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A N N A S E I L E R & B R O O K E F R A N C E S C H I N I
“How We Took the GRANNY
Out of GRAMMYs”
Background Information
 Client: The Recording Academy’s 52nd Annual
GRAMMY Awards
 Agency: TBWA/Chiat/Day Los Angeles
 Competition: People’s Choice Awards, AMA’s, MTV
Music Awards
The Challenge
 Raise GRAMMY ratings in the “dead, declining,
obsolete, out of touch” music industry
Challenge Components
 Is the music industry dying?
 The last increase in GRAMMY ratings was in 1984
 Questionable past music knowledge
 Client uninterested in social media
 Low budget & messy mix of media
 MTV had a lot more airtime
Primary Objective
 Increase ratings by 15%, approximately 2.5 million
people, from 2009 among the core age group
audiences of 18-34 and 18-49
Secondary Objectives
 Change GRAMMY perception of 18-34 and 18-49
demographics by bringing the show into the digital
age
 Drive higher levels of fan engagement
 Substantially impact culture
Research Methods
 Listening audits identified trends
 Case studies and methodology tracking
 Tracked digital vs. album sales
The Big Idea
 Music industry is NOT dead, but evolving
 Online fans can now:
 Discover & share music instantly
 Connect with artists one-on-one
 Perform their own music for millions
 Three core tenets:
 Authentic
 User-Focused
 Collaborative
Bringing the Idea to Life
 The Site & the Scraper Tool: composed real-time,
fan-generated content
 Fan Buzz Visualizer : measured buzz around
nominated artists on the web
 http://wereallfans.com/digitalpresskit/carrieunderwood.html
 Activation Kits: a way for artists to share campaign
assets with fans
 Influencer Events: two events before the show to
generate earned media
Media Methods
 Paid
 TV: Spots & branded content
 Print: Magazines & partnerships
 http://www.youtube.com/watch?v=VEFgSV36vnA&feature=p
layer_embedded
 PR & events
 Owned
 Interactive online & social networking
 http://wereallfans.com/#/Beyonce/
 Retail experience & consumer involvement
T-shirt Designs
Results: Primary Objective
 Doubled increase objective with both younger
audiences with 32% rating increase
 36% rating increase in adults 25-54
 28% rating increase in US households overall
Results: Secondary Objectives
 Increase in ratings with other music and technology
start-ups looking to collaborate with the Recording
Academy in the future
 Metrics proved engagement improvement
 Strong culture impact from celebrity engagement
Current State of the GRAMMYs
 “GRAMMYs on the Road”
 53rd Annual GRAMMYs had the highest ratings
since 2001
 Up-to-date website
Theories in Use
 Framing Theory – framing of situations
 Excellence Theory – two-way symmetrical
 Elaboration Likelihood Theory – use of peripheral
heuristics
Conclusion
 Successful campaign
 Lady Gaga is a media force
 GRAMMYs no longer need to be termed the
“GRANNYs”

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Grammy presentation

  • 1. A N N A S E I L E R & B R O O K E F R A N C E S C H I N I “How We Took the GRANNY Out of GRAMMYs”
  • 2. Background Information  Client: The Recording Academy’s 52nd Annual GRAMMY Awards  Agency: TBWA/Chiat/Day Los Angeles  Competition: People’s Choice Awards, AMA’s, MTV Music Awards
  • 3. The Challenge  Raise GRAMMY ratings in the “dead, declining, obsolete, out of touch” music industry
  • 4. Challenge Components  Is the music industry dying?  The last increase in GRAMMY ratings was in 1984  Questionable past music knowledge  Client uninterested in social media  Low budget & messy mix of media  MTV had a lot more airtime
  • 5. Primary Objective  Increase ratings by 15%, approximately 2.5 million people, from 2009 among the core age group audiences of 18-34 and 18-49
  • 6. Secondary Objectives  Change GRAMMY perception of 18-34 and 18-49 demographics by bringing the show into the digital age  Drive higher levels of fan engagement  Substantially impact culture
  • 7. Research Methods  Listening audits identified trends  Case studies and methodology tracking  Tracked digital vs. album sales
  • 8. The Big Idea  Music industry is NOT dead, but evolving  Online fans can now:  Discover & share music instantly  Connect with artists one-on-one  Perform their own music for millions  Three core tenets:  Authentic  User-Focused  Collaborative
  • 9. Bringing the Idea to Life  The Site & the Scraper Tool: composed real-time, fan-generated content  Fan Buzz Visualizer : measured buzz around nominated artists on the web  http://wereallfans.com/digitalpresskit/carrieunderwood.html  Activation Kits: a way for artists to share campaign assets with fans  Influencer Events: two events before the show to generate earned media
  • 10. Media Methods  Paid  TV: Spots & branded content  Print: Magazines & partnerships  http://www.youtube.com/watch?v=VEFgSV36vnA&feature=p layer_embedded  PR & events  Owned  Interactive online & social networking  http://wereallfans.com/#/Beyonce/  Retail experience & consumer involvement
  • 12.
  • 13. Results: Primary Objective  Doubled increase objective with both younger audiences with 32% rating increase  36% rating increase in adults 25-54  28% rating increase in US households overall
  • 14. Results: Secondary Objectives  Increase in ratings with other music and technology start-ups looking to collaborate with the Recording Academy in the future  Metrics proved engagement improvement  Strong culture impact from celebrity engagement
  • 15. Current State of the GRAMMYs  “GRAMMYs on the Road”  53rd Annual GRAMMYs had the highest ratings since 2001  Up-to-date website
  • 16. Theories in Use  Framing Theory – framing of situations  Excellence Theory – two-way symmetrical  Elaboration Likelihood Theory – use of peripheral heuristics
  • 17. Conclusion  Successful campaign  Lady Gaga is a media force  GRAMMYs no longer need to be termed the “GRANNYs”