Damian Bazadona: From a U.S. Open perspective, what does it mean to be a tennis fan? Are the majority of fans also tennis players? Or do you have a lot of fans who are primarily spectators and just love to watch the sport or individual players?

Nicole Kankam: While the U.S. Open definitely attracts what we call “entertainment seekers,” people who like to attend events and place a premium on the experiential, we also know that about half of the attendees play tennis, so it’s an audience that’s highly engaged in tennis participation. Most fans purchase their tickets prior to knowing the schedule of play, so the data shows they are attending because they are fans of the U.S. Open and the full experience it offers, or fans of tennis in general. However, this year, with Serena announcing her “evolution” from tennis, there was obviously a tremendous surge in interest in wanting to see her at what was expected to be her final Grand Slam event. But we’re also excited about the new crop of players that have emerged and are already generating interest and excitement around our sport.

How do you grow your fan base or expand that definition of what makes a tennis fan?

One of our key priorities for the U.S. Open is to expand beyond the two weeks of the main draw. We did this by creating U.S. Open Fan Week, thus hosting a three-week tennis and entertainment festival. Returning after a hiatus due to the pandemic, U.S. Open Fan Week provided a host of free activities and content on the grounds of the USTA Billie Jean King National Tennis Center. The goal is to introduce new fans to the U.S. Open and the sport of tennis. Throughout the week, there was no shortage of content, including the qualifying tournament, where future stars compete for the final slots in the U.S. Open main draw, up-close access to top player practices, a marquis legends match, a free concert by Joe Jonas’ band DNCE, and our first-ever U.S. Open food festival. While access to the grounds was free, we created Fan Access Pass as a mechanism to enhance a fan’s experience with certain gated activities. This also allowed us to capture fan data to foster engagement post-event and entice them to return next year.

I know a big part of your efforts were also centered on showcasing inclusiveness. Tell me more about that.

As an extension of our #BeOpen campaign, now in its third year showcasing inclusiveness and support for diverse communities, we’ve developed programming and events that create space for these communities to be seen at the U.S. Open. Some examples from this year’s U.S. Open include HBCU Live at the U.S. Open, celebrating the rich history and culture of historically Black colleges and universities and their connection to tennis; Open Pride Day, honoring the LGBTQ+ community on-site and across our channels; and Be Open Armory Off-Site—a partnership with the Armory Show to highlight artists from underrepresented backgrounds with a display of unique sculptures on the grounds of the U.S. Open.

In addition, the USTA’s mission is about growing tennis and making it look like America. And with tennis participation seeing tremendous growth, adding more than 5 million players over the last two years, we see the U.S. Open as another opportunity to inspire a love for the sport. An integral part of that strategy is leveraging U.S. Open attendee data to draw them into the broader USTA ecosystem and funnel them toward play opportunities to keep them engaged in the sport.

How did the pandemic change how you engaged with your fans? For example, I saw 2020 was the first U.S. Open without spectators in the tournament’s history. How did you approach developing new, creative ways to keep your fans engaged without one of the biggest touch points you have with your community—the live experience?

Like everyone else in the sports and entertainment business, 2020 was a tremendously challenging year. The U.S. Open, perhaps even more than other events, thrives on the in-person experience because we like to think that part of what our fans enjoy goes beyond the on-court experience. From the premium culinary offerings, to all the engaging activations our sponsors bring to life, to the upscale shopping experience, it’s a true festival-like atmosphere. But in addition to that, the U.S. Open is a global event, broadcast in 200+ countries with a digital presence that is more international in reach during our tournament. So in 2020, once we determined we would host the tournament without fans, we focused on engaging that global audience with fan activations that brought the fan more into the in-stadium experience, including the U.S. Open Fan Cam that we featured on the screens around the U.S. Open court. We also created a virtual player box to help recreate the experience of having the coaches and entourage cheer on their players since they couldn’t be there live. And we created a new merchandise product offering, the at-home suite, which was a curated box of all the U.S. Open essentials, including the glasses for our signature beverage, the Grey Goose Honey Deuce, with the recipe so fans could make at home. Now that we’re back to fans on-site, the at-home suite is still an ongoing key part of our merchandise offering.

Not always a part of mainstream conversation, tennis has become a bit more a part of the zeitgeist in recent years. What do you think has changed that has brought more attention to the world of tennis? Has the celebrity status of certain tennis players impacted that?

Serena and Venus Williams have undoubtedly changed the landscape of tennis, not just with their amazing talent on the court but with their interests beyond tennis. They are cultural icons who have been large drivers of the expanding interest and presence of tennis in popular culture. They have also inspired other tennis players, like Coco Gauff and Naomi Osaka and others, who are emerging champions on the court but are also thinking about their impact and influence beyond tennis. And with Roger Federer also announcing his retirement, it’s evident how he has changed the game on the men’s side in being a world-class athlete as well as a global ambassador for the sport.

But beyond these world-renowned superstars, each year the U.S. Open is an event where the convergence of sports, celebrity and entertainment attracts attention from all corners of culture. Leveraging our own channels, as well as expanding the storytelling beyond sports media, is an area where our communications and social teams have been very successful. This year’s event in particular was our most successful event, from record sales and attendance to site traffic and social engagement. So we will look to continue to leverage the cultural relevance, even as attention shifts to a new crop of superstars.

There is a truly unique culture around tennis and many time-honored traditions like the quiet before the serve, the dress code, etc. How do you nurture the old, while welcoming the new? How do you navigate growth?

We do seek to strike a balance in honoring the history and tradition of our sport while being open to embracing innovations that help bring in new fans. We are very intentional about connecting to the distinct persona of New York City through branding and marketing efforts. This year’s campaign, “Spectacular Awaits,” was created as a nod to the U.S. Open being a sports and entertainment spectacle unlike any other. It essentially informed all aspects of the event and our desire to deliver a spectacular experience for fans both on-site and watching and following around the world, from advertising and promotional efforts, to on-site branding and LED screens, to social media engagement and beyond. All of our messaging, even how we discussed plans internally, focused on this singular idea and created a framework for teams across the planning spectrum to innovate and ultimately deliver on the positioning. It is a platform that can have longevity as we look to navigate growth for the future.

If 10 years from now you and I were to sit down again for this interview, what do you think would be the biggest changes to the world of tennis from where we sit today?

We have lived in an unprecedented era of tennis where a few players have dominated the tennis conversation for quite some time, so I imagine over the next several years we will see a number of stars emerge who will capture the attention of old and new fans alike. How and when fans make the decision to attend the U.S. Open, what they expect from an engagement perspective on-site, and how they consume the product around the world will likely shift and evolve, but in 10 years I expect we will continue to be agile and willing enough to respond to those changing dynamics.

The longform episode was conceived and produced by Soursop, alongside executive creative director Ravi Amaratunga Hitchcock and rising Gen Z directors Pip & Lib, best known for their “Unfiltered” series with Jonah Hill.

Functionally, this work feels different from typical Nike fare. The brand generally likes to focus on the blood, sweat and tears of training, galvanizing people around the cult of athletic achievement. Instead, Raducanu’s docu-style piece feels closer to L’Oréal’s “Lessons of Worth” series, where stars reflect frankly on their human value.

Raducanu has become a star. Here, we’re actively pulled away from press images of her performing in big-banner competitions. You’re in London with her without an entourage, walking through old haunts, and in the car while she’s stuck in traffic. (“I hate traffic,” she confides.) The athlete is lifted from her pedestal and placed on earth at eye level. She’s someone who still misses the hopper more often than not.

“One thing I need to get better at is switching off more and actually learning that you need to leave the club,” Raducanu says. “When you spend the whole day there, over and over again, it is pretty draining.” This is a small thing to say, but again, it’s a narrative deviation from what Nike’s usually trying to sell. Self-care is the focus here, and regrounding after the screams of crowds have subsided. 

The work comes in a moment where many people are presumably focused on their own mental health and performance expectations as we navigate relaxed Covid restrictions, even as a contagious new illness begins circulating the planet. It also follows a long soul-searching period for professional tennis, following Naomi Osaka’s public grapple with her own mental health, and Serena Williams’ difficulties meeting outsize expectations after giving birth. 

Nike has often been an instigator of these issues, and changed some of its policies around maternity and guaranteed pay as a result (which you can see in the link above). We’d also like to hope that work like this marks a turning point for how the brand approaches performance generally, not only in marketing but in its treatment of athletes—less as market commodities-cum-gladiators, and more like people for whom rest, care and well-rounded time allocation are considered part of the responsible management of a long-term athletic career.

When last we saw Raducanu in advertising, she was giving Dua Lipa tennis lessons for Evian.

CREDITS

Client: Nike
Creative Agency: Soursop
Production Company: Untold Studios
Director: Pip & Lib
Photographer: Laura Allard Fleischl

Love that pink court ringed by Evian glaciers, a welcome change from the drab green lawns at Wimbledon. Cool chemistry between the celebs, too. Their breezy, relaxed interaction really supports the brand’s “Drink True” mantra.

Brits Dua and Emma seem to truly connect as they try new things, just for fun, in a spot that echoes themes we’ve seen from Nike, Michelob Ultra and others.

“I loved how she pushed me to try out a bit of tennis with all of Evian’s cool gear, and I think we found common ground in understanding the importance of always being true to ourselves, whilst not taking ourselves too seriously,” Lipa says in press materials. “We both know what it’s like to be in the spotlight, so finding a moment to connect, have fun and challenge ourselves out of our comfort zone was really an amazing experience.”

Adds Raducanu: “This was my first big campaign, and we all had so much fun on set. Dua was a brilliant coach, being patient with me as I tried her dancing. It felt so good to be able to be true to myself and hear about how Dua manages all of that in her world as well.”

Soundtracked by Dua’s hit “Physical,” the work rolls out this week across the U.S. and Europe, during Lipa’s “Future Nostalgia” tour and the summer tennis season. (Alas, Emma’s recent injury puts her Wimbledon participation in jeopardy.)

“We wanted to use our two ambassadors in an unexpected yet authentic way,” Evian culture and experience director Lucille Moreau tells Muse. “We wanted to capture the raw reactions of these two talents as they push each other to try their specialties.”

The films were shot in one day at a studio in London, which featured a full-sized pink tennis court and dozens of Evian branded balls.

“You can imagine how relieved we were to see them get on and have a fun time together,” says W+K creative director Joe Burrin. “One of our favorite moments was seeing Dua add a little pirouette onto the end of Emma’s instructions for a perfect forehand,” he says. “It was exactly the sort of authentic moment we were hoping to capture.”

Of course, there’s a TikTok angle, as the pair hit the platform for a rousing game of Vogue’s “Agree to Disagree,” debating life, love and whether all publicity is good publicity.

@voguemagazine Welcome to Vogue’s #AgreetoDisagree ♬ original sound – Vogue

CREDITS

evian
Prinz Pinakatt: Global Head of Danone Waters
Dawid Borowiec: Global Head of evian
Frederique Beyot: Global Head of Brand Equity & Communication
Lucille Moreau: Global Head of Culture, Digital & PR
Ilina Atanasova: Global Senior Brand Manager

WIEDEN+KENNEDY AMSTERDAM
Managing Director: Blake Harrop
Executive Creative Director: Eric Quennoy, Mark Bernath
Creative Director: Joe Burrin, Alvaro Sotomayor, Richard Gorodecky
Art Director: Ale de Carvalho
Copywriter: Chris Cryer
Broadcast Producer(s): Erica Brugman, Magda Czyz
Head of Broadcast Production: Joe Togneri
Group Account Director: Luke Purdy
Account Director: Hannah Heidar
Account Manager: Emily Saada
Account Executive: Melis Temizkan
Head of Design: Joe Burrin
Studio Director: Lizzie Murray
Studio Manager: Loes Poot
Studio Producer: Katarina Pepichova
Studio Artist: Anthony Smyrski
Motion Designer: Serhii Serbin
Motion Producer: Jaime Siordia
Senior Planner: Emma Wiseman
Communications Planner: Anna Chan
Business Affairs: Sametta Gbilia

FILM PRODUCTION
PRODUCTION COMPANY: SomeSuch
Director: Isaac Lock
Director of Photography: Olan Collardy
Producer: Jess Bell
Executive Producer: Tash Tan

EDITING COMPANY: Zed
Editor: Ben Crook

AUDIO POST COMPANY: 750mph
Sound Designer/Mixer: Sam Ashwell

MUSIC
Artist / Title: Dua Lipa ‘Physical’

POST PRODUCTION COMPANY
VFX: Time Based Arts
Colorist: Myles Bevan

PRINT PRODUCTION
Photographer: Raffaele Cariou
Retoucher: Art Post

PR agency: Freuds London

Michelob Ultra cast John McEnroe as an ambassador of … joy? You cannot be serious!

During his tempestuous career, tennis legend McEnroe—given to racket-bashing outbursts and berating officials as he volleyed his way to seven Grand Slam titles—always seemed to be battling his inner demons along with opponents across the net.

Now, thanks to artificial intelligence, machine learning and robotic ball-return technology, Johnny Mac will play against avatars of himself at five key stages of his career in Ultra‘s “McEnroe vs. McEnroe.” ESPN2 and ESPN+ will broadcast the event on May 18 at 8 p.m.

This trailer offers a taste of the action:

The 45-minute special, developed with FCB New York and emceed by John’s brother Patrick (who enjoyed a notable pro career of his own), bears Ultra’s “It’s Only Worth It If You Enjoy It” banner. While John wasn’t especially joyful in his playing days, the notion that he’s grown as a human being and relishes his place in the pantheon of sports fits the brand narrative.

“Who wouldn’t want an opportunity to literally be able to look back at where you started and celebrate how much you’ve grown and learned along the way?” McEnroe says in a statement. “I’ve had highs and lows just like everybody else, and what I’ve learned over time is to appreciate the journey.”

Indeed, he’s rehabbed his image since retiring 30 years ago, insightfully calling matches for global TV networks, launching a voice-over career and appearing in commercials. But he’s courted controversy, too, taking heat for comments about reigning U.S. Open champion Emma Raducanu and GOAT Serena Williams.

For Ultra, he’ll play against his younger selves from 1979, the year of his first Slam win; 1981, his first full year as world No. 1; 1982, when he struggled somewhat; 1984, his finest season; and 1992, when he retired ranked No. 20.

Note: These avatars look like classic Mac, but their athleticism, speed and style and of play are based on the current 63-year-old version of John, giving him a chance to win the matches.

Below, Ricardo Marques, Michelob’s VP of marketing for U.S. and global operations, takes us through the activation:

Muse: When fans tune in, what exactly will they see?

Ricardo Marques: They’re going to be treated to the world’s first-ever real vs. virtual tennis match. One side of the court will feature tennis legend John McEnroe, and on the other, a custom avatar designed to look and play like John during five major moments in his career. The team at Unit 9 processed hours and hours of McEnroe’s matches from 1979 to 1992 using artificial intelligence to machine-learn his play—how he served, the spin off his forehand shots, the style of his backhand, his drop shots and smashes. The computer then directed four Precision Motion robots, each armed with ball launchers embedded with that intelligence. During the matches, the avatar will respond in real time to John’s game play with ball robotics.

None of this is live, correct? It was all filmed earlier?

All five matches were previously filmed in April. As fans watch, they will witness the live action that was captured between John and the technology, but the made-for-television special will also include introspective interviews with John as he takes time to reflect on his professional career and personal journey. Fans will be treated to five exciting and competitive matches, while also having the opportunity to hear from John himself, his brother Patrick, former tennis pro James Blake and sports commentator Ashley Brewer.

Can you explain how this makes sense for the Ultra brand?

This match delivers a message everyone can relate to: Don’t forget to enjoy the journey. There is pressure every day in life to perform without missing a beat, and that is especially true in the world of sports. While very few people will know what it feels like to be ranked No. 1 in the world or to win Wimbledon, we can all relate to going through ups and downs and coming out better for it.

Why partner with Johnny Mac? Why him specifically?

Everybody who watched John throughout his career knows he was an extremely intense competitor. This first-of-its-kind event allows John to celebrate the major moments throughout his career, while reflecting on his personal journey as well. As he looks back, John delivers a message of joy and encourages those currently in younger shoes to enjoy the ride and have fun.

Can you talk a bit about the technical aspect?

The technology behind this is absolutely fascinating. The game system was developed in Unreal Engine to allow our avatars to respond in real-time to John’s gameplay and to integrate with ball robotics. In addition to analyzing hours of match footage, John participated in a full motion-capture session with a team of innovation architects, product designers and software engineers to create avatars that look and play like him. Using motion capture, Unit 9 was able to authentically translate his specific body gestures to avatars that could be controlled without pre-programmed moves.

CREDITS

Client – ABI, Michelob ULTRA
Benoit Garbe – Chief Marketing Officer  
Ricardo Marques – Vice President, Marketing 
Azania Andrews – Vice President, Connections 
Talita Andrade – ​​Head of Marketing Communications 
Miles Ritenour – Director of Digital Marketing & E-comm 
Dylan Ruby – Director Sports Marketing and Partnerships
Alexis Unwalla – Director of Digital Marketing
Kerry Scalora – Brand Director
Jessica Thorpe – Director, Marketing Communications 
Lindsay Marzocca  – Senior Media Manager
Bridget Inglima – Media Manager
Chris Jones – Global Head of Marketing
Paige Dawes – Global Marketing Director

FCB NEW YORK
Creative
Gabriel Schmitt – Co-Chief Creative Officer
Michael Aimette – Co-Chief Creative Officer
Danilo Boer – Worldwide Creative Partner
Samira Ansari – Executive Creative Director
Sy-Jenq Cheng – Executive Creative Director Art & Design
Alexandre Abrantes – Creative Director
Jay Marsen – Creative Director
Lex Beltrone – Creative Director
Thomas Mori – Associate Creative Director/ Design
Simon Dolsten – Associate Creative Director
James Meiser – Associate Creative Director 

Production
Adam Isidore – Director of Integrated Production
Pim Leeuwenkamp – Senior Integrated Producer
Marissa Lando  – Senior Integrated Producer
Janice Katz – Director of Business Affairs
Lizzy McGlynn – Archival Producer
Janet Merone – Senior Production Talent Manager
Mary Beth Parton – Traffic Manager, FCB Global

456 Studios/Lord + Thomas
Adam Nelson – Senior Content Creator 
Breithner Monteiro – Senior Editor and Animator
Chris Monteiro – Editor & Animator
Mitch Schreiber – Senior Editor
Liz Ludden – Studio Director
Doria Lacey – Integrated Producer

Account
Megan Bundy – SVP, Group Account Director
Diana Gonzalez Cash – SVP, Group Account Director
Ashley Read – Account Director
Logan Butler – Account Supervisor 
Joe Labuz – Account Supervisor 
Abby Kiefer – Senior Project Manager
  
Strategy
Jamie Rutherford – Strategy Director
Michael Schonfeld – Sr Strategist 

3 PM/PR
Peter Martin – Senior Vice President
Jackie Baez – Director 
Lemondria Hobbs – Senior Manager
Jake Spitz – Senior Associate 

Unit 9
Michelle Craig – Creative Partner
Mindy Lubert – Director of Production
Sarah Barson – Production Lead
Yifei Chai – Executive Creative Director
James Medcraft – Creative Director: 
Phil Erney – Executive Producer: 

Falkon
Ryan Bucci: Creative Director + Co–Director
Davey Sherwinter: Technical Director + Co-Director
Matt Cohen: Executive Producer
Bernard Hunt: Director of Photography
Matias Letelier –  HOP & EP of Live-Action
Nikil Shyam Sunder: Production Manager
Kevin Murphy: 1st Assistant Director
Sean Smith: EOC of Live Switching
Shannon Peiper – Post Production Supervisor

Secret Guy
Bill Cramer/Secret Guy – Online Editor
Graham Holly – VFX Executive Producer
Colin Stackpole – VFX/Flame Artist
Matt Rosenblum – Colorist

JSM Music
Joel Simon – CEO/CCO
Jeff Fiorello – VP/Executive Producer
Norm Felker – Senior Producer
Andrew Manning – Senior Producer
Sharon Cha – Producer

Sonic Union
Julienne Guffain – Sound Designer/Mix Engineer
Patrick Sullivan – Head of Production 

Notan Studio: Animation

Developed by creative agency Yard NYC and director Yoni Lappin, the spot, titled “One Court,” makes a broad, multicultural appeal, stretching from city playgrounds to heartland farms, with nods to wheelchair players, tech-savvy teens and seniors keeping fit. There’s archival footage of Arthur Ashe, who championed social justice and transcended the game. The stadium at the Billie Jean King National Tennis Center in Flushing, New York, that hosts marquee U.S. Open matches, including the men’s and women’s finals, bears his name.

The clip will air nationally during the Open, with additional venue signage and support across digital media. In a youth appeal, streetwear brand Paterson League will launch a corresponding capsule collection.

“Over the next five years, we hope that the perception of tennis is turned on its head, as we actively work to bring in the next generation of diverse participants,” USTA marketing chief Amy Choyne tells Muse. “We hope to bring in millions of new players from all around the country to make tennis part of their lives.”

That’s a wise strategy, as the game has long suffered from an elitist image, with some viewing tennis as a country club pastime, rather than an activity for all.

“When the consumer sees the work, we want them to feel what many others across the country, from Brooklyn to Bayonne to Boca, already feel—that tennis is for them,” says Yard creative lead Stephen Niedzwiecki. “It’s an easy, energizing and infectious sport. It’s as simple as picking up a racket, a ball, finding a wall and hitting.”

In terms of creative approach, “we sought to take some chances with a high tempo that mimicked the ebbs and flows of a great tennis rally,” he says. “This device gave us the ability to extend the locales and people that showed up. It allowed us to tap into tennis’s history and pop-culture roots, as tennis is such a global game.”

Yard will amplify these points in in a major USTA rebrand next year.

Increasingly, marketers have portrayed sports as a way of life, woven into the fabric of cultural existence. With “Let’s Tennis,” the USTA takes a step in that direction. The NBA called such a play in its Idris Elba-voiced campaign, while Reebok explored similar themes. Meanwhile, Adidas and Pepsi both told intense tales of all-consuming fandom (though the latter invoked an amusingly sedentary spirit).

CREDITS

Client: USTA
Agency: Yard NYC
Production Co: Doomsday
Director: Yoni Lappin
DP: Todd Martin
Editorial Co: Final Cut
Editor: Sophie Solomon
Music Production: Future Perfect
Colorist: Jason Wallis (Electric Theatre Collective)

That’s a cute twist ending and comic turn from Wawrinka. Unfortunately, the winner of three Grand Slam titles is out of action at present, nursing a foot injury. At least he’s got famous pals to hang with and a comfy couch for after-dark Prime tennis viewing. (Nice bathrobe, dude.)

Cadence director Marie Schuller, who’s held court in commercials before, comes up aces, maintaining a breezy pace that serves the jokes well. Since this is 2021, of course there’s a TikTok challenge around Solveig’s faulty dance moves at 2:45.

Here’s the original “Hello” video, filmed in broad daylight, with a cameo by current world No. 1 Novak Djokovic:

Herezie executive creative director Etienne Renaux calls the “Hello” reboot, “one of the toughest projects of our careers so far. At one point, two weeks before the shoot, we even considered canceling it. You can’t imagine how complicated it was to get all the talent together on the same day. I think we wrote 30 versions of the script, so we’d be ready for anything.”

The team shot it all in a single night.

“We started filming at 5 p.m. with the indoor scenes, then we moved on to the actual game—until 5:30 a.m.,” recalls Paul Marty, the agency’s other ECD. “We needed to wait for a very dark lighting to get the best images possible, so we didn’t even start shooting the first images of the game until around 11 p.m.”

He adds: “Our biggest fear was that we’d ‘lose’ the talent at some point since it was an all-night shoot, but guess what? Martin stayed until the very end, Stan until 4 a.m. They really wanted to be there and play themselves. They stayed there all night. So, guys, if you’re reading this, we’re very, very sorry!”

CREDITS

Music: “Hello”
Written by Martin Solveig and Martina Sorbara
Composed and Produced by Martin Solveig
Performed by Martin Solveig and Dragonette
Published by Dragonette Inc, Temps d’Avance, EMI Music Pubishing

Video: Co-produced by AMAZON PRIME VIDEO & TEMPS D’AVANCE

Brand: Amazon Prime Video  
Senior Social Media Manager: Alexandre Andresciani
Social Media Manager – Sport: Harry Hesp  
EU Creative Director: Xuan Pham

Agency: Herezie Group  
CEO: Andrea Stillacci  
Executive Creative Directors: Etienne Renaux, Paul Marty
Creative team: Leo Michel & Marie Dutech
Business Director: Dimitri Boudnikoff
Account Manager: Hugo Gobin
Account Executive: Caroline Bescht
TV production: Tanya Kozlova, Laureen Rigot
Influence & talents: Joshua Roa (Studio 71)

Production company: Cadence
Director: Marie Schuller

“They say she’s young. Her game says otherwise. And so does she,” the spot begins. “She’s not just here to climb the rankings. She’s here to lead the next generation. Coco doesn’t fear the big stage. She commands it. No more waiting. Too much to win now.”

Little Simz’s “Offence,” an unapologetic rap statement about being true yourself in the face of adversity, makes sense as the soundtrack.

“Coco embodies the idea of ‘We Got Now’ [New Balance’s theme line], which is built on immediate action,” says Siobhan Breagy, the sneaker company’s global brand marketing manager “Her contagious ambition emboldens others to join her by using whatever platform they have to create positive change.”

Of course, you can’t be a generational leader just by saying so. That comes over time, through an accumulation of words and deeds. It took Serena Williams quite a few years to establish herself as an arbiter of culture, sports and the Black experience.

Though she’s spoken out for social justice and comports herself in a classy manner that belies her years, Gauff still has a ways to go to cement her standing in tennis, let alone the public consciousness. Heck, she hasn’t even won a major tournament yet. (Serena’s shooting for her 24th such title at the year’s Open.) This makes the ad’s assertions feel more like a solemn vow than a done deal. In terms of broad Gen-Z influence, Eilish is way further along, perhaps because her creative output provides more points of deep, immediate connection.

“Coco is the future, there’s no doubt about that, but she’s ready to seize the moment now, too,” Rec League co-fouder Jack Jensen, who co-directed the spot with Trent Ubben, tells Muse. “She is so confident, poised and empathetic, that’s something you take away immediately upon being around or listening to her. She truly cares. She also knows that both her racket and voice carry with it a lot of influence and power—and at 16 years old!”

Jensen’s crew shot most of the footage pre-lockdown in South Florida. “Then, when the world stopped, we regrouped and refocused the original script, working alongside Coco, her team and New Balance to adapt to the changing moment,” he says. “It made the story and work so much better. We always strive to stay authentic to the athlete. We say it all the time, but real always resonates.”

In one memorable shot, Gauf stretches out on court amid a sea of bright green tennis balls, a visual suggested by the team’s still photographer, Johnny Izquierdo.

“Once he threw that idea out there, we knew it was a winner,” says Jensen. “Johnnie is crazy. Ten minutes into the shoot, he’s jumping into the ocean with all his clothes on, climbing up on ladders, and crawling through the sand—he’ll do anything for the shot. That is why I both love and fear him equally.”

As for the choice of music, “after we rewrote the script and saw where the story could take us, we really only had one track in mind—and it was this one,” Jensen says. “We just felt it connected with Coco and NB so well. The energy, the unapologetic stance and attitude, it just locks you in from the jump. That’s some good shit.”

CREDITS

The Rec League – Creative, Production & Post Agency
Jack Jensen & Trent Ubben – Directors
Johnnie Izquierdo – Photographer

Music
Little Simz, “Offence” – Artist, song
Jesse Sinkiewicz – Sr. BA Manager at Hailstorm

New Balance
Patrick Cassidy – Global Brand Marketing Director
Siobhan Breagy – Global Brand Marketing Manager
Lauren Adderly – Global Marketing Associate
Leah Wholey – Global Marketing Associate
Evan Zeder – Sports Marketing Manager

“Ever since we were little girls, you’ve compared us to each other,” their narration begins. “My game versus her game. My ranking versus her ranking. My titles versus her titles. My Grand Slams versus her Grand Slams. It’s funny. You saw two tennis players trying to win a game. We saw two sisters changing it.”

Among their combined achievements: 122 singles titles, including 30 Grand Slams, along with 327 weeks ranked No. 1 in the world. As a doubles team, they’ve won 14 Slams and three Olympic gold medals. In head-to-head competition, Serena (widely viewed as the best player in tennis history) holds a 19-12 advantage, including a hard-fought encounter at a tournament two weeks ago.

But the ad’s about more than stats and trophies. At the end, we watch the Venus and Serena embrace after a match. The line “You can’t stop sport” appears, that last word quickly overwritten by “sisters.”

For parts of four decades, we’ve been privileged to enjoy one of tennis’ ultimate rivalries, played out by two amazing women who through all the ups and downs remain inseparable friends and confidants. Now, at 40 and 38, respectively, Venus and Serena may be nearing retirement, but their unparalleled grace, mutual support and fighting spirit will forever speak to the very best sports has to offer. Moreover, “You Can’t Stop Sisters” reminds us why we’re so ecstatic the games returned after the pandemic layoff—they make us feel more engaged and alive.

Some might also view the spot as a Black Lives Matter and feminist statement, because it points to the uplifting role sisterhood and perseverance played in shaping the lives of these two strong Black women.

Venus and Serena play their first matches at the Open tomorrow, though not against each other. Serena is vying for her 24th Grand Slam singles titles, which would tie the all-time record held by Margaret Court.

Depending on how they move through the draw, the sisters could face off in a later round. We should be so lucky.

CREDITS

You Can’t Stop Sisters

Client: Nike

VP, Global Brand Creative Gino Fisanotti
Creative Director – Brand Defining Alex Lopez
Sr. Director Andy Whiteside
Director Bill Maginnis
Director Bradley Firth
Studio Manager – Brand Defining Janine Engel

Agency: Wieden + Kennedy Portland

Creative Directors Alberto Ponte, Ryan O’Rourke
Copywriter Alex Romans
Art Director Caitlin Alexander, Miguel Gonzalez

Production
Head of Production Matt Hunnicutt
Executive Producer Jake Grand, Krystle Mortimore
Producer Mauricio Granado
Business Affairs Laura Caldwell, Maggie Harasyn
Director of Business Affairs Amber Lavender

Brand Management
Group Brand Director Andre Gustavo
Brand Director Kate Rutkowski
Brand Manager Paanii Annan
Brand Executive Jon Vaughan

Strategy
Group Strategy Director Paula Bloodworth
Strategist AJ Blumenthal

Media
Group Media Director Daniel Sheniak, Reme DeBisschop
Associate Media Director Emily Dalton
Media Vivian Zhang, Graham Wallace, Kallie Tenzeldam, Claudia Iraheta

Studio + Design
Creative Operations Manager David Ramirez
Integrated Traffic Managers Sabrina Reddy, Billy Mucha
Executive Design Producer Alicia Kuna
Design Producer Michael Frediani
Designers Joan Comellas, Charlie Hilton

Editorial: Joint
Editor Tommy Harden
Assistant Editor Andrea Seider
Post Producer Patrick Lewis
Executive Producer Leslie Carthy

VFX: a52
VFX Supervisor Patrick Murphy
Lead Flame Artist Dan Ellis
Online Editors Sam Kolber, John Valle
VFX Producer Maura Murphy
Head of Production Stacy Kessler-Aungst
VFX Executive Producer Kim Christensen , Patrick Nugent
Managing Director Jennifer Sofio Hall

Color Studio: a52 Color
Colorist Gregory Reese
Color Assist Corey Martinez, Dylan Bursick
Producer Jenny Bright
Executive Producer Thatcher Peterson

Animation Design Studio: Elastic
Animator (s) Trix Taylor
Producer Paul Makowski
Associate Producer Megan Rodriguez
Deputy Head of Production Zach Wakefield
Head of Production Kate Berry
Executive Producer Luke Colson
Managing Director Jennifer Sofio Hall

Mix Company: Lime
Audio Mixer Rohan young
Executive Producer Susie Boyajan

Music Composition/Supervision: Walker
Senior Executive Producer Sara Matarazzo
Executive Producer Stephanie Pigott
Producer Danielle Soury

Give us a one-line bio of yourself.

Passionate marketer of the U.S. Open and all things professional tennis, and aspiring expert homeschooler of two kids.

Where are you living right now, and who’s with you?

In New Rochelle, N.Y., with my husband Kofi, 6-year-old son Essien, 2-year-old daughter Estelle and our au pair Yoryi.

What’s your work situation like at the moment, and how are you moving ahead during the crisis?

Because I live in what had been one of the initial hot spots for Covid-19 in the U.S., I was one of the first to begin working from home, so it feels like we’ve been in quarantine forever! Between homeschooling my 6-year-old, keeping an active toddler entertained and having a full-time working spouse, it’s tough finding quiet spaces to work, but we’ve been making it work. 

I oversee the advertising for the U.S. Open Tennis Championships, and together with the U.S. Open management team we are continuing to plan for the event to take place at the end of August. But with so much uncertainty, I’ve had to completely reimagine our marketing approach. I have a great team that is working hard to keep each other motivated, so we’ve been focused on developing creative ways to engage fans in this new normal.

Describe your socializing strategy.

I love a great Zoom happy hour! I’ve really enjoyed reconnecting with friends I haven’t talked to in ages, sharing stories over wine and not having to worry about finding a babysitter.

How are you dealing with childcare?

We are so fortunate to have our au pair Yoryi living with us to help, especially since both my husband and I are busier than ever working from home. But I would say childcare is definitely a family affair. My husband and I are actively engaged in our son’s homeschooling in between the demands from work. And even our 2-year-old has Zoom circle-time meetings that we all take turns wrangling her to participate in.

What are you reading?

Homegoing by Yaa Gyasi. It’s been a while since I’ve read a novel, but this is about two sisters in 18th century Ghana and I was inspired to pick it up after traveling to Ghana with my husband and his family last winter. It’s a great read and a welcome diversion from the news.

What are you watching?

Since I work in sports, of course I’m watching The Last Dance, like everyone else. I can say it definitely lives up to the hype. When it’s done, I’ll get back to catching up on Ozark.

What are you listening to?

Someone on my team made an awesome and very diverse Covid-19 playlist—think songs like the Police “Don’t Stand So Close To Me”—and it’s a nice background track while working. I also like jazz pianists, having played when I was younger, and am a big fan of the prodigy Joey Alexander when trying to promote calm in our house. My running playlist is all about early ’90s hip-hop.

How are you staying fit?

I’ve been getting up early to run while my neighborhood is still quiet. The USTA has some great tennis-at-home tips that I’ve been trying with the whole family. But the best workout is running around in the backyard with my son as he’s chasing his soccer aspirations.

Have you taken up a hobby?

Does eating cookies count? I suppose there’s still time, but as of right now, I haven’t had a lot of free time for new hobbies.

Any tips for getting necessities?

There’s a new grocery store in my neighborhood that has been amazing at delivering all the groceries I need. Amazon still works for most things. But my favorite new discovery is the drizly app to deliver the all important necessity—wine!

An awkward moment since all this started.

I didn’t realize my kids were capable of sending replies on my work email until someone replied to a nonsensical email that my kids had apparently sent as a reply to a group communication. Fortunately it provided some much appreciated humor to an otherwise boring email thread. I guess it’s further confirmation that Apple products are so intuitive, even a 2-year-old can use them!

An aha! moment since all this started.

My son’s teacher sent a new version of his class picture that was essentially a screenshot of one of their Zoom meetings. Her note to the parents was a reminder that we’re living through a historic moment and she wanted to capture it for posterity. There are plenty of challenging days, but thinking of it from a perspective of history in the making allowed me to shift my mindset to positivity, even for just a brief moment.

What’s your theory on how this is going to play out?

However we come out on the other side, we will all be very different—especially sports and entertainment fans. But I think we’re already seeing how this situation is inspiring a new type of creativity, and I am encouraged by some of the innovative thinking, particularly in the live event space. The real winners will be those who are able to foster that creativity and develop revolutionary approaches to drive businesses forward.

See the full #WFH Diaries series here.

“We’re reaching our card members in those moments that they’re passionate about,” Spaeth says. “It’s great for us because our customers who engage in these types of experiences are more loyal and engaged with the brand. And the prospects who get exposed to these experiences or get a taste of membership and are more likely to consider American Express the next time they’re thinking about getting a card.” 

In our conversation, edited for length and clarity, Spaeth discusses AmEx’s U.S. Open strategy and why technology can augment, but never replace, the allure of live activations. 

Muse: Can you catch us up on what AmEx did at Wimbledon?

Bess Spaeth: This was our first year as a big presence at Wimbledon. We had a branded fan experience where one component was a Champions Rally. It was an immersive virtual reality game where fans came and played on Centre Court with [British tennis legend] Andy Murray. Three or four fans could play at one time. They put on the VR goggles, and played against a virtual Murray. Venus Williams came and played. And John McEnroe. There was some good competition between the pros playing the virtual Andy Murray, so it was pretty fun for fans and pros alike. 

How do you gauge the success of these big-event experiences?

First and foremost, we were excited to engage a lot of fans—this is a great sort of sampling of memberships [because fans can learn about AmEx as they enjoy the activations]. We also had a lot of card members come through our hospitality experiences. And then, we’re a payments product, so we had a lot of success in terms of the level of AmEx usage on the grounds for retail this year versus the prior year. Plus, it spins up a lot of PR and media exposure for the brand that’s quite positive. 

AmEx always has a sizable presence at the U.S. Open. Are you doing more this year than in the past? 

It’s a great opportunity to be part of a cultural moment in our backyard here in New York City, so our physical footprint is comparable to years prior. We’re got experiences for fans and card members. We’ve got our Card Member Lounge for our members and their guests. For our premium card members, they’ve got our Centurion Lounge and by-invitation-only ticket packages. For our business card members, we’ve got some special stuff happening this year. We’ve got pop-ups for corporate clients in five offices in the tri-state area.

Click/tap to see images of the activations:

And I’m really incredibly proud of what we’re doing to support small-business owners. This is a new component to the Open this year. We commissioned a survey of small-business owners and asked what would help them land a business meeting with a new client, or develop a relationship with an existing client. Half of the small businesses that we surveyed said it was really about organized networking events. With that insight, and the U.S. Open as a resource, we’re going to be giving away over 100 tickets in hospitality packages to small-business owners in the New York metro area. This is going to give them a totally new level of access to one of the city’s premier events. This is something usually only large corporate customers are able to do. This is going to enable small businesses to host a new customer, a prospective customer, hopefully get some business done, and do some networking along the way.

AmEx is hosting a big interactive game of Pong. Can you describe this for me?

There’s two humongous boards inside the Fan Experience, and you are actually a player on the game board. And the game board is going to change up, and it’s going to reflect different boroughs of New York City, because we’re really embracing our love for New York City across the experience. You’re going to have Venus Williams’ voice there to cheer you on while you’re playing.

And you have digital interactive murals of NYC with spray cans for tagging?

We worked with Brooklyn-based artist Askew One to create these bespoke murals. As you know, street art is a part of the vibrant life of New York. So using that artwork, fans will be able to do a very grown-up paint-by-numbers using these virtual spray cans to fill in the blanks and bring the art to life. They interact with the board, but look like real cans. 

Can you explain what the Rally Remix is?

This is an interactive space where you’re going to be using different tennis balls to create different rhythms and sounds and kind of make your own soundtrack. They’re on a panel, and you press on them. Different tennis balls represent different sounds or a different beat. And you can make your own mix.

Also, you’re recreating a NYC subway car for a virtual ride?

It’s not a real one, but it has some pretty authentic elements to it. It’s going to feel like you’re on a subway car. It’s using audio and visual elements to take you through the history of the U.S. Open, showing you some of the different players that American Express has backed along the way, including our most recent tennis partners, Venus Williams and Frances Tiafoe. It’s a cool review of what’s happened at the Open through the years. It goes by as you’re looking out the windows. 

Click/tap to see more images:

Is Venus appearing in any media advertising around the Open for AmEx?

Venus is an amazing longstanding partner for us. She’s not just a role model in tennis, but she’s also a proud small-business owner and an entrepreneur, so we work with her in a lot of different ways. This year, the role that Venus is playing is to bring these super memorable experiences to life for tennis fans at the Open. We talked about her cheering them on, and she plays a role in the experience of the subway car and digital mural. 

Can you talk about Frances a bit? 

Frances is a real up-and-comer [a U.S. pro who recently ranked among the world’s top 30 players]. So, that’s a nice pairing—we’ve got Venus, who’s an amazing veteran and a role model, and Frances, at the beginning of his journey. I’m having him make an appearance at the Fan Experience to meet and greet our club members. 

Where’s event marketing heading in the next few years?

It’s going to continue to be an integral part of the brand. Whether it’s tennis, basketball, music—this is going to be central to the lives of our customers and our prospective customers, so we’re going to be in this phase for a long time. We’re constantly thinking about new and different ways to serve our customers through these experiences, and to evolve them as the tastes and needs of our customers’ change. It’s certainly worth thinking about the role of digital in all of that, in terms of how digital impacts the end-to-end experience—before you get to the event, while you’re at the event, after the event. To be clear, I’m thinking about digital as an enhancement to the experience. I don’t see anything replacing the engagement and excitement and emotion you get from an in-real-life experience. 

Any sports marketing around today that you really love that’s not from AmEx?

Verizon’s campaign at the Super Bowl … “The Team That Wouldn’t Be There.” It sort of flipped the usual narrative on its head because it told the real-life stories of a dozen or so NFL stars who had these really dramatic near-death experiences and accidents. It made the first responders, who saved those NFL stars, the stars of those communications. I thought it was just beautiful and emotional. That was a really engaging and different way to see sports personalities.