Recording Academy Design & Branding WE'RE ALL FANS (DD) by TBWA\Chiat\Day Los Angeles

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Industry Business equipment & services, Advertising & Communication, Corporate Image
Media Design & Branding
Market United States
Agency TBWA\Chiat\Day Los Angeles
Executive Creative Director Patrick Oneill
Creative Director Bob Rayburn, Patrick Condo
Released January 2010

Credits & Description

Category: Digital Design – Websites & Online Advertising
Date of First Appearance: Jan 4 2010 12:00AM
Entrant Company: TBWA\CHIAT\DAY LA, USA
Entry URL:
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)
Dig. Creative Director: Olivier Rabenschlag (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)
Digital Production Program Manager.: Keith Bellinger (TBWA\Chiat\Day)
Senior Flash Developer: David Reigler (TBWA\Chiat\Day)
Senior Flash Developer: Jason Woan (TBWA\Chiat\Day)
Senior Flash Developer: Brett Walker (TBWA\Chiat\Day)
Senior Flash Developer: Patrick Matte (TBWA\Chiat\Day)
Tech Lead: Tim Shea (TBWA\Chiat\Day)
Tech Lead: Jon Bauer (TBWA\Chiat\Day)
Quality Assurance: Lester Broas (TBWA\Chiat\Day)
Quality Assurance: Walter Velasquez (TBWA\Chiat\Day)
Director of Production: Derek VandenBosch (TBWA\Chiat\Day)
Director of Creative Technology: Ricardo Diaz (TBWA\Chiat\Day)
Strategist: Niki Webber (TBWA\Chiat\Day)
Media placement: Website - Online - 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
The GRAMMYs were not exactly known for behaving like a cutting-edge brand, and that was particularly true in the digital space. Their presence on social networks reflected a certain ambivalence, if not an aversion, to really connecting with their fans. But if we were going to get fans excited, we needed them to fundamentally change their mindset on how to engage their audience. And we would have to establish a genuine 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, a real-time social media aggregator in which actual fan-generated content was turned into constantly evolving portraits of GRAMMY-nominated artists. Every element of the campaign – the website, digital media, broadcast spots, posters, print, and even in-show graphics at the GRAMMY telecast itself – was created using fan content. Making the fans a part of the GRAMMY conversation for the first time ever.

Give some indication of how successful the outcome was in the market
When fans saw themselves on and in GRAMMY ads, they quickly took to their social networks to spread the news. The groundswell of online buzz was great for the GRAMMYs. The website attracted more than 300,000 visitors in one month, with engagement averaging 3 minutes. It was widely talked about and shared on sites like Twitter and Facebook. Positive press on sites like Digg and Mashable showed the GRAMMYs in a whole new light. But the biggest proof of success was that 26.6 million viewers tuned in to the GRAMMY telecast -- their biggest ratings in 6 years.