WE'RE ALL FANS (BD) by TBWA\Chiat\Day Los Angeles for Recording Academy

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Industry Advertising & Communication
Media Design & Branding
Market United States
Agency TBWA\Chiat\Day Los Angeles
Executive Creative Director Patrick Oneill
Creative Director Bob Rayburn, Patrick Condo
Account Supervisor Jennifer De St. Remey
Released January 2010

Credits & Description

Category: Broadcast Design & Graphics
Date of First Appearance: Feb 1 2010 12:00AM
Entrant Company: TBWA\CHIAT\DAY LA, USA
Chief Creative Officer: Rob Schwartz (TBWA\Chiat\Day)
Executive Creative Director: Patrick O'Neill (TBWA\Chiat\Day)
Creative Director: Patrick Condo (TBWA\Chiat\Day)
Creative Director: Bob Rayburn (TBWA\Chiat\Day)
Assoc. Creative Director: Ed Mun (TBWA\Chiat\Day)
Assoc. Creative Director/AD: Kirk Williams (TBWA\Chiat\Day)
Assoc. Creative Director/Copywriter: Eric Haugen (TBWA\Chiat\Day)
Account Director: Dave Dreyer (TBWA\Chiat\Day)
Acct. Management Supervisor: James Aardahl (TBWA\Chiat\Day)
Account Supervisor: Jennifer De St. Remey (TBWA\Chiat\Day)
Account Executive: Maura Menapace (TBWA\Chiat\Day)
Integrated Project Manager: Jennifer De Pablos (TBWA\Chiat\Day)
Integrated Project Manager: Melissa Heitman (TBWA\Chiat\Day)
Print Producer: Michael Pourmohsen (TBWA\Chiat\Day)
Art Producer: Anna Willman (TBWA\Chiat\Day)
Prepress: E-Graphics (TBWA\Chiat\Day)
Studio Designer: Jennifer Tranbarger (TBWA\Chiat\Day)
Outdoor Printer: Monarch Litho
Outdoor Printer: LA Graphico
Media placement: OOH Poster - National - 4 January 2010

Describe the challenges and key objectives
Although the GRAMMY Awards are considered to be the music industry’s ultimate achievement, they have struggled for decades with a reputation for being out-of-touch with their audience. They desperately needed to reconnect with music fans and give them a reason to care about the 52nd annual GRAMMY telecast. Our task was to change the perception of the GRAMMYs as 'The Grannies' and prove they still mean something in the digital age.

Describe the brief from the client
Traditionally, broadcast spots for the GRAMMYs relied heavily on star power. But if we were going to get fans excited, we knew we would have to engage them in a whole new way. Clearly, the Recording Academy’s aversion to social media was clearly going to be an obstacle. We had to convince them to fundamentally change their mindset on how to connect with their audience. And we would have to establish a real connection with the fans without compromising the GRAMMYs’ legacy as the only music awards show focused on artistic merit, not sales or popularity.

Describe how you arrived at the final design
The idea of 'WE’RE ALL FANS' was to celebrate the fans as the true pulse of music. Social media allows them to express their passion for music like never before. To visualise this, we created portraits of GRAMMY-nominated artists using thousands of pieces of actual fan-generated content. Every element of the campaign –broadcast spots, posters, the website, digital media, and even in-show graphics at the GRAMMY telecast itself – was designed to reflect the passion of the fans. And to make them part of the GRAMMY conversation for the first time ever.

Give some indication of how successful the outcome was in the market
The groundswell of online buzz was great for the GRAMMYs. The broadcast spots went viral on YouTube, garnering a combined 4.5 million views in three weeks and even inspiring fans to create their own versions. The look and feel ended up being employed even in the GRAMMY telecast’s in-show graphics. But the biggest proof of success was that 26.6 million viewers tuned in to the GRAMMY telecast, their biggest ratings in 6 years. With a 32% increase in the coveted 18-34 audience.