It's the 100th anniversary of Coca-Cola's classic glass bottle, and the soda brand is celebrating hard—with 14 new global ads in different styles.

The first might be best described as a super-diverse high-five stop-action hand party, shot by pop photographer David LaChappelle. Human paws of all colors, ages, types and garnishments inch toward each other, craving meaning, and connection, and presumably Coca-Cola, while a soundtrack about loving together reaches fever pitch in the background.

Naturally, in the end, all those lonely hands find their true purpose in life—coming together to pay homage to the shape of a Coca-Cola bottle.



In a second spot, Coke's life actually flashes before its eyes. It had its first kiss in 1915, with Adrien Brody's great-grandfather apparently, before seducing a stern young journalist during the anti-Vietnam War protests in the 1960s, and then proceeding to hang around for every good thing that's ever happened, including break-dancing, bikinis, oceans, marriage proposals, Santa Claus, pool parties, street soccer and lots of young, beautiful people making eyes at each other.



And here's a third spot that tells a tall tale—most of it animated—about the creation of the Coca-Cola bottle. There's not much truth in advertising in this one.



There are still more ads on the Coke's YouTube page, and the High Museum of Art in Atlanta has even mounted a whole exhibit, The Coca-Cola Bottle: An American Icon at 100.

See the 12 other ads below.

Photos taken on iPhone 6 are so good, you can blow them up and put them on a billboard.

That's the message of Apple's new "Shot on iPhone 6" print and outdoor campaign, which features real photos—taken by real iPhone 6 users—that Apple found online and loved. The company tells AdFreak that the campaign will feature shots from 77 individuals in 70 cities and 24 countries across the globe.

All of the photos were noncommissioned, found images. Apple combed through tens of thousands of photos to choose the ones for the campaign. The overall message is that iPhone is the world's most popular camera, and is even better with iPhone 6 and iPhone 6 Plus thanks to improved software and hardware.

Check out a sampling of the photos below (with blurbs by Apple), and many more at apple.com/worldgallery.
 

• Shot by Gabby K. in Snoqualmie Pass, WA
Soft lighting and a focus on reflections can add a dreamy, ethereal quality to a photo — here, they create the illusion that the subject is almost floating.
 

• Shot by David K. in Dubai, United Arab Emirates
Centering a large object in a panorama can be used to dramatic effect. This towering spire makes the other buildings look tiny by comparison.
 

• Shot by Cielo D. in Alameda, CA
Shooting your subject in a reflection — like the one on this wet street — can make a simple scene seem surreal and surprising.
 

• Shot by Paul O. in Chicago, IL
By capturing a hint of rainbow in this otherwise monochrome scene, the photographer offsets the earth tones and brings the image to life.
 

• Shot by Cole R. in Star Valley Ranch, WY
Establishing a central focal point can have dramatic impact. Here, wispy clouds lead the eye to the hut and create a stronger sense of focus.
 

• Shot by Cory S. in Lake Cushman, WA
The presence of human subjects in a natural setting like this forest creates a more relatable sense of scale and emphasizes the height of other elements in the photo.
 

• Shot by Robyn W. in Corvallis, OR
Finding interesting lines in a scene, like the vertical pattern the trees make here, can create a more captivating composition.
 

• Shot by Shan L. in San Francisco, CA
Sometimes the best shots aren't planned. The bird flying through this photo adds a sense of scale and surprise to an iconic view, making the whole composition more interesting.
 

• Shot by Ahmed A. in Albuquerque, NM
When photographing a flat landscape, focusing on foreground elements — like the partially inflated balloons in this photo — helps create greater depth of field.
 

• Shot by Jun I. in Tokyo, Japan
Capturing opposing subjects together, like the manmade overpass and the natural element provided by the trees in this photo, helps create a compelling contrast.
 

• Shot by Alastair B. in The Cairngorms, Scotland
Filling the frame with the subject can help the viewer focus on its details — like the texture of the reindeer's fur and antlers.
 

• Shot by Jirasak P. in Mae Hong Sorn, Thailand
Convergent lines, like those created by the trees and shoreline, can provide a more interesting perspective in a composition.
 

• Shot by Jeremiah C. in Atlanta, GA
Using reflection is a great way to capture two perspectives in the same image. Here, the puddle shows the photographer's top-down perspective as well as the ground-up perspective of the building and sky.
 

• Shot by Garrett C. in Joshua Tree, CA
An out-of-place subject, like this boat in a desert, can make for a more interesting composition.

Do you love numbers? Not as much as Sid Lee does.

The agency's Paris office is channeling Count von Count with a side project in which it set up digital sensors to count everything that goes on—how many cups of coffee are poured in a day, how many times the toilets flush, how many times employees use the "command + z" keyboard shortcut (that's undo, for all you mouse-clicking Neanderthals), how many documents the fax machine sends (zero, since 2013, because ha ha, umm ... what's a fax machine?), etc., etc.

You can watch all this from afar, in real time, at dashboard.sidlee.com.



It's more or less the perfect masturbatory agency promo for the age of breathless excitement about a near-future techno-utopia where everything is Internet-connected and reams of data provide unprecedented insight into humanity, and solutions to its problems.

By creating a public dashboard (powered by Arduino software) that tracks a largely mundane physical reality—the nuts and bolts of being a group of people who move through space making ads for a living—Sid Lee is almost able to have its cake and eat it too—proving competence in hardware-meets-software technology that might seem shiny to clients, but also casting a little self-aware doubt on the value of such an exercise. Or for less skeptical viewers, maybe it really is just a rah-rah celebration of the untapped potential of such stats—and a nice little blueprint for countless case studies about squishy success metrics.

Regardless, it's fun to look at pretty graphs. Unfortunately, they don't count how many bats are flying around the agency.

Jeff Goldblum, who's enjoying something of a renaissance as a pitchman, has scored another gig in a peculiar role as a futurist for Apartments.com—helping to introduce the company's advanced, perhaps even futuristic new apartment-listings website.

In the campaign from RPA, Goldblum plays Brad Bellflower, an eccentric Silicon Valley maverick who's pretty damn impressed by everything on the new Apartments.com, which includes "custom search filters, videos, and most of all, heart."

The launch spot, which broke Sunday on The Walking Dead, shows Bellflower in a black void, surrounded by flashing white shapes, as he mutters futuristically about "game changers," of which the new Apartments.com is clearly one.



It's both parody and not-parody, which at first makes it hard to understand what to believe, though by the end of the :60 it's clear Bellflower loves Apartments.com, and you should too, though maybe not quite as cosmically.

"Change your apartment. Change the world" is the tagline.

"Like any good Silicon Valley maverick, Brad's vision for his apartment-listing website is nothing less than to change the world. But hyperbole and parody aside, finding a great place to live or moving to a new area really does change your world," says Andrew C. Florance, founder and CEO of CoStar Group,parent company of Apartments.com.

Check out some out-of-home work from campaign below, plus credits. The company plans to spend $100 million on advertising, media, b-to-b marketing and search in the campaign.

CREDITS
Client: CoStar Group
Spot: "Launch"
First air: 3/1/15

Agency: RPA
Executive Vice President, Chief Creative Officer: Joe Baratelli
Senior Vice President, Group Creative Director: Pat Mendelson
Creative Director, Art Director: Hobart Birmingham
Creative Director, Copywriter: Perrin Anderson
Associate Creative Director, Art Director: Kirk Williams
Associate Creative Director, Copywriter: Eric Haugen
Senior Vice President, Chief Production Officer: Gary Paticoff
Vice President, Executive Producer: Selena Pizarro
Producer: Joshua Herbstman
Agency Assistant Producer: Grace Wang

Production: Anonymous Content
Director: Tim Godsall
Director of Photography: Bryan Newman
Executive Producers: Eric Stern, Rick Jarjoura
Executive Producer, Production: SueEllen Clair
Line Producer: Brady Vant Hull
Production Supervisor: Timothy Kreis

Editorial: Cut+Run
Managing Director: Michelle Eskin
Executive Producer: Carr Schilling
Head of Production: Amburr Farls
Editor: Steve Gandolfi
Assistant Editor: Sean Fazende

Finishing: Jogger Studios
Creative Director: David Parker

Visual Effects: Framestore
Senior Executive Producer: James Razzall
Producer: Andrew McLintock
Design Director: Sharon Lock
Computer Graphics Artist: Mike Bain
2-D Supervisor, 2-D Lead: Michael Ralla

Audio Post Company: Lime Studios
Executive Producer: Jessica Locke
Sound Engineer: Dave Wagg

Transfer: Company 3
Executive Producer: Rhubie Jovanov
Producer: Alexis Guajardo
Colorist: Sean Coleman

Music Company: Barking Owl
Head of Production: Whitney Fromholtz
Creative Director: Kelly Bayett

Talent: Jeff Goldblum

—Out-of-Home Credits
Agency: RPA
Executive Vice President, Chief Creative Officer: Joe Baratelli
Senior Vice President, Group Creative Director: Pat Mendelson
Creative Director, Art: Hobart Birmingham
Creative Director, Copy: Perrin Anderson
Associate Creative Director, Art: Kirk Williams
Associate Creative Director, Copy: Eric Haugen
Senior Copywriter: David Sullivan (for Living Near Burritos, Duck and Finding an Apartment Faster only)
Senior Art Director: Rob Anton (for Living Near Burritos, Duck and Finding an Apartment Faster only)
Photographer: Michael Muller
Digital Artist: Art Machine

—Digital Credits
Agency: RPA
Executive Vice President, Chief Creative Officer: Joe Baratelli
Senior Vice President, Group Creative Director: Pat Mendelson
Creative Director, Art: Hobart Birmingham
Creative Director, Copy: Perrin Anderson
Associate Creative Director, Art: Kirk Williams
Associate Creative Director, Copy: Eric Haugen
Junior Art Director: Josh McCrary
Junior Copywriter: Earl Lee
Photographer: Michael Muller
Digital Artist: Art Machine

Google has just unveiled plans for its new Mountain View, Calif., campus—and they don't skimp on the sci-fi. The designs, by architects Bjarke Ingels at BIG and Thomas Heatherwick at Heatherwick Studio, feature transparent, biodome-like buildings, bike paths, running tracks, meadows and a babbling brook—along with a public plaza with retail space for shops and cafes.

The company explains on its blog:

The idea is simple. Instead of constructing immoveable concrete buildings, we'll create lightweight block-like structures which can be moved around easily as we invest in new product areas. (Our self-driving car team, for example, has very different needs when it comes to office space from our Search engineers.) Large translucent canopies will cover each site, controlling the climate inside yet letting in light and air. With trees, landscaping, cafes, and bike paths weaving through these structures, we aim to blur the distinction between our buildings and nature.

Of course, this project is about much more than just office space; it's about doing more with the local community as well. So we're adding lots of bike paths and retail opportunities, like restaurants, for local businesses. We also hope to bring new life to the unique local environment, from enhancing burrowing owl habitats to widening creek beds. And we're committed to do everything we can to save energy—our recent agreement to offset our energy consumption in North Bayshore with renewable energy includes the development of this proposal.

Check out more of the artist renderings, and a video, below.

This ad from BBH London for Mentos NOWMints is amazingly funny—perfectly paced, surprising, silly, and close enough to making sense that it actually serves the brand, especially because it's so memorable.

It also sends up fresh-breath kissing clichés. Right from the start, the subtly awkward acting hints that a twist is coming, but it's not clear exactly what until the payload hits … and it really doesn't disappoint.



And while cute animals, as a rule—and in ads—may not be particularly fresh, this one definitely gets pretty rude with the driver. Loverboy can be happy he wasn't the one to catch it, though hopefully the product doesn't actually taste like rabbit, too.

The spot positions NOWMints as "little moments of pleasure." The spot will air only in Italy, though of course it's online for the rest of the world to enjoy, too.

CREDITS
Client: Mentos NOWMints
Agency: BBH London
BBH Creative Team: Shelley Smoler & Raphael Basckin
BBH Creative Director: Gary McCreadie & Wesley hawes, Shelley Smoler & Raphael Basckin
BBH Strategist: Jamie Watson
BBH Strategy Director: Ben Shaw
BBH Business Lead: Carly Herman
BBH Team Director: Tom Woodhead
BBH Team Manager: Francois d'Espagnac
BBH Producer: Natalie Parish
BBH Assistant Producer: Sarah Cooper
Production Company: Blink
Director: Benji Weinstein
Executive Producer: James Bland
Producer: Patrick Craig
DoP: Simon Richards
Post Production: The Mill
Editor/Editing House: Max / Stitch
Sound: Sam Ashwell / 750mph

Is it wise or foolish, when trying to get a job in advertising, to tell agencies you don't plan on sleeping after you start work? You might just get the job—but then, you've pre-debased yourself and won't ever be able to slack off.

The guy behind the video below figured it was worth a shot—and put together an impressively creative direct mail piece that he sent to agencies in Copenhagen, hoping his tireless focus on his own tirelessness would win them over.



"No Sleep" pills? A résumé made to look like a doctor's prescription? A business card printed on a pillow? He included all of this and more. Check out the video to see whether it worked. Via Hello You Creatives.

Stock photos have a bad rap. They're campy and cheesy and the butt of plenty of jokes. But what's great about them is they're often the catalyst for promotions or gags—sort of a comedic blank slate.

Enter the new Vince Vaughn movie Unfinished Business, which comes out Friday. Twentieth Century Fox has teamed up with iStock by Getty Images to create a set of stock photos featuring Vaugh along with co-stars Tom Wilkinson and Dave Franco and others.

The film's synopsis sounds right up Vince's alley: "What began as a routine business trip goes off the rails in every imaginable—and unimaginable—way, including unplanned stops at a massive sex fetish event and a global economic summit."

Twelve images are being made available for free download over three weeks. The first four are available here. But you can see the whole hilariously sterile set below.

The original Always "Like a Girl" commercial—which broke last summer and got 56 million views on YouTube before getting a plum Super Bowl ad slot last month—was primarily a challenge. It urged girls to redefine the phrase from one of weakness to one of strength.

Now, with International Women's Day on Sunday, the Procter & Gamble brand has released a follow-up video showing how the meaning of the phrase is already changing.



P&G also released some new stats around the campaign from its Always Puberty & Confidence Wave II Study, conducted pre-Super Bowl. According to that study, 76 percent of women and 59 percent of men ages 16-24 said the video changed their perception of the phrase "like a girl." Also, 81 percent of women said the video can change the way people think about the stereotypes surrounding women's physical abilities.

This spot—created by Leo Burnett, as the original was—won't go megaviral like the first one, simply because the first one had that magical insight. But it's a good way to keep the campaign going.

"The theme of this year's International Women's Day is 'Make It Happen,' and that's exactly what girls are doing by rewriting the meaning of #LikeAGirl," said Always global vp Fama Francisco. The new video celebrates amazing young girls around the globe and encourages everyone to continue the movement every day and everywhere, because together, we're making #LikeAGirl mean amazing things."

Sure, drones are almost taking people's heads off at TGI Friday's. But they can be loyal and useful airborne employees for brave ad agencies willing to embrace the future.

Or maybe they'll just wreak havoc.

Check out the video below, from creative and technology agency MRY, to see what might happen if a creative agency actually hired drones. And check out the New York City Drone Film Festival on March 7, of which MRY is a sponsor.

The "Play with OREO" campaign, which launched in January, continues this month with a lovely new set of out-of-home ads featuring groovy illustrations from 10 artists.

The artists were given words to play off—functional ones like "dunk" and "twist," as well as more emotional ones like "dream" and "wonder"—and asked to come up with a scene that brings those words to life. The only requirement was that the scene include a character with the Oreo cookie wafer as the face/head.

The ads will run outdoors in New York City, Los Angeles and Indianapolis and shared through Oreo social channels starting this week. The featured artists are Shotopop,Jeff Soto,Ryan Todd,McBess,Andrew Bannecker,Geoff McFetridge,Andy Rementer,Alex Trochut,Craig and Karl and Brosmind.

See all the ads below, along with credits.

CREDITS
Client: OREO, Mondelez International, Inc.
Advertising: The Martin Agency
Public Relations: Weber Shandwick
Social: 360i
Media Buying: MediaVest

Client Credits:
VP, Global Biscuit Category Jason Levine
VP, Brand Strategy and Communications Jill Baskin
Senior Director, OREO & Chips Ahoy! Janda Lukin
OREO Global Brand Manager Flavio Ackel
OREO Sr Associate Brand Manager Kerri McCarthy

Agency Credits:
Chief Creative Officer: Joe Alexander
SVP/Executive Creative Director: Jorge Calleja
VP/Creative Director: Magnus Hierta
VP/Creative Director David Muhlenfeld
VP/Associate Creative Director/Design: Chris Peel
Associate Designer: William Godwin
Senior Studio Artist: Matt Wieringo
VP/Group Planning Director: John Gibson
Strategic Planner: Gigi Jordan
EVP/Worldwide Acct Director: John Campbell
SVP/Group Acct Director: Darren Foot
VP/Account Director: Leslie Hodgin
VP/Account Director: Britta Dougherty
Account Supervisor: Molly Holmes
Account Coordinator: James Salusky
EVP/Managing Director Production & Development: Steve Humble
Senior Art Producer: Anya Mills
Senior Print Producer: Paul Martin
Junior Print Producer: Jamie Parker
Group Project Management Supervisor: Giao Roever
Business Affairs Supervisor: Juanita McInteer

Illustrators:

—Bernstein Andruilli
Shotopop
Jeff Soto
Ryan Todd
McBess
Andrew Bannecker
Geoff McFetridge

—Big Active
Andy Rementer

—Levine Leavitt
Alex Trochut
Craig and Karl
Brosmind

Harley-Davidson has always celebrated the individuality of the rider, and the motorcycle brand cranks that up in new ads from agency Wolfes LLC with theme "Roll Your Own." And the work tries to break the stereotype of who rides Harleys and how they ride them.

The campaign debuts Wedneday with a series of 30- and 60-second broadcast ads, print ads, online advertising and social content. The ads will air during the NCAA men's basketball tournament, as well as on theCHIVE.com and Heavy.com.

There's a lot of text going on in both the print and broadcast work, with Twitter handles, brief and sometimes cryptic headlines, the #RollYourOwn hashtag and the DarkCustom.com URL.

"The new creative is about each rider defining their independence and attitude, whether kicking up dirt on the track or sliding through the curves on ice," says Dino Bernacchi, U.S. marketing director at Harley-Davidson.

See more of the work below.

Everyone loves a good how-to. We were mesmerized by Aaron Draplin's sick design skills a few months ago. And now video tutorial site Lynda presents another killer demo. 

To celebrate Photoshop's 25th anniversary, the site has been rolling out some interesting vignettes of artists and designers using their platform to make cool stuff. In the video below, we watch James White create a rad '80s-inspired neon laser horse from scratch, and it's pretty cool. It's part of his "Overdrive" series and an impressive larger body of design and illustration work.

White explains his inspiration: "The reason I chose this—for Photoshop's 25th anniversary—is because I think this is the image that I wanted to create almost 20 years ago, in 1995, when I first started using Photoshop."

Check it out:

The downtown business commission in Halifax, Nova Scotia, created this video to get you to buy one of its date-night packages. But it might force you to give up dating altogether.

The concept is actually based on this viral video from 2009, featuring a montage of 1980's VideoMate dating profiles that was truly full of nerfherders. Halifax's collection of clueless Romeos and one singular Juliet is likewise sure to bring the Internet to the schadenfreude party as quickly as the original did.



The point is that the hardest part of dating in Halifax is finding someone to date. (And that is probably true, given that OkCupid has an outdated interface, eHarmony will reject you, Craigslist will probably get you killed, and you're now going to have to pay twice as much for Tinder if you're over 30.)

But if you've got the dating part covered, Halifax will handle the rest.

And after watching the video, couples probably will book date nights right now—if only to make sure they never have to get back in the dating pool again.

While 2014 brought a surge of pro-female advertising, brands kicked it up a notch at the Super Bowl this year with some pro-dad advertising. Now, parents are rallying for Amazon to change the name of its popular Amazon Mom program—which helps parents buy the right kid products for the prenatal through toddler years—to Amazon Family.

The call for change was inspired by the death of popular dad blogger Oren Miller, who had promoted a petition for Amazon to change the name.

"Please sign that petition. Please," Miller once wrote. "It's not about a name and it's not about me personally being offended and it's not about stupid emails about yoga classes. It's about a company that looks at the U.S., then looks at England, and then decides that over there, parent equals mom or dad, while here, well, we're not ready for that yet."

Dads (and moms and non-parents) have taken to Twitter, using the hashtag #AmazonFamilyUS and sharing an image which deftly questions why the name "Amazon Family" is used in the U.K., Canada, Germany, Austria, France and Japan, but in the U.S., apparently only moms are purchasing diapers and Pop-Tarts en masse.

Traveling constantly for work can suck, and Delta wants you to know it understands.

A new ad from Wieden + Kennedy New York tackles that familiar trope, as a drone of a man trudges through relatable little first-world indignities—the electronic keycard to his hotel room not working, getting lost going for a run in foreign streets, ironing a tie he's still wearing (but wait ... isn't that how everybody does it at home, too?).

The whole spot hangs on the pensive singsong 1970 recording "Love You" by pop group The Free Design (also, how Suzanne Vega's 1987 classic "Tom's Diner" might sound if it were a nursery rhyme). The track is hypnotizing, if maybe a little preachy or misleading, implying the sad sack should be better enjoying his surroundings, some of which are stunning.

He does make the most of his suffering ... maybe? To some degree? Looking at the views? Talking to people? Eating different foods? But mostly his face says it's a lonely, alienating and exhausting trek.



The creatives also might peek through the curtain a little (sick of leaving loved ones behind to go on shoots?), but it doesn't really matter. The images are generic enough examples of business travel that the guy could just as easily be in plastics.

Eventually, he makes it to a safe haven ... the plane.

"It's not home, but with every well-considered detail, it becomes one step closer," says the voiceover. True as that may be, it certainly puts a positive spin on the situation, given that yet another intercontinental flight might actually end up being the least comfortable part of the whole ordeal.

CREDITS
Client: Delta Air Lines
Project: "On the Road"

Agency: Wieden + Kennedy, New York
Executive Creative Directors: Susan Hoffman and David Kolbusz
Creative Directors: Sean McLaughlin and John Parker
Copywriter: Eric Helin + Jean Sharkey
Art Director: Mathieu Zarbatany + Devin Sharkey
Head of Content Production: Nick Setounski
Broadcast Producer: Cheryl Warbrook + Helen Park
Brand Strategist: Meranne Behrends + Sam Matthews
Account Team: Liz Taylor, Meghan Mullen, Jasmina Almeda
Business Affairs: Sara Jagielski, Keri Rommel, Sonia Bisono, Rylee Millerd

Production Company: Epoch
Director: Martin de Thurah
Managing Director: Mindy Goldberg
Executive Producer: Melissa Culligan
Head of Production: Megan Murphreee
Producer: Michaela Johnson
Production Supervisor: Terry Gallagher

Editorial Company: Rock Paper Scissors
Editor: Mikkel Nielsen
Executive Producer: Eve Kornblum
Post Producer: Jen Milano
Post Executive Producer:
Editorial Assistant: Misha Kozlov

VFX Company: The Mill
VFX Lead Flame: Nathan Kane
Colorist: Fergus McCall
VFX Flame Artists: Krissy Nordella, Ben Kwok, and Jamin Clutcher
VFX CG Artists:
Producer: Colin Moneymaker

Sound Studio: Sonic Union
Sound mixer: Steve Rosen / Fernando Ascani
Producer: Melissa Tanzer + Justine Cortale

Marvel both delighted and infuriated its rabid fan base today by making them work together to unlock the new Avengers: Age of Ultron trailer by tweeting about it. But good news: The trailer is amazing.

All morning, a promoted post on Twitter asked fans to "tweet to unlock" the new ad, and now the spot is live. Check it out below for your fix of James Spader, Robert Downey Jr. and an overflowing superhero smorgasbord:

Business Insider produced a video that corrects common mispronunciations of 15 brand names. The voiceover sounds a bit like Siri—knowledgeable but snotty.

Among the highlights, we learn that Guerlain should be pronounced "ghor-lehng," not "girl-lane"; Porsche isn't "porsh" but "POR-sha"; Zagat should be "za-GAT," not "za-get"; and Lululemon is, in fact, "loo-loo-le-mon," not "loo-loo-leem-own." (Some folks pronounce it "loo-loo-leem-own"? Really? Perhaps they drank too much "steh-lah-are-twa.")

Thanks for the lecture, biz-ness in-side-err! Via Design Taxi.

Every plastic bottle in your bathroom dreams of a better life.

At least, they do in Keep America Beautiful's new recycling ads from Pereira & O'Dell. The next phrase of the "I Want to Be Recycled" campaign launches today, and shows bathroom bottles looking forward to future experiences that are way more fulfilling that getting your grubby body clean.

The two 30-second spots below, created in partnership with The Ad Council and sponsor Unilever, personify products' dream of being recycled into something new by being told through first-person POVs.

The campaign is based on new research that says nearly half of Americans (45 percent) aren't recycling their bathroom products. It also suggests 52 percent of people don't know which bathroom items can be recycled, and 47 percent don't have a recycling bin in their bathroom.

The "I Want to Be Recycled" campaign, launched in 2013, has gotten nearly $68 million in donated air time and media space, and ranks as the second most supported Ad Council campaign by network cable TV.

Agencies like to trumpet their account wins in breathless emails, but here's a press release that plays things closer to the vest. It seems Catch New York has been hired by Vans for an "extra super top secret project." Reportedly. Allegedly. Possibly.

See the release below.

Pictured above are agency co-founder and managing partner Joe Perello, partner and CCO Doug Spitzer, and co-founder and managing partner Arie Kovant.

At least, that's supposedly them.