At a time of unprecedented voter suppression, the work of Vote From Home 2020 is more essential than ever. Our new “Suppress This” campaign helps them get ballots into the hands of disenfranchised voters. You can help, too.
For voters of color, many of whom often face voter suppression in their own communities, such as biased voter-ID legislation and limited polling sites, many of whom often have to wait in line for hours at the polls, the pandemic adds a new obstacle this November. With Black and brown Americans 3x more likely to get coronavirus and 2x more likely to die from it, Vote From Home 2020 asserts that no one should have to risk their life to cast their ballot.
“Suppress This” positions mail-in voting as the way for at-risk Black and brown voters to give the middle finger to those in power who would benefit from their absence at the polls. The creative centers striking portraits of Black and brown Americans shot by POC photographers Darius Riley and Andrea Granera, while highlighting the mail-in ballot as the solve /for voting challenges from both systematic suppression and COVID-19.
To further support the mission of empowering voters and mitigating the effects of suppression and COVID-19 on turnout, additional creative calls citizens to help ‘fund a fair election’ by donating to get absentee ballot applications in the hands of at-risk voters. A $25 donation to Vote From Home 2020 equals 20 absentee ballots application packages mailed. That’s where you come in!
Also, a big thanks to Adweek for helping to spread the word.
e.l.f. Beautyscape serves as a ‘career incubator’ for breakout makeup influencers. Celebrating its fourth year in 2019, we flew 25 aspiring beauty influencers to Nassau, Bahamas for the opportunity of a lifetime: the chance to collaborate with e.l.f. on a summer 2020 capsule collection and a $50,000 team prize.
Participants were challenged to find inspiration in the island’s unique sights, sounds and colors as the basis for their team’s makeup collection ideas, which were presented to a panel of judges just 24 hours later. In addition to the competition, Beautyscape participants received mentorship from top beauty professionals including makeup artist Nam Vo and celebrity hairstylist and entrepreneur Jen Atkin, as well as valuable one-on-one time with the brand and fellow creators.
The winning team worked with e.l.f. to produce its Retro Paradise collection — which is now available at Target and on e.l.f. Cosmetics · Retro Paradise. This limited-edition collection is infused with the essence of the tropics and inspired by sun-soaked beaches, paradise hues and beautiful Bahamian vistas.
Our work for CTCP has awakened parents to the teen vaping epidemic and won a slew of awards in the process (not nearly as important, but nice). The latest is that most venerable of ad accolades: the Clio.
You can check out all our anti-vaping work here. If you have a teenager, it’s especially worth your time.
DC’s thrilled to announce that Gary Stein joins us today as our first chief integration officer. He’s here to accelerate collaboration between our strategy, media and expanded creative team, which now includes experiential and influencer experts thanks to our recent acquisition of A2G. We think Gary says it best:
“The team here has this earnest, heartfelt belief that brands can show up for consumers – and our society – in a meaningful and authentic way. They’re not chasing shiny objects to sell more programs. They’re making major moves to help clients make a bigger impact on people, culture and commerce. DC is an ascendant independent agency with the talent, capabilities and desire to take the next leap. I want to be part of that.”
Gary joins DC after nearly five years at Eleven, most recently as associate partner and head of activation overseeing media, planning and data insights. His career includes nearly twenty years in strategy and work on clients such as Nike, Jim Beam and Google Cloud, including the Cannes Lion-winning ‘Know What your Data Knows’ campaign which featured the first-ever live TV spot created from real-time data during NCAA March Madness.
“We promise clients a holistic view on how creativity can move people’s emotions and actions – online and in real life,” said CEO Andy Berkenfield. “With Gary as our first chief integration officer, we’re ensuring that everything we do across paid, earned, shared and owned channels advances a singular creative vision that helps our clients grow.”
New TV spots show teens in familiar adolescent scenes, yet homework sessions, prom and parental squabbles burst with enough tension to make the viewer wonder if there is more going on than garden-variety angst. To create the unsettlingly true-to-life campaign, DC and director Floyd Russ, who is best-known for his award-winning documentary short Zion, allowed teens to inform the action of the spots — which were entirely unscripted.
Complementing the TV and video are arresting outdoor boards running across the state and a website solely devoted to the dangers of nicotine on the teenage brain.
It’s not just the sugar talking when we say that we’re so fired up about our new client: iconic candy brand and childhood favorite, SweeTARTS. Check out our Be Both launch work designed to speak to Gen Z’s embrace of duality and fluid identity.
The manifesto video above will live on the brand’s homepage and act as a kind of north star for all the Be Both work. New bite-size TV and digital spots begin playing this week on E!, Comedy Central, MTV and others. And the media spend will be fortified with a robust social presence as well as influencer activity.
Said DC ECD, John Kovacevich: “The Be Both idea is such a rich creative territory — the collision of colors and styles is a fresh new look for an old favorite. We’re excited by the first batch of work and the ways the campaign will come to life in the years ahead.”
HR is about helping real people. The H is for human, remember? So why does so much HR advertising feel so unreal? Those weird stock photos of happy, smiling employees all pointing at the same computer screen? That ain’t any office we’ve ever seen. We helped TriNet tell a more honest story, celebrating the everyday messiness of the humans who build your business. People are incredible, their benefits should be too.
Rakuten is back with the latest installment of the “Life to the Power of R” campaign, this time featuring a relatively well-known professional basketball player. Poised to continue the successful awareness-building achieved by the first round of work, these spots continue to bring to vivid life just how easy and rewarding using this no-brainer of a service is. Watch for the commercials all up and down your TV dial and across the digital universe.
Today we’re thrilled to announce the acquisition of A2G, a widely recognized experiential and social influencer agency. The acquisition extends our reach to two new major markets, adds a robust suite of complementary services to our offering and brings us a powerful new partner.
Amy Cotteleer (she’s the stylish one on the right) founded her agency in 2005 and was a pioneer in the experiential and influencer space. The LA- and New York-based agency created experiences and campaigns with social and digital engagement built into their fabric — from Gap’s award-winning Be Bright campaign, to Nintendo’s Wii video challenge that delivered 900 million earned impressions, to Flo’s Rockin’ Rally for Progressive that engaged a quarter million bikers.
So why’d she sell to the likes of us? We’ll let our new partner tell it: “The last thing we wanted was to be absorbed by a big agency who just wanted to staple us to a long list of capabilities. DC implicitly understood that A2G has an established brand and reputation for a reason. We’re incredibly excited by the possibilities to do great things creatively as we grow together.”
And here’s what our CEO Andy said on behalf of the rest of us: “This move is about a shared vision to help clients succeed in the evolving world of integrated marketing. The days of simply buying attention are dead — and winning brands need to build relationships with consumers online and, ya know, IRL.”
Our ECD John Kovacevich challenges whether Facebook’s “best practices” are really the best we can do. He is also aware that he uses lots of ironic quotation marks. Check them out below:
“Make the logo bigger.”
This piece of client feedback is such a cliché, it’s been an advertising meme for decades (even before we called them “memes.”) But in recent years, a new demand has taken its place: “Put the logo FIRST.”
The rise of Facebook, Instagram and YouTube as the premier digital channels to deliver ads has created an army of “experts” on how to get the most out of the dollars you spend on these channels. Facebook’s sales army has said it so many times, it’s become gospel: “You need to make a ‘brand impression’ in the first 2 seconds of your ad.”
As a result, creative briefs regularly include the line, “Digital versions must include the logo at the top of the spot.” Except…maybe it’s not true?
The two lovable locals that anchor Kona Brewing’s Dear Mainland campaign are about to hit the court and the big time in a series of new spots running for the first time nationally during this year’s March Madness.
After gently correcting us hapless Haoles in markets on both coasts, the brothers are ready to tackle all of the Mainland. Expect to see them throughout the tourney, including featured spots in all Elite 8 games, along with showings in the Final Four. We even dusted off an old chestnut for the National Championship because of its reference to Monday.
In a down beer market, Kona continues to outpace the category with significant growth over the last five years, thanks, in no small part, to two locals with a simple reminder: One life, right?
Today marks the release of DC’s first campaign for InnovAsian since being named agency of record. The four 15-second spots use rhymes that play with the catchphrase “InnovAsian occasion” to help consumers better remember the brand when navigating the crowded grocery freezer aisle.
The spots will run nationally on TV stations in 20 markets and on social media. As part of the media strategy, two 15-second spots will run during the same commercial break — separated by other marketers’ ads — to reinforce the rhyming message and drive recall.
The Japanese e-commerce giant dropped its first ever North American campaign during last night’s Grammy Awards. Directed by acclaimed Israeli duo Vania & Muggia (check out their vids for Coldplay and DJ Snake), the TV introduces Rakuten as a premium lifestyle brand for savvy online shoppers.
The work is just the first public piece of a months-long, ground-up brand overhaul that saw DC helping to determine how the brand expresses itself in every dimension, including strategy, style guidelines and even the product itself.
Oh, it’s happening alright: the new campaign for freshly IPO’d Upwork launches this very morning and portrays an experience familiar to us all in the workaday world: the “oh shit, how am I going to get this done?” moment when an ambitious goal or daunting project lands on our desk. In a colorful, quirky world that’s hip to Upwork’s freelance platform, managers transform their nagging anxiety into the thrill of making things happen. The creative aims to raise awareness of the ability to hire freelancers online as Upwork seeks to disrupt traditional hiring models that can be too slow for the modern pace of business.
For yesterday’s midterms, a big chunk of DCers added the title poll worker to their already sparkling resumes. Spearheaded by our own J. Moe who worked the polls in 2016, employees volunteered for training and were assigned to precincts across the Bay Area. The persuasive Ms. Moe even convinced the crotchety old partners to pay for the time off, striking a blow for democracy everywhere. And the fine folks at MediaPost were kind enough to cover the effort.
After arm-twisting, haranguing and even shedding the occasional tear, DC finally convinced the multi-talented John Kovacevich to join us full-time as executive creative director. John comes to us us after three years as one of the city’s most sought after freelance talents. Before he broke up with the agency world, John worked at Goodby, Silverstein & Partners and FCB West. So how did we get this confirmed bachelor to tie the knot again? Better if we let him tell it: “5 Reasons I Hung Up My Freelance Shingle to Go Full Time.”
As the world-champion Warriors entered their final season at Oracle, DC dropped a campaign that acknowledged the 47 years of Dubs teams running the floor in Oakland and the loud and loyal fans that were there all along.
In outdoor, digital and broadcast, the “Game Recognize Game” work celebrated the franchise’s legacy through novel pairings of Warriors — old-school and new — playing in perfect sync across a continuum of time.
“The fans know that before the Splash Brothers, there was Run TMC. And Manute, Sleepy, Baron and Barry,” said Parker Channon, co-founder of DC. “Seeing a Warriors super team built across generations felt like a genuine gift to long-time fans and a natural fit for a team that routinely acknowledges the work and history that precedes their accomplishments today.”
DC’s design director, Jennifer Kellogg, had this to add: “Bringing the Game Recognize Game idea to life visually using nearly 50 years of photography was a fun challenge. We were intentional about treating the photography to make players from different decades feel like they’re in the same world, on the same court. And the Game Recognize Game type reflects off itself to convey this sense of appreciation and interaction between generations of players and fans.”
Out in the world is DC’s new embargoed campaign for the California Department of Public Health’s CA Tobacco Control Program (CTCP) that responds to the reality that casual smoking by young people is on the rise — even as daily smoking declines.
While children of the 1990s and 80s grew up seeing anti-tobacco efforts targeted at heavy ‘pack-a-day’ smokers, this campaign taps into the insight that social smokers age 21 to 35 typically don’t view themselves as ‘smokers’ — and thus, underestimate the harm of lighting up socially. CTCP’s “Never Just a Smoke” campaign also combats the reality that new forms of tobacco — including hookah, cigarillos, JUUL and e-cigarettes — make social smokers less likely to perceive the health risks of occasional use.
“Never Just a Smoke” OOH launched June 4 on the heels of digital video, digital audio and radio that targets “smokers in denial” age 21-34 across California — with special focus on reaching LGBTQ, Hispanic, Asian and African-American communities that are at higher risk for social smoking. Digital video will be targeted around key moments and “stressors” that typically drive people to light up, such as graduation and moving. CTCP has also partnered with Buzzfeed on custom “Regrets You Have After A Night Out” video and quiz content to further engage young social smokers. The campaign includes online resources at www.neverjustasmoke.org.
In addition to featuring same-sex couples in both digital video and OOH executions, the campaign includes animated projections and geo-targeted digital videos near LGBTQ Pride events, as well as posters and coasters at LGBTQ bars across Los Angeles, San Francisco, San Diego and Sacramento.
“After discovering that young people who smoke socially rarely see themselves as smokers, we wanted to play with this distorted perception about the pervasiveness of their habit — as well as its harm,” said Anne Elisco-Lemme, executive creative director, Duncan Channon. “The campaign places young people in true-to-life social situations that force a moment of self-realization about the truth of their smoking and its impact. We strip away the excuses used to defend social smoking — leaving the viewer with the stark reality of their smoking and its health consequences.”
“The campaign also combats the reality that new forms of tobacco — including hookah, cigarillos, and e-cigarettes such as JUUL — make young people less likely to perceive the health risks of occasional use,” said Elisco-Lemme. “It’s all too easy to dismiss something you don’t do everyday as harmless, especially if it doesn’t look or taste like a traditional cigarette.”
Our assignment was to convince teens and tweens that Universal was the “what’s next” vacation for them and their families. Our solution was to send a dozen influencers with millions of followers (don’t even act like you don’t know who Baby Ariel is) to the Orlando resort to make original videos and posts. 13 million views and half a million YouTube engagements later, the program is a bona fide success. Check out the case study vid above for all the thrilling details.
With pre-season underway, our Purpose Practice Director, MJ Deery, recommends some serious changes to the NFL’s playbook in Adweek.
“Today’s consumers, especially younger audiences that represent the sport’s future, expect brands to stand for more than product and profit. Yes, even sports teams need values beyond winning.”
MJ goes on to share her POV on four things we should learn from the NFL’s missteps.
1. Consumers have no tolerance for lip service — In January, the league announced its “Let’s Listen Together” program, an $89 million seven-year initiative to support social, education and criminal justice reform, only to undo it with its anthem actions. Such a seismic shift between words and actions can call question to the NFL’s authenticity.
2. Brands must make room for diverse voices — Business leaders need to tap diverse perspectives across race, culture and gender in their workforce or risk sounding tone deaf.
3. Purpose requires the long game — Forward-thinking business leaders aren’t bandaging short-term injuries like the ratings drop and the president’s disparaging tweets at the expense of long-term brand health.
4. Attempts to silence voices often amplify them — Players took to Twitter to re-up their commitment to the cause. And owners like the New York Jets’ Christopher Johnson said they’ll cover fines for players who continue to kneel.
“The NFL anthem saga shows the perils for brands navigating our purpose-driven economy without clear, inclusive values. That said, the NFL still has time to make good on its promise to “Listen Together” and to use the league’s influence to fight systemic racism in a way that builds their business. I hope the NFL finds its way back to its social purpose, by the dawn’s early light.”
See MJ’s full article here and get yourself educated.
Today marks the launch of DC’s latest campaign for the California Tobacco Control Program and our first since landing a new five-year contract. The work exposes the tobacco industry’s latest deception: using flavors and e-cigarette products that masquerade as snacks and flash drives to hook kids when their brains are most susceptible to addiction. Four out of five kids who’ve used tobacco started with a flavored product.
The country’s largest-ever campaign to take on flavored tobacco includes TV, digital video, radio, and OOH launching April 24 in all 14 markets across California, including Los Angeles, San Francisco, San Diego and Sacramento. The campaign will include creative in Spanish, Cantonese, Mandarin, Korean, Vietnamese and Tagalog, produced with Acento and APartnership, as well as a San Francisco BART station takeover and two painted walls in Los Angeles. See more at FlavorsHookKids.org.
DriveTime was purpose-built to be the auto dealer for all those with bad credit. Because it not only offered credit-crunched customers much-needed cars, but also acted as the bank extending loans where other financial institutions wouldn’t. Its proprietary algorithm evaluated consumers in a more holistic way, put tens of thousands behind the wheel and grew the company to a billion-dollar market leader.
But it was that algorithm, along with a suite of other consumer-focused technological innovations, that propelled DriveTime to consider a new, wider audience. The innovative online services they provide, like knowing your down and monthly payments on a particular vehicle in just two minutes, are valuable to any consumer and really represent a smarter car-buying process.
That new direction is front and center in a new $50 million campaign launching today. Shot by the Perlorian Brothers with stunning visual effects by Freefolk, the spots ask the all-important question: if you’re not buying your car at DriveTime, how smart are you?
Today marks the launch of DC’s first campaign for Upwork, a global network of freelance talent. But, as the campaign has it, this is more than some indiscriminate mob of freelancers from here, there and everywhere. Rather, this is a unified movement of motivated people — freelancers and managers alike — here to roll up collective sleeves and make stuff happen. And like any good movement, they aren’t afraid to speak truth to power with a hearty “Hey! How can we help?”
“Upwork is a vibrant, expressive brand that’s contagiously optimistic about the potential of freelancers to solve big problems and drive the evolution of business,” said Michael Lemme, chief creative officer, Duncan Channon. “The ‘Hey World’ campaign has some fun, but is serious about the idea that talented freelancers can get stuff done for people who need stuff done, including some brands, artists, institutions and pop culture figures you know.”
If you didn’t see it, DC’s director of social purpose, MJ Deery, was featured in a recent Adweek outlining a best-practices reset on rules for the burgeoning conscious economy. Check it out here. Ignore at your peril!
Craft beer is like indie music. If you get too popular, you’re no longer cool. Just ask Redhook. In the early ’80s, they took off like a rocket, Anheuser Busch came calling and the brand was labeled a sellout. “Budhook!” the beer nerds snickered. Never mind that Redhook basically invented the craft beer category they were tossed out of.
So how do you get the next generation of craft lovers to take notice, to see you in a new light? The answer wasn’t an ad campaign. The answer was an experience. A brewpub that put Redhook’s pioneering, innovative techniques on display.
“We knew we had to bring Redhook’s values to life rather than merely talk about them,” said DC’s CCO Michael Lemme. “In developing the Brewlab concept and identity, our job was to make sure everything from the name to the smallest detail in the customer experience communicated how Redhook Brewlab is purpose-built to experiment, innovate and test the results on Seattle humans of legal drinking age.”
We were all touched by the devastating fires and did what we could in the moment, but what about now? With the holidays approaching and media attention turning elsewhere, how can we still help and what are the best places to focus our resources and time?
A group of concerned DCers created the following resource for our people to refer to, but we thought we’d publish it for anyone out there looking to help, too.
— Donate money
The easiest way to help is simply to donate money, and there are many legitimate ways to do that. We made our donations to Tipping Point Emergency Relief Fund and did so through Google.org’s fundraising campaign that matches donations up to $1 million.
A lot of companies, ours included, offer employees a day (or days) of service option. If yours does, helping out in the North Bay would certainly be a great use of that time. Because while it’s going to take years to recover, a willing pair of hands, even for a day, will help the work go faster. It should be noted that they don’t want people, no matter how well-intentioned, just showing up. Here’s a current list of organizations looking for volunteers.
Together, we can make a real difference. Happy holidays to you all.
We’re going to the show, you guys! Look for our Stand Up To Cancer spot during game four of the series. As part of a long-term partnership with the MLB, the campaign for SU2C challenges the common perception that the only way to beat cancer involves one monolithic cure. DC’s spot points out that every innovation — no matter how seemingly small — is a step toward victory. Plus, Adweek thinks it’s a winner.
When you’re sick, injured or facing a frightening diagnosis, you want more than just clinical excellence. You want a support system. You want a squad. And John Muir Health has your back. Here’s what our ECD, Anne Elisco-Lemme, had to say about our approach to the new work: “Cancer is probably one of the most terrifying diagnoses anyone could ever hear. So our challenge was to create a :30 spot that speaks to the enormity of the situation while remaining hopeful. We took a page out of how sports brands create epic, emotional and highly visual marketing to tell the story of how your entire medical team at John Muir Health is with you, no matter what life throws your way.”
In its latest effort for the California Tobacco Control Program, DC taps into Californians’ green sensibilities, shifting focus from the health dangers of cigarettes to the environmental dangers of cigarette butts. The “Come Clean” campaign features new TV work and outdoor, including a billboard filled with 12,000 toxic butts scooped up from the streets directly around it.
DC sidestepped the sophomore slump to bring home a silver Small Agency of the Year in the west award for the second year running. Announced last night at Ad Age’s Small Agency Conference in Nashville, the award takes into consideration business results, agency culture as well as a range of creative work across accounts.
To bring home the award last year from among the hundreds of entries was a thrill. But to win in back-to-back years has us positively blushing. Thank you to Advertising Age and, of course, our clients who made it all possible. Kegger at our parents’ house!
One of the cooler new parts of the already pretty cool media plan DC created for Kona Brewing’s 2017 push is a special integrated program with CBS. In addition to our regular spots running during their highly rated Thursday (aka “Little Friday”) primetime lineup, CBS and DC also created special California spots shot on location in LA, Orange County, San Diego, Sacramento and San Francisco. The Hawaiian and Californian spots will run in tandem and also live on local CBS websites. Watch as our brothers spread their island wisdom across the Golden State.
DC just launched a brand new campaign for brand new client, So Delicious. In response to growing demand for plant-based foods, the inaugural work, which spans products across the So Delicious portfolio, emphasizes taste to challenge the misperception that choosing non-dairy somehow equals non-delectable. Look for digital videos and print ads running throughout the summer (aka ice cream season).
Our own ECD Anne Elisco-Lemme is featured in the latest edition of The Drum’s Beyond The Brief with words of wisdom for all you creatives out there looking to make your mark.
In addition to relaying her trenchant career advice, the article teasingly makes mention of her Led Zeppelin tribute band, Black Dog, while providing no photographic evidence. Let’s rectify that egregious oversight right now. (Anne’s the one holding it down in the middle.)
This just in: as this post was being created, we learned that the Kettle “Edibles” billboard just received an Obie for outstanding outdoor last night in New Orleans. Which begs the question: how did we not attend an award show in New Orleans!? We’re getting soft.
Our Hawaiian brethren are back to help us hapless haoles sort out our skewed work/life balance. This time around, they take on the Mainland’s social media absorption among other questionable uses of time. The new vids will run on Facebook in conjunction with TV spots in select markets. The work’s already receiving some nice coverage on Creativity, The Drum and Adweek’s Agency Spy. The Dear Mainland campaign continues to be a great success for Kona Brewing with sales increases in excess of 30% and a coveted spot in the top ten of all craft beer.
DC is thrilled to announce the arrival of not only a true talent, but an important new agency offering. Today, we welcome MJ Deery as the first director of our social purpose practice. “In an increasingly connected world and given our current political climate, a brand’s values, actions and social impact matter more than they arguably ever have,” said CCO and partner, Michael Lemme. “It’s no longer optional. It’s a vital component of a healthy brand.”
“We’ve always marveled at MJ’s gift for strategic insight, creative leadership and artful storytelling, but it became clear we needed to create a purpose-driven role for her when she revealed a deep personal passion and understanding of how consumer expectations, social media and politics are transforming the role of brands as citizens.”
Prior to joining DC, MJ served as a creative director at Mekanism where she worked on campaigns for Nordstrom, Jim Beam and Alaska Airlines. Her brand-side experience includes copywriting roles at Gap and Levi’s Strauss & Co. And to further prove she’s no slouch in the typing department, MJ holds an MFA in creative writing and literature from Emerson College, and has published short stories in literary journals around the country. Here’s what she had to say:
While the competition focuses on transaction and technology, Grubhub really understands the near magical moment that occurs when the “food’s here.” To capture the genuine excitement and community a shared meal delivers, DC steered clear of LA and shot in Texas with real people who were really friends. No actors. No scripts. No sets. Because sometimes it takes a late night over tacos al pastor to discover that you’re long lost moisture bros. You can dig into our launch spot above or dive in to some positive press coverage here: Advertising Age, The Drum, Egotist, Crain’s, and Best Ads on TV.
It’s a red-letter day around here as the agency proudly launches a new logo, look and website, along with some important new leadership. In addition to the four partners and longtime communications planning director, Leslie Diard, Jamie Katz will now lead the account management practice, Rachel Hermansader will be the agency’s first director of marketing and business development and Anne Elisco-Lemme will serve as the sole executive creative director. (Shout out to Timothy Archibald for the handsome photo.)
CCO Michael Lemme led the rebrand. “Our new mark is custom-made – hat tip to our co-conspirators in Helsinki / Amsterdam / Den Haag, Underware. In the context of increasingly algorithmic and measured marketing, we wanted our identity to be a symbol of the incalculable, unpredictable role of creativity and personal expression in every aspect of our work.”
And because the logo is so wonderfully peculiar, the agency doesn’t just expect, but welcomes, troll commentary. So much so, we’ve even created this helpful video to get the troll juices flowing. Let us have it. (Special thanks to The Cabinet and Feintly for letting us abuse their goodwill.)
At a time when wannabe competitors are trying to get on their natural chip tip, Kettle Brand is answering back with an irreverent new ad campaign. The “Stirring the Pot” work celebrates the brand’s counterculture legacy and all those that zig when others zag. In addition to wild postings, bus shelters, digital radio, Snapchat filters and social content, there’s an outdoor board with actual grab-able bags of chips that gets refilled each day at 4:20pm. “As far as the refill time of the Oregon’s second best edibles billboard, there’s no special significance to that. Just a random time between lunch and dinner,” said executive creative director, Anne Elisco-Lemme. “No story there.”
The women of the wildly successful DriveTime campaign are back to help out more wannabe car buyers. This time, we get a glimpse into their private lives as they hit the nail salon and rap along to the inimitable beats of Bay Area legend, E-40. But, as usual, they’ve still got their mind on saving you money and saving you money on their mind.
When you use Ebates, you get cash back for the normal online shopping you were already going to do. No catch. Which seems a little hard to believe, so people are naturally skeptical. This new campaign from DC tackles that misperception head on by setting the spots in Skeptics Anonymous therapy sessions (a group some skeptical people doubt exists). “If even the pathologically skeptical among us can see the light, surely we can, too,” said executive creative director, Anne Elisco-Lemme, before getting 6% back on some strappy sandals.
The latest evolution of the Be Heard campaign for John Muir Health arrives on your TV set and computer screen today. Look for us back in the examination room delving into the close relationships between JMH physicians and patients. A couple unique new characters demonstrate how John Muir docs listen, explain and really collaborate to find the solution that works best for each patient.
What better word to sum up our feelings on this day that, at 44, our Amy has been taken.
Early in this 14-year association/friendship/love affair, Amy Petrolati revealed to the juvenile morons of Duncan/Channon that in school she’d been teased as Amy “Poopsalotti.” Her revelation was quite voluntary and, in typical Amy fashion, entirely generous, and signaled that she was eager to dive in, as silly as anyone. And, in those days, when we were a much smaller company, we were as silly as could be.
So, in D/C-land, Amy became the funniest word in the juvenile dictionary — Poop — joining the ranks of Toby, formerly Max; Sausage, formerly Ian; and the inexplicable Pops. Not to mention Slash, K-Hole, Big Dummy and Watermelon Gum. The list went on, as juvenile things joyously will.
And I mention it because Amy’s whole existence was dedicated to such fun and games — to creativity, comedy, design, music, theater, to the ultimate art of nature and ultimate theater of politics, to true beauty and fair play and the neverending war on blandness, pomposity, fakery, true ugliness and gloom.
We are so thrilled to have been named silver Small Agency of the Year in the west that we’re not even going to try and play it cool. Thank you so much to Advertising Age. And thank you just as much to the clients that helped us win the big prize. This is an amazing bit of recognition as well as a huge in-your-face to those high school teachers who thought we were headed nowhere but the penitentiary.
Already honored as Best in Show at the AdAge/Modern Healthcare awards, D/C’s “Wake Up” campaign kept its roll going in New York Thursday night, snaring silver at the 2016 Effies, the pre-eminent industry award for marketing that drives measurable success. “Wake Up” is DC’s campaign for the California Tobacco Control Program.
The latest honor comes on the heels of a big win last month in the BIG Star Awards, presented by the San Francisco Bay Area Innovation Group, which named “Wake Up” Campaign of the Year, as well as recognition for the StillBlowingSmoke.org website at the tenth annual Pixel Awards.
Introduced last summer, “Wake Up” was the first major campaign in the nation to target the surging use of e-cigarettes, especially among young adults, and has helped spur debate and legislative action across the country. The campaign’s next installment has just launched.
Their youthful target wasn’t even born when, working out of an old Seattle transmission shop, a couple of beer-lovers who thought they knew better brewed up their first batch of Redhook. Thus was born a craft beer movement that no one had yet thought to call a craft beer movement. Picking up on the brand’s rich origins story, D/C’s new campaign puts “The Grandaddy of Craft” (as the brand tagline has it), alongside a host of other “Seattle Originals” (as the campaign has it). There’s real-life Seattle superhero Phoenix Jones and Seattle’s own King of Rock ’n’ Roll, El Vez. And the Queen City’s Matthew Inman, creator of the wildly popular web comic, The Oatmeal. Redhook, the effort reminds those too young to remember, is not only part of Seattle history and beer history, it’s part of the proudly inventive local community. Launching today, the campaign is playing out across Seattle and an inventive mix of billboards, wild postings, stencils powerwashed onto sidewalks, radio and digital — from paid social to native content to geo-fenced mobile banners near the billboards.
The loveable Hawaiian brothers who’ve helped lift Kona Brewing into the top ten of US craft beer are back for the third year of D/C’s “Dear Mainland” campaign, which breaks today. Among other critical issues the guys are addressing is the social media disease of FOMO, aka Fear of Missing Out. And once again, the answer involves an island-style attitude adjustment chased with a cold bottle of “Liquid Aloha.” This year’s campaign sees the brand adding Seattle to select markets on the East and West coasts. The media mix includes spot-TV, MLB partnerships and video and banners across a variety of digital platforms, including Spotify, Hulu, Facebook and Instagram.
“There Must Be Something in the Water” is the new tagline and name for D/C’s new campaign, launching today, for longtime client Tahoe South. With non-stop entertainment, comprehensive outdoor activities and a pristine natural setting — including its deep-blue centerpiece — the south side of Lake Tahoe has everything a visitor could need to get out of her comfort zone and into a personal transformation. Through a series of 15-second TV spots, digital video, digital radio, banners and social, this relaunch gives the brand a new look and feel, while maintaining the tongue-in-cheek Tahoe South voice.
Last night at the sfBIG awards, DC’s campaign for the California Tobacco Control Program took home the top BIG Star prize over a stellar field. “Wake Up” is an integrated effort, across TV, out-of-home, digital and point-of-sale, focused on the issues of e-cigarettes, especially among young people. Thanks to the brilliant judges of the San Francisco Bay Area Innovation Group and to our thoughtful and supportive client. And congrats to the entire creative, account, strategic and comms planning teams, many of whom can be viewed looking good and acting bad in the following funky video.
With a new commercial, two new digital videos, an updated website (StillBlowingSmoke.org) and a new outdoor campaign, DC has just launched the second year of the State of California’s effort to educate citizens about the potential perils of vaping nicotine. In light of alarming new statistics that are highlighted in the TV spot, there’s a special focus on young people. And a perfectly ironic pop song.
Congrats to our friends and clients Staffan Terje and Umberto Gibin on last night’s official opening in San Francisco of their latest culinary masterpiece Volta, where classic Gallic fare cozies up to classic Nordic. With a pedigree of Perbacco and Barbacco, and a name and identity by the chefs de branding at Duncan/Channon, this is guaranteed to be the hottest reservation of 2016. (Got room for two on Friday night?)
No stranger to the pages of Communication Arts, our own ECD, Anne Elisco-Lemme, was chosen to be a member of this year’s esteemed panel of judges for the prestigious Advertising Annual. If your work was passed over for recognition, you can address her directly in the comment section below. (And congratulations, Anne. Well-deserved.)
The John Muir silver was for the long-running “Be Heard” TV. The CTCP golds and the Best in Show were for the “Wake Up” e-cigarettes TV — those spots with the asterisks and vintage soundtracks — as well as for Wake Up interactive bus shelters, banners and billboards and the stillblowingsmoke.org site.
Big ups to two stellar clients. A smoke-free celebration shall ensue.
From TV to digital to print to a partnership with the Cooking Channel and Chef Kelsey Nixon, Diamond of California is serving up a complete creative feast in its first campaign, launching today, from D/C. With the tagline “Made for Homemade™,” the audience focus is the home cook and baker, while the product focus is Diamond’s premium cooking and baking nuts. Across all platforms, the work emphasizes the fun of a great holiday meal, the versatility of nuts as an ingredient and the creativity that brings them all together. Nom nom.
Tina, Tara and the green rescue van are at it again in three new spots for DriveTime — including (if you’re paying attention) one bumpin’ a lil “Turn Down for What.” The loopy ladies are once more putting wheels under peeps who’d previously been locked out of car-buying entirely. This is D/C’s third set of commercials for the Phoenix-based client, which operates 130 dealerships nationwide and has seen sales leads bumpin’ up more than 30% since the start of the campaign.
After many successful years, along with a well-deserved induction into Adweek’s Mascot Hall of Fame, StubHub’s Ticket Oak has been sent to live on a big farm in the countryside where he’s very happy and not dead at all so stop with the questions already.
Today a new campaign emerges from that puppet’s long, weird shadow. Called “Let Your Fan Out,” the work champions StubHub as more than a place to get a ticket you want, but rather a place that knows when there’s a ticket you want before you even know you want it. As such, even the busiest of people will find more opportunities to let their previously neglected inner fans out.
A robust TV buy, starting with a spot on tonight’s telecast of Monday Night Football, is matched with a deep digital presence, including all manner of rich media, scores of page takeovers on sites like ESPN and streaming video pretty much everywhere video streams.
Plus, all the work features StubHub’s sharp new brand ID, also created by D/C. More on that below.
The world may change, but the joyful pandemonium of childhood remains a constant. Being no strangers to that joy ourselves, D/C was excited to be tapped to work on a brand refresh for Stride Rite. The new work includes brand repositioning, a refreshed brand identity system and integrated marketing campaign, and new brand photography produced in collaboration with Cynthia Perez. It encourages parents both to embrace the chaos and to come prepared.
“We’re thrilled to help reintroduce a brand that has been a category leader for nearly a century,” said our chief creative officer and partner, Michael Lemme. “Frankly, this is what we love and do best, and we look forward to building on the great heritage of Stride Rite to engage a whole new generation of moms and dads.”
Over three decades ago, Redhook ESB reimagined what an American beer could be. It was craft before there was such a thing, and it was an unqualified success. So much so, that it started to become a victim of that success. The company’s growing operation and big-time distribution deal had some people starting to look for the next thing. And with time, some began to forget the history. Even in its hometown of Seattle.
Now Redhook is ready to reclaim its rightful role as the OG of craft beer — with a new campaign launching online, outdoor and on the radio this summer. Called the Granddaddy of Craft, the campaign will feature Redhook ESB in its striking throwback package, while reminding whippersnapper beer drinkers to have some respect for their elders.
“Today, there are over 250 craft breweries in Washington. In 1981, there was exactly one,” said D/C’s young-at-heart ECD Parker Channon. “And we’re just here to remind Seattle who started it all.”
Last night at the Clio Image Awards at New York’s Plaza Hotel, Duncan/Channon won top honors for a mass-market website for its design of the Formula X site for Sephora. It’s not the first award for the Formula X project, but it is the first in which D/C work shared the stage with Heidi Klum and Tim Gunn.
Formula X is Sephora’s innovative new nail lacquer, and the colorful, dynamic site represents “the first social network for nail fans.” The Clio Image Awards, co-sponsored by WWD, are given for “the best of creativity behind the business of style.”
Redhook Brewery has picked Duncan/Channon as its agency of record, leading strategy, creative and media efforts. This marks D/C’s second brand from leading brewer, Craft Brew Alliance.
“Throughout the search process, Duncan/Channon demonstrated deep strategic thinking and creativity, along with a profound understanding of Redhook’s brand, values and vision — we’re pumped to have them on board as our creative partners and can’t wait to evolve the brand together,” said Karmen Olson, Redhook Brewery’s brand manager.
The first campaign is expected to launch in Redhook’s home market of Seattle this summer.
Kat Von D Beauty is live and looking gorgeous. The new website was designed by D/C for world-renowned tattoo artist Kat Von D, and for Kendo Beauty Group, an LVMH company. Inspired by Kat’s tireless support of other makeup artists, the site is deeply collaborative, with products sitting side-by-side with user-generated photos and illustrations, as well as tweets and videos from the artist and her fans. Curated by Kat herself, KatVonDBeauty.com is a vibrant social newsfeed, as well as fresh product content, all cloaked in alluring, enigmatic glamour.
Diamond Foods has picked Duncan/Channon to lead branding, ad strategy, creative and media efforts for Pop Secret, the fastest-growing major microwave popcorn brand, and Diamond of California, the branded leader in the culinary nuts category. Following a strategic exploration, D/C will develop new campaigns that include both traditional and non-traditional components, including social media. The first work is expected to launch in early 2015. Said D/C ceo Andy Berkenfield: “Nom nom nom.”
Last week, The 3% Conference kicked off its third year in San Francisco and Duncan/Channon was not only proud to host their VIP Party at the Tip (see above), but several of us were able to attend and be inspired. A recap of some of our favorite moments is below.
Anne Elisco-Lemme, Creative Director The thing that sits with me the most can be summed up by something John Gerzema of the Athena Doctrine said in his keynote: “We are in a new world with many old minds.” WE ARE IN A NEW WORLD! So stop being satisfied with old-mind thinking. Be a force towards solving your problems — and the problems of others. Cindy Gallop speaks about the New Creativity. Kristen Cavallo of Mullen spoke about how we experiment with creative and technology, but not HR. Pay attention and see what needs to be changed. Then go about changing it. Jenn Maer of IDEO spoke about going from “Yay” to “Doh” — the process in which we move from the excitement of the conference to getting stuck back in the routine. Don’t go back to doh. Every minute of every day, keep the yay.
Jessea Hankins, Senior Copywriter Here are a couple moments that stood out: (1) Dyllan McGee’s keynote talk was quite moving. I was pretty flabbergasted to learn that women weren’t allowed to run in the Boston Marathon until 1972. (2) Eliza Esquivel’s comment that as soon as she briefs her agency that the target is moms, “The creativity level drops 70%.” We need to remember that moms also happen to be human beings. There is no monolithic mom council. Also, would a brief ever say the target was dads, full stop? I doubt it. (3) The Superbowl audience is 40% female. I personally hate sportsball so I’ve never given it much thought. But the general buffoonery of dude-centered beer humor that runs rampant through the ads has got to be turning off a sizeable chunk of the women watching. (4) And as always, Cindy Gallop crushed it. She stomped all over it. She put a stiletto to its throat until it cried uncle.
(J) Moe, Creative Content Strategist I loved Elena Rossini’s preview of her film The Illusionists. I thought it brought up some of the most compelling points about the pervasive beauty myths of the western world and how we’re spreading our damaging, privileged attitudes to the rest of the world. John Gerzema’s talk was very inspiring and offered a very fresh perspective on the ethos we currently worship of “learn by failure.” To paraphrase: “Learn by failure is the most male invention ever. Because it basically says you can fuck up however you want and then just go sweep it under the rug. But there would be a lot less failure if you just admitted that you didn’t know to begin with.” WORD.
Christina Chern, Art Director I went to the 3% Conference this year excited to hear amazing women like Kat Gordon and Cindy Gallop share their wisdom with us. But I was thrilled to discover that some of the best speakers at the conference were the women sitting in the audience. Though they weren’t “the main event,” every person who stepped up to the mic afterwards to ask questions and share their own stories were incredibly articulate and awe-inspiring. And knowing that the state of our industry lays in the highly-capable hands of these women gives me a lot of hope for the future.
Adam Flynn, Brand Strategist The Three Percent Conference is like Feminist Advertising Christmas. As important as the talks themselves is the sense of a safe space, where you can speak about things and be heard. (Being one of the few men in attendance, I tried to signal “totally an ally here who likes to kick gender nonsense in the teeth” by wearing a bright pink sweater.) But the talks were excellent. Cindy Gallop’s, as you might expect, blew the doors off. But my favorite piece of it was comparatively subtle: she highlighted the potential of “Have you noticed?” as a not-directly confrontational way to point out things. For instance, have you noticed that bosses who have daughters tend to be more open to these sorts of conversations? (Mark Arata’s talk on “Enlisting Men”) Have you noticed that putting more than one woman in the room makes it easier to voice an opinion because you don’t have to represent the entire gender? Less positively, have you noticed that most advice for women on social media ignores the realities of online harassment?
Have you noticed that when we act together, we have an opportunity to make the culture we want to live in?
Amy Petrolati, Designer This was the first 3 Percent Conference I’ve attended and I really appreciated the opportunity to meet and listen to the female icons of the industry but also meet some very creative ladies at all levels. One discussion that really struck me encouraged changing the culture within the agency not to just foster women in their trajectory upward, but to make the agency a better balance for all people working there. The social science nerd in me was also very interested in the gender partnership discussion Ray Arata brought with him to his break out session, Enlisting Men. It was really fascinating and while it’s strange to say, next year needs more men in attendance, they need to be engaged in the discussion of gender equality.
Lindsey Butterwick, Senior Art Director Fresh out of college and debating what the hell to do with my life, I began researching architecture and advertising. During my quest I stumbled upon ihaveanidea.org, a blog about the advertising community. On it was a column called Ask Jancy where two powerful women, Janet Kestin and Nancy Vonk, gave thoughtful advice on how to break into the industry and thrive as a creative. I was hooked. I applied to ad school and never looked back.
At the 3% Conference D/C VIP party I met Nancy Vonk (below is proof!). I almost cried. It was a surreal and defining moment that would have been nearly impossible without this conference. As a result of those few days, I’ve never felt more inspired or honored to be a female in the creative industry.
Careers in advertising are long and hard. (That’s what she said.) To coincide with this year’s 3% Conference, we launched thatswhat3said.com, a place where women in advertising can give advice to female creatives who are just starting out. (We considered calling it “Women on Women,” but we’re far too mature for that.) Visit the site, share it widely, and add to it. Your wisdom, warnings, and legends could help a young, shiny creative hold on to her optimism as she runs the ad biz gauntlet.
We never doubted it, but now the OMMA award from MediaPost has confirmed it, bestowing top prize on the wildly social Sephora/Formula X website in the Fashion/Beauty/Cosmetics category, an effort in which, and we immodestly quote, “outstanding content, visual design and user interface create recurring value for users.”
Late last year, DriveTime, the number-one used car chain for the credit-strapped, introduced a new TV campaign called “Rescued.” Forgoing downscale sales tactics and downbeat credit messaging, the spots were a radical departure from anything the client had done before. And the results were just as radical:
Double-digit sales growth across all markets during the Polar Vortex when almost every other player — used or new — was reporting losses.
Today, the campaign rolls on with three new spots playing across the country. Ride along with our intrepid rescuers as they put the fun back into car-buying for three more lucky abductees.
At StubHub, the only surprise is at the end of this new commercial — part of a Q4 campaign that includes TV, digital, print and the multitalented Ticket Oak’s radio debut. The effort highlights that scoring good tickets at StubHub couldn’t be easier — or less aggravating — because there are never extra fees. Unlike the other guys, what you see at the start is what you pay at checkout. It’s called All-In-Pricing. Throw in a Fan Rewards program with discounts and seat upgrades for frequent users, and see how, at StubHub, fairytales always come true.
The California Tobacco Control Program, the state program who works to reduce the health impact and premature deaths due to tobacco use, has selected D/C as its full-service ad agency of record after a comprehensive review. The contract, which began this month, covers advertising strategy, creative and media, and runs for up to five years.
Over the past two decades, the CTCP has proven remarkably successful, helping reduce California adult smoking rates by half, to 12% — the second lowest in the US.
Said D/C CEO Andy Berkenfield: “As Californians, as parents and – some of the team — as cancer survivors, we couldn’t be more honored and excited to collaborate on this great cause with this enormously successful CTCP team.”
And if, befitting the seriousness of the task (and the seriousness with which we take it), this announcement seems uncharacteristically sedate, it’s only because you can’t see us all jumping up and down.
A few weeks later, and we’re still reverberating from this season of Game of Thrones. Acclaimed as the capstone to our current “golden age of television,” Thrones soaks us in thousands of years of fantasy history, four religions, foreign languages with 14 words for “horse,” and yet we are still able to recognize, love, and mourn a vast assortment of characters. This is all the more ironic given that George R.R. Martin began writing Thrones after half a decade in Hollywood, determined to craft a story nigh-impossible to film.
He was right. By the standards of late 1980s television, GoT was completely untenable. It was too big, too complex, too expensive, and too explicit. Part of the reason for the golden era we’re in is that the experience of watching and following a series is fundamentally different from what it once was.
In 1990, if you were following Twin Peaks, you had to watch every episode exactly when it came out, or hope to pick up a bootleg VHS tape of past episodes for the then-princely-sum of $20.
As we all know, the world is made up of two kinds of people: those who play for #teamsummer and those on the roster of #teamwinter. In a new spot and outdoor launching today, longtime D/C client Tahoe South introduces the audience to the fun peeps and fantastic creatures of Team Summer in action at the world’s most beautiful lake.
The integrated campaign is Kona Brewing’s largest advertising investment in its two-decade history and launches today, on the mainland, on TV, radio, billboards and online. The “Dear Mainland” spots feature two Hawaiian brothers commenting on “common mainlander customs,” such as multi-tasking and the brevity of happy hour, while inviting viewers to take a breath.
“Building on more than a decade of robust sales and distribution in 40 states, we’re incredibly excited to further increase awareness for Kona Brewing among the rapidly growing US audience for craft beers,” said Brand Manager Aaron Marion. “The ‘Dear Mainland’ campaign truly captures the unique Hawaiian spirit of Kona Brewing and, in a fun way, delivers our message that reconnecting with family, friends and community is what truly matters.”
The campaign promotes the Kona Brewing brand and two core beers, Longboard Island Lager and Big Wave Golden Ale. To ensure it captured Hawaii’s distinct cultural perspective, the spots were shot on location on the Big Island with a local cast.
“Hawaii has a different sense of time, a different set of priorities,” said executive creative Director Parker Channon, whose family has lived in the islands for 30 years. “Our campaign encourages overworked mainlanders to take a more Hawaiian approach when it comes to work/life balance. And sharing a good beer with those that matter most is a fine place to start.”
Added creative director Anne Elisco-Lemme, “It’s like the new tagline says, ‘One life, right? Don’t blow it.’”
Kona Brewing Company was started in the spring of 1994 by father and son team Cameron Healy and Spoon Khalsa. It is the islands’ first and largest craft brewery and is headquartered where it began, in Kailua-Kona on Hawaii.
The coolest deciduous dude you’ll ever meet, Ticket Oak always has tickets to the hottest games and concerts, is a member of the Advertising Hall of Fame and, in his off-time, loves to ride a Chestnut mare. But for the whole strange story, you’ll have to see StubHub’s just-launched Spring-Summer campaign. Created by agency-of-record Duncan/Channon (that’s us), fresh from its 4A’s O’Toole win for last year’s StubHub media plan, the new spots are focused on concert tickets and running on, among others, Jimmy Kimmel, American Idol, SNL and Mad Men. In addition, StubHub is sponsoring the Billboard, CMT and iHeartRadio awards, summer festival coverage on Pitchfork, and NPR’s First Listen Live, among a variety of rockin’ programming. And print ads will appear alongside music coverage in US Weekly and Entertainment Weekly. StubHub and Ticket Oak, we salute you.
At the American Association of Advertising Agencies’ annual conference in LA yesterday, Duncan Channon took home the O’Toole Award for Media Excellence in the Small Agency category for StubHub. In addition to a handsome two-foot-high black statue that would not have been out of place in the movie 2001: A Space Odyssey, the agency receives $10,000 that it is invited to donate to charity (good thing, because otherwise media honcho Leslie Diard might head to Vegas and celebrate by putting it all on black).
In keeping with the mission of the 4A’s O’Toole Awards, the Media Excellence category awards the agency for a body of work. In the past, Duncan Channon was a finalist three years in a row for the O’Toole Award for Creative Excellence.
“We believe great ideas are as likely to come from media as from creative – that’s why we put so much emphasis on collaboration,” said agency president Robert Duncan. “And this campaign is proof. We couldn’t be more proud of Leslie Diard and her communications planning team. And for me, it was a special honor to accept the award – mostly because it’s the only time they’ll ever let me touch the thing.”
Tying into DC’s Ticket Oak TV, outdoor and digital campaign, the media campaign honored yesterday involved custom partnerships with FX’s “The League” and with Rolling Stone in a special Venues that Rock program, as well as StubHub-branded food trucks offering Ticket Oak karaoke, free hot dogs and sports- and music-related trivia contests outside football and concert venues. The campaign was designed to counter increasingly aggressive competitors and resulted in dramatic increases in traffic and in StubHub’s brand power index. And special thanks to all our team members at StubHub.
In a paper for the Nesson Center for Internet Geophysics, Tim Hwang and Adi Kamdar argue that the declining effectiveness of standard online advertising (admittedly a debated topic) will push further market consolidation, encroachment on privacy, and blurring of lines between content and advertising. These trends, hotly-discussed last year, show little sign of abating in 2014. So, if we are where they say we are, how might organizations and brands best navigate this transition in a way that leads to positive results for all concerned?
The first step might be making sure you’re not being creepy.
What do we mean by that? Well, we don’t mean horror movies, Welcome to Night Vale, or our very own talking Ticket Oak. We mean the real world.
The next evolution of the Be Heard campaign begins rolling out in print, out-of-home, digital and primetime TV today, including such shows as New Girl, Brooklyn 99, The Bachelor, American Idol (and in April the Mad Men premiere!). The three new spots (one’s out in June), created by D/C and directed by Aaron Ruell, showcase the delightfully close relationships John Muir Health patients develop with their doctors — relationships so close that an entertaining cavalcade of characters feels completely comfortable asking their most embarrassing health questions.
With over 200 colors and never-before-seen effects, Formula X for Sephora is a breakthrough nail brand designed to speak to the playful, nail-art-loving, color fanatic in every girl. So when Sephora approached Duncan/Channon to launch the brand, the team proposed equally breakthrough marketing: the first social network devoted to nail fans.
With millions of mani photos and polish pins across Instagram and Pinterest, and no other brand harnessing this active audience of online nail mavens, D/C saw the opportunity to create a branded, social environment where nail fanatics could express themselves, get inspired and shop relevant products.
At FormulaX.com, nail fans can upload their most color-drenched visual inspiration – from pics of electric sunsets to funky nail art – and, based on those images, the site’s color matching provides customized shade and polish matches. Users can create profiles to store their favorite art, inspiration and uploads, and follow their favorite Formula X fans as they explore looks. Social scraping and an in-site uploader keep user content fresh in realtime. FormulaX.com also allows fans to filter content by type or popularity, surfacing popular content through a hearting system. The site is searchable by products, colors, tags and users, weaving color, social engagement, inspiration and product stories together in one visually rich experience.
And not to neglect the physical world, as part of the Formula X launch, select nail artists get a cool train case, designed and produced by D/C, and filled with the cool new product.
The financial downturn has been even harder on consumers with credit issues. Poor money decisions can strand them in a world of no: no approval, no loan, no hope. So when they go to a traditional car dealership, instead of a new ride, they get runaround and refusal.
Two hyper-enthusiastic, hopelessly dorky young women in a homemade rescue vehicle, they’re the heroes of the new D/C-created campaign for America’s number-one used car dealer for people with credit issues. Now when a credit-crunched car shopper has a problem, the Rescue Squad screeches in to deliver them to automotive salvation. Because, in addition to selling cars, DriveTime is a bank that can provide riskier loans.
Shot by comedic directorial team, Adam & Dave, for production company Arts & Sciences, the commercials borrow liberally from old cop shows and buddy flicks to give what is too often a downbeat credit message a fresh, fun spin. The spots begin running today in major markets across the country.
After an extensive review, Kona Brewing Company has selected Duncan/Channon as agency of record. D/C will lead all strategic branding and creative efforts with the goal of accelerating the growth of this pioneering craft beer brand from Hawaii. The work will include an integrated national marketing campaign, including TV, digital, out-of-home and other traditional and non-traditional media, that launches in second quarter, 2014.
“We wanted a team that would not only bring the best creative and strategic approach, but also truly understand the Kona brand and where it comes from,” said Robert Rentsch, Senior Director of Brand Marketing, at Kona Brewing. “Duncan/Channon demonstrated a rich appreciation and understanding of Hawaii, along with a deep spirit of collaboration. We’re delighted to find such a strong partner as we put our largest media investment behind this fast-growing brand.”
Said ECD Parker Channon: “With parents in the restaurant business in Hawaii, I couldn’t be more excited about Kona Brewing, a brand I know well and enjoy often – albeit responsibly. Mahalo, from all of us.”
The full, rich, and, if we say so ourselves, beautiful Marc Jacobs Beauty site, designed by Duncan/Channon, is now officially up and running, replacing our lovely teaser site. The site is responsive and very social-oriented and reflects Marc Jacobs’s inspirational spirit and intense involvement with this line. Also launching today, coinciding with New York Fashion Week and Marc’s prominence there, is the global, D/C-created Marc Jacobs Beauty digital ad campaign, with, among other units, banner roadblocks and takeovers on nymag.com and style.com, as well as ongoing email. So if you’re in the market for cool cosmetics, be sure to stop by our cool new site.
If, like us, you can’t get enough of Ticket Oak, this Q3 roundup is for you: First, the deciduous celeb was invited to bare all in ESPN magazine’s annual “Body Issue” — an honor and a horror, simultaneously (NSFW!). Second, he’s offering couples dubious marriage counseling in a new TV spot. Third, and no less impressive, he’s appearing on the sides of StubHub food trucks, dispensing “Hot Seats Eats” in major cities across the country. What’s more, T.O. is branching out into pop-up stores, appearing virtually and fully-animated, so fans can snap a selfie with their “favorite” (his description) star. And, finally, the big barker is all over the NFL homepage and ESPN properties, including Grantland, and continues to tear up social media, cracking wise and sporting exceedingly oversized shades.
Finally, it can be told: after an extensive review of agencies, Sephora, the world’s best-known specialty beauty retailer, selected Duncan/Channon to design the website for its new Marc Jacobs Beauty collection. The site goes live on August 9, 2013, while a teaser site, also designed by D/C, launched in May.
“The Duncan/Channon team came to us with the most inspiring site concepts and demonstrated a deep understanding of what we want to accomplish, “said Connie Young, senior marketing director for Sephora. “I truly feel that they are an extension of our team.”
Said Mike Lemme, D/C partner and chief creative officer, who, along with creative director Andrea Bozeman, is leading the Sephora team: “To be working on a major design project with two major brands world-famous for design, Sephora and its partner Marc Jacobs International, is a designer’s dream. Add in that this assignment is another validation of D/C’s digital chops and integrated strategy, and you’ll begin to understand how proud and excited we are.”
As good a story as a big deciduous talking tree, and its ad agency creators, could ask for, today’s Forbes article explains — with verifiable, off-the-charts consumer numbers — that StubHub’s Ticket Oak is an extremely hard worker. #thanksforbes #thanksticketoak
Industry bible Communication Arts has honored Duncan/Channon in this year’s prestigious Typography Annual for design of the new Tahoe South identity for the Lake Tahoe Visitors Authority. The fetchingly named Underware were the talented type designers.
People can be insensitive, it’s true. So on the occasion of this laudatory write-up of the Ticket Oak’s diabolically clever maker, Anatomorphex, in North Hollywood, it seemed only right for D/C, as the tree’s diabolical inventor, to post this as a reminder.
It’s the biggest campaign yet for StubHub and its lovable/creepy spokes-tree, conjured up last year by D/C. And it may be that the perils of fame are getting to the booming-voiced bark-wearer, as millions of his fans are sure to notice when a new spot drops on (appropriately enough) April 1.
Along with TV, directed once again by Mike Maguire of Biscuit Filmworks, the fully integrated campaign crosses all media and platforms, with print, out-of-home, homepage takeovers – on ESPN and Sports Illustrated – social media and more, all of it lovingly crafted by D/C.
The “more” involves train wraps and “city domination” media buys around key concert halls in New York, as well as “Venues that Rock,” a content partnership with Rolling Stone, featuring a branded hub page on rollingstone.com where users can read about iconic venues, compete to attend a private concert and find hot local tickets. The Rolling Stone program further includes a mix of editorial and advertorial and culminates with an invitation-only, StubHub-branded show by a notable up-and-coming artist.
The new campaign supports StubHub’s evolution from a site to buy great tickets to a site to discover great events – the platform for big nutty trees helping people have awesome weekends.
They’ve got the technology, inventory and financing to put you in your dream-mobile. That’s the message of Duncan/Channon’s three new DriveTime spots, the first of which launched nationally today. The campaign is the first by D/C for this new client, one of the largest used auto dealers in the world, and includes radio. The TV was shot at DriveTime’s Las Vegas dealership. @Radical was the production company and Rosey the director. Take ’em for a drive right here.
For the first time since Andy Berkenfield became the slash in Duncan/Channon 13 years ago, the agency has added a new partner. His name, Mike Lemme, may not be unfamiliar, after eight years at D/C, but a few of his accomplishments, both in and out of the agency, bear repeating. He is a three-time winner of the international REBRAND 100 award, given for both creative and strategy, and a former CD at the design/digital firms MetaDesign and Method, where he oversaw award-winning work for SFMOMA, Autodesk, Reuters and American Apparel. He is also a graduate of Pittsburgh’s mighty Carnegie Mellon.
His partnership at D/C comes along with a new title and expanded role. In addition to directing D/C’s design and digital practices, he will crack the whip on creative across the board as the agency’s Chief Creative Officer, while continuing, of course, to contribute all the strategic insight, visual brilliance, unstoppable work ethic and Teutonic charm that led Duncan, Channon and Berkenfield to invite him to become their fourth partner in the first place.
If you are a regular reader of this humble website then it’s entirely possible you’re mumbling to yourself: “Geez Louise, enough with the StubHub Ticket Oak already.” But, alas, the Ticket Oak’s rabid public cannot get enough. Ergo, this little holiday video. Please check it out, on the editor’s solemn pledge that this will be the final Oak-related silliness of annum 2012 (plus, it’s kinda funny).
With over 94 dealerships across the country and half-a-million cars sold, DriveTime is the largest auto dealer helping consumers buy a great used car with or without great credit. After a comprehensive search driven by Pile & Company, the acceleration-minded company signed Duncan/Channon, the original pedal-to-the-metal agency, as its strategic and creative partner. And the agency, already developing a new DriveTime TV and radio campaign for early 2013, is pumped.
In the last three years, the happy egg co, a division of Noble Foods, has rocketed from startup brand to the UK’s dominant egg purveyor. And they’ve done so by offering eggs from hens that are not just liberated from cages and then confined to stifling barns, but that live in actual green pastures. Truly free-range, no spin about it. This fall, after galvanizing the British public, the happy egg co. is coming to the US. And, following a pitch, they hired a truly free-range agency – the uncageable Duncan/Channon – to develop a digital brand in the US.
The mission was two-fold: create a voice that speaks authentic American and develop a digital presence that lives where US shoppers live. With 25% of US consumers using smartphones to look up product info while shopping in stores, that means a website that is fully responsive – designed to know what device the shopper is on, its screen size and to adjust, seamlessly. The site tells consumers all about “the girls,” their humane habitat and the difference between “cage-free” and “free range” in quirky copy and a half-dozen videos shot on the farm by the D/C team.
In addition, there are “egg-centric” recipes, games and chicken jokes for kids and, shortly after launch, celebrity chefs joining in, also on video. Social sharing features allow the connected-mom target to do what she likes to do: easily share with friends on Facebook, Twitter, Google+, Pinterest and via email. But, most importantly, the site finally and unequivocally answers the age-old question: which came first, the chicken or the egg?
Marqeta, the company that’s reinventing shopping for both consumers and businesses, today launched its new brand identity and website, created by the Duncan/Channon design and UX team.
The friendly, but efficient, new ID illustrates the power of “You+Marqeta,” as the company and its card add to a consumer’s purchasing capacity across a range of categories. The new site, among other functions, has to quickly educate consumers about the company’s novel approach, while communicating a series of offers and quantifying each user’s point total. And that’s just on the consumer side. The website also has to address the educating and enrolling of businesses. The biggest UX challenge was taking this large amount of complex information and making it appealingly simple, as easy as a trip down the supermarket aisle.
Yep, he’s back. After a triumphant premiere this spring (prompting a herculean leap in StubHub sales and a feature story in the Wall Street Journal), the oddly loveable, endearingly terrifying Ticket Oak returns and, this time, he’s doling out primo football tickets. Watch for him all over ESPN as well as Saturday Night Live, Monday Night Football, The Tonight Show and more. And while the spot’s pretty weird, it’s about to get a whole lot weirder. Stay tuned.
Said Palms Director of Advertising Alana Litavis: “While we were initially drawn to Duncan/Channon for their category experience with brands like Ritz-Carlton and Tahoe South, the creative product the team delivered solidified our thinking and, in the end, made our decision.”
In conjunction with a thorough remodeling of the property, the agency will help the brand reposition itself to a more affluent target and develop a new campaign touting the image overhaul.
“To get an opportunity to tackle a brand as powerful and provocative as the Palms is why we do what we do,” said Parker Channon, Executive Creative Director. “We can’t wait to help usher in a second era of success for this iconic destination.”
The new campaign is expected to launch this fall with TV, print and out-of-home, but the creative will ultimately filter across all media and even onto the property itself.
Three weeks into the first Duncan/Channon Makers Program, and the team – a university menagerie of Longhorn, Golden Bear and two Tigers – is making great strides. Or should that be strums? Non-digital device talking to Twitter, developing a personality – it’s positively robopocalyptic. Surveillance video provided for cautionary purposes.
Ah, summer. A time of road trips and bonfires and warm nights playing Truth or Dare. Tahoe South’s new campaign conjures up the wild-child spirit of everyone’s favorite vacation season, kicking off with a Facebook version of Truth or Dare. After all, sharing revealing truths and embarrassing photos is what Facebook was made for, right? That and, increasingly, travel inspiration. So if wistfully clicking through friends’ vacation photos is a favorite pastime, you’re not alone. Duncan/Channon’s Facebook app, created with development partner Noble Studios, enables summer shenanigans galore and reminds users Tahoe South is the decidedly wild side of the lake – the perfect place to relive summer as it ought to be.
D/C’s media plan is digital to the max, though the gauntlet-throwing dare to have a wild summer will be seen on TV and OOH as well. Building on the winter campaign, the work features another series of trippy (get it?) illustrations from Kustaa Saski, brought to life by ace animators Stardust. Look closely and you might see Bigfoot himself cavorting through the spot with water skiers and mountain bikers, tapping into summer nostalgia and daring viewers to find their wild side again in Tahoe South.
DC is back for round two of its groundbreaking campaign for respected healthcare brand, John Muir Health. Smashing the mold of standard medical marketing, the “Be Heard” campaign lightheartedly taps into the female target’s need to really be listened to — especially when it comes to their family’s health and well-being. The work begins with two new commercials from motion picture director, Clay Weiner (look for his new Valley Girl remake), but extends into print, outdoor, digital and mobile.
While the agency has been busy creating cool social apps, mobile ads that don’t suck, new-fangled websites and a digital makers program populated by the best and brightest of Princeton, U. of Texas and Berkeley, the folks at The Next Web came along and designated Duncan/Channon one of the agencies “leading the charge in the digital revolution.” Thanks. And, um, onward.
But how better to communicate the cute and cuddly universe of Alien Family — the new social, mobile game from GREE — than with cut-paper animation and a jingly original song? And how better to express the pseudo-goth whimsy of Zombie Jombie — the new social, mobile card game from GREE, where zombies are the good guys — than with some stop-motion bashing and a bombastic cut from the game’s soundtrack?
For a view behind the scenes, take a look at creative director John (not Jon) Stewart’s thank-you video to his team. And, by the way, many thanks to him.
It was a full house for Robbie Whiting’s solo panel at South-by-Southwest Interactive, “We made this, and it’s not an ad.” An actively engaged live audience was echoed in the blogosphere, where more than one attendee called it the “best panel” of “the year,” “the last four years,” “ever.” The premise of the talk was that many of those organizations-formerly-known-as-ad-agencies are now venturing far afield from recognizable “advertising,” even crossing into product development. But it turns out that many of these non-ad projects not only serve quite effectively as marketing in a social media age, but also as a mighty spur to the agency’s creativity, cohesion and contemporary chops. Tip Records, D/C’s music label and home to the legendary Gary Wilson, was just one example. If you’re interested, slides are posted below, audience commentary here.
Great tickets don’t grow on trees. Or do they? Enter The Ticket Oak, the 30-foot centerpiece and star of the latest integrated campaign from StubHub. You want sweet seats to sold-out shows or a Price Alert deal for Saturday’s game? The gregarious Ticket Oak provides. And if you don’t happen to have a Ticket Oak? Then StubHub’s the next best thing (like you couldn’t see that coming).
Brought to life entirely practically — no CGI here — by the puppeteers at Anatomorphex and shot lovingly by acclaimed director, Mike Maguire, the Ticket Oak makes his television debut during this year’s March Madness. But expect to see him very soon in print, digital, mobile and social media everywhere. Watch this space for more details.
Finally, Communication Arts, the bible of the design, advertising and interactive design world, has ripped the veil from Duncan/Channon. In a 10-page investigation within CA’s Interactive Annual, reporter Sam McMillan reveals the shady background and shocking practices of the agency that was “born to rock” — from its “temple of guanxi” bar, wherein take place lurid lectures on “teledildonics” and concerts known as “Roofies,” to its music label Tip Records, home to the inexplicable Gary Wilson, to its “real account people, media people and planning infrastructure.” Shudder.
Everyone in the music biz knows that when you want the best in sound reinforcement, starting with the industry’s most innovative speaker systems, Meyer Sound is your move. For more than 30 years, Berkeley-based Meyer Sound has set the standard for sound in recording studios, big arenas, small halls, churches, theaters and cinema, around the world, creating breakthrough systems for Francis Ford Coppola, the Grateful Dead and Metallica, among many others. Everyone in the music biz also knows that there’s only one agency with its own record label (i.e., Tip Records) and a history in music going back to the dawn of time.
So when Meyer Sound went looking for help in reinforcing its own business and making further inroads into new markets, turns out there was a match made in heaven just across the bay. Now proud agency of record, D/C will be working on digital and print creative, collateral and media planning and buying for Meyer Sound. And that sounds perfect.
Is there any advertising more rote and shopworn than winter ski advertising? There’s the requisite photo of some dude who skies better than you ever will leaping from a cornice that’s probably not even in bounds to a slope with more fresh powder than you’ll ever see. Attach bad-ass headline. Ship.
In its new winter out-of-home campaign, Tahoe South says enough already and foregoes photography altogether in favor of a psychedelic illustration from Finland’s acclaimed Kustaa Saksi. Said illustration makes abundantly clear that when it comes to choosing sides at Lake Tahoe, the south side, with its 24-hour gambling and cocktail-fueled nightlife, is definitely the wild side.
There are actually two Lake Tahoes, north and south. With a half-dozen isolated resorts and few winter activities beyond skiing, it has been easy for consumers to grok an image of the north as the lake’s quiet side. On the other hand, with tons to do at every hour and for every budget, including great skiing at every skill level and conveniently located bars, restaurants, shopping and 24/7 gaming, it has been tough for consumers to envision a singular image of the south — or for marketers to project one cohesive brand.
No longer. The Lake Tahoe Visitors Authority, which is tasked with promoting the south side, hired D/C for a complete rebrand. Eight months later, client and agency unveiled the new brand and an entirely new name for the destination — Tahoe South. The strategy embraces the truth of the destination, that it’s the place for the up-all-day-and-night visitor, and the brand identity celebrates this spirit. The website is curated by local experts and serves as a digital concierge to the region, connecting visitors and would-be visitors to the best web content about Tahoe South, as well as relevant real-time feeds from YouTube, Flickr, Facebook and Twitter.
After selling a majestic 2.4 million copies (and counting) on the Wii, Sonic and Mario at the London 2012 Olympic Games is set to drop on the Nintendo 3DS. And D/C is dropping a new TV spot to commemorate the auspicious return of gaming royalty. Running throughout North America, Brazil and online in the EU, the spots, filled with inside jokes and sight gags, are sure to bring home more gold for two of the industry’s all-time winners.
The creative brief was to highlight the fresh, local, made-from-scratch food that has transformed the Hard Rock menu over the last few years — and to do so without surrendering any of the brand’s rock edge. The result: “Meet Our Other Rock Stars,” new 60 and 30-second spots, written and created by Duncan/Channon, directed by Henry Hobson and produced by Alive and Well. The media brief was to reach 33 million people in 53 countries — and to do so without surrendering much of the brand’s marketing budget. The result: Hard Rock crafted a partnership with Facebook to hit users while they’re trash-talking with friends before, during and after the first streaming Super Bowl. Betting line: Hard Rock overwhelmingly favored to win.
As anyone who has stayed up ’til 3 AM exploring it can attest (I’m looking at you, Bob Duncan), Ancestry.com is a fascinating and, yes, somewhat addictive experience. But while folks who’d gotten a taste were hooked, it seemed that the uninitiated didn’t know quite what was in store for them at the world’s largest online family history resource.
Enter a simple and compelling idea. Find people who are interested in their family history, but have never tried Ancestry.com, put them on camera and see what they discover. To bring their experiences to life, D/C enlisted the help of award-winning documentary filmmaker Sean Dunne. The result is sometimes poignant, sometimes funny and always totally real.
Look for D/C’s latest spots to roll out over the holiday break, complementing Ancestry’s existing work.
Founded in 2004, GREE is the fastest growing tech company in Japan, according to Deloitte, as well as Japan’s leading mobile social gaming platform, with 26 million unique users, over a billion daily page-views and $168 million in revenues in the second quarter of this year alone. It’s listed on the Tokyo Stock Exchange and was founded by Asia’s youngest self-made billionaire, Yoshikazu Tanaka. Now this digital leader is expanding globally, acquiring OpenFeint, the largest mobile social gaming network, in April and now launching in the US with D/C as its marketing agency. Based in San Francisco, the mission of GREE International is to bring mobile social gaming to the next level, literally and figuratively. And D/C is literally, figuratively and totally psyched to help.
D/C’s pretty proud, too, now that the world’s largest online resource for family histories, Ancestry.com, has tapped the agency to lead its creative efforts. The D/C team is developing a fully integrated campaign, including TV, digital, print and other media, set to launch in Q4.
With more than 2.4 billion individual profiles, six billion records and 24 million family trees, Ancestry.com is the leader in helping ancestral explorers in the US and overseas discover, preserve and share the histories of their families. Among its happy subscribers is San Francisco’s R. Duncan family, who were proud to discover this daguerreotype of great-great-great grandpa Benjamin “B.J.” Duncan (1834-1891), the caption to which reads (cross our hearts and hope to die): “So manly and handsome.”
The iconoclastic global brand has a new division in Russia that’s an ongoing D/C client (it’s a long story). On the heels of its “punk rock opera,” David Comes to Life, the band Fucked Up came to Moscow for the first time for a VICE-promoted, Adidas-sponsored concert. The poster boy is singer Damian Abraham. The color palette is echt Russian. The show sold out.
Duncan/Channon has been selected as agency of record for 1-800 CONTACTS, the largest contact lens retailer in the world, and for Glasses.com, the subsidiary the company launched this summer.
The D/C team will be leading an evolution of 1-800 CONTACTS’ positioning and developing a comprehensive integrated campaign for the brand, including TV, digital, mobile, social media and more. At the same time, the team will be working on a launch strategy and creative for Glasses.com.
Based in Draper, Utah, 1-800 CONTACTS completely upended the contact lens marketplace when it was founded in 1995. Today it stocks more than 15 million contact lenses and delivers over 500,000 every day directly to customers. The company is committed to bringing the same visionary approach to the marketing of prescription eyeglasses. D/C is committed to helping. And totally psyched.
Are you ready for some football (commercials)? Tune in to ESPN and elsewhere on your cable dial tonight to see the first post-NFL-lockout spot from the world’s largest ticket marketplace — and cherished Duncan/Channon client — StubHub. Print and out-of-home to come soon.
This past May the Brooklyn-based, world-dominating hipster brand VICE finally expanded into Russia. It turned out the Russian franchisee was an American expat with, let’s just say, Duncan Channon connections. Here are a couple of the teaser videos DC developed, one for the arrival of the brand, one for the brand’s big Moscow launch party (below), sponsored by Puma, styled as a Puma Social Club event (for “after-hours athletes”) and featuring bar sports. Like darts.
The San Francisco Business Times has published its annual list of the biggest SF ad agencies (by staff, if not by moral standing) and, lo and behold, a familiar name has now arrived in the company of such Bay Area industry stalwarts as Goodby, Silverstein and DraftFCB and Publicis. And this seemed kind of cool and woo-hoo worthy.
a) One of the first things you see after customs. DON’T FUCK WITH BJORN BJORG b) Swedes take care of things. I rode ferries and subway cars my parents’ age that are in prime condition. c) Old Town is full of old, quiet buildings. d) The military band plays ABBA. Not kidding. e) Actual Swedish fish. f) Gift shop > gallery @ Moderna Museet. g) A coffee break on steriods. They call it “fika.” h) Skansen, a park of Swedish history. Peacocks roam free. i) Sweden does pickled herring and boiled potatoes, not burritos. j) The archipelago is full of tiny, perfect islands. k) Candy bins like this are everywhere. l) With eighteen hours of daylight you can hang out in parks all day* m) *and go to playgrounds after dinner** n) **did I mention playgrounds after dinner? o) This makes me happy. p) The sky looks like this at 1 am. q) Music all over Stockholm on National Day. Old Swedish men play jazz and sing in English. r) Summer in Stockholm is drop-dead gorgeous. s) This boat might still be for sale. t) Even the bittersweet train ride to the airport was smooth, fast and quiet.
What do people want from their doctors? It starts with a little r-e-s-p-e-c-t. That’s what consumers told John Muir Health and, not coincidentally, what John Muir Health has delivered patients for decades. That insight is the basis for a comprehensive new campaign created by Duncan/Channon, JMH’s agency of record since July, 2010. The work is designed to reassure consumers, especially the moms who drive family healthcare decisions, that at John Muir Health patients are viewed as partners. Launching today, the effort ranges from TV, cinema and out-of-home to print, banners, mobile, Facebook and Pandora ads, and more. John Muir Health is one of California’s — and the nation’s — most highly-rated healthcare systems.
All seven new Esurance commercials are now in rotation on network TV, premium cable outlets and/or the web. Once again, “techies,” the company’s programmers, vie with “feelies,” the Esurance phone reps, over who can serve customers better. These latest :30s mostly feature the characters that were introduced last spring, including Frank the Saver. The spots were created and developed by Duncan/Channon – in partnership with the Esurance marketing team – and produced by Company Films of LA. The director was Fred Goss.
Introducing the very, very, very newest member of the Channon and D/C families: Evelina Brooke Channon, one day old. xoxoxoxo to mama Rita and proud papa Parker and their beautiful daughter. Many, many, many more pics to come (we’re pretty sure).
A new 60-second spot for CitrixGoToMeeting, launching today and created by D/C, points out that connection and collaboration can truly make a difference in the world. And, frankly, you might want to grab a tissue before watching. The commercial is part of a comprehensive national campaign across traditional and digital channels designed to both elevate the brand and drive trial.
“The work — much of it created while collaborating using GoToMeeting — champions the idea that a product can be both incredibly simple and powerful at the same time,” said ECD Parker Channon. D/C began collaborating with Citrix in early 2011 and has been working on strategy and brand story, in addition to TV, radio, print and interactive.
First: Creative Review, the prestigious British journal of “Advertising, design and visual culture,” selected D/C’s identity and packaging for Farrier for the magazine’s 2011 annual. Farrier is a division of Jackson Family Wines, the ultra-premium division of Kendall-Jackson.
Now: Last night, in the 2011 One Show, D/C (alone among SF agencies, if we may be so crass) grabbed a Bronze Pencil for Design for the mighty Farrier. Ups (again) to Patrick Nistler and the whole D/C wine team.
Though the work just launched, the SF Egotist has already said they’re some of the prettiest print ads since Gutenberg. And the banners pick up the same rich, allusive design and gorgeous photography. And every element of this multi-million-dollar campaign incorporates a refreshed brand identity and rests on a completely renovated brand platform — all authored by Duncan/Channon, in collaboration with agency-of-record client Blurb.
For those not among the 1.5 million who have already created a volume of their own photography, memoirs, wedding pictures or the like, Blurb is the leader in helping people make beautiful printed books via the web. Their service includes pro-level, yet easy-to-use, design tools and a fail-safe production process delivering budget-defying quality.
In September, Blurb came to D/C, the leader in helping beautiful printed book companies become more famous, to explore positioning, target, competitive and other strategic issues — to create the company’s brand story. The print and online campaign, which reminds the audience they’ve probably accumulated several books’ worth of material already, draws directly on those efforts.
The media plan, courtesy of D/C’s Communications Planning department, includes Dwell, National Geographic Traveler, American Photo and Elle Decor, among others, for the print, and Popular Photography, NatGeo and creative professional sites like Behance and Coroflot, for the banners, which also tie in to the company’s social media efforts.
Kudos to Blurb and their D/C team, as they look forward to [choose your publishing-related cliche: the next chapter; the next bestseller; turning the page; closing the book; returning overdue books to the library of loquaciousness].
The first national campaign from the world’s largest ticket marketplace, StubHub, premieres this evening with a primetime spot on ESPN’s telecast of Opening Day. The integrated campaign from D/C features TV, print, outdoor and wild postings and touts StubHub as the place to get dream tickets for sports, concerts and more. And what do dream tickets afford the holder? Why nothing less than a dream experience, of course.
A concert TV spot, complete with flying, pyrotechnic-laden drum platform, was created in addition to the baseball spot and both will run on the major networks as well as Bravo, E!, ESPN and Comedy Central. Accompanying print ads can be found in Rolling Stone, Sports Illustrated, People and Esquire. And digital out-of-home and wild postings will be present in most major markets with a large presence in Times Square.
Duncan/Channon revisits the winners’ circle at the 2011 REBRAND 100 Global Awards, picking up a Merit for the rebranding of Esurance. The prize is given for concept, design and strategy. As explained in the entry package, the revamped identity system and type-only Esurance logo was designed to deliver a singular message: that the company that pretty much invented online car insurance continues to innovate on behalf of busy consumers, always working to make the process of buying or using its products more intuitive, more convenient, more transparent and more friendly. It’s about smartness in the service of simplicity. The Merit award means D/C’s work ranks among the world’s most successful rebrands in 2010, alongside rebrands of Audi, Sprint Nextel and Subaru Australia. D/C won for the Hard Rock rebrand in 2007.
The agency needed to paint a vivid picture for Ritz’s well-heeled customer of what it would be like to live in an area that only a few years ago they wouldn’t even visit. So rather than show the residences, which people are rightly inclined to believe are luxurious, the campaign — which includes banners, collateral and a new website, in addition to newspaper and magazine ads — puts the focus on the amazing sports, entertainment and dining options just outside their stylish front door.
DC’s smart, charming and evocative packaging for Farrier wine, part of the high-end Jackson Family Wines (part of Kendall Jackson) took one of three Best of Shows Saturday night at the San Francisco Addys. Not only did the agency create the labels for both the red and the white wines, D/C’s wine team, including designer Patrick Nistler, developed the entire brand from scratch, drawing on the history and lore of the local area. The wine deserves the great packaging, but the packaging certainly deserves the prize. Salud.
Graphis magazine has honored D/C’s campaign for Sanita, the original Danish clog, with a gold award in its 2011 “100 Best in Advertising” annual. Founded in Zurich in 1944, Graphis is one of the world’s most influential graphic arts publications. The competition was judged by a prestigious international jury whose US contingent included Rich Silverstein. All of which ain’t exactly chopped liver, a D/C spokesperson was heard to remark.
Every new Sonic game offers players a new power or new characters, but what always brings the fans back is the pure, unadulterated speed of Sonic himself. Hence, the motivation behind D/C’s fourth live action spot for the venerable franchise. Using a Phantom HD high-speed camera shooting at 6,000 frames a second, the agency was able to capture an actual moving bullet, parodying the famous Edgerton strobe photos of the 1960s. Then it was composited with normal frame-rate action to complete the effect and — voila —the high-speed hedgehog is back.
Following an exhaustive pitch, leading online publisher Blurb has booked Duncan/Channon to be its brand-building agency of record. First assignment will be a comprehensive strategic and design effort, along with a digital campaign to launch in fourth quarter.
Blurb is a web-based platform that makes it easy to design, publish, market and sell professional-quality, printed books. Its community features also make it simple to share digital books online. Based in San Francisco, with offices in London, the company was founded in 2005 and last year shipped over 1.2 million books to more than 60 countries and generated over $45 million in revenue.
Created for Jackson Family Wines (of Kendall-Jackson fame), Farrier is a brand that D/C helped build from the ground up. The client came with a plot of land in Sonoma’s Alexander Valley and a challenge — create a wine brand that embodies the heritage of that singular place.
The overall concept taps into the sense of community that has historically played such an important role in rural life. Jackson Family Wines has always been guided by a strong appreciation for the land. And, as a family business, it is deeply rooted in the community. It seemed natural for Farrier to pay tribute to these things.
The design tells the story of a blacksmith shop that had been on the property in the 1800s. It was a place where the local farrier (or horseshoe fitter, for those of you not familiar with equine parlance) plied his trade and the townsfolk gathered to socialize. Reinforcing the handcrafted quality of the wine, the packaging mirrors the look of an old newspaper and the language adopts an endearingly olde-school colloquial tone. The red wine uses a more traditional wrap label, while the whites are adorned with a die-cut “F.”
“This is the toughest award in advertising, because it recognizes an agency’s overall creative excellence,” said Chuck Porter, chairman of Crispin Porter + Bogusky. “To win an O’Toole, one hot idea won’t cut it, an agency has got to be the best over and over and over again.”
Duncan/Channon was this year one of only five finalists for the American Association of Advertising Agencies’ O’Toole Award in the Small Agency category, the third consecutive year the agency has been so honored. (See 2009, 2008.) And because, as Chuck said, this so-called “biggest award in advertising” is not just for one client or one piece of work, congratulations are due once more to the entire D/C staff, the best creative, account, media, planning and production team in the business. Or at least top five. And congratulations as well to Mono, who took top honor.
The world’s largest ticket marketplace, StubHub, a division of eBay, has scored a new general agency in Duncan/Channon.
On the eve of its tenth anniversary, StubHub is looking to reinforce its leadership in the category and expand awareness beyond its core sports-fan audience (balletomanes, take note). D/C has developed a comprehensive new campaign for the fall. The first TV spot broke today on ESPN, but you can enjoy it here. (For you production-enthusiasts, no CGI was used. Just good, old-fashioned forced perspective. Thanks, Steven Diller.)
(UPDATE 7/27: Turns out that industry bible, Communications Arts, is also talking about D/C’s new Birkenstock campaign today. Just sayin’.)
Nothing to do with illegal immigration or majestic cacti. This Arizona happens to be Birkenstock‘s famous two-strap sandal, and, last month, due to bold new print work from those fab fetishists at D/C, it completely (if temporarily) sold out. For perhaps the first time in its 236-year history, the venerable German footwear maker had to scramble to replenish inventory on its signature product. First indications that the campaign would be a winner came last Spring when it also helped to drive one of the biggest ever sell-ins for the brand’s women’s fashion shoes.
For women, this new campaign celebrates the fashion side of Birkenstock. For men, it’s about the outdoor lifestyle. But all the new ads use striking photo/illustration collages to encapsulate each sandal’s unique personality (sure, shoes have personalities — ask Burke Andrews) and then to tell a deeper Birkenstock story — about respect for nature and the healthy life. The illustrator was Amy Guip. The women’s ads are running in Marie Claire, ReadyMade, Budget Travel and other fashion and active-living magazines. The men’s ads can be found in, among other pubs, Men’s Journal.
See all six below and visit Flickr for full-size images.
It all started at 3:30 am when I woke up with a slight ache in my stomach. I didn’t think much of it at the time, but by 6:30 it had gotten worse and ejecting my dinner did not help. At 9, I found myself in the waiting room of an urgent care doctor. Unable to pinpoint the problem, she sent me to the biggest crooks in the medical industry, [name of testing place redacted for lawsuit reasons], for the usual rigamarole. From there I was instructed to go to a radiology center for a CT scan. After two hours of increasingly painful waiting for an insurance authorization, I opted to foot the bill myself and had the scan of my abdomen performed. Needless to say, something is wrong with the insurance system if it requires a person in pain to sit and wait while some office drone passes around an authorization form. But I digress.
After a successful year as John Muir Health’s media agency of record, Duncan/Channon was invited to pitch — and very pleased to win — creative duties as well. Kudos to D/C communications planning director, Leslie Diard, and her crack team for the stellar work that got the agency into the pitch in the first place. Initial creative for this venerable health care brand is expected to launch in early October. Watch this space for details.
In a new campaign for the Lake Tahoe Visitor’s Authority, D/C helps Lake Tahoe South Shore step out of the shadow of its North Shore neighbor. The $1.5 million campaign playing on local TV and computer screens this summer celebrates the absolute riot of 24/7 entertainment options available to Bay Area travelers willing to take Highway 50 instead of 80. (It also celebrates the undeniable majesty of upside-down, beat-boxing chins dressed in tiny hip-hop attire.)
Seven months in the making, Duncan/Channon’s new work for Esurance, one of the country’s leading car insurers, debuted today all over the damn place.
TV spots, part of a new live-action campaign called “Techie Feely,” began airing nationally on the NBA Finals and 40 cable networks, including FX, ESPN, Bravo, Discovery, TNT and A&E, accompanied by a comprehensive interactive and social media initiative. A nationwide out-of-home effort, starring the TV characters, kicks off in late June, along with national cinema advertising. In addition, as part of the launch, Esurance is introducing a new corporate identity, created by D/C.
Annual marketing spend is $100 million-plus.
In a departure from the animated heroics of past advertising, which starred the pinkhaired “special agent” Erin Esurance, this TV campaign introduces the people behind the company, a quirky cast of staffers who seem to have divided their office into a “Techie” camp – comprised of programmers – and a “Feely” camp – made up of sales and claims reps who help customers over the phone. The jockeying for recognition among the groups drives the comedy, while offering a perfect framework for a message about the company’s innovative products and commitment to service – no matter how customers receive it. The tagline, which flips from commercial to commercial, depending whether Techies or Feelies are featured, is: “Technology when you want it, people when you don’t.”
Five commercials have been finished, and production on additional executions is scheduled for early fall. The spots were directed by Fred Goss, who has a stellar resume as director, writer and producer on commercials and ensemble comedies, including his own TV series last year on ABC, “Sons and Daughters.” The production group was Company Films of L.A.
The revamped identity system and new type-only Esurance logo is designed to deliver a singular message: that the company that pretty much invented online car insurance continues to innovate on behalf of busy consumers, relentlessly striving to make the process of buying or using its products more intuitive, more convenient, more transparent and – yes, Feelies – more friendly. It’s about smartness in the service of simplicity.
Duncan/Channon was awarded agency-of-record for Esurance this past September.
Sorry, the headline is irresistible when you’ve just been picked by the sports, entertainment and real estate giant, AEG, to market its new Ritz-Carlton residence tower.
Priced from $800k to $10 million each, the new Ritz-Carlton condominiums are the residential centerpiece to AEG’s L.A. LIVE complex in downtown Los Angeles. L.A. LIVE is home to the Staples Center, Nokia Theater and Grammy Museum, among a dozen other venues, restaurants and bars, and the Ritz apartments represent the ultimate pied-a-terre for the well-heeled sports or music fanatic – where you can just go “downstairs” to see the NBA All-Star Game, for instance, or Paul McCartney.
The campaign is spending $2 million-plus for local, regional and national print, as well as online, and launches in late June.
Previously positioned as the wine for those who lived life on the edge, Gnarly Head wanted to elevate what was purely a lifestyle brand. However, they still wanted to connect with their core consumers who lived life boldly and, well, had the scars to prove it.
D/C created a print and radio campaign highlighting the new tagline: Old vines make bold wines. In the print executions, we subtly hinted at the adventurous lifestyle that our consumers enjoy, as articulated in the headline: Bold. Sophisticated. With a hint of Gnarly. By doing this, we deftly connected the lifestyle story to the wines’ unique style — in this case, a bold Zinfandel made from the grapes of old vines.
No marketing-driven “critter” wine, the challenge for Farrier, the new luxe libation from Kendall-Jackson, was to bring in a sense of history, terroir and romance without dragging out the cliched oak barrels or little ole winemaker. This widely honored ID and packaging instead taps into the property’s authentic 19th century background, when building and land were home to a well-regarded blacksmith and functioned as a community meeting-place for the popular local horseshoer.
Once the stomping ground of staggering starlets, the Palms was undergoing a complete remodel and looking to relaunch as a new kind of Las Vegas luxury and sophistication. Still naughty, but in a more adult, less showy way, befitting a resort discreetly located off the Strip.
Judge Rachel Pasqua pretty much hit the nail on the head when she described the interface, created for the new generation of Hard Rock Cafes, as “an innovative combination of social and touchscreen technology with a tactile twist on the old restaurant booth jukebox that lets users thumb through the memorabilia and cast their vote for the next video.”
Also honored in the CA Annual is the Rock Wall™, a sister project designed and developed by Obscura Digital which, like the booth interface, builds on the D/C-created Hard Rock memorabilia website. Big ups to them, to D/C’s development partners at Vertigo, and especially to Joe Tenczar and the Hard Rock team.
More Hard Rock interactive here. The complete Hard Rock rebrand story here.
Hard Rock runs a massive video system to coordinate the displays throughout its cafes, hotels, casinos and live venues worldwide. Duncan/Channon collaborated with artist Erik Natzke to create a series of trippy, dynamically-generated animations to display when music other than music videos is playing (live bands, a DJ, etc.). Animations are paired randomly with whatever music happens to be playing at the time and each resolves into a specific visual revelation. Here’s a six-minute sample (you’ll have to supply your own mushrooms).
Music: Yeah Yeah Yeahs, “Mysteries” / Cut Chemist, “(My 1st) Big Break” / Manchester Orchestra, “The Only One”
Rarely do agencies get the opportunity to, literally, build a brand from the ground up – but for Sereno, The Center for Snoring Solutions, that’s exactly what Duncan/Channon did.
Over the last eight months, D/C implemented a comprehensive treatment plan for Sereno that included: naming, identity, outdoor, direct mail, television advertising (see the spot above), print, design, interactive, media planning and buying, strategy, and even interior design.
Needless to say, brand building like this is hard work, and it’s safe to assume the agency is in need of a good night’s sleep — almost as much as the patients that Sereno was designed to help.
If you’re in San Francisco and want to see Duncan/Channon’s prescription for a great brand, stop by Sereno in the Crocker Galleria — their doors opened on January 1st.
Fifty-year-old Interasia was purchased by one of the world’s largest shipping firms, which wanted to reignite the enthusiasm of prospects, customers and its young employees. And show, no less than its customer companies, that the new Interasia was contemporary and future-facing. In addition to a full ID system, the project included designs for ships and containers and required DC creatives to undergo a crash course in the antiquated methods of the container-painting industry and consult with a South San Francisco body shop. The new logo not only resembles a container, but shows motion and dimension, in striking colors.
In case you didn’t read about it on NYTimes.com, we couldn’t be more proud to share the news that Esurance has selected D/C as their creative agency of record. The win came after a selection process involving many agencies across the US. The assignment includes comprehensive strategic and creative work, from brand positioning to advertising.
Said Esurance CMO John Swigart (if we may immodestly quote): “We were deeply impressed with Duncan/Channon. Their presentation was on-brief, insightful and inventive. And the chemistry was right, too. We think D/C is the perfect partner to help take Esurance and Answer Financial, our affiliated insurance agency, to the next level in our second decade.”
Said D/C GM Andy Berkenfield: “Whooo-hooo.”
Founded in 1999 and now owned by White Mountains Insurance Group, Esurance has become one of the nation’s top names in direct auto insurance. Currently, Esurance is the third most recognized auto insurance brand among online consumers.
For the second year in a row, Duncan/Channon was honored as one of three finalists in the small agency category for the O’Toole Award, “the biggest award in advertising,” given out by the American Association of Advertising Agencies, advertising’s biggest trade group.
And that ain’t chopped liver.
In fact, according to insiders: “The O’Toole Awards program is known as one of the toughest industry competitions because entry requires that an agency submits a body of work representing different brands.” D/C’s submissions included the Hard Rock memorabilia website and work for Rex Goliath, Sanita and a pro bono campaign for the Western Railway Museum.
In spite of this year’s rare repeat honor, D/C has vowed to rob, steal and murder to get the Number One designation and the prize itself next year. So, congrats to this year’s winner and our fellow honorees. And look out.
It all started with a groundbreaking little Deep Zoom website, conceived and designed by Duncan/Channon, that enabled rock fans to get extremely up-close-and-personal with Hard Rock’s memorabilia collection without having to travel. The site, now featuring 1,100 priceless pieces of rock history (en route to thousands more), was an immediate popular success – and a critical one, too, winning D/C two Webby honors.
But even as development continues on still more amazing editions of the site, Hard Rock management threw down the gauntlet: get the technology “out of the box” and into the properties, starting with the new flagship cafe opening today on the Las Vegas Strip.
Working with Hard Rock’s crack technology, property-development and memorabilia teams, D/C designed three new interfaces for the cafe. These include two apps for Microsoft Surface – the multi-touch, multi-user, interactive tabletop – as well as a touch-based interface for the restaurant’s 38 booths, where guests can manipulate memorabilia, peruse merchandise and vote on what video plays next in the cafe. The agency also consulted with Obscura Digital on the Rock Wall™ – a massive (18 x 4 ft.), interactive display that enables six simultaneous guests to explore Hard Rock memorabilia with their fingertips.
There’s more. And more to come. But, honestly, isn’t that enough?
For us, this one hits the bullseye: great creative serving a great client and a great cause.
Dystopian fantasy that, in a country with 16 million hungry children, is not actually so fantastic. WhyHunger is a longtime pro bono client that the agency helped rebrand from World Hunger Year. This was the 30-year-old philanthropy’s first spot.
Previewed as a rough cut on this site, Duncan/Channon’s WhyHunger PSA is now wrapped and shipping. It has been distributed to 92 stations in the top 10 US markets, and client and agency have high hopes that station managers will be enthusiastic about this eerily beautiful spot about the shameful problem of hunger in the world’s wealthiest country.
In the meantime, it is past time to extend deep appreciation to the generous legion outside D/C who contributed to making this complicated pro bono production possible. First, of course, thanks to Boxer Films and director David Roth, who knew full well what they were getting in to, and did so anyway, and then gracefully delivered vision, hard work, can-do tenacity and a skillfull 75-person crew to a multi-location shoot with a large cast — and then artfully edited the film into: 15, :30 and :60 versions. Thanks to emoto music for a custom, uniquely haunting score. And, of course, to Vendetta Post and The Syndicate for bringing their post-production expertise. Big ups to San Francisco’s own M Squared for loaning their time, expertise and facility for final mix. Finally, a loud shout-out to producer, Marc Hochman, who herded the cats so effectively and, from start to finish, just made the thing happen — all for the satisfaction of doing great creative for a great cause. The great client is thrilled. (Find out more about this innovative group at whyhunger.org.)
Patagonia, Uruguay, Argentina: they’re all part of the area known as the Southern Cone. And each in its own way is beyond words. Or, at least, my words. Anyway, I hate that question, “So what was the best part of your trip?” Well, there’s the stunning natural beauty of Patagonia, with the relentless winds of the high mountain steppe of El Chalten, or the grandeur of the glaciers just outside of Calafate. Or unassuming Uruguay, with its extreme lack of tourist information, despite being one of the most charming countries I’ve ever visited. Or urban Buenos Aires, whose vibrant soul resonates throughout its distinctive music, art and history. The best part? No, instead of going on for pages without answering the question, I’d like to let these diecinueve photos speak their thousands of more eloquent words.
This just in: Duncan/Channon has been awarded two prestigious National ADDY Awards, for the much-honored, Deep Zoom-based Hard Rock memorabilia website (plus embeddable widget) and our own new, blogalicious site. Competing against, well, just about every ad agency in the entire ad universe, digital and analog, all of whom had received either silver or gold in regional ADDYs in order to qualify, D/C took home hard-earned silvers in the categories of Consumer Website and Interactive Self-Promotion. Hooray for brilliant ADDY judges.
We all know Birkenstocks are good for you. But sometimes we need to be reminded that they also look good on you — and sometimes a little bird can do just that.
For Spring, ’09, the venerable German sandal macher, pulled out all the fashion stops, with new colors and looks meant to once and for all put to rest the notion that anti-fashion has to be funky. Then they invited D/C to communicate this shift to a marketplace that has some deeply ingrained ideas about the brand.
Whereupon D/C tossed the ball to, among others, a monkey, who seems to have nailed it. Go, monkey.
The same day that news arrives about Toby getting hired by some TV show called the Colbert Report comes news that Ian “Sausage” Dailey (above left; second from right at right), longtime Duncan/Channon media planner, dismissed two years ago on unspecified “moral” grounds (well, yeah, after he left for B-school), is president of the team that has won the $200,000 MIT Clean Energy Prize, a prestigious national student competition sponsored by MIT, Boston utility NSTAR and the US government. Again, an unholy mix of pride and envy swells our hearts, if not other parts. Hey, Sausage and Toby, don’t forget the little people.
Is it a measure of how high we’ve risen or how low Colbert has fallen? News arrives today that former Duncan/Channon copywriter, Toby Wexner (né Max Werner, pictured above left), has been hired as a writer for the Colbert Report. (Yeah, we’d never heard of it either.)
Toby/Max was green as a tree frog with swine flu when he arrived at our august institution, straight from four years at some Slacker U. on Harvard Square. D/C-style tough love helped transform the callow amphibian into a prince of an advertising scribe, yet a mere five years later he was told, in no uncertain terms, to get out and stay out. Well, after he announced he was going to Hollywood to be a screenwriter (good luck with that!).
So today’s Alumni News is offered as a cautionary tale. After all, you wouldn’t want to wind up like Toby: national TV, fancy NY crib, big salary, famous friends, and all the nose candy you can hoover. Sucks.
Update 17 June: Two days into the job and he’s already on camera.
The manufacturers of the original Danish clog, Sanita, have been making shoes for the US market for years. But now they’ve decided to sell them under their own brand. As part of a complete re-branding, we created print ads, POS, banners, social media outreach and a new website. And as part of that process, D/C discovered that the brand’s essence was the wonderfully difficult-to-pronounce, echt-Danish concept of “hygge.” It’s kind of like comfort, but so much more. You really need a Dane to explain. (Click the image above to cue web video.)
The groundbreaking, Deep-Zoom-able Hard Rock Memorabilia website and widget – conceived and designed by D/C and built by Vertigo – have been designated an Official 2009 Webby Honoree in two categories: Music and Best Use of Photography.
As the Webby folks explain, Honorees are the “top 15% of all work entered that exhibits remarkable achievement… with nearly 10,000 entries received from all 50 states and over 60 countries.”
The Western Railway Museum, located near Fairfield, CA, is dedicated to preserving the heritage of, specifically, electric trains — the big ones, not the mini-replicas from Lionel — which, as some lucky local kids know, you can actually ride at the museum’s scenic property.
To spread the news about this Bay Area jewel, the folks at AC Transit, responsible for East Bay bus service, offered the museum 300 free bus ads. That’s when Executive Director Phil Kohlmetz turned to D/C for creative. And when AC Transit saw the work, they upped the donation to 900 ads, in order to run all three versions on every bus. And now, Kohlmetz reports, other local media vendors are clamoring to get in on the giving. All aboard.
Hard Rock has a cafe at the brand new Yankee Stadium, and, along with the prime real estate, gets thirty seconds every game in front of 50,000 fans on the hi-def Jumbotron. Not surprisingly, they tossed the opportunity to agency of record, D/C, which cooked up a modern mashup of the old chestnut “Take Me Out to the Ballgame” as sung by New York-area rock stars.
The spot was mostly shot at the stadium the day before it opened. And the musical cast included Darryl “DMC” McDaniels, en route to a plane to Cleveland for his induction into the Rock ’n’ Roll Hall of Fame; Bronx native and Yankees fanatic Ace Frehley of Kiss; Scott Ian of Anthrax; Little Steven Van Zant; the Bacon Brothers (Kevin and Michael); the Dictators’ Handsome Dick Manitoba, another Bronx-bred Bombers fan; and Bernie Williams, the retired Yankees star — and hot-shot guitarist — now making his own promising play for rock stardom.
In addition to the scoreboard, the spot will be aired on the TV systems at both the Yankee Stadium and Times Square cafes.