Blake Griffin Takes on Marvin the Martian in New Nike Air Campaign

In case you weren’t feeling quite old enough today, the classic Michael Jordan vs. Looney Tunes drama Space Jam will celebrate its 20th anniversary next November.

But Nike’s newest ad, created by Wieden+Kennedy New York and starring Los Angeles Clippers forward Blake Griffin, is a fresh — and pointed — reminder of the 1996 film. 

“The Dunk to End All Dunks” doesn’t feature Jordan himself (though the classic Nike Air icon does get a passing nod), or alas, Bill Murray. But it does star one Marvin the Martian, who seems to think that the universe is only big enough for one “Earth-shattering” dunk master.

While Marvin has his share of space-age toys to help him reach the rim despite his diminutive three-foot frame, Griffin has his own secret weapon. Naturally, it’s a brand new pair of Jordan Super.Fly 4 sneakers, which launch this week.

The original Space Jam was the highest-grossing basketball film in history, having earned more than $90 million domestically in 1996 dollars (sorry, Hoop Dreams). So, the question follows: is a Space Jam 2 in the works? 

Warner Brothers strongly hinted at a “yes” by filing several new trademarks for the Space Jam brand in June, mere weeks before the studio announced a new “content creation partnership” with Jordan’s natural successor, LeBron James. The deal between James’ SpringHill Entertainment and the Warner Bros. family includes plans for “TV, film and original digital programming.

LeBron recently proved that he can act by stealing several scenes in the Amy Schumer vehicle Trainwreck, and his company has already produced a TV doc series, a digital-only reality title, a “scripted drama on Starz” and an unnamed NBC prime-time game show.

When asked whether he would star in a potential Space Jam sequel during a Twitter Q&A last month, James teased fans with a “we’ll have to wait and see,” which could very easily mean “of course I will.”

Nike isn’t quite as shy. Along with this new campaign, the footwear giant created a microsite naming Marvin the Martian as a member of its extended family of athletes/spokespeople and tracing his plans to use the power of the Super.Fly 4 to destroy that “troublesome little planet” we call Earth once and for all (complete with his own merchandise). The inaugural ad for the new Air line was also directed by Jon Favreau of Iron Man fame, who might just be the perfect Hollywood lifer to helm a new big-budget basketball flick.

And what about Blake Griffin? He isn’t just Nike’s new spokesperson: he’s also performed at Hollywood’s Laugh Factory and made appearances on nearly every late-night show. At the very least, he should have a supporting role in a franchise that he calls “a big part of my life.” Right, Charles Barkley?

Even if the sequel doesn’t come to pass, get ready to see the Space Jam name and logo on everything from “comedy and/or drama features” to “lithographs,” “mounted and/or unmounted photographs” and “printed patterns for costumes, pajamas, sweatshirts and t-shirts,” according to the trademark filings. And per the Martian himself, we can expect more Blake-and-Marvin ads from W+K to launch before opening night.

CREDITS

Client: Jordan Brand   
Advertising agency: Wieden+Kennedy New York
Executive Creative Directors: Jaime Robinson, David Kolbusz   
Creative Directors: Jimm Lasser, Gary Van Dzura, Mike Giepert   
Art Director: Jed Heuer   
Copywriter: Al Merry, Laddie Peterson   
Producer: Alison Hill   
Assistant Producer: Kristen Johnson, Lisa Delonay   
Head of Integrated Production: Nick Setounski   
Account Team: Jerico Cabaysa, Jonathan Chu   
Media Team: Karlo Cordova, Justin Lam, Branden Bouvia   
Strategic Planner: Stéphane Missier    
Project Manager: Sunjoo Ryou   
Business Affairs Team: Sara Jagielski, Sonia Bisono, Carolina Hernandez, Lindsey Timko 
  
Production Company: Pacific Rim Films   
Director: Jon Favreau   
Executive Producer, UPM: Annie Johnson   

Editorial Company: Arcade Edit   
Editor: Geoff Hounsell, Will Hassell   
Executive Producer and Managing Partner: Damian Stevens
Executive Producer: Nicole Visram      

Visual Effects Company: The Mill, New York   
Executive Producer: Zu Al-Kadiri, The Mill   
Producer: Katie Kolombatovich   
Shoot Supervisor: Westley Sarokin and Ed Boldero   
Creative Director: Westley Sarokin  

Animation: Warner Bros Animation   
Producer / Director: Spike Brandt   
Line Producer: Monica Mitchell   
Animators: Spike Brandt, Dale Baer, Dan Haskett, John McClenahan, Jeff Siergey, Neal Sternecky, Bill Waldman, Dean Wellins   
 
Music Company: tonefarmer   
President/Partner/Producer: Tiffany Senft   
Founder/Composer: Raymond Loewy   
Composers: Jared Hunter, Sam Skarstad, Raymond Loewy   
Sound Designer: Jimmy Harned   
Production Manager: Elizabeth Munoz 

Mix Company: Sonic Union

Assista a abertura de “Vinicius & Tom – Divertidos por Natureza”, desenho animado dos mascotes Rio 2016

Vinicius e Tom

Série estreia amanhã, 5 de agosto, no Cartoon Network

> LEIA MAIS: Assista a abertura de “Vinicius & Tom – Divertidos por Natureza”, desenho animado dos mascotes Rio 2016

Brainstorm9Post originalmente publicado no B9
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Twitter testa exibição de “notícias em tendência” em aplicativos

twitter-noticias

Uma nova opção começou a ser testada pelo Twitter especificamente nos seus aplicativos móveis. Alguns usuários começaram a perceber que o botão do meio, que antes era onde ficava a opção de criar um novo tweet, passou a mostrar a aba “Trending News”. Nesta aba são exibidas as notícias do momento, que mais são tuitadas […]

> LEIA MAIS: Twitter testa exibição de “notícias em tendência” em aplicativos

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The Uber of Agencies: Why Marketers Want to Ride With a New Kind of Shop


The agency model of the future might just Uber.

Over the last decade, agencies have kept up with emerging technologies by snapping up companies with expertise in digitial, social and mobile. But Kimberly-Clark Chief Marketing Officer Clive Sirkin has said the industry is changing too fast to keep pace by buying things. Instead, he suggested an Uber-like approach: managing the traffic without owning the ride, or in the case of agencies, owning the relationship with a client, the strategy and data without owning the execution. Though Mr. Sirkin, himself a former Leo Burnett executive, said he doesn’t want to tell the agency holding companies how to run their business, if he were running one, he would ask: “What’s the Uber look for us?”

Keith Weed, Unilever’s chief marketing and communications officer, and Mondelez CMO Dana Anderson at Cannes almost simultaneously sang the praises of Uber and similarly asset-light Airbnb (renting but not owning housing), Alibaba (the huge Chinese e-commerce player that mostly aggregates smaller retailers) and Facebook, a huge media company that doesn’t own much of the content it publishes.

Continue reading at AdAge.com

Mother London and Tanqueray Remix Iggy Azalea

W+K London Crafts Horror Parody for LG

mcgarrybowen Presents ‘Sophisticated Snacking’ for Lunchables

Booking.com: Here's to the explorers

Advertising Agency: Wieden + Kennedy, Tokyo, Japan
Executive Creative Directors: Mike Farr, Tota Hasegawa
Art Directors: Matt Moore, Kazuhi Yoshikawa
Copywriters: Charlie Gschwend, Kounosuke Kamitani, Takeshi Amata
Production Company: NeeD
Director: Matthew Swanson
Producer: Peter Slowey
Executive Producer: Melissa Culligan
Agency Producer: Kenji Tanaka
Digital Producer: Reiko Kawaguchi
Strategic Planner: Greg White
Designers: Keisuke Koumae, Eriko Wakabayashi, Ayano Takase, Marek Okon
Project Manager: Lizzie Murray
Print Traffic: Yoko Onodera
Traffic Assistant: Yuri Yoshimura
Translator: Fumie Itake
Account Director: Takemi Sakairi
Account Supervisor: Hiroyo Takimura
Editorial: Cutters
Editor: Aika Miyake
Post production: Cutters
Post Producer: Megumi Irino
Online Artist: Yusaku Yasuda
Colorist: Ben Conkey

Johnnie Walker Blue Label: 360 Mentoring

Advertising Agency: iris worldwide, UK
Creative Directors: Grant Hunter, Jonathan Cockett
Art Director: Nicolas Mollien
DoP: Jelle van der Does
Director: Tom Rijpert
Digital Production: MediaMonks
Post Production: MediaMonks
Head of Art: Shawn Foo
Senior Account Manager: Cheryl Chan
Business Director: Christine Mills
Global Marketing Manager: Sabrina Viegas
Marketing Innovation Director: Cleo Smeeth
Project Manager: Kristina Knight
Interactive Director: Vincent van der Wetering
Executive Digital Producer: Bas Muller
Executive Film Producer: Noor van geloven
Digital Producer: Thomas Smit
Post Production Lead: Aljen Hoekstra
Composer: Simon Little / Room24

The 'Mad Men' Prop Auction: 5 Items You Need At Your Agency


What made AMC’s “Mad Men” truly unique was its authentic nostalgia, summoned through the great pains which show creator Matthew Weiner has said he took painstaking care in creating.

So it isn’t surprising that some of the series’ most iconic props are fetching interest from buyers in an online auction hosted by ScreenBid. The most expensive item up for auction is Don Draper’s 1965 Coupe DeVille, which has received 60 bids with the current bid at $26,250. Don’s Social Security Card has 34 bids and a high bid of $2,000.

But there are some other, less flashy items, that you could use in your agency office:

Continue reading at AdAge.com

The 'Mad Men' Prop Auction: 5 Items You Need At Your Agency


What made AMC’s “Mad Men” truly unique was its authentic nostalgia, summoned through the great pains which show creator Matthew Weiner has said he took painstaking care in creating.

So it isn’t surprising that some of the series’ most iconic props are fetching interest from buyers in an online auction hosted by ScreenBid. The most expensive item up for auction is Don Draper’s 1965 Coupe DeVille, which has received 60 bids with the current bid at $26,250. Don’s Social Security Card has 34 bids and a high bid of $2,000.

But there are some other, less flashy items, that you could use in your agency office:

Continue reading at AdAge.com

Former Kraft CMO Deanie Elsner Joins Kellogg


Kellogg Co. has hired former Kraft Chief Marketing Officer Deanie Elsner to run its U.S. snacks business.

Ms. Elsner left Kraft Foods Group in February as part of a management overhaul. The company later merged with H.J. Heinz Co. to create a new company called Kraft Heinz.

Kellogg CEO John Bryant confirmed Ms. Elsner’s hire as president of U.S. snacks during the company’s second quarter earnings call. She replaces Brian Huff, who recently left the company, a spokesman confirmed.

Continue reading at AdAge.com

Class Action Lawsuit(s) Filed Against MDC Partners

SportsCenter's Stan Verrett Doesn't Quite Get the Idea of Great Entrance Music

Every sane person wishes to go through life with a personalized soundtrack playing out loud—or at least entrance music to punctuate his or her arrival.

The latest addition to ESPN’S long-running “This is SportsCenter” campaign from Wieden + Kennedy New York plays on that theme with “Walk-Up,” a new ad starring Los Angeles Dodgers right fielder Yasiel Puig—who actually does get his own intro music, at least on the field (though, it’s not the same as what’s played here).

In any case, sportscaster Kenny Mayne explains the phenomenon and its function as a reflection of identity. But the real payoff comes when his colleague, anchor Stan Verrett, rolls up to a tune that’s the perfect self-deprecating choice—especially sure to resonate with any child of the 1990s.

The song, for anyone who doesn’t immediately recognize it, is Hanson’s teen-pop smash “MMMbop.” 

CREDITS

Client: ESPN
Project Name: THIS IS SPORTSCENTER
Spot: Walk Up Music :30
Format: TV
Client Contact: Jeff Gonyo
Launch Date: 8/3/15

Agency: Wieden + Kennedy New York
Executive Creative Directors: Jaime Robinson, David Kolbusz
Creative Directors: Brandon Henderson, Caleb Jensen
Art Director: NJ Placentra
Sr. Copywriter: Alex Ledford
Producer: Kristen Johnson
Head of Content Production: Nick Setounski
Executive Producer: Temma Shoaf
Account Team: Mike Welch, Alex Scaros, Liz Lindberg

Production Company: O Positive
Director: David Shane
Executive Producer: Marc Grill
Director of Photography: Dave Morabito

Editorial Company: Mackenzie Cutler
Editor: Nick Divers
Post Executive Producer: Sasha Hirschfeld

VFX Company: Schmigital
Lead Flame Artist/Creative Director: Jim Hayhow
Assist: Joseph Miller

Mix Company: Mackenzie Cutler
Mixer: Sam Shaffer

Um exoesqueleto de LEGO que controla um robô feito de LEGO

robolego

O primeiro passo para a criação de “mechas” caseiros?

> LEIA MAIS: Um exoesqueleto de LEGO que controla um robô feito de LEGO

Brainstorm9Post originalmente publicado no B9
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How a Dressing Room Sex Tape Affected Uniqlo's Brand in China


In China last month, social media feeds were buzzing about a sex tape shot in the mirror of a dressing room at Uniqlo in Beijing. Millions of people watched the video, which showed a guy in glasses holding up a smartphone to record himself and a naked long-haired partner in the mirror. The Japanese retailer made an appearance when a voice came on the intercom welcoming customers to Uniqlo.

Police took five people into custody in the case, according to state media. The Cyberspace Adminsitration of China, which controls internet policy, condemned the video as a “serious violation of core socialist values.” When some people wondered if it was all a marketing stunt, Uniqlo quickly said it had nothing to do with the video, and Tadashi Yanai, chief executive of Uniqlo parent company Fast Retailing Co., told the Wall Street Journal that the tape was “disgusting.” China is a fast-growing market for Uniqlo, and it’s opening 100 stores a year there.

So how did the sex tape affect Uniqlo’s brand locally? Polling agency YouGov took the pulse of 5,204 internet users and if what people say in such surveys can be believed, purchase intent declined overall following the incident. (The poll wasn’t commissioned by anyone; YouGov says it conducts surveys from time to time on hot current issues.)

Continue reading at AdAge.com

How a Dressing Room Sex Tape Affected Uniqlo's Brand in China


In China last month, social media feeds were buzzing about a sex tape shot in the mirror of a dressing room at Uniqlo in Beijing. Millions of people watched the video, which showed a guy in glasses holding up a smartphone to record himself and a naked long-haired partner in the mirror. The Japanese retailer made an appearance when a voice came on the intercom welcoming customers to Uniqlo.

Police took five people into custody in the case, according to state media. The Cyberspace Adminsitration of China, which controls internet policy, condemned the video as a “serious violation of core socialist values.” When some people wondered if it was all a marketing stunt, Uniqlo quickly said it had nothing to do with the video, and Tadashi Yanai, chief executive of Uniqlo parent company Fast Retailing Co., told the Wall Street Journal that the tape was “disgusting.” China is a fast-growing market for Uniqlo, and it’s opening 100 stores a year there.

So how did the sex tape affect Uniqlo’s brand locally? Polling agency YouGov took the pulse of 5,204 internet users and if what people say in such surveys can be believed, purchase intent declined overall following the incident. (The poll wasn’t commissioned by anyone; YouGov says it conducts surveys from time to time on hot current issues.)

Continue reading at AdAge.com

Grey London, Lucozade Want You to ‘Find Your Flow’

Here's the Steamy Video to Go With Calvin Klein's Sexting Billboards

Building on last week’s digital-dating print campaign, Calvin Klein is taking its #mycalvins play for the Tinder and Grindr generation into the live action realm.

A new spot overlays sexts onto the fashion category’s usual moody writhing — the brand claims the dialogue is based on “actual events and people,” which is easy to believe, given it includes lines like “come ovr”. (Gotta say, that kind of creative license has never gotten a writer off.)

Like the billboards, Mother New York created the spot, featuring international faces like Grace Hartzel, Ethan James Green, Aya Jones, Julia Van Os, Piero Mendez, and more. And while it’s easy to dismiss as merely tortured or sexually provocative, it does deserve credit for its recognition of diversity in many forms: It is hetero, gay, ethnically mixed and sexually open.

But it’s maybe most notable for how it masterfully illustrates the listlessness of a generation ruled by swipes, right or left. Even in sexual intimacy, these people don’t so much connect as graze, and the tyranny of a small text can result in either the happy arrival of a third partner, or a precipitated gathering-of-belongings before wandering off to the next hook-up. This is best exemplified by the conversation that concludes the piece.

“Why do we even do this?” an angsty male voice says into the ether.

“Because it’s fun, and you love it,” replies a woman whose aggressive tone suggests this isn’t actually about loving anything — it’s mainly about diversions.

Neural. Issue 51, Revive!

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One of the reasons why i like the magazine so much is that it mixes and matches efficiently short articles about media artworks, music or books with long, insightful essays and interviews as well as thoughtful reports from media art events that took place in various cities around the world. So that’s the fast and informative formula of a blog combined with the lengthy and reflective pace of a magazine continue