Jack Daniel's Puts the Townspeople of Lynchburg Front and Center in Its New Ads

If you don’t know jack about the townsfolk of Lynchburg, Tenn., that’s about to change.

Lynchburg’s most famous resident, Brown-Forman brand Jack Daniel’s, puts the spotlight on some of its less-renowned neighbors in new ads from Arnold Worldwide created for the distillery’s 150th anniversary.

An anthem spot breaking today opens on a sun-kissed field of tall grass, with locals popping in and out of the frame as a Southern-fried fiddle plays in the background.

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Flo? Whoa! Progressive's Icon Swaps Her Apron for Attitude in Motorcycle Insurance Ads

Like a true nature’s child, Flo was born to be wild. Or something.

Progressive’s iconic ad character, played by Stephanie Courtney, revs up the va-va-vroom in this tongue-in-cheek motorcycle-themed print campaign created by Arnold Worldwide with Buffalo Art Co. and custom bike builder Chase Stopnik. (The work marks another departure for Flo from her familiar white-and-blue aproned commercial appearances, following her ectoplasmic turn in spots touting the insurer’s sponsorship of the Ghostbusters reboot.)

Now, Flo goes the sexy/rebel biker-chick route—which, of course, yields some high-octane kitsch, as she poses on custom-built “Chrome Thrones” made from motorcycle parts designed to represent different rigs.

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The National Association of Realtors Selects Arnold as Lead Agency

BSSP Wins DraftKings’ Creative Business

Arnold Brings ‘The Storm’ for New Balance

Arnold launched a new campaign for New Balance, positioning the brand as more than just footwear as it expands into different realms of athletic apparel.

A new 60-second online spot entitled “The Storm” opens on a woman running on rough, rocky terrain. She stops to catch her breath and notices a storm approaching on the horizon. Soon, the storm overtakes her, as athletes come running out of the dark clouds. Among the athletes are 17 New Balance sponsored pros, including Miguel Cabrera, Robinson Cano, Jenny Simpson, Milos Raonic, Aaron Ramsey and Emma Coburn. As the storm passes the voiceover chimes in with the line, “There are those who stop and those who push on. So go, be something more,” and the woman continues on her run. It’s a bit of a goofy premise, to put it mildly, and the nonsensical “Always in Beta” tagline doesn’t exactly help. What the spot does have, obviously, is plenty of star power, which is something of a change in approach for the brand. That makes sense given their desire to foster a new, broader image as a company. “The Storm” made its debut online yesterday, and will be supported by social media and print components.

“As a brand we are always pushing and always innovating,” Hilary Keates, director of global marketing and brand management at New Balance, told Adweek. “We represent that through [our work with] some amazing athletes and we want to help consumers push and meet their goals.”

“New Balance wanted to do a reset on where they stand as a brand,” added Pete Johnson, executive creative director, managing partner at Arnold’s Boston office. “They’ve always been a brand that shunned partnerships and endorsements, but now that they are growing at the rate at which they are growing they’ve looked [at how to] be a real player in the space and the category.”

Credits:

Executive Creative Directors/Managing Partners: Pete Johnson, Wade Devers
SVP Creative Director/Copywriter: Greg Almeida
SVP Creative Director/Art Director: Travis Robertson
Executive Producer: William Near
Assistant Producer: Patrick Carney

Marketing and Strategy:
Managing Director: Paul Nelson
SVP Account Director: Todd Sperry
Sr. Marketing Manager: Will Gurney
EVP Head of Planning: Milla Stolte
SVP Brand Planning Director: Andrew Butler
Brand Planner: Mike Patrick

New Balance:
Hilary Keates, Director of Global Marketing and Brand Strategy
Chris Ladd, EVP, Director of Consumer Engagement and Demand Creation

TV Production:
Production Company: RESET
Production Company Executive Producer: Dave Morrison, Jeff McDougall
Production Supervisor: Moira Hurley
Producer: Annabel Ridley
Director:  Johnny Hardstaff

Editorial:
Editorial Company: Cosmo Street
Post Production Producer: Anne Lai
Editor: Paul Hardcastle
Versioning Editor: Mark Potter

VFX:
VFX Company: MPC NY
Managing Director: Justin Brukman
Executive Producer: Camila De Biaggi
Senior Producer: Armand Weeresinghe
VFX Supervisor 2D: Rob Walker
VFX Supervisor 3D: Vicky Osborn
Grade: MPC
Colorist: George K

Music:
Sound Mixing: Rex Recker (Audio Engine)
Music Company: Pivot Audio
Music Composer(s): Guy Amitai, Jan Kos

BSSP Opts Out of Priceline Review

At the beginning of the month, Priceline announced it was in the early stages of a creative review and that incumbent agency Butler, Shine, Stern & Partners, who have held the account since 2006, were participating. Now it appears the incumbent agency has opted out of the review.

“We feel that focusing on current clients, new clients and our new business pipeline is a better use of resources,” BSSP CEO Greg Stern told Adweek. “BSSP and Priceline have had a long, successful relationship—far longer than the average client-agency tenure. We wish them nothing but success in the future.”

The agency’s decision to opt out immediately preceded Priceline’s naming of seven semifinalists in the review, identified by Priceline chief marketing officer Brett Keller as Grey, Droga5, Arnold, BBDO, Leo Burnett, Venables Bell & Partners and The Martin Agency. “They’ve got a lot of great talent there,” he told Adweek, referring to Butler, Shine, Stern & Partners. “We would have loved to have seen them participate, but we completely respect and understand their decision.”

Priceline, which Kantar Media estimates spends $40 million on media annually, will visit the seven semifinalists to select finalists in the review next month. The review, which is being managed by Ark Advisors, is expected to conclude by the end of the summer.

Arnold, Adam Lisagor Answer Your Questions for CenturyLink

Arnold launched its first campaign for CenturyLink, after winning agency of record duties last November, calling on Adam Lisagor of Sandwich Video to provide direct, simple answers to questions prospective customers might have while keeping the humor dry and subtle.

Lisagor, who stars in and also directed the series of spots comes across as honest, to-the-point and likeable in the spots, which Arnold is no doubt hoping sets the brand apart from others in the industry such as Comcast and Time Warner Cable. Each of the spots begins with a question, followed by a simple answer which Lisagor then expounds upon. In “Is Prism TV Any Good?” Lisagor answers with a basic “Yeah, I like it,” before explaining all the reasons to get the service over its competitors, while in “Will My Price Change?” he explains that the three-year price lock doesn’t mean you’ll be stuck with a contract, but rather “That just means the price won’t change…for three years.” The approach gives the impression that, like Lisagor, the service is simple and direct, without the tricks other cable providers throw at their customers.

“He puts it in a voice that is very relatable and human. It has a wink to it, always has a smile to it, but it’ s not over the top, ” Elliott Seaborn, a managing director on the CenturyLink account, told Adweek, speaking of Lisagor. “It is in service of actually delivering and educating people on what they’re getting, very transparently, very honestly,” he added. “That’s what we were going for. I mean that honesty right now is in complete opposition to every single cable and Internet provider in the U.S. So, that’s why we were attracted to him.”

The six broadcast spots, which rolled out over the past week, are part of a larger campaign including digital and social elements.

Jim Elliott Joins Arnold as Global Chief Creative Officer

3af9623Arnold Worldwide has appointed Jim Elliott to the position of global chief creative officer. In the newly created position, Elliott will be based out of Boston, but will also travel to New York to assist Arnold’s team there.

Elliott joins the agency from Y&R New York, where he has served as chief creative officer since June of 2011, working with such clients as Virgin Atlantic, Land Rover and Dell. Prior to Y&R, Elliott spent over four years with Goodby Silverstein & Partners as a group creative director, which followed an eight year stint as a creative director and partner at Cole & Weber.

“The creation of this role is a really big part of the next part of plans here at Arnold — building our brand here in the U.S. and beyond,” Pam Hamlin, Arnold global president, told AdAge.

While Arnold did not confirm an official start date for Elliott, AdAge stated that it will be sometime this quarter.

The Ultimate Rebranding: How a Veteran Creative Shifted Genders Mid-Career

Despite all their turnover and relentless pursuit of revenue, ad agencies often end up feeling like big families. And announcing any sort of life change to your family, especially a family of 500 colleagues, can be daunting.

So, imagine telling this family that you’ll soon begin transitioning from female to male, and you’ll have the first inkling of the road Chris Edwards began traveling nearly 20 years ago.

Edwards, a longtime creative director for Boston-based Arnold Worldwide, announced his gender transition in 1995. Over the next 12 years, he underwent 28 medical procedures to complete the transformation. And throughout, he maintained his role as a writer and creative leader, working on major national and global accounts.

In his upcoming memoir, titled Balls, Edwards shares an array of stories about his gender switch, along with the more traditional reminscences about a life in the already unpredictable world of advertising.

This week is GLAAD’s National Transgender Awareness Week, and we asked Edwards to tell us a bit more about his story. Check out our conversation below.

AdFreak: So, what’s the status of your book?
Chris Edwards: My manuscript is currently in the hands of a bunch of editors at various New York publishing houses. I’m hoping one of them will make me an offer soon. This is still a subject that makes some people nervous, so if I haven’t found the right editor by January, I will likely publish it myself. Either way, interested readers can sign up to get an alert when the book is available at chrisedwardsballs.com.

Is it really going to be called Balls? Because that’s amazing.
Ha. Yes it is. When I announced at work that I was going to be transitioning, so many people came up to me and told me I had balls. I always laughed it off with, “Well, that’s a few surgeries down the road.” But I knew what they meant, and it’s true.

It takes a lot of courage to change your gender to begin with. But to stay at the same job and do it openly in front of 500 co-workers and clients, yeah, you’ve gotta have quite the set of cojones. I was telling this “balls” story to my former boss, Pete Favat, over a few too many vodka sodas, and he was like, “Dude, that should be the title!” And we both cracked up.

The next day I thought, do I really have the balls to call my book Balls? Looks like the answer turned out to be yes. I’ve been told I’ll probably need a subtitle, though. I’m thinking “It takes some to get some,” but that might be pushing it.

I’m guessing your target audience is a lot bigger than just those considering a gender switch. Who else do you think would enjoy this book, and what do you hope they’ll get out of it?
Well, all you ad peeps will enjoy the book because agency life is the backdrop, and I name names, so you may read about someone you know. You’ll laugh a lot, too. My sense of humor helped get me through 28 surgeries and innumerable awkward moments, so it was critical that the tone of the book reflect that.

Yes, this book will surely appeal to a transgender audience, but really it’s for anyone who’s ever felt uncomfortable in their own skin—for whatever reason. It’s about having the courage to be true to yourself and realizing that, instead of fearing what other people will think, you can actually control it. I was able to use what I learned working in advertising to rebrand myself and market the “new me” to friends, family and co-workers with great success. I hope people read my story and come away empowered, inspired and more accepting of others who are transitioning.

At risk of one big spoiler here, how would you describe the way your colleagues and clients at Arnold handled your transition?
Ah, total spoiler! But without giving too much away … It was 1995. Transgender wasn’t even really a word yet. The only frame of reference people had was Silence of the Lambs, The Crying Game and guests on Jerry Springer.

I knew I had my work cut out for me when it came to changing perceptions, so I took it upon myself to be the educator. Arnold was very much like a family back then, so it felt like everyone was on this journey with me, and we all learned as we went. Some people had issues. And there were definitely some awkward moments, especially around me using the men’s room. But overall the response was incredibly positive. I’d like to think it was solely because of the way I handled the situation, but it probably didn’t hurt that Ed Eskandarian, the agency’s owner and CEO at the time, was also my father.

You were the creative director on McDonald’s “Singing Fish” spot, one of my personal favorites. What other work are you most proud of?
Ah, yes, “Frankie the Fish” will always have a special place in my heart. You know, we made a toy replica that plays the original jingle and club re-mix. I think there are still a few left on Amazon if you’re interested. Anyway, another McDonald’s spot I’m proud of is “McNuggets Guys.” I saw this YouTube video of two guys rapping about how much they love McNuggets (one of the rappers is now the star of the HBO series Silicon Valley) and turned it into a 30-second TV spot that went viral. I believe it was one of the first if not the first TV spot to use YouTube footage.

I’m also extremely proud of the early work I did for [the anti-tobacco campaign] Truth. Of all the spots I worked on, the most memorable one was probably “Project SCUM,” which is the name of the actual marketing plan Big Tobacco used to target gays and homeless people. Insane, right? While the facts we dug up were disturbing, it was so satisfying to get to do creative work that actually made a difference. Since the inception of the Truth campaign, teen smoking has gone down from 23 percent to 9 percent. Feels great to know I had a little something to do with that.

What advice would you give to someone who’s thinking about publicly changing genders but is worried it could create a difficult situation among friends, family and co-workers?
It’s pretty much the same advice I’d give anyone about to undergo a major life change of any kind: Take the lead and develop a game plan in advance. Script out and rehearse what you’re going to say. Make a list of who you want to tell personally and in what order. Educate and be patient—you may have been living with it in your head for a while, but it’s still new news to everyone else. Be open and encourage questions. Use your sense of humor to put people at ease. Oh, and read my book. 🙂

Chris Edwards is a veteran creative director and copywriter based in Boston. To sign up for updates about the status of his memoir, BALLS, visit his website.



Staffing Changes at RPA, Arnold and More

RPA logo

RPA hired Jason Tarantino as its newest VP/strategic planning director.

Tarantino is an agency veteran whose previous role was that of group planning director at TBWA’s Media Arts Lab. The release tells us that he “co-managed a team of more than 30 planners and researchers and directed strategy” on various Apple initiatives. Prior to that gig, he spent a year as SVP/GPD at the Martin Agency and more than two years as GPD at R/GA’s San Francisco office (his second stint with the agency).

He also worked as a senior strategist at W+K and spent several years as an independent contractor for various brands after beginning his agency career in Razorfish’s strategy department. Tarantino will report directly to David Berne, SVP and director of strategic planning, who writes that the hire will “will further enhance RPA’s ability to unlevel the playing field for our clients.”

(more…)

New Career Opportunities Daily: The best jobs in media.

The World's Biggest Dandy Wants to Teach You All About PUR Water

Arnold has enlisted a Chris McDonald (circa Thelma and Louise) doppelganger to tout the taste of water filtered with PUR.

The new spots feature Arthur Tweedie, a self-proclaimed water critic, and his milquetoast assistant Dave. Tweedie’s alternately eager and surly demeanor (the actor really goes full camp) is somewhat endearing, but the effort feels perhaps a little too wink wink nudge nudge. Still, the ads, which are the first for the brand since 2008, are quite educational.

Oh, and like any self-proclaimed spokesman, Tweedie’s got himself a blog.



Senior UX Designer Leaving Arnold

Today we can confirm a tip that Kate Tetreault, who currently holds the title of senior user experience designer at Arnold Worldwide, will soon leave her position at the agency.

Tetreault isn’t just a talented web designer; a tipster tells us that she also organized a female-focused networking group for digital media professionals in the Boston area and served as a thought leader/mentor to others in the field.

We hear that her move can be directly tied to the April departure of Arnold CDO/managing partner Matt Howell: a source tells us that Howell joined a Boston-based tech company called Vermonster (which is not just a word for a particularly large serving of Ben & Jerry’s) after leaving Arnold and that Tetreault will join him there.

Updates as we receive them.

New Career Opportunities Daily: The best jobs in media.

ADT Leaves Non-Secure Relationship With Arnold After Less Than a Year

It was only eight months ago when Arnold beat out some stiff competition to become security giant ADT’s chief creative AOR.
It was a big day for the agency pitching out of its Boston office, which beat TBWAChiatDay in New York, McKinney in Durham, N.C. and the incumbent, Doner in Southfield, Mich. Remember that name of the incumbent…because evidently ADT did not.
continued…

New Career Opportunities Daily: The best jobs in media.

Robert De Niro Is the World’s Most Obnoxious Moviegoer in This Bank Ad


    

Biker Bee and Friends Swarm a City in Jack Daniel’s Tennessee Honey Ad

The Jack Daniel's biker bee is back in this new spot from Arnold in Boston, and this time he brought a whole swarm of friends to tear through a weirdly empty city to find a bottle of Tennessee Honey. The music is less bikery than last time, and I can't say the overall vibe is as effective, but it's short enough to still work. Kinda wish they had to weave through traffic or chase people off the sidewalk, though. The agency says the ad was "pre-released" on Twitter and Facebook and generated more than 10 million impressions before hitting TV. Credits below.

CREDITS
Client: Jack Daniel's Tennessee Honey
Spot: "Swarm"

Agency: Arnold, Boston
Chief Creative Officer: Pete Favat
Executive Creative Director: Wade Devers
Group Creative Director: Pete Johnson
Director of Global Marketing, Jack Daniel's: Carmen D'Ascendis
Creative Director: Jose Luis Martinez
Art Director: Alyssa Wilson
Copywriter: Peter Hughes
Producer: William Near
Assistant Producer: Alex Saevitz
Business Affairs: Maria Rougvie
Planners: Lisa Borden and Angus McCoubrey
Marketing Producers: Paul Nelson, Emily Brooks & Shannon Coletti

Production Company: Smuggler
Production Company Executive Producer: Allison Kunzman
Production Company Line Producer: Michael Schlenker
Director: Laurent Ledru – Psyop
Cinematographer: Robert Elswit
Editorial Company: Lost Planet
Editor: Max Koepke
Colorist: Tom Poole
Sound Designer: Max Koepke, Mike Secher
Sound Engineer: Mike Secher
Animation – Psyop

    

Seu nome é Jack

Este é o texto de Legend, comercial da Arnold para a Jack Daniels:

“Ele participou de incontáveis gravações de discos legendários. Foi o braço direito de Frank Sinatra. Tocou com alguns dos maiores nomes do rock n’roll. Esteve no CBGB, em 77, na Sunset Strip, em 81. Está em turnê desde 1866 e continua forte ainda hoje. Seu nome é Jack.”

É a coisa mais simples do mundo: uma narração que acompanha imagens icônicas de grandes artistas, mostrando que o uísque esteve presente em alguns dos principais momentos da história da música. Apesar da simplicidade, tem um enorme apelo emocional.

FrankSinatra6

Brainstorm9Post originalmente publicado no Brainstorm #9
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Corey Arnold

Corey Arnold est à la fois photographe et pêcheur commercial. Basé en Alaska, ce dernier cultive un amour pour la photographie et chercher à immortaliser l’intensité d’une telle pratique ainsi que des moments plus poétiques. Une sélection est à découvrir dans la suite.



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Billy Mays wants to sell you some ESPN360

pa href=”http://adweek.blogs.com/adfreak/espn360-billy-mays.html” style=”display: inline;”img alt=”Billy-mays” class=”at-xid-6a00d8341c51c053ef0105368e72eb970b ” src=”http://adweek.blogs.com/.a/6a00d8341c51c053ef0105368e72eb970b-450wi” style=”width: 425px;”/img/a/p

pArnold today launches a pleasingly goofy campaign for a href=”http://www.ESPN360.com”ESPN360.com/a starring Billy Mays, the bearded infomercial guy usually seen shilling for OxiClean. a href=”http://adweek.blogs.com/adfreak/espn360-billy-mays.html”See all four ads here/a. This genre’s been parodied to death, but the ESPN spots score by being even dumber than we’ve come to expect. They’re almost parodies of parodies, so unrelentingly stupid that they’re amazingly effective. Mays is no different here than in any of his other ad gigs as he shouts exuberantly about the ESPN360 service, which lets you to watch your favorite teams online, “anywhere, anytime!” The “secret,” Mays confides, is the Internet connection. In the ad below, his wife and daughter are seen with thick black beards just like his. Nice! Their grins and gestures seem forced, and their line deliveries are as insincerely sincere as possible. Now that’s great bad acting! Also noteworthy is the dead-eyed office drone who robotically explains that with ESPN360, “My job is way less soul-crushing.” Hey, we need ESPN360 at AdFreak! Ow, my aching soul! brbrem—Posted by David Gianatasio /em/p

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Marathon Sports: Pole vault

Marathon Sports: Pole vault

Advertising Agency: Arnold, Boston, USA
Creative Directors: Wade Devers, David Register
Art Directors: Julian Newman, Randy Rogers
Copywriter: Erik Proulx
Photographer: Stock
Published: March 2008

Marathon Sports: Tennis

Marathon Sports: Tennis

Advertising Agency: Arnold, Boston, USA
Creative Directors: Wade Devers, David Register
Art Directors: Julian Newman, Randy Rogers
Copywriter: Erik Proulx
Photographer: Stock
Published: March 2008