Cake Decorating Brand Bakes Up a Partnership With Rosanna Pansino

The cake decorating company Wilton has always been about creators, inspiring everyday bakers with TV programs and in-store lessons. Now, the 85-year-old cake decorating brand is using online influencers to reach a new generation.

The Woodridge, Ill. based company announced on Friday that it is partnering with Kin Community's Rosanna Pansino to create branded tutorials on YouTube. Pansino, who is best known for her pop culture-inspired baked goods, will create more than a dozen videos through the partnership throughout 2015. 

"Consumers who are not going to the store to seek inspiration, or picking up a book on how to make something, or watching a TV show for instruction, they are going to YouTube," said Eric Erwin, evp and CMO of Wilton Brands. "We want to reach consumers that may not know the Wilton brand in a highly visual and demonstrative way that's just fun—and the way she presents success is just fun and entertaining."

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Erwin explained Wilton has always been a social brand, even in the past when it hosted live cake decorating classes. But as times change, it's looking to bring those classroom lessons onto digital platforms. The brand has been building up its digital presence over the last five years, focusing on content creation. Currently, it has upward of 1.2 million fans on YouTube, 91,700 Instagram followers, and more than 43,300 followers on Twitter. With Pansino, who is the most popular baker on YouTube with more than 600 million lifetime views, Wilton has a chance to engage millennial girls and women, especially.

"On YouTube there's a connection between creators and their audience," Kin Community CEO Michael Wayne said. "They're really good at what they do, and it's accessible. It's not like you're going to a physical class. This is something that you'll watch over and over again, with a little bit of utility and a little bit of personality."


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Gripping Powerade Spot With Derrick Rose Includes First Ad Narration by Tupac Shakur

In this inspirational ad from Wieden + Kennedy for Powerade, a boy who represents a young Derrick Rose rides through the south side of Chicago to a voiceover by Tupac Shakur—the late rapper's first-ever narration of a commercial.

"You see, you wouldn't ask why the rose that grew from the concrete had damaged petals," Shakur says. "On the contrary, we would all celebrate its tenacity. We would all love its will to reach the sun. Well, we are the roses. This is the concrete. These are my damaged petals. Don't ask me why. Ask me how."

The bike ride from the south side to the United Center reflects Rose's journey from the streets of Englewood, through adversity, to the NBA. The scenes then change to the present day, with the recently injured Bulls point guard drinking a Powerade courtside. Copy flashes, "We're all just a kid from somewhere," and the spot ends with a Rose wearing a "Just a kid from Chicago" sweatshirt.

The #powerthrough hashtag seems poignant in light of Rose's recent injuries. And of course, using lines from "The Rose That Grew Through Concrete" is almost too lovely and perfect.

CREDITS
Client: Powerade
Agency: Wieden + Kennedy
Production Company: Smuggler
Director: Jaron Albertin



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Jose Cuervo Mixes a Margarita in Space and Parachutes It Back to Earth

Brands are obsessed with space, getting to space, and anything that's been to space. This week, it was Jose Cuervo's chance to boldly go where no tequila brand had gone before—and hopefully make it home safely.

In honor of National Margarita Day last Sunday, Cuervo and its agency, McCann New York—using aerospace technology and GPS tracking—launched a container of margarita ingredients heavenward, hoping to mix a cocktail in space and parachute it back to Earth.

See how that went in this video:

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The agency teamed up with independent space program JP Aerospace, along with scientists who led the Phoenix Mission to Mars, to build and launch the spacecraft. The launch site was Pinal County Park, about an hour north of Tucson, Ariz.

Severe buffeting of winds at high altitude shook the margarita, and the extreme cold froze it. When the capsule reached about 100,000 feet into space, the weather balloons shattered and the capsule parachuted down.

The margarita landed in a ravine 100 miles from the launch site. It reportedly tasted good.



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Accounts in Review: Here’s Why Dentsu Left the Sears Holdings Battle

Despite being an incumbent with a shot at a larger share of Sears Holdings' business, Dentsu has exited the company's review of all marketing services for Sears and Kmart.

The lead creative agency on Dentsu's team was mcgarrybowen, which had worked on Sears since 2011. But a source said the agency reconsidered the pitch after its current contract expired without renewal and marketing chief Imran Jooma left the company to join Finish Line.

Also, what started out as a review focusing on credentials and integration has evolved into a creative pitch and all the costs associated with that. So, rather than hang in and spend more, with no new contract in sight, mcgarrybowen resigned its account. Sears Holdings still has plenty of choices, however, given that five other holding company teams remain in the hunt. Total account revenue is estimated at more than $20 million.



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Do Competing Bottled Water Brands Actually Taste Different? Rhett & Link Find Out

Rhett & Link will slake your thirst for goofy, brand-inspired comedy in the "Ultimate Water Taste Test," a wonderfully wet episode of their "Good Mythical Morning" YouTube show.

The guys, best known for their brilliantly bad local commercials, compete against each other to identify seven varieties of water. They sample five brands: Dasani, Evian, Fiji, Smart Water and Blk Water. ("It's not from a river in Alabama," Rhett quips, but infused with fulvic powder, "whatever that is.") There's also pond water from Echo Park in Los Angeles and H2O straight from the tap.

The duo don a dual-action water-tasting apparatus—basically hardhats and two hoses for drinking—that actually connects their heads, making them look, Link notes, "like two construction workers talked into doing some kind of scuba trust exercise."

Once the blind water taste test begins, the snark pours forth.

"It's got a flowed-down-through-snow-in-the-Alps kind of a feel to it."
"There's an elevation in this taste—this is from up high, not from down below."
"Tastes like clouds."
"I can taste vapor distillation."
"If somebody's selling this, they need to stop immediately."

You'll have to watch the 15-minute segment—streaming rapidly toward 1 million YouTube views in just two days—to see how many of the seven they correctly identify. Be sure to hang in for the refreshingly honest "Neither Water" spoof commercial at the end, which drives home the point that, when you're truly parched, branding doesn't matter.



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’15 Sounds Nice?’ Nike Golf Has Some Fun With 14-Time Major Winner Tiger Woods

Tiger Woods has been having a rough time for about half a decade. He's been stuck on 14 major championships since 2008, but it's good to know he can poke a little fun at himself.

Tiger gives his pursuit of No. 15 a quick, humorous mention in this very entertaining Nike Golf spot from Wieden + Kennedy, which also stars Rory McIlroy, Michelle Wie, Charles Barkley and Bo Jackson (who utters a certain familiar phrase from an old, old, old W+K campaign for Nike). Comedian Keegan-Michael Key provides the voiceover.

The ad, for Nike's Vapor driver, takes a humorous look at why golfers of all skill levels might want to change their driver.

CREDITS
Client: Nike Golf
Project: There's Always Better

—TV
Agency: Wieden + Kennedy, Portland, Ore.
Creative Directors: Chris Groom / Stuart Brown
Copywriter: Brock Kirby
Art Director: Derrick Ho
Producer: Jeff Selis
Interactive Strategy: Reid Schilperoort
Strategic Planning: Andy Lindblade / Brandon Thornton
Media/Comms Planning: Alex Dobson / Jocelyn Reist
Account Team: Alyssa Ramsey / Rob Archibald / Heather Morba / Ramiro Del-Cid
Business Affaires: Dusty Slowik
Project Management: Nancy Rea
Executive Creative Directors: Joe Staples / Mark Fizloff
Head of Production: Ben Grylewicz

Production Company: Biscuit Filmworks
Director: Steve Rogers
Executive Producer: Holly Vega
Line Producer: Vincent Landay
Director of Photography: Nicolas Karakatsanis

Editorial Company: Joint Editorial
Editor: Matthew Hilber,
Post Producer: Leslie Carthy
Post Executive Producer: Patty Brebner

VFX Company: The Mill
VFX Supervisor: Tim Davies
VFX Producer: Will Lemmon

Music+Sound Company: Barking Owl

—Digital/Interactive

Agency: Wieden + Kennedy, Portland, Ore.
Creative Director: Chris Groom / Stuart Brown
Copywriter: Brock Kirby
Art Director: Derrick Ho
Producer: Jeff Selis
Interactive Strategy: Reid Schilperoort
Strategic Planning: Andy Lindblade / Brandon Thornton
Media/Comms Planning: Alex Dobson / Jocelyn Reist
Account Team: Alyssa Ramsey / Rob Archibald / Heather Morba / Ramiro Del-Cid
Executive Creative Directors: Joe Staples / Mark Fitzloff
Agency Executive Producer: Ben Grylewicz
Digital Designer: Rob Mumford
Exec Interactive Producer: Patrick Marzullo
Content Producer : Byron Oshiro / Sarah Gamazo
Broadcast: Jeff Selis
Art Buying: Amy Berriochoa
Photographer: Henrique Plantikow
Interactive Studio Artist: Adam Sirkin, Oliver Rokoff



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Every Brand Wanted a Piece of #TheDress, but Who Wore It Best?

What a day the Internet had yesterday. First we watched llamas on the loose. Then, just after 6 p.m., BuzzFeed posted what might be its single most-shared article ever: "What Colors Are This Dress."

If you're unaware—which is impossible, unless you live in a cave—the story pointed to a Tumblr discussion about the color of a dress. Welp, the Internet exploded—and so did the brands, which swarmed the topic like flies.

See some of the tweets below. Hooray for net neutrality! I guess?
 



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A Surprising Look at the Brands That Connect Best With Today’s Cultural Priorities

How can you measure a brand's relevance to today's culture?

That's the core question behind JWT's new research methodology, Culture Muscle, which polls consumers on how brands relate to a dozen cultural trends, including the proliferation of choices, health consciousness and the idea of "you only live once."

Two agency executives behind the research—global director of brand intelligence Mark Truss and global planning director Adrian Barrow—explain why Subway ranks highly in health consciousness (despite largely selling processed meats) and why consumers don't associate MasterCard strongly with the YOLO mindset, even though the company and lead agency McCann Erickson have created scores of ads around unique experiences.

I understand that Doug Holt's book, How Brands Become Icons, inspired this type of research.

Barrow: Yeah, there has been quite a lot of stuff written over the course of five or six years. And I would probably throw an arm around Malcolm Gladwell's work, the work that Holt has written about, Grant McCracken. There have been a lot of fringe players who have written about the importance of culture generally and understanding how culture is changing, how fast culture has changing. We thought that it would be great to take a lot of that foundational learning and apply it to how brands behave in communications and innovation. So, we really picked up on a lot of the learnings that we'd read in a lot of those books.

For example?

Barrow: Holt talks a lot about how individuals in modern economies derive their identity from culture—how they not just derive their personal identity but how they derive a cultural identity. And if you think about a lot of what modern branding is about, it is about communications that define a brand idea that people use as part and parcel of their cultural identity. And not just badge brands, but everyday brands: technology brands, media brands, service brands like Starbucks.

How do you define culture?

Truss: We have a whole 30-slide presentation on that! It's tricky. One of the first things we learned is you go in thinking you sort of understand culture. Then you start listing out everything that's part of culture and you start to learn very quickly that it's much more than the Metropolitan Opera and going to museums. In our definition we identified 12 primary buckets of culture, which go from the stereotypical buckets of culture of arts and pop culture [to] everything else. It's the food we eat, the media we consume, the languages we speak and how language evolves.

What do you make of Walmart's association in your survey with ethical business practices?

Truss: They get dinged a lot in the media for the things they do [that are] bad, but from a consumer perspective a lot of the things that they're doing to make good and do the right thing—it's starting to come across to consumers because they're getting credit for that.

How much of that do you attribute to the company being more outspoken?

Truss: I give them a lot [of credit] because part of the thing we learn in Culture Muscle too is that if brands talk about issues like Walmart is and it doesn't feel genuine or authentic, consumers can spot it really quickly. … I think what Walmart is doing now—their customers believe it, feel it's real and they're getting a lot of payback for that.

How does Subway's marketing of pressed meats square with its high ranking in healthier living?

Truss: I haven't seen the data of how much of its sales is generated from the healthier menu items versus the less healthier menu items, but they've certainly created the perception that they are a healthier choice. I think that's what's working well for them. People may go in with all intensions of buying the tofu sandwich but then get the meatball Parmesan one because they can't help themselves. That's the way it is.

Why does MasterCard rank so lowly in "you only live once," given the imprint of its long-standing Priceless campaign?

Truss: We were a little surprised with that, too. And then we wondered whether it was just a function of it's just wearing out a little bit and it's becoming a little, "OK, we've seen that a hundred times and it's cute, but now it's becoming a little wall-papery to me." I don't know the answer.

Barrow: It's potentially an interesting question to double-click on and to look at some more analysis on because what we have seen—even in the time we've been doing this within America—is that culture is changing rapidly. The ideas that have currency in 2015 are not necessarily the ideas that had currency in 1985 or even 2012. So, one of the things we're going to wrap our arms around is this idea that relatively frequently—and I'd say at least every year—we're going to have to re-think through the shifts that are the most important ones that we're going to be baking into the core of this methodology. Because there's no point in having a whole range of shifts that people don't see as being shifts. They see it as something that has already shifted and no longer has social or cultural currency.

And specifically how does that relate to MasterCard?

Barrow: The idea that there are some things more important than money certainly was something that both Citibank and MasterCard were talking about 15 years ago. I don't know if it has the same sort of salience today.

You can read a full report on JWT's Culture Muscle research here.



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Ad of the Day: Epic Audi Spot With Marauding Mechanics Is Ridiculously Fun

Getting your car serviced by a dealer, rather than some random mechanic, isn't just a smart idea. It's a triumph of good over evil.

That's the message of this very entertaining, intentionally over-the-top Audi commercial from German agency Thjnk and Radical Media director Sebastian Strasser. And indeed, the freelance mechanics here are very much to be feared, as hundreds of them—greasy mitts clutching wrenches—chase down an Audi as it roars through a desert on its way to an Audi Service center for its tuneup.

It's wonderfully silly, and very nicely shot. The mechanics multiply, with giant packs of them teeming and seething, falling over each other, and eventually gathering in a giant pulsing heap outside the service center—very much recalling the Grand Prix-winning PlayStation "Mountain" ad from 2003.

"Don't let your Audi fall into the wrong hands," says the on-screen copy at the end.

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The ad's focus "is not the 'conventional' communications about service personnel and what they have to offer, but rather the monumental showcasing of the eternal struggle between good and evil," the agency said in a statement.

Silke Miksche, head of marketing communications for Audi Germany, added: "The subject of 'service' is of tremendous importance both for the customer and for us as car manufacturer and our dealerships—and yet it has so far not been the focus of our communications. The way we approach the subject is altogether unexpected—emotional, spectacular, epic. In other words, this is truly big-screen stuff."

CREDITS
Client: Audi
Title: "Mechanics"
Agency: Thjink Berlin GmbH
Executive Creative Director: Stefan Schulte
Creative Director: Siyamak Seyedasgari
Account: Nicole Bierwolf, Hendrik Heine
Director: Sebastian Strasser
Production Company: RadicalMedia berlin
dop: Roman Vasyanov
Producer: Christoph Petzenhauser, Kathy Rhodes, Yan Schoenefeld
Casting: Julia Kim (US), Francesca Green (UK)
Editor: Paul Hardcastle, Trim Editing
Colorist: George K, MPC London
Score: Robert Cairns
VFX: Time Based Arts, London
VFX Supervisor: James Allen
VFX Lead Artists: James Allen, Sheldon Gardner, Steven Grasso



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Adweek’s Top 5 Commercials of the Week: Feb. 20-27

It was an uplifting week in the week's best commercials, as Facebook, Apple and Comcast all delivered inspiring ads about friendship, passion and imagination. Those three spots are joined by a lovable Coca-Cola farce and some PetSmart comedy. See all the ads below, and vote for your favorite.

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