What's better: a drum solo or a guitar solo?
Mmm... I like drum solos and I also like guitar solos. But which ones best? There's only one way to find out: DRAG RACE!
Yes, in the latest ad for Australian iced coffee drink Ice Break, ad agency The Monkeys, Sydney and The Glue Society looked to settle the age-old rock'n'roll debate with a drag race between two cars, one representing the electric guitar solo (above, check the back seat amp detail), and another (below) racing for the glory of the drum solo.
The advert follows on from the recently released online film which launched the brand's national outdoor campaign (that carried the strapline 'add a motor to your day') in which two advertising billboards were mounted on drag cars and raced to see which one would end up sporting an Ice Break ad. See that film here.
In the new film, two muscle cars are fully customised for the race, a 1973 VJ E44 Valiant Charger 318 V8 (guitar solo), and a 1970 XY Ford GT Replica 351 V8 (drum solo). They race, and one, inevitably, wins...
The word on the drag strip is that another two Aussie muscle cars will soon be seen racing in the next brand film which promises an epic cult-movie themed battle as Kung-Fu takes on Sci-Fi. Furthermore, Ice Break drinkers can actually enter a competition on the icebreak.com.au website to win one of the four muscle cars made to star in the films.
Agency The Monkeys
ECD Justin Drape, Scott Nowell
Creative director / partner Micah Walker
Digital creative director Jay Gelardi
Art director Jed DePyper
Copywriter Carlos Savage
Agency producer Jade Wannell
Director Matt Devine, The Glue Society
Executive producer Michael Ritchie
Production company Will O'Rourke
Head of projects Josh Mullens
Producer Adrian Shapiro
DOP Stephan Duscio
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In our November issue we look at ad agency Wieden + Kennedy in a major feature as it celebrates its 30th anniversary; examine the practice of and a new monograph on M/M (Paris); investigate GOV.UK, the first major project from the Government Digital Service; explore why Kraftwerk appeals so much to designers; and ponder the future of Instagram. Rick Poynor reviews the Phaidon Archive of Graphic Design; Jeremy Leslie takes in a new exhibition at the Whitechapel Gallery dedicated to experimental magazine, Aspen; Mark Sinclair explores Birmingham's Ikon Gallery show of work by the late graphic designer, Tony Arefin; while Daniel Benneworth-Gray writes about going freelance; and Michael Evamy looks at new telecommunications brand EE's identity. Plus, subscribers also receive Monograph in which Tim Sumner of tohave-and-tohold.co.uk dips into Preston Polytechnic's ephemera archive to pick out a selection of printed paper retail bags from the 70s and 80s.
The issue also doubles up as the Photography Annual 2012 – our showcase of the best images in commercial photography produced over the last year. The work selected is as strong as ever, with photographs by the likes of Tim Flach (whose image of a hairless chimp adorns the front cover of the issue, above); Nadav Kander (whose shot of actor Mark Rylance is our Photography Annual cover); Martin Usborne; Peter Lippmann; Giles Revell and more.
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