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

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WE'RE ALL FANS (POS)

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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: Posters
Advertiser: RECORDING ACADEMY OF LOS ANGELES
Product/Service: 52ND ANNUAL GRAMMY AWARDS
Agency: TBWA\CHIAT\DAY LA
Date of First Appearance: Feb 1 2010 12:00AM
Entrant Company: TBWA\CHIAT\DAY LA, USA
Entry URL: http://www.wereallfans.com/
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)
Media placement: OOH Posters - National - 4 January 2010

Describe the challenges and key objectives
Although the GRAMMY Awards are considered to be the ultimate achievement in music, they have famously struggled with the perception of being outdated and out-of-touch. With the music industry itself in decline, how can an award show honoring it stay relevant? Our task was to change the perception of the GRAMMYs as 'The Grannies' and prove they still mean something in the 21st century.

Describe the brief from the client
We knew that if we were going to get people excited about the GRAMMYs again, our campaign would have to engage music fans in a whole new way. In the age of 'American Idol,' 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 engage their audience. And establish a true connection with the fans without compromising their 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 sites allow fans to share and connect around music like never before. To visualise this, we created portraits of GRAMMY-nominated artists created entirely from fans’ social media. Every element of the campaign – posters, broadcast spots, the website, digital media, and even in-show graphics at the GRAMMY telecast itself – was designed to reflect the living, breathing pulse of music.

Give some indication of how successful the outcome was in the market
When fans saw themselves in the GRAMMY posters, they were pumped, and they quickly took to their social networks to spread the news. The groundswell of online buzz led to the GRAMMYs’ best ratings in 6 years, with a 32% increase in the coveted 18-34 audience. WEREALLFANS.COM attracted more than 300,000 fans in just one month. But the biggest proof of the posters’ effectiveness might have been in how many of them were stolen by fans.