Marketing communications agency Campbell Ewald has promoted Laura Rogers to executive creative director. Previously group creative director, Rogers will continue to oversee creative for OnStar, Cadillac Magazine and Chevrolet New Roads Magazine, plus content specific programs for clients including Valero and Meritage Homes. She will report directly to Jo Shoesmith, chief creative officer.
“With 25-plus years of content development, CRM and digital media experience, Laura has been a pioneer in modern content marketing,” said Shoesmith. “She is a proven leader and mentor, and has contributed to the success of the agency in a significant way.”
A 22-year veteran of Campbell Ewald, Rogers joined the agency as an art director and meticulously grew her talent. She has developed award-winning content for assorted clients, contributed to new business efforts and has dedicated much of her time to providing mentorship and career development opportunities amongst her peers.
“There was a very vivid moment in my career when I recognized the important difference between doing great work and leading great work. A moment that made me realize the more minds that are able to bring an idea to life, the better the idea becomes,” said Rogers. “Since that ‘a-ha’ moment, I challenge myself to continually find ways to help people embrace collaboration, to see things differently, and to distinguish their unique talents. As a result, I am humbled and grateful of the talent that surrounds me every day.”
Throughout her career at Campbell Ewald, Rogers has also worked on leading brands including United States Postal Service, Kaiser Permanente, U.S. Navy and USAA.
Review: Writer-Director Aaron Schimberg’s “A Different Man”
Imagine you could wake up one morning, stand at the mirror, and literally peel off any part of your looks you don't like โ with only movie-star beauty remaining.
How would it change your life? How SHOULD it change your life?
That's a question โ well, a launching point, really โ for Edward, protagonist of Aaron Schimberg's fascinating, genre-bending, undeniably provocative and occasionally frustrating "A Different Man," featuring a stellar trio of Sebastian Stan, Adam Pearson and Renate Reinsve.
The very title is open to multiple interpretations. Who (and what) is "different"? The original Edward, who has neurofibromatosis, a genetic disorder that causes bulging tumors on his face? Or the man he becomes when he's able to slip out of that skin? And is he "different" to others, or to himself?
When we meet Edward, a struggling actor in New York (Stan, in elaborate makeup), he's filming some sort of commercial. We soon learn it's an instructional video on how to behave around colleagues with deformities. But even there, the director stops him, offering changes. "Wouldn't want to scare anyone," he says.
On Edward's way home on the subway, people stare. Back at his small apartment building, he meets a young woman in the hallway, in the midst of moving to the flat next door. She winces visibly when she first sees him, as virtually everyone does.
But later, Ingrid (Reinsve) tries to make it up to him, coming over to chat. She is charming and forthright, and tells Edward she's a budding playwright.
Edward goes for a medical checkup and learns that one of his tumors is slowly progressing over the eye. But he's also told of an experimental trial he could join. With the possibility โ maybe โ of a cure.
So... Read More