Subscribe: Mediaweek - News
Added By: Feedage Forager Feedage Grade B rated
Language: English
ads  bezos  brand  company  digital  director  marketing  mdash  media  million  new  people  political  story  wwe  year 
Rate this Feed
Rate this feedRate this feedRate this feedRate this feedRate this feed
Rate this feed 1 starRate this feed 2 starRate this feed 3 starRate this feed 4 starRate this feed 5 star

Comments (0)

Feed Details and Statistics Feed Statistics
Preview: Mediaweek - News

AdWeek : All News


What's the Most Expensive Political Audience to Reach? Yep, It's Millennials

Fri, 21 Oct 2016 13:09:16 +0000


With the third presidential debate now behind us, the only thing left this election season is the final three-week blitz of political ads.

When all is said and done after Election Day on Nov. 8, some predict it will have been the most expensive year in terms of political ad spending. (Borrell Associates predicts total spending across all races could hit $11.7 billion.) But not all voters are priced equal. In fact, according to one report, millennials are the most expensive group to reach.

Using current market prices for television, desktop and mobile ads, programmatic advertising platform TubeMogul examined the type of reach campaigns could achieve with a $5 million budget over a one-month period. The company also looked at audience pricing based on age, political affiliation and preferred device. (Last month, TubeMogul's research showed online video ads were more effective at swaying voters than linear TV ads.)

Taylor Schreiner, TubeMogul's vp of research said based on the $5 million budget, a campaign could reach 3.6 million Republicans ages 18 to 24 at a cost of $1.39 per person. That's the highest price for any group, according to TubeMogul. On the other hand, the campaign could reach 24.8 million Democrats based on the same budget, and the cost-per-person falls to just 20 cents. Schreiner gave two more examples: $5 million reaches 14.7 million female Democrats at 34 cents per person, but if they're looking to reach independent voters between the ages of 25 and 34, they can connect with 8.4 million people, and it'll cost 59 cents per person.

Determining the demos that are most expensive to reach has more to do with viewing habits than the size of the audience, Schreiner said. Groups that are harder to find are more expensive, but how a campaign reaches them is "dramatically different."

"In this cross-screen world, you're seeing that the hard-to-find groups are expensive to get to, but that's assuming you're doing it right," Schreiner said. "If you are doing an all mobile strategy or all desktop strategy or all TV strategy, you're liable to have a really hard time reaching these groups. … You end up with lower cost, but more missing of the mark."

Here's a deeper look at the price of reaching specific audiences, the possible reach and where to find them:




Media Files:

Ad of the Day: Campy Humor Holds Loctite's Latest Spots Together

Fri, 21 Oct 2016 12:59:07 +0000

Loctite really put a lot of itself into these new commercials. In fact, the company's adhesive and insulation products were used to build the long, continuous sets that give the 30-second spots their unique visual identity. In the first ad below, we learn how Loctite helps contractors and DIYers solve "gap problems." You'll marvel (or not) as the pitchman glides past stylized brick and tile wall mockups treated with Loctite foam. That guy's quite the expert on gaps, and he may even seem a bit familiar: allowfullscreen="" frameborder="0" height="367" src="" width="652"> Yas! It's Chris Reese—aka, "Gaps"—who shook his fanny pack for all it was worth in the brand's lauded 2015 Super Bowl commercial. (VH1 crowned it "the greatest" Big Game ad of the year, and the spot placed third among Adweek's favorites.) This time around, "our Loctite clients briefed us to rethink the traditional demo ad," says Jason Bottenus, creative director at Fallon, which developed the campaign. "We knew we wanted to continue the brand voice we established with our Super Bowl ad. The challenge was to make a demo people would actually watch and believe." Hey, who could have more credibility on bonding stuff into "one sexy continuous thing" than a bro with a unibrow? Check out the hairy hijinks below: allowfullscreen="" frameborder="0" height="367" src="" width="652"> Now, in the first ad, Reese's toothy divide is the real gaping deal. In the second spot, actor Jeffrey Lewis required makeup to adequately fabulize his forehead. The technical issues involved in filming presented quite a challenge. "Both the actors and the camera moved on a dolly simultaneously," Bottenus says, "so it took an extreme amount of coordination and a lot of takes to give the illusion of a single-take spot." Overall, it's a fun way to showcase what most folks would consider a dull product, and Fallon deserves credit for keeping its grip on the campy Super Bowl vibe that proved so appealing. On set, Bottenus says, a good time was had by all: "Everyone, including our Loctite clients, took a turn getting a photo op while sitting on the chair glued to the wall." CREDITS Client: Loctite Agency: Fallon Chief Creative Officer: Jeff Kling Creative Director: Jason Bottenus Copywriter: Lucas Tristao Art Director: Daniel Alves Director of Film Production: Pat Sidoti Account Services: Chris Lawrence Business Affairs: Joanna Jahn Director: Fatal Farm (Gifted Youth) Editor: Kyle Brown (Arcade Edit) Color: Mark Gethin (MPC) Flame: Mark Holden (MPC) Mix: Jeff Payne (Eleven) Sound Design: Tone Farmer [...]

Media Files:

9 Eye-Opening Digital Marketing Stats From This Week

Fri, 21 Oct 2016 12:50:11 +0000

It was an unusually interesting week in digital marketing stats, with some numbers proving to be surprising and others mind-boggling. The following nine data points particularly got our attention. 1. Talk about a ridiculous YouTube win Emirates, the airline from United Arab Emirates, got social media star Casey Neistat to create a nine-minute video about his experience in first class on the airline, as he recently flew from Dubai to New York City. The superbly luxurious accommodations included his own private cabin, a cozy bed, a private mini-bar, showering facilities and caviar. This plane ticket evidently costs more than $21,000. His video was published on Sept. 19, but people can't stop watching it—the clip has now been viewed a whopping 23 million times on YouTube. Taking people to the lap of luxury is an old content trick—so maybe Neistat is his generation's Robin Leach. allowfullscreen="" frameborder="0" height="367" src="" width="652"> 2. Pinterest booms According to social marketing company Kinetic, Pinterest advertisers spent around 3.5 times more on the platform in the third quarter compared to the prior quarter. 3. Facebook dips IgnitionOne's Q3 study found that Facebook ad spend is down 22 percent because of the gradual elimination of the social network's ad exchange, called FBX, which is being shut down this month. FBX, which entails desktop ad retargeting tools, has been winding down since May. 4. AI interest isn't superficial Artificial intelligence is all the rage. The latest example is ContentSquare—which counts Best Western, L'Oreal, Unilever and Lacoste as clients—getting $20 million in series B funding.  Co-headquartered in New York and Paris, ContentSquare employs AI to capture behavioral data for ecommerce and digital marketing.   5. Undebatable success Excedrin benefited from 46,000 Twitter mentions on Wednesday during the presidential debate between Donald Trump and Hillary Clinton, according to Talkwalker. That raw number represents a 3,100 percent increase compared to the prior day. The mentions also constituted a 360 percent jump when comparing the first three days of this week and Monday through Wednesday last week, per the social media analytics player. How did the brand pull it off? It bought Twitter's promoted trend ad for the debate, while tweeting a handful of times with a clever hashtag—#DebateHeadache. Frustration only makes the #DebateHeadache worse. Relieve your headache fast with Excedrin®. — Excedrin® (@Excedrin) October 20, 2016 6. Uber growth At Vanity Fair's New Establishment Summit, Uber CEO Travis Kalanick said that his app has 40 million monthly riders paying an average of $50 for the company's ride-sharing services. That's approximately $6 billion per quarter, which is roughly $1 billion more in bookings than Uber reported to shareholders for the second quarter. Uber's growth this year has been staggering: A late August story in Bloomberg reported the technology company had $3.8 billion in bookings during Q1. So in just two quarters, ride bookings have jumped 58 percent. 7. Activision is much bigger than Netflix Speaking of growth, Activision Blizzard CEO Bobby Kotick said his company has 500 million monthly active users in 196 countries, claiming that his network of players is five times bigger than Netflix.  8. $400 million equals confidence NBCUniversal is investing another $200 million in BuzzFeed, according to Recode. Comcast's TV and movie division is literally doubling down on the digital publisher, after it originally invested $200 million in BuzzFeed 14 months ago. The confidence shown by NBCUniversal is intriguing, since BuzzFeed has struggled with revenue growth expectations this year.  9. Mobile elusiveness Holiday shoppers can be pretty fickle, according to Google's[...]

Media Files:

How WWE's Shakespearean Storytelling Helped It Become a Brand Powerhouse

Fri, 21 Oct 2016 12:00:01 +0000


WWE has attracted 750 million social media followers and become the No. 1 sports channel on YouTube by mastering an oft-cited but still totally effective marketing tactic: storytelling. WWE's chief brand officer Stephanie McMahon spoke Thursday at the ANA Masters of Marketing Conference in Orlando, Fla., about how the brand leveraged its content to build a loyal—and massive—fan base.

McMahon offered these three keys to WWE's marketing success:

1. Content-first approach

"You want content that's relatable, genuine, authentic and resonates with your consumer," McMahon said. "They have to have a reason to care."

Like Shakespeare, opera or ballet, WWE creates compelling, good-versus-evil content with larger-than-life characters, she added. "If we're doing our jobs right, you become invested in our characters' tragedy and triumph."

McMahon herself is a character in WWE stories. "I wear many hats," she laughed. "I play a villain, so when I hear people booing me on TV, it's good. I love it."

2. Pop culture and brand integration

In addition to having two reality show franchises on E!, Total Divas and Total Bellas, WWE puts celebrities in WWE events and has WWE stars make appearances on other TV shows. Jon Stewart, who's a WWE fan, appeared at SummerSlam twice. "These integrations have to be authentic, and Jon Stewart had a whole lot of fun with it," McMahon said.

WWE also executes brand integrations at events. At this year's SummerSlam, it used the storyline of a feud between stars Dolph Ziggler and The Miz for a stunt for KFC (Ziggler dressed as Colonel Sanders and The Miz dressed as a chicken).

3. Giving back

WWE sponsors antibullying programs and has partnerships with charitable organizations like the Boys and Girls Clubs of America and Susan G. Komen for the Cure. "It's important for us to give back to the community and put smiles on our fans' faces, and create memories for them," McMahon said.

Media Files:

CVS' Marketing Chief Says Phasing Out Tobacco 'Helped Prove the Company's Purpose'

Thu, 20 Oct 2016 22:07:27 +0000


When Norman de Greve joined CVS Health, the company's plans to phase out tobacco, effectively losing $2 billion in annual revenue to become a major player in the health care field, were already rolling. That, of course, was part of the reason he wanted to join. For de Greve, tobacco hits home: He lost his father to lung cancer when he was just 7 years old. 

Now, two-and-a-half years later, CVS Health has helped drop tobacco sales by one percent across all retailers and proved its purpose of "helping people on their path to better health," de Greve told attendees, while speaking at the Masters of Marketing Conference in Orlando today.

Plus, 500,000 consumers visited the section of the company's site devoted to quitting smoking and 260,000 people sought help from counselors at CVS.

The move also scored 100 million media impressions for CVS Health and revamped the way people see the brand. In 2015, 40 percent more influencers saw the brand as impactful in improving health, versus 2014. 

"Selling cigarettes and antibiotics in the same store is just wrong," said de Greve. "Two-and-a-half-years later and we're still the only pharmacy not selling tobacco. Rite Aid, it's your move."

But even with its successful tobacco exit (when asked if there was blowback from the tobacco lobby de Greve couldn't recall any) that doesn't mean CVS is taking aim at alcohol or sugar.

"Tobacco is unique, it is universally bad," said de Greve. "For us, there likely will not be another tobacco-like thing. It's just not going to happen." 

Still, the company is "looking to [shelve] healthier options," from brands like Chobani, Annie's, Amy's, as well as some almond milk, noted de Greve.  

Media Files:

Jeff Bezos Isn't Convinced That the Washington Post Can Survive on Payment Services

Thu, 20 Oct 2016 19:58:27 +0000

Jeff Bezos, Amazon chief and owner of the Washington Post, isn't sure that services like paywalls and tiered subscriptions can work for publishers. During a wide-ranging panel at Vanity Fair's New Establishment Summit, Bezos talked about how he works with the Washington Post staff, as well as the tech giant's recent move into artificial intelligence and his thoughts on the presidential election. One of the most interesting nuggets in the conversation came out when Bezos talked about how the Washington Post plans to make money in the future. Despite running arguably the world's biggest ecommerce company, asking consumers to pay for content isn't a model that he's totally sold on. "These things can change, but I don't see evidence yet that consumers are amenable to those kinds of micro-payments," Bezos told a packed room. "In the early days of music subscription services, consumers were not amenable to music subscriptions—they didn't want that, they wanted to buy it a la carte. Habits and behaviors and patterns of consumers do change slowly over time—maybe one day they will pay." Bezos also said that he wants to move the Post from "making a relatively large amount of money per reader, having a relatively small number of readers—that was the traditional Post model for decades, [a] very successful model by the way," to, "a model where we make a very small amount of money per reader on a much, much larger number of readers." Whether Bezos' vision means reducing the paper's ad load or changing new ad formats isn't clear, but he said that he thinks it will include a mixture of both ads and subscriptions. Over the past year, the Washington Post has experimented with a number of new ad products that seemingly fit the bill for Bezos' mandate. In May, the paper rolled out ads that have faster load times, for example. And last month, it started rolling out a mobile website that promises to load pages in less than a second. In terms of his surprising move to get into the media business three years ago when he acquired the Washington Post, "I did zero due diligence," Bezos said. "I did not negotiate, I accepted the asking price. It couldn't have happened that way except for the person that I was dealing with was Don Graham, who I've known for 15 years and was the most honorable person." According to Bezos, Graham—the then-owner of the paper—laid out every single problem as well as every great quality when making the deal. "I've owned the paper for a couple of years now and if anything, the warts are not as bad as he made them out to be and the things that are great about the Post are stronger than he made them out to be," he said. He also compared the culture of the Post as, "swashbuckling, but they're like professional swashbucklers." That said, Bezos is purposely hands-off with the paper's team. "This is a highly professionalized activity [and] we have people who have decades of experience doing it. I try to help at a much higher level than, 'should we cover this story or that story.'" Artificial learning Bezos talked a bit about Echo's artificial intelligence technology that uses deep learning to learn more about users' speech patterns, music preferences and more. "The fact that it's always on, the fact that you can talk to it in an actual way removes a lot of barriers, a lot of friction—it's easier than taking your phone out of your pocket," Bezos said. In one example of how AI is affecting bigger industries—like the food and grocery space—Bezos said that Amazon is using technology to grade the quality of strawberries for consumers who buy groceries through its Amazon Fresh program. Lastly, Bezos briefly spoke about the presidential [...]

Media Files:

Donald Trump's Lack of Ad Spending Is Leaving a Hole In Local Media's Pocket

Thu, 20 Oct 2016 19:55:43 +0000

The presidential debates provided plenty of free airtime.Gif: Dianna McDougall; Sources: CNN, Shutterstock The presidential election has been momentous and memorable: the first woman nominee of a major party, a businessman/reality show candidate, leaked emails, bigly, Ken Bone and Billy Bush. But local media will remember the 2016 race for what it didn't provide: significant ad revenue. Media forecasting firm Magna originally projected this year's political ad spend to be 15 percent above 2012, which would have set a new record. But current forecasts put the ad buy in line with the 2012 campaign. "[Donald Trump] is not nearly spending what Mitt Romney or John McCain's campaigns did eight years ago," said Mark Fratrik, svp and chief economist for BIA Kelsey. "That disappointed the outlooks of local media companies." Local TV ad sales were underwhelming despite a 10 percent increase this year. "Good, but it fell below our anticipations," added Vincent Letang, evp of global market intelligence for Magna. Around $2.8 billion was booked in local political TV ad sales this year, up 3 percent from 2012 dollars. It's particularly not impressive because a total of $20 billion was spent on local TV ads overall, excluding political ads. "When Trump was a candidate in the primaries, he spent very little," said Letang. "We thought once he got the nomination and gained more access to GOP fundraising, he'd spend closer to what Romney did during his general election [of 2012]. That didn't happen." But it's not just Trump's underwhelming spend that surprises analysts. "We all thought Virginia would continue to be a battleground state for the campaigns. But it just isn't. [Hillary] Clinton has been spending more in Arizona, which comes as a surprise," Letang said. Close Senate and governor races have helped fill the political ad gap created by the presidential campaigns. For example: Indiana Gov. Mike Pence created an empty seat when he joined Trump on the Republican ticket for president. Fratrik similarly noted the close senatorial and gubernatorial races in Florida, traditionally a battleground state as well. "The presidential race is only about a third of the total political spending in an election cycle," said Letang. "The bulk of spending is on congressional, gubernatorial and local ballots." The presidential campaigns also took some of that TV money and moved it to digital which offers a "low cost" option for marketers, according to Fratrik. According to the forecast report from Magna released in earlier this month, "digital advertising sales will equal TV ad dollars for the first time, with both generating $68 billion, a market share of 38.5 percent." Earlier this year, an IAB report found that digital media matches TV as a source of information about candidates. In fact, more than a third of registered voters claimed that digital sources would be their "most important method of getting candidate information." Engaged U.S. voters, the IAB report also stated, find digital media and TV as essentially equal in importance as primary sources of information about presidential candidates and political issues.  "Overall, it's still a strong year for political ads," said Fratrik. "Since campaigns are saving money by using digital marketing, there's plenty of money left for over-the-air television ads and local cable." "One could argue you'd spend an enormous amount of money to reach a small amount of people [through local TV ads], but they can make or break an election, especially in swing states," said Letang. [...]

VML Made an Incredibly Haunting Picture Book That's Really Not at All for Kids

Thu, 20 Oct 2016 19:45:58 +0000

If you picked up a copy of Welcome to My Neighborhood with the illustration of a joyful mouse, bunny and kitten holding hands and dancing on the cover, you might think you'd found the perfect picture book for your little one. But upon closer inspection, you'd see a broken whiskey bottle in one corner, an empty tin can in another and a worn-looking mattress in the background. It's a picture book all right, but it's definitely not intended for kids. VML created the book, described as a bedtime story to wake people up, pro bono for Youth Ambassadors, an organization that works with young people in troubled communities facing anything from domestic violence to hunger. Making something that looks like your average picture book but that isn't for children was intentional on the part of VML, and a key to making the campaign work. "It's a children's book not for children," said Tiffany Lynch, co-founder of Young Ambassadors. "Why would we allow these stories to happen to children in our city when we can't even allow our own children to look at what's inside? It's the juxtaposition of those two ideas that VML so brilliantly came up with that really shocks you." One of YA's biggest youth empowerment programs designed to help struggling kids overcome some of the terrible things they face every day is journal writing. "By getting the urban, poor teens to open up and write down on paper what their reality is, it really does help them to talk about it and start the healing process," Lynch said. After looking over a thousand or so entries from Youth Ambassadors, the team decided to pick three stories and feature versions of them in the book. The three central issues are violence in the home ("The Good Man"), hunger ("Dinner Time"), and gun violence and murder outside the home ("My Big Brothers"). In "My Big Brothers," the author, Angie, tells the story of how her three older brothers ended up in jail. Here's the full text from that story: "I have three big brothers. I love them very much, but they don't always do the right thing. The first one is in prison because he tried to rob a bank. My second brother is in prison because he shot a man eleven times in broad daylight. The man owed my brother money, but didn't pay it back. And then there's my third brother. Some man tried to rape him in a bathroom so he choked the man to death. I love my big brothers, but they don't always do the right thing." The illustrations for each story by artist Davey Gant are done in classic storybook style, but the work perfectly depicts much darker and harsher realities. "The struggle that these kids go through on a daily basis is almost incomprehensible by the rest of us that don't live in these neighborhoods," said Aaron Evanson, executive creative director at VML. "It's so hard to relate to anything they go through. You think you may have a bad day. It's not even close to what some of these kids are going through."  VML and Youth Ambassadors hope to distribute the books to all kinds of community leaders including foundations, government agencies, policy makers and educators. "We see this on the news all the time but we are numb to it," Lynch said. "When you open up this book, because of the medium, it shocks you. The idea is that people pay attention in a different way, and it strikes a chord in a different way." Outside of handing physical copies to decision-makers in communities like Kansas City, VML is also working with RW2 Productions to created an animated version of the book narrated by children reading the three stories. The team is also creating a stuffed bunny like the one in the book to send to community leaders. "We have an[...]

Media Files:

Goldman Sachs Is Trying to Recruit Millennials by Running Ads on Spotify

Thu, 20 Oct 2016 19:01:12 +0000


For its latest marketing investment, Goldman Sachs is spending on Spotify.

The financial-services firm started running ads Wednesday on the music-streaming service in the U.S. and U.K. in hopes of recruiting younger candidates. The campaign includes a 30-second spot hinting at a few of the roles potential employees might be interested in.

"What advice would you give a tech firm breaking into a new market?" the ad says. "How would you help grow a university's endowment? Discover this and more at Goldman Sachs, because a career here could take you anywhere."


The ad then redirects listeners to a 14-question career quiz on Goldman's website that helps visitors determine the part of the company that might be the best fit for their skills and interests.

It isn't the first time Goldman has turned to a millennial-focused medium. A year ago, it ran ads on Snapchat in hopes of recruiting college students via the app's Campus Story channel. Earlier this year, the company again used Snapchat, buying ads in support of International Women's Day.

It's not the first time Goldman has worked with Spotify, either. It advised the Swedish company earlier this year as it raised $1 billion in debt financing. As The Wall Street Journal reported in March, raising debt instead of equity could help Spotify maintain a higher stock price if it decides to pursue an initial public offering.

Media Files:

Ad of the Day: Mads Mikkelsen Is a Riveting, Bizarre Hitman in Ford's 8-Minute Gangster Flick

Thu, 20 Oct 2016 17:37:57 +0000

The new Ford Edge is so enchanting, it will turn the vicious assassin that an arms dealer hired to kill you into a smitten guardian angel—though the killer with the heart of gold might still steal your ride as payment for his protection. So says a new eight-minute short film for the automaker from agency GTB, starring actor Mads Mikkelsen as the hitman, and directed by Jake Scott. Tracking the story of a couple turned state's witness against a weapons smuggler, it follows them into hiding as Mikkelsen's character stalks them, and their bright orange SUV, which apparently they've decided to bring with them to their new Mediterranean village home. (Presumably it was just too good to give up, even if they didn't mind changing their faces with a little casual plastic surgery.) allowfullscreen="" frameborder="0" height="367" src="" width="652"> Mikkelsen, playing the titular "Le Fantôme" or "The Ghost," is ultimately so charmed by the car that he refuses the bounty, and even protects the couple from the second murderer sent to replace them—swapping their Edge for an old two-seat motorcycle and a couple of plane tickets to Peru. In other words, the film straddles the line between the somber and the absurd—though how intentionally isn't, at first, entirely clear. The stakes are high—life and death. The hero is blocky. His motivation is goofy—a point that seems most deliberate when he pauses his hunt to nuzzle the car. The Ford seems woefully out of place, a point the story halfway strives to acknowledge but doesn't quite defuse. Its modern profile sticks out like a sore thumb against the lush, classic, dilapidated backdrop that the production so beautifully shapes. Ultimately, it doesn't feel believable. This isn't a luxury automobile, and it's not obvious whether Ford is asking people to laugh at the car without quite giving reason to do so, or to applaud the car as a down-to-earth antidote to the hackneyed, dazzling underworld tropes the film goes to great lengths to polish. Ultimately, it's most likely the latter. A fair reading would find the whole film a delightfully arch send-up of gangster narratives, and a celebration of modesty and morality. Regardless, the visuals are wonderful, and Mikkelsen's performance is eminently watchable—enough in its own right to keep the audience hooked, and guessing. In fact, the only real crime may be the color of the car. CREDITS Agency: GTB Chief Creative Officer: Julian Watt Executive Creative Director: Bryn Attewell Creative Director: Peter Hvid
Producer: Romila Sanassy
Group Business Director: Sarah Rosser Account Director: Sian Patrick
Senior Account Manager: Luke Johnson Account Executive: Mathilde Pors
Planning Partner: Stephen Wallace President: Paul Confrey
Client Services Director: Fabio Ruffet Director, Integrated Planning: Melanie Elliot Prod Company: RSA Films Director: Jake Scott
Exec Producer: Cindy Burnay
Editor: Joe Guest at Final Cut Director of Photography: Mark Patten Production Designer: Joseph Bennett Photographer: Nigel Harniman Cast Le Fantôme: Mads Mikkelsen
The Widow: Barbara Steele
Hero Couple: Karin Perathoner and James Brown The Kingpin: Jon Campling
Interpol Agent: Zarko Radic Ford Vice President, Marketing, Ford of Europe: Matthew Van Dyke Marketing Communications Director, Ford of Europe: Anthony Ireson Brand Content Manager, Ford of Europe: Lyn West
SUV Brand Content Manager, Ford of Europe: Chris Rushton [...]

Media Files: