BOY SCOUT intimate conversations between the world’s most creative people featuring profiles with writers, artists, thumb nosers and creative thinkers who posses the spit and polish to get things done. Boy Scout burns with diverse, artistic expression and crackles with an authentic, off-center spirit, highlighting subjects who continue to break revolutionary new ground through a wellspring of popular, untraditional, gay, and concrete culture. Created by Workhouse and Marcel Mutt as a commemorative in honor of the agency's 20th anniversary, inaugural interviews include Kate Pierson (B-52’s), Tama Janowitz (Slaves of New York), Matthew Modine (Stranger Things), Mele Mel & Scorpio (Grandmaster's Furious5), Bebe Buell (Pop Culture Icon!), Legs McNeil (Please Kill Me), John Holmstrom (Punk Magazine), Amos Poe (Blank Generation), Anton Perich (Experimentalist!), Lady Rizo (Showstopper!), Penny Arcade (Bitch! Dyke! Faghag! Whore!), Jonny Podell (Podell Agency), Jimmy Webb (I Need More), Jenn Hampton(Parlor Gallery)  and many more. Visit boyscoutmagazine.com

"From the cave man to the campfire, the serenade of storytelling appears to be obscenely absent within the impatient immediate. In creating Boy Scout, I realized how very much I miss the art of listening. The bigness of biography. The siren of each soul singing. Tales of triumphs and tragedies. Of hopes and hardships. Of wants and desires. Of sound and fury. Boy Scout illuminates the voice behind the words. The clarity of heart in the vocalization of each subject’s spirit. To hear passion and pride, nostalgia and need — this radio play return to truth — gives greater importance to the mystery of meaning, syntax, cadence and cool. Listen and learn." - Adam Nelson, Workhouse, CEO
​
A portion of the proceeds received through advertising will be directed to God's Love We Deliver. 
Follow Boy Scout on Instagram, Facebook, Twitter, Tumblr. Interested media please contact Workhouse via email info@workhousepr.com or telephone +1 212. 645.8006.  

Marcel Mutt is an anonymous French-based graffiti artist, sculptor, political activist and video director. His satirical street art and subversive epigrams combine dark humor with graffiti executed stenciling and sculptural techniques. Marcel's works of political and social commentary have been featured on streets, walls and bridges throughout the world. Mutt’s creative grew out of the Paris underground which involved collaborations between punk artists and street musicians. His first known sculptural project was planted on 28 July 1997. It appeared within the French Right Bank on a narrow cobblestone street depicting an eight foot tall Fountain made of birch-faced ply and cast jesmonite. The work took a classic museum statue and twisted it into a sarcastically grim anti-consumer commentary. This sparked a passionate debate and divided Parisian’s as to whether it was a simple case of vandalism or a piece of artistic commentary. In this work, Mutt engaged in a direct dialogue with art history through appropriation, creating a new thought for an ordinary article of life. His sardonic take on historical myth has spawned countless imitators upon the urban landscape. Since the late Nineties, these controversial works, created in secret and unvieled under pseudonyms, continue to provide cunning commentary on the world of art, consumerism and celebrity. ​

Global freelance marketplace Fiverr has switched its focus in a new campaign designed to show the relationships and connections formed by its services.
Created with newly named agency of record, Mekanism, Fiverr’s multi-million-dollar ‘Connections’ campaign dives into the types of links made between community members on the Fiverr platform. Fiverr’s diverse community brings together people from over 190 countries, which means that every day, hundreds of thousands of new relationships are forged. The creative positions Fiverr at the intersection between business needs and freelancers who provide work solutions.
In a 45-second anthem spot, a split screen shows two people, a man and a woman, getting ready for their respective days. The voice over states: “Every few seconds, two people living separate lives discover they’re looking for the same thing – each other.” While that may sound like the start of a dating app ad, the two are then shown at their various businesses, with both trying to solve business problems, the action shared on each half screen. While the ad says that the two may never meet, they share a connection “by finding exactly what they were looking for.”
“Fiverr’s mission is to change how the world works together,” said Gali Arnon, chief marketing officer at Fiverr. "That is why our new campaign focuses on the authentic connections established on our platform; showcasing real interactions on our marketplace as well as imagery of real Fiverr community members. These people are at the forefront of this change, connecting and working with others from all over the world while advocating for us every day. Just as they’re advocating for us and helping us further our mission, it is our goal to always support and celebrate them.”
The ‘Connections’ theme is a change from the company’s ‘Doers’ focus by DCX, which came under fire for portraying freelancers as working long hours and struggling to stay above water.
Said Arnon to The Drum, regarding the shift to ‘Connections’: "We will always support and celebrate our community members; whether they are a freelancer providing services or a business owner and/or decision maker at a company completing a project. However, with this campaign, we wanted to take those two profiles and highlight the magical moments that take place between two strangers connecting to get a job done. 'In Doers We Trust' captured one person with a singular goal. 'Connections' captures the collaboration that takes place to achieve that goal."

The campaign includes long-form and short-form video for TV, social and online, as well as out-of-home and digital static executions. All campaign elements showcase the plethora of services available on the Fiverr platform, as well as the emotional sense of satisfaction felt when we accomplish something. Digital elements of ‘Connections’ will go live on a variety of social mediums including Facebook, Instagram and YouTube and experiential activations including interactive events and global partnerships will also support the campaign throughout the year.
​
"Fiverr was looking for a way to communicate the heart of their brand while highlighting the wide range of freelance services and benefits,” said David Horowitz, executive creative director at Mekanism. “We focused on the way in which Fiverr is changing the way the world works, bringing two people together from anywhere in the world to solve real business problems. By using a split screen technique, we could tell the story of the buyer and seller simultaneously, leading up to their inevitable connection through Fiverr. The seamless nature of their connection is what inspired the creative look, tone and language of all the campaign assets.”

Horowitz acknowledged that ‘Connections’ is not a complete departure from ‘Doers’, as it still contains Fiverr’s forward tone.

"Fiverr’s bold, disruptive attitude is reflective of its own community of buyers and sellers. Similar to the previous campaign, we focused on the human side of each transaction, not just the transaction itself. This time, however, we were able to go deeper into the ways in which the connection benefits the buyer, and how the particular skills of the seller delivers so much more than simply a 'gig'," he said.
​
For the OOH pieces of the campaign, which initially will launch in NYC and Chicago, the team sourced real Fiverr community members. People like Devonta White, a digital marketing manager from Brooklyn who has purchased a range of services from graphic design to video editing, or freelancer Darrent DeFreitas, a designer and 2D animator, are featured.

PYROMANIAC is a French film where the No Wave meets the Nouvelle-Vague. Written and directed by Amos Poe (The Blank Generation, Alphabet City, Empire II, etc.) and starring Jean-Pierre Leaud (400 Blows, La Chinoise, Masculin Feminin, Day For Night, The Mother and The Whore, etc.) and Isabelle Huppert (The Piano Teacher, Elle, The Romanoffs, etc.), the cinematographer is Sean Price Williams (Good Time), and the composer is Philip Glass (The Hours, Einstein on the Beach, etc.). Produced by Celine Danhier and Bunny Lake Films (Blank City), it will be shot in Paris, France this April, 2019. 

*Currently Seeking Distribution & Financing Partners, Interested relations please contact Amos Poe or Celine Danhier Location: Paris, France | Pre-Production: 6 Weeks | Production: 4 Weeks | Post-Production: 12 Weeks | Vist amospoe.com
​
Interested media please contact Workhouse, CEO Adam Nelson via email nelson@workhousepr.com or telephone +1 212. 645. 8006 

​A very simple meditative film, almost - except for some music, sound efx, possibly an occasional voice over or dialogue - a silent subjective Bressonian film... as well as a hint of Godard, Brakhage, Ophuls, Keaton, Malick and Warhol come to mind. Pop art. Our male protagonist, Gregor, is a Kafkaesque man alone in Paris. He is enthralled by fire, by flame, a yearning for burning. He is neither happy nor unhappy, not crazy or sane. He’s experiencing strange hearing loss, a special sensitivity to sound.

Structurally, a series of 12 interconnected vignettes (each 7 to 10 minutes long) in which Gregor lights fires: matches, his stove, newspapers, a car on fire, books, clothes, a house, a tall bonfire. He stalks fire houses. He steals rolls of film and in the woods, sets them on fire. On his old television he only watches The Fire Channel. Eventually he burns his clothes, TV, books. In a word, he’s obsessed. He’s sort of the ultimate urban romantic, a man alone. A hero for our post-existentialist times. A shaman. All Gregor’s friends lie predictably residing in the cemetery. He’s lets go of all his narratives, his memories, prepares for some great tabula rasa.

Gregor is unknowingly pursued by his neighbor, a Detective from the Arson Squad. The film depicts a kind of hunt for the arsonist, an almost leisurely and melancholic hunt because while there’s fire, we never know if these fires have actually harmed anyone. The detective is as lonely a figure as the pyromaniac. As obsessed. The Detective is a mirror self. A searcher in search for connection. The Detective’s experiencing some strange visual problems of her own. She’s a character looking for an exit, a bit of a perfectionist; somewhat judgemental, a dreamer.

It is a film of personal observation, primarily a meditation on human behavior. Cinematically, it allows us to mold a unique visual and aural point of view, style. And of course, Paris. An outsider’s Paris; the postcard obvious Paris, and the more discrete. Paris as anti-Paris.

The last vignette of the film: the Detective has arrested Gregor, brings him in. On the journey, they bond in an informal way, a mutual recognition of their shared humanity. From a casual observer’s point-of-view, they’re like an old couple, comfortable with each other, not from romance but from time. Upon arrival at the precinct, the Detective’s retirement papers have come through. Forgetting about the Pyromaniac in her excitement, the Detective leaves the station to pursue another way of being, another vision of herself outside of work. Free and forgotten, Gregor walks out of the station out on the street, into life... and one last fiery act.

The poster for the film is an image from behind the Pyromaniac, on a bench watching the Eiffel Tower go up in flames. This will also be the trailer (an homage to Kubrick’s The Shining trailer).