Agency of the Week, TBWA CEOs, & Coinbase awards | Presented by Tatari

Good to be back, you can't communicate. Good morning, Tuesday. October 13th, it's breaking in a live show. Can you center this a little bit? I feel like it- Am I on too far away? I don't know. I feel like it's, the main camera looks like it's tilted almost. Tilted towers. It's a little bit- Welcome to the breaking in a live show. It's Tuesday, October 13th, presented by Tatar, shout out, we're back in New York City where you were in Amsterdam all last week. How's it feel to be back? You look. Good to be back, Jack. A lot going on in the ad world here. We've got a lot to cover. A lot going on. A lot to go through. We've got the lineup, like the actual lineup of guests here. We got Aaron and Leah. Aaron Riley and Leah, Mastro Bertie, Global CEO and the US CEO, respectively, Leah just named the US CEO. We're going to go through the gauntlet. I mean, sure, she went through the interview process with TVWA, but she's got one more leg of that process. It's going to be the breaking entering. That's right. Exclusive interview. And then Joe Staples and Gareth K, the VP of Creative and VP of Brand at Coinbase. Coinbase is, by and away, dominating the awards circuit. It feels like for outside of like, I put them in a different level than like the A/B in bushes and like the craft hines is. What do you call it? A, B, O, A, B in Bev. A, B in Bev wins like a million can lines. Right. Right. And great agencies. You got Marcel Marcondez, you know, just leading the ship over at A, B, in Bev is going to be on the live show live event here. But you look at Coinbase. Now, this is a company in a market that people don't necessarily love. I feel like the perception needs that shift and they're doing it every campaign. Every award, one at a time, extremely well. Yeah, that's right. So we're going to talk with Gareth and Joe about how things are going and how they win and why they win and their thoughts on agencies these days and their thoughts on the brand itself. Yeah. And then we also have what's going on with the whole show, a little new graphic alert we're working on. Boom! What the heck is this? The schedule is great today. I'm going to talk about some big, old co-agency leadership moves. And then agency of the week will be revealed in due time shortly. We'll get the agency of the week, the top of agencies from last week. We got our top stories and then we get into the interviews. Geno, before we get started, anything else you want to add before we get into our first story? No, Jackie, crush it. This is a cool new graphic here. I like this. Is that going to stay up the whole time? No. Come up periodically. Okay. First thing. Tyler Turnbull. Biggest news. Probably the biggest blockbuster signing of the calendar year, 2026. And it's Tyler Turnbull being hired as the new CEO of WPP creative genome. And he got here. This is a guy that you want in your creative agency setting here. He is an executive that cares about creativity. I had the chance to interview him years ago when he was at FCB Toronto, Jack, FCB Canada. He's a turnaround guy. Turnbull is a turnaround guy here. There is a myth. There is a legend, if you will, that Tyler Turnbull once had to save a meeting. Save a pitch. They had 15 minutes to get in there and prep a media plan, went into the pitch, put up the media plan on the whiteboard in front of the clients. They bought it. Wow. And they won. That's folklore. That's legend. I don't know if that's Charltonne. Maybe. This is a smart guy. The industry loves this guy. So to see him go from Omnicom over to WPP is monumental here. Yeah. Tyler Turnbull. Previously, the CEO of McCann. He was named the global CEO of McCann less than a year ago. And now he's going over to WPP to lead WPP creative and be the CEO there, a position that was filled by John Cook. John Cook was with VML for years and years and years, built that agency, VML under WPP. And then he also was, he became the CEO of WPP creative during the restructuring of WPP under new-ish CEO, Sydney Rose, a part of her Elevate 28 plan. John Cook stuff. He's going to be doing something different, stepping away from the agency game. It feels like, and now you bring in Tyler Turnbull, what does this mean now for WPP? You get a guy that has turned agencies from, you know, they are, they're agencies, they're doing well to being great. That's what WPP creative needs right now. An exciting time for the agency. And if you're Omnicom, you're thinking we need to figure something out with McCann. One of those large agency networks that still exists after the Omnicom IPG merger. The big question remains, you know, who will step into that role of global CEO at McCann? We will have to wait and see. You know, Jack, this is a good point here. I mean, this is not easy stuff here because I feel like there's no shortage of great creative leaders out there. You know, a lot of creativity, it takes someone special to come in there and be the executive, you know, the David Droga types, Tyler Turnbull types, the John Cook types that have the business acumen, that defend creativity like Tyler does here. So whoever comes up here, they need to protect creativity. We're close with A.O. Andres Ordonia, who's over at McCann as the CCO, and make sure they gel together and to win for McCann. Yep. If you're sitting at WPP, you're thinking what a big get. Like I said, probably it's a blockbuster signing. It's a massive signing for WP and it's a massive move for Sydney Row. She goes out, she gets who she wants in the situation, probably the biggest free agent signing of the year, Gina. So, best of luck to them, WPP creative as well. We'll be monitoring the situation when it comes to McCann, who's going to step into the role of global CEO, Gina, do you want to talk about what's next for us? I do. I do. That would be the agency of the we, agency of the we, before we get into that. Shout out to Tatar, it's October, and your clients want to know whether their TV creative is driving results, not just racking up views. So, are you testing what works or just guessing with Tatar? Badletics use Tatar is TV ad platform to test different hooks, ad links and storytelling styles across the linear and streaming TV. Software calls to act or learn more, often not perform the hard sell, believe it or not. And once a 30 second spot established, the message of 15 second version helped extend its reach at roughly half the cost. They could see the impact beyond TV too. Their Facebook ads became more efficient, as more people got to know the brand. Tatar helps agencies and brands plan by and measure TV against outcomes that matter, so the next creative decisions and the next media decisions can be based on what worked learn more at tatari.tv/growthshout at Tatar. Let's go Tatar, thank you so much here. Let's get into agency of the week here, starting off with number five. This is an agency based over in Austin, Texas. It is Bakery, ladies and gentlemen, they won the creative AOR for wild chips. This is a protein chip here, Antony Porowski, brand of the program, recurring guests, loves the chips here. So listen here, Bakery wins this in a market right now that is loaded. The protein product category is booming, and wild's been there for some years now. So Bakery, big win for them, excited to see the work for wild chips in the future, congrats of them. Number four, it's kids. That children, I'm not talking about children running an agency. The name of the agency is Kids, the agency. They've been doing some incredible work for Chipotle, Chipotle, new chief brand officer four months ago for Nana Machado, one of the goats in the CMO game. He steps in the role of Chipotle and he says, "Let's put kids, the agency on creative retainer, and what do they do as a result?" They put out a campaign last week with the London vegetable orchestra. You heard that correctly, it's literally a group, it's an ensemble, it's the only ensemble of its kind, you know, because instead of using regular instruments, they used vegetables. And so what does Chipotle believe in? They believe in real ingredients. So what do you do? You got to create a sound, you got to create a song, and how do you create the song? You can't use regular instruments, you got to use vegetable instruments, real ingredients, real instruments from vegetables. That's what Kids, the agency came up with in the campaign last week is popping off. So Kids, the agency is your number four agency of the week. Love that, Jack. Nicely done here. Now let's go over to the best tourism marketing in the planet today right now. Now it's visit Oslo ladies and gentlemen. They just came up with a new spot here to a musical spot about Oslo, and the agency behind this is called News Lab. That's gonna be your number three here, Jack. Anything to add here? No, it's incredible work. It's a continuation of a viral campaign in 2024. It's a little bit, there I say off putting it first. This guy who lives in Oslo says this place kind of sucks, but that's kind of the whole point because in the process of telling you what he hates about it, he's actually telling you all the things that are great about it. And get this, Oslo had their biggest tourism month ever for the month of August this year. You know, it's above pre-COVID levels. People are going to Oslo. The campaign scenes that we're working in 2026, most recent one, they make it into a musical because why the fuck now? I love it, Jack. Let's get into number two. That's gonna be WPP, ladies and gentlemen. Yes, WPP gets number two here. We talked about it just now here, Tyler Turnbull coming over there to lead WPP Creative as CEO, that is a big get for them and like we said before, this is a block fuster get. Tyler Turnbull, the turn around guy. He's gonna turn things around a part of Elevator 28, Sidney Rose makes the good hire here. We got to give kudos to the holding company WPP. Turn around Turnbull, that's what they're calling them. And number one, your number one agency of the week is BBHG, you know, BBH US, they come together and they create a campaign for what ones? It is a visually striking campaign, it's an out-of-home billboard campaign with putting two thumbs together that look a lot like butts, they look like butts, believe it or not, that's just the fact, you can go look it up on yourself. We don't want to get striked for the frickin' YouTube community guidelines, but let's come back to it because BBH, they are BBH Drizzy is what I call them, Johann Dauver, the executive creative director. I spoke with him directly for the breaking under news letter. What do you say Jack? Talk about the fact, listen, if you're going to create something for out-of-home it needs to be frickin' visually appealing. So they get award-winning. They get the crew together, and they're telling people with wet ones, it's not for your butt. A lot of people, the staff they found is that 50% of people are using wet ones for their butt. Stop using for your butt. No ifs, ands, or butts is the copy on the billboard. It's incredible work. And they caught the eyes of millions online and is a really, really solid campaign from a really solid agency. That's why BBH is number one agency of the week. Yeah, you got good wipes responding to with a little reactive marketing. Cut their attention anytime you get brands hopping on some reactive marketing here. You know you're making a stir, so nice job to BBH and the team over there. And Paul McFarlane and the chat reminds us, BBH landed Ross. Ross, our sweet dear baby boy Ross. Yes. Over at BBH. Was Ross involved in this campaign, Jack? I don't think he was on the credits list, but be on the lookout. Yeah, I'm thrilled to have something soon for us, Gina. That was agency of the week. Yep. Fantastic job, Jack. Let's get into the next story. Let's pop up what we got for the rest of the show. Get back to it. What do we got planned? Here we go. Here we go. Here comes the graphic. Oh, yeah, nice. Top stories here. So we're going to get the top stories now. A ton has happened. Yes. Over the weekend, you know. You got Kelly Clarkson versus a small boutique toy shop over in Brooklyn. 43 million views on the commentary of Kelly Clarkson complaining about this toy shop here. Over what? I'm going to ask a $15,000 bird. Let's break it down. It's a toy bird. Okay. So to set the stage, if this is like the most quintessential Brooklyn, Tinker, Toy, Antique, valuable sort of a museum/boy store. And Kelly Clarkson, this pretty much comes down to the fact that Kelly Clarkson feels like they were being rude to her. And the whole beef is because of the way that she was treated inside the store. The store she inquired about buying this bird toy. Molly the bird. Molly the bird. And in her words, her side of the story is that they told her that it has a $15,000 price tag. We're kind of being kind of sending about it. Like, as if she couldn't afford it. She had a terrible experience. So she took to the internet to destroy this small business. Yeah. With one fell swoop, the toy store responds. And people online are like, what a great way to respond. This feels like a really nice thing that they're doing. They kind of win this argument. But not so fast. Because Kelly Clarkson has to respond to this response and call out that they're lying. They're like, well, this isn't actually what you're saying. Your story isn't actually what happened. And then as a result of Kelly Clarkson calling them out for kind of misleading people in the way that they described their side of the story, Art of Play comes back and says, okay, you're right. We do need to clarify one thing about this. And they give another version of the story. And now we have pay us online. What is interesting about this is what is the comms response? Because you have people online saying, wow, Art of Play has handled this perfectly. Some people are like, Art of Play handled this terribly. A lot to talk about. What do you think, you know? Yeah, Jack, this is fascinating to me. You look at Kelly Clarkson. She, you know, her argument is you shouldn't treat customers. You shouldn't assume anything about customers. She walked in and was treated poorly. And she wants to make a statement, it seems like. So there's a lesson to be learned across all business owners. All businesses across the world from small to large here. And now I kind of understand the side over of the shop here. You kind of want to defend the employee. You kind of want to like, you know, defend the wall. You defend the wall in stuff like that. But listen, like, there's two sides to this right now. There are people on the internet that are pro Clarkson. No one should be judged. And then there's internet pro store pointing out the history. It's a specialty real, uh, realtor. And like, there's a post. Yeah, what did I say? Realtor. My bad. Retailer. Uh, and like, there was Instagram post in September saying, like, Molly wasn't for sale here. So the internet's kind of split. It's amazing. And you know, we've now we've created is just a story that's taking out life of its own with people doing, taking it upon themselves to do investigation work to figure out who's right and who's wrong. At the end of the day, it doesn't really matter. I think for art of play, you're coming out of this as a, as a store. Never, never been better. You are going to, you're the foot traffic is going to go up. People are going to want to come by. But then you get into the question of like, it almost is, it's giving me thoughts back in the day of the nantucket influencer. Of course. Story where you have this nantucket store that is almost like too good for influencers. Right. It's kind of the position that they take, whether they believe, whether they actually believe that or not, that's kind of how they come across. And you have an influencer that goes after them and then you get into a battle. And then the internet kind of has to the side. Like, are they, are they going to be pro influencer? Are you going to be pro small business? And then the small business kind of like, we don't really want a bunch of people to come to our store. So if you're the art of play store, like the whole thing is that, you're not like looking for volume of sales. You're just looking for, you know, you want to sell to high price clients. So your argument here, Jack, your, your contention, your summary here is, art of play has more to win and is winning more in this over Kelly Clarkson. Yes, for sure. But I also have to, I almost have to respect Kelly Clarkson's approach and her commitment to destroying this small business. Right. Because of the way that they made her feel. And listen, there's been no public reconciliation. It seems like, you know, that it seems like they're both holding and maintaining the wall here. It's great. As you're saying, Jack. This is the beauty of it, though. This is what you dream of in social media. Now, brands, let's get in there. Yes. There are brands in there now. If I was the store owner, I would have just apologized on behalf of the employee, take ownership and say, my bad Kelly Clarkson and we're going to do this new policy. Like we're going to retrain employees. We're going to shut down the store for a day. Smart. Like that was like the Starbucks PR response when there was issues. I believe in one of their locations with a racial incident. Yeah. Like they shut down all stores across the US and did new training here. And that was a whole different scenario. But like you can take some lessons from like really strong past PR cases. If you want to just kind of like get this controlled here and not kind of wrist this blowing up more. Yeah. Very smart. Well, it's just a fat another. I mean, you think monoculture is dead? Like 43 plus million people. Probably more impressions as we are reporting on this live right now. Everybody's tuning in and it seems like another now you are. Another, another, I don't know what you call it, but like thing that happened over the weekend. You have no big is doubling down on their campaign with Sydney Stweeney. The first one that came out where the tagline was just sports. And it's Sydney Stweeney essentially like almost nude for the commercials. They're coming back to the same playbook, doing another version of that campaign. On the heels of no vigor releasing data around the fact that trading volume for their app, for their sports betting app, prediction market app. Tripling, in trade volume as a result of the campaign. So it was a millions of dollars. So it was a successful campaign from an effectiveness standpoint, Jack. So this is where things get interesting. Because obviously they got a ton of backlash at the time. And I think it's pretty fair to say that like it's just kind of a, it's a, it's not in good taste. It's a poor taste campaign. But at the time we made, we said this, like these sports, these prediction markets, apps, these sports gambling, whatever side of morality you're on, you have to understand that they are marketing to the dumbest people alive. They're taking advantage of people in like the addictive nature of the brand. So then, so they will stoop to that level. People who will actually be influenced by something as dumb as these campaigns. And you're seeing it play out in real time. But Jack, listen, if I'm the CEO, I'm playing devil's advocate here. If I'm the CEO of Novig, I see the return on investment. And you know, why would I stop exactly? It's the question. And they didn't stop. They have another iteration of this spot here with Sydney Sweeney. And you know what? Why not keep going? Well, you had, you know, we were talking for this. You had a really good idea, Jack. You said you kind of predicted it's just going to continue like this until there's government interventions. Of course. If you are, if you were like, if you are going to ask someone who started a company that is centered on sports gambling and prediction markets, to all of a sudden now take a clause of morality. Right. You're just, it's a losing game. It's cigarette sales. Right. It's selling cigarettes. You're selling an addictive product to people who are already probably succumbing to addictive things already. Right. If they have that kind of personality, you're there in that framework. But those regulations and now like the tobacco advertising has completely changed where you can no longer like spread awareness to new consumers. It's more like rewards programs for people that are already buying. Yeah. But we're not seeing that within these prediction markets and sports gambling yet. But time will tell the government. But with the government, do you want to give your government like kind of like. Yeah, the state of the usual views on the government today. No, I probably won't. But I envision a world where in soon, in soon order, we'll see some cracking down on the prediction markets market. It's just getting out of hand. But interestingly enough, with this new iteration of the campaign, you have power rate stepping in. A little bit of a reactive billboard. We've seen a lot of this lately. But most of the time it's playful. You saw Hagen Dazs and Hines. Steadlet Arts Filler or Twa. Hagen Dazs and Siller or Twa did something similar. But it was in good nature. It was fun. It was fun. This was a good wipe. This is white ones with BBH. Number one agency of the week here. Yep. They put out for something for what ones? Good wipes comes and says we are for butts essentially. And now we're seeing a little bit more of a play here. It's more strategy. A more purpose-driven reactive spot here from Power-Aid, which is owned by Coca-Cola if you can't tell by the top. Never adjust sports is the idea. So Power-Aid. [BLANK_AUDIO] rubbing in and kind of reinforcing their position, their brand, what they believe in as a brand, never just sports empowering the athletes, empowering particularly female athletes, the big discourse with the Cindy Sweeney ad as it kind of downplays the role of females and sports to being just like the physical look and body image. - Now I got a question for you, Jack. About the reactive ad here from Powerade, how do we feel about it? Is this brand building for Powerade or is this pick me by Powerade? - Well, it can be both. Both things can be true in my opinion, because it's gonna end up being a net positive for Powerade. I think this will perform well overall, but if you think about it, this is a situation. Powerade is kind of like punching Coca-Cola, mega company, mega corporation Coca-Cola, sort of punching down to like, if you think about just the size of it, to get into the mud with Novig, like in my opinion-- - But it's attacking sports and Powerade's a sports drink, so you're in our field now. - Right, right, you're-- - Welcome to the Thunderdum. - You're in the Thunderdum. You want to start talking about sports. Well, Powerade feels like they need to step up. - I think I do need to give an answer. I think it's unfair of me to go in the middle. I will say perform, brand building or pick me? - I'll say brand building. - Okay. - I think brand building, at a certain point, you almost think like to take, someone has to take the thought, take a position and make sure that people realize this isn't how sports should be looked at. - I agree, Jack. I think as brand building, it's gonna be good in the long-term and on, listen, yes, it's Coca-Cola, like a large corporation, if you will. You know, they have the budgets, they have the resources to get involved, but I would argue that if you are a large brand with the resources and the budget and the talent, that you have a responsibility to perpetuate a positive message, if you have the opportunity, you should do this. - Yeah, exactly. You can't let the haters, it's people that hate the idea of Coca-Cola existing, they're always gonna hate the idea of Coca-Cola existing, no matter what. I think I agree with you like, - I mean, who hates a Coke Zero? (laughing) A DC? A nice DC. - I'm on the Chris Zero now. I don't do the DCs anymore, I'm off the DCs. - Well, someone who's not, neither of those things, and also doesn't really like beer that much, apparently, is Mark Zuckerberg. - Mmm, good. - The Zuck. The Zuck was on, it's like, it's called, I forget the name of the podcast, but it's the Callison Brothers for Stripe. They have this podcast, it's a tech podcast, where they go and drink beers with other tech founders, and they record it, it's just a podcast. - Great concept. - Interview, great concept. And there's a video that's going viral this very second, this is why we do the live show, Geno, of Mark Zuckerberg pretending to enjoy Guinness. Can we watch it? That would be amazing. You see, you don't need the sound, but you can see the time. - Sips. - See the hell right now. - This is me after taking this. - And this is going viral, millions of views. A people saying he does not like, he's pretending to enjoy it, as the captain says, by Mark Malone at Sound Migration on X here. I'm almost questioning, like, is this just how he is? Like, that's how he drinks. Like, I don't actually know if he doesn't like it or not. Like, I couldn't actually see him. Like, this is how he tries to be normal. - Yeah. - And like, take a second. - Oh, so you're thinking, I'm not even questioning, he doesn't like it. Like, I think he might just drink like this. Like, we need to find other scenarios, like the robot systems, the mechanical systems, or that's how he swallowed. - Like, his body just rejects the idea of alcohol, like for optimization purposes. This is the funniest, one of the funnier videos of all time, but of course, we need to look at the brands, I think. When I see a proper noun, in a sentence, I think brand right away, I see two brands in this. Let's start off with Guinness here. So, factor fiction, Jack, Guinness should respond. - You have to. - Come on, please. I need this. It would be amazing. Fat, Guinness needs to respond. I need something. I need just a social media post. Just the picture of Zach drinking the Guinness, and then a funny caption. It would be so good. This would be the best parts of reactionary social media marketing from whoever the social media coordinator is. Please get this to happen. I don't know if Guinness would do it because it's just like such an almost feel of a protected like this. - It's a legacy brand. - In the factories, been going around for like a thousand years. Factor fiction, then the next brand in this is obviously Margie Zuckerberg. Factor fiction, this makes Mark look more human. - Yes, fact, I love, I think this is a great look from Mark Zuckerberg for someone who is a reptile human that people question whether or not he's actually a real person or not. I think this gives you proof that like, yes, he's like a nerd. He's a nerd, dude, that just like, he doesn't like beer. - I'm gonna go fiction. - There we go. - Everybody likes Guinness. Like, who does not enjoy Guinness? Like, in a pub here, like, who's gonna ever, any humans, no humans gonna have that reaction. It really doesn't like it. Let's wrap this up here, Jack. - Really? - I got a quick ad read and we'll welcome our first guest, how's that sound? - Sounds great. - This episode's brought to you by Tracksuit, ready for an uncomfortable truth? Click through rate has basically zero correlation with brand awareness. Meanwhile, brands with strong awareness convert at almost three times the rate of low awareness brands. What that means, not all metrics are made equal. Tracksuit tracks what's proven to matter. Things like awareness, consideration, and conversion drivers. So you can get a clear read on whether your brand is building long-term equity without spending hours in a spreadsheet. Measure what matters with Tracksuit at gotracksuit.com. - Incredible. Well, our first guest, we have the global CEO of TVWA and the US CEO, newly named US CEO, TVWA. It's Aaron Riley and Leah Mastro Bertie. Please welcome them to the show. Here they are now, Aaron and Leah, how are you doing? - Hello guys. - This is fascinating. - This is amazing. - Congratulations on the new position, Leah. When do you officially start? - I officially start on Monday, but I'm excited. I'm already in the office meeting people today. - Of course. - Of course, and I thought, I guess my first question is first day of school, you lay out your outfit on the edge of the bed before you wake up. You go right into it, you know what you're gonna wear. Leah, your thoughts on that. You think that you'll be doing that? - 100%, I think it's really important. I'm not even joking. I think it's important to eliminate that part of the process, pre-think your outfits so that you don't have to waste any brain energy on it. - Yep, this is interesting 'cause this is like, we just got done talking about a tech founder and so a lot of these like, founder level people, was Steve Jobs? - Yes, Steve Jobs, but you all know quite well. You have these people that wear the same outfit every single day. I believe Rob Schwartz was known to always wear a suit in tie. How do you, I guess that's my follow question Leah, your thoughts on that, you say like, take any extra decision making out of the picture. - That's right, I mean, I typically wear a lot of black. You'll see my black uniform. I brought some color for you guys today to bring the energy. But I do think it helps eliminate a lot of stress. You have too much to deal with all day long. You don't wanna spend time worrying about what you're wearing. - Yeah, absolutely. And I wanna turn it over to Aaron here. I guess, how did this all come to be? Can you give us from your perspective, Aaron? - Yeah, my outfit, or I was all hearingly, 'cause I'd be happy to talk about my outfit process as well. No, I mean, it came to be. I mean, you've heard us talk before about how much TVWA believes in a very collective approach that's been a global value that we've had. And we were doing it in the US, but we wanted to bring more formality to that. And so we really started to look at a structure that would allow us to bring the talent of the US closer. And having a US CEO was one of the ways to make that sort of more structurally possible. And so we started thinking about who would be right for that and we met Leah and it was like an instant connection. Her background coming from such great creative agencies. But also agencies that have to navigate complexity that had to build capability, that had to sort of do things with scale. So, you know, for us, it's particularly, I think with Shia in the US, you know, getting that balance of soul and scale is so important because we absolutely do not want to compromise. What we think is a really fiercely creative spirit, a very soulful culture for, you know, the what we gain on the scale side. And so we felt like Leah would be a really good leader in that context. - Absolutely. You know, I have a fun little game. - Oh, is that okay? - Here we go. - You know, we looked into Leah's background here. And I think the audience will enjoy the homework that we did here. So Leah's okay, if we play this game here, the essentially it's lessons from the bosses, you know, you're stepping into a CEO position. So we look back at your past. We've worked at some great agencies and worked under some amazing CEOs. I'm going to name some CEOs you've worked under in your past here all the way back to McCann. And I want you to tell us one lesson from age person that you want to carry with you into your new role. - All right, let's do it. - Let's go back to McCann here. You worked under Kevin Nelson and Darla Price. Can you give us the rundown on them, the lessons you learned? Yeah, I think the biggest lesson there was really around consumer centricity. It was a time where we were really digging into the audience. Look at the data, do panels, whatever is needed to make sure you know your audience inside and out. Then also a Droga 5, David Droga. What did you learn from David that you want to take into Shia? Okay. Well, to start off, I don't think I could give one answer for David. If anyone who's worked with David knows every meeting you're with him, you're basically learning something incredible. A lot of people that have worked with him have Davidisms that they've taken with them along their way. But one thing that he really reinforced a lot when I was working with him was he rejected one and done ideas. He really wanted to make sure that the idea had an impact on our consumers, an impact on society, and really did more than just have creativity for creativity's sake. That's really interesting to me. I feel like that's timeless, especially right now, because there's so much excitement or buzz when you have one video go viral, like one thing go viral, but it's like if you can do something that extends, especially today, I feel like that is so much more impactful. Aaron, I wonder, do you see that with the clients that you have? You almost have to kind of have a little bit of patience with us for a second here. Yeah, I mean, absolutely. I think it's one of the things that we believe so strongly in, which is it all starts with a really strong brand platform, and then you can build sort of a brand world. I think one of the things that we are trying to talk to our clients about all the time is of course you have to have a big idea, but that's really not enough. You have to then be able to orchestrate that idea well beyond a campaign to have the kind of lasting impact that you want. And of course, we all want to capture the news cycle, the virality, like in those moments, ideas that are sort of breakthrough in that way are important, but if they're not part of a bigger, sort of orchestrated intent for a brand, I think you just don't get the long-term impact that you need. I mean, precision is a very important thing, but we've been talking a lot about it as like, yeah, there's computational precision, you know, the data and, you know, how to show up in the right channels, of course, but there's also cultural precision and like being able to read the signals, have the texture, have the nuance, bring those together so that you get much more than like a fleeting moment of success. You're really like locating the brand in culture in a much more enduring way. Love it. Love it. Let's go. The last one here, for Leah, at LePub, you worked under Bruno Brutelli. What's one lesson you learned from Bruno that you want to carry into Shia? So Bruno was very obsessed with strategy first thinking and obviously strategy matters. We've known that from this industry for a very long time, but he very often rejected any ideas that didn't ladder back to the brand platform or the strategy. So it really helped us filter those ideas and make sure that we weren't wasting a lot of time on things that didn't answer the brief or when it worked for the brand strategy. Loamtaz. I mean, we got down. I feel like this is a great start. I set the top of the show that this is, you know, you did all the interviews of course and you got the job of TVWA, but of course you need, there's one more round of interviews and that's on the breaking and entering live show. So the next thing we want to grill on before we end the interview is a segment that we call Keep Retire or Create. So you can keep something that is going well. You can create something new and you can retire. Maybe something that you think should go away. So the first one we'll start with is Keep. What's one thing from the Jay Shia and Lee Cloud era that you'd make mandatory today? I think the creative courage, you know, Jay and Lee really helped build an agency that wasn't afraid to challenge convention or to really back bold ideas, like take that courage to back those ideas that felt a bit scary and I think that's really what drew me here into this role and it's part of that independent spirit that I want to make sure we keep and we don't ever lose. And like that, I always go, don't do the right thing. And also fun fact, Lee Cloud likes the branding of breaking and entering me. Yeah, this is something. This came across our desk. That was one of the better moments of my life. Personally, it's the best moment of my life. Okay. Retire, what's one agency habit you'd happily leave behind? I would say making things more complicated. I think that having too many layers or too many processes or too many meetings, that's not what we need to do here. It's really our clients are looking to us for simplicity. They already have enough challenges in their day to day. They want the right people solving their biggest problems. They don't want to deal with navigating our structure. Amazing. And then the last thing, and then we're going to ask Erin and her thoughts on all this. She gets one video, I believe. They create. So what's one new way of working that you would like to test across the US offices? I'd love to see more unexpected combinations, really pulling talent and different people together. I think when you get different talent, different perspectives, all together, that's what really unexpected ideas come to life. And I think that that's what an exciting area we'd like to see. So what does that mean? So you would like mix a copywriter with like AI person or like a technologist? Or yeah, or a technologist. I think there's no answer to it. It's just instead of always thinking in the formulaic way, we've built our agencies of like our director, copywriter, strategist, go brief. We really can break that mold and start to think about, do we pull social, social strategists with a creator and an art director together? What are those combinations that are new combinations we want to pull forward? So we start to get to different kinds of thinking. My question for Erin is like, how do you, how do you like instill that kind of process or culture across the global agency? Like to make sure that those things can actually happen because like those conventions are conventions for a reason and they've been a part of agency culture for what like 60 years at this point. So how do you like try to even start to shake things up when you're at a large agency like TBWA? Yeah, I mean, I think it starts with our ethos, which is disruption. You know, if we're really subscribing to our own value system, we have to be willing to disrupt ourselves. And that was something that Lee and Shia, Jay, Shia, preached all the time. You know, to the point where sometimes it was uncomfortable for people because, you know, we all get accustomed to working a certain way and they were never afraid to kind of blow shit up to make it better. I mean, that's part of that do the brave thing. And so we have to apply that to ourselves. So I think the culture for experimentation and disruption of convention is already there. You know, so I think it is a little easier to drive that kind of behavior change because we've already subscribed. I mean, when you sign up to be a part of TBWA and you're signing up to be a pirate, you know, that comes with a certain way, you know, that comes with a certain way of being where you have to embrace that. And then I think it is being willing to experiment and also letting all of our agencies do that differently. So when we're driving change, we're not doing it in a monolithic way. I mean, one of the great things about TBWA is it's actually a collection of a lot of like local, very independently-feeling agencies. And so, you know, if it's Adam and Eve, they're going to do that differently than Lil'a Madrid, then shy it in the US, then Haka Hodo in Japan, and that's okay. We love that and encourage that. So there's constantly sort of this federation of agencies fundamentally united by disruption, but doing things in a very different way. And then we use that as a source of inspiration for everybody else. We come together and say, look what they did here, look what they did here, look what they did here, look what they did here, look when it was through the lens of innovation, look when it was through the like the lens of emotion and feelings, look at it through the lens of crazy ambition. And then people can borrow and steal with pride from each other. So it's a little bit of this always in beta mindset that we try and embrace, let people be themselves rooted in disruption and then share constantly. And so it kind of breaks that like inertia to sameness even in our own processes. Yeah, I guess hearing all that, we like, I can understand why the idea of being the US CEO might be exciting besides it being kind of badass to be like on the US CEO of TBWA. Was there anything else that you learned throughout the process of like interviewing that got you excited where you're like, okay, this is starting to feel right because I feel like we call have those moments like if you're interviewing for a job or you're meeting someone you're hiring, you kind of just have a gut feeling. Was there anything throughout the process that stood out to you? I think the biggest thing throughout the process was the people, you know, every time I met with another person, it was clear that they all shared the same vision, they all shared that pirate mentality. It's like really easy to say that, but you can tell from meeting with someone if they really believe in that and if they're really willing to take those bold choices. And after every single person I met with, I just got more and more excited about the role because it's really the people that make the job, you know, the people that are around you are you gonna rally together with everyone and be able to take this vision forward. And I felt so excited and confident after meeting everyone. Makes sense, makes sense. Genos, I'm sorry that you didn't get the role by the way, I know that you were really hunting for that one. - I would do awful. - Yeah, no, I mean, but I am excited to say, you know, the designer who did the Rebrand or for TVWA did include Breaking Anntering in the Media Kit. - Yes. - And the Rebrand Kit, so that was-- - Reno, shout out to Bruno. - Bruno's a legend, I want everyone to know that me and Bruno are on good terms. I know if you did tune in that day for the live show, we did go back and forth. We did have a little bit of a kerfuffle, but I want everyone to know, you know, we had a fight, but we came on the other side, more respectful of each other than ever. - Of course. - Which I'm not very close. - Well, exciting stuff here, Lea, congratulations on the new Roll Starting Monday. Do you need a ride? - Do you need a ride? - Yes, no, we also, yeah, a big meal. - Where will you be in New York? - I will be in New York, yes, but I'll be traveling a lot to the other offices. - Okay, great. I want to go to the Haka Hodo. - Yeah, where's the Japan you said? - That's in Japan. Yeah, that might not be, you know, a regular thing, but yeah, that is in Japan, but L.A. - We're going to do a little visit. - We can do an L.A. next. - Yeah, perfect. And Lea, you just let us know on Monday, if you would like, you know, us to give you a ride, or if you need us to act as like security, kind of bringing you through the subway, however you're getting to the office, you just let us know we'll be there. - Okay, great. - We might have to enlist you guys as like our part of our interview squad. You guys are very good on the interview. - Very good at that. - Yeah, I mean, we could just do it live on stream. - I got just on here too. - Third round interviews live today. - That's an idea, that would be disruptive to the current interview process that exists. - Aaron, Lea, thank you both so much for joining the show. Congratulations, Lea. Excited for you and excited for what TVWA is cooking up in the near future. - Yeah, thank you, thank you both. - Thank you, thank you. - And ask. - Yeah, fantastic. - That was like my dream was to work at TVWA. - Yeah, I mean, a lot of people, a lot of people want to work with their team. - Now we get to hear from CEOs. - The next, if you want to look at the lineup, the very dope ass graphic, the next slot will be with the team at Coinbase. We got Gareth K and Joe Staples. They have been, Coinbase has been the bell of the ball for the award circuit, Geno, for particularly the your way out work that they did with Alivelli. So we're gonna bring them both in right now to talk about it. Let's bring them in, Gareth and Joe. - These guys. - Welcome to the show. - So it's pleasure talking to these guys. - Here they are. - Joe and Gareth, how are you? - Excellent. - Joe, it's good to see you. - Congratulations, it's a lot of flippin' episodes, guys. - Oh, thank you, and the 100th episode is coming soon. - Very, very, very good. - Joe, did you get more glasses? - Usually you have the dark rim glasses, I thought. - I'm changing up for 100, guys. - We're all out for the ball. - Reinventing, he's reinventing. - I love it. - This is how you do it. - Reinventing, talk about reinventing a brand. Scanning out in the world, Coinbase is on a heater. What's the conference called? - Cyclop. - Cyclop, where's that at? - Yeah, it's in the middle, right? - Cyclopase? - Is it actually? - That's how I was pronouncing it. I could have really embarrassed myself for the last week, but I believe it's called Cyclop, it's Cyclop. - But it is Cyclop. It is Cyclop. See, trophies are literally one-eyed Cyclop characters. - Oh, that's so they can't blame me. So, all right, I want to hear, Gareth, how's the last, I guess, probably like year been? I feel like, I almost feel like the last year, I would say, has been in just a wild year for the brand. How have things been internally, how's the team feeling? - Look, obviously, we're incredibly humbled and flattered that a bunch of our peers think the work we're doing is good and is doing good for the brand. I think it's given the team internally, a lot of excitement and energy, but Joe and I, and Kat and the rest of the crew, are really aware that this is just the beginning. I mean, you have to look forward all the time. It's kind of great to have recognition from your peers and it's genuinely humbling, but we have to look forward at what's coming next and use this as a springboard to go. Creativity can be really powerful in helping turn a business around, and be that kind of, you know, tugboat that can turn a super tanker around. A little bit quicker, that's our hope. Is what Joe and I and Kat join the company to go and do, but it's just super, super nice to get people going. We think you made a good start. - Yeah, I got a question for Joe here. You're no stranger to the award shows, you know, from agency life, now over to Coinbase, got a lot of hardware. When it comes to Coinbase specifically this year, what award were you most surprised to win? - That's a good one. That's a good one. Can I tell you what I think it is? And maybe it's not an award. Like it was some form of like people's choice feeling. I felt this only a couple of times in my career, which is when the industry wants you to be successful. It's different than a piece of actual hardware. It's like leaving an award show, or like when people come up to you and say lovely things, I was not emotionally ready for it, but there are a few times in my career where I felt like, people are cheering for you because they want, they want kind of the bowel wave of creativity. They want something to hold up and say, I showed my client this, I showed my agent to this, I showed my friends this as a beacon of hope. That sounds incredibly pompous. But the one I didn't know we would win was like, just how nice people have been about it. - Yeah, it's kind of interesting, 'cause I mean, Gareth, the industry can be quite competitive. People are very personal to their work. They want to win. I think that's what pushes the work to be great. But then you have situations like this where you kind of feel like this work is, it's lifting all the boats. So from your perspective, Gareth, what has been your read on the creative in the industry over the past year and maybe has elevated some other work? - I don't know, I think it was some work this year. So look at what we've been lucky enough to make, particularly with your way out with the wonderful partners I love any. You look at stuff like uncommoner doing, with the periodic fable. I think it was just kind of a sense of people going, not so much to craft and the craft really matters. And that's one of the magical things about the idea, but it wasn't craft as an ornament. It was craft in the service of a really strong, opinionated idea. I think both this and things like the periodic fable, they have a really strong point of view. If I'm being really harsh on the industry at the moment, I think people are scared of having a point of view. They want to have stuff that feels acceptable to most people, rather having something which just says, "This is what we believe in. "Iver joiners and believe in it as well." Or choose to disagree. And I think people are realizing again, the only thing you really have is your point of view and your opinion. That's true of a brand. It's true of our decisions you make when you're making the work. I think that's what's really valuable. I think I've got people quite excited about it. That's my reach. What do you feel, do you feel similar? - Yeah, very, very much so. I was lucky enough to be asked to talk at Sickle Pay with the Isle of Any Guys with Oscar and with Amina who did the costumes, the wardrobe. This was the theme that we came back to, which is that the strategy and the idea are almost the bucket that you put craft in. And once we'd figured that out with Isle of Any. Once we'd said, "This is the strategy. "This is the idea." There wasn't much feedback we gave to the director, to the choreographer, to the wardrobe, to lighting. It was, if you buy this position, go and use your expertise. I think the uncommon work is a perfect example of that. Because once you have the idea, the typography in the design has to be that. And so it's craft kind of in service to communication, not as decoration of communication. - Yeah, absolutely. - It's great. I want to switch gears into maybe a tougher question. - And you guys can opt out of this too, but I'm really curious, then, the work is getting, it's highly regarded with the industry. As Joe, you mentioned, it's one of the few times that you felt like the industry is pushing you forward and celebrating you holistically, the brand. But in all the awards, but what are some of the results? Do you guys have insight into how this stuff is performing for the brand of Coinbase? Whether it's, I don't know what the KPIs are, is it like, users are people using the app more? Do you guys have like some idea? - I don't want to reveal data, because it's probably confidential. I'll get told off if I say anything too much. But what I will say is that, you know, we're seeing good gains in terms of awareness and consideration among people for the brand, which is really what you're trying to build here. Trying to bring more people in to the idea of crypto and of Coinbase and a company that's trying to update the financial system. But I think there's, you know, a couple of like softer things that I think are really important. One is there's a lot of reaction to the ad when it first ran, which is a lot of the kind of OG crypto people going. You see, that's why I'm doing this. I told you that's why I was doing it. So finding something that was invitational to new people, to come into the category and come into Coinbase and reconsider how they fought about their finances was really powerful. But at the same time, having people go, yeah, camp. of the raw spirit. That was really powerful. I think something we hope to do. I think the other really important thing is it creates an organizing idea inside the company. So it's not just marketing that works externally. It's about getting people in products, in business development, in kind of, you know, recruitment or talent highs, getting them excited about this idea. And I think that aligning power, we're already seeing this at the moment, is really, really powerful, because it makes everything you do reinforce that opinion on that point of view. And that is when a brand either becomes good or it becomes great. And I think that's kind of the hopefully the tipping point we've hit inside the company. So you kind of paint this perfectly. So you have the internal alignment and you're making moves with the awareness externally for the whole industry. And you have the awards now to back it up. You've got two stellar creatives with yourself and Joe here. What is it like now internally? Like do you have all gas to do whatever you guys want? This is what I was going to ask is like we know what happens when agencies win awards. It like allows like them to probably win more clients and get more notoriety and more awareness for brands. But for like an in-house brand team to win a lot of creative awards. Do you just get to like walk into the office and be like we told you guys like you're welcome. We did it again. No. The TLDR is no. No, you don't. And I think that's because when you go in and say we want black pencils at D&A D and the people go what's that? And that's actually kind of nice. Is it's nice to be appreciated by up here? It does feel really really good. But the garrison point earlier is the important one. It is internally it's not about the awards. It's about the feeling, the narrative, the pride, which means the important thing I'm just going to go back to one thing he said is that is that kind of the OG crypto users felt like this was a little bit biographic. They were like this is what we've been saying. This is what we were saying. So we've what we've tried to do is not only invite new people in but give them a voice. So internally it feels a little bit like they people are finding a way to articulate that thing they always felt but the awards. No one cares. Yeah. I think you know it's that thing isn't it which is I'm probably just like a very pessimistic Brit but you know you're only as good as your last piece of word. The reality is you know I think we've done something like 1200 pieces of work in the crates to your job this year. So there's work being done every day for social posts for new features that being rolled out into the world. And I think it's created a sense of energy and a sense of connective tissue for that work. But at the end of the day I think you know Joe and I are always being kind of those people are like positively dissatisfied and we're looking to you know what's coming next. What are you going to build? Where are the opportunities and that I think is true to the DNA of the company as well like we'll take our flowers and it's lovely to get the recognition but it's just a scorecard of we are heading in the right direction and we're like we had a slide up at one of our product showcases about where we are as a company I think it's true where we are the marketing which is the system update is about 2% complete we've got so much more to do and that's the exciting thing you know. Yeah it's still so early I want to ask because you both have extensive agency backgrounds and I want to ask about the like the decision I believe you're technically the founding client for Isle of Any. I think that Kat told us that on the show. Yeah. So the decision to work with with that team for these campaigns it's clearly worked out for you all but in some regards you would you would ask the question like why go why go with an agency it's just starting out with Isle of Any as opposed to you're going in a different direction. Well firstly we should do hats off to Tabby and Kate are predecessors who were the ones who were brave enough to make the jump. Although I don't think there's that brave I think you know Toby and Laurie who are the two founders they've got amazing track record and the great work in London at Wyden's does it all the New York Times work at Droga and I think there's something really powerful when you're a company who like us want to be on the front here you need to go and have those young upstart companies at a different point of view where there's a very very high density of talent to work with they become I think your best partners because they are happy to be a true partner and extension to create studio teams though I think actually there in many ways are the perfect partner and I think tabby and in case but then hopefully no work continued to get the best work out of them Joe what's your you work with them probably close than I do honestly. Yeah we talk a lot but I will say like I was Michael tabbed to buy that who brought them in originally and I can't speak for him but I tell you what it what it feels like is we've worked in really good agencies hopefully we've done good work so we don't need to be managed by an agency we just need to be inspired and collaborate with an agency so to have somewhere small that we will try our best to not overstep our boundaries it's not for us to do the work but I don't need to be managed it's kind of cool me up and chat right it's kind of like with the Collean Decoracy over at Sonos like she's like I don't need an ad agency I could do this in my sleep essentially yes she if there's anything she can do it it's build an agency so you don't need to go out and find and someone else to go do that but it's probably super nice and I'm speaking for you guys like to have that neutral third party someone to bounce with because you're you're you're doing 1200 pieces of content you're in the brand day to day so it's probably still nice to have somebody externally like these two guys it is let me let me let me just jump in and say like when you look at the creatives we have working it's not a ginormous team but for example Jordan and Esteban who are the like the group ECDs on this they want black pencils themselves before they came here so they are when you have if aggression only comes from insecurity your job is to find people who aren't insecure and for example Jordan and Esteban do not need to prove their chops in creativity which is why they're such good creative partners so I think that we do want the best people in house but we also want the best agencies and we want the relationship to also the kind of the third thing to be the best so when you see how taught Esteban work with them it's not there's no confrontation there's no they just share inspiration back and forth and have conversations Jordan Esteban knowing they can write award winning communication if they wanted to but it's not the job right now right a lot of as well Joe comes from both of us have worked with clients like Coinbase and our agency side I think we're trying to build the relationship of what we wish we had working those companies and and just a big believer in the maxim that you want to always have a crew of people who are similar enough to get along but different enough to be dangerous and I think that's kind of the mighty power that you get when you work with partners like I'll event you bring them on to work with the amazingly talented crew we have inside the creative studio other London too before I got there they did incredible work with my London similar thing mother is not an agency that manages you it's it's built to be an agency that inspires you so if you have creative leaders inside who can handle all that you're off the races unreal that's incredible you guys do you guys miss the agency life at all no come on really what I hear is what I love from the beginning of my career what I've loved and what I've appreciated about the agencies I've worked at because I think I've worked at agencies that were wonderful is his access to the problem and of any good work I've ever done it's when a client has really let you in and they haven't necessarily given you the brief they've given you what keeps them awake at night or they've gone god this is horrible this is horrible look at this that's when I feel like I've done my best work when I've been able to deliver the thing I promise to deliver why it's lovely a client is that's just daily life any time a client said I've got this really boring 200 page PDF of research that's heaven for me I want to see that and garrison I spend our days looking for that stuff internally so one of the rins I love being client side is you can search for the truth with no no interrupt yeah it's for trade off you make isn't it I mean I think in agencies the brilliant thing is the breadth you've got lots of different problems and lots of different categories lots of different clients you trade off when you go in house and it's something I just kind of felt I was craving which is for depth which is actually you can go in there and solve the real deep commercial problems and solve them in whatever shape necessary so whether that might be about how you think about partnerships or product experience or whatever you get the chance to do that that's really hard to do from the audience like if you yeah we cannot talk about what's coming next but there's exciting stuff just because garrison I and cat go and find what is the truth about our audience how do people use this what do people think about this and there's uh it makes the work so much better and are you still employing your diamond of success tn yes absolutely I know we got to get we got to put we got to resurface your training that was possible and you'll try and you have to be able to know it the accounting team actually goes through it as well they do they do yeah they just did the fun hour ago yeah the the The last thing I want to ask, because I think it's just fascinating to be working at Coinbase right now, how does Brian Armstrong, what is the relationship like, obviously, must believe deeply in the team right now, but what's it like both on the side of having such a big time CEO person involved in the business and also a company that is very much in the public eye? He's an awesome CEO to have, because he wants demands that you're unconventional. All he wants from us is to be unconventional. The worst thing we can do, and he's told many people this is, if I see stuff that smells or feels like a financial services ad, I'm going to lose my mind, like, do not do that work. So he's demanding fresh things, which is really powerful. And then I think, secondly, Brian's pretty rare in the, I really believe he has high curiosity and high empathy and respect for people who've got different skillsets. So he's really interested in things like, how did you make your way out, talking about the kind of like costume process and the way you went from the script on a page to the final idea? So having someone who likes to nerd out on that stuff as well is just absolutely terrific combination of skills. It's great. Amazing. I mean, yeah, I would just, that is the one thing, like all the behind the scenes from the your way out stuff is just fantastic. People love it. Yeah, we break that. I will say, I do think that we kind of, we did force the hand. This is why you do a live stream, because you have to, you put people on the spot, and then you have Catford and half to make a decision right there. It's a good team. It's, I mean, you guys are crushing it. It's a great team here that can do no wrong. I mean, excited for what's coming soon. I won't, I won't ask about what's coming soon, but I will be waiting with Bated Breath for the next piece of work, next big thing that you all launched, so we're excited for it. Oh, thank you. You guys, thanks for your time. Congratulations again. Thank you, appreciate it. Thank you, Joan Gareth, the crew at Coinbase. They've been great. That was our last interview, do you know? That was. We got some more stories though, I believe. Oh, what's going on? What do you want to talk about? First, can I do a little ad read real quick? Of course. That's a great ad read, because the advertising world moves fast. The current helps you keep up. The global ad tech news platform covers everything from connected TV and streaming audio, the AI, live sports and retail data, bringing marketers, the news and insight shaping the future of advertising. Stay ahead of what's next at thecurrent.com and subscribe to the free weekly newsletter. Do you know, let's do one story for the people and get out of here. Yeah. Okay. A factor of fiction for you, Jack. Factor fiction. Media companies should put the co-founders phone number on a billboard in Times Square asking for dates. That. Why wouldn't you? Out of home, it's an underrated media channel when it comes to finding the love of your life. Do you know? We need dates for an event on November 4th, Texture Call, if interested, 630-364-6494-940. Oh. Oh, man. That's an ad. The Wild Ladies and Gentlemen, this is not a joke that is not AI-770 taxes across the New York City area. We'll be carrying around Jack's phone number and the faces of yours truly. A little bit desperate play asking for dates to promote our live show event on November 6th. Yeah. Just three minutes ago, the drum has covered it. So they are on top of it. Adage is Tim Nudd covered it today. Thank you, Tim, for spreading awareness on this very important campaign. So it's the most obvious, it's the most clear KPI in the history of marketing effectiveness. Do you know? There's one KPI and it's dates. Yeah. And the number to beat is one. If we can get two, that's a massive success. That's right. I mean, if we get dates for this event from this campaign, you can bet your ass we are going to submit this into the FIs for the most effective campaign. You know, I think, you know, now the question is, what does success look like in this campaign Jack? Is it one to get a date? Is it one or two to find the love of your life here? Like, what's the KPI for this? I always come back to this. Not all impressions are created equal, you know? It's one thing to do a mass campaign, but at the end of the day we got to find the target audience, all right? You got to find the target audience and you got to nail it, go home, go hit that nail on the head every time over and over and over again. So that's what we're trying to do. And so what do you do? You place the ads, they're strategically located. Yes. Taxi cabs can go anywhere in the city. So right, you know, right. Absolutely. I mean, if you think about the placement of the billboards, you know, Times Square, the most populated place in the world, you think about like spring and not street over there and the like, what is that? Like lower east side. Yeah, go lead us. So far from where we live. Yeah. So, yeah, it's a very strategic campaign and that's actually Jack's phone number. So the conversion is built right into the campaign. You know, I'm going to give this five drogas. Yeah. The drogas stars here. Congratulations to the in-house creative team. You thought Coinbase had a great in-house creative team. Well, look at the mirror, ladies and gentlemen, break entering media. Does it here with Ellie, who came up with the, who came up with the idea along with Jack, Bouchin, Ken Bates, Ellie lead designer on this her first billboard in Times Square, a round of applause to them. Yeah. People spend their entire career trying again. Yeah, of course. Shout out to Ryan Rappaport who hooked it up. He's our plug. Like, he's the guy for all your out-of-home needs. Yeah. Literally, and like, we can actually say that because like, he literally is our plug for all of our out-of-home needs. He's the guy. Yeah. We're LA, Chicago, New York. I'm sure other markets too, but you hit him up and he's fast. He commented on my post on LinkedIn saying, should we give away a billboard at the live show, 100th live show? Live in New York City? I think so. That's a genius idea. He is non-stop, he's the fastest responder, like, like, he's so good, so if you're not working with him. Yeah, I love this campaign. When we came up with it, it was like the most--I love the idea of like getting in the shoes for like the first time ever of like what a creative must go through and like putting ourselves in those shoes and coming with an idea. It is-- When you land on it. Yeah, when you break it, we're all on a group call together, we broke it, we broke the brief. We're like, it's so dumb, it's so simple, it's so perfect for us. Yeah. It's like a testament to, you know, you gotta stay true to yourself. That's right. What is this brand believe in? That's sort of what we talk about, like, outside of ads, it's, uh, dental dates. So, two dates, we need it or the 100th live show, I've gotten a lot of texts, I've actually gotten a lot of texts. Now, I'm almost curious, like, is there anybody asking for me, or they're all asking for Jack? It seems like a lot of people are asking for you. And that's maybe because of the sweater vest I'm not wearing the suspenders. Jack stole my sweater vest, so we'll do a deep dive in the analysis there in the audience. Yeah, we did audience testing beforehand and they said that it would make the most sense if Jack's phone number, audiences reacted more positively when my phone number was flashed in their face. For sure. For sure. Yeah. You probably wouldn't need a phone number. That'd be really funny if someone, if you put in the testing, like, does this phone number give you more positive reaction, or does this phone number, like, uh, what's the, the thing where they put the painting, just like a blotch of paint, and it's like, what do you see? A more Shaq test, more Shaq test, more Shaq. We did that. The phone numbers. I feel like Ellie had to take a lot of more Shaq tests. Um, Ellie. Yeah. Yeah. She's just a different, different breed. Different breed. Different breed. Rated, tight now. Uh, I mean, listen, she's got a Times Square billboard, uh, are you going to submit this for? Can we're going to submit this to can we submit her 60 second news and that we got inside from LePub's global CCO saying that our 60 second news can't, uh, uh, uh, submissions or can was a crowd favorite, just didn't make it past the first round. I think, I think we did make it past, we did make it past the first round. We did, and we did not make it after that. The hard part is the global reach here. We're very localized company. Yeah. It seems like this campaign is very local to New York City. So maybe like a NYFA, maybe like, um, yeah, I, I really think an F.E.s might work here. It's a tough submission, but we'll have access to the data directly. So we'll probably have to hire an awards writer for the F.E.s. Do you think we should have put a QR code? I don't think we should have put a QR code. This looks native to taxis and stuff, but that's really good. I agree. Uh, the, the, the customer journey is quite, I mean, think about this thing when you're, when you're asking somebody, uh, date, what do you ask for the phone number? Yeah, you got a text. Nobody asked for it. Let me see your QR code. It gets a little, it gets a little combined later, and it wants to go further down the funnel because then people text me and then I have to be like, can you deem the breaking letter account? He followed us and just deem us there and we'll, we'll get things sorted. The funnel is there. What are you talking about? You see the billboard? A little bit of free text. A number. It's all these campaigns. Get ended into a sweepstakes. You get automatically signed up for our email newsletter. That's right. So if you're taking a taxi from LaGuoria to Manhattan, you might see us on your right. What a show. Great show, Gino. Anything else you want to add? It's good to be back in New York. We're back again tomorrow at noon, Eastern time on LinkedIn, YouTube. If you missed this show, you're just joining now. You can rewind and watch it in its entirety on YouTube, Apple or Spotify if you're not a visual winner. So. Anything else? That's all I got, Jack. Well done. Awesome. Alright, we'll see you all tomorrow. Everyone get back to work right now.