"Blacks and whites, on many measures, see the world in quite different ways. And this has direct implications on how we advertise."
A spot about a father suffering from Alzheimer's is the most popular of a new series of ads that has young people on China's social networks talking—or better put, it has them talking about crying. "Every time I see it I cry," writes one Weibo user. Hers is a typical reaction. Filial piety might seem a laughable topic for a public-service campaign in the west, but in China, it's the basis for a campaign aimed to guilt kids into thinking about the elderly. Making China's youth cry is not enough, though; China needs the new generation to act on that guilt, to buy into the Confucian ideal [...]
In a dramatic move under new tiny millionaire owner Chris Hughes, The New Republic has redesigned its website to take a strong stand against em dashes. Simply everyone is talking about it: sometimes presented as two adjacent hyphens, sometimes replaced by a misused en dash, but always using a type treatment that shortens both em and en dashes, perhaps related to the use of double-justified text, this typography is both innovative and disruptive. As is its daringly large linespacing. Also they eliminated advertising.
Beloved national counterculture tabloid Arthur was a victim of the Great Recession when it published its last issue four years ago, but it has been reborn as a reader-supported broadsheet that will be out in time for holiday stocking stuffers. Jay Babcock is back as editor, Portland's Floating World Comics is the publisher, and Arthur regulars will be back on the masthead, including Thurston Moore and Dave Reeves ("Defend Brooklyn!"). Pre-order it for just $5, and help America's cultural recovery.
"Successful brand actors tend to rave about their time playing the face of a brand. Letting go is another story. For most artists, achieving a huge commercial success, be it a hit song or movie or novel, guarantees another shot at stardom; the opposite is true for most brand actors. Once you’re the face of one major product, no other major product wants you." —I enjoyed this piece about the life of the successful commercial spokescharacter. Maybe print it out for your commute.
It began in France. In 1895, the Gaumont Film Company (the oldest continuously operated film studio in the world) debuted their “Marguerite” logo, the iconic daisy named after founder Léon Gaumont’s mother. The daisy’s design has evolved since then, and so has the art of “bumpers”—those petite vignettes that announce a production studio’s involvement in a project. Universal and Paramount, the respective second and third-oldest studios in the world, swiftly followed Gaumont’s lead; the latter’s “Majestic Mountain” logo is Hollywood’s oldest surviving bumper, the byproduct of Paramount founder W.W. Hodkinson’s doodle of the Ben Lomond Mountain near his childhood Utah home.
Rarely are they consciously paid attention to, [...]
On the night after the Heaven's Gate UFO cultists were discovered dead by mass suicide in a San Diego suburban McMansion, I was standing in a dark patch of the Presidio, watching the Hale-Bopp comet and its forked tail over the Marin Headlands. Someone passed around binoculars, somebody else passed a little pipe around, and after a half hour everyone was cold and bored and we drifted back to the battleship-gray Victorian on Haight Street that I shared with a rotating group of five or six pals.
My bedroom was just a large closet on the upper floor, with enough room for a narrow mattress and a chest [...]
That is a pretty remarkable thing: From propaganda vehicle Act of Valor to propaganda vehicle Argo, Mercedes product placement dominated the 34 number-one box office flicks of last year, appearing in ten of them. (The big winner last year was Apple, with appearances in 42% of #1 films.) Don't you want to drive a Mercedes now. And drink human blood. What will become of our children. When we are all pressed into service of the brands and industrial entertainment war complex. They will fight each other in the streets and then get into their Mercedes car-robots and zoom away to their abandoned buildings. So sad.
"For the full year of 2012, digital advertising revenues increased 0.2 percent to $214.8 million from $214.5 million in 2011. Excluding the additional week [in 2012], estimated digital advertising revenues decreased 1.7 percent in the fourth quarter and 1.9 percent for the full year of 2012." —The New York Times Company released its 2012 results this morning, if you like that kind of thing. Lots of fun stuff, like the $4.5 million cost for a "retirement and consulting agreement" for departed CEO Janet Robinson. How do you like your buyouts now, staffers?
Here is a disgusting fact you probably don't think enough about, unless you're Michael Bloomberg resting between other public tragedies such as climate change and the slaughter of children: The primary source of calories for Americans is "caloric beverages." Meaning, on top of all the repulsive processed food and industrial fat-meat Americans eat around the clock, corn-syrup drinks provide the largest percentage of calories per American.
Coca-Cola, which adds corn syrup to water at factories around the world, is finally spending your money to buy commercials on the cable-news channels to tell you about this problem.
"Today, we'd like people to come together on something that concerns all [...]
Before the entire economy of Earth collapsed, online reporters who covered the exciting world of "blogs with banner ads" enjoyed speculating on the value of various websites run by a couple of clever weirdos here and there. Was Gawker Media worth more than General Electric? Had PerezHilton.com eclipsed Disney in valuation? Etc. Well, the economy must finally be "great again," because there's a new Business Insider post claiming Matt Drudge's web page is worth "$150 million to $375 million."
"U.S. food companies are reaching children by embedding their products in simple and enticing games for touch-screen phones and tablets. The new medium is far cheaper than Saturday morning TV commercials and could prove as effective."
"Comfortable" is a flexible term. Any one person’s threshold for comfort can differ from another’s. For the individual, comfort is relative: a heat wave in Edmonton, Canada, say, no longer agonizes after one has endured a heat wave in New York. When a person says "comfortable," they often mean "pleasant." Other times "comfortable" translates to just "bearable" or "satisfactory." While the word "comfortable" doesn’t change, a person’s definition of it can, and usually does, with time—that is, with age and experience. It might happen gradually, incrementally, with constant comparisons between then and now. Comfort itself is relative, its meaning elastic.
The word "comfortable" has been thrown around since the Middle [...]
"Employment of full-time professional editorial staff peaked at 56,900 in 1989. By the end of 2011, the last year for which data are available, employment had fallen by 24%, according to the American Society of News Editors. When figures for 2012 are compiled, newsroom workforce will likely be below 40,000." —Of the many bits in this survey of the current American news business—the cable news audience is stalled forever at 1.9 million people! TIME's newsstand sales dropped 27% in a year!—the 24% drop in newspaper editorial employees is the most instructive for those of you young people thinking about a major. (Journalism is always a terrible major.)
Patch.com was launched in 2007 when Tim Armstrong, the man who turned Google into an advertising company, noticed his very wealthy Connecticut bedroom community lacked a local paper with an events calendar. When Armstrong became head of AOL in 2009 with the mission of transforming the company from a fading dial-up service to a media brand, he sold Patch to his new employers. There are 850 Patch sites, supposedly hyperlocal news operations run by modestly paid newspaper journalists and supposedly supported by neighborhood advertising.
Because the Internet is mostly a garbage factory and AOL produces a great deal of Internet content, it stands to reason that much of AOL's content [...]
In the nights before the promised Mayan Apocalypse, mysterious configurations of bright lights hovered over Brooklyn and San Francisco's Mission District. The first commenter here made the reasonable assumption that it was all some kind of viral marketing aimed at overpaid young urbanites.
But the product of such clever, vague and expensive advertising has yet to appear. And the silent, terrifying craft are now being seen over far less desirable urban areas including Detroit, Indianapolis and the Gulf Coast of Florida. What could it mean? Is Detroit poised for a comeback? And why are they also appearing in Poughkeepsie?
"When it comes to winning modern wars, a robust marketing campaign is as important as a military campaign. But while Israel has long been aware of this, the Palestinians have never been quite so PR-savvy."
0:05 Man who looks like Seth Meyers and mimics facial expressions of Ed Helms gets dumped at restaurant by needlessly cruel woman. 0:08 He goes home to dark apartment to cry and masturbate to internet porn on Macbook Air. 0:10 Ends up on Citi Private Pass page and decides to pay for sex.
Something is going on with the Internet, and, once again, it's fun, but maybe not that fun. There's a rash of actually quite cool new "products"—services, websites, "apps" (sigh)—and they have a lot in common. From our pals at Branch to things like Medium and Svbtle (oh that name) and on back to Pinterest, and then forward to a few other projects in development, well… there's a visual language going on, for one thing, and it's like John Herrman writes: It's an internet where every blog is Daring Fireball, where every post looks like Instapaper, where every discussion is led by its rightful leaders, and where [...]