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

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WE'RE ALL FANS

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Industry Advertising & Communication
Media Promo & PR
Market United States
Agency TBWA\Chiat\Day Los Angeles
Associate Creative Director Ed Mun
Executive Creative Director Patrick Oneill
Creative Director Bob Rayburn, Patrick Condo
Account Supervisor Jennifer Dde St. Remey
Released April 2010

Credits & Description

Category: Best Use of TV & Radio in a Promotional Campaign
Advertiser: RECORDING ACADEMY OF LOS ANGELES
Product/Service: 52ND ANNUAL GRAMMY AWARDS
Agency: TBWA\CHIAT\DAY LA
Date of First Appearance: Apr 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)
Associate Creative Director: Ed Mun (TBWA \ Chiat \ Day)
Associate Creative Director / Associate Director: Kirk Williams (TBWA \ Chiat \ Day)
Associate Creative Director/ Copywriter: Eric Haugen (TBWA \ Chiat \ Day)
Agency Producer: Mara Milicevic (TBWA \ Chiat \ Day)
Assistant Producer: Alicia Portner (TBWA \ Chiat \ Day)
Production / Direction / Editorial / Animation / Design: SALT (SALT)
Music Editing / Arranging: Elias Arts (Elias Arts)
Mixing: Play Studios (Play Studios)
Account Director: Dave Dreyer (TBWA \ Chiat \ Day)
Account Management Supervisor: James Aardahl (TBWA \ Chiat \ Day)
Account Supervisor: Jennifer Dde St. Remey (TBWA \ Chiat \ Day)
Account Executive: Maura Menapace (TBWA \ Chiat \ Day)
Media placement: OOH Posters - National - 4 January 2010
Media placement: TV Spots - National Broadcast Television - 4 January 2010
Media placement: Website - Online - 4 January 2010
Media placement: Website Visualizer & IPhone App - Online - 11 January 2010
Media placement: TV Spots - National Broadcast Television - 11 January 2010
Media placement: Print - Magazine Publications - 11 January 2010

Describe the objective of the promotion.
Like the industry they honour, the GRAMMY Awards were experiencing declining numbers and the perception of being out-of-touch with their audience. To get people excited about the 52nd GRAMMYs, they desperately needed to reconnect with music fans and give them a reason to care.

Describe how the promotion developed from concept to implementation
Traditional award-show promotion relies heavily on showing as many celebrities as possible. But today, fans already have unprecedented access to those celebrities through their social networks. They’re blogging about them, tweeting, and uploading videos celebrating their favourite artists. So we made a radical shift for the GRAMMYs brand and decided to put the fans front and centre. WE’RE ALL FANS used actual fan-generated content in every element of the campaign.

Describe the success of the promotion with both client and consumer including some quantifiable results
The groundswell of online buzz was great for the GRAMMYs. The 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.

Explain why the method of promotion was most relevant to the product or service
WE’RE ALL FANS invited music fans to become part of the GRAMMY conversation for the first time ever. When fans actually saw themselves in broadcast spots, they took to their social networks to spread the news. The spots were widely shared on sites like Facebook and Twitter, and even inspired fans to create and post their own versions on video hubs like YouTube. Soon celebrities like Perez Hilton and Lady Gaga herself were tweeting about the spots and the campaign.