In December 1999 Anheuser-Busch Companies, Inc., had the two best-selling beers in the United States and more than double the market share of any competitor. Despite a decade-long decline in sales, Budweiser, the company’s flagship brew, remained the country’s most popular alcoholic beverage, although, thanks largely to the growing consumer preference for reduced-calorie beer, Bud Light was poised to overtake the ‘‘King of Beers.’’
Anheuser-Busch already had the industry’s biggest and most successful advertising presence, but the Budweiser television campaign called ‘‘Whassup?!’’ resonated with a new, more youthful audience and became not just an industry award winner but also a pop-culture phenomenon.
The idea behind the ‘‘Whassup?!’’ commercials, developed for Anheuser-Busch by DDB Worldwide Chicago, was simple. In the initial spot, called ‘‘Whassup True,’’ four male friends, speaking over the phone, greeted one another with the slang phrase ‘‘Whassup?!’’ The answer— ‘‘Watching the game. Having a Bud’’— elicited the response ‘‘True, true,’’ before the conversation escalated into a chorus of ‘‘Whassups?!’’ delivered with mouths open, tongues protruding, and an air of intense glee.
‘‘It didn’t feel like advertising,’’ said DDB’s Don Pogany. ‘‘It seemed different than anything else. And it seemed to be totally what Bud is about: camaraderie and friendship and what guys do.’’ A second spot aired during the 2000 Super Bowl, and several more featuring the ‘‘Whassup?!’’ guys aired later in the winter. Each of the spots ended with the Budweiser logo against a black background and the tagline ‘‘True.’’
Within a few months of the campaign’s introduction, unauthorized Internet parodies began to appear that featured people in the news, cartoon superheroes, and many others greeting one another with innumerable variations on ‘‘Whassup?!’’ Disc jockeys and late-night talkshow hosts began saying ‘‘Whassup?!’’ and soon it became a common greeting and a pop-culture phrase around the world, even in countries where Budweiser was not sold. The initial campaign won nearly every major industry award, and later installments continued to win awards. ‘‘Whassup?!’’ ran through 2001 and was then developed into a more expansive campaign called ‘‘True,’’ in which the tagline from the original commercials was interpreted in new ways meant to show beer drinkers that Budweiser understood them and their lives.
Anheuser-Busch expected the ‘‘Whassup?!’’ ads to resonate across demographic lines within the 21- to 27-yearold segment of the population, an essential part of Budweiser’s larger target market of all legal-age drinkers. Not only did this segment of young adults account for a disproportionate percentage of beer sales relative to other adults, its brand loyalties had presumably not yet been formed. The spots featured a mostly African-American cast, and the campaign’s central verbal exchange was based on slang terms used in minority communities, although the universal principles of friendship that were displayed had the power, Anheuser-Busch believed, to attract young viewers across racial, ethnic, and gender divides. Barbara Lippert argued in Adweek that the ads were about ‘‘feeling so connected to your best buds you can watch TV together through the phone. And that while you are supposedly ‘chillin,’ you are all maniacally dialing each other.’’
Anheuser-Busch, however, wanted to avoid alienating older customers who did not understand the significance of the characters’ boisterous attitudes and protruding tongues. When a group of wholesalers expressed their disapproval of the emerging campaign, Lachky and Busch decided not to continue to air the original version but to showcase ‘‘Whassup?!’’ spots that relied on individual narratives and thereby helped viewers make sense of the characters. They also decided to trim the 60-second spots to 30 seconds in order to reduce the amount of time occupied by the ‘‘Whassup?!’’ ritual itself. Soon Internet parodies began, and the campaign attracted mainstream media attention. Once ‘‘Whassup?!’’ became part of the pop-culture vocabulary, the campaign had an air of widespread public validation that overcame all demographic divisions. As Advertising Age put it, ‘‘Any advertising that bridges generation gaps so that even our mothers are leaving ‘Whassup?!’ messages on our answering machines must be a good one.’’
THE QUESTION OF ORIGIN
After ‘‘Whassup?!’’ had won both the Grand Clio and the Cannes Grand Prix in 2000, there were complaints within the advertising industry. Some felt that it was inappropriate to give the industry’s highest honors to a campaign that had not originally come from an advertising agency at all. The idea, of course, was Charles Stone III’s, and the initial spot was similar to his independent film True. But Stone was not himself the sole author of the idea. ‘‘Whassup?!’’ was a greeting that he and his friends had been using with one another since 1984.
‘‘Whassup?!’’ had its genesis outside the advertising world in a short film called True, created by music-video director Charles Stone III as a means of trying to break into feature films. A DDB creative director discovered True and immediately recommended it to his supervisor as suitable for a Budweiser advertisement. The film, which became ‘‘Whassup True’’ after minor adjustments in content, featured Stone and three of his friends. Stone himself was tapped to direct and to act in the series of commercials DDB began scripting, and though roughly 80 other actors were auditioned for the parts of Stone’s friends, with one exception DDB hired the real-life friends to play themselves. Stone worried that the slang response ‘‘True’’ might need to be scrapped in favor of a more mainstream line like ‘‘Right on,’’ but Anheuser-Busch’s Lachky recognized the trend setting potential of the original.
‘‘Whassup True’’ originally aired with little fanfare on sports programming in December 1999. The 60-second commercial was a hit with the 21- to 27-yearold demographic, but for the 2000 Super Bowl Anheuser-Busch chose the shorter and less risky ‘‘Girlfriend,’’ in which one of the ‘‘Whassup?!’’ friends answered the phone in characteristic fashion while trying not to let on that the ‘‘game’’ he was watching with his girlfriend was actually a figure-skating competition. Other spots in the original campaign included one in which a pizza deliverer was mistaken for a friend and subjected, over an apartment-building intercom, to the ‘‘Whassup?!’’ routine. The spots eventually ran during sports programming, as well as prime-time and late-night shows.
After Internet parodies and media attention became widespread, ‘‘Whassup?!’’ was at risk of becoming overexposed, and Anheuser-Busch and DDB worked to keep the campaign fresh by running their own spoofs. In ‘‘Come Home’’ an alien, returning to his home planet after infiltrating Earth in the guise of a dog, was asked by his ruler what he had learned from his time among humans. After a short pause the alien declared, mouth wide and tongue lolling, ‘‘Whassup?!’’ In addition, DDB created a unique hybrid commercial called ‘‘Language Tape,’’ in which a professor-like character directed viewers to Budweiser.com, where they could learn how to say ‘‘Whassup?!’’ in 36 different languages. Website traffic increased to 1.265 million visitors per month, compared to the previous year’s average of 400,000.
Anheuser-Busch and DDB went on to run commercials featuring New Jersey men bearing a strong resemblance to characters on the hit television show The Sopranos, who said, ‘‘Howyoudoin,’’ instead of ‘‘Whassup?!’’ After this final twist on the original idea, Budweiser’s advertising agencies, along with its in-house marketing team, began producing various television spots that more broadly interpreted the tagline ‘‘True.’’ These spots included story lines offering honest and affectionate reflections on gender differences and male behavior, commercials with a focus on product quality, and several series of vignettes, such as the well-known ‘‘Leon’’ commercials, which revolved around the comical exploits of an extremely self-centered professional football player.
DDB Worldwide Chicago claimed to have pioneered the concept of ‘‘talk value,’’ that elusive quality that makes advertising campaigns and phrases cultural touchstones, but the ‘‘Whassup?!’’ campaign far exceeded the agency’s and Anheuser-Busch’s expectations. The phrase appeared as a headline on the cover of Forbes, and the commercials were parodied on Saturday Night Live in addition to being mentioned countless times in the media while being spread around the world via more than 80 homemade Internet parodies. At the 2000 Grammy Awards performers Christina Aguilera and LeVar Burton imitated the ‘‘Whassup?!’’ commercials on the red carpet, and during that year’s NBA season the Sacramento Kings gave a collective cry of ‘‘Whassup?!’’ after each team huddle.
Whassup?! /Scary Movie
Whassup?!/Super Mario Bros
Whassup?!/Bin Laden & George Bush
‘‘Whassup?!’’ was one of the most acclaimed and popular campaigns in advertising history. It won nearly every major award in the industry, including the prestigious Grand Clio and the Grand Prix at the International Advertising Festival in Cannes, France. During the second year of the ‘‘Whassup?!’’ campaign, Busch was named Advertiser of the Year at the Cannes festival. The campaign’s signature phrase earned comparisons to classic advertising phrases like Wendy’s ‘‘Where’s the Beef ?’’ and Nike’s ‘‘Just Do It.’’ Busch said of the ‘‘Whassup?!’’ campaign, ‘‘In our lifetimes, we’ll never see so much value created from a single idea. It makes Budweiser a brand for every culture, every demographic and every community. It makes Budweiser a younger, hipper, more contemporary brand.’’
The decline in Budweiser sales could not be stopped, however. Meanwhile, sales of Bud Light continued to grow at double-digit rates, and in 2001 it surpassed Budweiser to become the best-selling beer in the United States. Anheuser-Busch continued to dominate the domestic beer market. In 2000 the company increased shipments and sales by 2.8 percent, and in 2001 it likewise outperformed the industry, approaching a market share of nearly 50 percent. Budweiser’s umbrella ‘‘True’’ campaign, so memorably launched by the ‘‘Whassup?!’’ commercials, continued.
Advertising Agency: DDB Chicago
Creative Director: Bob Scarpelli
Copywriter: Charles Stone III
Art Director: Chuck Taylor
Production Company: C&C Storm Films
Director: Charles Stone III
Whassup?! For Obama
Its been eight long years since the boys said ‘Wassup’ to each other. Even with the effects of a down economy and imminent change in the White House, the boys are still able to come together and stay true to what really matters. The spot is in essence a public service announcement for President Obama’s message of change.
Advertising Agency: Believe Media
Creative Director: Charles Stone III
Director: Charles Stone III
An extremely clever ad — one from your childhood. A slightly surreal look at all the things you can make out of a box a Lego. Narrated by Tommy Cooper, a battle ensues between a mouse which, when threatened by a cat, turns into a dog. The cat turns into a dragon and so on, to a submarine and a submarine-eating kipper. The submarine eventually morphs into an elephant, the mouse rebuilds and the elephant faints. Lego: It’s a new toy every day — just like that!
Agency: TBWA London
Creative: Mike Cozens; Graham Watson
Director: Ken Turner
Production: Clearwater Films
Producer: David Mitten
Director of Photography: Tom Harrison
Editor: Patrick Udale
Lego representations of famous people: a dinosaur (Spielberg), a bed (Madonna), a football (Pele), windows (Bill Gates), a man levitating (David Copperfield), a broken man (Mike Tyson).
Agency: DM9 Publicidade
Creative Director: Nizan Guanaes
Copywriter: Nizan Guanaes
Production Company: Jodaf/Joao Daniel Film
Director: Joao Daniel Tikhmoiroff
A group of officials arrive at the house of an ordinary boy to discover that he’s created something extraordinary, which he keeps in a box. All ideas start with imagination.
Creative Director: John Hegarty
Copywriter: Roger Beckett
Art Director: Andrew Smart
Photographer: Gorgeous Enterprises
Director: Frank Budgen
Headline: All toys, in one
Agency: DPZ Propaganda
Creative Director: Jose Zaragoza/Carlos Rocca
Copywriter: Giovana Madalosso
Art Director: Janaina Pergira
Photographer: Lucio Cunha
Headline: The most interactive toy.
Agency: DPZ, San Paulo
Creative Director: Carlos Silverio/Francesco Petit
Copywriter: Roberto Kilciauskas
Art Director: Fernanda Fajardo
Photographer: Marcel Vieira
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)
Agency: FCB Johannesburg
Creative Director: Bret Morris
Copywriter: Lance Vinning
Art Director: Lance Vinning/Charles Foley
Photographer: Gerard Turnley
Grand Prix (Press Lions)
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 (Press)/Bronze Lion for the campaign (Outdoor)
LEGO wanted their communication to focus more strongly on the core product: the basic blocks. And at the same time, they still wanted to inspire children of all ages and to stimulate creativity and innovation.
Innovative Media Strategy
Construction sites are normally very boring and makes the surroundings ugly. But by turning the containers placed there into giant LEGO blocks it gave consumers a surprise, making their everyday life a bit more colourful and creative. They could “play on” themselves and start imaging how to build on. As one consumer said: “I was just standing there, waiting for a giant boy to come and build”. The media became the talk of the town. Even the Mayor of Copenhagen was proud of what it did to the city and praised it in several newspapers and television.
LEGO is known for stimulating creativity. Transforming containers on construction sites across the country into giant, colourful LEGO blocks confirmed this for the consumer. And with no logos it also became a pleasent surprise in their everyday life. Was it and ad or wasn’t it? Nobody doubted that LEGO was the brand behind it though.
Encompassing the Audience
By turning containers into outstanding giant LEGO blocks it gave consumers a big surprise, making their everyday life more colourful and creative. In several weeks, the LEGO blocks became the talk of the town.
- Massive media coverage in more than 20 national newspapers and magazines, national television and radio
- City mayors praising the project
- Hundreds of thousands consumers travelling by the blocks led to maximum awareness on the communication goal.
Art Director: Kenneth Opsund
Creative Director: Rodrigo Gomez/Michael Angel Cerdeira
Copywriter: Rodrigo Figueroa
Art Director: Michael Angel Cerdeira
ShortlistBUILDERS OF TOMORROW
Agency: JUNG Von MATT, Hamburg
Creative Director: Arno Lindemann/Bernhard Lukas
Copywriter: Daniel Schaeferk
Art Director: Szymon Rose
Photographer: Achim Lippoth
Agency: Blattler Brunner, Pittsburg
Creative Director: Jay Giesen/Dave Kwasnick
Art Director: Derek Julin
Like no other toy, LEGO is a symbol of fun and creativity. To mark the fiftieth birthday of LEGO in Germany, the idea was to rekindle media representatives’ and LEGO partners’ excitement for LEGO with a high-quality mailing.
LEGO fan and designer Reginald Wagner conceived, designed and photographed his personal LEGO memories with a pinhole camera to keep them from fading. The book’s format is adapted from the form of an individual LEGO brick. The book cover and the flipside are made of real LEGO plates. Journalists were sent the book and could put their name on the cover and share their memories with the designer.
Explain why the method of promotion was most relevant to the product or service.
The title of the book POLYPLAYPYLENE means “plastic that has been played with often” and that’s precisely what this book is about. Endless imagination, an endless number of construction combinations and stories from the LEGO worlds: towns, castles and space.
Describe the success of the promotion with both client and consumer including some quantifiable results.
The first, exclusive edition is out of print; the feedback was overwhelming. A paperback edition of “Polyplaypylene” is currently in print for wider circulation.
Executive Creative Director: Sebastian Alvarado/Nicolas Lopez
Copywriter: Felipe Manalich
Art Director: Felipe Manalich/Sebastian Alvarado
Shortlist (Press)/Shortlist (Outdoor)RUBIK’S CUBE/BRICK
Creative Director: Jan Rexhausen
Art Director: Keat Aun Tan
Photographer: Keat Aun Tan
Creative Director: Fabien Frese/Daniel Frericks/Gotz Ulmer
Creative Director: Alvin Teoh
Creative Director: Richard Copping/Andrew Pech
CREATE THE IMPOSSIBLE
LEGO STAR WARS
SPACESHIP/BEETLE/DEEP OCEAN EXPLORER
Agency: Leo Burnett, Moscow
Creative Director: Mikhail Kudashkin
Art Director: Arina Avdeena
Copywriter: Rodrigo Linhaners
Gold Lion for the campaign
Agency: Pereira & O’Dell, San Francisco
Executive Creative Director: PJ Pereira
Creative Director: Kash Sree
Copywriter: Jaime Robinson
Art Director: Jason Apaliski
Production Company: Stimmung, Santa Monica
Director: Blue Source
WORDS PUZZLE CAMPAIGN: CROCODILE/SPACESHIP/TRACTOR
Creative Director: Byron Balmaceda
Art Director: Gabriela Soto
Copywriter: Byron Balmaceda
Illustrator: Gabriela Soto
The ads appeared on four consecutive pages. LEGO is a company that has fostered imagination, invention and creativity for over 60 years. So it is unusual for these ads to feature only long copy with minimal imagery. However, upon reading each of these scenarios the ad comes to life in a way that is unique only to the reader and how they see these playtime scenarios in their mind’s eye. Typographic elements of kerning contrasted with tracking allow the reader to almost get lost in the copy selecting keywords for their imagination. The fourth ad in the series, “Yellow Brick” features a notepad with the tagline “Every LEGO brick tells a story. Build yours.”
Advertising Agency: Pereira & O’Dell, Brazil
Chief Creative Officer: PJ Pereira
Creative Director / Copywriter: Aricio Fortes
Creative Director / Art Director: Paulo Coelho
Account Executive: Lo Braz
Illustrator: Eduardo Gomes
Honda introduced their i-CTDi diesel car engine in 2004 with what became a multi-award-winning television commercial known as “Grrr” and “Hate/Change”. We open up on an animated scene – tropical flowers, green manicured meadows, crystal clear lakes and mountains lit by sun rays. The hedges are trimmed with the letters, H, A, T and E. We soon see why the environment has developed this ‘hate’. Noisy, smoky diesel engines zoom through the environment, hassling the wildlife. The rainbow gives one of the engines the flick. White bunny rabbits take on ear muffs before shooting arrows at an engine. And hey – something changes. The engine is now clean, noiseless and friendly to the environment.
The concept for the ad comes from the Honda lead engineer being asked to design a diesel engine. Kenichi Nagahiro had long resisted the idea, on the grounds that diesel engines were smelly and noisy, bad for the environment. But his hate for the diesel engine led to the development of a new engine much kinder on the eyes, ears and nose, not to mention the animals. The engine was fitted in the new Accord and introduced to the UK in early 2004.
The lyrics for the Honda Diesel Hate ad are sung by Garrison Keillor, American author and voice artist, along with Wieden + Kennedy writers and whistlers Michael Russoff, Sean Thompson and Richard Russell, under the band name “Be Nice to the Pigeons”.
Here’s a little song for anyone who’s ever hated…
in the key of Grr
Can hate be good?
Can hate be great?
Can hate be good?
Can hate be great?
Can hate be something we don’t hate?
We’d like to know
why it is so
that certain diesels must be slow
and thwack and thrum
and pong and hum
can clatter clat
Hate something change something
Make something better
Oh isn’t it just bliss
when a diesel goes just like this?
Sing it like you hate it…
Make something better
The ad features creatures associated with environmental protection, innocence and joy… butterflies, swans, peacock, deer, humming birds, frog, chickens, bunnies, seahorses, turtles, goats, penguins, pink flamingos, robin, dolphins, seals and a ladybird.
The campaign also came out with an online flash-based game featuring a rabbit that visits nine environments, eats carrots, and changes shoddy technology into environmentally friendly features.
FOR IMMEDIATE RELEASE 27 Sep 2004
Honda’s latest TV ad has Garrison Keillor singing …. and explains why hate can sometimes be a positive emotion!
‘Hate something, change something’ is the theme for Honda’s first ever diesel engine TV commercial, which breaks this week (1 Oct). Entitled ‘Grrr-, the 90 second commercial takes the viewer on a journey through an optimistic animated world of ‘positive hate’. The film tells the story behind the creation of Honda’s first diesel in a unique way. Kenichi Nagahiro, the company’s chief engine designer and inventor of the celebrated VTEC engine, hated diesel engines, hated how noisy, smelly and dirty they were. When asked to design Honda’s first diesel he flatly refused – unless he was allowed to start completely from scratch. The result is one of the cleanest, most refined diesel engines on the market today, the 2.2 i-CTDi. Cute bunnies, pretty flowers and rainbows – things typically associated with positive imagery – show their dislike of dirty, noisy, smelly diesel engines by destroying them in exchange for something better. They joyfully celebrate the arrival of Honda’s new diesel. And throughout the film Garrison Keillor sings a specially written folk song in which he asks the question ‘Can hate be good?’ Wieden + Kennedy, which produced the advertisement, were captivated by the idea of talking about Hate as something positive, a passionate force that could actually be turned to good use, and the slogan ‘Hate Something, Change Something’ was born. ’One of the biggest challenges was how to talk about hate in a really positive way that felt right for Honda,- says Kim Papworth, Creative Director at Wieden + Kennedy, London. ‘Writing a song and creating an animated world of positive hate was the natural next step. The commercial breaks as a 90- in cinemas from 24 September and launches on TV from 1 October as a 90- and 60-. The campaign will be supported by press, radio, and interactive TV, as well as extensive content on Honda.co.uk.
Advertising Agency: Wieden+Kenndy, London
Executive Creative Director: Wave London
Creative Director: Tony Davidson/Kim Papworth
Copywriter: Sean Thompson/Michael Russoff/Richard Russell
Art Director: Sean Thompson/Michael Russoff/Richard Russell
Production Company: Nexus Productions, London
Director: Adam Foulkes/Alan Smith
On Kanye West’s new song, “So Appalled,” Jay-Z raps, “I’m so appalled, I might buy the mall, just to show [...] how much more I have in store.”
As Jay’s protégé’s album dropped this week (and leaked much earlier on the web), Jay himself was revealing what he’d long had in store for the publishing world: a game-changing marketing plan for his autobiography, Decoded, itself a groundbreaking book.
Beyond a mere collection of stories–which many readers would find plenty tantalizing–Decoded is also a rap Rosetta Stone. Listeners can literally decode Jay’s lyrics on 11 studio albums to unlock new details about the 40-year-old’s personal history. The marketing for the book took the idea further, mashing up old-school billboard advertising, new-school social media, mobile apps, and more for an interactive game that let players unlock pages of the book and enter to win concert tickets and memorabilia. Jay’s corporate partners, meanwhile, scored a fortune in buzz.
Jay initially hooked up with the creative agency Droga5, who conceived, created, implemented, produced, and delivered the campaign with the help of Microsoft search engine Bing. Droga5 slapped all 320 pages of Decoded in various blown-up sizes on some unexpected surfaces: a rooftop in New Orleans, a pool bottom in Miami (above), cheeseburger wrappers in New York City, a pool table in Jay’s 40/40 Club, and many more.
Reading became a scavenger hunt.
Fans could log on to bing.com/jay-z between Oct. 18 and Nov. 20–last Saturday–and follow clues to Bing Maps locations and real life places where text from the book was blown up bigger than life or layered onto a guitar, onto records in jukeboxes, or onto a 1980s Cadillac parked in front of a Run-DMC mural in Queens. The most dedicated followers could read the whole book for free weeks before it came out. Plus, anyone who unlocked a page online or in person (by texting a code located on the physical page) was entered to win that page signed by Jay-Z or tickets to a Jay-Z/Coldplay New Year’s Eve concert in Las Vegas.
Then, at the very last minute, Bing and Droga5 decided that one lucky person who’d decoded all 200 clues using Bing Maps would get The Jay-Z Lifetime Pass, a golden ticket of sorts, good for admission for two to any Jay-Z concert anywhere on the planet for life.
“We heard a story through our Facebook page of a woman, a lawyer, who more or less hired a team of six or seven people who all scouted through the clues,” Bing General Manager Eric Hadley tells Fast Company.
The average time it took to decode the online clues was a little more than five minutes, he says. But it was the repeat visits that Hadley says were such a boon to Bing.
To get the whole book, “you had to go into Bing Maps and interact with Bing up to three times a day,” Hadley says, adding that the behavior helped visitors “break the habit” of using other search engines.
Jay-Z was a natural match for the so-called “decision engine,” Hadley says: “We’ve had a pretty long history with Jay-Z. He was the focus of a conference we did at Microsoft. We introduced him to Bill Gates a while ago.”
And beyond the artist’s penchant for dropping locations, Jay aligned with Bing’s users. People ages 18 to 24 consume 61% more search pages online than the average Web user. African-American Web surfers view 29% more search pages. Affluent African-Americans are more likely to use Bing as their primary search than Google, Hadley says. And users who listen to hip-hop at least once a week consume 19% more search pages online in any given month than the general population.
Jay, himself, remained intimately involved in the clues, too, Droga5 CEO Andrew Essex tellsFast Company. “He was actively involved in writing and vetting the clues. Alarmingly so.” He’d suggest more or less specificity at times or recommend references to different places or events.
At least one clue came solely from Jay, Essex says: “Ironically, Jay has never been spotted eating pork in this establishment.” (Answer below the picture of the pages on plates in that place.)
As part of a scavenger hunt used to market his autobiography, the hip hop mogul hooked up with the creative agency Droga5 and Bing and hid all 320 pages ofDecoded in plain sight in 13 cities: on a rooftop in New Orleans, a pool bottom in Miami, cheeseburger wrappers in New York City, and more. Fans who found them all got a chance at two tickets to any Jay-Z concert anywhere, for life. Here’s a look at 32 of the pages.
Read the whole back story HERE
Advertising Agency: Droga5, New York
Chief Executive Officer: Andrew Essex
Creative Chairman: David Droga
Creative Directors: Neil Heymann, Duncan Marshall, Ted Royer, Nik Studzinski, Kevin Brady
Copywriters: Adam Noel, Spencer Lavellee
Art Director: Jon Kubik
Designer: Jon Donaghy
Digital Designers: Piper Derley, Elias Holtz
Senior Digital Producer: Andrew Allen
Director of Photography: Paul Mcgeiver
Digital Producer: Toph Brown
OOH Producers: Cliff Lewis, Mea Cole-Tefka
Head of Print Services: Rob Lugo
Studio Artist: Chris Thomas
Director of Digital Strategy: Hashem Bajwa
Director of Polygons: Colin Lord
Videographers / Editors: Sam Kilbreth, Nick Divers