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An ad for Oxygen inline skates looks uncannily like a Tupperware party gone awry: amid a roomful of Martha Stewart wannabes clutching plastic containers, their mouths stuffed with white paper, a bowl sits in an empty seat where a partygoer has fled this conventional night-mare. "Suddenly Trish realized she had to get out of there, or risk turning into a microwave-safe salad bowl herself," goes the copy, under a photo of her cruising outside. "Your local Meanwhile World doctor recommends Oxygen."

Running in Europe, the U.S. and Japan, the humorous campaign for Oxygen skates and snowboards, which is a division of the Austrian company Atomic Skis, is the first to come from Hasan & Partners, a Finnish creative boutique founded in Helsinki in 1971. Asserting that the campaign is inspired more by David Lynch than by Diesel's "Guide to Successful Living," art director Oski Granstrom says the work calls to anyone who rejects society's norms. "Some- body has seen the light," Granstrom says of those who escape each ad's bizarre scenario to skate or snowboard. The mouthful of paper is a comic twist on a Japanese rite in which the dead are laid to rest with their mouths propped open, he adds. Additional credits to writer Petri Pesonen and Stockholm photographer Peter Gehrke.

This isn't chillin' Willie of Kool cigarettes fame. It's not the Swanson penguin of happy TV dinners of yore. No, this is the Bud Ice penguin, from Goodby, Silverstein & Partners-a nameless, malevolent bird who hums "Strangers in the Night" like a greasy pervert, and he wants your beer and he wants it now. Three spots have the evil, stubby thing, who makes Danny DeVito look like a Kewpie doll, stalking innocent Ice drinkers, including a terrified couple being phone-harassed from within their own home, "Sorry, Wrong Number" style, and a tortured stranger on a train. "Drink Bud Ice, but, uh, beware of the penguins," is the cautionary VO tag.

Copywriter Erik Moe insists no one on the creative team had a bad childhood experience at an Arctic petting zoo with a flightless beak monster; it's just the usual ice association with a twist. The villain is actually "a 5-foot-tall British woman in a penguin suit," he explains, expertly green-screened into the spots by director Roger Woodburn of London's Park Village Productions.

Other agency credits to art director Emil Wilson, ACDs Steve Simpson and Steve Luker and CDs Jeff Goodby and Rich Silverstein.

If you find yourself pulling into Staples for a quart of oil or stopping by Pep Boys for toner, don't call your shrink, just blame the folks at Cliff Freeman & Partners. Their new TV campaign for the venerable old car care chain so closely resembles what they did for the office supply giant, you're liable to say, "Yeah, I got that."

Using the slogan "Everything but gas" that appears at the end of each spot, incorporated into a snappy animated logo (again, just like Staples), the spots position Pep Boys as the place to go for both the do-it-yourselfer and the mechanically challenged. In one spot, a guy leaves his car with a slipshod repair shop where it sits untouched for days, except for when the mechanics use it as a lunch table.

As for the Pep Boys-Manny, Moe and Jack-they've been demoted to collateral, a move the agency suggested. Explains AD Matt Vescovo, "We sort of felt they weren't contemporary enough in this age of computer-controlled fuel injection."

Additional credits to CDs Arthur Bijur and David Angelo, ADs John Leu and Greg Bell, writer Neal Hughlett and producers Mary Ellen Duggan and Mary McInerney. Mark Story of Crossroads Films directed.6

Here are some ads suitable for mounting: SpiderWire fishing line is made from the same material as bulletproof vests, and a campaign from Carmichael Lynch, Minneapolis, tries to provide the brand with an appropriate predator: a "thug" bass dressed as a leather clad pool shark, replete with 8-ball eyes and metal studs.

In the spirit of fishing lingo, we wanted to generate "boat talk," explains art director Paul Asao. With beautiful models shot by Chicago's Dennis Manarchy, each ad highlights a SpiderWire attribute. Showcasing the product's sensitivity, for example, is a "full-alert" walleye that's outfitted like a nuclear sub, with stethoscope tail, a seismograph reading showing a boat and a lure detector for a back fin.

Additional credits to agency creative director/copywriter Kerry Casey, and Peter

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