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<ul><li>We bring to you a series of columns from industry experts, looking back at the last 10 years</li><li>The columns will explore how the media, marketing and advertising industry has transformed in the last decade</li><li>Agnello Dias - Creative Chairman, DAN and Co-Founder &amp; Chief Creative Officer, Taproot Dentsu summarises how digital entered swiftly without knocking and took a front seat across sectors, and how it has affected creativity in the past 10 years. </li></ul>THE MORE WE CHANGE… Around 2010, there was a supposedly humorous one-liner doing the rounds of advertising’s creative departments. Digital is the future and it always will be, it said. It was a sardonic take on the then digital bubble and was usually accompanied by sniggers and black coffee followed by a fidgety moment of silence as everyone pondered fleetingly on how long it would stay true. Today, it’s clearly not so funny anymore. Because we’re suddenly jostling for room inside the elephant. Digital has entered swiftly without knocking and taken a front seat. And now we have online campaigns to sell our mainstream campaigns. In other words, advertising to sell advertising that sells an idea that sells a brand which eventually sells a product. So campaigns can no longer merely be popular, they also need to go viral. Which means, the first thing consumers need to do after they like an ad is not buy the product, but share the ad. And at a price we can even share it for them. Over and above this, if there’s an actual sale, that’s a bonus. How does this affect creativity in the business of mass communication? Embryonically, to my mind. Let me explain. Firstly, rather than turn this piece into a listicle of what was vs. what is, let’s benchmark it against the other great upheaval in advertising that I witnessed early on in my career. Print to film. And here are some of the biggest differences in the two transitions. For starters, the body language of the two newcomers is completely different. Film got naturally positioned as an ally, a new tool, an exciting possibility. Digital has somehow got itself positioned as a challenger, a threat, a foe. Film rippled through advertising creative departments like a soft wave across a calm beach. Gently. Refreshingly. Unthreateningly. Digital on the other hand, is an angry tide crashing into the rocks of traditional advertising. Confrontational by birth. Traditional advertising embraced television in a warm bear hug and set about educating and nurturing its own creative talent for this new expression. Not surprisingly, film thinking blossomed and grew from WITHIN the traditional advertising structure into a new branch of the same tree. There was no external industry called the film advertising industry. Digital on the other hand, got positioned as an outsider that was seen by traditional advertising as an upstart. A foreign intruder that would rob advertising rather than enrich it the way television did. Obviously, the energy flow was reversed. So instead creators learning about new tech, we have new tech learning to be creative. As a result, we have practitioners who tend to be more intelligent than creative. Sharper, clearer and more aware, yes… but also increasingly non-lateral. We understand marketing, we get sales and distribution, we know fragmentation and big data and we tick every box on the list. But there’s no soul. No not-knowing where we’re going to end up when we start thinking creative. The scary chaotic turmoil inside a creative mind as it scrambled for an opening that was both delightful and lateral is now replaced by a neat cerebral algorithm that works by deduction to arrive at a solution, rather than invent it. Indeed, we’re increasingly exchanging the possibilities of soul for the definitiveness of the mind. And as a result, in a world that chases value in everything, we have forgotten the power of nothing. Imagine for a moment, if we logged on to nothing. If our smileys were real smiles. If we shared a warm meal instead of a photograph. And simply laughed out loud instead of typing three capital letters. Feels odd? That’s because we live in an age of mobile phones and immobile emotions. We know a lot but understand very little. We say a lot but mean very little. Our bear hugs have become pokes. Our greetings have become jokes. And our feelings are now available as emoticons. Is this what technology is meant to do? Slot us in neat little touch screen boxes stacked next to one another? It can’t be. It shouldn’t be. Am I saying the internet is bad for us? Of course not. The internet is good and we must use it. But we cannot end up letting it use us. Which is why we cannot afford to lose the ability to log in to real. To touch. And smell. And feel. To taste the air. Or run our fingers through a loved one’s hair. Or look closely at a mother’s hands. Every wrinkle, every fold, every gnarl in every knuckle. Or tickle a child as she crumbles helplessly in laughter. Or smell a dish before we have it. Or hear a page rustle when we turn it. These are senses that make us human. And right now they’re endangered. The sooner we realise it, the better it is for all of us. Because the simple truth is, we were human beings first and internet users later. And that’s not going to change in the coming decade. Like it never has in the last. - By Agnello Dias - Creative Chairman, DAN and Co-Founder &amp; Chief Creative Officer, Taproot Dentsu

The more we change...

<ul><li>In our latest episode of BTS with Insiders, we got chatting with <keyword id="212001" type="PERSON" weightage="20" keywordseo="Agnello-Dias">Agnello Dias</keyword>, Creative Chairperson, Dentsu Aegis Network India and Co-Founder, Taproot Dentsu and <keyword id="343974" type="PERSON" weightage="20" keywordseo="Santosh-Padhi">Santosh Padhi</keyword>, Co-founder and Chief Creative Officer, Taproot Dentsu about a few campaigns close to their hearts.</li><li>They took us behind the scenes of popular campaigns like Pepsi's Change the Game and <keyword id="15491" type="COMPANY" weightage="20" keywordseo="Airtel">Airtel</keyword>'s Har Ek Friend Zaruri Hota Hai, among others.</li></ul> It was in 2009 that Agnello Dias (Aggie) and Santosh Padhi (Paddy), two people pegged as the hottest creative stars in Indian advertising came together and founded Taproot. Within just a few years of starting the agency, it boasted of an enviable roster of brands it had created campaigns for including <keyword id="54572" type="COMPANY" weightage="20" keywordseo="PepsiCo">PepsiCo</keyword>, Airtel and Bennett, Coleman &amp; Company. Three years later, Japanese advertising major Dentsu acquired a majority in the agency. Over the past 11 years, with Aggie and Paddy at the helm of affairs, the agency has come up with some memorable, powerful campaigns that have helped brands tell wonderful, engaging stories. As a part of our latest series, BTS with Insiders, we spoke to the creative duo about some of the most memorable campaigns they have created together. Here are a few of the stories they shared with us. <div type="javascript" title="Facebook" contenttype="Video"><cdata><![CDATA[]]></cdata></div> Pepsi ‘Change the Game’ campaigns We all know about the cola wars of the past when players like Pepsi, Coca-Cola and Thums Up would all try to come up with irreverent campaigns, poking fun at each other. In 2011, Pepsi was the official World Cup sponsor. It was a brand that had always stood for irreverence, and everything that was anti-authoritarian and anti-establishment. In the past, it had roasted Coca-Cola when it was the official world cup sponsor with its cheeky, ‘Nothing Official About It’ campaign. So in 2011, when it was the official sponsor, its brief was unique. It wanted to say it is the official sponsor, while also making a statement that it is proudly irreverent. “During the discussion around the campaign, we stumbled upon the insight that the game itself had become far more irreverent than it was say 15-20 years ago,” said Aggie. The agency then decided to manifest this irreverence of the game by depicting a few key shots that the newer breed of cricketers had started playing. “Once we came up with the idea, the client was perceptive enough to see its power straight up,” added Aggie. The agency came up with five films featuring star cricketers and their trademark shots - MS Dhoni’s ‘Helicopter shot’, Virender Sehwag’s ‘Upper cut’, Harbhajan Singh’s ‘doosra’, Kevin Pietersen’s‘Switch hit’ and Tillekratne Dilshan’s ‘Dilscoop’. The campaign went on to become a huge hit, so much so that Pepsi replicated the idea in other markets like Bangladesh and Sri Lanka. “It also was a very special campaign for us because it was perhaps for the first time that such a huge brand chose to work with a smaller, independent agency. It totally changed the game for us,” added Paddy with a smile. Airtel’s ‘Har Ek Friend Zaruri Hota Hai’ Before Airtel’s friendship campaign, the brand every year would come up with a campaign that would put out a world philosophy that could be appropriated by mobility, shared Aggie. “That was the time when all brands were trying to build the category, nobody was trying to take each other's market share. The brief given to us that time was that we don't see anything wrong in what we are doing by putting out a life philosophy about how the world is getting more connected except that our tone and manner is making us sound old-fashioned. The brand said that they didn’t want to become younger or exchange market shares. It just wanted to keep its philosophy, while saying it in a younger manner,” he explained. That’s how the agency thought of giving out a philosophy but not from a pulpit. The idea took birth when the agency started discussing about 3 am friends who one could turn to if someone was in trouble. And that’s how the campaign took shape. What also makes the ad memorable is the jingle created by music composer Ram Sampath, who was given the task of creating a song without using any real instrument. All the percussions in the ad come from things one might find in a classroom, including notebooks, dusters and even dustbins. The campaign went on to become a huge hit. <keyword id="6377547" type="ORGANIZATION" weightage="20" keywordseo="adidas">Adidas</keyword>’ Odds In wake of the 2016 Paralympic Games, Adidas came up with a unique initiative called ‘Odds’ where para-athletes, primarily blade runners, were given a pair of the same side footwear instead of the usual pair that is sold to consumers. The campaign spoke about the inspirational story of <keyword id="2726242" type="PERSON" weightage="20" keywordseo="Major-DP-Singh">Major DP Singh</keyword>, a Kargil war veteran who lost his leg but not his determination. “We got the insight for the ad from a simple idea. One of the kids at the agency said what if we dedicate 2 left or 2 right shoes to para-athletes? We thought it must already have been done by some brand. We were really surprised to see that it had never been done and its such an injustice on the community that for years they had to buy a pair of shoes from which they could only use 1. So we thought we had to make this larger than life,” shared Paddy. They approached Major DP Singh who agreed to be a part of the campaign and the rest, as they say, is history. Paddy also shared a life lesson that he got from Major Singh. “On the first day of the shoot, we went to the top of a mountain at 4am where he used to practice to capture the early morning sunlight. Since the spot was far from the city, we travelled for an hour. He was an army guy and wanted a proper schedule. We gave him one and told him we will finish the shoot in 2 days. The packup for the first shoot was supposed to happen at 8 or 8:30 which got delayed by an hour or so. By the end of it, he wasn’t happy and went home. And he didn’t come to the second location. When the producer tried to reach out to him he said, ‘Please tell Adidas, Taproot and Paddy that I am done with my shoot.’ We were really shocked as we had a packed schedule. So I went to his house and asked him what happened. So he said, ‘I am an army guy and I follow schedule. If your shoot was getting delayed, someone should have come and informed me. I respect time and if I respect time, you should respect me.’ I apologized and assured him that something like this never happens again. So this wasn’t just a learning for me but for everyone else who was present at the sets that day,” reminiscened Paddy. <keyword id="5709" type="COMPANY" weightage="20" keywordseo="mumbai-mirror">Mumbai Mirror</keyword> Mumbai Mirror is a tabloid from the stable of the <keyword id="6356641" type="UNKNOWN" weightage="20" keywordseo="Times-of-India">Times of India</keyword> group, a brand that Taproot had been handling for a while. The brief given to the agency for the campaign was simple, “The client said here are 6 stories we have broken, please showcase these stories. It was from there that we took the leap and said that newspaper is the voice that amplifies the voice of the oppressed. There were stories that would not make it to the national newspaper but its players like Mumbai Mirror that take these smaller oppressed voices and amplifies them,” said Aggie. Those who have watched the campaign know that it makes its point heard loud and clear. The idea was to deliberately make the campaign disturbing. “There have been opinions about why the film was so shrill, it could have been toned down. But in my opinion, when you are taking this stance it can be either disturbing or it can’t be this at all. Then it would just need to be a completely different thought. And that’s why we decided to make it that aggressive,” explained Aggie. Times of India – Farmer Suicide campaign The last campaign that the duo spoke about went on to become one of their most awarded one. Our country is no stranger to the disturbing news of farmer suicides ever year. It’s still an ongoing issue and the agency wanted to bring out the stories of these farmers who simply become a statistics every year. The agency used burnt hay to make portraits some of the farmers who had committed suicide, leaving behind families of 4-6 members. “These paintings were sold and whatever money we made out of, we gave to the family members because once the earning member of the families pass away, the others also die a slow death. This was what we did in the first year. In the second year, TOI got on board the Samaj Seva Charitable Trust. We did a TV commercial and some billboards, as a second leg of the campaign. Because of the simplicity of the campaign, it did really well. It did well for us too as we picked up a lot of awards. It looks like something made out of something but how lovingly you do it and how relevant you are, makes or breaks the campaign,” said Paddy.

BTS with Insiders: The stories behind some of Taproot Dentsu’s most iconic campaigns

<ul><li>As another week of the national lockdown starts, we talk to our creative best, to help us glide through the remaining days.</li><li>They were gracious enough to share their content recommendations to some secret tips around how to attain that difficult-to-attain work-life balance.</li></ul>Today is Day 13 of the 21 day lockdown announced by Prime Minister Narendra Modi to flatten the curve of the <keyword id="1754604" type="PERSON" weightage="20" keywordseo="coronavirus">Coronavirus</keyword> spread in the country. And the past 13 days, for most of us, have gone out in adapting to this new normal, a life where you only meet your family, all social interactions are restricted to Zoom and Hangout calls. We are definitely living in unprecedented times, which also calls for a lot of changes in our lives. While for a lot of people, not having to travel, especially in Mumbai, has come as a boon in disguise, our daily routines are now needed to be completely rethought. With spending all our time at home, and working from our living rooms, it has become difficult to differentiate between work time and personal time. The social isolation has also led to a lot of anxiety and fears around the uncertainties of the next few days. It is also changing out content consumption habits. We are watching more TV, spending more time on social media platforms and consuming more content on Netflix. Various reports have suggested that OTT platforms are witnessing a surge on their platforms. People are also consuming news, to stay abreast of everything happening around them. While many of us are still struggling to strike that perfect balance between work - both official and chores, with work creeping into our personal time, we reached out to some of the most prominent faces from the creative world, to ask them how they have been dealing with the situation, what kind of everyday changes are they bringing about in their lives and how are they ensuring a healthy work-life balance? Read on for some really helpful tips and brilliant recommendations that can come handy, and help you glide through the next few days of isolation. <div type="Slideshow" msid="74969852" hostid="261" title="From book and content recommendations to work-life balance tips, our creative leaders have got you covered" firstImageMsid="74970181" slideCount="4"></div>

From book and content recommendations to work-life balance tips, our creative leaders have got you covered

<ul><li>The Awards recognise how leading brands are effectively leveraging YouTube as a platform to engage audiences to drive business goals and drive consumer engagement at scale across the country. </li><li>Launched earlier this year in association with Kantar for advertising released between October 2019 and February 2021, the winning campaigns represent a range of popular advertising formats across seven categories.</li></ul>The inaugural India edition of the <keyword id="11803860" type="UNKNOWN" weightage="20" keywordseo="youtube-works-awards">YouTube Works Awards</keyword> today announced its winners. The Awards recognise how leading brands are effectively leveraging YouTube as a platform to engage audiences to drive business goals and drive consumer engagement at scale across the country. Launched earlier this year in association with Kantar for advertising released between October 2019 and February 2021, the winning campaigns represent a range of popular advertising formats across seven categories, from 6-second Storytelling to Multi-video Storytelling, and were selected by a 12-member jury comprising some of the most respected business leaders and marketers in the country. During a time that was marked by several lockdowns and restricted creative production, the jury picked campaigns by Mondelez, which bagged both the Ruby and the Grand Prix for its ‘Not just a Cadbury’ ad, InMobi, Amazon Prime, Puma, Motilal Oswal, and upGrad as the winners. Announcing the Awards, Aditya Swamy, Director, Marketing Partnerships, Google India, said, “Online video is the gateway to the Internet for India. With four in five Indian consumers valuing YouTube deeply, and viewership growing both in rural and urban India, YouTube has emerged as India's favourite destination for video content. I raise a toast to the gamechangers across brand, creative, media, and creator ecosystems that are shaping digitally supercharged India’s shift towards YouTube. With these awards, our effort is to spotlight the most incredible work across the industry, using data-driven insights and tech-powered storytelling to deliver real impact for every kind of business. I want to express my deep gratitude to the Jury for their thoughtful analysis of the entries and picking the stand-out work done in India on YouTube. I look forward to all of us creating magic for brands by mixing creative, data and technology together.” Speaking about the key role YouTube served in the execution of the ‘Not just a Cadbury’ campaign, Anil Viswanathan, Senior Marketing Director, Mondelez, said, “We are thrilled for the ‘Not just a Cadbury’ campaign to be judged winner in two prestigious categories of the <keyword id="11803861" type="UNKNOWN" weightage="20" keywordseo="youtube-works">YouTube Works</keyword> Awards, the Ruby and the Grand Prix. This is yet another fabulous moment of celebration for the team. “Our campaign idea was to support small business owners impacted by the COVID-19 lockdowns through hyper personalisation and hyper localization. Both these would not have been possible without YouTube which powered it to achieve the levels of customization never achieved before. YouTube’s personalization capabilities helped bring together thousands of small business owners across thousands of PIN codes together with customers in their neighbourhoods, all on a single ad.” Commenting on the Awards, jury member and Head of Marketing, Bajaj Auto, Narayan Sundararaman, said, “'It was a great experience to be on the Grand Jury of these Awards and view such a large number of outstanding creative executions across businesses. The winning campaigns stand out for their ability to harness audience insight and storytelling with the advantage of content and context that YouTube uniquely provides to brands.” Josy Paul, Chairman and Chief Creative Officer, BBDO India, said, “Being on the jury of the first ever YouTube Works awards in India was a mind-altering experience. The experience opened my mind to the immense possibilities that YouTube offers. I came as a judge and left as a student.” Speaking of the judging process, Nandini Dias, CEO, LODESTAR UM, said, “The craft-agnostic nature of the jury put together for the YouTube Works Awards resulted in a fresh cross-pollination of perspectives, which made the discussions enriching and stimulating.” Agnello Dias, Creative Chairman, Dentsu, added, "The YouTube Works judging experience was a fascinating experience because some of the categories were such a clear indication as to where the world of marketing communications is heading. Besides, a lot of the work threw up completely fresh insights into how creativity is being consumed by target audiences in the contemporary era."The winners of the <keyword id="11803859" type="UNKNOWN" weightage="20" keywordseo="youtube-works-india-awards">YouTube Works India Awards</keyword> are: Grand Prix: Demonstrates excellence throughout the entire process, from identifying critical consumer insights and building creative idea, to executing the campaign through effective media buying and powerful messaging in all assets and formats <ul><li>Campaign Name - <a href="https://www.youtube.com/watch?v=gBWLm6Sx1WI" target="_blank">Not just a Cadbury ad</a></li><li>Winners - Mondelez | Wavemaker &amp; DeltaX | Ogilvy India</li></ul>The Ruby: The most creative, innovative and data-driven work with demonstrable business results <ul><li>Campaign Name - <a href="https://www.youtube.com/watch?v=gBWLm6Sx1WI" target="_blank">Not just a Cadbury ad</a></li><li>Winners - Mondelez | Wavemaker &amp; DeltaX | Ogilvy India</li></ul>Media Innovation: Brilliant media planning that drove business results <ul><li>Campaign Name - <a href="https://youtu.be/Mu3Rq3dzMzE" target="_blank">Glance - Baar Baar Dekho</a></li><li>Winners - Glance | In-Mobi | DDB Mudra</li></ul>Best Multi-Video Storytelling: Demonstrates a keen understanding of the audience, and an ability to bring a story to life through exceptional copywriting, creative direction, and flawless production across multiple videos <ul><li>Campaign Name - <a href="https://www.youtube.com/watch?v=fUeyAItugv8" target="_blank">Mirzapur S2 ka Bhaukaal</a></li><li>Winners - Amazon Prime Video India | PivotRoots | SoCheers</li></ul>Best Long Form Storytelling: Demonstrates a keen understanding of the audience, and an ability to bring a story to life through exceptional copywriting, creative direction, and flawless production in a video beyond 30 seconds <ul><li>Campaign Name - <a href="https://www.youtube.com/watch?v=xoVhnuCzHdA" target="_blank">PUMA Propah Lady</a></li><li>Winners - Puma | Digitas</li></ul>6-Second Storytelling: Demonstrates a keen understanding of the audience, and an ability to bring a story to life through exceptional copywriting, creative direction, and flawless production in a 6 second YouTube bumper ad <ul><li>Campaign Name - <a href="https://www.youtube.com/watch?v=eCEUJ_0GPaw" target="_blank">Poor Quality Hurts – Motilal Oswal</a></li><li>Winners - Motilal Oswal Financial Services | Social Kinnect | Mullen Lintas</li></ul>Best Collaboration: The best strategic and creative collaboration between Brand &amp; Creator that drove incredible buzz &amp; positive brand associations <ul><li>Campaign Name - <a href="https://www.youtube.com/watch?v=OkBuuRW8f_Y" target="_blank">BeYouNick x upGrad Originals - The Office Canteen</a></li><li>Winners - upGrad | Monk Entertainment | Be YouNick</li></ul>The Jury also included: Aditi Shrivastava, Co-founder, Pocket Aces; Amer Jaleel, Group CEO and Chairman, MullenLowe Lintas Group; Anita Nayyar, COO-Media &amp; Communications, Patanjali Ayurved Limited; Harman Dhillon, Vice President - Haircare, HUL; <keyword id="2811220" type="PERSON" weightage="20" keywordseo="Sukesh-Nayak">Sukesh Nayak</keyword>, Chief Creative Officer, Ogilvy India; Priti Murthy, CEO, OMD India; Rajdeepak Das, Chief Creative Office &amp; CEO – South Asia, Leo Burnett; Ravi Santhanam, CMO, HDFC Bank.

YouTube announces Winners of first India edition of YouTube Works Awards

<ul><li>Our weekly virtual chat features some of the most loved creative heads and directors who take us on a walk down memory lane, talking about some of the most talked-about and well-appreciated ads they have worked on.</li><li>In the latest episode, <keyword id="271660" type="PERSON" weightage="20" keywordseo="Ram-Madhvani">Ram Madhvani</keyword>, Founder and Director, Equinox Films spoke to us about Amazon’s Kindle Paperwhite film, <keyword id="2510610" type="PERSON" weightage="20" keywordseo="Airtel-Wynk">Airtel Wynk</keyword>’s ad and Happydent’s well-known Palace campaign.</li></ul>For Ram Madhvani, Founder and Director, Equinox Films, the world of advertising has been a great teacher. While the ad world helped people meet people who have all become a very important part of his life, including his wife, Madhvani, during a recent conversation said that advertising had also taught him work ethic. “I get a sense of responsibility from the world of advertising. Here things happen on time. Apart from that, I have also learnt a lot about communicating with the audience and the idea that its about what you say, how you say it and how you make people feel. I have learnt a lot of the craft of reaching out to the public, thanks to advertising,” said Madhvani, on the latest episode of BTS with Insiders. Madhvani who is known for his feature films including Neerja and Let’s Talk is also credited with directing some of the most loved ads in recent times that include multiple ads for Airtel including Har Ek Friend Zaruri Hota Hai, DOcomo, Coca-Cola, Asian Paints and Bisleri among many others. On BTS with Insiders, Madhvani spoke about 3 ads that he holds dear. <div type="javascript" title="Facebook" contenttype="Video"><cdata><![CDATA[]]></cdata></div> Amazon’s Kindle Paperwhite More than a year after Amazon launched Kindle in India, it came out with a campaign to introduce Indian consumers to the e-reader through a long-form film. The ad was a celebration of people who love stories and books and depicts the joy of reading through the journey of a young man who travels to a village to leave children spellbound with the stories he narrates to them, the same stories he reads on his Kindle device. Speaking about why the campaign was special for him, Madhvani said, “Since Kindle is all about stories and filmmaking is all about stories, the Kindle film was a demo film about stories. And that’s how we sold it to the client. It was a tremendously exciting opportunity for us too. The film had amazing music by Tajdar Junaid with lyrics and the voice of <keyword id="21050" type="PERSON" weightage="20" keywordseo="Swanand-Kirkire">Swanand Kirkire</keyword>. The ad has been shot real, without any lights. Many of the shots have been done without permissions, even the one on the plane. I was scolded by a lady on the plane too. We wanted to make the shots real. My producers were able to set this up in a way that we were able to do this in a very small unit.” The intent was also to make the film feel real and more like a documentary. “While the ad is shot in Sri Lanka, its not meant to look like Sri Lanka. We had to shoot there because we didn’t get permission in Lakshadweep. But I have this quest for the Indian eye. I wanted to understand what an Indian aesthetic is and I realized when you’re framing stuff, apart from it being emotional, its chaotic. The West has told us about the S curve, the rule of thirds or about minimal framing. I had all these conversations with <keyword id="3945289" type="PERSON" weightage="20" keywordseo="raj-deepak-das">Raj Deepak Das</keyword> who is a great motivator. He said, ‘We need a new language.’ So we decided all our frames should have foreground, mid ground and background and all the compositions are going to be chaotic,” he shared. The ad was well received and had over 5.3 million views on Amazon’s official Youtube channel in just 7 days and today Kindle is seeing a huge adoption among Indian readers. Airtel Wynk In 2014, Madhvani worked with Taproot on a campaign for Airtel’s music streaming app Wynk. The setting of the film was larger-than-life. It brought together over 700 musicians under one room and featured around 14 different genres of music. All the music featured in the ad were original compositions. The campaign also featured Sanya Malhotra. “A lot of this is thanks to Agnello Dias, Gopal Vittal and others from the marketing team of Airtel who allow us these acts of madness, believe these ideas and embrace them. That only comes due to the relationships you build with people. Great work comes from a certain creative greed and I can’t lead that. I can only smell that greed. I have realized great creative directors who want great work, people like Dias, Das, Prasoon Joshi and Sajan Raj Kurup, are all mast in their own creative zones and all I did was held on to their tail. In a way they are my co-directors,” added Madhvani. The film was shot in a day. All the musical parts were rehearsed and pre-recorded. “There were so many people, we had a lot of rushes and so many different genres of music. So it was a lot to handle. However, the entire team handled all of that really well and <keyword id="194866" type="PERSON" weightage="20" keywordseo="Hemant-Chaturvedi">Hemant Chaturvedi</keyword>, our director of photography, gave it a rock concert feel. It was also Sanya’s first ad. She came with a completely spontaneous, unfrazzled talent and I would love to work with her again,” added Madhvani. Happydent’s ‘Palace’ In 2015, Happydent’s Palace commercial was named as one of the World's 20 best ads of the 21st century by the Gunn Report. The ad was conceptualized by Prasoon Joshi and directed by Madhvani. Speaking about how Joshi’s grand vision was executed, Madhvani said, “Its great working with Prasoon because he has a poet’s mind. It was meant to be a montage film and we had presented a commercial in Delhi which wasn’t a great commercial. And I had thought he would never give me Happydent. But it was really nice of him to trust me. I asked him if we could make a narrative film rather than a montage and he agreed. It was tough. The music was done by <keyword id="73991" type="PERSON" weightage="20" keywordseo="Shantanu-Moitra">Shantanu Moitra</keyword> and the song was sung by Kailash Kher. Composers Vishal-Shekhar were in the next studio. When the duo came to see the commercial, they said they wanted to be a part of it. So they ended up giving the Qawwali claps in the film,” added Madhvani with a laugh. He also shared the day after the ad was released, Madhvani visited the Ogilvy office and he got a standing ovation there. “That was a really sweet moment. Also, Sameer Suneja (who is now the global CEO of Perfetti Van Melle) really supported us. We showed him an 85 as well as a 60 seconder because originally it was originally supposed to be 60 seconds long. But after watching the 85 seconder, he said he did not want to watch the other version. It took a lot of courage from the client as well as from Prasoon to back the idea and back me. So I take no credit except for just made sure that I executed it in a cussed kind of way,” explained Madhvani. While the shoot was supposed to happen in some palace in Rajasthan, it finally happened in Panvel due to lack of funds. However, that hardly affected the final outcome and the ad is still one of Happydent’s most iconic ads.

I take no credit for the Happydent Palace ad, except for making sure I executed in a cussed kind of way: Ram Madhvani

<div class="KonaFilter image-container display-table float_right click-to-enlarge"><div><div class="image"><a title_source="YouTube/yumyumgle" title_caption="Esthe WAM's bowling ad won a CLIO Award in 2009 depite its ridiculous portrayal of a woman." class="zoomin" href="http://static6.businessinsider.com/image/52f271356bb3f7626ec251ae-960/esthe-wam-bowling-ad.png"></a>YouTube/yumyumgleEsthe WAM's bowling ad won a CLIO Award in 2009 depite its ridiculous portrayal of a woman.</div></div></div>After issuing a call to action about gender inequality in the <keyword id="35666" type="COMPANY" weightage="100" keywordseo="advertising">advertising</keyword> industry last May, the CLIO Awards announced Wednesday that the jury for its 2014 awards would have more women on it then men.
According <a href="http://www.clioawards.com/press/index.cfm?year=2014&amp;pressid=262">to the list of jury members released by the event's organizers</a>, there will be 30 female jury members this year and only 29 men.
"We've been talking about it for over a year, since before we even started going through the jury selection process," CLIO Awards executive director Nicole Purcell said. "It really started to come together, and this year, we have an amazing jury."
The CLIO Awards is an annual, international competition honoring achievements in advertising, design, and communications. Each year, agencies and individuals submit their best work for consideration in 18 media types ranging from film to direct marketing. Since its inception in 1959, the contest has been judged by juries that were primarily male.
In the past, the show has given awards to ads that were not exactly progressive when it comes to gender, like <a href="http://www.youtube.com/watch?v=Ptmk-7h075k">this 2009 winner</a> for a Japanese hair removal brand called Esthe WAM:

The CLIOs set about to change that this past year, when the organization announced its intention to field a gender-equal jury in 2014 to be more strongly reflect the contributions of women to the advertising industry.
To do this, Purcell and her team created a place on the CLIO Awards website for people to submit anonymous nominations, since women are less likely than men to submit themselves for consideration. The CLIO Awards also met with the major agencies to find talented women and encourage them to serve as judges.
With the help of the agencies and the awareness created by ongoing industry conversation gender equality in creative roles, Purcell said the task of finding talented females for her juries was not particularly difficult.
"It came easier than it has in the past, I think because of everyone talking about creative women in the field," Purcell said. "People are always asking 'Where are these female creatives?' Well, guess what? We just found them."
Purcell said she did not think the increased number of women on the juries would alter the results of the competitions in any way.
"At the end of the day, when we start the jury selection process, what we're looking for is the thought provokers and the idea generators," said Brooke Barasch, the CLIO Awards' director of marketing. "The idea really isn't about the perspective of males or females, it's really about just having the creative minds in the room."
Here's the complete list of jury panels the CLIO Awards announced today:
FILM
<table style="width: 645px;" border="0" cellspacing="0" cellpadding="5">
<tbody>
<tr>
<td>
Anne De Maupeou
</td>
<td>
Chief Creative Officer, Marcel - Paris, France
</td>
</tr>
<tr>
<td>
Jon Flannery
</td>
<td>
EVP, Executive Creative Director, DraftFCB - Chicago, USA
</td>
</tr>
<tr>
<td>
Nick Gill
</td>
<td>
Partner, Executive Creative Director, BBH - London, UK
</td>
</tr>
<tr>
<td>
Mike Smith
</td>
<td>
Executive Creative Director, BBDO - New York, USA
</td>
</tr>
<tr>
<td>
Agnello Dias
</td>
<td>
Chief Creative Officer &amp; Co-founder, TAPROOT - Mumbai, India
</td>
</tr>
<tr>
<td>
Anita Ríos
</td>
<td>
General Creative Director, JWT - Buenos Aires, Argentina
</td>
</tr>
<tr>
<td>
Raquel Martínez
</td>
<td>
Executive Creative Director, McCann - Madrid, Spain
</td>
</tr>
<tr>
<td>
Justine Armour 
</td>
<td>
Creative Director, Wieden+Kennedy - Portland, USA
</td>
</tr>
<tr>
<td>
Kentaro Ichiki 
</td>
<td>
Creative Director, Hakuhodo - Tokyo, Japan
</td>
</tr>
</tbody>
</table>
 
PRINT, PRINT TECHNIQUE &amp; OUT OF HOME
<table style="width: 645px;" border="0" cellspacing="0" cellpadding="2">
<tbody>
<tr>
<td>
Alexander Schill
</td>
<td>
Chief Creative Officer &amp; Partner, serviceplan - Munich, Germany
</td>
</tr>
<tr>
<td>
Bechara Mouzannar
</td>
<td>
Chief Creative Officer, Leo Burnett - Beirut, Lebanon
</td>
</tr>
<tr>
<td>
Anselmo Ramos
</td>
<td>
VP Creative Director at Ogilvy Brazil &amp; Founder at DAVID, Ogilvy - Sao Paulo Brazil
</td>
</tr>
<tr>
<td>
Gigi Lee
</td>
<td>
Executive Creative Director, Y&amp;R - Kulala Lumpur, Malaysia
</td>
</tr>
<tr>
<td>
Carol Lam
</td>
<td>
Chief Creative Officer &amp; Managing Partner, Saatchi &amp; Saatchi - Quarry Bay, Hong Kong
</td>
</tr>
<tr>
<td>
Lisa Fedyszyn
</td>
<td>
Creative Director, WHYBIN \ TBWA - Auckland, New Zealand
</td>
</tr>
<tr>
<td>
Xanthe Wells
</td>
<td>
‎Chief Creative Officer, Pitch - Los Angeles, USA
</td>
</tr>
<tr>
<td>
Nikki Lindman
</td>
<td>
Creative, Adam&amp;Eve DDB - London, UK
</td>
</tr>
</tbody>
</table>
Hugo Corredor Chief Creative Officer, Sancho BBDO - Bogota, Colombia
 
DIRECT &amp; ENGAGEMENT
<table style="width: 645px;" border="0" cellspacing="0" cellpadding="7">
<tbody>
<tr>
<td>
Judy John
</td>
<td>
CEO and Chief Creative Officer, Leo Burnett - Toronto, Canada
</td>
</tr>
<tr>
<td>
Merlee Jayme
</td>
<td>
Chairman &amp; Chief Creative Officer, DM9 - NCR, Philippines
</td>
</tr>
<tr>
<td>
Doerte Spengler-Ahrens
</td>
<td>
Chief Creative Officer, Jung von Matt/fleet - Hamburg, Germany
</td>
</tr>
<tr>
<td>
Ioana Filip
</td>
<td>
Group Creative Director, McCann - Bucharest, Romania
</td>
</tr>
<tr>
<td>
Ted Lim
</td>
<td>
Chief Creative Officer, Dentsu - Singapore, Singapore
</td>
</tr>
<tr>
<td>
Shahir Zag
</td>
<td>
Chief Creative Officer, Y&amp;R - Dubai, UAE
</td>
</tr>
<tr>
<td>
Andrey Gubaydullin
</td>
<td>
Executive Creative Director &amp; Co-Owner, Voskhod - Yekaterinburg, Russia
</td>
</tr>
<tr>
<td>
Will Rust
</td>
<td>
Executive Creative Director, Ogilvy - Prague, Czech Republic
</td>
</tr>
</tbody>
</table>
 
BRANDED ENTERTAINMENT &amp; CONTENT
<table style="width: 645px;" border="0" cellspacing="0" cellpadding="7">
<tbody>
<tr>
<td>
Kerry Keenan
</td>
<td>
Partner, Chief Creative Officer, Deutsch - New York, USA
</td>
</tr>
<tr>
<td>
Leslie Sims
</td>
<td>
EVP, Executive Creative Director, McCann Erickson - New York, USA
</td>
</tr>
<tr>
<td>
Kat Thomas
</td>
<td>
Co-Founder &amp; Executive Creative Director, One Green Bean - Sydney, Australia
</td>
</tr>
<tr>
<td>
Hadas Liwer
</td>
<td>
Chief Creative Officer, JWT - Tel Aviv, Israel
</td>
</tr>
<tr>
<td>
Jesse Coulter
</td>
<td>
Co-Chief Creative Officer, Creative Artist Agency - Los Angeles, USA
</td>
</tr>
<tr>
<td>
Chris Bruss
</td>
<td>
Vice President of Branded Entertainment at Funny Or Die &amp; President
at Gifted Youth - Los Angeles, USA
</td>
</tr>
<tr>
<td>
Fred Levron
</td>
<td>
Executive Director/Creative Director Digital and Branded Content, Ogilvy - Paris, France
</td>
</tr>
<tr>
<td>
Sergio Gordilho
</td>
<td>
Co-President And Chief Creative Officer, Africa - Sao Paulo, Brazil
</td>
</tr>
<tr>
<td>
Silvia Goh
</td>
<td>
Chief Content Officer, LiquidThread/Starcom Mediavest Group - Shanghai City, China
</td>
</tr>
</tbody>
</table>
 
DIGITAL &amp; DIGITAL TECHNIQUE
<table style="width: 645px;" border="0" cellspacing="0" cellpadding="7">
<tbody>
<tr>
<td>
Alessandra Lariu
</td>
<td>
Co-Founder, SHESAYS - New York, USA
</td>
</tr>
<tr>
<td>
Brent Choi
</td>
<td>
Chief Creative &amp; Integration Officer, JWT - Toronto, Canada
</td>
</tr>
<tr>
<td>
Brad Kay
</td>
<td>
President &amp; Partner, SS+K - New York, USA
</td>
</tr>
<tr>
<td>
Paul Collins
</td>
<td>
Creative Director, RG/A - Stockholm, Sweden
</td>
</tr>
<tr>
<td>
Wain Choi
</td>
<td>
Global VP &amp; Executive Creative Director, Cheil Worldwide - Seoul, South Korea
</td>
</tr>
<tr>
<td>
Eric Schoeffler
</td>
<td>
Chief Creative Officer, DDB Tribal Group GmbH - Düsseldorf, Germany
</td>
</tr>
<tr>
<td>
Jonathan Woytek
</td>
<td>
Creative Director, Pereira &amp; O'Dell - San Francisco, USA
</td>
</tr>
<tr>
<td>
Luciana Haguiara
</td>
<td>
Digital Creative Director, Almap BBDO - Sao Paulo, Brazil
</td>
</tr>
<tr>
<td>
Michal Pasternak
</td>
<td>
Chief Experience Officer, Huge - New York, USA
</td>
</tr>
</tbody>
</table>
 
DESIGN
<table style="width: 645px;" border="0" cellspacing="0" cellpadding="7">
<tbody>
<tr>
<td>
Sagi Haviv
</td>
<td>
Partner &amp; Designer, Chermayeff &amp; Geismar &amp; Haviv - New York, USA
</td>
</tr>
<tr>
<td>
Greg Quinton
</td>
<td>
Executive Creative Directorm The Partners - London, UK
</td>
</tr>
<tr>
<td>
Justin Drape
</td>
<td>
Chief Creative Officer / Co-Founder, The Monkeys/Maud - Sydney, Australia
</td>
</tr>
<tr>
<td>
Hideto Yagi
</td>
<td>
Creative Director, Dentsu - Tokyo, Japan
</td>
</tr>
<tr>
<td>
Katie Taylor
</td>
<td>
Executive Creative Director, Landor Associates - Hamburg, Germany
</td>
</tr>
<tr>
<td>
Joanne Thomas
</td>
<td>
Creative Director, The Jupiter Drawing Room - Cape Town, South Africa
</td>
</tr>
<tr>
<td>
Gesina Roters
</td>
<td>
Creative Partner, Day Creative Business Partners B.V. - Amsterdam, Netherlands
</td>
</tr>
</tbody>
</table>
 
CONTENT &amp; CONTACT, INTEGRATED CAMPAIGN, &amp; INNOVATIVE MEDIA
<table style="width: 645px;" border="0" cellspacing="0" cellpadding="7">
<tbody>
<tr>
<td>
Pablo Del Campo
</td>
<td>
Chief Executive Officer, Del Campo Saatchi &amp; Saatchi - Buenos Aires, Argentina &amp; Madrid, Spain
</td>
</tr>
<tr>
<td>
Humbarto Polar
</td>
<td>
VP, Chief Creative Officer, Mayo DraftFCB - Lima, Peru
</td>
</tr>
<tr>
<td>
Bruno Bertelli
</td>
<td>
Executive Creative Director, Publicis - Milan, Italy
</td>
</tr>
<tr>
<td>
Bridget Jung
</td>
<td>
Chief Creative Officer, DigitasLBi - Paris, France
</td>
</tr>
<tr>
<td>
Kerry Platts
</td>
<td>
Executive Creative Director, Wunderman - Dubai, UAE
</td>
</tr>
<tr>
<td>
Malvika Mehra
</td>
<td>
National Creative Director and Executive Vice President, Grey Worldwide - Mumbai, India
</td>
</tr>
<tr>
<td>
Margaret Johnson
</td>
<td>
Executive Creative Director, Partner, Goodby Silverstein &amp; Partners, San Francisco, USA
</td>
</tr>
<tr>
<td>
Anja Radulovic
</td>
<td>
Creative Director, Leo Burnett - Belgrade, Serbia
</td>
</tr>
<tr>
<td>
Sue Anderson
</td>
<td>
Co-Executive Creative Director, Crispin Porter + Bogusky - Los Angeles, USA
</td>
</tr>
</tbody>
</table>

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