Independent advertising, marketing, and public relations agency Mower has added two seasoned industry vets to its roster, naming Michael Baron as sr. VP and creative director for the agency’s Buffalo, Rochester, and Boston offices and Kelly Chapman as account director for both the Buffalo and Rochester offices.
Baron, who was with Mower earlier in his career, most recently served as the executive creative director at Partners + Napier where he oversaw creative work for clients including BMW Financial Services, Corelle Brands, and Highmark Health.
Baron’s work has been recognized by The One Show, The Tellys, Effie Worldwide, and the ADDYS—where he recently took home his second consecutive Best of Broadcast Award for Highmark’s “Six Words” campaign. Prior to joining Partners + Napier, Baron also spent time at Saatchi & Saatchi, Y&R, and Hill Holliday.
Chapman also joins Mower from Partners + Napier, where she helped to create and lead the agency’s Health & Wellness vertical. She has deep experience with a variety of healthcare accounts, including insurers, providers, and OTC, and will lead Mower’s healthcare specialty practice.
Her responsibilities will also include driving growth in the Buffalo and Rochester markets, as well as contributing to other new business and organic growth initiatives. Chapman, the past president of the Rochester Advertising Federation, will remain on the board and is actively seeking opportunities to support the Buffalo advertising community.
Mower has nine offices located in New York City; Atlanta; Boston; Charlotte, N.C.; Cincinnati; and Buffalo, Rochester, Albany and Syracuse, NY.
Review: Director John Crowley’s “We Live In Time”
It's not hard to spend a few hours watching Florence Pugh and Andrew Garfield fall and be in love. In "We Live In Time," filmmaker John Crowley puts the audience up close and personal with this photogenic British couple through the highs and lows of a relationships in their 30s.
Everyone starts to think about the idea of time, and not having enough of it to do everything they want, at some point. But it seems to hit a lot of us very acutely in that tricky, lovely third decade. There's that cruel biological clock, of course, but also careers and homes and families getting older. Throw a cancer diagnosis in there and that timer gets ever more aggressive.
While we, and Tobias (Garfield) and Almut (Pugh), do indeed live in time, as we're constantly reminded in big and small ways — clocks and stopwatches are ever-present, literally and metaphorically — the movie hovers above it. The storytelling jumps back and forth through time like a scattershot memory as we piece together these lives that intersect in an elaborate, mystical and darkly comedic way: Almut runs into Tobias with her car. Their first chat is in a hospital hallway, with those glaring fluorescent lights and him bruised and cut all over. But he's so struck by this beautiful woman in front of him, he barely seems to care.
I suppose this could be considered a Lubitschian "meet-cute" even if it knowingly pushes the boundaries of our understanding of that romance trope. Before the hit, Tobias was in a hotel, attempting to sign divorce papers and his pens were out of ink and pencils kept breaking. In a fit of near-mania he leaves, wearing only his bathrobe, to go to a corner store and buy more. Walking back, he drops something in the street and bang: A new relationship is born. It's the... Read More
1 Comment
Pingback: Homepage