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Sometimes the internet produces things that - despite every plausible explanation it presents for them - can't really be explained. Which explains this.

Introducing Bros Icing Bros. The gist is basically this: If presented with one of the grossest malt liquor drinks to ever grace the planet - Smirnoff Ice - you must get on one knee, and drink it. There are actually bylaws to this kind of thing:

Bro's might ask... what's the fun in that? Well it's all about creativity. Planting an ice in a discrete location where your bro might not know where it is. For example... one of my bro's gave an ice to a bartender and asked him to hold onto it until his other bro showed up. Bro 1 asks Bro 2 if he wants a beer. The bartender then presents Bro 2 with the ice. An instant chant of "you got iced" precedes and Bro 2 chugs the ice on the spot. The best part of the game is that you can ice anyone in on the game at any moment in any place. Bro's have been iced in restaurants, walking down the street, and at complete inappropriate times, which makes the game all the better.

To really fuck over your bros try and buy the most disgusting flavored ice or a 24oz ice. Pineapple, mango, and grape are top of the list for the most gut wrenching, mind numbing, throw up in your mouth, Smirnoff ice flavors.

I'm sure this isn't exactly new, but I've just happened upon it, and will now be on the lookout for people holding Smirnoff Ice. Never one to back from a challenge, I - along with most sensible people I know - don't exactly want to put myself through this. Though, as you can see - and hence, the impetus for even writing about this - several people have, and will possibly continue to. This could become A Thing. Observe:

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And there's more where that came from. The internet's weird? No. The internet is beyond-weird. It's post-weird. It's post-weird with drunk people participating and exacerbating that weirdness into metastasizing. That's about how weird it is. Almost.

Rio, nova animação em computação gráfica de Carlos Saldanha, o diretor de A Era do Gelo 3, produzido pela 20th Century Fox em parceria com o estúdio de animação da franquia pré-histórica, o Blue Sky Studios, ganhou o seu primeiro teaser trailer.

O vídeo, embora repita a gag da queda livre bem conhecida dos teasers do esquilo Scrat de A Era do Gelo, chega cheio de brasilidade. Começa com o tradicional salto de asa delta da Pedra Bonita, emenda com "Mas que Nada" e termina na orla entre redes de vôlei e popozudas. O filme conta a história de uma arara azul nerd que deixa o conforto de sua gaiola, no interior do Estado do Minnesota, e parte para o Rio de Janeiro. Anne Hathaway, Rodrigo Santoro e Neil Patrick Harris estão entre os dubladores. A produção fica por conta de Chris Jenkins e Bruce Anderson.

O filme tem lançamento previsto para 8 de abril de 2011.

Why the Fashion Industry Loves Foursquare

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Macala Wright Lee is the Founder of FashionablyMarketing.Me, one of the web’s leading digital marketing blogs for fashion, luxury and lifestyle industries. You can follower her on twitter at @FashMarketing or @Macala.

Testing the power of location-based fashion marketing started with Marc Jacobs and Foursquare () during New York Fashion Week in February 2010. A few months later, luxury footwear and accessories brand Jimmy Choo jumped into the location game. And recently, shoe retailer Diesel tested their own version of online to offline engagement, integrating Foursquare promotions into its “Faces of Stupid” campaign.

“With the rise of mobile, the mixing of the web with the physical world seems only like the natural evolution of things. Mobile apps that combine location, real-time and social characteristics are in high demand by brands that want to promote their sales, and most of all, give to their physical stores a touch of the social ‘glitter’ of the web,” says Amalia Agathou, Technology Editor for Glamour Magazine in Greece.

So what can brands learn as they start creating geo-location marketing campaigns? A look at Diesel’s recent efforts yields valuable insights.

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Diesel’s “Faces of Stupid” Campaign

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The Faces of Stupid campaign is a contest in which people can come into a Diesel store and get stickers that read “BE STUPID.”  The contestants then put the stickers anywhere on themselves, take a picture, and send it to the Faces of Stupid website, along with their “stupid stories.” Contestants are then entered to win include exotic prizes, like swimming with sharks off South Africa or cutting a record in Jamaica.

“This contest is a way for us to communicate the global campaign in a very viral and fun way, as obviously a huge portion of our audience are avid web surfers,” says Diesel’s Vice President of Marketing David Ireland. “Faces of Stupid is a great way to utilize the web for everyone to share their own ‘STUPID’ experience and give away a ridiculously awesome prize to the winner. These are all trips that we would love to take … I’ll be kind of jealous of our winner, to be honest.”

To date, the contest is one of the most intricate campaigns implemented by a fashion brand. When asked why Diesel went to such lengths for the promotion, Ireland said, “It was a natural extension of the brand’s overall philosophy towards its customers. [At Diesel], we live the lifestyle that we sell, and we want to share that with the people that are fans of the brand. We book the bands that we want to hear, we throw parties that we want to go to — that’s what has always made Diesel so amazing. It’s just a very authentic relationship between the brand and our customers.”

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Foursquare as an Organic, Viral Marketing Tool

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During a one-day event at Diesel’s flagship store in New York, Foursquare users who checked in within a three-city block radius of the Union Square location were alerted of a special promotion at that store. Once they checked in to the Diesel venue, they had their choice of specially printed tee shirts in red or purple.   

Diesel didn’t create a Foursquare badge as Marc Jacobs did for their event. Instead, they offered a “deal,” and focused on utilizing Foursquare as a promotional tool to bring people into a retail store that they otherwise may not have entered. Within the first hour, the store saw four people come in and do just that.  “To me, that’s tremendously exciting,” said Leslie Hall, founder of Iced Media, the agency responsible for the online components of the campaign.

For the Foursquare initiatives, Diesel chose not to extensively promote the event. “We wanted it to be a true test,” said Hall. “We didn’t want one hundred blog features going up beforehand. We wanted the promotion to roll out in a very organic way, much like the overall campaign has.”

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Stats: Diesel’s Campaign Could Have Been Bigger

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Looking at Diesel’s audience, their customers are mostly males between 18-30 years old. Foursquare’s users are about 65% male, so it made sense for Diesel to partner with Foursquare for the campaign.  

During the event, Diesel reported 44 check-ins, 17 tweets, and 20,957 aggregate Twitter users reached from those social updates.

In an analysis of the Diesel campaign results, Crosby Noricks, founder of PR Couture, and Senior Social Media Strategist at Red Door Interactive said “It’s exciting to see Diesel acknowledge the tremendous potential inherent in Foursquare’s online-offline integration by including this as a component of their ‘Be Stupid’ campaign. While it was obviously not their intent to make a big deal out of this promotion, I’m not sure this was the most effective execution in terms of harnessing and identifying the real potential of the Foursquare community for the brand.”

Noricks continued, “In this iteration, without pre-promotion, it also failed to drive the level of activity I feel would be required to qualify its replication, although I applaud them heartily for trying. What is potentially more valuable for the brand is the post-event coverage that promotes Diesel as an innovating, digitally-savvy company who puts together pretty incredible experiential opportunities for its customers.” Noricks added that she hoped to see Jimmy Choo follow suit with its post-event coverage.

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What Fashion Brands Can Learn From Diesel

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“Luxury brands have used location-based services like Foursquare to create buzz and promote new lines and stores. The challenge for the retailers is to find ways to use these services in order to build a cohesive shopping experience in the web/mobile and the physical world. The retailers are now presented with a plethora of geo-location apps to choose from, but it remains to be seen the amount of control they will want to have on them. On the e-commerce front, the battle is already on between eBay and Louis Vuitton,” says Amalia Agathou.

As more fashion brands start to use location-based services like Gowalla () and Foursquare to drive online customers into retail locations, it’s important to remember that location-based marketing efforts can and should be used to accomplish more than one marketing goal. Brands should strive to not only engage customers, but to enhance their shopping experiences.

Improving in-store customer service or loyalty programs are additional ways Foursquare could be implemented, though many retailers are cautious about that route, noting the network is still in its early-adoption phase, and full integration may be cost prohibitive. 

If integrating Foursquare into the marketing mix seems too complicated, or if it doesn’t match a brand’s core audience, consider partnering with a publication that is already exploring these strategies. Lucky Magazine has already started developing a solid presence on Foursquare, and has interactive and socially-enabled smartphone applications that show great marketing potential, for example. Tristan Walker, Vice President of Business Development for Foursquare informed us that a customer loyalty program integration usually costs less than $10,000 to implement (as seen in the case of Tasti D-Lite).

There are many ways retailers and brands can dip their toes into location-based marketing.  Just remember that those who do it before their competitors stand the best chance of reaping the big rewards.

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For more social media coverage, follow Mashable Social Media on Twitter () or become a fan on Facebook (

Just Imagine If Advertising Were Likeable

The time has come for us to put our tools to good use. By Patrick Gardner

By: Patrick Gardner, Published: May 06, 2010

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For all of the recent digital advances most advertising still adheres to an ancient model: spread enticing messages across a given audience and hope they stick to individuals who find them relevant.

In what other human endeavor would failing 99 times out of a hundred be considered success? And yet marketers regularly accept outcomes of 1% or less on their campaigns as perfectly according to plan.

The result is a world papered from head to toe in largely irrelevant messages. A world, in which the average person is snowed under by a blizzard of useless information, howling for her attention. No wonder she's increasingly unlikely to like advertising.

Ironically, the average person also has many real needs she is attempting to satisfy and regularly devotes hours, days or even weeks to searching for goods and services that will fulfill them.

She lives in a world of imperfect information so she usually only manages to achieve an incomplete overview of the many options available to fit each need, or for that matter where to buy them.

Advertisers still stuck in the old model fight for scraps of her attention with their misdirected messages. At the same time, she is willing to pay handsomely with her attention – and for that matter money – if only she can find the right information to fit her needs.

We have the tools needed to bridge this disconnect at our disposal right now. Digital networks have finally made it possible to evolve beyond one-way broadcasting and establish permanent, ongoing, multi-way conversations with broad numbers of individuals who are actually interested in our products and services.

The time has come for us to put these tools to real use. The keys are:

1) Relevance. By moving beyond campaign-think to growing continuous, ongoing relationships where we listen to and learn about individuals we can ensure our offers are relevant to their needs.

2) Value. Imagine a friend who only talks about himself and never does a kind, thoughtful or useful thing for you. He won't be a friend for very long, will he? Brands must provide real value to their stakeholders in order to earn value in return. Value could come in the form of useful information, entertainment, social connections, the opportunity to contribute to the product development process, or more.

The possibilities are many. But when you consider how much is currently spent on media in order to put unwanted messages in front of the widest possible audience, it's hard to see how it wouldn't make more sense to attract genuinely interested individuals by offering real value instead.

3) Honesty. This is probably the toughest one. Real conversations never exist for long without honesty.

If a brand offers a product that's clearly sub-standard, it can no longer hide that fact behind a full frontal advertising assault. Like it or not but people will tweet their displeasure near-instantly. Instead, to be successful, brands should openly engage interested individuals in the challenge of making their products better.

Honesty takes courage, which means it's a promise that will be hard for many brands to deliver on fully. But the upsides are vast, including strong customer loyalty and the opportunity to gain valuable help for free.

Imagine a world in which most of the brand information that reaches us is immediately relevant to our individual needs and interests, has some form of direct value and is honest in its approach. Advertising like that might even be likeable.

This new world is not only better for us as individuals it is also better for us as marketers, since it reformats our jobs from hunting harried targets to maintaining valuable conversations with engaged individuals.

Our generation has, through our unique position in advertising history, the opportunity to bring this richer, more satisfying world into existence. Let's make it happen.

Patrick Gardner is President of Perfect Fools.

MARIANA FILGUEIRAS

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Passava das nove da noite, a reunião já durava mais de quatro horas e cinco funcionários do marketing da distribuidora Focus Filmes penavam para encontrar uma boa saída em português para The Ugly Duckling and Me!, título de uma animação europeia sobre um patinho que, certo dia, vai-se saber por quê, acorda, olha para um rato e grita: "Papai!" A fita estrearia no Brasil em poucos dias e aquela segunda-feira era a data limite para a decisão. A tradução literal, "O Patinho Feio e Eu!", estava descartada, pois chamar o herói de "feio" poderia espantar espectadores.

A coisa não ia. Entediado, o engravatado responsável pelo slide show abriu o programa de mensagem instantânea e pôs-se a conferir se alguém pensava nele: "Ainda está no trabalho?", perguntavam de lá. "Putz, a coisa tá feia!", respondeu o entediado de cá. Um colega que se ocupava em mastigar a tampa da caneta foi o primeiro a perceber o deslize: a conversa particular estava sendo projetada na parede. Como, àquela altura, qualquer interrupção do estupor era bem-vinda, ele largou o que estava fazendo e repetiu em voz alta: "Putz, a coisa tá feia!"

Silêncio na sala. Um profissional de marketing olhou para outro profissional de marketing e este para um terceiro, que devolveu o olhar. Sim, sim... Por cansaço ou por acaso, ou ainda por que o patinho era mesmo muito feio, o fato é que baixou um consenso imediato. Uma rápida consulta para saber se a diretoria considerava "putz" um palavrão - não, não considerava, ótimo - e deu-se a missão por cumprida. O patinho com voz de Márcio Garcia (o ator) estava liberado para as crianças do Brasil.

"Ficamos duas semanas em reuniões e o título apareceu assim...", comentou a gerente de marketing Renata Ishihama, oito anos dedicados a titular lançamentos estrangeiros no Brasil. Engana-se quem pensa que a tarefa é deixada a tradutores de legenda - a raça não passa nem perto da sala de reuniões. Quem determina que Four Christhmases vire Surpresas do Amor e não "Quatro Natais" é o departamento de marketing das distribuidoras, um conjunto de cinco a doze almas cujo prazo para dar vazão à criatividade varia de 48 horas a noventa dias.

Muitas vezes as coitadas nem assistem às películas. "Não dá tempo", explica a gerente da Europa Filmes, Mônica Alpha. "Temos de começar a preparar o material de divulgação muito antes de o filme chegar para nós. Trabalhamos com uma sinopse traduzida e algumas palavras-chave." Foi assim com Million Dollar Baby, Oscar de melhor filme em 2005. Além do título original, eles tinham as palavras "luta" e "vitória". Ideias como "Em Busca da Vitória" e "Lutando pela Vitória" entraram no páreo, mas tiveram vida curta. Uma fina psicologia decretou a vitória de Menina de Ouro: "A sua filha, a sua mãe ou a sua namorada podem ser a menina de ouro pra você", ensina Mônica. "As expressões populares ampliam o público espectador."

A cartilha do que funciona ou não reflete os avanços da ciência do marketing. Quantos animais/pessoas/profissões/façanhas não foram "da pesada" nos anos 80? As gírias, um grande sucesso daqueles tempos, hoje são tão passées quanto os cabelos de Farrah Fawcett. Como atestam lançamentos recentes, foram destronadas pelas tais "expressões populares", que habitualmente também respondem pelo nome de lugar-comum. Zack and Miri Make a Porno virou Pagando Bem, que Mal Tem? My Life in Ruins virou Falando Grego. Num elegante jogo de palavras com a campanha do Ministério da Saúde, The Hangover ["A ressaca"] transformou-se em Se Beber, Não Case, solução que deve ter feito o aglomerado de almas soltar foguete.

Mas esses são exemplos, digamos, mais elaborados. Um veio popularesco não pode ser ignorado, e nele a rainha do tiro-e-queda é a solicitadíssima "deu a louca", à qual nada e ninguém está imune. Em 2005, Deu a Louca na Chapeuzinho. Em 2006, Deu a Louca na Cinderela. Em 2007, hospício geral, pois Deu a Louca em Hollywood. Não há perdão sequer para diretores que se dão ao respeito. É o caso do dramaturgo e diretor independente americano David Mamet. No longínquo ano 2000, o seu State and Main (nomes de duas ruas) - uma comédia-cabeça sobre os estragos desencadeados por uma equipe de filmagem numa pequena cidade americana -, foi brindado com o título de Deu a Louca nos Astros. O século xvii não conheceu departamentos de marketing, caso contrário Hamlet nos teria chegado como Deu a Louca na Dinamarca.

Da lista do que não funciona constam gírias regionais ("arretado", "trilegal" e assemelhados), títulos excessivamente longos (por comerem segundos preciosos das campanhas de rádio e tv), palavras pejorativas, escatológicas ou malditas (na distribuidora Europa, filme nenhum leva "maldição" no título) e aquelas que, aos olhos dos especialistas, "não dizem nada". É o caso de Motherhood, que estreou em janeiro. O marketing da Paris Filmes, concluindo que traduzir por "Maternidade" seria abstrato demais, tascou-lhe um parente próximo do "deu a louca", o quase tão popular "em apuros". Ficou Uma Mãe em Apuros.

Nome próprio também pode comprometer. Ponyo, animação infantil do diretor japonês Hayao Miyazaki, com estreia marcada para abril, recebeu em inglês o título Ponyo on the Cliff by the Sea, algo como "Ponyo na Falésia do Mar". A gerente de marketing da Playarte, Eliete Moraes, certamente suspirou fundo. "Fizemos uma pesquisa e constatamos que ninguém sabia o que era 'falésia', então optamos por Uma Amizade que Vem do Mar."

Em casos muito desesperadores, as melhores práticas do marketing recomendam um tagline, o nome que eles dão para o subtítulo. Dizem que salva bilheteria. Nas asas dos taglines, Taxi Driver, de Martin Scorcese, renasceu, um tanto reiterativo, como Taxi Driver - Motorista de Táxi. Be Kind, Rewind, de Michel Gondry, inspirou um requintado trocadilho: Rebobine, Por Favor - Uma Loucadora Muito Louca.

A estratégia é adotada principalmente quando o diretor desautoriza mudanças no título, como faz Woody Allen, um chato, embora se deva dispensar alguma compaixão a um mortal que viu o seu Annie Hall transfigurar-se em Noivo Neurótico, Noiva Nervosa. Para lançar Match Point, a distribuidora arriscou um Ponto Final - Match Point. Deu certo. Os filmes de Allen alcançam em média 250 mil espectadores. Esse fez 498 mil. Foi um dos campeões de bilheteria de 2005 no Brasil.

"Mudamos todos os títulos que, por qualquer razão, sejam difíceis de compreender ou de pronunciar na bilheteria ou na locadora", diz Mônica Alpha. Vez por outra, admita-se, é a coisa sensata a fazer. Tome-se um filme como Furry Vengeance, que estreará em maio. Imagine-se o esforço do rapaz ao explicar aos pais da moça por que está tão animado em levá-la para ver Vingança Peluda.

Não, melhor não inventar. Deu a Louca nos Bichos e não se fala mais nisso.