British Newcastle beer rises above the social media bollocks of its Miller Lite competition. The #itsmillertime hasttag and campaign remains ever popular.
Brands are beginning to identify the predatory exploitation of their consumers cognitive surplus and they don’t want you to associate them with a bad thing.
Bad taste helps products get down on the street and be among people. Doesn’t that sound condescending right there? An ivy league team of designers creating poorly executed ads, assuming that it is bad taste that you want? Come on, there must be a better solution to initiate sharing and help knowledge transfer be democratised.
However fun and refreshing bad taste may be experienced, bad taste is bad for you. It brings bad habits and bad behaviour with it.
Bylines and explanations have a way to ruin campaigns. I love this one but then I watched the video. Parodies, more often than not, come across more tired than what they are trying to be a parody of. That’s bollocks. Do note it’s made by Droga5. And boy are they well perceived. Here’s their pitch video.
Tired, poorly executed parody of good English humour. The ads then are fun and brilliantly executed. I trust the good folks at Droga5 wished it be the other way around.
For the German couple Helene und Wolfgang Beltracci it offered a business model, to make good living from. Regardless of a forced upon social standard by a majority. The art of living, regardless of forced upon bohemian social standards. An empty stomach and renouncement included.
Toward the end of their 4 and 6 year sentence, prison officials granted the Beltraccis vacation days. So they could appear on German TV talk shows, to promote their book. They now need a new business model and book sales won’t fund the needed legal defence. Art sold with Wolfgang Beltracci’s signature will.
Meanwhile in the US, the prolific art forger Mark Landis, maintains forging art not as his business model. A donor of giveaways, propelled by philanthropic motivation is his claim. Landis acted as fatigued art collector and donor or Jesuit priest. He duped registrars and curators with feathered voice. He wanted to see his ‘give-aways’ on display in America’s highest reputed museums and art exhibitions. The great art swindle went on for 30 years. Until Matthew Leidinger called out: “He messed with the wrong registrar”.
If international copyright is not in question pops up in this and various other contexts. A long overdue answer must prevent knowledge transfer to break.
Germany is further falling behind in digital. And the march of time won’t change that. Knowledge transfer is broken. The gap to countries leading in digital rapidly widens.
With German tv being the exception. In early 21. century, German quality tv is picking up on the age of enlightenment of the 17th century. Documentary films are all the rage and food transforms the world.
Heftig.co brings needed alternation into the mono culture of dominant German e-commerce. Bild.de defends its ranking with 313,1 million unique visitors. It follows the offerings of T-Online, e-bay follows Heftig.co.
Heftig is an American style news aggregator, unapologetically so. Much like Bild, a traditional yellow press newspaper, it has perfected the art of teaser headlines. A talent combining aggregated YouTube videos with catchphrases in the peoples’s voice, it attracts 18,3 million visits.
Heftig has accepted and implemented the international web standard. It sports an open source cms, responsive theme, ease of use. Aside from these and a talent with headlines, I expect other success factors not known to me. Bild has always been sensation focused but is also straightforward. Bild.de has what Heftig does not have: patina.
Even though its overnight success and enormous popularity, welcome Heftig as best practice. It is well suited for European start-ups to follow the lead and for Europe to accept and adopt the web standard.
Jens Schröder’s 10000-Flies mirrors the most popular German content.
Adele Peters discovers old school in Milton Glaser’s button campaign. Much like in the old days the message divides into two groups: Those who wear the button and those who won’t.
So appropriate, the idiot is wearing the dying earth symbol!
What a douchebag, he’s without symbol!
Glaser made a smart decision with keeping it simple. No complex, integrated campaign, for which resources and organisation is not available. But decide in favour of a recognisable sign that is affordable, immediately accessible. That is likeable and wearable. Even better yet, Milton decided for an analogue medium to be the message. A button in his name to get the ball rolling again. You order it, pin it on, done.
It’s a souvenir, done analogue. It’s the little things that count. Swinging Sixties.
Same as with Christmas cards. Sent analogue, the recipient puts it up with the other seasons greetings on his fireplace mantel shelf.
In my lifetime, I was having students hit the streets and demonstrate causes in my interest, while I rarely left the house to work on my stuff. A button, like Milton Glaser’s, I wear in acceptance and respect for the 85 year old fellow designer. Also I can still hear the 60′s Publix jingle ring. “It’s the little things that count.”