police dramas, both spots drive viewers to buy the sunglasses in support of the Vancouver Police Foundation and visit the website to find out more about the organization and how proceeds benefit the community.
“In the short term, the goal of the campaign is simply to raise awareness for the Vancouver Police Foundation and show support for the VPD by wearing the sunglasses,” says Martina Meckova, executive director, Vancouver Police Foundation. “Our long term objective is to increase the membership of the Foundation and broaden the support base, so that more people in Vancouver can benefit from the work that we do in the community.”
A social media contest coincides with the campaign launch and invites people to submit photos of themselves wearing the sunglasses, along with the hashtag #VPDPartners for a chance to win a unique Ride-Along police experience. Symbolizing the solidarity between the people of the city and the Vancouver Police Department, the photos from the contest will be aggregated on the Department’s website as a visual tribute to the police officers.
“Initially, we asked DDB to assist us with some print ads to promote the Vancouver Police Foundation in a local paper,” says Peter Brown, chair, Vancouver Police Foundation. “The agency returned with an impactful campaign strategy that lends itself successfully across various mediums, allowing us to build a stronger relationship with the public.”
Print, OOH, television, social, digital, public relations and an on-air partnership with Global TV BC round out this integrated PSA campaign. The campaign was created pro bono by DDB Canada with generous support from the following production partners: Clinton Hussey for Photography, OPC // Family Style’s Director Jeff Low for the TV work, Post Pro Media for post-production services, Sean Milliken for talent casting, Wave Productions for audio services and Coastal Contacts for facilitating the production of the sunglasses.
The campaign also received help from DDB Canada’s media agency partner, OMD, who offered free services by arranging a combination of donated and discounted PSA buys with BC Business, Bell Media, CBS Outdoor, and Global TV, Postmedia, TV Week and Western Media Group.
The iconic, mirrored aviator sunglasses will be distributed by the police at community events, including Vancouver’s Fresh Air Outdoor Cinema, and are available for purchase starting August 1 from the Vancouver Police Foundation website for $20 each.
“The partnership between the community and police is fundamental to crime prevention and reduction efforts,” Brown adds. “It is through the Foundation that the citizens of Vancouver can support essential policing programs that may be beyond the immediate city budget capability, raise awareness of the outstanding contributions the VPD makes 24/7, and become partners in policing so together we can build stronger communities and make Vancouver the safest major city in Canada.”
Virgin Media has unveiled a new brand identity incorporating the Union Jack flag, as it seeks to match what it sees as a national mood of patriotism coming in 2012.
It has created a new logo with the blue, white and red flag, combined with the original red infinity symbol Virgin logo. The logo, created by Start JudgeGill, will be unveiled in a new TV ad this week promoting the company's next-generation TV service TiVo.
Jeff Dodds, executive director of brand and marketing communications, said: "At Virgin Media, we're extremely proud of our British heritage and wanted to find a way to symbolically remind people about all the fantastic things about our nation.
"With Britain celebrating the Queen's Diamond Jubilee and hosting the Olympic Games next year, we believe there is no better time to show our pride and excitement about what it means to be British." via: marketingmagazine.co.uk
18 Feet & Rising’s new advertising for the National Trust focuses on its role looking after and championing the special places that the world loves by encouraging the public to share their love for those places which hold a special place in their hearts.
The print campaign, will run across press, OOH, and digital, shows the iconic National Trust oak leaf as a symbol of love — an alternative to the heart in the vein of the popular 'I heart NY' imagery. Each execution is a statement of an individual's love of a place, whether it's an 11 year-old catching butterflies at Wicken Fen or a 14 year-old getting to the top of a hill before his dad at Stourhead. Each story is authentic, with no models or fake names, and a social element invites the public to get involved, along with celebrities, volunteers and staff. The campaign aims to steer public perception away from National Trust locations as being a 'look but don't touch' visitor experience, and instead show that these are places for creating hands-on memories.
Credits Creative Director: Behrad Taherparvar Art Directors: Behrad Taherparvar & Noreen Khan Copywriter: Behrad Taherparvar Strategic Business Lead: Katherine Grenville-Jones Agency Producer: Emily Hodgson Photographers: Josh Cole, Naomi Goggin, Caroline Irby, and Arnhel de Serra
Even today, the world of the ancient Greek gods has lost none of its fascination. Accounts of the deeds of mighty Zeus, his jealous wife Hera, the twins Apollo and Artemis, beautiful Aph-rodite, and Dionysos the god of wine, are as enthralling as ever after more than 2000 years.
A mask of an old man is on display at the Roman-Germanic Museum in Cologne, Germany. The exhibition 'Return of the Gods' will run until 26 August 2012 [Credit: EPA/Oliver Berg]
Greek poets and artists conveyed a vivid picture of the world of these gods. Their work set creative precedents and were a source of inspiration; they also furnished models and a stim-ulus for new interpretations and original compositions by Roman writers and sculptors.
Over a period of more than three hundred years, the Brandenburg-Prussian Electors and Kings in Berlin collected antique works of art, which are now in the museums of the ‘Preußischer Kulturbesitz’ Foundation – the Pergamon Museum and the Collection of Antiqui-ties. For the first time in Cologne, in the exhibition The Return of the Gods, the Olympian world of the Greek gods is recreated with marble statues, stone reliefs, bronzes and luxurious vases from the Berlin collections – a cross section of outstanding European art from early Greek times to the imperial Roman period.
Zeus, Hades, Poseidon
Zeus, the Romans’ Jupiter, was the majestic ruler of the Olympian world. As the lord of the heavens, he carried a thunderbolt as his weapon. Zeus was the father of nu-merous gods and heroes; most of his offspring were not begotten with his wife Hera, but were the result of his many erotic liaisons.
Poseidon was the master of the sea, inland waters and storms. As the “shaker of the Earth”, who made the Earth tremble with his trident, he was held responsible for earthquakes and natural disasters. People also venerated him as the protector of their ships. The Romans called this god Neptune.
Brother of Zeus and Poseidon was Hades, the Romans’ Pluto. He became the lord of the underworld when the gods drew lots to divide the world between them.
All these “Father Gods” are represented as mature, dignified and mighty. Zeus the father of the gods, Hades the ruler of the underworld and Poseidon the god of the sea, are difficult to tell apart when not depicted with their characteristic attributes
Asclepius, the Healing God
Asclepius was the god of medicine and healing. He was the son of Apollo and a mortal woman, so merely a demigod. He was nevertheless worshipped as a god but not regarded as one of the Olympian gods.
Asclepius’ place was among the people. He is represented in the likeness of a Greek citizen: bearded, wearing a robe and leaning on a staff. A snake is coiled around his staff and the staff (or rod) of Asclepius is still the traditional symbol of medicine.
Asclepius had many sanctuaries that attracted throngs of worshippers, where the sick sought cures through healing sleep (incubation). A centre of his cult developed at Epidaurus and another was located on the island of Kos. The physicians of Kos achieved great fame in the 5th century BC. The best known was Hippocrates and, even today, doctors swear the “Hippocratic Oath”.
The cult of Asclepius reached the western part of the Roman Empire in 293 BC when the Epidaurus sanctuary established a shrine to the Latinised Aesculapius on Rome’s Tiber Island.
Hera and Demeter – the Mothers
Hera, the Romans’ Juno, was the sister and spouse of Zeus. As the queen of the gods she watched over marriage and legitimate offspring. She therefore pursued the amorous escapades of her husband with jealous severity.
Demeter, Ceres for the Romans, was the goddess of the fertile earth, of grain and agriculture. According to the “Homeric” hymn to Demeter, her daughter Kore was abducted by Hades and, as Persephone/Proserpina, became his wife in the under-world. Searching for her daughter, the desperate Demeter neglected her responsibilities as the goddess of agriculture, which led to a severe drought. Only after the return of her daughter for two-thirds of the year did she allow everything to grow and flourish again, but Kore-Persephone had to spend one third of each year with Hades in the underworld, during which time nature was also dead.
Demeter and Hera are usually depicted as motherly goddesses, often wearing a dia-dem and veil. When ears of wheat – a specific attribute of Demeter – are not shown, it is scarcely possible to distinguish between the two.
Aphrodite and Hermes
Aphrodite’s sphere of influence was love; her son Eros was the personified god of love. From the 5th century BC onwards, Aphrodite was depicted in ever more reveal-ing clothes: light and flimsy garments accentuated the beauty of the female body. Aphrodite first appeared completely naked in the 4th century BC, as a statue by Praxiteles, whose visualisation of the goddess was widely copied. Venus, the Roman equivalent of Aphrodite, was said to be the mother of Aeneas. Hence she became the mythical ancestress of the family of the Julii, to which both Caesar and Augustus belonged.
Hermes was the messenger of the gods, the god of roads, boundaries and herds-men, the patron of thieves. He guided the souls of the dead into the after-world.
Hermes wore the clothes of a traveller: a short cape, a broad-brimmed hat and boots or sandals. Speed was suggested by wings attached to his hat, shoes or heels. In addition, he carried a messenger’s staff with two snakes (Kerykeion). The Roman equivalent of Hermes was Mercury, the god of commerce and economic prosperity.
Athena – the Patroness of Great Works
Athena was the wise daughter of Zeus. Before his marriage to Hera, Zeus was the husband of Metis, the goddess of wisdom. Zeus then swallowed his consort when she was pregnant with Athena because it had been prophesied that she would bear him a child stronger than himself, who would ultimately depose him. Athena was born when Hephaestus, the blacksmith god, cleaved open her father’s skull.
Athena was the goddess of battle, depicted with a helmet, lance and shield. Another emblem was the “aegis”, a breastplate with the head of the Gorgon Medusa in the centre. Athena was the patroness of the crafts and all artistic activities. She is also said to have invented the flute. While playing it beside a stream, she saw a reflection of herself with her cheeks puffed out, and crossly cast the instrument aside. The satyr Marsyas retrieved the flute and later challenged Apollo to a musical contest.
Many cities invoked the protection of Athena, especially Athens, where she was worshipped on the Acropolis. Her Roman equivalent was Minerva.
Apollo and Artemis — divine twins
The twins Apollo and Artemis were the children of Zeus and Leto. Jealous Hera pur-sued her rival relentlessly until, finally, the island of Delos allowed Leto to give birth to her children there.
Apollo was the upholder of order in human society, slaying wrongdoers with his bow and sending pestilence as a punishment. He defended religious purity. His attribute was the laurel. He was also the god of oracles and divine prophesies, leader of the muses and a master of the lyre. He was depicted as an idealized youth with long hair.
Artemis, the goddess of the hunt and huntsmen, represented unspoiled nature. Known since ancient times as the “Mistress of the Animals” and the “unconquered virgin”, she nurtured and protected young animals, but was also a huntress who killed her prey. Since the late classical period, she has usually been depicted as a young girl in a hunting tunic with a bow and a quiver full of arrows, often accompanied by an animal. Just as her brother was both the god of healing and the god of pestilence, so Artemis was the goddess of childbirth and the bringer of death in childbirth.
The Sanctuary
In the Greek and Roman world, the sanctuary was the most important place for wor-shipping the gods. People would go there with votive offerings and gifts to praise or appease a deity and to ask for favours.
At larger ritual sites there were temples with a cult image of the god. However, the centre of the sanctuary was always the altar where sacrifices were offered. At public ceremonies, cattle were often sacrificed: the priests would burn the bones, fat and hide of the animal as an offering to the gods; the meat would then be consumed by the worshippers at a ritual feast. Individual citizens usually donated smaller animals, fruit or libations. The rites could be accompanied by processions, dancing and music.
An abundance of offerings of various types would accumulate at such sacred sites. Large objects like statues would be set up on display while smaller votive objects, such as miniature figurines or weapons captured from the enemy, were deposited somewhere. In large Greek sanctuaries, Olympia and Delphi for example, there were also treasuries where valuable offerings were stored.
Dionysus and the Theatre
Dionysus was the god of wine and delirious ecstasy. Those who gave themselves to this god had to risk becoming “possessed”. Dionysus was surrounded by a retinue (thiasos) of half-wild hybrid creatures, youthful satyrs, older sileni, and frenzied maenads who often danced to the music of flutes and drums.
Dionysus was depicted as child, as a seductive youth with a body that is sometimes rather feminine, and as an old man leaning on a satyr. His attributes were the ivy, either as a wreath to prevent intoxication or wound around a staff (thyrsos), and a drinking vessel (kantharos). He always symbolised a hedonistic way of life.
Greek theatre originated in the cult of Dionysus. In many places of worship, dramatic performances were part of his festivals. Starting in Athens in the 6th century BC, first tragedies, then “satyr” plays and – after 486 BC – comedies were performed during the Great Dionysia festival. All the roles in the plays, even female roles, were taken by three male actors wearing costumes and masks, accompanied by a choir.
The Pergamon Altar
In the conflicts to succeed Alexander the Great, Philhetairos was able to establish his rule in Asia Minor, at Pergamon. His grandson, Attalos I, took the title of King. The latter’s son, Eumenes II (197-159 BC), defeated the invading Celts and developed the fortress into a Hellenistic city with prestigious marble buildings.
The religious centre was the altar of Zeus, which was visible from afar. A flight of steps led up to a podium and the colonnaded area with the altar for burnt offerings. The podium was decorated on all sides by a frieze depicting the battle of the gods against the giants. The rear walls illustrated the history of the founding of Perga-mon. Acroteria with figures stood on the roof.
The gigantomachy on the Pergamon Altar marks the pinnacle of Hellenistic art. It is the most complete antique depiction of the struggle of the younger generation of Olympian gods, together with Hercules, against the giants, born out of chaos, who were trying to destroy the new world order. Zeus with his lightning bolts is shown fighting a snake-footed giant, an allusion to the victory over the Celts.
Students Kat and Andrew put together a little interactive installation for VELUX set in the streets of Copenhagen for an industry project at The Copenhagen Institute of Interaction Design (CIID) run by Jamie Allen.
#theVELUXpose is an interactive installation for VELUX set in the streets of Copenhagen. VELUX specializes in roof windows and our brief was to inspire young urban citizens to see the roof as an opportunity space and something to aspire to. Our goal was to connect the digital generation and VELUX.
As a symbol, we used the posture people have when looking through these roof windows, which is looking up at an angle of 125º. We brought this experience from the roof, down down to the streets and used Instagram as a way to get people excited and involved.
We put an iPhone in a box with a frame that has VELUX written on it so that it would come up as the border in the image. We hacked together a really long handsfree kit cable so that we could trigger the camera from far. The image gets synced with an iPad for participants to upload their image to Instagram with their own filter.
We put an iPhone in a box with a frame that has VELUX written on it so that it would come up as the border in the image. We hacked together a really long handsfree kit cable so that we could trigger the camera from far. The image gets synced with an iPad for people to upload their image to Instagram with their own filter.
Credits: Project by: Andrew Spitz — andrew-spitz.com Kat Zorina — katzorina.com
