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 CONTENTS
JUNE 12, 2017 | VOL. LVIII NO. 18
THE WEEK IN MEDIA AND MARKETING

C O V E R : P H O T O G R A P H E D B Y: M A R C R O Y C E ; P R O P S T Y L I N G : N AT H A N C A R D E N /J O R G E P E R E Z R E P S ; G R O O M I N G : S Y D N E Y S O L L O D / T H E WA L L G R O U ; C O M E Y: X I N H U A / Y I N B O G U V I A G E T T Y I M A G E S ; S W I F T: K E V I N M A Z U R / G E T T Y I M A G E S F O R D I R E C T V
TOP STORY

Comeys Star Turn

SENATE HEARING HAD SOCIAL MEDIA BUZZING. BY EMMA BAZILIAN
It would be an understatement to say its rare for a congressional hearing to be
compared to the Super Bowl, yet thats exactly how last Thursdays testimony from
ousted FBI director James Comey in front of the Senate Intelligence Committee
was described by numerous media outlets. A dozen TV networks preempted their

FEATURES daytime broadcasts to air the event live (more than 18 million people watched on ABC,
CBS and NBC plus CNN, MSNBC and Fox News, per Nielsen), while Twitter partnered
with Bloomberg to livestream the proceedings. More than 3.6 million tweets were
CREATIVE 100 17 sent between 7 a.m. and 1:30 p.m. EST, per the social network, with Sen. John McCains
Silicon Valley star questioning of Comey receiving the most Twitter mentions. Meanwhile, President Trumps
Kumail Nanjiani
own Twitter account remained remarkably quiet for nearly 48 hours from Wednesday to Friday
joins this years top
morninghis second-longest break from the platform since declaring his candidacy in 2015.
innovators in media,
advertising, art
and more.

UPFRONT AD OF
THE WEEK
SOCIAL SHOWS
With data collected from the 2016-
TRENDING 6 17 TV season, Nielsen learned which
Snapchat grows up; shows generated the most buzz among
campaigns to watch viewers. Here are the top five, ranked
for at Cannes; by average total interactions per
Instagrams ad episode across Facebook and Twitter.
evolution; Q&A with
David Droga.
THE WALKING DEAD
BIG NUMBER 2m
Apple

20
EMPIRE
Several brands reacted quickly and scornfully to
President Trumps decision to pull out of the Paris
860k
climate accord. Apple took its time, though, and THE BACHELOR
waited until the following Wednesday nightin front
VOICE 14 of a big TV audience watching the NBA Finalsto NUMBER
453k
How artifical register its displeasure. And what a lovely protest
intelligence is OF UBER THIS IS US
it was. Apple used audio of the late Carl Sagan EMPLOYEES
transforming the
marketing industry.
reading from his 1994 book Pale Blue Dot: A Vision FIRED LAST
436k
of the Human Future in Space, set to videos of WEEK AS A LOVE & HIP HOP:
FACETIME 50 landscapes (shot by everyday Apple users on their RESULT OF ATLANTA
Adweek hosts Women iPhones), which resonate powerfully in the wake of
in Media & Sports. Trumps move, serving as a poetic warning of how
HARASSMENT
INVESTIGATION.
406k
much we have to lose. Tim Nudd

The Week in Emojis

PERSPECTIVE
MOOD BOARD

LOOK BACK 52
BBH adman
Sir John Hegarty.

Taylor Swift Verizon Toyota-backed Pokemon Go

announces return to to cut more than 2,000 flying car prototype will celebrate first birthday
streaming services. jobs at AOL and Yahoo. takes test flight. with festival in Chicago.
ADWEEK PUBLISHES
NEXT ON JUNE 26.

This spring, 20 staffers from digital
agency PMG Worldwide huddled,
virtually, with Snapchats teampiped
in via videoconferencingto learn the
intricacies of the popular messaging
app, with the platforms best practices
for advertisers topping the agenda.
Over the course of two hours
worth of training sessions, the social
media team at the Fort Worth,
Texas-based shopwhich has clients
like Apple-owned Beatsgot an edge
on other mobile agencies, getting
caught up on the constant stream
of Snapchats new products and
features. Moreover, in the coming
months PMG will receive additional
coaching and support from Snapchat
parent Snap Inc.
This workshop is all part of the
new Snapchat Certifi ed Partners
program, which the company is set
to announce this week on the eve
of the Cannes Lions International
Festival of Creativity. When it comes
to agencies, Snapchat just wont
be fl ipping the switch on its Open
for Business signit also will
be knocking on doors and inviting
collaborators in like never before.
[Snapchat is] in our office
sometimes it seems like on a weekly
basis, said Angela Seits, director of
6 JUNE 12, 2017 | ADWEEK
TRENDING | THIS WEEKS INSIGHTS
THE LEAD
THE
WOW
FACTOR
SNAPCHAT AIMS
TO IMPRESS
BRANDS AT
CANNES WITH A
SMORGASBORD OF
NEW FEATURES.
BY LAUREN
JOHNSON
social media and influencer marketing
at PMG. Were very closely connected
with them in terms of communication
because the platform does change so
much, so that allows us to be a little
bit quicker and more responsive to
how we stay up to date.
One year after unveiling its ads
API at Cannes, Snap is again set to
make waves on the French Riviera.
Snap execs will meet with clients
along the Croisette to discuss the
new Certified Partners program as
well as introduce slick creative tools,
a self-serve buying platform and
talk about granular measurement
tacticswhich will take aim at sizable
direct-responsive budgets from large
and small advertisers.
Clearly, Snapchat has its eye
on app-install dollarsa forward-
thinking move, as apps are projected
to be a $166 billion category in 2017,
per App Annie.
If Snapchats presence at the
festival for the past two years has
been about warming up marketers
to the app that mesmerizes millions
of millennials every day, consider
this year to be about proving that the
Venice, Calif.-based companywhich
went through a buzzy IPO in March
valued at $24 billionis growing up and
ready to seriously angle for ad dollars
alongside Google, Twitter and most
notably Facebook-owned Instagram.
Its incumbent on Snapchat to tackle
the surge in popularity of Instagram
Stories, which has been copying its
Stories feature, lenses and graphics
that overlay photos and videos
(see page 12). The rivalry may have
contributed to Snapchat downloads
You really
want to
help your
partners
grow
and
learn.
Imran Khan,
chief strategy
officer, Snapchat
falling 22 percent during the first
two months of the second-quarter
compared to the same period the year
prior, according to data released by
app-analytic firm Sensor Tower. Earlier,
in Q1, Snapchat downloads had risen by
6 percent. Snap declined to comment
on the report.
Moreover, during Snaps first
earnings report in May, the app missed
analysts revenue expectations while
year-over-year daily user growth
slowed to 36 percent, down from a
48 percent yearly uptick during the
fourth quarter of 2016.
Instagram will remain a concern
for Snapchat as long as theyre both
hitting the same audiences with the
same features, said DigitasLBis
Jill Sherman, svp, social strategy.
Snapchat has been largely focused
on aging up to meet the reach and
scale that shareholders demand. The
real test will be their ability to reach
down again, to compete with the
new platforms like Musical.ly, Live.
ly, YouNow and Houseparty that are
attracting Gen Z in droves.
Meanwhile, its ad play continues
to forge ahead as aggressively as
ever. Over the past year, Snap doubled
its number of employees to 2,000
and now has sales teams in the U.S.,
Canada, U.K., France, Germany, the
Netherlands and Australia.
You really want to help your
partners grow and learn, explained
Imran Khan, Snapchats chief
strategy officer. Weve always been
very focused on, Lets not onboard
advertisers just to onboard. Lets
onboard them to be successful.
And as a result, we have been very
maniacally focused on measurement,
ease of buying that brought in things
like the API. Our view is that we have
to take a long-term approach.
That vision starts with taking
marketers to school. Snapchat
Certified Partners will help more than
25 agencies and vendors, including
Omnicoms Resolution Media,
OrionCKB, SocialCode and Adaptly
become fluent in Snapchat vernacular.
Participants undergo two Snap-led
training sessions before taking an
online exam detailing ad capabilities,
KHAN: AXEL DUPEUX
optimization strategies and vertical-
specific best practices, among
other things. After passing the test,
companies receive a digital badge and
will partake in ongoing coaching and
reviews to remain part of the program.

Our ad business is still relatively
new, so educating people on our
ad product, our creative, our
measurement systemall of those
things will help our advertisers to get
better performance, Khan explained.
Only agencies and tech vendors
that buy ads can get the certification,
and they will be charged, according
to sources, between 10 percent and
20 percent of a media buy. (So if they
spend $100,000 on a campaign, for
example, theyll pay at least $10,000
to become certified.) Facebook has
a similar agency program called
Blueprint, which costs a flat fee of
$150, while both Twitter and YouTube
have free certification programs.
Facebook, YouTube and Twitter also
offer customized content strategy
services for individual and top-
spending advertisers.
While Omnicom and a few larger
shops are part of Snapchat Certified
Partners, its also aimed at midsize
firms that may have limited budgets.
Direct response shop OrionCKB
put its staff of 30 through Snapchat
Certified Partners because it
resembled what Facebook did when
they first came out, explained Scott
Briggs, co-CEO and managing partner.
Anthony Koziarski, head of media
solutions at Resolution Media, added,
This isnt something that we can
enter into on a self-serve basisits
something that we need to do in full
collaboration with Snapchat. As they
continue to iterate at such a speed,
its almost impossible to keep up. If
you think about whats happening
within the platform marketplace at
large, its critical for our teams to stay
connected to whats happening.
Meanwhile, bigger agencies report
that theyre now spending more on
Snapchat because ad offerings have
solidified after having received a peek
under the hood.
This [agency program] is a sign
of some stability from them that they
feel like theyve codified the platform
enough, commented Noah Mallin,
head of social, North America at MEC
and MEC Wavemaker. I would call it a
deep dive where theyve had members
of their API team come and meet with
our buying and strategic teams to
understand what the implications are
for the new targeting and how that fits
in with the bigger ad ecosystem.
Getting advertisers to mirror how
consumers use the platform is central
ADWEEK | JUNE 12, 2017
TRENDING
to Snapchats monetization future.
GAME, SET, When Gatorade wanted to promote
tennis star Serena Williams during the
MATCH U.S. Open last year, Resolution Media
helped design a custom ad unit that
Resolution Media and TBWA\ let users play a virtual tennis game.
Chiat\Day L.A. created an
All told, users averaged 196 seconds
eight-bit Snapchat game (see
with the game with a 14.5 percent
the Creative 100 on page
25) that lets players battle swipe up rate.
through 22 levelsthe same Those types of advertisers are
number of Serena Williams clearly fully vested into the platform,
Grand Slam singles titlesof and theyre looking for repeat
a virtual tennis game. success, Koziarski said.
Snap reports that 20 percent of ad
impressions during the first quarter
flowed through the programmatic-
like API, so it appears that the next
challenge will be convincing advertisers
of all stripes to get comfortable with its
automated systems.
After testing Snapchat Ad Manager
with 20 companies, the self-service
platform officially opens today to all
marketers, allowing brands with any
budget to buy and track ads. Until now,
spend requirements have limited the
number of brands that could afford to
buy ad packages.
Over time as weve seen the
platform evolve and [as] that
cost of entry comes down, more
advertisers are prepared to
experiment and take a chance,
noted Resolution Medias Koziarski.
The auction-based ad platform
is powered by machine-learning
technology that optimizes against
campaign objectives and budgets. For
AVERAGE instance, goal-based bidding zeros in
SECONDS SPENT on people whose behavior suggests
WITH THE AD: theyre more likely to swipe up on an
196
advertisement to download a mobile
app or watch a video.
While Snaps auction isnt at the
same scale as Facebook or Googles ad
tech, the appetite for experimentation
is strong enough to prove or disprove
SWIPE-UP its value in the coming quarters, said
RATE: Mike Dossett, associate director of
14.5%
digital strategy at RPA.
Hooked, a mobile app that
publishes stories in the form of short
text message conversations, has been
testing the self-serve platform for
a few weeks, specifically targeting
VIEWS OF THE high schoolers and college students.
TOP SNAP: The company spends seven figures
monthly on Facebook, Instagram,
98m+
YouTube and Snapchat.
We had thought about perhaps
working with one of the Snapchat
partners before there was a self-serve
tool, but because of our scale and our
processwe iterate through dozens
of creative [assets] in a given weekit
just was not practical, explained
Parag Chordia, Hooked founder and
CTO. Bringing automation and self-
serve to the space was absolutely
critical for us to be able to test and
see results.
The cost per install and
conversions are very competitive
with our other top channels, so were
investing more heavily in Snapchat,
added Sen Sugano, vp of marketing
at online sneaker marketplace Goat,
another early tester of the platform.
So will opening the spigot to
more DR-focused advertisers lead to
low-quality, spammy promos? Some
level of quality control would be wise,
advised DigitasLBis Sherman. It could
come back to haunt the platform
users could find it disruptive to the
experience, and brands could infer that
its the platform, not the creative, that
is to blame.
RPAs Dossett was less worried
about bad creative, based on similar
experiences when Instagram threw
wide the ad floodgates a couple of
years ago. Over time, the natural
market forces of competition for
attention and need for effectiveness
drove out the majority of the
offending players in the system, he
said. The same will likely hold true
for Snapchat.
To that end, in July, Snapchat will
roll out editing software dubbed Snap
Publisher designed to make video ads
in less than two minutes. Advertisers
can chop their own videos up into
10-second clips or pick from a library
of Snap-designed templates. A piece
of code identifies video files to detect
when a scene changes to help piece
together different clips. Brands will
also be able to test multiple versions
of creative and then, based on the
results, purchase Snap media straight
through the self-serve platform.
The bevy of metrics and tools
exemplifies Snapchats big moves
into ad tech and measurement over
the past year, addressing marketers
recent concerns that the app was
a black box. Just last week, Snap
acquired mobile data company
Placed for a reported $125 million
to beef up its location capabilities.
The acquisition is a demonstration
of their commitment to proving the
efficacy of their platform in driving
offline impact, said Dossett.
7
 TRENDING

AWARDS

CANNES 2017:
WORK TO GO TO

WATCH ADWEEK.COM
TO VIEW
THE SPOTS

TEN BRILLIANT CAMPAIGNS THAT

ARE SURE TO BE THE TALK OF THE
TOWN. BY TIM NUDD Sony PlayStation, Gravity Cat Hakuhodo, Tokyo Two sisters try to capture

O
a gravity-defying kitten as their apartment literally turns upside down in
this crazy crowd-pleaser from Japan for the video game Gravity Daze 2.
ne bronze statue will be chasing lots of gold The set actually flipped, thanks to some inspired production design, and the
ones on the Croisette next week, as McCanns handheld camerawork lent this four-minute film an urgent indie vibe.
Fearless Girl enters the Cannes Lions festival
as a heavy favorite for hardware. But its hardly
the only brilliant work that will be jostling for
attention in the jury rooms. Leo Burnett is out
with its 30th annual Cannes Predictions list, and weve singled
out 10 of our favorite campaigns to highlight here. If theres a
common thread that connects them, its the power of the unex-
pected, from a completely new way to talk about organ donation
to an overnight Instagram success who hid a troubling secret.
As usual, though, plenty of the work highlighted here is so
forward-thinking that it defies categorization.

VISIT ADWEEK.COM/CANNES ALL NEXT WEEK FOR

REAL-TIME REPORTS FROM THE FESTIVAL, INCLUDING
THE BIG WINNERS, VIDEO INTERVIEWS WITH TOP
EXECUTIVES, TRENDS, ANALYSIS AND MUCH MORE.

Coca-Cola, The Line-Up Song FP7, Cairo After six years away from
competitive play, most Egyptians didnt know their own national soccer
team. But Coke found an ingenious way to get them to learn the players
names. It took a nursery rhyme all Egyptians grew up memorizing, and
changed the words to include the teams lineup.

Channel 4, Were the Superhumans 4Creative, London Best ad ever made
about disability? It might be Channel 4s joyous three-minute musical for the
2016 Paralympicsa follow-up to Film Craft Grand Prix winner Were the
Superhumans from 2012. The top Film winner at The One Show this spring, it
would be an upset if it didnt win at least one of the two Film contests in Cannes.
Nike, Unlimited Stadium BBH, Singapore The beautiful footprint-shaped
design of this running track, which Nike built across a whole city block in
Manila, was just the start of its coolness. The 200-meter track was lined
with LED screens, inviting runners to engage in a virtual race against
avatars of themselves. Experiential sports marketing at its very best.

8 JUNE 12, 2017 | ADWEEK

 SADIE NARDINI,
YOGA GIRLS

Americas
Fastest-Growing
TV Network *
The leader in healthy lifestyle entertainment
and #1 with educated, professional women 18+**
To Advertise, Contact: Karen Bressner karen.bressner@atl.esselgroup.com Lisabeth Hayes lisabeth.hayes@atl.esselgroup.com

*Excluding sports networks. SOURCE: Nielsen Media Research, NSI, Largest change in HH Universe Estimate from January April 2017.
**SOURCE: Nielsen Media Research, Market Breaks, January-February 2017, Total Day, Monday-Sunday 6AM-3AM; Z Living competitive set: Bravo, Cooking Ch, DIYI, Disc Life, Food Network, HGTV, Lifetime, OWN, TLC, Travel Ch, and WEtv.
 TRENDING
Amnesty International, The Refugee Nation Ogilvy & Mather, New York
Ogilvy took home Best of Show at The One Show for designing the life-
jacket-inspired flag of Refugee Nation and its Olympic team, and coming up
with a national anthem and a program to recycle old life jackets into flags.
The brilliantly simple design, and the global urgency of the work, will wow
the judges in Cannes, too.
State Street Global Advisors, Fearless Girl McCann, New York
Cannes will surely be a coronation for this hugely inventive and spectacu-
larly executed corporate feminist icon, which could win any number of Grand
Prixfrom Glass, PR and Outdoor early in the week all the way to Titanium
on Saturday. Look for our video interview with its young creators during
Cannes week on Adweek.com.
Transport Accident Commission, Meet Graham Clemenger BBDO,
Melbourne The years most visually striking safe-driving campaign imagined
what humans would look like if we evolved to withstand car-crash forces.
Artist Patricia Piccininis avant-garde creation went mainstream, as
Grahams odd visage was unmissable in social feedsand made people
consider, paradoxically, the frailty of todays human body.
10
Ikea, Cook This Page Leo Burnett, Toronto
Find new foods intimidating? Ikea made it easy with Cook This Page,
featuring fill-in-the-blank recipes printed with food-safe ink on cooking
parchment paper. Add the ingredients right on the page, roll it up and
throw it in the ovenand you have a meal. An inspired and useful
merger of food and design.
Donate Life, The Worlds Biggest Asshole The Martin Agency, Richmond,
Va. Can even the most wretched person be redeemed? They can if theyre
Coleman F. Sweeney, a horrible human being through most of Donate Lifes
three-minute spot who ends up saving lives, upon his untimely death, by
being an organ donor. A great counterintuitive idea from Martin, brought to
life expertly by actor Thomas Jane.
Addict Aide, Like My Addiction BETC, Paris This sneaky social
campaign put a dark twist on influencer marketing, as BETC made a fake
Instagram account for a fictional woman, Louise Delage. She seemed like
another chic Parisian, but her endless selfies slowly revealed a troubling
drinking problem, shocking the 17,000 unsuspecting followers she
amassed in a few months.
JUNE 12, 2017 | ADWEEK
There is a lot of yapping about programmatic television these days. Unfortunately, most offerings have
more bark than bite. Limited inventory. Opaque pricing. Questionable audience delivery. Bad dog!

But now, NCC Media has unleashed PASSPORT, the only programmatic linear cable television buying
platform that offers market-level precision, full transparency, and guaranteed audience delivery. With
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Give us a call today and well show you why.

Contact:
Charlie Holmes, Vice President / GM I+ Sales | charlie.holmes@nccmedia.com | 212.299.0752

nccmedia.com/programmatic

SOCIAL
Instagrams Ad Factory
HOW THE PHOTO-
SHARING APP
ARTFULLY SCALED
WITHOUT LOSING
ITS AESTHETIC
IDENTITY.
BY MARTY SWANT
If Andy Warhol were alive today,
theres little doubt the godfather
of pop art would be a master
manipulator of social media. And the
20th century iconwho started out
making print ads in the 1950swould
likely be drawn to, in particular, the
image factory that is Instagram.
Instagram CEO and co-founder
Kevin Systrom isnt Andy Warhol
reborn. However, both founded their
own aesthetics-minded millhouse
one thats led to the mass production
of art, the other to the mass production
of ads and filter-aided imagery from
everyday folks. And while theres no
virtual assembly line for silkscreens
per se, the app acquired by Facebook in
2012 has created a cultural conveyor
belt for photos and videos that has
taught brands to think far beyond
banner ads. Harnessing Facebooks ad-
tech prowess, Systrom has essentially
generated his own version of Warhols
legendary studio, The Factory, building
a machine-learning-juiced digital
platform used by more than a million
advertisers a month. (In September,
monthly advertisers totaled 500,000,
up from 200,000 in February 2016.)
Kevin is a very unique super-
entrepreneur who functions as an
entrepreneur, but [he] also can get
the very best out of a larger company
hes working with, said Facebook COO
Sheryl Sandberg. There are a lot of
people who can navigate organizations
well and there are a lot of people who
are great entrepreneurs. But that
combination of someone being truly
exceptional in both is very unusual.
As is well known, the app has
grown rapidly and now has 700 million
monthly users, with 200 million of
them engaging with vertical videos
every day via Instagram Stories. But
whats less known is how the platform
had to change at break-neck speed to
get to where it is today.
Shortly before rolling out Stories in
12
TRENDING
August, Instagram decided to revise
the company mission, landing on the
phrase strengthening relationships
through shared experiences. While
it might not sound like much, that
mantra allowed the app to expand
to become a place for users to post
not just highlights, but to share the
rest of their day, paving the way for
Stories, for Instagram Live video and
for whatever else the increasingly
diversified digital product company
has yet to announce.
Systrom compares his approach
to Instagrams identity to that of
The community on Instagram
is much more used to and
accepting of advertising .
Jay Curley, senior global marketing manager, Ben & Jerrys
A J.Crew
Instagram
Story
another tech behemoth. Apple is
not about being a personal computer
company, he said. It is about
devices in general and the way
that humans interact with
electronics in general and about
great design. And lots of stuff falls
under that category, not just simply
a personal computer.
The new mission statement
also allows Instagram to more
directly compete with rival Snapchat
(see page 6), which pioneered and
popularized Stories-style vertical
video. (All airplanes look roughly
the same, Systrom said when asked
about the comparisons. But its the
inside and the service that matters.)
The advertising rollout for Stories
has been notably faster than it was
for the newsfeed, underscoring
Instagrams acceleration on all fronts.
When Systroms staff introduced
its first ad units in 2014promising
engaging, high-quality adsit took
between six and ninth months before
systems were fully up and running
after alpha and beta tests. However,
his ad product developers have cut
the process down to as little as two
months, while rolling out several
features every quarter.
The community on Instagram
is much more used to and accepting
of advertising, and thats good in a
sense, said Jay Curley, senior global
marketing manager for Ben & Jerrys.
It also means as someone checks their
newsfeed for three minutes, youre
going to be one of 10 ads that they see.
To Curleys last point, with
Instagram producing ads at a scale
that can seem like saturation, brands
relationship status with the social
platform can often be categorized
as its complicated. For instance, a
Socialbakers study last month found
that brands on Instagram garnered
three times more engagement than
Facebook. Then Animoto, an online
video company, reported that 63
percent of the consumers it surveyed
in April said watching a Facebook
video influenced a purchasing
decision, while only 26 percent said
the same for Instagram.
Stories, meanwhile, represents
a new kind of canvas to help brands
maintain ongoing conversations with
Instagram users that could drive sales.
Beta advertisers like LG and Nike
said theyre pleased with the results
theyve seen so far. For Nike, it has far
more reach, but its just a platform to
feel a bit more immediate and looser,
said Ned Lampert, creative director at
space150, the swooshs ad agency.
Next week at Cannes, Instagram
will build a studio where artists and
photographers will teach brands to
create more engaging Stories.
Indeed, Systrom and his team
have seemingly fostered a Warholian
marketing platform thats picture
perfect for the speed of the 21st
P H O T O : J . C R E W I N S TA G R A M
century. The main question remaining
is, can advertisers keep up?
Its allowing us to be a little
more spontaneous with the content
we create, said Frederic Bonn, ecd
at digital agency iCrossing. But as a
brand, you still need to be true to
what you are.
JUNE 12, 2017 | ADWEEK

Q&A
TOP OF
HIS GAME
THE DROGA5 FOUNDER ON HIS ROOTS
IN ADVERTISING AND RECEIVING CANNES
BIGGEST HONOR. BY PATRICK COFFEE
As founder and creative chairman
of Droga5, David Droga has worked
with some of the worlds biggest and
most important brands, from Under
Armour to The New York Times.
Hes also won most of the industrys
top awardsand this year, he joins
luminaries like John Hegarty, Dan
Wieden, Lee Clow and Bob Greenberg
as one of the select few honored
with the Lion of St. Mark. Adweek
recently sat down with Droga to
discuss the award, his career and
the industry at large.
DROGA: KEVIN SCANLON
What led you to enter the
advertising field? My first job
in advertising was actually in the
mailroom of Grey Advertising in
Sydney. I was always obsessed
with being a writer of some sort
ADWEEK | JUNE 12, 2017
TRENDING
I just loved the idea of writing for
different personalities all the time.
When I was 16 or something like that,
[I learned] that theres this thing
called advertising where people
pay you to come up with ideas, and
its fast turnaround and you make
thingsand I was like, that sounds
amazing. I applied for the first job
in the newspaper that had the word
advertising in it.
How did that go? I was delivering
the mail, which was the best way to
learn advertising fast snooping and
listening in basically all the time. I
was like, I can do this. I got to talking
to some of the younger creatives
and told them about my aspirations,
and they told me theres this thing
called Australian Writers and Art
Directors, which was a school for
aspiring creators. I applied for that
and [later] got a job as a copywriter
[at FCB Sydney], and I still remember
the first day walking in. I had a little
typewriter and word processor and
I thought that was so unbelievable.
What was the first campaign you
worked on? The No. 1 radio station
in Australia was called MMM. The
official brief was, Youve got to do
something that makes people go,
Holy fuck, and the budget is
$1 million. What are you going
to do? To this day it was one
of the strangest, most unusual
commercials Ive ever made. Id like
to believe that I still have that edge
now. I think the second campaign I did
after that was for a pharmaceutical
company, which sort of brought me
crashing down to earth. But again,
that was about as epic a start as you
can have because normally, when
you start as a creative, youd sort of
have to earn your right up the food
chain of opportunities.
Its almost like your first ad was a
harbinger of the bold campaigns
youve become known for. Ive
never set out to just do things to be
different, [but] I never tried to set
limitations on what we could do. If
the right thing is to play it straight
down the line and do the most
traditional thing thats going to have
the most impact, Ill do that as well,
but Ive always tried to give myself
at least the freedom to feel like I
can explore and push the edges.
Theres no question Ive become
more responsible as I migrated up
that advertising food chain with the
size of opportunities ... for my first 10
years, [I] was a very selfish creative.
I just thought, arrogantly, that no
matter what I did it would be right
and great and that creative solves
all regardless of anything. But again,
buried within all of that theres still
a very unrealistic creative person
who just wants to do the most with
every opportunity.
What are the most significant
changes to affect the industry
since you started? Its too easy
to say it was simpler then but the
expectations of the narrative that we
would tell was more of a contained
thing. Peoples reactions to things
are part of the narrative now, and the
canvases you can play on are almost
unlimited. Consumers can opt out
so much more than ever, and people
worry that this is a terrible thing.
Im like, no, that puts the onus back
on us as an industry to get better,
to be more relevant, to be more
creative, to show more purpose in
what we do. And now Instagram has
turned everyone into an advertising
agency anyway, right? Everything you
post is a personal campaignwhat
you want people to think about you.
Its been fascinating and I welcome it.
And what would you like to see
happen in the coming years? Im
proud to say that Im in advertising.
I wish the industry were more
supportive of each other and that
we wouldnt compromise the
industry by undercutting each other.
[But] were an industry that has built
out massive departments which
are there just to justify mediocrity
as opposed to striving for brilliance
and impact. And so I wish more
power was given to the thinkers; I
wish there were more creative ad
companies, even though they would
be in competition with us. Bring it on.
Advertising is not going away. As Ive
said, logical people make the world
go around, [and] creative people
make it worth living in.
I still feel like
Ive got so
much I want
to do and
culture I
want to build.
David Droga, founder and
creative chairman, Droga5
What does the Lion of St. Mark
honor mean to you? Im not even
going to hide the fact that it makes
me feel pretty special and filled
with more humility than I probably
have shown in a long time, and thats
because of whos won it in the past,
to be honest. I think its definitely the
pinnacle of any creative accolade
that you can win. And now the thing
for me is to make sure that I can live
up to it and not take my foot off the
accelerator as well because I still
feel like Ive got so much I want to
do and culture I want to build.
13
 VOICE

shopping patterns. Its able to
capture large and impactful trends
like social patterns that define a
communitys habits.
So why is the time for AI now?
Only in recent years do we have the
volume of data needed to find these
patterns, and the economies of scale
to be able to store it.
Intelligent Journeys That Drive
Results Marketing has traditionally
been linear and deterministic. But
with AI, journeys become intelligent
and dynamic, and marketing can be
predictive for each customer. The
ability to capture, store and retrieve
a boundless amount of data opens
up avenues to reach customers
with personalized messages and
experiences. And, since the system
learns, it gets smarter and more
accurate with further iterations.
Lets take a look at the famous
auto company Peugeot and how it has
been able to use AI to drive impressive
marketing ROI. Of the millions of
people who come through its doors,
visit its websites, even look at an ad on
the open web, only thousands of them
buy a car. We can ask what sequences
of events people followed to buy, or
OPINION not. There are thousands of ways
in, from downloadable content to
was different. With the power of AI,
companies like Peugeot can tease out
the many different variations to sell
and market accordingly.
The Bionic Marketer of the
(Near) Future What about the
creativity and art in marketing and
advertising? Design remains a huge
component of successful marketing.
AI certainly has the power to help
determine what sorts of digital ads,
for example, a consumer is likely to
click onfrom color preferences to
style and price. Many experiments
with AI-created trailers, tweetbots
and other interaction experiments
have taught us that we still need both
human and machine. The AI algorithm
can interact, iterate and optimize for
success, but design still lies in the art
of human creativity.
AI Isnt an Either/Or for
Marketers AI removes the tedium
and guesswork of running a marketing
campaign, which includes creative,
email, social media and more, by
generating insights from haystacks of
data. But the marketer still designs
and runs the campaign. What I see is
people and AI working together to be
more efficient than either one alone.
Creativity aside, the beauty of AI
is that even if marketers dont have

AIs Leap From walk-ins. Using data and AI, Peugeot

created 800 micro-segments that
enabled content personalization
specialized IT skills, they can still act
on high-level insights. For example,
iteration cycles start to become much

Hype to Reality
MACHINE LEARNING IS RADICALLY ADVANCING
DATA SCIENCE AND MARKETING IS BEGINNING TO
REAP UNTOLD BENEFITS. BY LESLIE FINE
When I talk to people about artificial
intelligence, or AI, theyre often
across 2,200 microsites. By following
the buying journey of those who did
buy, Peugeot saw how each path
by turning to machine learning in
order to discover patterns in data
faster as AI kicks in, so I think of this
process as a layer cake.
The first layer is a huge quantity
of data that AI uses to figure out
what to probe for insight. If you
perform a large-scale data-driven
experiment with a piece of content to
test engagement (like A/B testing),
youre going to get a lot of data back.
This is the second layer. AI can then
process that information quickly, and
the iteration cycle gets shorter. In the

optimistic about how they think AI will
improve their lives in the future. What
they arent thinking about is sweaters.
Specifically, how based on previous
online behaviors an e-tailer knows
that youre in the market for a warm,
blue sweater instead of a long-sleeved
gray shirt. Historically, businesses
required human interaction in
order to understand exactly what a
customer needed. Today, thats no
longer the case. Thanks to lots of
data and AI, companies now know
exactly what you want, when you
want it and how you want it.
Some may fear AI, but I think of it
as doing for minds what the Industrial
Revolution did for muscles: machines
taking on difficult and repetitive
tasks and improving output. As in
the case of an online retailer, AI will
change the way marketing is done
on human behavior. We dont have to
look far into the future to see how AI
will make every marketing campaign
smarter and more personalized;
were already there.
Analytics That Look at, Not For
To understand how AI will change
the role of the marketer, we have to
first look at what it does well. AI finds
patterns in data, which we humans
do poorly by comparison. Heres why:
first, theres too much data to pour
through, and second, were biased.
We only ask what we know to ask
for. By contrast, machines arent
necessarily looking for something
theyre just looking.
By looking through massive
amounts of information, AI discovers
its own design as it goes. The
machine finds surprising information
in patterns, and not just in individual
the importance of trust, the ability
Specs
Claim to fame Leslie Fine, vp of
data and analytics at Salesforce,
holds a Ph.D. in game theory
and behavioral economics from
Caltech and is also an inventor of
four successful patents.
Base San Francisco
Twitter @lesliefine
I L L U S T R A T I O N : T A N G Y A U H O O N G / G E T T Y I M A G E S ; H E A D S H O T: A L E X F I N E
third layer, AI works through nuances
in the data so that its not just A or B,
but a mix of both. By the fourth layer,
AI has optimized the system, working
out inefficiencies, maximizing speed
and providing a clearer picture of
customer preference and behavior.
What Tomorrow Already Looks
Like Everything Im describing
herethe massive data gathering,
to analyze, iterate and predict, and
intelligent journeysare separate
pieces of what is already shaping up to
be a seamless experience.
As marketers work hard to get
ever closer to the customer at every
touch point, AI gives them the total
view of whats possible and what
makes sense, reducing the friction to
customer satisfaction even as their
expectations are constantly rising.

14 JUNE 12, 2017 | ADWEEK

Its one thing to know what shes watching today. But what about
tomorrow? When you have the right data and the right science,
you wont only know whats nextyoull get there first.

Learn more about The Science Behind Whats Next at nielsen.com.

Copyright 2017 The Nielsen Company (US), LLC. All Rights Reserved.
100
DARING AND SURPRISING. Those adjectives, more than any others, describe the work of the honorees on Adweeks third edition of the Creative 100,
our annual list celebrating masters of creativity across advertising, branding, media, technology, pop culture and more. Beginning with our cover star
stand-up comic, actor, writer and podcast host Kumail Nanjianiwe looked for subjects who are wielding creativity in bold and inventive ways, surfacing
fresh voices, perspectives, ideas and products along the way. From Wall Street to Silicon Valley to every advertising enclave in between (as well as 10
markets overseas), we found signposts to the future in the thrilling campaigns, innovations, artworks and pop-culture treasures theyve created. In a
world thats increasingly divided, their work finds common ground as it seeks to entertain, educate, persuade, inspire and sell to its audience. The list
remains mostly U.S.-only, except for a new category of 10 global agency creative chiefs. It is also not a definitive ranking but an evolving mix of talent
whose work has shone brightest over the last year. Congratulations to all the winners for reaching new heights, and pointing the way forward. Tim Nudd

P
icture your classic Hollywood
triple threat. Now, throw it out the
window, in the garbage, wherever,
and say hello to Kumail Nanjianithe
stand-up comedian whos redefining
what it means to be a modern-day
multihyphenate. Everything about the
Silicon Valley starfrom his upbringing
in Karachi, Pakistan, to his unorthodox
love story with now-wife Emily Gordon,
which inspired his upcoming film The
Big Sickis intriguing.
Kumail Nanjiani
In the film, co-written by the couple
and based heavily on their whirlwind
love story, Nanjiani plays a nearly
identical version of himself: a Pakistani-
American stand-up comedian slash
Uber driver who falls for a white woman
(played by Zoe Kazan), something his
parents are wholly against. Nanjiani
keeps the budding romance a secret
until a twist of fate comes his way just
as the relationship waters get choppy
and Emily is placed in a medically
induced coma (and yes, that did in fact
happen in real life).
See? Not your typical rom-com
from a not-so-typical comedian.
Nanjiani got his start as a
performer in Chicagos stand-up scene,
receiving critical acclaim for his 2007
one-man show, Unpronounceable.
After moving to New York, he began
appearing on shows like The Colbert
Report and Portlandia, and co-created
a popular gaming podcast, The Indoor
Kids. His big breakthrough came in
2014, when he was cast as unlucky-
in-love programmer Dinesh on HBOs
tech comedy Silicon Valley. Now, he
can add starring in and writing his first
major filmfor which Amazon Studios
ponied up a whopping $12 million after
it screened at Sundanceto his list of
accomplishments.
Adweek caught up with Nanjiani,
Adweeks Creative 100 cover star for
2017, at the tail end of the first leg of
his current comedy tour with Big Sick
co-stars Aidy Bryant, Kurt Braunohler
18
and Ray Romano. He told us about his
creative process, starring alongside
Snoop Dogg and Julia Louis-Dreyfus
in an Old Navy campaign, and what he
hopes to accomplish next.
Your first major film comes out
at the end of the month. Are you
excited? I feel a lot of different ways.
Most importantly, I guess, I feel happy
with the movie itself. Beyond that, you
cant really control peoples reactions
or how it does at the box office. So, its
a little nerve-racking trying to guess if
people are going to go see it or not.
What was the best part about
making this movie? Me, Emily,
[director] Mike [Showalter], [producers]
Barry [Mendel] and Judd [Apatow]
would just hang out all day and talk
about making the movie. Then shooting
The Silicon
Valley star is
taking his
own story to
the big screen.
BY KATIE RICHARDS
PHOTOGRAPHY BY MARC ROYCE
the actual movie, I loved working with
Ray Romano and Holly Hunter. Theyre
both legends, and Ive been a fan of
them for so long.
You work on so many different
projects simultaneously. How do
they all tie together? They are all
things that I like doing. I did a podcast
about The X-Files [called The X-Files
Files], and that to me was just like,
Oh, I really love The X-Files. Acting
on Silicon Valley, acting on Portlandia
or doing stand-upto me, thats
all comedy, and I love writing and
performing comedy. This movie was a
little different, because its a comedy,
but its the first time Ive ever had to do
any sort of dramatic performance at all.
How did you prepare for that leap?
I took acting classes for the first time.
I think it was after Season 2 of Silicon
Valley, I started taking acting classes
knowing there was a chance we may
get to make this movie. I wanted to be
ready for it.
How does your creative process
differ from project to project?
I wish I could work on a couple of
different things at the same time.
Emily really can do that. She can write
an article for The New York Times and
then write the movie. For me, when
I write, I get obsessed with the one
thing that Im working on, and I can
only think about that.
When you do get stuck, where do
you turn for inspiration? Leading
up to shooting the movie and even
editing the movie, I decided to watch
a lot of great movies. I had never seen
Tootsie, or Kramer vs. Kramer, or Terms
of Endearment. I would also listen
to commentary for these movies. To
hear these people, these legendary
filmmakers, talking about the drastic
vision that youre considering right now
... its really inspiring.
Who are your creative idols? I think
of Amy Schumer. Shes doing new
stand-up every year, and she does
movies and stuff. I dont know how she
does it. I dont know how she can write
a movie, and then act in a movie, and
write stand-up, and perform stand-
up. Like I said, I dont multitask well. I
always envy the people who can kind
of switch careers seamlessly.
Whats your take on actors and
comedians doing ad campaigns?
Its tricky, right? You have to sell
something, or create awareness for
something, and give people information
while being interesting or funny. I like
funny ads because I think of it as a
little 30-second sketch or a 30-second
movie. I did an ad for Old Navy with
Snoop Dogg and Julia Louis-Dreyfus.
They had a premise [for the ad],
but they were just kind of like, OK,
improvise. It was maybe the biggest
production Ive ever been a part of. It
was so fun to just pitch ideas to Julia,
and have her pitch ideas to me.
Your Silicon Valley co-stars have
done a bunch of ads. T.J. Miller did
Shock Top ads. Thomas Middleditch
C O V E R F E AT U R E
is doing Verizon ads. Would you do a
campaign at that scale? Yeah, I would
love to. For me, it is important that its
a product that I actually can get behind.
Id love to do a big campaign, but I
wouldnt want to do a bunch of different
things at the same time. I dont want
people to get sick of me. Im sure some
people are already sick of seeing my
face. I dont want to add to that!
Any campaigns recently catch
your eye? I like Thomas Middleditch
in the Verizon ads now, and T.J. [Miller]
is in those Mucinex commercials, or
the commercial for Slim Jim where
hes the blue genie. I just gravitate
toward the funny ads. Its always cool
when you see someone in an ad and
youre like, Whoa, who is that? That
person is really funny. I remember I
saw Danny Pudi in an ad, and I thought
he was really funny. I remember
watching it over and over. Then he
was on Community and a show called
Powerless. Thats always fun to see,
because thats generally where a lot of
comedic actors get their break.
P R O P S T Y L I N G : N AT H A N C A R D E N / J O R G E P E R E Z R E P S ; G R O O M I N G : S Y D N E Y S O L L O D / T H E WA L L G R O U P
You have 1.5 million Twitter
followers. How has social media
helped your career? Its a very easy
and direct way to connect with your
audience, unfiltered. We would tour, and
like 70 percent of people would come
because of our podcast. This was before
Silicon Valley. We have a movie coming
out now, and its great that I have like a
million-and-a-half followers on Twitter
that I can spread the word to directly.
You can also be pretty vocal on
Twitter. Do you ever feel the need to
censor yourself? I kind of just present
my thoughts and feelings to the world
as they are. Sometimes its thoughtful;
sometimes its not thoughtful. Some-
times its helpful; sometimes its not.
For good or bad, I just kind of have my
phone on me all the time. If I think of
something, I just tweet it. I dont really
put a ton of thought into it.
Whats next for you? I would love
to ideally act in a movie that I didnt
write. Then I would love to keep
writing movies. Then eventually I
would love to start directing, too, but
not for a few years. Im still really
enjoying writing and acting.
JUNE 12, 2017 | ADWEEK
 I like funny
ads because
I think of
it as a little
30-second
sketch or a
30-second
movie.

ADWEEK | MONTH ##, #### 19

Agency Creatives
A WORLD-RENOWNED
statue. A school laundry
program. An activist
movement. A giant
mechanical internet-
controlled octopus.
The U.S. agency creatives
on this years Creative
100 make advertising that
doesnt look like advertising
at all. It looks like art, or a
game, or a challenge, or a
call to arms. But you can bet
it looks unlike anything
youve seen before.
As the shape of
advertising evolves, these
creatives are moving faster
than most to find thrilling
new forms for itin work
that charms and disarms,
from idea to craft, getting
millions to freely engage Tali Gumbiner and Lizzie Wilson it, says Wilson. Adds Gumbiner: Its probably the
SENIOR COPYWRITER AND SENIOR ART most beautiful thing I will ever be a part of.
with it along the way.
DIRECTOR, MCCANN NEW YORK Gumbiner is committed to making work that
BY TIM NUDD adds value to the lives of others, whether its
Gumbiner and Wilson are the masterminds entertainment value, emotional value or the
behind the years most culturally simple value of briefly enjoying a moment,
breakthrough piece of advertisingthe she says. I feel that whenever a creative

GUMBINER AND WILSON: COURTESY OF MCCANN; FEARLESS GIRL: JEENAH MOON/BLOOMBERG VIA GETTY IMAGES
Fearless Girl statue on Wall puts something out into the world,
Street, created for State Street theyre asking the world to invest
Global Advisors. A conceptual time into that experience. And if
and physical marvel, it turned I cant give people anything in
a financial brand into a paragon return for their time, the work
of corporate feminism, and its feels pointless to me.
creators into overnight rock stars. Wilson sums up her approach
From Girl Scouts to cops, Fearless this way: Stay curious, and kind.
Girl resonates deeply with women, and And push to give your work depth.
Im extremely proud to have been a part of Shallow is easy.

GO TO ADWEEK.COM FOR FULL PROFILES >>>

Ari Halper Claudia Cukrov Hunter Hindman Joel Kaplan Laurel Boyd Mark Sarosi Noel Cottrell Scott Carlson
Chief Creative Senior Creative and Rick Condos Group Creative Director of Creative and Chief Creative Chief Creative
Officer, FCB Strategist, SS+K Co-Chief Creative Director, Muh- Media Content Design Director, Officer, Fitzgerald Officer, Vans
New York Officers, Argonaut tay-zik Hof-fer and Innovation, Anomaly & Co. General Store
Colin Selikow
Mediahub/
Ari Weiss Creative Director, Jason Norcross Kate Carter and Matt Edwards Paddy Fraser Simrit Brar
MullenLowe Group
Chief Creative Leo Burnett Executive Zack Roif and Wes Phelan Creative Director, Design Director,
Officer, North Creative Director, Senior Copywriter Lindsey Allison Creative Directors, CP+B Los Angeles Phenomenon
America, DDB Con Williamson 72andSunny and Senior Art Head of Strategy, Johannes Leonardo
Chief Creative Director, R/GA Deutsch Ricky Vior Stijn Jansen and
Becca Morton Officer, EP+Co Jeff Stamp Monserrat Executive Creative Bram Ceuppens
Executive Creative Deputy Chief Katy Hornaday Lori Martin Valera and Jorge Director, The Senior Art Director
Dave Arnold
Director, Pitch Creative Officer, Executive Creative Creative Director, Murillo Community and Senior
Executive Creative Grey New York Director, Barkley Innocean Creative Director Copywriter, Heat
Ben Cascella and Director, Pereira & Rob Schapiro
and Executive
Nigel Gross ODell Jennifer Barclay Ken Marcus and Luciana Cani Chief Creative Tylynne McCauley
Creative Director,
Associate Creative Associate Sean Riley Executive Creative Alma Officer, Brunner and Brian Farkas
Directors, KBS Dave Brown and Creative Director, Senior Copywriter Director, Lapiz Associate Creative
Daniel Bonder Sam Luchini and
ROAR Group and Creative M.T. Carney Directors, 180LA
Chen Liang and Creative Directors, Mark Ray Roger Baran
Director, The Founder and
Ryan Niland BBH New York Jessica Toye Chief Creative Creative Directors, Victoria Azarian
Martin Agency Creative Lead,
Art Director Senior Art Director, Officer, North Goodby Silverstein and Jeff Curry
Drew Ungvarsky Untitled
and Copywriter, JWT New York Kerry Keenan Worldwide & Partners Executive Creative
Wieden + Kennedy CEO and Executive Co-founder, Directors, Ogilvy &
Creative Director, Never The Less Mather New York
Grow

20 JUNE 12, 2017 | ADWEEK

 Juan Pea and Ricardo Casal
ASSOCIATE CREATIVE DIRECTORS, DAVID
In six years, Pea and Casal have
orchestrated many of Davids most buzzy
campaigns, from Macmas Man Boobs
to Heinzs Mad Men ads to Burger Kings
Google Home stunt for the Whopper.
A huge Mad Men fan, Pea was thrilled
to bring Pass the Heinz into the real
world. It was a dream come true sharing
creative credits with Don Draper, he says.
Taking a campaign from your favorite TV
show and making it happen in real life is an
unforgettable experience.
Casal is still smiling about hijacking
Google Home to get them talking about the
Whopper. We had Wikipedia blocking us,
then Google blocking us, and we were at the
office trying to fight them back, he says.
But we won the corporate feud. Better yet,
we got everyone talking about the Whopper,
even robots. That was amazing.
Pea and Casal are in love with
advertising, which is what fuels them. We
truly believe talent can be outperformed by Hans Dorsinville
passion and commitment, says Pea. Its
GROUP CREATIVE DIRECTOR, LAIRD+PARTNERS
P E A A N D C A S A I : C O U R T E S Y O F D AV I D ; D O R S I N V I L L E : C O U R T E S Y O F L A I R D + PA R T N E R S ; C A LVA N O A N D B O R D I G N O N : C O U R T E S Y O F D I G I TA S L B I

not just a profession for us, this is our hobby.

Adds Casal: Its something like Rihannas Dorsinville has been with the fashion-focused
songall I know is work work work. The rest Laird+Partners since it opened in 2002. For the
I dont understand, but I just go along with it past three years, hes pioneered messages of body
and enjoy it. Also, we love paying attention positivity in Lane Bryants breakthrough campaigns,
to everything around us, but always from from #ImNoAngel to #ThisBodyIsMadeToShine,
our desktop; the less we move, the more igniting a movement not only to accept plus-size
time we have to come up with new ideas. women, but to celebrate them.
Being the father of a 16-month-old girl, and
thinking about how she will perceive herself,
has greatly affected my desire to put messages
of positivity for women out into the world, he
Louie Calvano and says. Every iteration of this campaign has been
Samantha Bordignon a build on a previous theme, all centered around
CREATIVE DIRECTOR AND SENIOR one platform of body positivitya story that is
COPYWRITER, DIGITASLBI important to tell to empower women.
Dorsinville sees creativity as a unique
This pair helped bring to life the Care Counts
vision that is a translation of an observation.
campaign for Whirlpool, which put washers and
Something mundane can be transformed into
dryers in schools to help kids who dont always
something noteworthy if its handled with
have access to clean clothesand who often skip
creativity. Watch, listen and then serve it up
school as a result.
in a new way. There is so much inspiration out
Seeing this kind of creative thinking in action
there if you are open to it. Really listening to
reminds me of the potential our work can really
the consumer can bring forth many ideas, and
have, that creativity is responsible for more than
listening to your gut can validate them.
just entertainment or beauty, Bordignon says
of the One Show gold Pencil winner. When you
apply it to real problems, creativity can be a
potent tool for change.
She finds creative inspiration in diversity.
When youre living every day in the same
bubble, its easy to forget that this world is
a huge fucking place! she says. There are
so many people out there with ideas and life
experiences that are nothing like your own.
Each one can push your brain a little further
outside its comfort zone.
Pay attention to life. Thats where the ideas
are, adds Calvano. If you actually listen to
people and honestly care about people, you get
so much genuine insight to draw from and make
the work more resonant. Whether its for laughter
or tears, if all you know is yourself, youre going to
have a hard time connecting with others.

ADWEEK | JUNE 12, 2017 21

 Agency Creatives

Martins Zelcs and Bryan Stokely

SENIOR ART DIRECTOR AND SENIOR
COPYWRITER, BBDO NEW YORK
These Miami Ad School grads spent a year as a junior team at
Droga5 before jumping to BBDO. Working with creative director
Peter Alsante, they made one of the most celebrated viral ads
of the past year, Evan for Sandy Hook Promise, in which a
high school love story turns out to be anything but.
The pair, whove also worked on Twix and Foot Locker, picked
up three gold Pencils at The One Show for Evan. Theyre still
reeling from how widely the work broke through.
Viral videos happen naturally. Its an organic process thats
not predictable, says Zelcs. In our case, I think the key to
success was that the viewer got surprised while watching the
video. It was that WTF just happened? moment. We wanted
the viewer to have this feeling of something unexpected
happening, and it seems like it worked.
Stokely is humbled by how the PSA moved so many people.
We received numerous emails, in and out of the ad world, from
people thanking us for making the spot. We had never expected
that kind of response, and it was amazing to see how people
connected with it.
Their creative philosophy? I think creativity comes from
curiosity and observation, so be curious and pay attention,
says Stokely. Adds Zelcs: Unique ideas come from new
experiences. Try out things you havent done, and you will have
new stories to tell.

Casey Rand and Karen Short

GROUP CREATIVE DIRECTORS, DROGA5
After meeting a decade ago at the VCU Adcenter, Rand and Short went their separate
ways (to BBDO and Goodby Silverstein) before reuniting in 2013 at Droga5. Since then,
theyve worked together on Diet Coke, Chobani, the YMCA, the National Womens Law
Center, Under Armour and Chasemostly recently launching Chase Sapphires new
brand platform with short films starring James Corden.

Z E L C S A N D S T O K E L Y : C O U R T E S Y O F B B D O ; R A N D A N D S H O R T: P A U L M C G E I V E R
Both cite the Clinton Foundations Not There campaign, for International Womens
Day in 2015, as a career highlight, when they got more than 20 brands, including Cond
Nast, to remove women from media imagery
from billboards to Top 40 songs to magazine
coversto communicate that gender equality
has not yet been achieved.
It was a massive effort behind a simple
thought in a salient moment, says Short. Adds
Rand: It changed the scope of what I believed
was possible to achieve in advertising. It proved
to me that advertising could create culture and
effect change.
Rand likes work that makes her nervous.
Great ideas contain tension, be it cultural,
emotional, executional or otherwise, she says.
Short offers a football analogy: Barry
Sanders was one of the few NFL players who
never danced in the end zone. He made a
touchdown, and then had the confidence to
let it lay. Good work does this. Good work is
solid enough in its simplicity and delivery that
it doesnt need extra showiness or loudness.
Also, whenever possible, I try to make work
that makes a positive difference in the world.

22 JUNE 12, 2017 | ADWEEK

 Agency Creatives
Molly Wilkof and Zoe Kessler
SENIOR COPYWRITER AND SENIOR ART DIRECTOR, BARTON F. GRAF
These young ex-McCann creatives came up with one of the more delightfully
offbeat campaigns of 2017the Yes Good campaign for Emerald Nuts,
which made inspired use of the Amazon reviews section, including one terse
bit of praise that became the tagline.
We were scouring Amazon reviews for insights on their products when
we happened upon one that simply said, Yes Good. It was perfect, says
Wilkof. Adds Kessler: People are hungry for authenticity, and brands arent
really delivering. We knew we wanted to make something that felt real and
honest. Yes Good let us have a conversation with our consumers rather
than talking at them.
Kesslers creative advice is to find the tension in the brief. If you can
figure out why people should give a shit, you can make them give a shit, she
says. Wilkofs creative philosophy is simple: Find something true. Then find
a way to laugh at it.
24
Suzanna Bierwirth
CHIEF CREATIVE OFFICER, THE MARS AGENCY
Photographer. Interior designer. Design magazine publisher.
Founder of a modern paper-goods company (Binth). The
German-born Bierwirth has a boundless creative spirit, which she
is now channeling into The Mars Agency, the shopper-marketing
firm outside Detroit, after a long tenure at FCB Chicago.
Im not here to help build a creative department. Im here to help
W I L K O F A N D K E S S L E R : C O U R T E S Y O F B A R T O N F. G R A F ; B I E R W I R T H : C O U R T E S Y O F T H E M A R S A G E N C Y
design a more holistically creative business, she says. To have our
scale, strategic acumen and retailer intelligence, all without being
beholden to a holding company this agency is a creatives dream.
Bierwirth sees retail/brand activation marketing, so often
overlooked as a creative field, as poised for a renaissance. Its
a wide-open space, she says. Technology and targeting have
unlocked creative opportunities traditionally reserved for brand
advertising. The lines are completely blurred. My job is to bring on
more exceptional talent, then curate the right teams and set them
loose to create.
JUNE 12, 2017 | ADWEEK
 Matt Keats and Matt Miller
ASSOCIATE CREATIVE DIRECTORS, VENABLES BELL & PARTNERS
Partners on Audi since 2011, they shifted into another gear with the account this past year. Their triumphs include the Live to Drive campaign, featuring the TV spot
Desolation and an Airbnb listing for the Death Valley house featuring in it (which booked up, staggeringly, in less than six seconds). Just as impressive was Duel,
the virtuosic reverse-slow-motion spot featuring battling hotel valets, which aired during the three presidential debates.
Hollywoods got the whole epic fight thing pretty locked down. To make one of our own that still felt fresh and original, while also delivering political commentary
on the 2016 election, was a crazy undertaking, says Keats. We had no idea how well it would work in reverse until we saw the first cut. Also, nothing about it felt
like an ad. Thats usually a good sign that youre doing something right.
Keats work is informed by the belief that most people just dont like ads, plain and simple. So the least you can do is try to make something interesting. Anything
less and youre just wasting their time, he says.
Millers advice to fellow creatives is succinct: Be hungry, be a student, be a sponge, and most importantly, be humble.

Renato Fernandez
K E AT S A N D M I L L E R : C O U R T E S Y O F V E N A B L E S B E L L & PA R T N E R S ; F E R N A N D E Z : C O U R T E S Y O F T B WA

CHIEF CREATIVE OFFICER,

TBWA\CHIAT\DAY LOS ANGELES
This former AlmapBBDO art director joined TBWA
in 2011 and rose to L.A. CCO this year. For Gatorade,
he helped craft memorable farewell films for
retiring athletes Derek Jeter (Made in New York),
Abby Wambach (Forget Me) and Peyton Manning
(Dear Peyton), but took things to the next level in
2016 with Serena Williams Match Pointthe
first in-app Snapchat video game.
It is a disruptive idea that transformed
Snapchat into a gaming platform, creating a
modern kind of storytelling giving the audience
a taste of what shes worked for in her career,
Fernandez says. We proved Snapchat can be a
powerful storytelling platform. All it needs is the
right idea.
Three mottoes guide his advertising work:
Good is the enemy of great (a quote courtesy
of TBWA\Hunt\Lascaris co-founder John Hunt),
Corner clients with good ideas and Do what
hasnt been done.
Most of the time, creatives tend to compromise
when clients dont want to buy their ideas. I think
it should be the other way around, he says. When
they dont like your idea, come back with one thats
even better. On the topic of trying new things, he
adds: If you dont know how to execute the idea, it
is a good sign you are going in the right direction.
The fear of failing will keep you on your toes.

ADWEEK | JUNE 12, 2017 25

Branded Content Masters
THE IDEA THAT BRANDS
could create compelling and
even artistic content used to
sound laughable, but many
skeptics have been won
overthanks largely to the
work of a few elite talents
whove taken corporate
creativity to a new level.
Whether its quick and
savvy responses on Twitter
or gorgeous long-form videos,
todays best branded content
can impress and inspireoh
and hopefully sell, too. This
years Adweek Creative
100 features a blend of the
industrys big names and
behind-the-scenes stars.
Here are Adweeks 10
branded content honorees
in the 2017 Creative 100: Alex Bodman
GLOBAL CREATIVE DIRECTOR, SPOTIFY
After learning the ropes about Spotify
Amy Emmerich while working on the agency side at
CHIEF CONTENT OFFICER, REFINERY29 Razorfish, Bodman joined the music-
streaming service as its first global
Once a fashion-focused city guide, Refinery29 has become the creative director in 2015. Since then,
millennial womans go-to source for smart takes on everything the brands advertising has continuously
from style and celebrity to news and culture, not to mention a highlighted interesting, unusual and
formidable force in the video space. often quirky tidbits about streaming

EMMERICH: VITTORIO ZUNINO CELOTTO/GETT Y IMAGES FOR KERING; BODMAN: COURTESY OF SPOTIFY
Content chief Emmerich, a Vice and Scripps alumna who data, crafting them into entertaining and
joined Refinery29 in 2015, has been instrumental to that success, creative out-of-home, print and TV ads.
building out the companys video team, launching dozens of original Im part of building a brand that
series and creating content for platforms like Snapchat Discover. people truly love and feel passionately
Last year, she inked a partnership with Turner that includes the about, Bodman says. Its an insanely
GO TO ADWEEK.COM Shatterbox Anthology, a short film series helmed by female fortunate place to be, and I feel like were
FOR FULL PROFILES >>> directors like Chlo Sevigny and Kristen Stewart, and Who Run only getting started.
the World?, a Morgan Spurlock-produced docu-series that will Bodman is most proud of last years
premiere later this year on TNT. Thanks, 2016. Its Been Weird
Adam Aston My goal since joining Refinery29 two and half years ago has been
Vp, Executive Editorial campaign that focused on odd listening
to expand representation of women within the media, Emmerich habitslike how 3,749 people listened to
Director, T Brand Studio
says. I pride myself on taking risks in order to shine a light on REMs Its the End of the World as We
Alexandra Spunt radically inclusive and culturally relevant stories that are told in Know It on the day of the Brexit vote.
Head of Creative, Everlane every way from social media to big screens. Emma Bazilian It was the first fully integrated brand
Ann Rubin campaign we created completely in-house,
and the response was so overwhelming,
Vp of Branded Content and
Bodman says. Lauren Johnson
Global Creative, IBM
Luke Sherwin
Co-founder and Chief
Creative Officer, Casper
Meredith Ulmer
Social Media Specialist,
Wendys
Nazanin Rafsanjani
Creative Director, Gimlet
Pam Grossman
Director of Visual Trends,
Getty Images

26
 Rachel Holbrook
GLOBAL HEAD OF PRODUCTION, AIRBNB
Airbnbs advertising work has been
lauded in recent years for exploring
what it means to be a modern travel
brand, touching on themes like diversity
and local culture. Behind the scenes is
Holbrook, who honed her skills at Coca-
Cola before joining Airbnb in 2014. She leads
an in-house production team responsible
for creating work like last years poignant
We Accept spot that went on to run as a
Super Bowl commercial.
To promote its expansion into local
experiences and the Trips feature,
H O L B R O O K : D AV I D E L L I O T/A I R B N B

Holbrooks team filmed and photographed

hosts in 12 cities, creating more than 500
pieces of content in eight weeks.
My goal is to create marketing content
that inspires people to want to experience
what they see, says Holbrook. You can
watch a piece of content, but then actually
live it in real life by booking an experience,
visiting a place or staying in a home.
Lauren Johnson

Adweek chose her.

She chose us.
Congrats, Suzanna.*
*Everyone, meet our new CCO, Suzanna Bierwirth

ADWEEK | MONTH ##, ####

New York Chicago Detroit Seattle Cincinnati Minneapolis Bentonville London Toronto
27
Artists & Authors
HIGHLY POLITICIZED TIMES
may bring out the worst in some
of our neighbors and newsfeeds,
but on the bright side, they also
bring out the best in artists.
The current political climate
is no exception, with many
creatives channeling their
outrage into inspiration.
Each year, Adweeks
Creative 100 reserves 10 spots
for the artists and authors who
are creating some of todays
most topical, captivating
work. While not all of this
years honorees are politically
motivated, its certainly a trend
one cant help but notice.
Here are this years artists
and authors in the Creative 100:
GO TO ADWEEK.COM
FOR FULL PROFILES >>>
Barry Jenkins
Writer and Director,
Moonlight
Brian K. Vaughan
and Fiona Staples
Creators of Saga
Eric Goldemberg and
Veronica Zalcberg
Edel Rodriguez
ARTIST AND MAGAZINE ILLUSTRATOR
Whether you know his name, youre doubtlessly familiar
with the work of artist and illustrator Rodriguez. The
former Time art director has made headlinesand,
in some cases, sparked fierce debatewith his bold
magazine covers, including Newsweeks What Silicon
Valley Thinks of Women in 2015, which showed a woman
whose skirt is being lifted by a computer cursor; Times
memorable Trump-themed Meltdown and Total
Meltdown covers during last years election cycle; and
this past Februarys cover of Der Spiegel, which showed
President Trump holding the severed head of the Statue of
Liberty along with the headline America First.
Earlier this month, he returned to the cover of Der
Spiegel to show Trump smacking the Earth with a golf
club after backing out of the Paris Agreement. Rodriguez,
who emigrated from the U.S. to Cuba at age 9, has also
done work for brands like MTV and Pepsi, and his fine
art creations are even more stark and ominous than his
magazine designs. Emma Bazilian
Zo Quinn
GAME DEVELOPER, AUTHOR, ACTIVIST
The internet is a big, complex environment
where people are often the problem, Quinn
says, but people can be the solution, too.
Its a statement that summarizes much
of Quinns life in recent years, which saw
the independent video game designer
flooded with threats and hacking
attempts in a sustained harassment
campaign known as #Gamergate.
Instead of crumbling under the assault,
Quinn has focused her energy in positive
directions, creating Crash Override, a support
network for those facing online abuse. Shell
also share more advice in her upcoming book,
Crash Override: How Gamergate (Nearly)
Destroyed My Life, and How We Can Win the
Fight Against Online Hate.
She wants her organization, upcoming
book and work in game development to
create a healing impact for people who
need a break from the darkest sides of
todays internet. Sami Main

Q U I N N : J O H N L A M PA R S K I /G E T T Y I M AG E S
Co-founders, Monad Studios
Flora Lichtman
Podcast Host,
Science Journalist
Navid Baraty
Photographer
Patricia Lockwood
Poet and Memoirist
Rebecca Mock
Artist and GIF Maker

28 JUNE 12, 2017 | ADWEEK

 Patrick Clair
CREATOR OF TV OPENING SEQUENCES
Clair is a creative force behind Emmy Award-winning television title sequences as
well as commercials that lure audiences into compelling stories and fascinating
subject matter.
His title sequence credits for TV include HBOs True Detective and Westworld,
Amazons The Man in the High Castle, Netflixs The Crown and Daredevil, and AMCs
Halt and Catch Fire.
My work is an odd hybrid of design and traditional storytelling, Clair tells
Adweek. It hijacks existing icons and symbols, and blends them together to tell
new types of stories.
CLAIR: JANE ALLEN

Clair is the resident creative director for the Santa Monica, Calif.-based filmmaking
collective Elastic. He and his creative team won the 2014 Outstanding Main Title Design
Emmy for their work on Season 1 of True Detective.
What we really care about at Elastic is communicating the ideas. Is the story strong
enough? Is it simple enough? Is it smart enough? Clair says. The more streamlined and
clear the execution, the greater the impact and the more the work will work. A.J. Katz

From all of us at
Whirlpool Corporation,
congratulations to Samantha Bordignon and Louie Calvano from
Digitas LBi for making "Adweek's Creative 100". You continue to
inspire us and be champions of our brands.

ADWEEK | MONTH ##, #### 29

/TM 2017 Whirlpool Corporation. All rights reserved. XX170119
Global Creative Leaders
TO BE AN ADVERTISING
leader in your home city is
an honor. To be a national
figure of creative excellence
is incredibly rare. So imagine
what it must take to become a
global advertising icon.
Actually, you dont have to
imagine. You can simply read
here to find out why Adweeks
editors selected these 10
global creative leaders to
represent some of the worlds
best talent in this years
Creative 100.
Our annual list of the top
creative professionals in
marketing, media, tech and
culture has traditionally
been limited to the U.S., but
in honor of the approaching
Cannes Lions International
Festival of Creativity, we
decided to reserve 10
spots on our list for these
luminaries of international
inspiration:
GO TO ADWEEK.COM
FOR FULL PROFILES >>>
Suthisak
Sucharittanonta
Chief Creative Officer,
BBDO Bangkok
Naoya Hosokawa
Chief Creative Officer,
Drill Tokyo
Ant Keogh
Chief Creative Officer,
Clemenger BBDO Melbourne
Josefine Richards
Creative Director,
Ingo Stockholm
Bas Korsten
Eva Santos
CHIEF CREATIVE DIRECTOR,
PROXIMITY SPAIN
The struggle to shatter gender
stereotypes in advertising is a global
one, and Eva Santos is one of the most
dynamic creatives leading the charge.
As Proximity Spains creative chief,
she led the creation of Audis 2016
Tereza Sverakova animated spot The Doll Who Chose
CHIEF CREATIVE OFFICER, Y&R PRAGUE to Drive, featuring a fashionable doll
speeding out of the pink toy aisle to
Since taking over three years ago as creative chief at Y&R Prague, prove that imagination is gender-neutral.
Sverakova has waged war against the kind of empty messages that The spot has been viewed more than 25
give branding a bad name. million times, Santos says.
If we can encourage our clients to champion meaningful themes For the first time, an automotive
with a deeper sense of purpose, we can change how the world sees brand was prepared to explicitly break
our industry, she says. gender stereotypes with a formula
That approach has paid off, particularly last year, when the capable of influencing both todays
office won numerous awards, including seven Cannes Lions across drivers and tomorrows, she says. Its
three categories. Stirring work for the United Nations High even changing the number of women
Commissioner for Refugees claimed five of those trophies for considering buying an Audi.
drawing parallels between the current Syrian refugee crisis and the Santos efforts for equality go
plight of Czechoslovaks who fled Soviet occupation. far beyond client work. Currently
For Forbes, The World Needs More Billionaires put the high the leader of Proximitys Worldwide
price of making the world a better place into fiscal perspective. (For Creative Council, she also helped create
example, cleaning the oceans costs more than $520 billion a year.) #masmujerescreativas, a collaborative
Acutely aware that in the Czech Republic the chance that effort to open more opportunities for
you will ever get to work on big, glamorous projects is almost female creatives.
nonexistent, Sverakova aims to prove that even with limited A restless spirit with ideas to spare,
opportunities, and in an environment where you have to improvise,
Santos is a big believer in momentum.
iconic pieces of work can be created. David Gianatasio In my experience, she says, the
two keys in a creative process are
quantity and speedquantity of ideas
and speed of thinking as the best way
to achieve quality and not losing time
arguing during the first steps of the
creative process. David Griner
S V E R A K O VA : C O U R T E S Y O F Y& R

Executive Creative Director,

JWT Amsterdam
Richard Brim
Executive Creative Director,
adam&eveDDB
Shane Ogilvie
Co-founder, The Garden
North America

30 JUNE 12, 2017 | ADWEEK

MERCADO: STRUKA PRODUCTION SERVICES

Martin Mercado
CHIEF CREATIVE OFFICER, MERCADO MCCANN
To reach the heart of a jury member, you have to use your head. To touch the
heart of people, you need guts, says Martin Mercado, one of Latin Americas
most feted creative directors.
He employed both in 2012 at Y&R Buenos Aires, in a highly charged campaign
for the Argentinian presidents office featuring Olympic athlete Fernando
Zylberberg training on the Falkland/Malvinas Islands. That territory was claimed
by both Argentina and the U.K., and the ad proved hugely controversial.
For the past several years, Mercado has managed to avoid international
incidents while helming Mercado McCann. Notable efforts for TyC Sports
TV include ConverS.O.S., about fathers and sons who root for different
teams, and Trump, which trolls Potuss fiery anti-immigration stance.
A powerful print push for the Perfil newspaper mocks the mother of all
bombs and the absurdity of war. David Gianatasio

ADWEEK | MONTH ##, #### 31

Digital Innovators
IN RECENT YEARS,
innovation has often been
defined by the race to be first
to market or prove yourself
an early adopter. Thankfully,
that technological land rush
whether it be in VR, social apps
or AIseems to be slowing,
with the focus shifting to
tangible benefits and truly
captivating experiences.
Adweeks annual Creative
100, a list of the most creative
professionals in marketing,
media and tech, features a
wide variety of industry icons,
but one of the most fascinating Milica Zec and Winslow Porter
portions of the list each year CO-FOUNDERS, NEW REALITY CO.
is our roundup of the 10 digital Their first VR project aimed to put you alongside a family huddling for
innovators worth watching. safety in a war zone, but their second was even more ambitious: to make
Here are our picks for you experience the life of a tree.
2017s inspiring, entertaining These empathy-driven projectscalled Giant and Tree, respectively Anda Gansca
and occasionally mind-blowing reunited filmmaker Zec and creative technologist Porter more than a decade CO-FOUNDER AND CEO,
after they first met as aspiring editors at a postproduction company. They KNOTCH
innovators:
quit their day jobs in 2016 and set up shop in the New Museums incubator Gansca is walking in the New
space to create Giant, inspired by Zecs childhood in Serbia. Since I grew York City rain and thinking about
up in a war-torn country and experienced bombing when I was only 17, she how her startup has grown from
says, I wanted to bring users inside of the story, placing them right there eight to 30 employees in the
with an innocent family in peril. span of four years (and soon
Next came 2017s Tree, which lets the user experience growing from a plans to expand to 50 staffers).
seed in the rainforest, stretching to the sky and then sensing (via haptics Specifically, shes recalling how
and ambient smells) the approaching horror of clearcutting. her company has moved from
During Sundance, Tribeca and TED, I watched people cry and shout Brooklyn to Manhattans Flatiron
inside the headset for the final moments of Tree, Zec says. So many people District and now is readying to
told us that for the first time, climate change felt personal. David Griner call larger SoHo digs home.
Weve gone from sitting in a
restaurant and having beers in
the beginning to thinking about

ZEC AND PORTER: MAARTEN DE BOER/GETT Y IMAGES; GANSCA: COURTESY OF KNOTCH

GO TO ADWEEK.COM how to create KPIs, she says.
FOR FULL PROFILES >>>
Based on the belief that the
Heather Knight
feedback loop is broken and
Andrew Morse ROBOTICS PROFESSOR consumers need to be heard,
and Chris Berend Knight believes that by studying Knotch helps marketers like
Co-founders, Great Big Story actors, dancers and comedians, we Unilever, GE and Prudential
Bryn Mooser can find better ways for humans and measure and optimize return
Co-founder, RYOT robots to interact. The founder of on investment for their creative
Marilyn Monrobot, a robot theater efforts, offering real-time data
Jeff Olsen company, and the annual Robot Film about an audiences emotional
Vp of Digital and Games, Festival, Knight has created work that and behavioral response to
Adult Swim is part academic research, part art. brand content and ads. Gansca,
Julia Sourikoff Knight has spent the past four a Transylvania native and 2011
Executive Producer, years developing a system for robot Stanford grad, looks back on her
Tool of North America body language. Among her discoveries: journey to thriving entrepreneur
people tend to not interrupt a robot Knotch saw revenue jump 500
Allard Laban that looks rushedan example of how subtle, human-inspired cues could percent last year compared to
Chief Creative Officer, help robots work better with people. After completing her Ph.D. in robotics at 2015and believes that many
Jackbox Games Carnegie Mellon and a post-doc at Stanford University, Knights next academic up-and-comers miss the boat on
Simone Giertz goal is this falls launch of a new research lab at Oregon State University. how data and creativity mesh.
Companies are popping up every month featuring home robots, Young people often dont
Shitty Robot Maker,
and all the big tech companies are investigating robots, whether they realize that marketing makes the
YouTube Star
announce that publicly or not, she says. People believe in robots and internet free for us, she says.
Tim Miller are beginning to understand that the central challenge is the human- We can make the internet a
Deadpool Director, machine interface. Thats where robots can touch us, work with us and better place for everyone.
Blur Studio Co-founder add value to our lives. Erin Shaw Street Christopher Heine

32 JUNE 12, 2017 | ADWEEK

Celebs & Influencers
HOLLYWOOD HAS NO
shortage of talents who
excel in their crafts, but the
rarest joy is to find a celebrity
or rising star who seems
capable of doing almost
anythingand doing it well.
L A M A R : K E V I N W I N T E R / G E T T Y I M A G E S F O R C O A C H E L L A ; WA N G : S O L I M E N E P H O T O G R A P H Y/ G E T T Y I M A G E S F O R W S J . M A G A Z I N E I N N O VAT O R S AWA R D S ; R A E : M AT T W I N K E L M E Y E R / G E T T Y I M A G E S
Each year, Adweeks
Creative 100our list of the
most creative professionals
in Americahonors 10
celebs and influencers who
represent the best of the
artistic, innovative spirit
coming out of television, film,
music and more.
Our list is new each year
with no repeat honorees,
meaning youll definitely
want to check out our
2015 and 2016 lists, which
included stars whove risen
far higher since, such as
Chance the Rapper and
Legion creator Noah Hawley.
Here are our picks for 2017:
GO TO ADWEEK.COM
FOR FULL PROFILES >>>
Brit Marling and
Zal Batmanglij
TV and Film Collaborators
Donald Glover
Actor, Writer, Producer
Emily Calandrelli
TV Host, STEM Advocate
Jordan Peele
Actor, Writer, Director
Kumail Nanjiani
Actor, Writer, Podcast Host
Melissa McCarthy
Actor, Writer, Producer,
Fashion Designer
ADWEEK | JUNE 12, 2017
Kendrick Lamar
RAPPER, SONGWRITER
Originally from Compton, Calif.,
Lamar has transcended the rap
genre and become one of todays
most widely respected musicians
and songwriters. The 29-year-old
has nabbed seven Grammys and is
known for his politically charged
and passionate lyrics, which have
become anthemic for the Black
Lives Matter movement and beyond.
This year, Lamar launched his
fourth album, DAMN., which
was widely praised among critics
and fans for upping the ante on
his already impressive wordsmith
skills, selling more than 600,000
units in the first week.
I like to put a lot of different
things and wordplays and messages
in my music because I want it to live
further than two weeks, Lamar
told NPR in April about the album.
And while his previous releases
focused on world events, DAMN.
squarely focuses on his personal
journey and emotions.
Its not easy telling your truths
and stating your fears from when Issa Rae
you were 7, 17 and a couple of years ACTOR, WRITER,
ago, he added. But I know at the DIRECTOR, PRODUCER
end of the day, the music is not for With HBOs Insecure based
me; its for somebody else. on her successful web series
Lauren Johnson and book, The Misadventures
of Awkward Black Girl, Rae
provides a fresh voice to the
comedy scene. Her insightful
Alexander Wang point of view and background in
FASHION DESIGNER production as a woman of color
fuel her relatable and honest
In an industry where designers come and go faster than you can say Anna sense of humor.
Wintour, 33-year-old Alexander Wang has managed to stay atop the fashion Recently, thanks to an
pyramid for more than a decade. The reigning king of New Yorks cool kids unofficial social media
and models off duty, Wang launched his first collection to massive critical campaign across Tumblr and
acclaim in 2006, winning the coveted CFDA/Vogue Fashion Fund prize in Twitter, Rae was named the
2008, and he hasnt slowed down since. writer of a feature heist/action
In addition to designing his wildly film starring Rihanna and
popular namesake collection (which Lupita Nyongo. In previous
tallied $150 million in revenue last speeches, Rae has thanked her
year, per Business of Fashion) and mother for their shared sense of
a diffusion line, T by Alexander awkwardness, which seems to
Wang, the fashion wunderkind spent continue to inspire her projects
three years as creative director at and success throughout her
Balenciaga, launched a sold-out career. Sami Main
capsule with H&M, designed a
furniture line with Poltrona Frau,
and last year, began an ongoing
collaboration with Adidas Originals.I
love communicating directly with our
audience and not being precious with
the tone of our conversations, Wang
says. The more authentic we are
to ourselves, the more range we are
allowed to talk about other things
that interest us. Emma Bazilian
33
 SPECIAL ADVERTISING SECTION

Audience
Targeting
Guide
AT&T ADWORKS A2 | FACTUAL A7
IBOTTA A9 | JUMPSHOT A11
MPARTICLE A13 | WEBBULA A15

A1 JUNE 12, 2017 | ADWEEK

AUDIENCE TARGETING GUIDE SPECIAL ADVERTISING SECTION

AT A GLANCE
AT&T AdWorks combines the scale
of the largest national addressable
TV platform with premium mobile
inventory to reach the same target
audience across screens.

AT&T AdWorks
1 Rockefeller Plaza
New York NY 10020
(888) 268-3648

Website
adworks.att.com
Twitter
@attadworks
Facebook
facebook.com/attadworks

FOCUS
Addressable TV
Data-Driven Linear TV
Cross-Screen Addressable
Video

Do Cross-Screen the Right Way

iTV
Data
Measurement & Analytics

By Rick Welday, President, AT&T AdWorks KEY PRODUCTS

Not too long ago, if someone mentioned an
entertainment center, youd envision a home theater
with a giant TV and surround sound. Today, all that
comes in a mobile device. Entertainment, quite
literally, is in the palm of your hand.
Which, of course, means advertising should be there
too. Effective cross-screen advertising is all about being
relevant, using ad formats, messaging and contextual
creative that speaks to the consumers unique needs.
Theres a lot of potential here, but plenty of confusion
as well. Here are five ways to help you do cross-screen
advertising the right way.
Right Targeting: You have the opportunity
to reach millions of people through cross-screen
advertising. It would be a shame if many of those people
arent in your target audience, right? Select the right
targeting attributes upfront and make sure you know
who you want to reach before the campaign starts,
instead of scrambling to pivot halfway through. Its
not look-alike modeling, but matching to the same
consumer across platforms.
Right Message on the Right Screen: It was a
simpler time when an advertiser could come up with
one big idea for TV and then repurpose the creative for
digital, mobile, social, etc. Now, all the different pieces
need to work together from the start. TV continues
to be a highly effective tool for branding, reach and
awareness. Mobile can do the legwork with location-
based advertising. And dont discount the fact that
timing is everything. Giving a consumer incentive to
visit your store right now is powerful.
Right Scale: However you choose to define
cross-screen and utilize it for your business, pick the
platforms that you know are going to reach your target
audience efficiently and effectively. Also, make sure
those platforms are transparent about their scale and
that those guaranteed impressions arent bloated or
misleading. If youre not achieving the right scale by
integrating your campaign, then you should reconsider
your approach.
Right Measurement: You want to know how each
slice of your marketing pie is working. Measuring
results across the marketing funnel is getting easier
to accomplish with cross-screen advertising. With
cross-screen, youre better able to measure through the
marketing funnel from brand awareness through actual
sales, and measure what each platform is contributing
and the impact of combining platforms together.
Right Partners: Everything up to this point is
null and void if youre not working with the right
partners to make sure you are matching to quality
data sets and placing ads in safe environments. Make
sure your partners: have clear, thorough privacy
policies; use aggregated or anonymized data, ensuring
no personally identifiable information (PII) is ever
revealed; match data lists in secure safe-havens;
and provide customers the choice to opt-out of
receiving relevant advertising. And make sure you
know where you are placing your ads and that they
are in premium environments.
Addressable TV: Enables
advertisers to reach specific target
households with tailored TV ads. It
is a sophisticated, industry-leading
digital technology that reaches
audiences in a privacy-compliant
manner at the household level in
linear TV in live or playback modes.
Data-Driven Linear TV: This
audience targeting solution
uses advanced data, science
and technology to reach specific
audiences in the optimal networks
and dayparts they are watching.
Cross-Screen Addressable:
Serve ads to the same target
audience across addressable TV
and mobile devices at national
scale using privacy-compliant
verifiable data.
CONTACT
Jason Brown
VP, National Ad Sales
jabrown@att.com
(212) 205-0733

A2 JUNE 12, 2017 | ADWEEK

 Your target audience doesnt
limit themselves to one screen.
Neither should you.

The nationwide leader in addressable TV advertising now across screens.

From TV to mobile devices, maximize return on video advertising with cross-screen, device-level addressable advertising.
Serve ads to your target audience at the right time and on the right screen with verifiable data.

Visit adworks.att.com

2017 AT&T Intellectual Property. All Rights Reserved. AT&T, Globe logo, and all other marks contained herein are trademarks of AT&T Intellectual Property and/or AT&T affiliated companies. All other marks are the property of their respective owners.
 CROSS-SCREEN ADDRESSABLE PLATFORM

YOUR
BRAND

EXPERIAN NEUSTAR ACXIOM

Adver
Target Audience
Relevant Nationwide

ADVERTISER-
PROVIDED DATA
LEADING 3RD-PARTY
DATA PROVIDERS
1st- Or 3rd-Party Data Is Applied

WHY IS IT NECESSARY? MARKETERS

Nearly 40% of transactions

84
involve multiple devices 1
OF MARKETERS
feel that a comprehensive
cross-device strategy
% is essential for success 3
On average, consumers use
3 or more devices on a daily basis ONLY

20 %
Marketers typically
only see one 2 + feel very con dent that
theyre serving the right
message on the right device3
DEVICES

AT&T ADWORKS CROSS-SCREEN ADDRESSABLE SOLUTION ALLOWS ADVERTISERS TO SERVE

ADS TO THE SAME TARGET AUDIENCE ACROSS TV AND MOBILE
1 Criteo Mobile eCommerce Report
2 Adobe Analytics & ADI Device Use Survey
3 Atlas by Facebook
 OPTIMIZE

Insights Inform Future Campaigns

RESULTS:

YOUR AD
Br
Consideration

SERVED YOUR
Response
Conversion
TARGET HOUSEHOLDS YOUR AD AD
SERVED
SERVED
ROI
e HH And Devices Generated

ANALYZE

Performance Is Measured Throughout The Marketing Funnel

KEY BENEFITS

15M HHs
30M Mobile
Devices

LARGEST ADDRESSABLE TV PLATFORM

with over 15M households matched with over 30M PREMIUM DIGITAL
cross-carrier mobile devices VIDEO INVENTORY

MEASURE ROI
throughout
the entire
marketing
MEASURE REACH AND IMPACT funnel
GRANULAR TARGETING of TV, Mobile and
across all verticals the combination of both
2017 AT&T AdWorks
THE POINT OF MORE RETURN
 CANNES 2017
Ru e dAn tib es

n Rue Molire
r ia
R u e F lo

FACE TIME
A n d r

G
du
n ue
Av e
ndant

LE GRAND HOTEL
mma

CLEAR CHANNEL

sy
PLAYGROUND
Rue Co

Eine
R ue G r ar

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d M on od

Fr a n
EDITORS MEET & GREET

Rue
THE CREATIVE 100 PARTY Rue
Hen
ri R
uhl

WORK HARD
Bo ule var d de la Cro
ise tte

Ru e du Ca na da
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PLAY HARD
AT LE GRAND HOTEL, THE CLEAR CHANNEL PLAYGROUND
FACE TIME MondayThursday, 11am8pm; PRESENTED BY

EDITORS MEET & GREET Tuesday, 45:30pm

THE CREATIVE 100 Tuesday, 5:307:30pm; PRESENTED BY

RSVP AND JOIN US: EVENTS@ADWEEK.COM #AWCannes

AUDIENCE TARGETING GUIDE SPECIAL ADVERTISING SECTION

AT A GLANCE
Factual is a data company on a
mission to make data accessible
to anyone that needs it, in an effort
to fuel innovation. Today, Factual
focuses on location data for the
mobile world.

Factual
1999 Avenue of the Stars
Los Angeles, CA 90067
(310) 286-9400

Website
www.factual.com
Twitter
@factual
Facebook
facebook.com/factual
LinkedIn
linkedin.com/company/factual-inc
Number of employees
142
Number of locations
6

Effective Targeting Depends on

Founded
2008

Quality Data
By Bill Michels, SVP, Product and Partnerships, Factual
A growing number of marketers use location data to
inform their audience targeting strategies. However,
many marketers struggle to understand the fidelity of
the data they are purchasing or collecting.
A standard line of questions has evolved to help
them get a handle on this: Whats the quality level of
the places data? How do you filter out inaccurate or
misrepresentative device coordinate data? How do
you determine if a device is actually at a place versus
just walking or driving by? How much of your data is
foreground versus background?
That last pointforeground versus background
can be misleading. First, lets clarify how people
generally define these. Foreground data is reported
when an app is in active use and background data is
reported when the app is running in the background
(potentially completely closed).
Many believe that background provides more
data and therefore it must be better. But does it give
a sufficiently accurate view of a users behavior?
Thats something thats needed for effective audience
targeting.
A better way to assess data quality is to count
sessions. A session is not a single data point, but rather
a cluster of points that can be used to understand an
activity and place at a point in time.
Be wary if someone talks only of the number of
FOCUS
Mobile
Data
Measurement & Analytics
KEY PRODUCTS
coordinates collected and not the actual sessions Geopulse Audience: Custom
determined. The higher the rate of sessions, the better, audience targeting based on
whether an app is foreground or background. Social Factuals unique contextual
and messaging apps, for example, dont typically collect understanding of mobile devices
background data, but they are used so frequently and real-world behavior.
under varied circumstances that they can yield great
session rates. Geopulse Proximity: Allows
Advertisers should also consider the quality targeting of mobile devices at or
near places (local business and
implications related to an apps purpose. For example,
points of interest) in 52 countries.
a navigation app may collect a lot of coordinate data,
but it provides a window into the users commute, not
their actual behavior. In contrast, a retail app that is CONTACT
Ocean Fine
accessed in-store will have a lower session rate, but
VP, Agencies and Strategic
is likely able to provide useful context and should be
Partners
considered high quality.
strategy@factual.com
Audiences themselves can also be biased. An app (310) 286-9400
that helps you find diaper-changing stations serves a
different segment than an app that helps you find happy
hours. Biases are inevitable, but the data asset owner
should be cognizant of them and seek out a dataset built
from a diversity of sources.
Bottom line: Foreground versus background data
shouldnt be used as a proxy for data quality and utility.
When using location data to inform your targeting
strategy, what you really need to understand is how
much of a data asset is of high quality. That takes a
thoughtful approach, hard work and math.

A7 JUNE 12, 2017 | ADWEEK

AUDIENCE TARGETING GUIDE SPECIAL ADVERTISING SECTION

AT A GLANCE
Ibotta is a customer-facing mobile
app that gives users cash-back
rebates at a variety of CPG and
retail locations. With more than 23
million downloads, Ibotta is the third
most-used shopping application in
the United States.

Ibotta
1801 California St., Fourth Floor
Denver, CO 80202
(303) 593-1633

Website
www.ibotta.com
Twitter
@IbottaApp
Facebook
facebook.com/ibottaapp
Instagram
@ibottaapp
Number of employees

Apps Are Key to Mobile

400
Number of locations
5

Targeting
Founded
2011

By Mike Dadlani, VP of Media & Data Partnerships, Ibotta
In May, Nielsen released its latest Comparable
Metrics Report, highlighting a paradigm we all knew
was coming: Millennials now spend more time on
their smartphones than watching traditional TV.
Furthermore, they spend less than 10 percent of their
time on desktop.
This raises two key questions for CPG advertisers: Is
traditional TV spend optimal as brands push to capture
or maintain market share from millennial audiences?
And why are advertisers optimizing their targeting
tactics for desktop when mobile is substantially more
prevalent for all audiences, regardless of generation?
Fewer Americans than ever are reachable via
traditional TV. With such fragmented viewership
across broadcast and cable, and unreliable measures
of return on ad spend, it is difficult for advertisers and
their agencies to continue to justify such high-cost
media expenditures.
For CPG advertisers, though, shifting dollars
from TV to digital remains risky, as digital buys are
still predominantly desktop-focused. Mobile must
be incorporated more heavily, given the amount of
time consumers are spending on their smartphones.
However, effective media-buying requires strong
targeting, which requires meaningful data.
On mobile, this data has been difficult to come by.
Third-party data aggregators have limited access to
mobile data, and their heavy reliance on probabilistic
modeling utilizing cookies is antiquated and unhelpful
FOCUS
Data
SKU-Level Purchase Data
for mobile-first targeting. Mobile
Furthermore, current device graph solutions Measurement & Analytics
help third-party aggregators tie cookies to devices
and subsequently to item-level purchases. However, KEY PRODUCTS
these device graphs are built using data science Audience Targeting: Ibottas
and complicated matching techniques, creating a proprietary, purchase-based
patchwork guessing game at best. The chance of audiences can be made available
matching the right cookie to the right devices and then as syndicated or custom segments
to the right purchase behavior is not highly likely. across the digital ecosystem.
Fortunately, new data providers are providing
Media Attribution: Ibottas offline
solutions to help solve this issue for CPG advertisers.
data capture from all major CPG
Thanks to shifting content consumption from TV
outlets supports sales reporting
to mobile, there is an ever-increasing amount of
that helps advertisers gauge the
mobile data that can be used to understand and target impact of digital media efforts on
consumers more effectively. offline sales. Notably, Ibottas near-
Apps have changed the digital landscape, creating real-time data capture enables
easily consumable content destinations for users, while in-flight sales measurement to
building repositories of consumer data. However, most optimize a campaign towards
medium-to-large app companies are rightfully guarded tactics that are driving the greatest
with their users data and prefer to control the channels number of conversions.
where this information is used, leaving third-party
aggregators on the outside looking in. CONTACT
This changing data landscape will mean advertisers Mike Dadlani
need to leverage emerging data providers, who are VP, Media & Data Partnerships
able to harness the power of consumer relationships mike.dadlani@ibotta.com
to reach consumers where they areon mobile. It also audiences@ibotta.com
means there is relief and promise for CPG advertisers
who have been looking for ways to reach a growing
consumer demographic.

A9 JUNE 12, 2017 | ADWEEK

 BETTER TARGETING.
BETTER PERFORMANCE.
REAL SALES.
1%

.8%
.82%
CLICK THROUGH RATE

.6%
4.6X LIFT

.4%

.2%

0% .18%
Based on
3RD PARTY SEGMENT IBOTTA SEGMENT actual data

Quality consumer segments, built on consumer behaviors and real

purchase data, are the key to driving better media performance
and sales. With Ibotta business solutions, youll not only be
able to target individuals who are shopping in your category
and buying competitive products, but youll also be able to
understand the real impact of your media spend on sales.

To start optimizing your media with Ibotta email audiences@ibotta.com

AUDIENCE TARGETING GUIDE SPECIAL ADVERTISING SECTION

AT A GLANCE
Jumpshot, a marketing analytics
company, captures the clickstream
data of 100 million consumer
devices and has developed a series
of domain- and audience-specific
products based on consumer
browsing activity.

Jumpshot
333 Bryant St., Suite 240
San Francisco, CA 94107
(415) 212-9200

Website
www.jumpshot.com
Twitter
@jumpshotinc
Facebook
facebook.com/jumpshotinc
LinkedIn
linkedin.com/company/jumpshot
Number of employees
80
Number of locations

Freedom of Choice in the

3
Founded
2015

Alternative Data Landscape FOCUS

By Deren Baker, CEO, Jumpshot
Lets face it: Cookies just dont cut it for marketers that
need a complete picture of their customers online lives.
Cookies cant quantify a change of heart or detect
a new layer in your search for the perfect reclaimed
wood coffee table. To craft effective data-driven
marketing campaigns, its time for advertisers to turn
to alternative data sources. Perpetual identifiers such
as clickstream data show a longer view of a persons
shopping, purchase and cross-site decision-making
behavior. This kind of data is essential for all verticals,
but is especially valuable for longer purchase cycles,
including travel, automobiles or luxury retail items.
Clickstream data is created from consumer click
activity and changes in browsing behavior across
thousands of domains. These rich insights include
transaction data, form submissions, cart activity,
search queries and more. Clickstream data also
provides insight from queries customers perform on
search engines prior to visiting a site or completing
a purchase. Advertisers can then compare each
customers search, browsing and shopping activity to
that of a competitor or the general population. With a
more robust picture of the customer, its easier to run
successful acquisition programs.
Clickstream data allows advertisers to build more
targeted audiences because the data goes far beyond
the traditional cookie-based segments such as geo-
Audiences
Data Feeds
Competitive Intelligence
Journey Analytics
location, gender or age. Audiences based on clickstream
data are more significant because they present a look KEY PRODUCTS
into both interest and intent, utilizing all aspects of the Audiences: Jumpshots
Audiences are created from
path to purchase and the customer journey.
consumer clickstream activity
For example, customers spend a longer period of
and changes in browsing behavior
time in the consideration phase when purchasing a new
across thousands of domains.
car. Imagine having the ability to tell when someone
is truly in the market for a new car and knowing Campaign Optimization: Helps
specifically what car make and model theyre you optimize digital campaign
interested in. performance while a campaign
Using a cookie-based approach, an advertiser is running or quantify the impact
might see a users multiple visits to a car domain as post-hoc by measuring consumer
an indicator that theyre ready to purchase a new car. behavior from anywhere online.
What if that user was simply interested in researching Audience Analytics: Learn more
cars? Clickstream data, on the other hand, relies on about what specific customer
persistent IDs to identify which behavior data points segments or site visitors are
changed and, most importantly, when these changes actually doing online.
occured. Theres no question that information is a
stronger indicator of readiness to buy their new car. CONTACT
Cookie data doesnt provide the quality insights that audiences@jumpshot.com
advertisers need. Sources such as first-party data are
coveted but largely unavailable, and while third-party
data from cookies is more accessible, it suffers from
a degradation of quality. In the new alternative data
landscape of the advertising world, clickstream data
may be the edge that advertisers need to reach who they
need to.

A11 JUNE 12, 2017 | ADWEEK

NO ONE
LIKES A BAD
COOKIE.
The era of cookie-based
audience seeds is crumbling.

Jumpshots Audiences are based on in-depth mining of our 100-million consumer panel's
clickstream browsing behavior, which captures every consumer digital action in the order
taken over an extended period of time, creating audience seeds around interest and intent.
Interested. In-market. Ready to buy.
To learn more about Jumpshot, please visit www.jumpshot.com
or contact audiences@jumpshot.com.
AUDIENCE TARGETING GUIDE SPECIAL ADVERTISING SECTION

AT A GLANCE
mParticle is the customer data
platform for every screen. The
worlds savviest brands use
mParticle to win in key moments
of the customer journey by
orchestrating marketing execution
across partners, channels
and devices.

mParticle
257 Park Ave. South
New York, NY 10010

Website
www.mparticle.com
Twitter
@mparticles
Facebook
facebook.com/mparticle
LinkedIn
linkedin.com/company/mparticle-inc-

Why Multi-Faceted
Number of employees
100
Number of locations

Identity Matters
5
Founded
2013

By David Spitz, CMO, mParticle
A cop sees a guy crawling on the ground beneath a
lamppost and asks him what hes doing. Looking for
my keys, the man says. Did you drop them here?, asks
the cop, to which the man replies, No, this is just where
the light is.
Marketers working with only a single, narrow view
of prospect and customer identity are making the
same obvious mistake. For example, tracking only web
browser behavior cant be a marketers guiding light.
The solution isnt as simple as embracing a different
lamppost, either. Mobile device IDs can offer a lot of
insight, as they are typically associated with a single
person and much less prone to fraud than cookies. Even
so, theyre not enough. Marketers need to be able to link
these identifiers with email addresses, social IDs and
more in order to recognize a user across all channels,
screens and journey stages. That means they need to
forget about golden records and focus their efforts on
a portfolio-led approach.
Brands that do so enjoy three benefits:
1. Enhanced Campaign Analytics: Without multi-
dimensional customer recognition, brands have no idea
if their targeting is reaching who they think it is, if its
delivering real ROI or who to target next. With proper
identity resolution, a host of attribution challenges go
away and predictive models get trained on good, clean
data.
2. Expanded Contextual Insight: Brands that
create a master profile across all of a customers
platform- and channel-specific identifiers can associate
FOCUS
Cross-Screen
Data
richer attribute-level information, marrying data from
Mobile
first-, second- and third-party sources that would not Measurement & Analytics
be possible using a single identifier. With this added Identity Resolution
context, brands can better anticipate customer needs
and create truly relevant messages, vital to winning in
KEY PRODUCTS
mobile moments. Comprehensive API for Growth:
3. Orchestrated Multichannel Engagement: mParticle provides a single, secure
Because engagement takes place over multiple API to connect and coordinate your
channelsa push notification, a Facebook ad, an email entire marketing and analytics
and so onbrands need a Rosetta Stone that can speak in stack.
a language each executional system can understand. Done
right, identity resolution lets brands orchestrate live, Identity Resolution: Resolve
multichannel campaigns employing the right identity, customer identity across mobile,
at the right time. This approach is far more useful and web, connected devices and more.
effective than shoe-horned integration methods like Audience Builder: Create
onboarding CRM data to cookie-based systems. audience segments based on
To keep pace with multiscreen consumers, brands digital and physical behaviors,
need to reimagine targeting strategies for the modern and sync across advertising,
era, starting with capabilities to harmonize multi- messaging, customer support and
device, cross-channel data across touchpoints and data warehousing platforms.
identifiers.
They also need to ensure data integration is simple CONTACT
and that they have ready access to power toolssuch Jesse Weiss
as third-party data enrichment, peer-to-peer audience Growth Team
sharing and custom filters and transformation rules jweiss@mparticle.com
to scale programs beyond the more basic use cases and
maximize value.
Find a partner who can help you do that and the
future will be bright. Otherwise, youll be forever
fumbling around looking for your keys.

A13 JUNE 12, 2017 | ADWEEK

Get Real.

Win in mobile moments with the power of

real people, real context, and real time.
Resolve customer identity across mobile, web, connected devices and more.

Create audience segments based on digital and physical behaviors.

Sync audiences across advertising, messaging (email, push, chat), support

and data warehousing platforms.

mParticle is the data platform trusted by the worlds savviest

mobile marketers. Find out why at www.mparticle.com
AUDIENCE TARGETING GUIDE SPECIAL ADVERTISING SECTION

AT A GLANCE
Webbulas mission is to improve
campaign metrics by developing
data quality tools and data sets
to aid marketers in navigating the
harsh email and data environment
affecting campaign deliverability,
sender reputation and brand value.

Webbula
5000 Stonewood Drive, Suite 310
Wexford, PA 15090
(888) 993-2285

Website
www.webbula.com
Twitter
@webbula
Facebook
facebook.com/webbulapgh
LinkedIn
linkedin.com/company/webbula
Number of locations
2
Founded

Avoid the Bull When Shopping

2009

FOCUS

for Data
Data
Mobile
DSP/SSP
List Enhancement
By Douglas S. Egeth, COO, Webbula Email Intelligence

Big data is big business. As more and more data
providers strive to feed the growing demand for deep
audience insights, the quality of the data being offered
can drop off dramatically. It is no secret that selling
data is a volume-based business. Data providers that
are only after high volume and lack quality control
standards should be avoided. Even good-quality data
can lead you astray if its misinterpreted.
Here are four things to consider when shopping
for data:
Data Decay: Its difficult for many data providers
to accept, but all data decays over time. People move
to new homes, switch emails, dynamic IP addresses
rotate and interests change. This complicates the
integrity of linkages used to obtain device IDs, as well
as the marketing signals used within a campaign. Ask
your data supplier to explain refresh cycles. Focus
on three update schedules: How often PII is being
corroborated and updated; how often attributes
are being phased in and out; and how often a full
replacement of both the PII and the attributes is sent
to onboarders and DMPs.
Deterministic vs. Probabilistic: Some providers
compile deterministic data, based on self-declared
attributes and behaviors reported directly from the
individual. Others offer probabilistic data, which uses
modeling based on assumptions or inferences to create KEY PRODUCTS
audiences. While probabilistic receives a lot of press Audience Targeting: Deliver
relevant ads at the right time to
about extending audience scale, there is no substitute
the most relevant audiences with
for deterministic.
industry-leading, deterministic,
Fraud and Bots: What is the data provider doing
individually-linked data.
to combat fraudulent and robotically generated
records? This is the most overlooked data consideration Data Enhancement &
weve seen. Data breaches, hacks and scams are so Appending: Grow, enhance
commonplace, you need to know what specific actions and revitalize your customer
your data provider is taking to purge harmful data. list through Webbulas data
After all, data providers dont want to intentionally cut enhancement solutions which
their own supply. Their answer will tell you whether append PII, demographics, hobbies
volume or quality takes priority. and automotive ownership so you
Does Search Traffic Equal Intent: Search traffic can understand your customers,
is a great source, particularly for certain hard-to-reach their interests and cross-channel
behaviors.
audiences. But like all data, search traffic needs to be
questioned to determine if the assumptions being made Bundled Email Hygiene &
by data providers indicate intent. For example, not all Verification: Protect and defend
car searches are made with the intent to buy. In fact, your email campaign.
research has shown that only a third of automotive
search traffic accurately conveys intent to buy. Find CONTACT
out how and why assigning the coveted intent signal Vince Cersosimo
makes sense. CEO
The growth data ecosystem is complex. Ensure vince@webbula.com
your campaign uses the best data possible by asking (888) 993-2285 x705
strategic questions.

A15 JUNE 12, 2017 | ADWEEK

The right audience
is out there...

We can help you find them.

Target Individuals.
Increase ad relevancy.
Create new revenue streams.
webbula.com/audience-targeting
 FACE TIME

1 2

3 5
4

P H O T O S : 1 , 2 , 4 , 6 : R A Q U E L B E A U C H A M P ; 3 , 5 , 7 : S E A N T. S M I T H
6 7

ADWEEK CELEBRATES WOMEN IN MEDIA AND SPORTS. BY EMMA BAZILIAN

1 (Clockwise from left) The Road Map to Gender Equality in Media and Marketing panelists Anjula Acharia, partner, Trinity Ventures; Danielle Lee, global
vp, partner solutions, Spotify; Geena Davis, founder and chair, Geena Davis Institute on Gender in Media; Susan Credle, global chief creative officer, FCB;
Adweek staff writer Kristina Monllos. 2 From the Sidelines to Center Court panelists Christina Alejandre (l.), gm of Eleague and vp of esports, Turner
Sports, and Kim Ng, svp for baseball operations, Major League Baseball. 3 Cruising past the Manhattan skyline. 4 Keynote speaker Marcela Tabares, svp,
research and strategic insights, A+E Networks. 5 DJ duo Nina Sky. 6 (L. to r.) Sports panelists Heidi Browning, CMO and evp, National Hockey League;
Elizabeth OBrien, program director, worldwide sports and entertainment sponsorship marketing, IBM; and Katherine Johnson, vp, global sponsorship
marketing, Visa. 7 Partygoers get nautical on the Hornblower Infinity yacht.

50 JUNE 12, 2017 | ADWEEK

 THE MOST INTERESTING MAN IN THE WORLD CAMPAIGN HAS ALWAYS BEEN ABOUT BRAVERY - FROM ITS
GROUNDBREAKING INCEPTION THROUGH YEARS OF INNOVATION TO THE MOMENT WE CHOSE TO PART WAYS.
THANK YOU TO OUR PARTNER, HEINEKEN, FOR ALLOWING US TO CO-CREATE ONE OF THE MOST ICONIC
AND AWARDED CAMPAIGNS IN HISTORY - ONE THAT ALSO DROVE SALES SPECTACULARLY.

YEAR SHOW PRIZE/AWARD YEAR SHOW PRIZE/AWARD

2008 GOLDEN AWARD OF MONTREUX GOLD 2014 KINSALE SHARK AWARDS SILVER
2009 CANNES LIONS BRONZE 2015 CANNES LIONS BRONZE
2009 LONDON INTERNATIONAL AWARDS BRONZE 2015 CANNES LIONS INNOVATION LION
2009 LONDON INTERNATIONAL AWARDS BRONZE 2015 AD AGE TOP CAMPAIGNS OF 21ST CENTURY RECOGNIZED #11
2009 LONDON INTERNATIONAL AWARDS BRONZE 2015 WEBBY AWARDS WINNER
2009 ONE SHOW BRONZE 2015 WEBBY AWARDS PEOPLES VOICE AWARD
2009 EFFIE NORTH AMERICA GOLD 2015 ONE SHOW BRONZE
2010 AICP WINNER 2015 ONE SHOW BRONZE
2010 AICP WINNER 2015 NEW YORK FESTIVALS BRONZE
2010 CANNES LIONS BRONZE 2015 NEW YORK FESTIVALS BRONZE
2010 CANNES LIONS GOLD 2015 LONDON INTERNATIONAL AWARDS BRONZE
2010 CLIO AWARDS BRONZE 2016 CANNES LIONS SILVER
2010 INTERNATIONAL ANDY AWARDS ANDY 2016 CLIO AWARDS SILVER
2010 INTERNATIONAL ANDY AWARDS ANDY 2016 CLIO AWARDS SILVER
2010 ONE SHOW SILVER 2016 CLIO AWARDS SILVER
2010 ONE SHOW GOLD 2016 CLIO AWARDS BRONZE
2011 CLIO AWARDS GOLD 2016 CLIO AWARDS HALL OF FAME
2011 CLIO AWARDS GOLD 2016 CLIO AWARDS HALL OF FAME
2011 D&AD YELLOW PENCIL 2016 COMMUNICATION ARTS ADVERTISING WINNER
2011 D&AD YELLOW PENCIL 2017 AMERICAN ADVERTISING AWARDS/LOCAL GOLD
2011 INTERNATIONAL ANDY AWARDS GOLD 2017 AMERICAN ADVERTISING AWARDS/LOCAL SILVER
2011 INTERNATIONAL ANDY AWARDS GOLD 2017 AMERICAN ADVERTISING AWARDS/LOCAL SILVER
2011 CRESTA AWARDS WINNER 2017 AMERICAN ADVERTISING AWARDS/LOCAL SILVER
2011 CRESTA AWARDS WINNER 2017 AMERICAN ADVERTISING AWARDS/LOCAL SILVER
2011 ONE SHOW GOLD 2017 AMERICAN ADVERTISING AWARDS/LOCAL SILVER
2011 RADIO MERCURY AWARDS GRAND PRIX 2017 WEBBY AWARDS WINNER
2011 KINSALE SHARK AWARDS GOLD 2017 WEBBY AWARDS WINNER
2011 NEW YORK FESTIVALS BRONZE 2017 WEBBY AWARDS PEOPLES CHOICE
2011 NEW YORK FESTIVALS BRONZE 2017 ONE SHOW GOLD
2011 NEW YORK FESTIVALS BRONZE 2017 ONE SHOW GOLD
2012 CANNES LIONS GOLD 2017 ONE SHOW SILVER
2012 CANNES LIONS SILVER 2017 EFFIE NORTH AMERICA GOLD
2012 LONDON INTERNATIONAL AWARDS SILVER 2017 AMERICAN ADVERTISING AWARDS/REGIONAL GOLD
2012 LONDON INTERNATIONAL AWARDS SILVER 2017 AMERICAN ADVERTISING AWARDS/REGIONAL JUDGES CHOICE
2012 LONDON INTERNATIONAL AWARDS SILVER 2017 AMERICAN ADVERTISING AWARDS/REGIONAL GOLD
2012 REGGIE AWARDS SILVER 2017 AMERICAN ADVERTISING AWARDS/REGIONAL GOLD
2012 CLIO AWARDS BRONZE 2017 AMERICAN ADVERTISING AWARDS/REGIONAL SILVER
2012 CLIO AWARDS BRONZE 2017 AMERICAN ADVERTISING AWARDS/REGIONAL SILVER
2013 EFFIE NORTH AMERICA GOLD 2017 NEW YORK FESTIVALS SILVER
2013 OBIE AWARDS SILVER 2017 NEW YORK FESTIVALS BRONZE
2014 CANNES LIONS BRONZE 2017 NEW YORK FESTIVALS SILVER
2014 LONDON INTERNATIONAL AWARDS GOLD 2017 NEW YORK FESTIVALS BRONZE
2014 LONDON INTERNATIONAL AWARDS BRONZE 2017 NEW YORK FESTIVALS GOLD
2014 D&AD WOOD PENCIL 2017 D&AD SILVER
2014 COMMUNICATION ARTS ADVERTISING WINNER 2017 AMERICAN ADVERTISING AWARDS/NATIONAL WINNER
2014 COMMUNICATION ARTS ADVERTISING WINNER 2017 AMERICAN ADVERTISING AWARDS/NATIONAL WINNER
2014 CRESTA AWARDS BRONZE 2017 AMERICAN ADVERTISING AWARDS/NATIONAL WINNER
2014 CRESTA AWARDS BRONZE 2017 AMERICAN ADVERTISING AWARDS/NATIONAL WINNER
2014 RADIO MERCURY AWARDS WINNER 2017 AMERICAN ADVERTISING AWARDS/NATIONAL WINNER
2017 RADIO MERCURY AWARDS WINNER

212.886.2096
 LOOK BACK

ADWEEK
1990 James Cooper / Editorial Director

Sir John Hegarty

Chris Ariens / TV & Media Editor
Emma Bazilian / Senior Editor, Style & Culture
Raquel Beauchamp / Design & Photo Assistant
Christine Birkner / Staff Writer
Margo Braha / Director of Photography
R.J. Cabral / Project Manager
The BBH co-founder poses with a wall of TVs featuring one of his Patrick Coffee / Senior Editor, Agencies
Aneya Fernando / Digital Projects Editor
agencys iconic Levis spots, 1987s Parting. The ad put the Percy Jameson Fleming / Associate Web Editor
Sledge hit When a Man Loves a Woman back in the top 10 more Charles Goetz / Social Editor
Ron Goodman / Creative Director
than two decades after its release. Lisa Granatstein / Editor
David Griner / Digital Managing Editor
Christopher Heine / Technology Editor
Lauren Johnson / Staff Writer
A.J. Katz / Staff Writer
Yuliya Kim / Digital Production Artist
Robert Klara / Senior Editor, Marketing
Jason Lynch / Staff Writer
Sami Main / Staff Writer
Alfred Maskeroni / Director of Video
Dianna McDougall / Digital Art Director
Jemima Mendenhall / Manager (AHE)
Kristina Monllos / Staff Writer
Tim Nudd / Creative Editor
Erik Oster / Staff Writer
Stephanie Paterik / Digital Executive Editor
Katie Richards / Staff Writer
Emily Shellenberger / Art Director
Marty Swant / Staff Writer
John Tejada / Video Producer
Erik Wander / Senior Web Editor
Carol R. Wells / Group Creative Director
Kelsey Wensberg / Special Projects Manager
Timo Wilson / Associate Finance Director
Mike Yuhas / Senior Desk Editor
Contributors: Gabriel Beltrone, Rebecca
Cullers, David Gianatasio, David Kiefaber,
Carlos Monteiro, T.L. Stanley, Janet Stilson

SALES

Robert Eisenhardt / General Manager

(212) 493-4288 rob.eisenhardt@adweek.com

Mehmet Zenginler / Executive Director of Sales

(212) 493-4177 mehmet.zenginler@adweek.com
New York:
Albert Nassour / VP, Sales
(212) 493-4137 al.nassour@adweek.com
Daniel McNamee (212) 493-4157
daniel.mcnamee@adweek.com
Northern California/Pacific Northwest:
Kim Abramson, KPA Media (415) 705-6772
kabramson@kpamedia.com
Southern California:
Gary Thompson, KPA Media (424) 206-1988
gthompson@kpamedia.com
Biz Mulu / Senior Client Success Manager
(212) 493-4206 biz.mulu@adweek.com
Kenneth Moshensky / Client Success Manager
(212) 493-4068 kenneth.moshensky@adweek.com
Meghan Crown / Client Success Manager
(917) 258-0384 meghan.crown@adweek.com

NATIVE ADVERTISING AND

CONTENT DEVELOPMENT
Kolby Yarnell / VP, Native Advertising &
Content Development (212) 493-4046
kolby.yarnell@adweek.com
Stuart Feil / Custom Publishing Director
Zach Alprin / Campaign Producer
PHOTO: TERRY ONEILL/GETTY IMAGES

Anthony Duong / Graphic Designer

AUDIENCE
Jessica Sejeck / Director of Audience Development
(917) 258-0963 jessica.sejeck@adweek.com

CIRCULATION
Adweek.com/customer-service
Subscriptions@adweek.com (844) 674-8161
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adweek@wrightsmedia.com

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John Sartoris / Corporate Director of
Production & Circulation (212) 493-4231
john.sartoris@adweek.com
Cindee Weiss / Production Manager
(212) 493-4233 cindee.weiss@adweek.com

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52
Danny Wright / Managing Partner (AHE)
JUNE 12, 2017 | ADWEEK Stephanie Eustache / HR
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