Category Archives: Winner

Assen 14 augustus 1946 Albertus Gerardus Conard BERT

Assen 14 augustus 1946
Als een vuurteken en onder het zonneteken LEEUW wordt er een creatieve en actieve organisator geboren.

Het getal 5
De vibratie van het getal 5 hoort bij de planeet Mercurius. Het vertegenwoordigt communicatie, beweging en veelzijdigheid. Het is het getal van het intellect en van modelinge en schriftelijke expressie.
Hij wordt beinvloed door het getal 5 omdat hij op de 14de van de maand geboren is. Mensen die op de 5de geboren zijn, staan vooral onder de invloed van dit getal. Dat geldt ook voor degenen die op de 14de geboren zijn.

Wisselwerking met het zonneteken Leeuw:
Dank zij zijn opvallend veelzijdige kracht harmoniseert dit getal met het zonneteken of staat er lijnrecht tegenover, afhankelijk van de stemming ven het moment. De aard van het moment is uiterst veranderlijk en het aanpassingvermogen is groot, zodat deze mensen het ene moment met zichzelf in harmonie leven als ze dat willen, en het andere in onvrede met zichzelf. Het is nooit eenvoudig deze mensen echt te leren kennen. Hun dromen veranderen als kwikzilver.

De betekenis van de 5-vibratie
De volgende definitie van het getal 5 geldt wederom zowel voor personen als voor entiteiten. Mensen met dit getal bezitten een grote natuurlijke charme en zijn in het algemeen van nature hoffelijk. Fouten en onnauwkeurigheden weten ze snel op te sporen en ze aarzelen niet erop te wijzen. Ze zijn zeer kritisch en niet in staat fouten te negeren (zowel die van zichzelf als van anderen).

Beweging en Uitdaging
het getal 14 op de geboortedag houdt verband met magnetische communicatie met het publiek door middel van schrijven, publiceren, en alle middelen van moderne media.
Parelgrijs lichtgroen en zilver zijn de kleuren die hem goed doen.

Bekende leeuwen:
Woody Harrelson, Eriq LaSalle, Jennifer Lopez, Amelia Earhart, Matt LeBlanc, Iman, Sandra Bullock, Kevin Spacey, Mick Jagger, Carl Jung, Stanley Kubrick, Confucius, Peggy Fleming, Beatrix Potter, Jacqueline Kennedy Onasis, Paul Taylor, Peter Jenning, Hilary Swank, Lisa Kudrow, Arnold Schwarzenegger, Wesley Snipes, Bill Berry, Jerry Garcia, Coolio, James Bladwin, Martin Sheen, Martha Stewart, Tony Bennett, Percy Bysshe Shelley, Raoul Wallenberg, Billy Bob Thornton, Neil Armstrong, Lucille Ball, Andy Warhol, David Duchovny, Dustin Hoffman, Whitney Houston, Gillian Anderson, Melanie Griffith, Antonio Banderas, Rosanna Arquette, Alex Haley, Mark Knopfler, Alfred Hitchcock, David Cosby, Halle Berry, Steve Martin, Earvin “Magic” Johnson, Marcia Gay Harden, Ben Affleck, Madonna, Angela Bassett, Sean Penn, Brenda Carlisle, Robert de Niro, Edward Norton, Robert Redford, Christian Slater, Matthew Perry, Bill Clinton, Connie Chung, Isaac Hayes, Alicia Witt, Wilt Chamberlaine, Tori Amos, Jennifer Lopez, Antonio Banderas, Steve Carell, Barack Obama, Casey and Ben Affleck, Whitney Houston, Fidel Castro, George Bernard Shaw, Madonna, Andy Warhol, Robert Redford, Dustin Hoffman, Alfred Hitchcock, Mae West, Jacqueline Kennedy Onassis, Robert De Niro, Arnold Schwarzenegger, Stanley Kubrick, Peter O’Toole, Emily Bronte, Bill Clinton.
1987 Linda Goodman’s Sterrentekens ” de geheime codes van het universum” Uitgegeven Uitgeverij Kosmos BV ISBN 90 215 1349

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Ad Age Digital A-List: Google Creative Labs

The Two Men Behind Android’s Little Green Robot Are Redefining Search Giant’s Consumer Brand

By: Michael Learmonth Published: February 27, 2011

When Google began recruiting agency execs in 2007, it had no reputation for marketing anything, much less itself. Andy Berndt was co-president of Ogilvy, New York, at the time, with no desire to leave. Robert Wong was creative director at Arnold Worldwide. “When they called me, it was an odd job description,” Mr. Berndt said. “But it’s like when a spaceship lands in your backyard, and the door opens. You just get in.”

That spaceship became Google Creative Lab, responsible for marketing everything from Android and Chrome to Google Docs and the Nexus One, and even its core product — the one that needs no marketing — search. It’s also defining what it means to be a creative professional inside a culture driven by scientists and engineers.
Google Lab’s projects tend toward the lo-fi and emphasize brainy over glitzy, with one big, fat multimillion-dollar exception: “Parisian Love,” the web video that Google placed during the 2010 Super Bowl. But even that was Google all the way. The video itself was created by a group of design students recruited to, among other things, “remind people what they love about Google search.” But the end product had an added effect. “It summed up why we come to work every day,” Mr. Berndt said. “People at Google were proud of it. It explained to people how we feel about what we do better than speeches or any PowerPoint could.”
Google’s traditional ethos is that the product “should win on it own merits.” But the Super Bowl ad showed the founders are open to any idea, even if it means spending a few million to boost morale. “The expectation from the founders is how big you can think and what sort of insane impact can you have,” Mr. Wong said. “For a creative person, you have a shot at doing for the Google brand what the engineers do for the Google brand.”
The very first work created by Google Creative Lab was the familiar little green Android space robot, now a powerful symbol of Google’s Android brand. But Android isn’t about Google; it’s meant to be repurposed by carriers and customized by users. Hence, earlier this year, an Android app, Androidify, which allows anyone to make themselves into a little green bot. That app soared to No. 1 in the Android Market.

Media spending is still tiny compared with other big consumer brands: only $11 million on measured ad spending in 2009 and $29 million in the first nine months of 2010, according to Kantar Media. (Verizon, by comparison, spent more than $3 billion in 2009.) Messrs. Berndt and Wong admit that after years of working on the biggest stages, going small is an adjustment. The Super Bowl ad was a one-off, which doesn’t mean it won’t happen again — just that the Creative Lab’s output is going to look more like the Arcade Fire video “The Wilderness Downtown,” made to show the capabilities of HTML5, but also the possibilities for a music video. Viewers can input their own addresses (or the addresses of their childhood homes) and see images from the neighborhood integrated into the video.
“It lets you do things in a browser that makes it feel like that browser is your computer,” Mr. Wong said. A demo video, sure, but wrapped in a bigger question: “Is this the future of the music video?”

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Pretty Polly Legs 11 – Behind The Scenes

Wow very creative that’s what’s all about in 2011- my compliments “A sneak peak behind the Scenes”

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Five Billionaires Who Live Below Their Means

by Katie Adams
Thursday, April 1, 2010
provided by

At least once in your life – maybe even once a week or once a day for that matter – you have fantasized about coming into a lot of money. What would you do if you were worth millions or even billions? Believe it or not there are millionaires and billionaires among us who masquerade as relatively normal, run-of-the-mill people. Take a peek at some of the most frugal wealthy people in the world.

Warren Buffett
Millions of people read Buffett’s books and follow his firm, Berkshire Hathaway’s, every move. But the real secret to Buffett’s personal fortune may be his penchant for frugality. Buffett, who is worth an estimated $47 billion, eschews opulent homes and luxury items. He and his wife still live in their modest home in Omaha, Nebraska which they purchased for just $31,500 more than 50 years ago.

Although he’s dined in the best restaurants around the globe, given the choice he would opt for a good burger and fries accompanied by a cold cherry Coke. When asked why he doesn’t own a yacht he responded “Most toys are just a pain in the neck.” (Find out how he went from selling soft drinks to buying up companies and making billions of dollars.

Carlos Slim
While most of the world is very familiar with Bill Gates, the name Carlos Slim rarely rings a bell. But it’s a name worth knowing. Slim, who is a native of Mexico, was just named the world’s richest billionaire – that’s right, richer than the uber-famous Microsoft founder. Slim is worth more than $53 billion and while he could afford the world’s most extravagant luxuries he rarely indulges. He, like Buffett, doesn’t own a yacht or plane and he has lived in the same home for over 40 years.

Ingvar Kamprad
The founder of the Swedish furniture phenomenon Ikea struck success with affordable, assemble-it-yourself furniture. For Kamprad, figuring out how to save money isn’t just for his customers, it’s a high personal value. He’s been quoted as saying “Ikea people do not drive flashy cars or stay at luxury hotels.” That goes for the founder as well. He flies coach for business and when he needs to get around town locally he either takes the bus or will head out in his 15-year-old Volvo 240 GL.

Chuck Feeney
Growing up in the wake of The Depression as an Irish-American probably has something to do with Feeney’s frugality. With a personal motto of “I set out to work hard, not get rich,” the cofounder of Duty Free Shoppers has quietly become a billionaire but even more secretively given almost all of it away through his foundation, Atlantic Philanthropies. In addition to giving more than $600 million to his alma mater Cornell University, he has given billions to schools, research departments and hospitals.

Loath to spend if he doesn’t have to, Feeney beats both Buffett and Kamprad in the donation category, giving out less grants than only Ford and the Bill and Melinda Gates Foundations. A frequent user of public transportation, Mr. Feeney flies economy class, buys clothes from retail stores, and does not wast money on an extensive shoes closet, stating “you can only wear one pair of shoes at a time”. He raised his children in the same way; making them work the same normal summer jobs as most teens.

Frederik Meijer
If you live in the Midwest chances are good that you shop at Meijer’s chain of grocery stores. Meijer is worth more than $5 billion and nearly half of that was amassed when everyone else was watching their net worth drop in 2009. Like Buffett he buys reasonably-priced cars and drives them until they die, and like Kamprad he chooses affordable motels when on travel for work. Also, like Chuck Feeney, rather than carelessly spending his wealth Mr. Meijer is focused on the good that it can provide to the community.

The Bottom Line
The dirty little secret of some of the world’s wealthiest people is that they rarely act like it. Instead of over-the-top spending, they’re busy figuring out how to save and invest to have that much more in the future. It’s a habit you might want to consider in order to build up your own little storehouse of cash.

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Word ook een succesvolle loser

22 mrt Rob Hartgers

Dirk Scheringa weet een goed slaatje te slaan uit het DSB-drama. Hoe slaat ook u munt uit een mislukking? Kom er in 3 tips achter.

Het DSB-drama is voor Dirk Scheringa niet alleen kommer en kwel. Zijn lezingen in het land zijn een ware goudmijn. Hoe doe je dat eigenlijk: munt slaan uit een mislukking?

1. Ken geen gêne
Als er iemand weet wat het is om te verliezen, is het internetondernemer Arko van Brakel wel. “Ik ben een paar keer in mijn carrière flink op mijn bek gegaan”, vertelt hij bijna trots. “De eerste keer lik je je wonden, de tweede keer heb je halverwege in de gaten wat er gebeurt, de derde keer zie je het van verre aankomen.”

Waarschijnlijk was iedereen Van Brakels zakelijke mislukkingen allang vergeten, als hij ze in columns en lezingen niet steeds weer oprakelde. Dat doet hij met een reden: hij vindt dat Nederland toleranter moet worden tegenover fouten. “Je moet kunnen verliezen om te kunnen winnen. Mensen die blijven hangen in hun schaamte zullen nooit werkelijk succesvol zijn.”

Zijn ergste fouten maakte Van Brakel naar eigen zeggen in situaties waarin hij niet luisterde naar zijn intuïtie. Zoals in het geval van het jammerlijk mislukte internetbedrijf Jamby. “Ik had er vanaf het begin geen goed gevoel over, maar liet me leiden door wat anderen tegen me zeiden. Achteraf neem ik dat niemand kwalijk. Je toekomst wordt bepaald door de momenten waarop je een beslissing moet nemen. Geen beslissing is ook een beslissing, dat vergeten veel mensen. Ze zoeken een excuus om hun eigen matige presteren te rechtvaardigen. Het is echter vooral de angst om fouten te maken die leidt tot middelmaat.”

2. Ha, een blunder!
Wil je John Vollenbroek echt gelukkig maken, vertel hem dan een anekdote over een grove fout of stevige blunder. “Mensen en organisaties die feilloos willen zijn, maken geen ontwikkeling door”, doceert de ‘foutengoeroe’, die met zijn adviesbureau Human Error Consultancy van fouten zijn beroep wist te maken. “Pas als je je eigen feilbaarheid accepteert, kun je leren van de mislukkingen van anderen. Ik ga er nooit van uit dat ik alles op orde heb. Fouten zijn nu eenmaal nooit uit te sluiten. Je kunt wel de kans op herhaling verkleinen. Vaak gaat het om simpele dingen. Controleer bijvoorbeeld altijd een factuur voor hij de deur uit gaat. Vooral bij routineklussen liggen fouten op de loer.”

Managers hebben het niet makkelijk met mislukkingen, erkent Vollenbroek. “De manager is een januskop. Enerzijds moet hij voorkomen dat er fouten worden gemaakt, anderzijds moet hij niet te bot reageren op gemaakte fouten. Werknemers mogen merken dat je baalt van een fout, maar doe moeite om te begrijpen waarom het misging. En vertel over je eigen mislukkingen.”

Om te illustreren hoe het niet moet, vertelt Vollenbroek een anekdote: “Ik bezocht een fabriek waar een zwaar ongeval was gebeurd. Het bleek dat men op de werkvloer al langer wist van de onveilige omstandigheden. Het hoofd veiligheid vroeg aan een lasser waarom hij dit niet eerder had gemeld. De lasser vertelde dat hij vreesde zijn baan te verliezen als hij kritiek uitte op de werk omstandigheden. Het echte probleem lag dus bij de veiligheidsmanager. Die man sprak nooit met zijn medewerkers.”

3. It’s het calvinisme, stupid!
Niet mogen mislukken is de schuld van onze cultuur, denkt Arjan van Dam, auteur van het boek De kunst van het falen. “Het is het calvinisme. De cultuur van zaaien met de liniaal, het hard afstraffen van fouten. Mensen gaan daar niet harder van lopen,
ze worden hooguit behoedzamer.” In het Nederlandse onderwijs ligt de nadruk te eenzijdig op prestaties, vindt Van Dam. “We leven in een toetscultuur waarin alleen het resultaat telt. Dom, want wie geen lessen trekt uit mislukkingen, gooit het kind met het badwater weg.”

Ook Van Dam ziet fouten als voorwaarde voor succes. “Mensen die bang zijn om op hun bek te gaan, worden nooit succesvol.” Het ergste vindt hij mensen voor wie alleen presteren telt. “Zij zijn alleen uit op een positieve beoordeling of – erger nog – het voorkomen van een negatieve beoordeling. Zo’n werkhouding maakt angstig en depressief. Dat soort mensen gaat uitdagingen uit de weg.”

Geen leermiddel is immers zo effectief als het eigen falen, stelt Van Dam. “Maar ook het falen van anderen kan leerzaam zijn.” Het bijwonen van een spreekbeurt van Dirk Scheringa kan dus best nuttig zijn, concludeert hij. “Maar je moet opletten op wat hij vertelt. Zijn eigen analyse van wat er misging bij DSB is niet automatisch de beste.”

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Redden!?

Wie redt wie, en wat zijn de gevolgen. Overheden, centrale banken, de EU zijn constant aan het redden en met name “banken” maar nu ook landen? Onze samenleveing is zo verweven en met elkaar verstrengeld dat we een failliete grote bank of land onmiddellijk gaan redden, helpen met geld veel geld van ons allen. Is dat wel de oplossing denk ik steeds,een rotte appel gooi ik weg om de anderen gezond te houden.
De wereld is toe aan een normale natuurlijke marktwerking. De partijbelangen boven de algehele belangen en dat is heel kwalijk. Kiezers moeten heel goed nadenken, eerst voor de gemeente verkiezingen en op 9 juni voor de landelijke verkiezingen geef een signaal af.

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The Fall of Advertisting & The Rise of PR

The Fall of Advertisting & The Rise of PR: Chapter Summaries
Today, great brands are built with PR, not advertising.

Part 1: The Fall of Advertising.
Advertising has always suffered from a lack of credibility. An advertisement is the opinion of a company whose motives and judgment are not the same as those of a consumer. Advertising tries to make up for its limitations by massive media expenditures. The emphasis has been on impact rather than on communications.

Over the past few decades, three developments have seriously undermined the effectiveness of advertising in general. One is the increasing costs for any individual advertisement. The second is the increasing volume of advertising. And the third is the expansion of advertising media to include almost every available opportunity to influence a consumer. (From ball games to bathrooms to blimps).

This triple combination has seriously eroded the effectiveness of all advertising programs, including those of the largest spenders. For four years in a row, from 1997 to the year 2000, General Motors was the largest advertiser in America, spending $13.2 billion on advertising. In those four years, General Motors’ share of the U.S. automobile market dropped from 32.1 percent to 28.1 percent.

Other big advertisers, including McDonald’s, AT&T, Nike and Coca-Cola have had similar records. Big budget don’t necessarily produce big sales or profit increases. In response to its critics, the advertising industry has tried to divorce itself from a focus on effectiveness to a focus on “creativity” and “awards.”

The role of advertising, according to many of its defenders, is not to sell anything, but to capture the prospect’s attention. No advertising has gotten as much attention as the Budweiser campaign, “Whassup?” The Whassup? campaign has won more awards than any other advertising program in advertising history, including the Grand Prix for TV and Cinema at Cannes.

Advertising Age reported the euphoria that erupted when the Cannes award was announced: “The half-dozen spots from DDB Worldwide, Chicago, for Anheuser-Busch’s Budweiser beer were so widely popular with festival goers that during screening audience members were still shouting the infectious catchphrase two categories after alcoholic drinks ended.”

“It was fresh and amusing, and everyone fell in love with it,” said one TV judge. “It took about 5 minutes to decide and was almost 100%.”

The following year, Budweiser won a Bronze Lion at Cannes for “What are you doing?” a yuppie spoof of the Whassup? campaign. And August Busch IV, Anheuser-Busch’s vice president for marketing was named Advertiser of the Year for Budweiser campaigns’ “outstanding and consistent quality Éover the past few years.”

Wait a minute, did “Whassup?” or “What you are doing?” sell any Budweiser beer? As a matter of fact, U.S. sales of Budweiser beer (in barrels) have fallen every year for the last decade, from 50 million barrels in 1990 to less than 35 million barrels in the year 2000. Whassup, Budweiser?

Part 2: The Rise of PR.
Advertising builds brands is the claim of the advertising industry. The American Advertising Federation, for example, is running an ad campaign with the theme, “Advertising. The way great brands get to be great brands.”

Yet virtually all of the new brands recently created have been PR successes, not advertising successes. To name a few: The Body Shop, Starbucks, Red Bull, Amazon.com, Yahoo!, eBay, Palm, PlayStation and BlackBerry. Anita Roddick built The Body Shop into a major worldwide brand without any advertising. Instead she traveled the world on a relentless quest for publicity.

Until recently Starbucks didn’t spend a hill of beans on advertising either. In ten years, the company spent less that $10 million on advertising, a trivial amount for a brand that delivers annual sales of $1.3 billion today. Starbucks, on the other hand, received an enormous amount of favorable publicity.

Wal-Mart became the world’s largest retailer, ringing up sales approaching $100 billion, with very little advertising. A Wal-Mart sibling, Sam’s Club, averages $45 million per store with almost no advertising. In the pharmaceutical field, Viagra, Prozac and Valium became worldwide brands with almost no advertising. In the toy field, Beanie Babies, Tickle Me Elmo, and PokŽmon became highly successful brands with almost no advertising. In the high-technology field, Oracle, Cisco and SAP became multi-billion dollar companies (and multi-billion dollar brands) with almost no advertising.

We’re beginning to see research that supports the superiority of PR over advertising to launch a brand. A new study of 91 new product launches shows highly successful products are more likely to use PR-related activities than less successful ones. Commissioned by Schneider & Associates in collaboration with Boston University’s Communications Research Center and Susan Fournier, an associate professor of marketing at Harvard Business School, the study is believed to be the first of its kind. “We learned that the role of PR, while underutilized, was extremely significant when leveraged,” said the study.

Part 3: The rebirth of advertising.
Over time, a new brand reaches a point where it runs out of publicity potential. The question arises, how to maintain a brand once a brand has been built by PR techniques. Here is a role that advertising can play. Maintaining a brand, rather than creating it. But “brand maintenance” advertising has be completely different from the “creative” approach advertising normally takes.

Because of its credibility problem, advertising cannot be “creative,” using the dictionary definition of the word, meaning “original” or even “new and different.” Advertising needs to work with what already exists inside the prospect’s mind. Advertising needs to reinforce existing perceptions rather than creating new ones. Advertising needs to be “old and the same.”

When the Goodyear blimp says “#1 in tires,” the consumer thinks, Yes, Goodyear is No. 1 in tires so they must make better tires. (When Firestone says, “Making it better,” the consumer thinks, No, Firestone doesn’t make better tires because I’ve read in the paper about all their tire problems).

Advertising in its finest form is cheerleading. Advertising touches ideas and concepts that already exist in the mind, brings them to the surface and strengthens them. Originality is the antithesis of what good advertising is all about. The creative cheerleader who brings an original cheer to the big game is going to be disappointed in the crowd’s reaction.

“What the hell was that all about,” is the typical reaction to most television commercials. The creativity gets in the way of the true function of advertising which is not to communicate or inform customers and prospects.

The true function of advertising is to reinforce an existing message. If you want to send a new message, use PR.

Part 4: Advertising is the wind. PR is the sun.
In one of Aesop’s fables, the wind and the sun had a dispute over who was the stronger of the two. They decided to settle the issue by trying to make a traveler take off his coat. The wind went first but the harder the wind blew the more closely the traveler wrapped his coat around himself.

Then the sun came out and began to shine. Soon the traveler felt the sun’s warmth and took off his coat. The sun had won.

You can’t force your way into the prospect’s mind. Advertising is perceived as an imposition, an unwelcome intruder who needs to be resisted. The harder the sell, the harder the wind blows, the more the prospect resists the sales message.

Advertising people talk about impact. Spreads, inserts, foldouts and full color vs. black and white in print ads. Frenetic action, crazy angles and jump cuts in television commercials. Turning up the volume in radio spots. But these are exactly the attributes that say to a prospect, don’t pay any attention to me, I’m an advertisement.

The harder an advertisement tries to force its way into the mind, the less likely it will accomplish its objective. Once in awhile a prospect drops his or her guard and the wind will win. But not very often.

PR is the sun. You can’t force the media to run your message. It’s entirely in their hands. All you can do is smile and make sure your PR material is as helpful as possible.

Nor does the prospect perceive any force in an editorial message. It’s just the opposite. The prospect thinks the media is trying to be helpful by alerting me to a wonderful new product or service.

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