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In 1971, Coca-Cola released a broadcast advertisement in the form of a TV Commercial, titled Hilltop. The iconic commercial featured a catchy jingle and a visually appealing setting, with people from various backgrounds singing together. The clothing is casual, suggesting a relaxed and friendly atmosphere. The presence of Coca-Cola bottles serves as a central prop, subtly promoting the product. The art director for this commercial is a prominent figure in advertising, namely Harvey Garbor. Gabor would subsequently be honoured with several awards for the advertisement, securing four gold medals among them. The main idea is to convey a positive and idealistic message of coming together and sharing moments of joy, which can be associated with the brand Coca-Cola.

IDENTITY AND SELF-EXPRESSION

The advertisement relates to the theme of identity and self-expression as this campaign sought to promote unity, peace, and harmony by showcasing a diverse group of people coming together and sharing a moment over a refreshing Coke. It reinforces the idea that one’s identity can be shaped through connection.

TARGET AUDIENCE

The target audience of this tv commercial may be intended for a global audience due to its diverse representation. The idea of people from different backgrounds coming together aligns with the brand’s message of unity and happiness, transcending cultural boundaries. The narrative encapsulates the power of a simple idea to transcend generations and mediums, emphasising the enduring impact of creative concepts that evoke unity and connection.

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The Queen Collection for Nike by Virgil Abloh in 2018, featuring a collaboration with Serena Williams, adeptly utilised diverse advertising techniques within the context of a fashion magazine. Leveraging the celebrity status of Serena Williams, the campaign harnessed the allure of a limited edition collection, instigating exclusivity and heightened demand. Virgil Abloh's innovative design aesthetic became a focal point, likely showcased through visually compelling imagery that conveyed a unique narrative marrying sports and fashion. Cultural significance was interwoven, with Abloh's identity as an African-American designer contributing to a broader dialogue on diversity and representation. The campaign strategically integrated the brand narratives of Nike and Virgil Abloh, aligning with themes of innovation and self-expression. Positioned in fashion magazines, the targeted placement spoke directly to an audience with a penchant for high-end fashion trends, further enhancing the collection's appeal.

IDENTITY AND SELF-EXPRESSION

The Queen Collection for Nike by Virgil Abloh in 2018, through its collaboration with Serena Williams and Abloh's innovative design, profoundly connects with the themes of identity and self-expression. Serena Williams' identity is intricately woven into The Queen Collection for Nike by Virgil Abloh in 2018, shaping a narrative of strength, resilience, and individuality. As a tennis superstar, Williams embodies determination and excellence, contributing to the campaign's themes of identity and self-expression. Her African-American heritage adds cultural significance, celebrating diversity and providing representation. The collaboration allows Williams to express her multifaceted identity beyond sports, embracing fashion and design. The limited edition aspect aligns with her trailblazing career, emphasising uniqueness. Inclusive representation within the campaign reinforces Williams' commitment to breaking barriers, inspiring others to embrace their identities authentically and redefine societal norms. Overall, the campaign embodies a powerful narrative of individuality, diversity, and self-expression.

TARGET AUDIENCE

The target audience for The Queen Collection by Virgil Abloh in 2018 includes fashion enthusiasts attracted to avant-garde design, sports fans admiring Serena Williams' influence, and cultural advocates valuing diversity. With an emphasis on limited edition exclusivity, the campaign appeals to collectors seeking unique items. The intersection of fashion and sports makes it appealing to cross-industry enthusiasts appreciating boundary-breaking collaborations. Trendsetting youth, drawn to Virgil Abloh's influence, form a significant part of the audience. The campaign targets a diverse group appreciative of innovative design, sports culture, and inclusive representation, aligning with the collection's themes of identity and self-expression.

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Dove's "Real Beauty" campaign, crafted by Ogilvy & Mather in 2004, revolutionised beauty advertising through impactful billboard strategies. Embracing diversity, the campaign featured real women of various colours, shapes, and sizes, deviating from industry norms reliant on professional models. This authenticity aimed to create relatable and attainable beauty standards, fostering an empowering and positive message. By utilising billboards, Dove ensured widespread visibility of these diverse images, challenging traditional beauty ideals in public spaces. The campaign's strategic use of this large-scale medium contributed to its societal impact and broad audience reach. Beyond advertising, "Real Beauty" engaged in social commentary, sparking conversations about beauty standards and self-esteem. Dove's innovative approach, combining authenticity, positive messaging, and diverse representation on billboards, not only redefined beauty norms but also positioned the brand as a trailblazer in promoting inclusivity and self-confidence.

IDENTITY AND SELF-EXPRESSION

The phrase "We see beauty all around us" in the advertisement conveys a powerful message of identity and self-expression. By acknowledging diverse forms of beauty, it encourages individuals to embrace their unique qualities and express their values authentically. This inclusive perspective challenges conventional standards, fostering a positive mindset that empowers individuals to define beauty on their terms. The phrase serves as a catalyst for self-acceptance and the celebration of diversity, inviting people to find beauty in their own identity and the world around them. It promotes a narrative that values individuality and encourages self-expression in shaping one's sense of identity.

TARGET AUDIENCE

The target audience in the advertisement is women of diverse backgrounds, ages, and body types. The inclusion of women with varied characteristics indicates a deliberate effort to reach a broad and inclusive demographic. The campaign aims to resonate with women who may not typically see themselves represented in traditional beauty standards. By featuring diversity in age, body shape, and background, the advertisement sends a message that beauty is not confined to a narrow definition. Instead, it seeks to appeal to a diverse audience, fostering a sense of inclusivity and recognition for women from different walks of life, emphasising that all women, regardless of their differences, can perceive and celebrate their unique beauty.

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Apple launched the “Think Different” advertising campaign in 1997, the concept behind the ad was developed by Craig Tanimoto. Using a simple yet effective slogan such as "Think Different" and minimalist visuals with iconic personalities, the campaign encouraged consumers to associate Apple with creativity and individuality. The strategy of featuring historical figures such as Albert Einstein and Nelson Mandela added a sense of innovation to the brand. By focusing on emotional appeal rather than technical specifications, Apple distinguished itself from competitors and created a narrative that aligned with the cultural shift towards valuing a new emerging innovation. The campaign's success contributed significantly to Apple's enduring legacy.

IDENTITY AND SELF-EXPRESSION

The "Think Different" advertising campaign by Apple promotes themes of identity and self-expression through its celebration of iconic figures who embody unique thinking. The central message, "Think Different," encourages viewers to embrace individuality and creativity in shaping their identities. The emotional connection established in the campaign emphasises that choosing Apple products is a reflection of personal values and aspirations, contributing to one's identity. Through storytelling and inspiration drawn from influential individuals, the campaign motivates viewers to consider their own potential for self-expression and impact.

TARGET AUDIENCE

The "Think Different" advertising campaign is targeted towards educators and aspiring innovators by positioning Apple products as essential tools for fostering creativity, inspiring learning, and contributing to personal and professional development. Apple strategically presented itself as a valuable ally for educators, emphasising its role in inspiring and cultivating a mindset of originality among students. Simultaneously, the campaign targeted aspiring innovators, such as individuals aspiring to make a meaningful impact through their creative ideas. By featuring influential figures renowned for their groundbreaking contributions, Apple communicated that its products were indispensable tools for those aspiring to follow in the footsteps of historical trailblazers.

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The "It Starts with Sharpie'' campaign created in 2011 is implemented in the form of magazine adverts. The advertising campaign featured individuals turning ordinary items, such as paper cups, into personalised works of art. The narrative approach engaged consumers, inspiring them with the possibilities of unleashing their creativity using Sharpie markers. Likely employing before-and-after visuals, the campaign visually reinforced the marker's capacity to elevate everyday items into unique art pieces. The advertisements, while promoting personalization and inspiration, maintained a clear focus on the Sharpie product, positioning it as an essential tool for artistic expression. Overall, the campaign effectively communicated that Sharpie is a catalyst for creative transformation, enabling individuals to make their mark uniquely and artistically.

IDENTITY AND SELF-EXPRESSION

The "It Starts with Sharpie" campaign intricately aligns with the themes of identity and self-expression. By showcasing individuals transforming everyday items into personalised art, the campaign emphasises Sharpie's role in shaping personal identity through creativity. Featuring diverse artistic styles, it celebrates the unique expressions of each individual. In the advert, they made use of the phrase "What are you gonna start?" which employs a persuasive advertising technique known as a "Call to Action". A call to action is a prompt or instruction that encourages the audience to take a specific action, often immediately. In this case, the CTA is inviting individuals to initiate a creative project using Sharpie markers. The technique is effective in motivating the audience to actively engage with the product, aligning with the campaign's goal of encouraging creative expression and embracing one’s identity with Sharpie.

TARGET AUDIENCE

The advertising campaign is intended towards a younger demographic. Sally Grimes, Sharpie's global vice president for marketing, explicitly stated that the campaign is aimed at teenagers. The choice to focus on this demographic is attributed to teenagers' propensity to use Sharpie markers in creative and inspiring ways. The campaign seeks to resonate with the youthful energy, creativity, and self-expression commonly associated with teenagers. By showcasing diverse artistic styles, the campaign underscored Sharpie's versatility, appealing to a younger audience and aims to emphasise self-expression and creativity using Sharpie products.

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Always is an American feminine-hygiene brand. In 2015 they released the "Like A Girl'' advertising campaign, which included TV commercials and print advertisements. They employed several impactful advertising techniques such as emotional appeal, to evoke empathy and connect with viewers on a personal level by addressing societal perceptions related to doing something "like a girl". The negative connotations of the phrase further sparks a conversation on gender stereotypes.  Incorporating a hashtag, #LikeAGirl, facilitated social media engagement, extending the campaign's impact. Going beyond product focus, Always embraced a narrative evolution, positioning itself as a brand contributing to positive cultural change and challenging gender biases.

IDENTITY AND SELF-EXPRESSION

The "Like A Girl" advertising campaign by Always intimately aligns with the themes of identity and self-expression by challenging gender stereotypes. It empowers individuals, especially young girls, to redefine the phrase "like a girl" positively, fostering confidence and pride in one's gender identity. The campaign's genuine portrayal of real people and their reactions adds authenticity to a narrative that encourages authentic self-expression, contributing to positive self-perception. By challenging societal norms, the campaign goes beyond individual identity, influencing cultural attitudes and fostering a more inclusive, empowering, and authentic understanding of what it means to express oneself, irrespective of gender.

TARGET AUDIENCE

The primary target audience of the "Like A Girl" campaign by Always is diverse, but it particularly focuses on women and girls, especially in the younger demographic. The campaign aims to resonate with individuals who can identify with the experience of being told to do something "like a girl" and aims to empower them by redefining that phrase in a positive light. By challenging gender stereotypes, the campaign seeks to influence perceptions and attitudes, particularly among young girls, encouraging them to embrace their identities confidently. Additionally, the campaign also targets a broader audience interested in promoting gender equality and challenging societal norms related to gender roles.

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Lane Bryant is a well-known American plus-size clothing retailer that has been a prominent player in the fashion industry since its establishment in 1904. The #ImNoAngel advertising campaign, launched by the brand in 2015, aims to “redefine sexy” by promoting a more inclusive and diverse view of beauty. Incorporating the hashtag #ImNoAngel encouraged audience engagement on social media platforms. This participatory element allowed individuals to share their own stories and images, contributing to a collective movement of empowerment and self-expression. They made use of the advertising technique involving presenting a product or message in direct opposition to another established competitor. In this case, Lane Bryant is repositioning its brand and challenging the traditional beauty standards epitomised by Victoria's Secret and its “Angels”.

IDENTITY AND SELF-EXPRESSION

The "#ImNoAngel" advertising campaign resonates with the themes of identity and self-expression by celebrating diverse beauty. Rejecting narrow beauty norms, the campaign empowers individuals to redefine their own standards of attractiveness. Featuring plus-size models, it fosters positive body image and encourages people to embrace their unique identities confidently. By actively challenging stereotypes associated with beauty and promoting inclusive standards, the campaign becomes a participatory movement. The hashtag #ImNoAngel invites individuals to share their stories, contributing to a collective effort in reshaping societal perceptions and promoting a more diverse and authentic understanding of identity and beauty.

TARGET AUDIENCE

The primary target audience for this advertising campaign includes women of all body types who seek a departure from narrow beauty ideals. As well as resonates with individuals passionate about women's empowerment, rejecting stereotypes and promoting a more diverse representation in the fashion industry. With the hashtag #ImNoAngel, it invites participation from social media users engaged in discussions about body image, aiming to build a community that embraces and celebrates diverse identities and challenges beauty standards posed by society.

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Virgil Abloh, was an American fashion designer. He did a collaboration with NIKE with a new collection for tennis superstar Serena Williams.

Quotes:

"With Serena, we have one of our generation's most powerful, inspiring athletes as the muse, I was trying to embody her spirit and bring something compelling and fresh to tennis." - Abloh

Breaking away from the traditional white tennis kit, the dresses come in black and purple, and have a "ballerina-esque silhouette" that draws on Williams' interest in dance.

"So the dress is feminine, but combines her aggression,"

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Virgil Abloh and Nike to dress Serena Williams for the US Open

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Fashion designer Virgil Abloh has teamed up with Nike to design tennis player Serena Williams’ kit for this year’s US Open.

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This is a print advertisement for the watch brand Swatch “3 New Swiss Watches” created by Keith Haring in 1986. He is an American artist, prominent in styles such as street art and graffiti. Haring's illustrations often conveyed a sense of playfulness and youthfulness. This aligns with Swatch's brand image, which is known for its colourful and playful approach to watch design. The synergy between Haring's style and Swatch's ethos created a cohesive and appealing visual narrative.

IDENTITY AND SELF-EXPRESSION

The theme of identity and self-expression is heavily depicted in this Swatch advertisement. A watch can be a form of self-expression and a way to showcase individuality. Different styles of watches, whether sporty, elegant, rugged, or artistic, can express various facets of a person’s personality. Additionally, watches can hold sentimental value, representing meaningful memories or connections.

TARGET AUDIENCE

The target audience for this advertisement is most likely to be the youth and trendsetters. Haring's iconic art style deeply resonated with a younger audience, making the vibrant visuals a magnet for trendsetting individuals eager to align with contemporary cultural movements. The collaboration seamlessly fused art and fashion, enticing those who sought to embrace the latest in both realms. The poster, a kaleidoscope of Haring's distinctive motifs, became a statement piece, drawing in a demographic keen on self-expression and cultural relevance. In the pulse of the '80s, this Swatch ad by Haring emerged as a must-have for those at the forefront of artistic and fashion evolution.

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Nike’s “Dream Crazy” campaign was created by advertising agency Wieden+Kennedy in 2019. Through the strategic use of celebrity endorsement, featuring activist athlete Colin Kaepernick, Nike aligned itself with social justice causes, enhancing cultural relevance. The campaign leveraged emotional storytelling, showcasing real-life triumphs over adversity, fostering a profound connection with the audience. Nike's empowerment narrative, urging individuals to "Dream Crazy," resonated with inspirational messaging, motivating viewers to defy societal norms. Symbolic imagery, including the iconic swoosh logo and dynamic visuals of athletes, reinforced the brand's association with excellence. A clear call to action encouraged tangible steps toward goals, translating inspiration into action. Timed strategically, the campaign tapped into cultural moments, emphasising the importance of perseverance and self-belief. This amalgamation of techniques positioned Nike as a catalyst for personal empowerment and societal change.

IDENTITY AND SELF-EXPRESSION

The Nike "Dream Crazy" campaign profoundly intertwines with the theme of identity and self-expression by championing individualism. Featuring diverse stories and Colin Kaepernick's endorsement, it celebrates personal triumphs, empowering viewers to craft unique narratives. The campaign defies societal norms and limitations, encouraging bold self-expression. Embracing audacious dreams as a core message, it asserts that one's aspirations are intrinsic to their identity. The emphasis on individualism and defying societal norms resonates with Nike's iconic "Just Do It" ethos, encouraging people to be true to themselves and overcome challenges. By addressing real-world issues through inspirational narratives, the campaign not only reflects Nike's values but also positions the brand as a catalyst for positive change and individual empowerment.

TARGET AUDIENCE

The Nike "Dream Crazy" campaign strategically zeroes in on the dynamic audience of youth and sports enthusiasts. By weaving inspirational narratives and showcasing diverse athletic stories, it resonates with the aspirations of young individuals. Incorporating elements of youth culture, trends, and digital engagement, the campaign ensures relevance within the ever-evolving landscape of youthful interests. Nike's historical association with sports excellence is prominently featured, establishing a powerful connection with sports enthusiasts. Encouraging self-expression and celebrating inclusivity, the campaign aims not only to inspire but also to become a cultural touchpoint, engaging with the vibrant and influential demographic of youth and sports enthusiasts.

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Bhima Jewellery, a jewellery brand based in Kerala, India, released an advertisement featuring a transgender model. Shows the transformation of a young boy receiving gold anklets from his parents, who support their transformation into a confident young woman. Bhima Jewellery's "Pure as Love" TV commercial masterfully employs a range of advertising techniques to convey a powerful message of inclusivity and support. By featuring a transgender model, the brand embraces diverse representation, challenging norms within the jewellery industry. The narrative unfolds with emotional storytelling, portraying the transformation of a young individual supported by their family through the gift of gold anklets. This symbolic use of jewellery elevates its significance beyond material value, creating a profound connection with the audience. The commercial navigates sensitive cultural terrain with awareness, contributing to a positive brand image by aligning with progressive values. Cinematic excellence, coupled with the celebration of personal transformation, adds memorability and resonance. Overall, Bhima Jewellery not only showcases its products but also positions itself as a socially conscious brand, fostering a narrative of love, acceptance, and empowerment.

IDENTITY AND SELF-EXPRESSION

The Bhima Jewellery "Pure as Love" advert beautifully intertwines identity and self-expression by featuring a transgender model and celebrating personal transformation. The symbolism of gold anklets transcends traditional norms, becoming a poignant representation of familial support for one's authentic identity. In the cultural context of weddings, jewellery takes on a profound significance, signifying the family's commitment to embracing the bride's true self in her new life. The narrative empowers individuals to express their identities openly, portraying jewellery not just as ornamentation but as a meaningful celebration of personal journeys and the courage to be true to oneself.

TARGET AUDIENCE

The Bhima Jewellery "Pure as Love'' campaign adeptly targets a younger demographic by embodying progressive themes of diversity and self-expression. This resonates strongly with a socially conscious audience that prioritises brands challenging traditional norms. Simultaneously, the campaign's respect for cultural traditions appeals to individuals valuing the cultural significance of jewellery in ceremonies. The inclusion of a transgender model authentically reaches out to the LGBTQ+ community, establishing Bhima Jewellery as a brand that actively supports diverse identities. By navigating these intersections, the campaign positions itself as a socially aware and inclusive choice, appealing to a broad spectrum of consumers seeking both modern values and cultural reverence.

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NYX is a cosmetics brand known for its wide range of makeup products. In 2022, they launched a collection “Ultimate” for Pride Month, featuring influencers and models in the LGBTQIA+ community. NYX's "Ultimate" Pride campaign skillfully utilizes various advertising techniques to celebrate Pride Month and engage with the LGBTQIA+ community. Through inclusive representation, the brand features influencers and models from diverse backgrounds, showcasing a commitment to authenticity and diversity within the makeup industry. Timely launch during Pride Month exhibits cultural sensitivity, aligning the brand with a significant moment for the LGBTQIA+ community. Leveraging social media as the primary platform acknowledges its influence, especially among the younger demographic, while also facilitating user-generated content and fostering a sense of community. The "Ultimate" label for the Pride collection adds an element of exclusivity, encouraging consumer participation and purchase. By elevating the visibility of LGBTQIA+ influencers and models, the campaign not only provides representation but also recognizes their impact in the beauty industry, promoting empowerment and inclusivity. Overall, NYX's approach combines authenticity, cultural relevance, and interactive engagement to create a compelling and socially conscious Pride campaign.

IDENTITY AND SELF-EXPRESSION

NYX's "Ultimate" Pride campaign seamlessly relates to the theme of identity and self-expression by positioning makeup as a powerful medium for celebrating diverse identities. Featuring influencers from the LGBTQIA+ community, the campaign empowers individuals to express their authentic selves through cosmetics. By challenging conventional beauty standards and promoting inclusivity, NYX communicates that makeup is for everyone, encouraging a celebration of personal journeys and unique expressions. The campaign fosters an interactive space for individuals to actively engage in self-expression, reinforcing the idea that beauty lies in diversity and makeup serves as a tool for embracing and showcasing one's identity proudly.

TARGET AUDIENCE

The target audience for NYX's "Ultimate" Pride campaign includes the LGBTQIA+ community seeking inclusive representation in the beauty industry, makeup enthusiasts valuing cosmetics as a means of self-expression, socially conscious consumers prioritizing diversity and empowerment, a younger demographic engaged in digital platforms, participants and supporters of Pride Month events, and empowerment seekers celebrating open expression of identities. By addressing these diverse segments, NYX aims to resonate with a socially aware and inclusive audience that values makeup not only for its aesthetic appeal but as a tool for embracing and celebrating unique identities and expressions.

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NIVEA Nigeria has introduced a new Radiant & Beauty range designed for melanin-rich skin tones, aiming to boost confidence and pride among Nigerian women. NIVEA's Radiant & Beauty Advanced Care campaign showcases a strategic blend of advertising techniques tailored to resonate with Nigerian women with melanin-rich skin tones. The brand exhibits cultural sensitivity by recognizing and addressing the specific skin care needs of its target audience. Inclusive representation is likely a key feature, with models and individuals featuring melanin-rich skin, enhancing relatability and connecting with the diverse beauty standards of the audience. The messaging emphasising boosted confidence and pride taps into the emotional aspects of consumers, positioning the Radiant & Beauty range as a source of empowerment. By highlighting product innovation, celebrating natural beauty, and incorporating a national pride element, NIVEA creates a localised and culturally relevant campaign. Choosing the TV commercial platform ensures widespread reach, allowing the brand to visually communicate the product's benefits and foster a meaningful connection with Nigerian women seeking skincare solutions tailored to their unique skin tones and needs.

IDENTITY AND SELF-EXPRESSION

NIVEA's Radiant & Beauty Advanced Care advertisement beautifully intertwines with the theme of identity and self-expression by celebrating the diverse spectrum of Nigerian women's skin tones. Tailored for melanin-rich skin, the campaign embraces and promotes the natural beauty of individuals, fostering confidence and pride. Through inclusive representation and a focus on cultural identity, it encourages women to express their unique selves authentically. By offering a skincare solution that aligns with their specific needs, NIVEA empowers Nigerian women to embrace their natural features and confidently showcase their distinct identities, contributing positively to the theme of self-expression within the beauty context.

TARGET AUDIENCE

Women with melanin-rich skin tones, who seek confidence in their own skin.

The target audience for the NIVEA Radiant & Beauty Advanced Care advertising campaign is women with melanin-rich skin tones who seek confidence in their own skin. Specifically designed to address the unique skincare needs of this demographic, the campaign aims to resonate with individuals who prioritise products that cater to their specific skin type. The emphasis on boosting confidence and pride suggests a focus on women who appreciate skincare solutions tailored to their natural beauty, fostering a sense of empowerment. By targeting this audience, NIVEA aims to connect with women seeking skincare products that align with their unique skin characteristics, promoting a positive and inclusive beauty experience.

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The first taxonomy is the type of media, which will be Advertisements. Advertisements are paid promotional messages conveyed through various media channels to promote products, services, or ideas to a target audience. The collection will consist various types of advertisements from print adverts (posters and brochures), to broadcast adverts such as TV commercials and radio, as well as online ads found on websites and social media. The reason why I chose to create this taxonomy relates back to my chosen pathway which is Communications & Media, I believe Advertising is interconnected with Public Relations in many ways, it is a crucial part building familiarity within the brand and its audiences, which is important to increase engagement and credit.

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The second taxonomy I have chosen focuses around the theme of the collection of advertisements, which is Identity and Self-Expression. This theme refers to the core aspects of an individual’s personality, beliefs, values, and how they choose to present themselves. I believe this theme is interesting to explore within this collection as it may be a major aspect in that could help in understanding the aim and purpose of the advertisement.

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The third and last taxonomy is Target Audience. This taxonomy is another critical aspect in Advertising as it is needed to understand demographic factors of every brand. This includes age, ethnicity, and gender as part of the things that influence how individuals may perceive and respond to advertisements.

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Advertisements, paid promotional messages disseminated through diverse media channels, serve as a powerful tool to promote products, services, or ideas to a targeted audience. In the realm of Public Relations (PR), an area of study I am keen on exploring, advertisements play a pivotal role. The connection between advertising and PR lies in their interdependence within a holistic marketing and communication strategy. As I consider courses in Public Relations, collecting advertisements aligns seamlessly with my academic interests. Public Relations involves skillfully managing communication and relationships between organizations and their target audiences to establish and sustain a favorable public image. By delving into the collection of advertisements, I aim to deepen my understanding of the dynamic interplay between promotional messaging and the broader field of Public Relations, recognizing their collaborative impact on shaping public perceptions.

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Apple's remarkable rise, coupled with Steve Jobs ' recent death, has prompted quite a few people to reflect on the historical impact of the "Think Different" ad campaign and the "To the crazy ones" commercial that launched it. There have been a lot of different accounts of how the work was created, who conceived it, and how it was presented to Jobs, so I thought now was a good time to share my own perspective and give you an inside look.

How do I know what took place? I was there-right in the thick of it. I was the creative director and managing partner at TBWA/Chiat/Day working on the Apple pitch alongside CEO and Chief Creative Officer Lee Clow. Together, Lee and I headed up and actively participated in all of the work done for the pitch. I was also in every agency meeting with Jobs throughout the process - pre-pitch, pitch and post-pitch.

In writing this story, I've drawn from handwritten, dated creative journals I've diligently chronicled throughout my agency career as well as files I saved from the 1997 Apple time period (being a packrat often proves useful). In these journals are countless pages of notes and concepts I jotted down during the process of trying to bring Apple back to prominence. I also found the original "To the crazy ones" television script I presented to Jobs, as well as a plethora of rough drafts.

While I've seen a few inaccurate articles and comments floating around the Internet about how the legendary "Think Different" campaign was conceived, what prompted me to share this inside account was Walter Isaacson's recent, best-selling biography on Steve Jobs. In his book, Isaacson incorrectly suggests Jobs created and wrote much of the "To the crazy ones" launch commercial. To me, this is a case of revisionist history.

Steve was highly involved with the advertising and every facet of Apple's business. But he was far from the mastermind behind the renowned launch spot. In fact, he was blatantly harsh on the commercial that would eventually play a pivotal role in helping Apple achieve one of the greatest corporate turnarounds in business history. As you'll learn later in my account, the soul of the original "The crazy ones" script I presented to Jobs, as well as the original beginning and ending of the celebrated script, all ultimately stayed in place, even though Jobs initially called the script "shit." I've also read a few less than correct accounts on how the "Think Different" campaign was originally conceived. While several people played prominent parts in making it happen, the famous "Think Different" line and the brilliant concept of putting the line together with black and white photographs of time-honored visionaries was invented by an exceptionally creative person, and dear friend, by the name of Craig Tanimoto, a TBWA/Chiat/Day art director at the time.

I have read many wonderful things about Steve Jobs and how warm and loving he was to his wife, children and sister. His Stanford commencement address is one of the most touching and inspiring speeches I have ever heard. Steve was an amazing visionary, and I believe the comparisons of him to some of the world's greatest achievers are totally deserved. But I have also read many critical statements about Steve, and I must say I saw and experienced his tongue lashings and ballistic temper firsthand-directed to several others and squarely at me. It wasn't pretty. While I greatly respected Steve for his remarkable accomplishments and extraordinary passion, I didn't have much patience for his often abrasive and condescending personality. It is here, in my opinion, that Lee Clow deserves a great deal of credit. Lee is more than a creative genius. In working with Jobs he had the patience of a saint.

People ask me what Steve Jobs was like, and I often describe him as a mix between Michelangelo, Mies van der Rohe and Henry Ford-with some John McEnroe and Machiavelli thrown in. Steve was fiercely driven, and there's no way Apple could have possibly gone from laughingstock to "the stock you dream of owning" so swiftly without a relentless, self-confident genius at the helm. But Steve Jobs didn't turn Apple around by himself. Many talented and dedicated people played key roles, and that turnaround first began with an advertising campaign called "Think different."

Here's the story.
The first meeting with Steve
It was early July 1997 when Lee Clow joyfully strolled into my office and said we would be flying to San Jose and driving to Cupertino to talk with Steve Jobs about Apple's advertising account. Steve had recently come back to Apple as their interim CEO, and he was looking to make some changes. On the flight, Lee told me he firmly believed Jobs would "hand us" the account, which at the time was housed at BBDO, the same agency that won the business from Chiat over 10 years earlier. Lee felt Chiat/Day never deserved to lose the Apple business and this, hopefully, would be Jobs' way of making up for the agency getting screwed over in the past.

At the time, our agency was on a roll. We had been named agency of the year by the top trade magazines, and we were winning a lot of new business, including some major accounts without pitching at all. I was 33 years old, and I was creative director and managing partner at the agency where I headed up the Nissan and Infiniti accounts-the two largest accounts in the agency network. I had recently created a famous Nissan spot called "Toys" that had been named commercial of the year. Our Nissan and Infiniti staff consisted of some the most talented creative people in the ad industry. We were all stoked at the thought of working on Apple and proving our creative capabilities beyond the car business.

On the plane ride to Apple, Lee told me that if we were asked to formally pitch the business against other agencies, he'd respectfully decline. For years Clow and I would have lunch together, and he would tell me how wrong it was that agencies had to spend their own big money in order to pitch accounts. Now it appeared we held all the cards, and I fully agreed with Clow we shouldn't pitch. Not only was the agency red hot at the time, Lee had already done the best work in advertising history for Apple in the past. We both believed anything less than a direct handoff would be a slap in the face.

When we arrived at Apple's headquarters, a secretary showed us to a large conference room and said Steve would join us shortly. Lee hadn't seen Steve in 10 years, and I was expecting Steve would give Clow a warm embrace and a "welcome home" type of greeting. That wasn't exactly the case.

Jobs walked into the conference room wearing his trademark black mock turtleneck, shorts and a pair of flip-flops. But while he looked casual, he was all business.

The hellos and introductions were very short, and there was zero time spent reminiscing about the glory days when Lee and the old guard at Chiat helped Jobs create some of the most awe-inspiring advertising of all time. Jobs basically said, "Good to see you. Thanks for coming. Now let's get down to business." He then went on to say that Apple was "hemorrhaging" and the company was in worse shape than he had imagined. He said, "We have some decent product, but we need to get things figured out. I'm putting the advertising up for review, and I'm meeting with a handful of agencies to see who 'gets it.' I've already been talking with a couple of agencies that seem pretty good, and you're invited to pitch the account if you're interested." At this point I thought to myself, well, this isn't going as planned.

Jobs went on to say that the process would be fast and he didn't need to see fancy executions-just some initial concepts and thinking. He said, "I'm thinking no TV ads, just some print ads in the computer magazines until we get things figured out." Clow remained his cool, reserved self at this point, while I found Jobs to be far more bossy and arrogant than I imagined. I got the impression he felt we were just another company lucky to be in his presence. I also didn't agree at all with his gameplan. I chimed in and told him, "Half the world thinks Apple is going to die. A few print ads in the computer magazines aren't going to do anything for you. You need to show the world that Apple is as strong as a lion. Nobody stands around the water cooler talking about print ads. You need to do something bigger and bolder. You need to do TV and other things that are going to give you true momentum." I went on to say that any agency could talk the talk. You need to see actual creative executions to truly judge the power of an idea.

"Fine, show me the ideas and executions that you guys think are best," Jobs shot back. We weren't getting off to a good start, but I didn't mind playing the bad cop because I figured Lee would put the kibosh on things very shortly. "Well, that's up to Lee," I said. Lee had told me just hours earlier that we wouldn't pitch, so I turned to Lee, thinking he was going to tell Jobs, "Thanks, but no thanks." Instead, Lee calmly said, "Well, if you like some of the other agencies you're talking with, why don't you just go with one of them?" Jobs said he might. Lee then told Jobs, "We'll think it over and call you tomorrow."

On the cab ride to the San Jose airport, I asked Clow what was going on. "I thought you said we weren't going to pitch?" Clow said, "I've changed my mind. If we win this thing, we'll have a great story to tell. I want to get it back."
Next: Finding the right idea The creative process
Back at the agency I gathered the creative teams and briefed them on the assignment. Most of the teams worked directly for me on the Nissan business, and a few others were junior art directors that served as Lee's creative assistants. There was no time to wait for a long written-out strategy or to put together a detailed creative brief. We needed to figure out how to get Apple back on track fast.

All of the creatives had used Apple computers for years. They were not only well aware of the brand - they lived it and loved it every day. They really didn't need a formal strategy. I requested that people start creating ideas immediately and we'd review work in a week. Meanwhile the account team, agency planners and our new business team began pulling as much information as possible on Apple's strengths and weaknesses in the marketplace.

Apple had some brand zealots in various creative industries, and we thought maybe the best way to stop the bleeding was to do some testimonials with famous celebrities we had heard were Apple backers. We found that people such as Steven Spielberg and Sting used Apple computers, and so did several other prominent creative stars. Conversely, we saw a lot of articles talking about Apple negatively - many people in the business world were calling Apple computers "toys" that were incapable of "real" computing. Meanwhile, the press started suggesting that buying an Apple was a dumb purchase, and they spoke freely of the fact that Apple had a miniscule and shrinking market share while also having a fraction of the software applications of classic PCs. Apple's situation was outright ugly. But through ugly situations come beautiful opportunities.

The next week we gathered in a large conference room at the agency where everyone had their work tacked up on wallboards. The room was filled with photos, pencil sketches, rough ideas and taglines. You know that scene in the movie "A Beautiful Mind" where the room is plastered with paper on every inch of wall space? Well, during a new business pitch or preparation for a big project, our conference rooms typically looked like that. This pitch was no exception. About four different creative teams had work represented, and virtually all of it was mediocre. Through quantity doesn't necessarily come quality.

But there was one campaign that jumped out at me. And it jumped out in a big way.

It was a billboard campaign that had simple black and white photographs of revolutionary people and events. One ad had a photo of Einstein. Another had a photo of Thomas Edison. Another had a photo of Gandhi. Another had the famous photo of flowers placed in gun barrels during the protest of the Vietnam War. At the top of each image was the rainbow-colored Apple logo and the words "Think Different." Nothing else.

The creator of the work was a brilliant art director named Craig Tanimoto. Craig had worked with me for many years (mainly on the Nissan business), and he virtually always had a unique way of looking at things. When I started my own ad agency a few years later, Craig was one of the first creative people I hired.

Craig's Apple campaign seemed big and fresh in a room that was filled with classic computer shots and stereotypical celebrity photos. I loved it. But at the same time, the work seemed in need of explanation.

I asked Craig what it all meant, and he said, "IBM has a campaign out that says "Think IBM" (it was a campaign for their ThinkPad), and I feel Apple is very different from IBM, so I felt "Think Different" was interesting. I then thought it would be cool to attach those words to some of the world's most different-thinking people."

The rainbow-colored logo served as stark contrast to the black and white photography, and, to me, it seemed to make the "Think Different" statement all the more bold. It was the exact kind of attention-getting and thought-provoking advertising Apple desperately needed. Clow loved the idea as well, and we directed everyone in the room to start blowing it out in TV and other media.

At this point, the entire team started working on television concepts, and several art directors started finding other famous black-and-white images that would be turned into magazine ads. Meanwhile, Clow had Jennifer Golub, one of the agency's most talented and artistic broadcast producers, begin looking for video footage of legendary people. Typically in a new business pitch or when we were trying to construct a new campaign from scratch, we would build what we called "rip-o-matics" or what are often referred to as a "mood" or "concept" videos. These videos are usually only intended to be seen by the client, and they serve as a set-up for the campaign. When creating television commercials, you need to keep within the network constraints of costly 30- or 60-second time slots, but with a mood video, time isn't an issue, and the primary objective is to create a feeling or tone of voice.

Clow came up with the inspired idea of using Seal's haunting song "Crazy," with the key lyric, "We're never going to survive unless we get a little crazy" as the driving force to the video. I worked with Clow on a title card explaining the concept that throughout history, true visionaries have gone against the grain and thought differently, and Apple makes tools for these types of people.

After the video played, a series of title cards appeared.

There are people who see the world differently. They see things in new ways. They invent, create, imagine. We make tools for these kinds of people. Because while some might see them as the crazy ones, we see genius.(FADE TO APPLE LOGO AND TAGLINE)Think different.

The video, cut by Dan Bootzin, Chiat's gifted in-house editor, was strong and moving. It was also about two minutes long. We relentlessly tried to cut the video down to a 60-second spot, thinking Jobs would want to turn it into a television commercial if we won the pitch, but the lyrics wouldn't work in the cut-down format. While I believed the video was great as a mood piece, I always felt I could write something with more teeth and staying power. I thought if Jobs liked the direction we were heading, then I would write a more impactful commercial later.

With the mood video finished, a great outdoor and print campaign in place and a few storyboarded TV concepts drawn up, we had a day to do a pitch run-through at the agency. In a traditional pitch scenario, three or four of us would have roles throughout the presentation, but because Clow had a past relationship with Jobs and we had only one campaign to share, I suggested Clow do the entire pitch presentation - from the thinking behind the campaign all the way through to the creative executions. Lee was always an amazing presenter, and he was so passionate about Apple that I felt the rest of us would only interrupt his flow. Lee and the rest of the team agreed.
Next: Steve Jobs' reaction The pitch
A small handful of us flew to San Jose, and we were directed to a very compact conference room at Apple where we set up the presentation. Jobs walked in with a few other people from Apple, and on that day he seemed like he was in very good spirits. Clow began the pitch, and the more he started talking, the more enthusiastic and passionate he became. He took Jobs through our thinking and walked him through the outdoor, print and TV spots. He closed with the mood video and finished by saying he thought this was the right campaign and we were the right agency.

Jobs was quiet during the pitch, but he seemed intrigued throughout, and now it was time for him to talk. He looked around the room filled with the "Think Different" billboards and said, "This is great, this is really great ... but I can't do this. People already think I'm an egotist, and putting the Apple logo up there with all these geniuses will get me skewered by the press." The room was totally silent. The "Think Different" campaign was the only campaign we had in our bag of tricks, and I thought for certain we were toast. Steve then paused and looked around the room and said out loud, yet almost as if to his own self, "What am I doing? Screw it. It's the right thing. It's great. Let's talk tomorrow." In a matter of seconds, right before our very eyes, he had done a complete about-face.
After the win
After we had officially won the business, Steve (as predicted) said he wanted to run the Seal video as a commercial. He had become mesmerized with the video, and he wanted to cut it down to a :60. We told him we had unsuccessfully tried this before the pitch, but we would try some more. We tried again and again, but it still wouldn't work. There were also some issues with getting the rights from Seal, but that basically didn't matter. The lyrics provided a powerful element to the video, and when they were cut up or eliminated entirely, the piece lost its power. Lee and I flew back to Apple to go over general business, and we told Steve the mood piece was never intended to be a spot and it wouldn't cut down. He wasn't very happy about it. I told him I would write a manifesto that would be even better. I was always moved by the movie "Dead Poets Society," starring Robin Williams, and particular pieces of the movie had made a major impact on me. The emotion and the context of the movie very much related to what I wanted to capture for Apple. Below are some key passages from "Dead Poets" that resonated with me and ultimately served as inspiration for the Apple script.

"We must constantly look at things in a different way. Just when you think you know something, you must look at it in a different way. Even though it may seem silly or wrong, you must try. Dare to strike out and find new ground.""Despite what anyone might tell you, words and ideas can change the world.""We don't read and write poetry because it's cute. We read and write poetry because we are members of the human race. And the human race is filled with passion. Poetry, beauty, love, romance. These are what we stay alive for. The powerful play goes on and you may contribute a verse. What will your verse be?"

I quoted a few lines from "Dead Poets" and asked Steve if he'd seen the movie, and he said, "Of course I have. Robin Williams is a personal friend of mine." I told Steve I would write something in a similar tone of voice, and we'd come back in a week.

I went back to the agency and worked non-stop day and night. I filled my journal with countless handwritten scripts. I wrote everything with the mindset it would be spoken by Robin Williams. I had two sections that I loved. The opening, which I had written to feel like a titled poem ...

"To the crazy ones. Here's to the misfits. The rebels. The troublemakers. The people who see the world differently."

and the closing:

"The people who are crazy enough to believe they can change the world are the ones who actually do."

I felt the opening was powerful because I designed it to sync up with the images of the geniuses and have a certain shock value. I thought about the brilliant people throughout history and the struggles they went through. Many lived tortured existences, and it was becoming clear to me that they shared a common thread. Like Apple, they all had amazing visions, but also like Apple, all of them at one point or another were given unflattering labels. Martin Luther King was seen as a troublemaker before he was universally seen as a saint, the rebellious Ted Turner was laughed out of town when he first tried to sell the concept of a 24-hour news channel, and it's been said that before Einstein was celebrated as the world's greatest thinker, he was thought to be just a guy with crazy ideas. Of course in 1997, Apple was being called a "toy" that was only for "creative types," and it was being chastised for not having the same operating system as everyone else. But I felt this copy would speak to the fans and get people who weren't on our side to re-evaluate their thinking and realize that being different is a good thing. Ralph Waldo Emerson once said, "To be great is to be misunderstood," and I always believed that was the general concept behind the "Think Different" campaign.

I believed the end line of the script was wonderfully succinct and beautifully poetic. It was my favorite part of the copy. I struggled a bit with the middle and wrote endless versions because that is where the piece needs to turn the corner and speak about the relationship or commonality that these geniuses share with Apple while not being too much of a hard sell. Eventually, I had a few versions that I felt worked nicely. I shared my scripts with Lee, and he thought they were good. He made a couple tweaks, and we put my voice on a 60-second rough cut. We shared it with quite a few people around the office, and several people said it gave them goosebumps.
continued...
Lee and I flew to Cupertino to play the spot in person to Jobs. Only the three of us were in the room. We played the spot once, and when it finished, Jobs said, "It sucks! I hate it! It's advertising agency shit! I thought you were going to write something like 'Dead Poets Society!' This is crap!"

Clow said something like, "Well, I take it you don't want to see it again." And Steve continued to go on a rant about how we should get the writers from "Dead Poets Society" or some "real writers" to write something.

I was taken aback by his tirade. I had poured my heart and soul into the piece, and I had played what I believed was a key role in the entire architecture of the campaign, and he was going off on me. I told him, "Steve, you may not like the piece, but it doesn't suck." Jobs continued to say he thought it was crap, and Clow, trying to put the fire out, said we'd go back and try some other things.

The original script we presented to Jobs (as taken from my files) is below. As you can see, it's very close to the final script that would eventually go to air.

To the crazy ones. Here's to the misfits. The rebels. The troublemakers. Here's to the ones who see the world differently. They're the ones who invent and imagine and create. They're the ones who push the human race forward. While some may see them as the crazy ones, we see genius. Because the people who are crazy enough to believe they can change the world are the ones who actually do. FADE TO APPLE LOGO AND LINE "Think different."

When Clow and I left the building, I told Clow I had given the script everything I had, and I thought it was best he get someone else to deal with Jobs. I told him Apple had taken up a ton of my time, and I needed to spend more time on my duties as creative director on the agency's two largest accounts, Nissan and Infiniti. Clow agreed.

When we returned to the agency, I went back to putting my energies into our car clients. Meanwhile, Lee put the Apple TV assignment out to various copywriters within the agency and brought in a few noted freelancers, too. One of the writers given the assignment was Ken Segall. Ken was a highly gifted writer/creative director who was hired shortly after we won the Apple business. Ken had worked with Jobs in the past, and Clow convinced Ken to leave his job at an agency in New York (Y&R) and work for us in Los Angeles on the Apple business. Upon Ken's arrival in L.A., he was quickly given the task to work on the TV script along with all the other writers. One day, Ken came to my office and said, "Jobs has seen a ton of scripts, and he's gone full circle ...we're moving ahead with your 'Crazy Ones' script. I made some tweaks. I hope you don't mind."

Ken had added some beautiful additions to the TV script, and he created a long copy version of the script that was turned into a magazine and newspaper ad. His additional touches were terrific, and he truly did make the spot better than ever, but the heart and soul of the spot from the original version stayed fully intact.

While I had always hoped Robin Williams would be the voice over, he refused to do any form of advertising, so they ended up going with Richard Dreyfuss. I always felt Tom Hanks or Dreyfuss would be the next best choices. Clow always wanted Jobs to do the read, and I've heard the version Jobs laid down, but I never thought it was the right thing. It seemed too self-serving to me. I think the selection of Dreyfuss was an excellent one. I later used Robin Williams to voice a campaign for the Olympics - he obliged because it was pro-bono - and he was truly amazing. But Dreyfuss gave the "Crazy Ones" spot a slow, gritty and unique read that made each word seem all the more important. In my mind, Dreyfuss ended up being the perfect choice, and he would have been next to impossible to top.

After the outdoor campaign went up and the spot aired, it wasn't long before Apple became the talk of the town. Some of the talk wasn't good. A writer for the Los Angeles Times ripped on the campaign, saying something along the lines of, "It's perfect that Apple is doing a campaign with a bunch of dead guys because the brand will be dead soon, too." But the great thing was-good or bad-people were talking about a brand that had fallen off their radar. And they were talking a lot. Apple clearly had a pulse, and while they weren't strong as a lion, they certainly gave the impression they were. This got the Apple faithful fired up, it got the fence-sitters back on board, and it got an audience that once thought of Apple as semi-cool, but semi-stupid to suddenly think about the brand in a whole new way. Apple was off to the races and about to make history.
Next: How "Think Different" transformed Apple Final thoughts
While Steve Jobs didn't create the advertising concepts, he does deserve an incredible amount of credit. He was fully responsible for ultimately pulling the trigger on the right ad campaign from the right agency, and he used his significant influence to secure talent and rally people like no one I've ever seen before. Without Steve Jobs there's not a shot in hell that a campaign as monstrously big as this one would get even close to flying off the ground. But while Steve accomplished more amazing things than perhaps any business person before him, a lot of people helped him get there. And without some very dedicated advertising people, Apple's incredible rise from flame to fame probably never would have happened.

When the "Think Different" campaign launched, Apple immediately felt the boost despite having no significant new products. Within 12 months, Apple's stock price tripled. A year after the "Think Different" launch, Apple introduced their multi-colored iMacs. The computers represented revolutionary design, and they became some of the best-selling computers in history. But without the "Think Different" campaign preceding and supporting them, it's likely the jellybean-colored and gumdrop-shaped machines would have been viewed by the press and general public as just more "toys" from Apple.

Even with my painful run-ins with Steve, things ended up working out pretty well. The "Think Different" campaign would win many awards, and the "Crazy Ones" would go on to win several commercial-of-the-year honors.

The creative credits had many of us listed-and Clow made sure to put Steve Jobs on the list, too. I always thought that was cool because the campaign truly required the contribution and dedication of many. Craig Tanimoto and I would go on to do a lot of enjoyable work for other brands, and we remain the closest of friends. Ken Segall would go on to create the wonderful iMac launch campaign and do tons of outstanding work for Apple before eventually returning to New York.

Several other brilliant creative people made sizeable contributions as well-people such as Yvonne Smith, Margaret Midget Keen, Jessica Shulman, Jennifer Golub and Dan Bootzin dedicated their talent and enormous amounts of time to the Apple cause. So did Chiat's remarkable media director, Monica Karro. And outstanding creative people such as Duncan Milner, Eric Grunbaum and Susan Alinsangan have kept the flame burning with one fantastic campaign after the next - all thanks to the enduring talent, guidance and patience of Lee Clow.

Despite the sad death of Steve Jobs, his legacy and impact on the world will be remembered forever. I can't help but to think that his life may have been cut short, but his memory will outlast us all. Apple seems to have done pretty well, too. In 1997, they were in deep trouble, and this year, they were ranked the most valuable company in the world. Crazy? You better believe it.
Rob spent ten of his 23 years in the advertising business at TBWA/Chiat/Day in Los Angeles. In 1990, at the age of 26, he was made the youngest creative director in the history of the agency and headed Chiat/Day's largest account for nine years. Before his departure in his role as creative director/managing partner Rob oversaw five accounts with total media billings of over $700 million. His accomplishments include: Time magazine commercial of the year, Rolling Stone magazine commercial of the year, USA Today commercial of the year, Adweek commercial of the year, the Emmy award for commercial of the year, five commercials in the permanent collection at the New York Museum of Modern Art, the most successful new-model launch in automotive history and the winning of virtually every top advertising-industry honor, from Gold One Show to Gold Clio to Grand Effie. Rob and his imaginative work have been featured in articles by The New York Times, The Washington Post, USA Today and The Wall Street Journal. He has also discussed his work on a variety of television programs including Good Morning America and The Oprah Winfrey Show. Since forming Siltanen & Partners in November 1999, Rob's work has continued to receive the highest acclaim. His ad campaign for Freeinternet.com, featuring a character called "Baby Bob," was turned into a sitcom for CBS. The Baby Bob Show was the first prime-time sitcom inspired by an advertising character, and was the 26th-highest-rated television show in America.

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The Real Story Behind Apple's 'Think Different' Campaign

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VideoImage via Wikipedia This post was written by Rob Siltanen, chairman and chief creative officer at Siltanen & Partners. Apple's remarkable rise, coupled with Steve Jobs' recent death, has prompted quite a few people to reflect on the historical impact of the "Think Different" ad campaign and the "To the crazy ones" commercial [...]

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How The ‘Think Different’ Ad Campaign Saved Apple

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And how it will revolutionize your marketing skills