PICTIONARY – Quick Draw Wins Campaign
Advertising Agency: Ogilvy Malaysia
Executive Creative Director: Gavin Simpson
Copywriter: Adam Chan, Donevan Chew
Art director: Yee Wai Khuen, Tan Chee Keong
Gold Lion for the campaign
SCRABBLE – Elephant/Guitar/Submarine/Camera/Samurai
Advertising Agency: JWT Chile
Executive Creative Director: Leo Farfan, Matias Lecaros, Sergio Rosati
Copywriter: Matias Lecaros
Art director: Matias Lecaros
Photographer: Cristian Gastelo
Silver Lion for the campaign
LEGO – Caterpillar/Monster/Whale
PLAYSTATION 2 - Boxer/Soldier
Advertising Agency: BBDO Chile
Creative Director: Cristian Schinadeermann
Copywriter: Matias Lopez, Marcelo Correa
Art Director: Emerson Navarrete, Fernando Riveros
Typographer: Ricardo Salamanca
Gold Lion for the Campaign
LEGO – Accountant/Electrician/Engineer
LEGO – Spaceship/Beetle/Deep Ocean Explorer
Advertising agency: Leo Burnett, Moscow
Creative Director: Mikhail Kudashkin
Art Director: Arina Avdeena
Copywriter: Rodrigo Linhaners
Gold Lion for the campaign
HOT WHEELS – Big Boy
MACHBOX – Ant
MACHBOX - Mustang/Eldorado/Fleetwood
SPHERE ACTION FIGURES – Pararescue Jumper/16 Air Assault/7th Marines/Desert Rats
GAMEBOY ADVANCE – Prison
Advertising agency: Lowe Brindfors, Stockholm
Creative Director: Hakan Engler
Copywriter: Johan Holmstrom
Art Director: Richard Villar
Gold Lion for the campaign
MEDAL OF HONOR (EA Games) – Goodbye/Proud Mother/Back Home
Advertising agency: FP7 Doha
Creative Director: Fadi Yaish
Copywriter: Kalpesh Patankar
Art Director: Kalpesh Patankar
Gold Lion for the campaign
PLAYSTATION 2 – Rebirth
PLAYSTATION 2 – Veteran
PLAYSTATION 2 – Doll
PLAYSTATION 2 – Potato Head
PLAYSTATION 2 – Adultery
PLAYSTATION 2 – Moulds
PLAYSTATION 2 – Plugs
PLAYSTATION 2 – Scars
PLAYSTATION 2 – Baby
PLAYSTATION 2 – Sleeping Beauty
Advertising Agency: TBWA Paris
Creative Director: Erik Vervroegen
Copywriter: Bjoern Ruehmann/Joakim Reveman
Art Director: Bjoern Ruehmann/Joakim Reveman
Photographer: Eugenio Recuenco
PLAYSTATION 2 – Head
Advertising Agency: TBWA Paris
Creative Director: Erik Vervroegen
Copywriter: Sebastien Vacherot/Jessica Jerard- Huet/Loic Cardon/Ingrid Varetz
Art Director: Sebastien Vacherot/Jessica Jerard- Huet/Loic Cardon/Ingrid Varetz
Photographer: Yann Robert
Production Company: DEF 2 Shoot, Paris
Director: Thomas Marque
PLAYSTATION PSP – Handcuffed
PLAYSTATION 2 – Welcome
LEGO – Street Building
Agency: Ogilvy & Mather Santiago
Creative Director: Cesar Agost Carreno
Copywriter: Felipe Manalich
Art Director: Sergio Iacobelli/Sebastian Alvarado
Photographer: Juab Carlos Sotello
Grand Prix (Outdoor Lions)
LEGO – Periscope
LEGO – Fire Station/Hangar/Train Station
Agency: Saatchi & Saatchi Singapore
Creative Director: Andy Greenway
Copywriter: Stuart Harricks/Roger Makak
Art Director: Stuart Harricks
Photographer: Dean Zillwood/IDC
Silver Lion for the campaign
LEGO – Builders of tomorrow
Creative Director: Arno Lindemann/Bernhard Lukas
Copywriter: Daniel Schaeferk
Art Director: Szymon Rose
Photographer: Achim Lippoth
SCRABBLE – Beautiful World Campaign
Creative Director: Chris Garbutt
Copywriter: Arnaud Vanhelle, Benjamin Bregeault, Mihnea Gheorghiu
Art Director: Antoaneta Metchanova, Alex Daff, Najin Ha
Silver Lion for the campaign
PLAYSTATION PSP – Guide Dog
Creative Director: Juan Sanchez/Guillermo Gines
Copywriter: Vincente Rodriguez
Art Director: Hely Sanchez
TAMIYA MODEL KITS – LightsBulb/Frog/Watermelon
Art Director: Kittitat Larppitakpong/Jon Chalerwong/Thirasak Tanapatanakul
Copywriter: Nutchanun Ciaphanumas
Photographer: Anuchai Sricharunputong/Nok
Gold Lion and Silver Lion for the campaign (Press&Outdoor)
Erotische Verberlin (Erotic Shop) – Christmas Tree
Advertising Agency: Publicis, Brussels
Lust Erotic Boutique – Christmas Tree
Advertising Agency: Uncle Grey, Denmark
Wonderbra – Christmas Balls
Advertising Agency: Euro RSCG, Madrid
Yael Landman Lingerie – Christmas Tree
Advertising Agency: McCann Erickson, Belgium
Playboy – Christmas Tree ornament
Advertising Agency: Young & Rubicam, Brazil
Excite Search Engine – Christmas as you’d like it
Advertising Agency: Lowe Lintas Pirella Gottsche & Partners, Milan
Playboy – Christmas Baubles
Advertising Agency: Young & Rubicam Brazil
Selu Lingerie – Xmas Balls
Advertising Agency: Scarpato, Argentina
Triumph – Lingerie
In 1969, The Coca-Cola Company and its advertising agency, McCann-Erickson, ended their popular “Things Go Better With Coke” campaign, replacing it with a campaign that centered on the slogan “It’s the Real Thing.” Beginning with a hit song, the new campaign featured what proved to be one of the most popular ads ever created.
The story behind the song
The song “I’d Like to Buy The World a Coke” had its origins on January 18, 1971, in a fog. Bill Backer, the creative director on the Coca-Cola account for McCann-Erickson, was traveling to London to join two other songwriters, Billy Davis and Roger Cook, to write and arrange several radio commercials for The Coca-Cola Company that would be recorded by the popular singing group the New Seekers. As the plane approached Great Britain, heavy fog at London’s Heathrow Airport forced it to land instead at Shannon Airport, Ireland. The irate passengers were obliged to share rooms at the one hotel available in Shannon or to sleep at the airport. Tensions and tempers ran high.
The next morning, as the passengers gathered in the airport coffee shop awaiting clearance to fly, Backer noticed that several who had been among the most irate were now laughing and sharing stories over bottles of Coke. As Backer himself recalled in his book The Care and Feeding of Ideas:
In that moment . . . began to see a bottle of Coca-Cola as more than a drink. . . . began to see the familiar words, “Let’s have a Coke,” as . . . actually a subtle way of saying, “Let’s keep each other company for a little while.” And knew they were being said all over the world as sat there in Ireland. So that was the basic idea: to see Coke not as it was originally designed to be—a liquid refresher—but as a tiny bit of commonality between all peoples, a universally liked formula that would help to keep them company for a few minutes.
Backer’s flight never did reach London. Heathrow Airport was still fogged in, so the passengers were redirected to Liverpool and bussed to London, arriving around midnight. At his hotel, Backer immediately met with Billy Davis and Roger Cook, finding that they had completed one song and were working on a second as they prepared to meet the New Seekers’ musical arranger the next day. Backer told them he thought they should work through the night on an idea he had had: “I could see and hear a song that treated the whole world as if it were a person—a person the singer would like to help and get to know. I’m not sure how the lyric should start, but I know the last line.” With that he pulled out the paper napkin on which he had scribbled the line, “I’d like to buy the world a Coke and keep it company.”
The three members of the writing team that night each brought a different perspective to their task. Billy Davis, of McCann-Erickson, had toured as a member of the singing group the Four Tops and had written several songs for the powerful and popular Motown music production organization. Roger Cook, a native of Bristol, England, had teamed with Roger Greenaway to write several 1960s pop standards including “You’ve Got Your Troubles” and “Long Cool Woman (In a Black Dress).” Bill Backer was from Charleston, South Carolina, and had written the jingle “Things Go Better with Coke” as well as the jingle for “The Real Thing” campaign.
Appropriately, then, each contributed something different to the song they wrote together that night. Davis provided the core idea for the opening line, that everyone needs a home. Backer gave it the same pattern as the line he’d written, so that it became “I’d like to build the world a home.” And perhaps because this was, after all, the late 1960s, the three decided that the home should be furnished “with love.” Cook might have drawn on British folksong imagery when he contributed the line “Grow apple trees and honey bees, and snow white turtle doves,” which Backer and Davis at first thought too grand but eventually accepted for its poetic quality. Next, Backer penned a variation of the opening line: “I’d like to teach the world to sing in perfect harmony.” Coming full circle, the last line expressed the song’s original idea: “I’d like to buy the world a Coke and keep it company.”
The melody was based on a Roger Cook-Roger Greenaway song that Cook and Davis reworked to incorporate the melody used for the campaign slogan “It’s the Real Thing.” This allowed them to weave the updated slogan “It’s the real thing, Coke is what the world wants today” into the new song’s harmonizing voice parts. This was the result:
I’d like to buy the world a home and furnish it with love,
Grow apple trees and honey bees, and snow white turtle doves.
I’d like to teach the world to sing in perfect harmony,
I’d like to buy the world a Coke and keep it company.
It’s the real thing, Coke is what the world wants today.
The next day, Backer, Cook, and Davis presented the lyrics and melody they had created during their all-night brainstorming session to David Mackay, the arranger for the New Seekers, with instructions to make his arrangement warm and appealing but not too cute. It was immediately decided that the ad should begin with New Seekers vocalist Eve Graham in order to have a woman initiate the message. And after trying out several versions in which the New Seekers attempted to sing the song as a typical advertising jingle, Backer and Davis convinced them to relax and use their own folk/pop style instead. Several weeks later, on February 12, 1971, “I’d Like to Buy the World a Coke” was shipped to radio stations throughout the United States.
It promptly flopped. The Coca-Cola bottlers hated the ad and most refused to buy airtime for it. The few times the ad was played, the public paid no attention. Bill Backer’s idea that Coke connected people appeared to be dead.
Backer persuaded McCann to convince Coca-Cola executives that the ad was still viable but needed a visual dimension. His approach succeeded: the company eventually approved more than $250,000 for filming, at the time one of the largest budgets ever devoted to a television commercial. Backer then spent weeks canvassing the McCann creative staff for ideas, until Harvey Gabor, a young art director, proposed that the song be treated for television as a “First United Chorus of the World.” He envisioned a group of young people from all nations, in clothing representing their nationalities, singing the song on a green hillside. Gabor’s idea prevailed, and McCann prepared to shoot the commercial.
Producing the ad, however, proved to be one of the most challenging projects in the agency’s history. What kept the project alive was belief in the strength of the ad’s basic message, that Coca-Cola is a bond connecting people to one another.
Because London had been the song’s starting point, the ad’s creators decided that the “green hill” of its setting should be the storied cliffs of Dover on England’s southern coast. By March, 1971, a McCann production crew including Billy Davis, Harvey Gabor, and agency producer Phil Messina traveled with photographer/director Haskell Wexler to England to begin work. The chorus, they decided, would consist of several thousand British school children and would feature sixty-five principals who would be seen at close range. The children were cast and rehearsed “lip synching” moving their lips silently as though they were singing—to the New Seekers rendition of the song. Filming was set to begin on April 8, but three days of continuous rain, with more forecast, forced postponements. The McCann staff decided to move the shoot to Rome, which promised a more favorable climate.
In Italy, the producers had to cast a new group of children by searching schools and youth hostels. One English singer, the “head girl,” was brought to Italy to reprise her role. Production was to begin at 7:30 on the appointed morning with close-up shots of the sixty-five new principal singers in the flattering morning light. Unfortunately, it rained that morning for the first time in weeks. When the rain cleared in the afternoon, the leads were filmed singing the song while the “extra” children waited. Finally, late in the day, some twelve hundred children were spaced out on the top of the hill for the climactic shot from a helicopter. With light fading after only a few takes, the children broke ranks and began running down the hill to get more Coke from the truck carrying the props.
When the film was developed there were some unpleasant surprises. The zoom lens used for the close shots was faulty: every frame was out of focus. Additionally, the light levels on the helicopter shots were too low. The lead female singer then informed the crew that she had just been married and was going on her honeymoon and would be unavailable for any additional filming. McCann had now used its entire budget waiting for the rain to end in England and generating unusable footage in Rome.
To keep the ad alive, the McCann production crew went back to the drawing board. They cut the number of children in the youth chorus from twelve hundred to five hundred and began the search for a new female lead. They filled the ranks of the chorus by contacting the foreign embassies in Rome and drawing from their residents. As principals, they selected some forty young people between the ages of fifteen and nineteen. And when they spotted Linda Neary, a British governess living in Rome, walking down the street pushing a baby carriage, they decided she looked perfect for the part of the female lead. Two days before shooting was scheduled to begin, Neary agreed to take the part and the cast was set.
A new local film company, Roma Films, was contracted to film the commercial. Billy Davis rehearsed the young people lip synching to the New Seekers’ recording, and filming began on a different hillside the following day. Roma Films changed the strategy that had been used for the earlier shooting, filming the larger group shots first as Davis conducted the chorus. The aerial views showing the entire group from the vantage point of a helicopter were filmed next, while the tight close-ups were actually filmed at a racetrack near Rome.
The television ad “I’d Like to Buy the World a Coke” was released first in Europe, where it garnered only a tepid response. It was then released in the U.S. in July, 1971, and the response was immediate and dramatic. By November of that year, Coca-Cola and its bottlers had received more than a hundred thousand letters about the ad. At that time the demand for the song was so great that many people were calling radio stations and asking them to play the commercial. Clearly, “I’d Like to Buy the World a Coke” had struck a chord deeper than the normal response to the advertisement of a commercial product, and Billy Davis asked Bill Backer to rewrite the lyrics without the references to Coke.
Because the New Seekers were initially unavailable to record the new version, a group calling itself the Hillside Singers recorded it with a country-and-western flavor and released it as a single. When the New Seekers began an American tour several weeks latter, they re-recorded the new lyrics and released a second single. Both version sold well in fact, at one point, the New Seekers version was listed among the top ten songs on the American pop music charts while the Hillside Singers version was number thirteen. Such successes were repeated around the world as the ad’s popularity expanded. Recordings of the song and versions of the sheet music appeared in a variety of languages to fill an ever-increasing demand.
“I’d Like to Buy the World a Coke” has had a lasting connection with the viewing public. Advertising surveys consistently identify it as one of the best commercials of all time, and the sheet music continues to sell more than thirty years after the song was written. Such is the power of television advertising that through the enduring popularity of this ad, at least, Coke has borne out something of Backer’s ambitious claims for it, becoming a common connection among people.
Behind the scenes
- Hilltop” is the first historical ad ever to be restored in High Definition (HD). It can still be viewed by the public as it was donated to the Library of Congress in Washington DC in 2000.
- The international cast included actors from more than 20 countries.
- The opening scene was shot at a horse racetrack outside of Rome forcing unusual camera angles during the opening scene as the director tried to avoid having telephone wires in the background of the shots; the rest of the commercial was shot on the hilltop.
- Within 10 days of the U.S. release of “Hilltop,” The Coca-Cola Company received 10,000 letters from consumers thanking the Company for the message in the ad. Consumers also called television stations asking when the commercial was scheduled to air.
- The song “I’d Like to Buy the World a Coke” was written in less than 24 hours.
- The cast did not actualy sing “I’d Like to Buy the World a Coke,” but rather lip-synced to a New Seekers recording
Interview with Bill Backer
Interview conducted with Bill Backer about his role in creating the famous Coca-Cola ad, “I’d Like to Buy the World a Coke.” Backer co-composed the ad with Billy Davis, Roger Greenaway and Roger Cook in January 1971. Backer was the creative director for McCann Erickson when the ad was made. The Coca-Cola Archives interviewed Backer in 2007.
The Hilltop Reunion
In 1990, a follow-up to this commercial, called “Hilltop Reunion”, aired during coverage of Super Bowl XXIV. It featured the original singers (now adults) and their children, and culminated in a medley of this song and the then-current “Can’t Beat the Real Thing” jingle.
NASCAR Sprint Cup
In 2010, Coca-Cola once again used the song in a television commercial featuring the entire line of its sponsored NASCAR Sprint Cup drivers. The commercial included the drivers singing the song while driving in a race. The following year, information on how many dollars it would take “to buy the world a Coke” was given in a commercial featuring the red silhouette of a Coke bottle and the melody of the song.
British band Oasis were sued after their recording “Shakermaker” borrowed its melody and some lyrics directly; they were forced to change their composition. Oasis tribute band NoWaySis released a cover of “I’d Like To Teach The World To Sing”, entering the British charts at No.27 in 1996.
In 2007, Campaign magazine called it “one of the best-loved and most influential ads in TV history” It served as a milestone—the first instance of the recording industry’s involvement with advertising.Marketing analysts have noted Coca-Cola’s strategy of marrying the idea of happiness and universal love of the product illustrated by the song.
Advertising Agency: McCann-Erickson, USA
Creative Director: Bill Backer
Art Director: Harvey Gabor
Director: Roberto Malenotti
Agency Producer: Phil Messina
Music: Billy Davis, Roger Cook, Roger Greenaway, Bill Backer
It’s a thin line between being arrogant and just plain informative, when one talks about his or hers agency’s awards and success. Leo Burnett Lisbon’s performance in the awards shows has been very successful. And it is no secret that the more creative an agency is, the better work it does and the more relevant and attractive it become in the eye of potential clients. Tura, the dog, became the right and genuine way of being able to say it all without ever crossing the line.
Results: with over 5,000 views online Tura’s presentation video is a good example of this idea’s reach and success. Moreover, we have been approached through Tura’s site several times in the last year. Clients have been known to want to meet her in person. And as result, Tura, the dog is today the agency’s most popular spokesperson. And having received free press in trade magazines and online, the return in investment is above the norm in this market by far.
Advertising Agency: Leo Burnett Iberia
Executive Creative director: Chacho Puebla
Creatives: Juan Christmann, Ricardo Toledo