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

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WE'RE ALL FANS (IO)

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Industry Advertising agencies, Business equipment & services
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 De St. Remey
Released January 2010

Credits & Description

Category: Best Use of Internet/Online Advertising 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: Jan 4 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 / Assistant 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 de 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.
As an award show for a struggling industry, the GRAMMYs were experiencing dwindling ratings and an increasing perception of being out-of-touch. The WE’RE ALL FANS campaign aimed to prove that the GRAMMYs are still relevant in the digital age, and to give the fans a real reason to care.

Describe how the promotion developed from concept to implementation
The idea of WE’RE ALL FANS was to celebrate the fans as the true pulse of music. Through their social media expressions, the fans keep music alive like never before. We looked to what the fans are already doing – tweeting, blogging, and sharing content about their favourite artists – and made that the centerpiece of the campaign. As a result, fan-generated social media became the building blocks for every single campaign execution, from the website to posters, billboards, broadcast spots, online media, and even in-show graphics at the 52nd GRAMMYs telecast.

Describe the success of the promotion with both client and consumer including some quantifiable results
The WE’RE ALL FANS website attracted more than 300,000 fans in just one month, with engagement on the site averaging nearly 3 minutes (more than triple the national average). 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. But the biggest proof of the campaign’s success was that 26.6 million viewers tuned in to the GRAMMY telecast, a 35% increase from 2009. With a 32% increase in the coveted 18-34 audience.

Explain why the method of promotion was most relevant to the product or service
Given the GRAMMYs’ declining ratings, a conventional telecast promotion would have made minimal impact. WE’RE ALL FANS invited music fans to become part of the GRAMMYs for the first time ever. The website aggregated fan content in real time, showing the conversation about each artist at any given moment. The Fanbuzz Visualiser widget tracked artists with the most online buzz, giving fans incentive to keep tweeting and posting. A digital PR kit let artists’ fan bases spread GRAMMY buzz. By using fan content even in the traditional media, we turned conventional award-show promotion into something that truly galvanised the fans.