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College Acceptance Letters Get Seriously Dark, Beginning With One in the Harvard Crimson

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The college acceptance letter, that iconic feel-good document that every university-bound student cherishes, gets a disturbing makeover in a campaign from Goodby Silverstein & Partners and production company Prettybird that broke Saturday with a print ad in the Harvard Crimson.

The point of the campaign is to raise awareness of sexual assault on campus, and pressure schools to protect students better. The creative approach: Mock up an acceptance letter that takes a dark turn halfway through, in which the admissions director apologizes in advance for the accepted student eventually getting raped on campus—and for not doing enough to protect her.

The ad below ran on Saturday with a print buy in the Harvard Crimson newspaper, timed to the college's accepted-students weekend. A letter will also run in USA Today from Wagatwe Wanjuki, one of the sexual-assault survivors who stood on stage with Lady Gaga when she sang "Til It Happens to You" from The Hunting Ground at the Oscars.



"This is a true story. One in five women are sexually assaulted in college," the ad in the Harvard Crimson read. "If they accept you, don't accept this. DontAcceptRape.com."

There are online films, as well, that darkly spoof the popular genre of social-media video in which students open their acceptance letters from the college and freak out with joy. The spots, which aren't quite as joyful, were shot on iPhones by directors Ben and Alex Brewer to make them look real.



The hashtag #DontAcceptRape aims to start a conversation online, gain more signatures supporting survivors and hold hundreds of colleges accountable for behavior that is unacceptable.

GS&P executive creative director Margaret Johnson and Prettybird co-founder and president Kerstin Emhoff were both earlier involved in The Hunting Ground, the 2015 documentary that showed college students who have been raped on campus facing retaliation and harassment while fighting for justice. The film featured Johnson's alma mater, the University of North Carolina at Chapel Hill.

"The first six weeks of college is the period when freshmen have the highest likelihood of being raped," says Johnson. "So we timed our campaign to raise awareness at the earliest point when college becomes a reality—the time when incoming freshmen receive their acceptance letters. The cover-ups are just as unacceptable as the attacks, and the campaign aims to hold these colleges accountable. We hope that people will take action through social media."

Adds Emhoff: "When we were approached by the filmmakers of The Hunting Ground to get involved with their film, they had no idea that not only did I have personal experience with this subject, but my son was just starting his freshman year in college. We were shocked by the statistics and the stories the film had uncovered. We hope that this campaign inspires parents and students to take action with their schools and watch the film."

See more of the videos below. 



CREDITS

Agency: Goodby Silverstein & Partners
Title of Creative Work: Unacceptable Acceptance Letters

Creative
Co-Chairmen: Jeff Goodby and Rich Silverstein
Executive Creative Director/Partner: Margaret Johnson
Creatives: Laura Petruccelli, Rohan Cooke
Designer: Todd King

Production
Director of Broadcast Production: Tod Puckett
Executive Broadcast Producer: Hilary Coate
Director of Graphic Services: Jim King
Associate Technology Director: Andre Cardozo
Retouching: Quinn Gravier

Account Services
Account Director: Cassi Norman

Brand and Communication Strategy
Director of Brand Strategy: Bonnie Wan
Director of Communications: Meredith Vellines
Sr. Communications Strategist: Caitlin Neelon
Brand Strategist: Gabriella Svensk

Business Affairs
Business Affairs Manager: Heidi Killeen

Production Company
Company Name: Prettybird
Executive Producer:  Kerstin Emhoff, Suzanne Hargrove
Associate Producer:  Nick Miller
Producer: Nathan Scherrer
Director: Brewer

Editorial
Company Name: Cut + Run
Executive Producer:  Deanne Mehling
Editor: Christopher Kasper

Finish
Company Name: Spy Post
Executive Producer: Lori Joseph
Colorist: Chris Martin

Music
Company Name: Yessian
Composer: David Gold

Mix
Company name:  One Union

End Treatment Graphics
Company Name: eLevel


Nestlé Reintroduces Dreyer's Ice Cream to the World With Campaign Featuring Real-Life Families

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Dreyer's has long been a steady presence in your neighborhood supermarket's ice cream aisle, but a new campaign from Goodby Silverstein & Partners aims to reintroduce this classic brand of sweets to the public at large with a very simple message: Togetherness.

That also happens to be the title of the anthem spot launching today from GS&P, which has been working on the account for nearly a decade.

"We had a brief hiatus in terms of consumer messaging on [Dreyer's]," said Jason Merideth, brand manager of Dreyer's/Edy's at parent company Nestlé USA. "We had time to really shape the core message... focusing on real moments and real families."

The 90-second spot, which will air on various social platforms starting today, focuses on intimate moments shared by a varied set of families all set to a cover of Cyndi Lauper's "True Colors" by Norwegian singer Ane Brun.

The key insight spurring this campaign came from consumer research: 82 percent of Americans polled said they "crave more time to play and be with friends and family," with more than a third noting that they included such wishes in their own 2016 resolutions.

To put that sentiment to film, GS&P and Dreyer's turned to director Johnny Green of David Fincher's production company Reset. Most of the characters who appear in the campaign are not actors.

"One of the things I'm most proud about is that we were able to use lots of real families," Merideth told Adweek. "It helps show the true feeling of warmth and closeness that you only get when you're with people for whom you feel a deep emotional connection." He added, "They were just really excited to eat ice cream with family while sitting on a picnic bench or having a pool party. They would really forget there was even a camera there."

GS&P creative director Samuel Luchini said, "Dreyer's was founded when an ice cream maker and a candy maker came together in 1928. Togetherness is in their DNA and is what has driven the brand for almost 90 years." Fellow creative director Roger Baran added, "Gathering together with family and friends has always been an important part of our lives. Dreyer's has played a key role in making these moments even sweeter."

Merideth said, "You can see [this sentiment] in the 90-second spot when, during the close-up of the cake, you notice that birthday is actually spelled incorrectly. When you're in the hustle and bustle of last-minute surprise parties, sometimes the candles aren't all in the right place--but that can make the moment even richer and more special."

CREDITS

Agency: Goodby Silverstein & Partners
Title of Creative Work: Togetherness

Nestlé Dreyer's Brand Account Team
VP, Marketing: Kim Peddle-Rguem
Director, Marketing: Jessica Vasisht
Brand Manager: Jason Merideth
Associate Brand Manager: Aasha Barot

Creative
Co-Chairmen: Rich Silverstein
Creative Director: Sam Luchini
Creative Director: Roger Baran
Associate Creative Director: Tristan Graham
Art Director: Sam Luchini
Copywriter: Roger Baran, Tristan Graham
Designer: Todd King

Production
Director of Broadcast Production: Tod Puckett
Senior Broadcast Producer: Conor Duignan
Broadcast Producer: Molly Troy

Account Services
Managing Partner: Robert Riccardi
Account Director: Erin Fromherz
Account Manager: Kaitlin Giannetti
Account Manager: Lindsay Agosta
Assistant Account Manager: Leah Tichansky

Brand and Communication Strategy
Director of Brand Strategy: Bonnie Wan
Director of Communications: Meredith Vellines
Brand Strategist: Gabriella Svensk

Business Affairs
Business Affairs Manager: Jane Regan 

Production Company
Company name: Reset
Director: Johnny Green
Director of Photography: Jeremy Rouse
Producer: Aris McGarry
Executive Producer: Jeff McDougall

Editorial Company
Company name: Cartel
Editor: Kyle Valenta
Assistant Editor: Micah Chase
Senior Producer: Meagen Carroll
Managing Partner: Marc Altshuler

Finishing
Company Name: Electric Theatre Collective
Flame: John Price
Colorist: Aubrey Woodiwiss
Producer: Kate Hitchings

End Treatment Graphics
Company Name: Elevel
Director of Elevel: Pj Koll
Creative Director: Mike Landry
Animator: Anthony Enos
Animator: Luke Davisson

Sound Design and Music
Music: "True Colors" By Ane Brun
Music Supervisor: Todd Porter
Sound Design: Lime Studios
Sound Designer:  Joel Waters

Mix
Company name: Lime Studios
Mixer: Joel Waters
Assistant Mixer: Stephen Fredericks
Executive Producer: Susie Boyajan

Ad of the Day: Amid Chaos, Cisco Says 'There's Never Been a Better Time'

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To those who would say the world is falling apart in a hurry, Cisco would counter that, in fact, thanks mostly to technology, it's the most wonderful time to be alive.

That optimism is given a hard-working spin in the high-tech networking company's eye-catching new global campaign from Goodby Silverstein & Partners under the theme "There's never been a better time." It's the first work under Cisco's new CMO, Karen Walker, and it aims to reintroduce the company to the world with a brave point of view.

"No matter how ambitious your dreams or how impossible the problems you're trying to solve, the technology already exists to make it happen," said Will Elliott, creative director at GS&P. " 'There's Never Been a Better Time' celebrates how empowered we are today by technology. The message is an optimistic rallying cry to do something amazing right now."

Launching Tuesday, the campaign includes TV, online films, print and out-of-home. The theme of the ads is how Cisco helps people worldwide make the impossible possible.

The work includes a spot called "People in Crisis," which focuses on Cisco's Tactical Operations team and its role in providing mobile technology and communications in humanitarian crises like the refugee situation in Europe.



Here is a spot about how Cisco systems power self-driving trucks in the world's biggest copper mines:



There's also an anthem spot, in 30- and 60-second cuts. Check out the :30 on YouTube.

The spots will run on TV during the NBA playoffs and across Turner Network Television channels. The online media buy will focus on tech and business sites such as Forbes, Fortune, Fast Company and the Atlantic. The global effort also includes a website redesign, partner joint marketing strategy and employee engagement efforts.

The OOH work is below. 



CREDITS

Client: Cisco

Agency: Goodby Silverstein & Partners
Title of Creative Work: There's Never Been A Better Time

Creative
Co-Chairmen: Rich Silverstein
Creative Directors: Will Elliot, Patrick Knowlton
Associate Creative Director: Felipe Lima
Art Directors: Maggie Bradshaw, Jeff Limon
Copywriters: Jonathan Pelleg, Alex Maleski, Jacob Baas
Executive Digital Artist: Jessica Pettigrew

Production
Director of Production: Tod Puckett
Executive Broadcast Producer: Hilary Coate
Broadcast Producers: Timothy Plain, Tess Kenner, John Riddle
Sr. Art and Print Producer: Alisa Latvala
Executive Interactive Producer: Danaa Zellers

Account Services
Group Account Director: John Coyne
Account Director: Tanin Blumberg
Project Integration Director: Liz Clark
Account Managers: Chris Nilsen, Bryan Wilson, Sam Thayer
Assistant Account Managers: Reesa Kashuk, Cameron Yates
Account Coordinator: Caitlin Kinney

Brand and Communication Strategy
Brand Strategy Director: Graham North
Brand Strategist: Marisa Perazzelli
Jr. Brand Strategist: Nora Allibhai
Community Strategy Deputy Director: Dong Kim
Communication Strategy Director: Nicole Richards   
Director of Communications: Meredith Vellines

Business Affairs
Director of Business Affairs: Judy Ybarra
Business Affairs Manager: Anna Diokno

Production Companies

"People in Crisis"
Editorial/Post/Visual FX Company: Imaginary Forces
Creative Director: Michelle Dougherty
Lead Editor: Danielle White
Editor: Jess Ledoux
Flame Artist: Rod Basham
Art Director/Animator: Dan Meehan
Designer/Lead Animator: Timothy Williams
Designer/Animators: Carlos Enciso, Jay Kim
Animator: Gabriel Perez
Designers: Mariah Hourihan, Wes Yang, Kris Fortin
Design/Animation Intern: Robert Harrison
Executive Producer: Ben Apley
Head of Production: Tina Starkweather
Producers: Fayna Sanchez, Will Arnold
Coordinators: Rachel Cohn, Krista Templeton
PA: Kaitlyn Finn
Footage sourcing and licensing Company: Stalkr
Footage sourcing and licensing Producers: Aaron Priest, Ellen Callet
Color Correction Company: Apache
Sr. Colorist: Shane Reed
Color Correction Executive Producer: LaRue Anderson
Music & Sound Design Company: Yessian
Composer: Chris Plansker
Sound Designer: Mike Baluha
Music & Sound Design Executive Creative Director: Andy Grush
Music & Sound Design Executive Producer: David Gold
Audio Mixing Company: Lime Studios
Audio Mixer: Rohan Young
Audio Assistant: Ben Tomastik
Audio Executive Producer: Susie Boyajan

"Right Now"
Editorial and Finishing Company: Beast Editorial San Francisco
Executive Producer:  Jon Ettinger
Producer: Jeff Bielat
Assistant Editor: Seth Andrews
Editor: Adam Schwartz
Colorist/Flame Artist: Matt Trivan
Motion Graphics Artist: Steve McEuen
Animation Company:  1st Ave Machine
Animation Executive Producers: Lisa Villamill, Sam Penfield, Lisanne McDonnald
Animator: Mancel
Music Company: Human
Music Producer: Jonathan Sanford
Mix Company:  One Union
Mix Engineer: Joaby Deal
Mix Executive Producer: Lauren Mask
Mix Producer: Cienna Patmont

"Mining" Portrait Film
Production Company: Lo+Behold
Director: Marcus Ubungen
Director of Photography: Marcus Ubungen
Producer: Vieve Haag
Executive Producer: Peter Trucco
Editorial Company: Beast Editorial
Editor: Doug Walker
Assistant Editor: Joelle Wagner
Editorial Producer: Jeff Bielat
Editorial Executive Producer: Jon Ettinge
Telecine/Finishing Company: Beast Editorial
Colorist: Dave Burghardt
Music: The Elements
Sound Design Company: Beacon Street
Sound Designer: Rommel Molina
Mix Company: One Union
Mixer: Eben Carr
Mix Producer: Cienna Patmont
Mix Executive Producer: Lauren Mask

Cinemagraphs
Production Company: Logan
Executive Creative Director: Alexei Tylevich
Creative Director: Kaan Atilla
VFX Supervisor: Eric DeHaven
Executive Producer: Matthew Winkel
Producer: J.R. Tuason
2D Animators: Zach Kinney, Richard Powell, Fred Raimondi, Grant Cerulo
3D Animator: Kenneth Kurras
3D Modeler: Shamus McGlynn
FX Artist: Warren Heimall, Xray
Production Company: elevel
Executive Post Producer: John Dutton
Sr. Animator: Nathan Shipley

Print
Retoucher: Sam Nordemann
Retoucher: DMAX Imaging
Prepress House: DMAX Imaging

Anyone Can Be Your Grandma in These Funny, Awkward Ads for Grandma's Cookies

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The first campaign for Grandma's cookies from Goodby, Silverstein & Partners wrestles with a timeless question: "Are you my grandma?" 

This twisted take on the kids' classic Are You My Mother? combines the delightful naiveté of the 1960 P.D. Eastman book with a deepening sense of confusion. It seems the nostalgia sparked by the smell of a cookie can quickly lead even straight-laced adults astray. 

The first spot, "Park," demonstrates that this sort of pining for days gone by easily transcends race and gender. Also, knitting can quite literally be a hobby for everyone.



That one did very slightly warm our cold, cold hearts. And it turns out the Grandma's phenomenon also eliminates the age gap between one's grandparents and one's primary school classmates. 



"The opportunity to work on Grandma's cookies immediately took us to a nostalgic place," GS&P creative director Jon Wolanske tells AdFreak. "This is a brand we all grew up with. They're cookies we'd see next to the register in convenience stores, or that our folks would buy for us on road trips. So when it came to thinking of creative ideas, I think we went to a place of imagining Grandma's from a child-like perspective." 

That said, adults are hardly immune to the cookies' charms—and they can somehow make things even more awkward.



"The name Grandma's is all about nostalgia," says copywriter Colin Nissan. "We wanted to show just how powerful the nostalgia is for these cookies." Art director Sean Farrell adds: "It seemed really funny to us to take the ultimate comfort food and somehow make it really, really uncomfortable."

On that note, the last ad in the series is also the most unsettling.



Now who wants a cookie?!

"The comedy comes from the tension or awkwardness that's created when anyone can adopt the nurturing power of a grandma—no matter the situation or environment," says Wolanske. "In an office break room. Or a school cafeteria. Or a serene park. When you open a package of Grandma's cookies, you unleash that inner Grandma power."

Nissan couldn't help but add, "Whether you like it or not."

GS&P has worked with Grandma's parent company Frito-Lay for some time, but this campaign marks the agency's first work for the classic cookie brand. Here's hoping future ads keep things just as weird.

CREDITS

Client: Grandma's Cookies
Title of Creative Work: "Break Room," "Park," "Cafeteria"
Agency: Goodby Silverstein & Partners

Creative
Co-Chairmen: Jeff Goodby and Rich Silverstein
Executive Creative Director / Partner: Margaret Johnson
Creative Director: Jon Wolanske
Art Director: Sean Farrell
Copywriter: Colin Nissan

Production
Executive Producer: Hilary Coate
Senior Producer: Conor Duignan

Account Services
Group Account Director: Brian McPherson
Account Director: Meredith Williams
Account Manager: Lisa Kourakos
Assistant Account Manager: Levi Russell

Brand Strategy
Brand Strategy Director: Ralph Paone

Business Affairs
Director of Business Affairs: Judy Ybarra
Business Affairs Manager: Jane Regan
Business Affairs Manager: Kelli Cline

Production Company
Company Name: Hungry Man
Director: Dave Laden
Managing Partner / Executive Producer: Kevin Byrne
Executive Producer: Dan Duffy
Producer: Caleb Dewart

Editorial Company
Company Name: HutchCo
Editor: Jimmy Hutchins
Assistant Editor: Patrick O'Leary
Executive Producer: Jane Hutchins

Telecine
Company Name: HutchCo
Colorist: Jonny Mcpheeters

VFX / Finishing
Company Name: HutchCo
Lead Flame: Austin Hickman-Fain

Music
Composers: Derek and Brandon Feichter

Sound Design
Company Name: One Union
Sound Designer: Eben Carr
Producer: Lauren Mask

Mix
Company Name: One Union
Sound Designer: Eben Carr
Producer: Lauren Mask

Golden State Warriors Tally Another Win With This Great Branding Work for the Playoffs

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The Golden State Warriors have got game in the branding world, too.

The NBA champions recently hired San Francisco agency Goodby Silverstein & Partners to whip up some cool branding work for the 2016 playoffs—centered around a hand-painted "Strength in Numbers" logo and a flexible visual system that uses tally marks to play around with all sorts of data involving the team and its fans.

GS&P, which is perfect for this kind of work—given its well-known design chops, and its years of working for the NBA itself—took the team's existing slogan, "Strength in Numbers," and built a new logo for it. The "M" in "Numbers" is signified by a tally mark for the number 5—a reference to the Warriors seeking their fifth NBA title this spring.

The logo is appearing on everything from T-shirts to billboards, and the tally marks are being used in ads to celebrate lots of different Warriors numbers—like their record 73 regular-season wins this year, Stephen Curry's 402 three-pointers, the 120-decibel noise level in Oracle Arena (the loudest in the NBA) and more. 



The campaign also includes interactive social-media elements, as well as commercials, including the two below—one celebrating Curry's second straight MVP award, and another about the 73 wins.



GS&P creatives Kurt Mills and Kyle Lamb came up with the initial logo idea.

"It started purely as a logo design exploration. But we wanted to give it a little bit more meaning, and a little bit more legs," GS&P creative director David Suarez tells Adweek. "It turned into this visual system with the tally marks that are in the logo. It was this custom, hand-done thing we did here in-house. We took the tally marks and turned it into a little campaign, from just a logo design."

"There are all these numbers, from the fans to the staff to the players," adds creative director Danny Gonzalez. "Everyone is tallying up these stats, so to speak, and this is kind of a way of unifying everybody." 

The tally mark symbol nicely and subtly ties back into the existing Warriors logo, too. The crossing mark in the symbol is a bit curved, which is reminiscent of the Bay Bridge in the Warriors logo.



"It's fun to do a logo that's not 100 percent computer generated," says Suarez. "We went to an art store, got some paint and did it in-house—with some help from the computer, but mostly it was hand-done. We wanted it to feel not too clean. We wanted something people would actually buy and wear on their clothes. A lot of teams out there have stuff that feels a little schwag-y. We wanted to get away from that, and do something that was a little more ownable and authentic to the team and the attitude and the community."

Over at this website, Warriors fans can also generate their own "Strength in Numbers" images by uploading pics and adding tally marks to them. 

"People have embraced it pretty quickly, which is awesome," Gonzalez says of the campaign. "With some of these community-facing things, you're not always sure how people are going to react right away, but both the team and the fans have loved it."



It's also fun, of course, for the GS&P creatives to be working on something that is so high-profile and beloved in the community. 

"They're on TV a lot here, so if it was an ugly logo, we'd be staring at it all the time," Gonzalez says. Adds Suarez: "Of all the ads I've done over the years—global spots and whatnot—I think I've gotten the most comments from my father-in-law about this one."

More images below. 



CREDITS

Client: Golden State Warriors
Work: "Strength in Numbers, 2016 Playoffs"   
Agency: Goodby Silverstein & Partners

Client
CEO: Rick Welts
Chief Marketing Officer: Chip Bowers
VP of Marketing and Digital: Kenny Lauer
VP of Public Relations: Raymond Ridder
Senior Marketing Director: Amanda Chin
Team Marketing Director: Caleb Homeres
Project Specialist: Fernan Joco

Creative
Co-Chairman: Jeff Goodby and Rich Silverstein
Executive Creative Director: Margaret Johnson
Creative Directors: David Suarez and Danny Gonzalez
Creatives: Kyle Lamb, Andrew Livingston, Kurt Mills, Charles Lee, Louis Xinran Li
Content Creative: Quinn Gravier
Design Director: Chris Peel

Production
Director of Broadcast Production: Tod Puckett
Senior Print Producer and Art Buyer: Noah Dasho
Printer Producer and Art Buyer: Joni Wittrup
Director of Experiential, Music Supervisor: Todd Porter

Postproduction
Postproduction: E Level Films
Director of E Level: PJ Koll
Post Producer: Alison Plansky, Luke Dillon
Motion Graphics Creative Director: Mike Landry
Motion Graphics Artists: Ratha Nou, Karim Fawzy, Alex Cummings, Jason Jobe, Chad Ford, Anthony Enos
Senior Audio Engineer: Dave Baker
Audio Engineer: Nicholas DeMatteo

Account Services
Account Director: Jason Bedecarre
Account Manager: Molly Navalinski
Assistant Account Manager: Angela Trinh 

Nonprofits Are Learning That Whisper's Anonymity Can Be a Force for Good

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Last fall, Adobe and the Ad Council wanted to put a new twist on anti-bullying campaigns by targeting teenage witnesses, not victims. So they designed a powerful campaign around the simple image of an eye, an illustration with the words "I Am a Witness," to convey the message that bystanders are as culpable as bullies.

Big-name media partners like Apple and Twitter donated ad space and resources to the cause. So did Whisper, the anonymous messaging app that's increasingly fostering goodwill with cause marketers despite its reputation as an app for teens to spew hateful comments at one another.

In fact, it was the incognito nature of the app that appealed to the marketers because it can be daunting for people to come forward and support an anti-bullying campaign.

"That anonymity that fosters the bullying can also work in our favor for anti-bullying, because it becomes less of a risk to intervene, which is a big fear," said Kate Baynham, a copywriter at Goodby, Silverstein & Partners, which worked on the "I Am a Witness" campaign.

Between October and April, the Ad Council published seven promoted posts on the app, asking teens to respond to prompts like "When I witness bullying it makes me feel ____" or "What's some advice you'd give to others in the same situation?" The posts collectively generated 3.6 million impressions, more than 16,000 "hearts" (the app's version of likes) and 4,600 comments.

Buoyed by such stats, the Ad Council is launching a new campaign this summer—a second version of last year's massively popular "Love Has No Labels" campaign. It will include a set of digital promos targeting people who post about "love," the most-searched word on Whisper.

Just like their big-brand counterparts, nonprofit marketers are betting on stealthier tactics like messaging apps to grab the attention of advertising-averse teenagers and millennials.

"Our goal is to be anywhere where these kids are living," said Priscilla Natkins, evp and director of client services at the Ad Council. "It promotes the peer-to-peer messaging that's the underpinning of this message—this is not an adult talking to kids."

Marketers leveraging Whisper

The Ad Council isn't the only nonprofit to embrace the secret-sharing app. Whisper also works with youth LGBT organization It Gets Better Mexico to create content specifically for its Spanish-speaking app. Branded posts are pushed to the app's Popular section, encouraging teens to respond to questions such as, "Has your life improved since being accepted?"

The startup also has a partnership with the National Suicide Prevention Lifeline that effectively removes any posts that mention imminent self-harm. Anyone who does upload such a post is sent a message encouraging them to contact the organization, and 100,000 posts have been marked since 2013.

In June, Whisper will step up its cause marketing efforts by working with more nonprofits to run sponsored campaigns like the ones it already does with brands including Coca-Cola and Disney/Pixar.

Aishwarya Iyer, a marketing rep for Whisper, alluded to changing the app's reputation for bullying, pointing out that most people—and most marketers—likely aren't aware users are talking about certain issues there.

"On Facebook, you're not exactly going to say, 'I'm not feeling my best self today' or, 'I'm thinking of transitioning,'" Iyer said. "So many people don't realize that people are talking about this in the first place on Whisper." 

That's a message the Ad Council and others are likely to get behind, partly because nonprofits are already running more digital campaigns with shoestring budgets than they were a few years ago. As an example, the Ad Council's Natkins pointed to the "Love Has No Labels" campaign. Unlike a traditional 30- or 60-second TV spot, the digital ad ran for three and a half minutes and has been viewed 57 million times on YouTube since it was uploaded in March 2015.

"Digital platforms allow you to tell expanded narrative stories, and that's so much in the DNA of the issues that we cover," Natkins said. "We are very religiously evolving all of our campaigns to make sure that we are reaching our target audiences where they live and breathe."

Read more about how creativity and tech are fueling today's nonprofits in Adweek's Cause Marketing Report.

8 Food Marketing Trends You Need to Know About Right Now

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Called the Organic Valley Coffee Shop, this unique pop-up store opened in Manhattan a few weeks ago to lines a dozen deep. The caffeine-seeking crowd didn't know, but soon found out, that the joint sold only Organic Valley Half & Half in sizes like Lil Bit, Double and Lotta, a not-so-subtle poke in the eye to a certain mega chain. The whole venture, in fact, was sort of a goof, but it made for great video starring a folksy dairy farmer chatting up Nolita hipsters. (They paid $2 for the creamer but got their cups of joe for free, so no one left without their fix).

The stunt, engineered by ad agency Humanaut, is an example of unexpected, breakthrough marketing that's happening across the food world, where origin stories, even if they're served up with a side of Punk'd, matter more than ever.

Adweek takes a look at this and other trends that run the gamut from packaging innovation—turn that burger box into a high-tech toy—to the hottest flavors emerging on the scene. What we found: food is fashion, food is political, food is a battleground, but it's not just for adults. It's no accident that a bunch of 8-year-olds can cook better than you. Take a look at our roundup here:

1. Eatertainment

        

         Tostinos

Goodby, Silverstein & Partners created a four-episode telenovela, dubbed Botanas del Cielo (Snacks from Heaven) to hype client Tostitos' new chips and salsa, and Hamburger Helper dropped a (shockingly good) five-track hip-hop mixtape called "Watch the Stove" that quickly became a viral hit this spring, snagging upwards of 4 million plays on SoundCloud in its first few days.

Ad agency Humanaut, meantime, stepped up its satire and stunts for Organic Valley, showing that food marketers have a sense of humor and understand the halo effect of quality branded content. "Food can only take itself so seriously," said David Littlejohn, Humanaut's founder, chief creative director. "And if you do something fun and surprising, the brand gets credit in a way they never do when they're interrupting your sitcom."

Competition is fierce for creating shareworthy branded bits, he said, but the payoff can be huge. And the investment? Even a five-figure video can turn into a viral success. Marketers, forever eyeing the bottom line, seem to be more open than ever to this kind of digital experimentation. "Brands are realizing they need to have a voice," Littlejohn said, "because they're actors in the culture."

2. Be P.C.

        

        

Is it cage-free, grass-fed, fair trade, non-GMO, sustainably raised and locally grown? Bonus points for heirloom or ancient. Consumers are demanding more morally conscious, real food as brand packaging and advertising increasingly takes note. It's gone beyond Deutsch's happy cows, for the California Milk Advisory Board, to U.K. retailer Waitrose live-streaming video of its supplier farms, which is just as pastoral as it sounds. Consumers want to know exactly what they're eating and where it's from, which, CEO and founder of Fexy Media's SeriousEats.com Ed Levine says, shows their food sophistication, environmental awareness and "respect for the craft."

"People crave authenticity," he said. "They really want to know the provenance of the food and whose hands were in the dough."

And woe to those who fudge the story, as food fans are quick to ferret out hypocrisy and spread it via social media. A recent expose dubbed "Farm to Fable" in the Tampa Bay Times, widely circulated online, found that the "local" claims of some area restaurants were far from genuine. "If you throw those words around, whether on packaging or advertising or in a restaurant," Levine said, "someone may just pull back the curtain."

3. Waste not

        

         Ad Council

Chains like Trader Joe's are touting their donations to local shelters and soup kitchens as food waste makes national headlines and gets skewered on John Oliver's HBO series, Last Week Tonight. It's the focus of award-winning documentary Just Eat It, which estimates that about 40 percent of the food purchased in the U.S. each year goes uneaten, wasting $165 billion in money, water, labor and energy.

The Natural Resources Defense Council, with agency SapientNitro and the Ad Council, addressed the problem in a PSA dubbed, "Save the Food," that followed a strawberry from birth on the vine to sad, furry death in the back of the fridge. Celebrity chefs stepped up their activism in the area – Mario Batali released a free mini-cookbook online called Ugly Food: A Collection for Earth Day this spring, asking home cooks and industry pros to embrace "cosmetically challenged produce," while Tom Colicchio continued his public crusade to cut waste via his non-profit Food Policy Action. Roy Choi and Daniel Patterson started integrating what could be considered scraps into their recipes at trendy Los Angeles restaurant LocoL and Dan Barber of Manhattan's famed Blue Hill created a pop-up event called wastED with famous chefs using culinary odds and ends.

4. Child's play

        

         Cooking with Amber

Chef Gordon Ramsay noticed how food-obsessed kids had become about five years ago, likely reflecting geek-friendly molecular gastronomy and access to simple recipes and demos online in a post-Ratatouille world, he said. Cooking started to outpace youth sports in popularity, with turnout for early Masterchef Junior auditions "much bigger than we'd predicted—just extraordinary," Ramsay said. Now you can't swing a dead carp without hitting a pint-sized culinary contest.

Food Network has nearly a half-dozen kid competitions—the latest, Kids BBQ Championship, launched in May—and FYI just kicked off the second season of its hit, Man vs. Child: Chef Showdown. Fox's successful staple Masterchef Junior, which premieres its fifth season this fall, has more adult-kid co-viewing than any other broadcast series on Friday nights.

Elsewhere, young chefs like Amber Kelley are increasing their digital influence while YouTube star Rosanna Pansino's Nerdy Nummies has racked up more than 25 million video views. There are cooking magazines and summer camps for tweens and teens, and merchandise that leaves the Easy-Bake Oven in the dust. "Kids really learn confidence and life skills by cooking," Ramsay said. "And they're now re-educating their parents on how to eat properly."

5. Culinary catwalk

        

        Urban Outfitters 

Starbucks tucked into Target stores have started selling beer and wine, and retailers like Urban Outfitters and Club Monaco are mixing food and fashion to lure consumers into their "lifestyle destinations." Urban Outfitters is rolling out more hip restaurants in their stores from superstar chefs Ilan Hall, Marc Vetri, Michael Symon and others. The new food-and-shopping combos are aimed squarely at millennials, trying to give them something they can't buy online: an experience.

"Today's consumers want to shop for shoes, hang out with their friends, have a meal, all in one place," said Lisa Shotland, agent in the lifestyle group at Hollywood's Creative Artists Agency. "Food is a great community builder."

One of the most recent openings: Urban's Space 24 Twenty in Austin with Symon's Burger Joint and Pizzeria Vetri. Still going strong: Hall's Israeli barbeque restaurant Esh, formerly The Gorbals, in Urban's Brooklyn location, which sports a busy rooftop bar. Meantime, Club Monaco opened a pop-up shop in Copenhagen's Noma, known as one of the best restaurants in the world. The curated collection, a first of its kind at the upscale eatery, earned a 12-page slideshow in GQ. Shotland predicts plenty more fusions of retail and restaurant brands.

6. It's a wrap

        

         Domino's

Not only does food need to be intriguing, the packaging it comes in should pull its weight, too. And increasingly it does, with marketers like Dominos in the U.K. redesigning its pizza boxes to looked exactly like oversized red and blue domino playing pieces, and McDonald's in Sweden launching Happy Meal boxes that turned into virtual reality headsets. Customization like Coke cans printed with your name and Diet Coke's unique digitally printed designs will continue to be popular, as the soda maker just kicked off a summer song lyrics promotion, putting phrases from All I Do is Win, We Are the Champions and other chart toppers alongside its iconic logo.

Packaging also has to serve other, higher purposes, being earth friendly, less wasteful and more informative. Old-fashioned, vintage-look wrappers are becoming common, especially for artisanal and small-batch products, and stripped down and streamlined is the order of the day. But it's dubbed essentialism—just the facts—rather than minimalism. And as in other food areas, story rules. "You have to talk about the origin and the benefit of the product," said Seguin, whose Popchips has gone through a full-scale packaging revamp lately. "That's the millennial mindset, and it's really driving decisions."

7. Some like it hot

        

         Mother In Law's

If Sriracha is so 2015, what's the new flavor sensation for 2016 and beyond? Chances are good that it'll come from Southeast Asia or the Middle East. It could be ghost pepper, sumac, turmeric, sambal, dukka or gochujang, according to Technomic, which notes the speed at which some of the exotic spices are moving from Michelin-starred restaurants to fast casual chains. Buffalo Wild Wings and Taco Bell are into ghost pepper, for instance, and gochujang went from trendy New York eateries to P.F. Chang's with lightning speed.

Executives like Popchips CMO Marc Seguin look everywhere from food trucks and cutting-edge chefs to Instagram and trade shows to find the next flavor craze. Harissa mint carrot chips? He's considered it because, "there's no reason for consumers to settle for something ho-hum," he said. "They want different and exciting—they're looking for a new food experience." Avocado toast has already jumped the shark, Levine said, while celeb chefs like Britain's Yotam Ottolenghi and Philadelphia's Michael Solomonov have introduced foodies to a mélange of Middle Eastern flavors. "The time has compressed so much from origin to mass market," Levine noted. "The velocity of food trends now is fascinating."

8. M&A the natural way

        

        Justin's

Major food manufacturers have been snapping up small boutique brands for years, with Coca-Cola, Campbell Soup Co., ConAgra and others giving themselves a leg up in the lucrative organic game by acquiring trusted labels. And there's a new wave of buyouts happening, with Spam and Skippy maker Hormel recently paying a reported $286 million for Justin's natural nut butters, a brand that launched at neighborhood farmer's markets in Boulder. This acquisition came on the heels of Hormel buying organic and natural meat marketer Applegate Farms for $775 million.

In both cases, Hormel execs are on record saying they will allow those brands to do what they do best, without interference. But there's plenty of suspicion, Levine says. "There's already a backlash," he said, "because this consumer worries that the story of the brand will get lost in the transition."

Few indies remain in the category, with Bob's Red Mill and Amy's Kitchen staying autonomous at a time when General Mills took over Annie's Homegrown for $820 million and Flower Foods bought Dave's Killer Bread last fall for $275 million. "The most recent deals are a microcosm of what's happening in food right now," Levine said. "Just follow the money."


This story first appeared in the June 6, 2016 issue of Adweek magazine.
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Ad of the Day: Ewan McGregor Waxes Poetic on Human Achievement for Cisco

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Most readers probably won't know that Cisco is responsible for all of human evolution, past, present and future. But the argument almost seems convincing when delivered by Ewan McGregor.

The actor stars in a new 60-second commercial from Goodby Silverstein and Partners, recapping the past few billion years of life on Planet Earth, focusing on the achievements of homo sapiens. "Congratulations, fellow human beings," he says in the spot's opening salvo. "We made it. We sprouted limbs. We crawled out of the slime. I'm really proud of us."

"We built pyramids, invented the mochachino, we created a network that became the internet," he continues, capturing all the relevant points of history. "And then? Boom! We're downloading medicine, growing lettuce in space," he says, before nearly falling out the end of the particle accelerator he's been strutting through while he raps.



Other notable advancements to cross McGregor's path include a 3D-printed human ear, a robot that looks—but doesn't quite act—like a dog, and the use of technology to bring clean drinking water, and phone-bought goats, to parts of the world where such things are valuable commodities.

It's a slick, zippily written piece of marketing from Goodby Silverstein & Partners, ending with an upbeat McGregor declaring the proverbial glass half full—as Cisco promises a world where anything is possible, thanks, naturally, to the secure IT connections the company will provide. 

McGregor's delivery is plenty entertaining, if quite a bit more earnest than his work for BT last year. Dante Ariola directs, to good effect. And the message is clear, and true enough in spirit—Cisco did contribute significantly to the growth of the internet, at least, and for the more privileged segments of the world's population, now is a better time than ever—even if the overall picture the marketer paints is perhaps a bit over-eager, or just too rosy.

There are always plenty of awful developments around the globe to go with the swell ones. But that's for the news to cover—not the advertisers.

CREDITS
Client: Cisco
Agency: Goodby Silverstein & Partners
Director: Dante Ariola


Ad of the Day: Artists Recreate Great Lost Works Entirely With Adobe's Stock Images

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From Van Gogh BnB to The Next Rembrandt, advertisers have been obsessed with the great masters of fine art lately. Now, Adobe adds to that trend with Make a Masterpiece—a campaign in which it got four digital artists from its Behance artist community to re-create lost, stolen or destroyed art using only Adobe Stock photography. 

Goodby Silverstein & Partners created the campaign. The artist pairings are Karla Cordova (Ecuador) and Frida Kahlo's The Wounded Table; Jean-Charles Debroize (France) and Caravaggio's Saint Matthew and the Angel; Mike Campau (U.S.) and Karl Friedrich Schinkel's Cathedral Towering Over a Town; and Ankur Patar (India) and Rembrandt van Rijn's The Storm on the Sea of Galilee. 

The spot below shows Patar working to rebuild the Rembrandt painting. The results are pretty remarkable—memorably making the point that Adobe Stock inside Creative Cloud provides everything creators need to make a masterpiece. 

"I approached the re-creation the same way Rembrandt would have, starting with the sky and working forward from there," says Patar, who used 236 stock images in his re-creation. "This is a dream project for me, and I hope it inspires other artists with the possibilities of Adobe Stock." 



"No one can truly replace these lost paintings. But by faithfully re-creating them with Adobe Stock, we can remember them again and reshape what the world thinks about stock photography in the process," says GSP associate partner and creative director Will Elliott.

The "Make a Masterpiece" experience is housed at adobe.com/go/adobestock and features the finished masterpieces, time-lapse videos showing the finished pieces coming together, bios and backgrounds of the four artists, and several "how to" tutorials. In time the site will grow to include more re-created masterpieces.

Check out the website for more about all four pieces.

CREDITS
Client: Adobe Systems
Title of Creative Work: Make a Masterpiece 

Ad Agency: Goodby, Silverstein & Partners

Creative
Co-Chairmen: Rich Silverstein and Jeff Goodby
Executive Creative Director: Margaret Johnson
Creative Director: Will Elliott
Creative Director: Patrick Knowlton
Art Director: Bennett Austin
Copywriter: Jordan Dodson

Production
Director of Graphic Services: Jim King

Account Services
Managing Partner: Robert Riccardi
Account Director: Theo Abel
Account Manager: Molly Navalinski
Assistant Account Manager: Aliza Niewood

Brand and Communication Strategy
Director of Brand Strategy: Bonnie Wan
Brand Strategist: Etienne Ma
Communication Strategy Deputy Director: Dong Kim
Senior Communication Strategist: Caitlin Neelon
Communication Strategist: Natalie Williamson
Jr. Communication Strategist: Chloe Bosmeny
Research & Analytics Director: Cassi Husain

Business Affairs
Business Affairs Manager: Heidi Killeen

14 Top Creatives Reveal Their Favorite Ads From Cannes and Beyond

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What's some of the best work you've done this year? And what work from other agencies has made you jealous? 

We asked a number of top advertising creatives those questions, and more, at the Cannes Lions festival in a video series we called "Creatives on the Croisette Getting Croissan'wiches." Their answers revealed some interesting insights into their own work and what they admire about their competitors. Below, check out those creative chats featuring execs from Barton F. Graf, Droga5, FCB, Leo Burnett and more. 

 
Droga5

Ted Royer, Chief Creative Officer

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Barton F. Graf

Laura Janness, Chief Strategy Officer, and Gerry Graf, Chief Creative Officer

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Leo Burnett

Pete Lefebvre, ACD/Copywriter, and Mike Costello, ACD/Art Director

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Goodby Silverstein & Partners

Margaret Johnson, Executive Creative Director

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Airbnb

Jonathan Mildenhall, Chief Marketing Officer

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FCB

Susan Credle, Global Chief Creative Officer

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Grey London

Nils Leonard, Chairman and Chief Creative Officer

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Leo Burnett

Mark Tutssel, Global Chief Creative Officer

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David&Goliath

Colin Jeffery, Chief Creative Officer

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BETC

Stéphane Xiberras, Chief Creative Officer

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Cutwater

Chuck McBride, Executive Creative Director, and Christian Hughes, President

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How This Man Duped a String of Ad Agencies and Almost Got Away With It

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The advertising model was broken, and Bill Grizack knew how to fix it.

"At The Variable, it was my job to invent the future of creative advertising strategy," his LinkedIn profile boasted. "I developed the staff and the technology that leveraged big data into meaningful creative insights, and built a creative team that new [sic] how to use those insights to create brilliant work."

Switching to the third person, he wrote: "One of the luckiest periods in his life was working on both Coca-Cola and Jack Daniel's at the same time. For a man that went to college in the Southeast, there isn't much better than that."

Those statements, like so many others made by Bill Grizack, were lies.

Last month, North Carolina Superior Court Judge John O. Craig sentenced the former agency partner and chief strategy officer to 57 to 81 months in prison for defrauding The Variable (formerly known as PAVE Advertising) and McKinney by faking a series of contracts with the Coca-Cola Co. and Brown-Forman that were supposed to be worth $269.9 million.

During the sentencing hearing, defense attorney Bernard Desrosiers conceded that the primary motivation for Grizack's crimes was greed, compounded by an insatiable desire for approval. The man best known as "Griz" continued scoring high-level jobs years after being fired for fraud, thanks in part to an industry desperate for the very sort of data-driven solutions promoted by someone who called himself "a bundle of frenetic ideas stuffed into a cannon and shot through a particle accelerator."

His actions ultimately rattled an international agency holding company, caused two businesses to suffer a combined $4 million in losses, affected seven shops across the United States and destroyed dozens of jobs. The causes were many, but a common thread throughout this story is a lack of due diligence. (Grizack's lawyer said his client was unavailable to speak with Adweek.)

Here's how it all came to pass.

Auspicious beginnings

William John Grizack earned an MBA from Wake Forest University in 2003 and played the role of tech innovator long before he entered the ad industry.

In late 2005, Grizack and three others secured a patent for a product, called SimpliFi, that provided "goal-based financial planning via computer." He, along with partner and fellow Wake Forest graduate Bryan Link, would later turn this software into a business, and SimpliFi would win a Webby Award and score a mention on ABC's Good Morning America along with Mint.com. But it would cease to exist in early 2010, around the same time PAVE first hired Grizack as a freelance consultant. "He conned the company he worked for before us," said Keith Vest, president and partner of The Variable, during the sentencing hearing, in an apparent reference to SimpliFi.

PAVE brought Grizack aboard as chief strategist the following year at a salary of $150,000, but Grizack wasn't satisfied. He wanted to be a partner without owing the equivalent of a year's pay in related fees. PAVE co-owners Vest and Joe Parrish drew up a proposal whereby Grizack could become the agency's third partner, on the condition that he bring in half a million dollars in new revenue by the following summer.

Grizack delivered. A few months later, he played a leading role in the launch of a product called Brand Forensics that allegedly used search-engine data to help clients better understand "precisely what consumers want from a brand." Its debut doubled as the rollout of PAVE's new identity, The Variable.

"The traditional agency business model is fundamentally flawed," Grizack said in an October 2011 press release that claimed Brand Forensics could "change the nature of the relationship between a brand and its agency." During the sentencing hearing, Desrosiers claimed that executives at The Variable had called the product "revolutionary" and that it initially succeeded as a tool used to pitch new business. "[Grizack] started getting legitimate contracts from clients," Desrosiers said, "but the two he wanted most he couldn't get." They were Coca-Cola and Jack Daniel's.

According to documents filed by state prosecutor W. Scott Harkey, Grizack concocted a grandiose plan to convince the agency's principals that he had won those accounts with an expanding web of fake documents and communications. "Notably, the defendant created email addresses with domains that closely resembled the email addresses of actual Brown-Forman and Coca-Cola employees," the filing read. "The defendant engaged in simulated correspondence, presumably with himself … to create an appearance of legitimacy for his made-up business dealings with Coca-Cola and Brown-Forman." He printed fake contracts and invoices, "simulated correspondence indicating hundreds of thousands of dollars in future deposits to PAVE's bank account," and went so far as to simulate "numerous phone conversations" with executives from the would-be clients.

'Wary of big agencies'

Around May 2012, The Variable's leadership told their staff that Grizack had successfully pitched and won the world's top soda and whiskey brands, thereby satisfying the requirements of their deal with him. Over the next two months, Grizack presented three documents to agency executives: a pair of Jack Daniel's contracts worth $500,000 and $200,000, allegedly signed by Brown-Forman chief marketing officer Kris Sirchio, and a $200,000 deal bearing the forged signature of Coca-Cola executive Shubu Mitra.

As a partner in the firm, Grizack could finally reap the rewards of his fake work, including a $165,000 bump in salary, $22,500 in 401(k) contributions and a brand new Audi Q7. He insisted on managing both accounts himself for reasons that, in retrospect, were obvious.

The Variable didn't have enough manpower to handle all the work, so it turned to McKinney. The independent shop, which worked for such brands as Nationwide and Gold's Gym, had been a client of The Variable for more than two years, after associate creative director Parrish left to become a partner at PAVE and brought the shared Qwest/CenturyLink account with him. In June 2012, McKinney agreed to help staff the team working on Grizack's fake accounts and to pay him an additional annual salary of $250,000. For the next eight months, he was simultaneously employed by the two agencies.

Earlier that summer, The Variable visited the Winston-Salem offices of Mullen, seeking a partner for the Brand Forensics project. Adweek acquired an internal email, dated June 5, 2012, in which Parrish expressed his excitement about the meeting, writing: "McKinney has been our most profitable client for the past two years. We work well with other agencies. And Mullen's network has more money than McKinney's. This is an attempt to gain a local partner with deep pockets." Parrish then reassured staffers: "No one is more wary of big agencies than yours truly."

Mullen declined The Variable's offer, but multiple sources who worked at the agencies in question at the time tell Adweek that Brand Forensics was part of the subsequent McKinney deal, with the latter acquiring the software as its own intellectual property.

Grizack's much-hyped proprietary technology remained somewhat mysterious. One former employee of The Variable who spoke on condition of anonymity describes it as a rudimentary version of Google Analytics. A creative later hired to work on the fake Coca-Cola business explains: "During my time there, not a single person I ever spoke with regarding the algorithm could explain how it worked or the benefit of its use."

Before the partnership came together, South Korean holding company Cheil Worldwide had begun researching potential U.S. acquisitions after purchasing a majority stake in New York's The Barbarian Group in 2009. In a striking coincidence, Grizack's deadline for producing the revenue required for partnership at The Variable was July 31, 2012—the very day Cheil announced it had agreed to acquire McKinney in a deal worth an estimated $50 million.

Too good to be true?

Grizack's deceptions only grew in scale. Over the course of eight months, he created six fake contracts. In August, he produced a second Coca-Cola deal worth $9 million, and in October he claimed to have won an additional $120 million in Brown-Forman work. His two employers then hired 40 new staffers from around the country to work on the non-existent accounts. In many cases, employees relocated with their families to the Durham/Winston-Salem area, eventually producing spec work no one outside the two agencies would ever see. After meeting to review concepts weeks later, The Variable promised to report back on the clients' response to the work. They never did.

In January 2013, Grizack presented a final contract, allegedly signed by Coca-Cola svp of marketing Ivan Pollard, worth a colossal $140 million.

But his grand scheme had a fatal flaw: He had no way of producing the promised revenue. The former Variable employee said some in the office grew suspicious when their bosses suggested the work would be tied to Coke's sponsorship of the 2014 World Cup in Brazil, which was a far larger and more ambitious assignment than anything either agency had ever handled. As the weeks and months passed, the promised revenue never arrived. Unnamed executives allegedly began to press Grizack, who repeatedly stated that the money would come but grew flustered under questioning.

According to a source, Grizack's undoing came in the form of two disposable "burner" phones. One day in early 2013, when Grizack was not in the building, an unnamed employee who had become frustrated with his delays called the number listed on the Coca-Cola contract. A cellphone rang in Grizack's office. He then attempted to contact Brown-Forman. Again, a cellphone rang. 

The jig is up—or is it?

Specifics regarding Grizack's departure from The Variable and the dissolution of its partnership with McKinney remain unclear. Sources say executives never made any related announcements but simply stopped talking about the accounts in question. McKinney officially attributed a round of subsequent layoffs to the loss of its Meijer account, but most of the people hired to work on the phantom business eventually lost their jobs, and some didn't learn exactly why until months or even years later.

Grizack had encountered a setback, no doubt. But amazingly, he resurfaced one month later—and nearly 2,000 miles away—after relocating his family to Lafayette, Colo., and accepting a job as executive director for the consultancy Egg Strategy in Boulder.

"Right after his scheme was discovered by executives at PAVE and McKinney," said Harkey in court, "he went to another company and did the exact same thing."

"I am the leader of the Egg Lab," Grizack wrote on his LinkedIn profile before launching into a now-familiar refrain: "We have created new technology that let's [sic] Egg observe consumers in their natural habitat and use that insight to drive strategy for some of the world's largest brands." One of those brands, he claimed, was McDonald's.

According to the prosecution, Grizack presented the team in Boulder with a $14 million contract with the fast-food chain at some point during the 17 months he spent with Egg. Executives allegedly uncovered his deception only after an unnamed individual reached out to warn them that the business was fake.

Egg quickly terminated Grizack, but he wasn't yet done exploiting his colleagues' trust. Returning to his comfort zone, he somehow convinced a staffer there that he had left for an in-house job with his favorite fake client, Coca-Cola. "In fact," prosecutors wrote, "the defendant suggested an Egg Strategy employee apply to join his staff at Coca-Cola as a mechanism whereby he successfully obtained her personal information." (An Egg spokesperson declined to comment on the case, stating that agency policy prohibits discussing current or former employees.)

'Work smarter, not harder'

What made Grizack's lies so convincing?

"At first, he is truly amazing," acknowledges a former colleague. "He talks fast and smooth, and sometimes you walk away thinking, what just happened? He knew the names of everyone's children and spouses, and he asked about them. He was quite likeable."

One source describes Grizack as a studied strategist with a fondness for brainstorming sessions and Post-it notes, while someone who interviewed with him to work on the fake McDonald's account says he defined his personal brand as "Work smarter, not harder." David Armano, global strategy director at Edelman, the world's largest PR firm, later wrote in a Facebook comment: "We interviewed him a few years ago. Intelligent guy. He should have put his smarts to better use."

Lawyer Patrick Egan, who specializes in white-collar crime, explains that charm should only be able to get a person so far. "To me, the issue is not the hiring of this individual so much as the lack of due diligence and any kind of controls at the various companies that employed him," he says.

Unfortunately, at yet another agency, that didn't happen, at least not immediately. Grizack traveled further west, scoring a job as chief strategy officer at Dailey Advertising in Los Angeles less than a month after leaving Egg. "Bill Grizack was with Dailey for a short period of time," says president and CEO Tom Lehr in his agency's only comment on the case. "Our agency has always been about integrity and transparency in how we deal with one another and our clients, and like most of the ad community, we were shocked by the reports of his previous actions."

Little evidence exists in regard to the year Grizack spent in West Hollywood, Calif. His bio quickly disappeared from Dailey's homepage. One item, however, remained: The agency's signature black-and-white portrait of Grizack, which served as both his Facebook profile picture and the head shot he used while applying to his next three jobs in San Francisco.

The con collapses

In October 2015, the state of North Carolina charged Grizack with three felony crimes related to obtaining or attempting to obtain money or property via false pretenses. The end was in sight only weeks after he landed what might have been his most impressive gig to date: senior director on the AT&T account at the Bay Area offices of Omnicom's Interbrand.

People being pursued by the law often grow more desperate, and Grizack was no exception. At some point between November 2015 and March 2016, he began shopping around for additional work and briefly found it as both a freelance strategist at Goodby Silverstein & Partners and as a member of Venables Bell & Partners' in-house innovation firm VBP Orange. Using the power of personality and the strategic deployment of sick days, Grizack ensured that no one knew he was paid by all three agencies until the day his con finally collapsed.

On Thursday, March 3, Grizack pleaded guilty to all charges in a Winston-Salem courtroom, obviating the need for a trial—which might have yielded more details of his wrongdoing. Upon reading the news, his latest victims realized that they, too, had been fooled as his brief but eventful career came to an end. The following week, an Interbrand spokesperson wrote: "William Grizack worked at Interbrand for a very short period, but is no longer employed here." A VB&P executive wrote: "His offer of employment with us was revoked." A GS&P representative declined to comment.

Eventually, Grizack's Facebook, Twitter, YouTube and LinkedIn profiles all disappeared. But for several weeks, as he waited to learn his fate, the latter still included three key clients: Jack Daniel's, Coca-Cola and McDonald's.

During the sentencing hearing, Harkey shared emails he'd received from unnamed victims. "I lost my job when McKinney discovered Bill's fraud," one wrote. "I had worked at PAVE for more than 10 years." A second note read: "I was hired by McKinney to work on the fake accounts, and I was appalled to see the Winston-Salem Journal characterize him as a man of good character."

"[Bill] wanted to please people and thought that if he continued working it would pay off," defense attorney Desrosiers told the court. "He thought he could get away with it. He didn't."

"The focus should be on the people and lives he affected," The Variable's Vest said in a statement to the judge. "All of this happened to us three years ago, but we have recovered and thrived without his cancer within our walls." While admitting the likelihood of either agency ever recovering any of its money was low, Vest said, "I could not let it go. We don't want to see Bill Grizack do this to other companies."

A spokesperson for The Variable declined to comment for this story beyond a final statement: Grizack "caused unimaginable emotional turmoil, and he almost destroyed a company whose only fault was an instinct to trust."

McKinney also declined to comment and did not send a representative to the hearing. Desrosiers said that the agency's CEO Brad Brinegar told him: "[Grizack] placed a bet. It was a bad bet, and it went south." Less than two years later, McKinney added Coca-Cola to its roster after winning a pitch to market the brand's Atlanta-based museum.

"There is often a greed factor on the part of the victims," said Judge Craig in announcing Grizack's sentence. He compared the case to the tale of the goose that laid the golden egg, adding, "If something sounds too good to be true, it probably is. I hope you will take this as a hard-earned lesson."

Craig then addressed Grizack directly: "It was a very ingenious scheme and I was amazed at its complexity and its criminal ingenuity. In so many instances involving schemes such as this, the defendant is able to play on his ability to convince people."

Look in the mirror

Did Bill Grizack truly believe his elaborate fraud would go undiscovered? Did he think he could win enough real accounts to make his partners forget the hundreds of millions he promised that never materialized? How many red flags went unnoticed, and why did the checks and balances of the agency business fail so completely, enabling him to thrive as talented, hard-working people lost their jobs?

Many of the final pieces in the puzzle remain unknown to all but a few, chief among them Grizack himself. North Carolina abolished parole in 1994, and the earliest date Grizack could go free is March 2021—five years after he entered his plea.

One veteran creative contacted Adweek on condition of anonymity, writing: "As one of many people hired to work on these phantom accounts at McKinney, to say I'm disappointed in the final outcome of this case would be a gross understatement. This final outcome is not only terrible for everyone involved. It's just one more black eye on an entire industry which is already accused of rampant institutional racism, sexism and large-scale corporate greed. I feel strongly that we must self-police our own industry and hold organizations and people accountable for their actions."


This story first appeared in the July 11, 2016 issue of Adweek magazine.
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Jeff Goodby and Rich Silverstein Just Made Their Own Anti-Donald Trump Ad

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Some of the top creatives in the ad business have been weighing in on this year's loony presidential election—and predictably, they haven't been lining up with Trump.

Droga5 has been doing advertising for Hillary. And now, Jeff Goodby and Rich Silverstein—the co-founders of Goodby Silverstein & Partners in San Francisco—have made their own ad for this campaign season, wondering aloud whether Donald Trump is qualified to be president—over slow-motion footage of Trump infamously using a water bottle to mock Marco Rubio back in February.

The YouTube video description reads: "Words have meaning. Actions have consequences. Donald Trump has, again and again, provided entertaining moments of amusing name calling and shocking jingoism. But does that mean he should be our president?" 

'League of War' Maker Taps First Agency to Help It Compete With Mobile Gaming's Biggest Names

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Japan-based mobile game maker GREE International has named Goodby Silverstein & Partners as its first creative agency of record. GS&P beat out four competitors in a review.

GREE has produced such titles as War of Nations, Modern War and the recently released League of War: Mercenaries. The company sought an ad agency partner in anticipation of the release of a new, as-yet-untitled game.

"The mobile gaming market is changing dramatically, and while expertise in digital marketing remains critically important, building brand and establishing a strong franchise with consumers has become equally important," said GREE International vp of marketing Shawn Conly in a statement. "GS&P clearly excels in this area across the categories they've worked in including a deep history in the gaming industry with premiere companies."

Margaret Johnson, partner and ecd at Goodby Silverstein & Partners, said the agency looks forward to building the brand "in innovative ways." Associate partner and group account director Leslie Barrett added, "GREE International is the kind of brand we love to work with because they are re-inventing a category that is continuously on the cutting edge."

As the mobile gaming market explodes (and more marketers try to figure out how to make the most of the Pokemon Go phenomenon), GREE competes with rivals like Clash of Clans' developer Supercell, and Machine Zone, the company behind Game of War: Fire Age. According to Kantar Media, these companies spent a respective $48 million and $84 million on paid media promoting those properties in 2015.

The win marks Goodby Silverstein & Partners' first entry into the gaming space. The Omnicom agency has experience working with prominent technology brands such as Google, Nest, Twitter, Adobe, Cisco, eBay and StubHub.

How Copywriter David Burd Became Rap Star (and Hilarious Trojan Man) Lil Dicky

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Lil Dicky, the chart-topping MC, is back with more comedy gold for Trojan condoms.

David Burd, whose 2015 debut studio album Professional Rapper hit No. 1 on both Billboard's rap and comedy charts, anchored a clever, nervous, long-form PSA earlier this year, sponsored by the condom brand, about the dangers of unprotected bathroom sex.

Now, he's starring in two much slicker but plenty ridiculous new TV commercials, created with agency Colangelo, slated to first air this Sunday during the MTV Video Music Awards. (Trojan has a broader partnership with the youth-focused network, funding its how-to guide on sex and relationships.)

In the first new Lil Dicky spot, a :30, Burd and his date, Jen, can't keep their hands off each other as they arrive back at his apartment, making out in the hallway as he fumbles for his keys. Once inside, he scrambles to get a condom, while she—impatient in the heat of the moment—sweeps the contents of his desk onto the floor.



"Right here, right now," she says. Burd, baffled, launches into an eminently sensible sales pitch for protection generally, and Trojan BareSkin condoms specifically—but in a moment that can't help but evoke Larry David, also has to obsess over the mess she's made of his things. 

The second ad, a :15, picks up with the same scene, post-coitus, where Burd's rapid-fire neurotic patter is at full force right out of the gate, as he expresses relief that his paramour won't get pregnant, and proceeds to overshare about his gastric habits.



The commercials manage just the right balance of stupidity and substance, in a deliberate and entertaining enough way—it's a logical extension of the almost too obvious but ultimately perfect symbiosis between Trojan and Lil Dicky.

AdFreak caught up with Burd to chat about the new ads, his partnership with Trojan, and how, if it hadn't been for his pre-fame jobs at San Francisco agency Goodby Silverstein & Partners—first as an account executive on Doritos, and then as a creative on NBA—he might never have joined the rap game at all.

Read on to find out why—plus, which other brands he might like to work with someday, and the offhand origins of his own penile moniker.

AdFreak: How involved were you in writing the new Trojan ads?
David Burd: Pretty involved. I wrote it with this guy named Tony Yacenda. We co-directed the commercials, and he's directed a bunch of my music videos [including for the hit single "$ave Dat Money"], so we kind of wrote them together.



Your raps are known for drawing on your everyday experiences. Where did the concepts for these ads come from. Have you had a woman trash your desk?
No, I've never had this specific thing happen. But I imagine if it did happen in real life, I'd react similarly.

So, you were playing on that sort of movie cliché of a passionate couple coming in and knocking everything off.
Yeah, we had it feel like a really sexy thing, then transition into a more neurotic, the-opposite-of-sexy type thing.

To zoom out a bit, you've also recently appeared in advertising for Carl's Jr. and Madden NFL. Any other endorsements worth noting, or more coming down the line?
There are preliminary talks about certain things. As a public figure, I'm always interested in being part of brands that I actually enjoy. So, I would never do something with somebody I don't believe in, a product I don't believe in. There are so many products out there that I love, that I'd chomp at the bit to be a part of their campaign. But nothing really in the works.



Any specific examples of who else you'd want to work with, if you could?
I love Perrier. I don't know where they stand on advertising. But I'm happy to get in front of the camera and speak with complete confidence about how great Perrier is. There are probably so many more. I love the NBA. I love Nike. Nike is a great brand, obviously. But I also came from an advertising world, so I just enjoy the challenge of making a commercial. I used to do it. I mean, it's cool that I can do it now with way more creative liberty.

Anything else you'd share about how you choose which brands to work with—and what, for you, made Trojan a good fit?
Well, I certainly believe in safe sex. So, being on the right end of talking about that is something that interests me. And you know, I think Trojan is kind of the like the Michael Jordan of condoms. Even before I had the partnership with Trojan, and I would go into the condom aisle, I certainly gravitated towards Trojan, because it just felt like the most reputable brand, for whatever reason, whether it's packaging or just surface-level awareness or connectivity to it, it feels like the Nike of condoms, you know what I mean?

Did Trojan approach you, or did you approach them?
I met a guy [Dan Isenberg] who works for the company Colangelo. I met him through my rap career because he actually was a writer on a hip-hop blog [Complex]. And then he mentioned that he was changing jobs and going to Colangelo, and he mentioned Trojan, and I mentioned how much I believe in condoms and safe sex, and I think it happened kind of organically, conversationally. I don't think it was necessarily like me going and saying I want to be part of what you're doing, or them coming to me. It just kind of worked out that way.

Looking back further, how did your time at Goodby Silverstein & Partners shape you—both personally and in terms of how you look at working with brands now that you're an artist?
I don't know that I would've figured things out on the Lil Dicky perspective had I not worked at Goodby. I always knew I wanted to be a comedian my whole life, but I didn't have any sort of concept on how to make that happen, and I was pretty well positioned to get a job and not really take a massive leap of faith. So, I kind of felt like I had no choice but to really pursue a job, and I thought, you know, you're 20, why don't you try to find some sort of job where you're using your creativity? And I thought that [in] corporate America, advertising is probably the best approach to do that.

As soon as I got there, there were so many things that I saw. They have a whole wing at Goodby called eLevel. It's their production wing, and every day they're just churning out videos, content, whether it's internal, client facing, sometimes external, and it was very eye-opening to see how easy it is to make shit.

I was working on the Doritos account, and one of the things I had to do was give a report on chip sales, and it was a really boring Word document that showed how our ads were impacting the chip sales. But it went all the way to the head of the company, all the way to Jeff Goodby, so I thought, 'This is my one moment where I can interface with everyone important at the company. Do I really want to be boring, or do I want to take a risk?' So I made it into a rap song one time, and everybody really took to it. A) That moment [got me into] the creative department, which was a way better fit, and a better job for me, personally. B) I think it showed me, Wow, people really like your funny raps. Maybe in terms of being as comedian, this is an angle. Rather than writing a screenplay, or trying to make a sketch, what if you used rap as your platform, and [were] funny because of that?

It happened very naturally at Goodby, and I'm just not sure I would've figured it out if it didn't work out that way. It had a great impact on me personally and professionally in terms of being a rapper. It just all kind of fell into place that way. Then, once I started rapping more, I realized that I had this innate talent in me as being a rapper, even more than just being a comedian.



Once you saw your rap career picking up steam—be it early success like [your first YouTube hit] "Ex-Boyfriend," or more recently and significantly, Professional Rapper—did you think you'd be writing commercials again?
I didn't really think about it. I never sat down and thought, Could you be writing commercials again? I knew I wanted to be writing comedy, and acting in my own comedy. So, in theory I always knew I'd be doing something. I didn't know it necessarily meant it would be a commercial. I certainly knew I wanted to be writing stuff that I appeared in on screen.

But it helps having experience working at an agency. I'm just way more capable of talking to clients, understanding what we need, understanding what's overstepping my boundaries. I'm just so aware of the process, the way a rapper might not be aware when he's part of the campaign. I'm very much capable of being more than just a rapper.

But you also do enjoy, as you said, greater creative freedom … because you're bringing your own strong perspective and your own audience to the table, and brands want to be a part of that.
Yeah. Before, Dave Burd the copywriter was just writing stuff, hoping the client likes it. Now, whatever I like inherently has more value added to the client, because my opinion has clout that it didn't previously have.

Lil Dicky is essentially a brand in its own right, at this point. How did you originally come up with the name, and associated values, and how has what it stands for changed, if at all?
The name came [when] I just got my Macbook Pro when I was a senior in college, and all of a sudden Garage Band was a possibility. The first day I messed around and made some rinky-dink song, not at all thinking 'This is I'm going to be a rapper type thing.' But for whatever reason I just called myself Lil Dicky in that song, and I thought it was funny. It was a small penis joke. Lil Wayne was my favorite rapper at the time.

Then, two years later, when I'm sitting down deciding to be a rapper for real, I made a whole list of names in a Word document, and nothing really beat Lil Dicky. And I like rewarding organic, real moments like that. The reason I guess I liked it is because I kind of felt like it encapsulates sometimes the opposite of what you see in mainstream rap, of hyper-masculinity. You hear rappers literally talk about their dicks being so big, and it just felt like it was a cool way to show my point of view of not being the most hyper-masculine, 'Look at me, I'm a man' type of rapper. It kind of did that. And it stands out.

I don't know that the meaning behind it has really evolved, beyond my insistence on sticking with it. Because it is kind of a ridiculous rap name, to some extent … I really enjoy seeing it become more mainstream and common and accepted, because it means that the product is just that good. 

Check out Lil Dicky's most recent—and least humorous—video, "Molly," directed by James Less, below:

After 33 Years, GS&P Has Its First CCO, and It's Margaret Johnson

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San Francisco's Goodby Silverstein & Partners promoted several longtime staffers in a move that effectively restructures the agency's leadership.

Most prominently, partner and executive creative director Margaret Johnson will become the 33-year-old Omnicom shop's first-ever chief creative officer, and managing partner Derek Robson will become president, effective immediately. Director of account management Brian McPherson, director of new business Leslie Barrett, director of brand strategy Bonnie Wan and director of communication strategy Christine Chen will also become full partners, with McPherson and Barrett as managing partners.

Founders and co-chairmen Jeff Goodby and Rich Silverstein aren't retiring—they will remain directly involved in much of the organization's work. But Johnson will lead the agency's creative efforts moving forward.

"We are reinventing our company every day," said Goodby in a statement, "and these are the people who will formulate the big changes, come up with the big ideas that will keep us not just relevant but game-changing. Our new president, chief creative officer, and new partners will make a difference immediately—and down the line, five and ten years from now."

GS&P's last round of major promotions occurred in March 2015, when creative director Eric Kallman was promoted to ecd and positioned to lead the creative department alongside Johnson. Kallman left the Goodby organization six months later and opened his own Bay Area shop, Erich & Kallman, in May along with former CP+B president Steve Erich.

Johnson has been with Goodby for two decades, working across such accounts as Frito-Lay, Sonic, the Salvador Dali Museum and TD Ameritrade. The North Carolina native joined the shop in 1996 after working as an art director at The Richards Group and went on to move up within the GS&P organization. She was named the agency's first female partner in 2012.

"Margaret has grown up at GS&P and has the DNA of the agency in her blood," Silverstein said, adding, "She's fearless and has led us with innovative creative thinking that taps into culture. She's earned the admiration of our people and our clients, and there is no one else we would want to carry forth our legacy."

Robson joined GS&P in 2005 as a managing partner after spending more than 13 years at BBH, where he eventually ascended to the role of managing director. According to the organization's statement, Robson has helped Goodby adapt to the digital age, winning various Agency of the Year and Digital Agency of the Year accolades in the process. Moving forward, he will serve as the agency's effective strategic leader while collaborating with its other partners.

McPherson has led the Frito-Lay account for several years, driving strategy on such notable projects as Doritos' "Crash the Super Bowl" and various social media concepts for the Cheetos brand. He currently leads the Adobe and Princess Cruises accounts.

In recent years, Barrett has led various new business efforts while spearheading creative campaigns for various clients, and the agency evolved her position to that of director of new business. In the first half of 2016 alone, she helped win StubHub, the Golden State Warriors and GREE while GS&P expanded the scope of its work for Comcast and Frito-Lay.

Wan and Chen, both of whom are also longtime GS&P staffers, will lead its communications efforts, with Wan overseeing brand strategy and Chen using her media experience to amplify the agency's creative work and business strategies for its various clients.


Adobe Shows Why Sports Stars Should Never Sign Big Contracts With an Actual Pen

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Don't lose business because you're still using tedious pen-and-paper legal instruments, says a new ad from Adobe.

In the minute-long spot, sports announcers and fans go crazy amid news that a fictional basketball star, Anton Miller, is going to sign a "billion-dollar" deal with a make-believe basketball team, the Cincinnati Sabres (not to be confused with a real American Hockey League team, the Cincinnati Swords).

But as the celebrity player sits in a roundtable conference room with executives from the franchise, and his own entourage, it becomes clear things aren't going that well. The paperwork barely inches its way around the table, as an obnoxious lawyer points out to stakeholders the dozen or so places each will have to sign.



Eventually—spoiler alert—Miller receives a message from a competing team, San Jose, inviting him to sign another offer, right there on his smartphone, with a single flick of his finger, all thanks to to Adobe's quick-and-easy e-signature technology. He obliges, and exits the room, free to get on with his life.

Overall, the commercial, by Goodby, Silverstein & Partners, makes for a fun bit of hyperbole that, while ridiculous in the specifics, clearly makes its point: Don't alienate customers by wasting their time. It joins previous ads demonstrating the potential costs of a careless approach to business, like the dark comedy bit "Snake Bite," in which poor mobile design has severe consequences for a pair of hikers.

For now, the new ad is just running online, but will air on TNT during this fall's launch of the 2016 NBA season—part of a clever strategy that hopes to leverage buzz around real-world athlete signings, like Oklahoma City Thunder alum Kevin Durant's first game playing for the Golden State Warriors on Oct. 25, where six-time NBA All-Star Pau Gasol will also be debuting for the San Antonio Spurs.

In another online component of the campaign, Adobe is taking over the website of business magazine Fast Company on Monday and Tuesday, temporarily changing its name to Slow Company for visitors, with a gag cover design that includes fake teasers like "Messenger Pigeons: Are they right for your business?"

Then again, who knows. With the right technology, they could be.



CREDITS

Client: Adobe
Chief Marketing Officer: Ann Lewnes
VP, Experience Marketing Group: Alex Amado
Executive Creative Director: Steve Gustafson
Sr. Creative Director for Video: Dan Cowles
Director of Advertising and Production: Joel Giullian

Title of Creative Work: "Billion Dollar Player"
Live Date: 9/12/16

Agency: Goodby, Silverstein & Partners
Co-Chairmen: Rich Silverstein and Jeff Goodby
Chief Creative Officer: Margaret Johnson
Creative Director: Will Elliott
Creative Director: Patrick Knowlton
Creative Director: Roger Baran
Creative Director: Sam Luchini
Art Director: Jasper Yu
Art Director: Stefan Copiz
Copywriter: Alex Maleski
Director of Content Production: Tod Puckett
Senior Producer: Benton Roman
Production Coordinator: Rachel Newman
Managing Partner: Brian McPherson
Account Director: Theo Abel
Account Manager: Chelsea Bruzzone
Assistant Account Manager: Zack Piánko
Director of Brand Strategy: Bonnie Wan
Brand Strategist: Etienne Ma
Brand Strategist: Andrew Mak
Director of Communication Strategy: Christine Chen
Communication Strategy Deputy Director: Dong Kim
Senior Communication Strategist: Caitlin Neelon
Communication Strategist: Natalie Williamson
Junior Communication Strategist: Chloe Bosmeny
Business Affairs Manager: Heidi Killeen
Director of Music: Todd Porter

Reset (Production)
Director: Adam Hashemi
Managing Director: Dave Morrison
Executive Producer: Jeff McDougall
Bidding Producer: Jenn Ingalls
Head of Production: JP Columbo
Producer: Michelle Currinder

Rock Paper Scissors (Editor)
Producer: Charlyn Derrick
Editor: Olivier Bugge Coutte

Barking Owl (Music)
Sound Designer - Michael Anastasi
Mixer - Patrick Navarre
Music - Barking Owl
Creative Director - Kelly Bayett

The Mill (Post FX)
Senior Producer: Will Unterreiner
2D Lead: Tara Demarco

Founders of Goodby Silverstein & Partners Say a Trump Presidency Would Be Disastrous

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The founders of Goodby Silverstein & Partners want Americans to think about what a Donald Trump presidency would mean in the context of America's history, specifically its greatest accomplishments. 

The latest spot in the "History is Watching" campaign, which is a personal project and not an agency effort, is a new 40-second ad that asks viewers to consider the reputation of America and, without explicitly disavowing Trump, to seriously consider what it would mean to cast a vote for him.

"We are trying to make people think about this critical election while emphasizing the importance of showing up to vote," said Jeff Goodby, founder and chairman, Goodby Silverstein & Partners. 

Goodby Silverstein & Partners creative director and native New Zealander Kate Catalinac created the "Trump: Accomplishments" spot.

"I cannot legally vote in this great country, so this is my way of having a voice," said Catalinac. "America has achieved so much. Let's only ever do things we are proud of. Especially in November."

Earlier this year Jeff Goodby and Rich Silverstein released their own anti-Trump spot, "Our President," which was followed by "Mt. Rushmore." The ads are meant to help inform Americans and encourage them to vote this fall. 

Ad of the Day: Bad Customer Service Brings Down a Secret Agent in Adobe's New Comedy

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Adobe always likes to unveil a comical new spot for Advertising Week. This year is no exception, and this time we get a James Bond-style spot in which a secret agent easily handles almost everything that's thrown at him—but is completely undone by some bad customer service.

The spot, created by Goodby Silverstein & Partners, was shot on location in Budapest and directed by Biscuit Filmworks/Revolver Film's Steve Rogers. It focuses on the woes of cross-channel marketing and features an amusing scenario of a suave hero assaulted by that most evil of villains—a hotel check-in experience gone wrong. 

Attendees at Advertising Week in New York will be seeing the ad quite a bit. It will run before more than 75 sessions beginning Monday. It will also be served up through addressable TV ads in select markets to Comcast and DirecTV subscribers. Adobe is also planning targeted online placements for the cinematic spot, aiming to reach marketers who are searching for movie content on YouTube.

Check out the spot here:

"Our latest Adobe Marketing Cloud campaign highlights how a very common problem for brands—the lack of connection between their different communication channels—can translate to a very serious problem for customers," says Alex Amado, vp of experience marketing at Adobe.

"When cross-channel marketing goes wrong, it's bad news for businesses and consumers alike," adds Will Elliott, creative director at GS&P. "We wanted to show that all the bad guys in the world couldn't defeat a secret agent, but a bad customer experience could."

Adobe will have an accompanying social media activation on site at Advertising Week. The company will be hosting a mobile "Think Tank" (or "Street Tank") near the Advertising Week hub in Midtown and inviting event attendees to come inside and share their views on camera about the "future of digital experiences."

The footage will be live streamed through Adobe's social media channels.

CREDITS
Client/Company: Adobe
Title of Creative Work: "Secret Agent"

Agency: Goodby Silverstein & Partners
Creative
Co-Chairmen: Rich Silverstein and Jeff Goodby
Chief Creative Officer: Margaret Johnson
Creative Director: Will Elliott
Creative Director: Patrick Knowlton
ACD/Art Director: Andrew Livingston
ACD/Copywriter: Simon Bruyn
Production
Director of Production: Tod Puckett
Senior Producer: Benton Roman
Account Services
Managing Partner: Brian McPherson
Account Director: Theo Abel
Account Manager: Chelsea Bruzzone
Assistant Account Manager: Zack Piánko
Brand and Communication Strategy
Director of Brand Strategy: Bonnie Wan
Brand Strategist: Etienne Ma, Andrew Mak
Director of Communication Strategy: Christine Chen
Communication Strategy Deputy Director: Dong Kim
Senior Communication Strategist: Victoria Barbatelli
Communication Strategist: Tara Hughes
Junior Communication Strategist: Nicole Bruno, Catherine Kim
Business Affairs
Business Affairs Manager: Heidi Kileen

Production Company
Company name: Biscuit Filmworks / Revolver
Director: Steve Rogers
Managing Director: Shawn Lacy
Executive Producer: Holly Vega
Producer: Kathy Rhodes
Head of Production: Mercedes Allen Sarria
Head of Production: Rachel Glaub
Director of Photography: Nicolas Karakatsanis
Production Designer: Tunde Csaki

Editorial Company
Company name: Arcade Edit
Managing Partner: Damian Stevens
EP: Crissy DeSimone
HOP: Kirsten Thon-Webb
Editor: Geoff Hounsell
Assistant Editor: Laura Sanford
Producer: Alexa Atkin

Telecine
Company name: The Mill NYC
Colorist: Fergus McCall
Senior Colour Producer: Natalie Westerfield

VFX/Finishing
Executive Producer: Leighton Greer
Senior VFX Producer: Will Unterreiner
Production Coordinator: Alex Benavente
Shoot Supervisor: Chris Mortimer
Creative Director: Tim Davies
2D Lead Artist: Tim Davies
2D Artists: Edward Black, Kelsey Napier

Music
Company name: Woodwork Music

Sound Design
Company name: Barking Owl
Sound Designer: Michael Anastasi
Creative Director: Kelly Bayett
Producer: Ashley Benton

Mix
Company name: Barking Owl
Mixer: Morgan Johnson

Goodby Silverstein & Partners Names Former HP, Yahoo Exec as Its First Chief Marketing Officer

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Goodby Silverstein & Partners has hired veteran marketing executive Julia Mee as its first chief marketing officer.

Mee joins the Omnicom shop in San Francisco after working with the GS&P team for 15 years on the client side, while serving in various global advertising and media roles at Cisco, HP and Yahoo.

"Julia has been one of our best clients, and in each of her jobs, she's advocated for us better than we've advocated for ourselves," says partner and president Derek Robson in a statement. "Julia brings clarity about the changing landscape of our industry and a perspective to the company that we've never had. All of that experience adds up to an exceptional leader who will no doubt contribute immensely to the future growth of GS&P."

Moving forward, Mee will oversee the agency's marketing efforts, working on new business pushes, consultancy partnerships, staffing and portfolio management duties.

"For 15 years at three different companies, GS&P was my trusted agency partner," Mee says. "They listened closely, dug into the business, gathered deep customer insights and provided strategic thinking that went far beyond what many expect from an 'advertising agency,'" said Mee. "We built global campaigns together that made significant contributions to the business, and, along the way, they made me and my teams look really good. Now it's my turn to help contribute to their business. I'm honored to join their ranks."

Mee most recently served as senior director of global advertising, media and sponsorships for Cisco, which has been a GS&P client since 2012. She helped develop that company's "Internet of Everything" effort; she also worked on GS&P's award-winning, post-Compaq merger "+hp" campaign while serving as that company's director of brand marketing for the EMEA region and collaborated with the shop in her more recent role as vp of global advertising and media at Yahoo.

The news of Mee's hire follows several new business wins for GS&P, which picked up agency of record duties for The Golden State Warriors, StubHub and mobile gaming company GREE International earlier this year. The agency also reportedly expanded its relationships with longtime clients Comcast and Frito-Lay during that period.

In August, GS&P promoted 20-year veteran creative director Margaret Johnson to the chief creative officer role and named Robson president following an earlier announcement that it had hired a dozen new creatives including former Wieden + Kennedy Coca-Cola lead Jeff Gillette. The agency also named two new partners (Bonnie Wan and Christine Chen) and two new managing partners (Brian McPherson and Leslie Barrett) over the summer.

Jeff Goodby, Famous for Milk, Is Hitting the Harder Stuff With His Own Tequila Brand

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Tienes tequila?

Jeff Goodby may be best known as the guy who dreamed up "Got milk?"—one of the truly legendary advertising taglines of all time. But lately he's been obsessed with a very different kind of beverage.

For the past few years, the Goodby Silverstein & Partners co-founder has been helping to produce, design, brand and market a high-end Mexican tequila called Tears of Llorona—a side business completely separate from his work at his San Francisco agency. 

Goodby got into the liquor business with his old advertising partner Andy Berlin, who was also a co-founder of what was originally Goodby, Berlin & Silverstein (and later a co-founder of Berlin Cameron). At first they were interested in making a rum. But then a mutual friend, Martin Pazzani, introduced them to Germán Gonzalez—a master tequila distiller in Mexico and a direct descendant of Gen. Manuel Gonzalez, the country's president from 1880 to 1884.

Jeff Goodby

Gonzalez, already a renowned figure in the tequila business, had just created a new ultra-exclusive "extra añejo" tequila, which is aged five years. Goodby and Berlin were intrigued, though at first, Gonzalez wasn't planning to sell the stuff at all. 

"He said 'I'm not going to sell this. I don't have that much of it,'" Goodby recalls. "And we said, 'That's actually cool, not to have enough of it. People might find that interesting.'"

Soon, they were in business together. The partners include Gonzalez, Goodby, Berlin, Pazzani, Goodby's brother Scott (a onetime top executive at Liberty Mutual) and Larry Siskind (a college friend who was on the Harvard Lampoon with Goodby in the '70s). 

Goodby and Berlin's main job, unsurprisingly, is the branding and marketing. Among other tasks, they had to name the product, design the bottle and steer the advertising. 

A haunting name, a hand-written bottle
The name came fairly quickly. Goodby and Berlin were aware of the legend of La Llorona. In Latin American folklore, she is the ghost of a woman who had drowned her children as revenge after her husband left her for a younger woman—and who is forced to wander the earth weeping. 

"She's a little spooky, and she cries looking for her children," Goodby says.

Designing the bottle was trickier.

"I got a designer friend involved, and the things he was cranking out were really gorgeous, and expensive to make," says Goodby. "We did a little focus group where people said it looked like a high-end tequila. But it didn't somehow capture the handmade quality of the thing." 

Around this time, Goodby happened to go to Auction Napa Valley, a celebrated wine event. On the winning bottle, "a guy had actually taken what looked to be one of those silver Magic Markers and had written his name on the bottle," Goodby recalls. "And I thought, 'That looks great!' "

Instead of a really ornate bottle, Goodby and Berlin chose an almost off-the-shelf bottle and just put some interesting handwriting on it. Goodby wrote a little story about tequila, which appears in English on one side of the bottle and in Spanish on the other side. Berlin did the actual handwriting in his distinctive scrawl. 

"It looks very handmade," Goodby says. "Compared to the really beautifully designed ones, this one just killed. It was much more interesting to people."

From there, it was a matter of distribution and marketing.

"We've learned to make the bottles in Mexico. We have our own casting of the bottle," Goodby says. "We've learned how to get the bottle printed and silkscreened in Mexico, and then filled and sent across the border. There's a lot that goes into a little thing like this." 

Balancing connoisseurs and consumers
In terms of marketing, the brand leans heavily into social media. It's a sipping tequila, and a very expensive one at that—a one-liter bottle goes for $225 on Caskers.com. ("It's not that stuff that makes your head slap back when you drink it," Goodby says with a laugh.) And so, they promote it by building excitement among tequila aficionados in social, with almost no paid media. 

"We've done little promotional things," Goodby says. "We sent Donald Trump a bottle after he said he wanted to build a wall in Mexico. And we had Germán say, 'Mr. Trump, I think I have a little something that will change your mind about Mexico.' We had fun with that. People went back and forth and talked about it." 

The marketing challenge is to move beyond the aficionados. But that's easier said than done, and keeping the core fans happy is job one. 

"This is never going to be Jose Cuervo," Goodby says. "Social media is so important to this kind of thing—to make Germán into a known commodity. People follow him and know him in the inner circles of tequila. He's like a music composer and people are looking for his next album, and this is it."

A simple social post can draw incredible attention to even the smallest of brand moves. 

"We have a couple pallets of tequila coming across the border right now," Goodby says. "And we'll put a picture of that online, and people will be like, 'Oh my god.' "

Goodby has even indulged the obsessiveness of the fans with Easter eggs on the packaging.

"People notice little changes on the label that indicate that it's a new barreling—we're on our third barreling of it," he says. "This sounds really nerdy, but I've changed the little icon on the label each time to indicate that it's a new barreling. There was a star, and I made it into a pineapple. And people notice those things, and they go, 'Have you tasted the pineapple barreling yet?' It's crazy."

What creatives learn by becoming the client
The whole experience has been fun and interesting, Goodby says, and healthy creatively to pursue something outside of advertising for a change. 

"It's liberating and good for your creative head to have something else to think about as you're falling asleep at night," he says. "But the really important thing is that it makes you draw in artistic impulses from other places. I always think advertising people look to other advertising for their inspiration way too often. Rich [Silverstein] and I really try hard to look in places other than advertising—in film, in magazines, in news, in popular culture." 

Along with forcing you to seek new inspiration, any entrepreneurial venture is valuable in another way, too: "It makes you understand what it feels like to be on the other side of the desk—to be a client," says Goodby. "And that's good, because as advertising people, we can get pretty bratty about stuff and forget that other people have a lot of skin in the game, too." 

GS&P doesn't actually have a liquor client at the moment, but Tears of Llorona is pretty good practice for if and when they do. (Goodby says he can't imagine his involvement in such a "dinky" luxury brand would be seen as a conflict by any of the major liquor marketers, hardly any of whom deal in such ultra-high-end stuff.) 

For those of you who want to try Tears of Llorona but don't have $225 lying around, you may be in luck. The brand just made a smaller bottle it will be importing soon that will be less expensive. Says Goodby: "It's funny how much excitement there is about having a product that's finally under $100."

Goodby himself will always have a soft spot for milk, of course. But as he rightly points out, "tequila goes a lot better with cigars." 

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