#jury interview

[madstars-festival]

[EXECUTIVE JURY] Don't Play the Game. Change it!

- Interview with Emma de la Fosse, chief creative officer of Edelman UK

One of the five top echelon professionals chosen as a jury president for the MAD STARS 2024 awards is Emma de la Fosse, chief creative officer, Edelman UK.

Emma became the first-ever group chief creative officer of Ogilvy UK in 2016. Under her co-leadership, OgilvyOne became the most highly awarded digital and direct agency in the UK. Three years later, she became chief creative officer of one of the UK’s foremost digital agencies, Digitas UK, whose creative fortunes and reputation she helped to rebuild. She is now chief creative officer of Edelman UK, the world’s largest and most successful PR and comms agency. This legendary career began with a role as a copywriter in a creative boutique agency.

In 2020, Emma was awarded a lifetime achievement medal recognising outstanding creativity in customer marketing, the Caples Andi Emerson award. She has led her teams to win every major international award D&AD Yellow Pencils, Cannes Grand Prix, One Show Best in Show, and DMA Grand Prix through to multiple Effie awards for effectiveness and has been the executive creative director for world-famous brands such as IBM, British Airways, British Gas, Kimberly Clark and Kellogg’s.

Emma gave MAD STARS a preview of her judging criteria as well as an insight into her career and the key elements of great work!

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Q. What are you hoping to find at MAD STARS?

A: Margaret Heffernan, professor of business practice at Bath University is one of my heroes. She says, “A world that was once complicated is now complex.  There are still patterns, but they don’t repeat. In today’s world, creative thinking is essential to business.” So what I am looking for are creative solutions for our world’s problems. As Margaret also says, “Don’t play the game. Change it.”

Q. What makes a good MAD STARS awards judge?

A: Sometimes, senior people can become a little cynical when they’ve worked in the industry for a long time. But MAD Stars jurors are still like kids in a sweet shop when it comes to ideas. They are those who ask “why not?” instead of “why?” People who believe in the power of the impossible.

Q. What skills and talents have you used in your career?

A: Gosh, that’s a question I’ve not really thought about before. I suppose tenacity is one of them. Average is easy. Great is hard. You can’t give up easily if you want to get the best ideas made. What else? My brain sees connections very readily, it spots patterns and recognizes similarities between things. That helps when looking at old problems in new ways. I’ve got quite a strategic brain too, so I can write a decent brief and tell if somebody else’s is right or wrong. But mostly I have a sense of fun and I love to build creative teams. To me, it’s like family. A strong creative culture is essential to getting great work made.

Q. What are the biggest challenges to getting MAD STARS award-worthy work through?

A: All great creative work is hard to get out of the deck and into the world. That’s because it challenges you, it can put you outside your comfort zone. As human beings, we instinctively gravitate towards the familiar. Especially in times of global strife or economic uncertainty. So, the kinds of ideas that win at MAD STARS, those that seek to shift the status quo, will have been pretty challenging to get live.

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To give you a glimpse into her judging criteria, Emma shared with us four of her most recent inspirations and one of her favorites.

Read on to find out what inspired her!

<SOLAR IMPULSE - PRÊT À VOTER> Location: France Brand: Solar Impulse Agency: Publicis Conseil

: Solar Impulse is a foundation headed by the explorer Bertrand Piccard, it is dedicated to solving the knowing gap when it comes to tackling environmental challenges by collecting and promoting innovative ideas that are pragmatic and economically viable- it leads to what it calls 'eco-realism'.

Solar Impulse curated chose 50 out of 1400 ideas that were pragmatic and economically sound solutions for key environmental problems in a book called: “Ready to Vote”. A limited edition of books was sent out to 577 newly elected MPs along with this pre-drafted legislation that MPs could use in debates in Parliament.

So far 3 legislative proposals from Prêt à Voter have been adopted word for word, integrated into the Renewable Energy bill of the French Government. There is momentum for further concrete change, with 9 other ready-to-vote proposals being debated in the Senate, 1 is being scrutinized by the Swiss Parliament, and an environmental law being submitted to the European Union.

Image Source: SOLAR IMPULSE FOUNDATION

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<THE BRAKE ROOM> Location: United States Brand: Chick-fil-A Agency: McCann New York

: More than 65,000 food delivery workers in New York go above and beyond to deliver for the city. Winter conditions make what they do even more challenging. While they’re always on the go, they essentially have no place to go in between stops.

The Brake Room is a first-of-its-kind rest station allowing food delivery workers to get warm, use the restroom, and grab a cup of coffee in between deliveries, free of charge.

Chick-fil-A describes the service as ‘an extension of the same experience that Chick-fil-A restaurants provide to guests,’ and ‘just a small way to show our appreciation for the delivery drivers who help fuel our business.’

Image Source: Chick-fil-A https://www.chick-fil-a.com/brake-room

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<50+> Location: Mexico Brand: Popeyes Agency: GUT Mexico City

: In 2022, the global chicken and burger brand Popeyes will celebrate its 50th anniversary, and to honor the occasion, a special campaign called “50+” was launched in Mexico. Although Popeyes has been around for 50 years, the brand was relaunched in Mexico in late 2021, more than a year ago.

“50+” was born out of the problem that more than 20% of unemployment cases in Mexico are between the ages of 45-65. The idea was to celebrate the 50th anniversary by hiring people over the age of 50, who are often stereotyped as low performers and unable to find work. The campaign was designed to positively impact the Mexican community and encourage people to get involved in the continued growth of Popeyes in Mexico.

Image Source: INSIDER LATAM – YouTube ‘Popeyes- GUT México’

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<Heinz Fraud Ketchup> Location: Canada Brand: Heinz Ketchup Agency: Rethink Canada

: Heinz is one of the world's most beloved ketchup brands, known for its distinctive thick, rich sauce and irreplaceable ketchup. However, due to cost concerns, many restaurants refilled Heinz bottles with other ketchup, and it wasn't hard to find social media posts from consumers directly criticizing this act. Inspired by these posts, Heinz launched a bold campaign called “Fraud Ketchup” to uphold the brand's core belief that ‘It Has To Be Heinz’.

The campaign encouraged people to take photos of restaurants they suspected were using another brand of ketchup in Heinz bottles and tag them on Heinz's Instagram. In addition to working with the local restaurants most tagged with “fraudulent ketchup,” Heinz created a collaborative project to get them to use Heinz ketchup and offered free ketchup for a year to the first 10 restaurants that committed to using only Heinz ketchup.

Image Source: Rethink Communications

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<Contract for Change> Location: United States Brand: Michelob ULTRA Pure Gold Agency: FCB Chicago

: Contract for Change is a campaign by Michelob ULTRA Pure Gold, the first beer brand to be USDA-certified, to support farmers converting their existing barley fields to organic. The campaign is designed to address the challenge of organic barley production, with only 1% of U.S. barley fields being organic, to drive sustainable growth and support the expansion of the organic grain industry.

One of the reasons there are so few organic barley fields is that converting existing fields to organic is expensive, and farmers face a three-year wait with an uncertain future. To address this, Michelob ULTRA signed a long-term transition contract to purchase barley grown during the transition period and the first year of organic production. Michelob ULTRA purchases barley grown during the transition period at a 25% higher price to support farmers. In addition, farmers participating in the campaign will benefit from the ability to sell organic crops other than barley grown in rotation.

This resulted in 175 farmers signing contracts to participate in the campaign, enabling 4% of all barley fields in the U.S. to produce organic barley.

* Emma Says, “This is not recent but it’s one of my all-time fave pieces of world-changing work!”

Image Source: shachter - Michelob Ultra. Contract for Change

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You've seen the interview with Emma, our executive jury, and we hope it inspires your entries.

Remember, the 1st entry deadline is approaching fast! It closes on May 10th (KST), so there's only one week left to take advantage of the early bird.

Seize this opportunity to showcase your creative ideas on a global stage! We're eagerly waiting for your submissions that will change the world.

👇🏻Submit your entry now👇🏻

[jamesmarsdenfan]

"Everyone on the show Jury Duty are still friends in real life." Interview with James Marsden posted Friday April 14 2023. From @ChicksinTheoffice twitter:

https://twitter.com/ChicksInTheOff/status/1646975562861232133?s=20

[verysadlesbian]

My babies (Louis and Claudia) on trial for attempted murder (cause the bitch is alive, so what are they really guilty of? Being bad at murder?) against their abuser. Someone, please, call Annalise Keating or Saul or Laszlo (how could I forget about Laszlo) or HER:

[smokiedokie]

Me doing my best T pose to try and get Lestat de Lioncourt to carry me like a crucifix

[tiny-vermin]

i just did an interview for something really important and i think it was hot garbage and im so scared . ive been looking forward to this for . 2 years now . fuck my life .

my mind is pliable rn so im going to fake myself into thinking it was all really good

[ssaalexblake]

sometimes being on this site is just like, watching people call everything under the sun that is Not queerbaiting, queerbaiting. And then you see things which are Blatant baiting and they have entre fandoms hook, line and sinker and it's Really Obvious and you cannot understand why people are falling for it. And then you realise that actually sometimes writers or actors will say things like 'well, you'll find out something interesting about this character soon!' in an interview and people will unironically take that to mean that obviously they're Gay because they cannot comprehend that stories have plots Not to do with sexuality even when there was no implication that they were talking about somebody being gay, and i then think that maybe the show isn't queerbaiting and maybe the fandom just likes to pretend it is???

it's a wild ride in fandom

[tvrningout-a]

i’m feeling revitalized after editing my roster and making chiyo fandomless, so consider this a starter call with varying lengths 💜 pls specify muse(s) if we don’t have established dynamics yet!

[nat-20s]

Now not to be controversial but I'm a big fan of when people are friends

[tiikerikani]

So Vesterinen performed at the Emma awards tonight (the equivalent of the Grammys). Jepa and Heini even showed up for it! And a whole choir!

(edit: alt youtube link)

(They also won Vuoden Iskelmä, which was the only Emma nomination I felt they had any chance of actually winning)

Well, I'm not going to ruin it for the fanclub (unless they're reading this), but...

Spoiler under the cut...

You have been warned...

...

...

...

It's most likely a playback performance - so while the motions are real, you're hearing pre-recorded audio, not actually what they're playing on the stage. I know this because I've been on that stage (different venue but same event).

Yesterday's performance at the Iskelmä Gaala was legit though; you could tell because they actually had all their gear set up. (They got album of the year there, but those awards are by popular vote.)

[yugonoashiato]

The Unwavering Passion of SixTONES for Radio - An Interview with Jun Nagahama

The Unwavering Passion of SixTONES for Radio - An Interview with Jun Nagahama, Who Graduated as a Program Producer, on the Charms of Being a Radio Personality with the Group of Six

Source: https://realsound.jp/2023/09/post-1416645_2.html

SixTONES no All Night Nippon Saturday Special" (commonly referred to as "SixTONES ANN"), hosted by SixTONES members, stands out as a particularly unique radio program. Airing on the iconic "All Night Nippon" network, this show has garnered a dedicated following among both SixTONES fans and general radio listeners alike.

Broadcasted nationwide from Nippon Broadcasting every Saturday night, it has become a cherished presence in the lives of its six hosts and their fans. As of July 2023, Jun Nagahama, the producer at Nippon Broadcasting who had been in charge of the show since its special pre-debut era, is graduating from his role. In light of this transition, we spoke with Mr. Nagahama to understand why this radio show has become such a beloved entity and to explore the charm of SixTONES as radio personalities

"We always said, 'We want to do radio.'"

— First, please tell us how you and SixTONES first crossed paths.

Jun Nagahama (hereinafter referred to as Nagahama): It all began with a special program called "SixTONES no All Night Nippon," which aired in August 2019. I had the privilege of working on that, followed by the New Year's special program called "Sutōnzu no Oshaberi," which aired in January 2020. Subsequently, I became involved as the program producer for "SixTONES ANN," which became a regular show in the spring of 2020. However, this July, I was assigned to the Content Planning Department in the Programming Section, which is typically involved in scheduling, and as a result, I will be graduating from the program.

— So, what exactly does the job of a radio program producer entail?

Nagahama: To put it succinctly, it's like being a director on set. I oversee the program while taking care of various aspects such as quality control of content, budget management, and public relations and promotion.

— You've been involved with SixTONES since the special program in 2019, for approximately four years. What were your initial impressions of SixTONES?

Nagahama: I thought they were fresh and passionate young individuals. Even outside of the broadcasts, they spoke fervently about their love for radio and consistently said, "We want to do radio." Personally, I believe that the enthusiasm of both the speakers and creators is essential, so I think people who genuinely love radio should be radio personalities. Therefore, it was heartwarming for me that they conveyed their love for radio so passionately.

— Indeed, it seems that "SixTONES ANN" is beloved not only by SixTONES fans but also by listeners of "All Night Nippon." Could it be that their genuine love for radio is a contributing factor to this?

Nagahama: When they took on the "All Night Nippon" slot, they expressed a sentiment of "We're here as guests." They said, "We're not just here for our fans to listen; we're guests in a program with a long history like 'All Night Nippon,' and we want to create a show that can be enjoyed by a wide range of radio listeners." They genuinely had this attitude of "We love radio, and we want to entertain," and I believe that attitude gradually communicated itself to the listeners.

The Charms of the Six Radio Personalities

— When "SixTONES ANN" became a regular show, the format included having Juri Tanaka as the main MC with different members appearing on a weekly basis. Regarding Mr. Tanaka, what do you find appealing about him as a radio personality?

Nagahama: I think he excels in assessing the situation. He not only keeps in mind the rotating members in front of him but also imagines each and every listener tuning in on the other side of the microphone. He communicates with the staff, maintains eye contact, and steers the program in that context. He's an excellent MC. He doesn't just focus on his own stories; he has a knack for drawing out the charms of others while taking a step back. So, I had a great deal of trust in him in that regard.

— Did you initially sense Mr. Tanaka had the talent to be a radio personality?

Nagahama: I believe he had the potential, but certain aspects of his talent were brought out as he accumulated more broadcast experience. "SixTONES ANN" began its regular broadcasts with all six members, and from the second episode, we had to switch to remote broadcasting due to the COVID-19 pandemic. While it was an emergency response, it was a challenging situation because the team hadn't yet fully bonded. He endured quite a bit of stress during this time. However, I think it was precisely because of this situation that Mr. Tanaka came to appreciate the importance of communication with the staff.

— As mentioned earlier, the regular broadcasts feature Mr. Tanaka as the main MC, with different members appearing on a weekly basis. What do you think are the attractive qualities of each member as a radio personality?

Nagahama: Regarding Yugo Kochi, he brings a sense of security. I think that Juri Tanaka tends to want to share his own stories when Yugo Kochi is there. Mr. Tanaka, who always tries to draw out the other person, feels comfortable entrusting his own stories to Yugo Kochi when he wants someone to listen. Yugo Kochi is also someone who is considerate and attentive, making him someone that listeners of various generations can comfortably and trustingly tune into. That's why I think we entrusted him with the morning time slot, which many adult listeners tune into, during the "Radio Charity Musicthon," a charity campaign to support visually impaired individuals. (SixTONES served as main hosts for three consecutive years.)

Taiga Kyomoto, on the other hand, is like a toy box. He has the most excitement and curiosity about what kind of "toys" will come out next. He hosted the solo "All Night Nippon" segment within the "Radio Charity Musicthon," and he has a clear taste in music. He can shine both as a musician and as an actor. I find him to be a very fascinating individual.

— How about Hokuto Matsumura? What do you think of his qualities as a radio personality?

Nagahama: I feel that Hokuto Matsumura is like a scholar. He's always a person with a lot on his mind. He seems to want to show a different side of himself here, distinct from his roles as an artist and an actor. He's particularly someone who has been listening to "All Night Nippon" for a long time, so I believe he approaches it with the intention of being a certain way on "All Night Nippon." Also, he tends to have long conversations (laughs). However, I think that's because he has a lot he wants to convey. If he can harness that and organize it, I believe he'll become an even more wonderful presence.

— Nevertheless, many listeners seem to feel a sense of loss when Hokuto Matsumura's free talk segments are shorter.

Nagahama: Since he thinks about many things, he often delves deeper and deeper into a topic until we don't quite reach a conclusion (laughs). But that might be part of his charm.

— What about Jesse and Shintaro Morimoto, the youngest members of the group?

Nagahama: Jesse is often referred to as the "Sun of SixTONES," and for a good reason. When you hear his voice, it can truly brighten your day and make you forget about various troubles. His laugh is probably the most distinctive aspect. When we combine his laughter with the ideas from our side and Juri Tanaka, it goes from "Ahaha!" to "Ihihi!" and eventually becomes "Uhuhu!" It becomes quite an amusing broadcast. As long as his laughter resonates, it feels like the sun in our hearts won't set.

Morimoto, at first, was the type to come up with a lot of material for free talk during our discussions. He used to share many short anecdotes. However, I think one significant turning point was when he portrayed Ryota Yamasato from the comedy duo "Nankai Candies" in the drama "But, There Is Passion" on Nippon TV. As an individual who loves radio and portraying the life of Yamasato, he started embodying Yamasato in a unique way, which notably improved his storytelling abilities. I've seen significant growth in him, where he can now dig deeper into topics and roll them out humorously.

— When we hear your insights, it's clear that each member has a distinct personality. Having such diverse types of members appear on a weekly basis must be interesting, but it also likely presented challenges in creating the program. Could you tell us about any difficulties you encountered?

Nagahama: At first, we had concerns about whether listeners who tuned in one week would return the following week, among other anxieties. To bring out the members' autonomy and to add an element of unpredictability, we introduced a segment called the "Jingle On-Air Battle," where the possibility of members other than the designated ones for the week also making appearances was included. In today's context, playing back last week's jingles on-air is one of the innovative ideas from those times.

Members other than Mr. Tanaka would only appear on the show once in a while. Finding a way for fans of the members who were on air last week to continue listening this week has always been a challenge. However, I feel that it has gradually changed because individual fans and program listeners, beyond just fans of the group, have grown. I've also noticed an increase in people from other professional fields telling us, "It's interesting," when we meet them elsewhere.

Experimentation and the Establishment of Radio Culture among Fans

— You've been hosting the program for a long time, from the first episode. Are there any episodes that left a particularly strong impression on you?

Nagahama: There are many memorable episodes, but if I were to choose three, the first one would be the episode when we returned to the studio after the remote broadcasts (May 30, 2020). It felt like reuniting with comrades after a battle. The period of remote broadcasting lasted about two months, and it felt much longer than that. So, the sense of excitement and emotion when we returned was remarkable.

The second one would be the "48th Radio Charity Musicthon" episode where we live-streamed "SixTONES ANN" with video for the first time (December 24, 2022). The members had been expressing their desire to do video streaming for a long time, and this time, we were able to make it happen while still being a radio show. Initially, we thought the listeners would focus on the video element, but on social media, we saw comments like, "I want to watch the video, but I still want to enjoy the regular 'All Night Nippon' because that's the way I usually enjoy it." It showed that each listener had their own way of enjoying the show, by listening on the radio, participating on social media, and sharing the atmosphere, all of which are part of the usual enjoyment of the program. Realizing that this regular way of enjoying the show had caught on was truly satisfying. I also won't forget that they sang "Always" as a Christmas present on that day.

The third one would be the episode that aired as part of the "All Night Nippon 55-Hour Special" to celebrate the 55th anniversary of All Night Nippon (February 18, 2023). It was a part of the extensive special program spanning 55 hours with a common theme for discussions: "What you want to tell your past self." In line with this theme, we looked back on the path we had walked so far. It was striking how they talked brightly about the days of struggles and doubts they had faced. Particularly, when Juri Tanaka said to their selves from a few years ago, "I want to tell you about the future, where we have a regular radio show," and Taiga Kyomoto added, "They'll be thrilled," with a smile. It was a wonderful moment. When you spend time together, you sometimes encounter moments that feel like " reconciling with the efforts they had made over the years." It's a precious moment where you can start walking forward again.

— The story about the "Musicthon" episode is indeed amazing. Many people appreciate their visuals, but the fact that they choose audio over video suggests that the culture of "radio" has truly taken root among fans.

Nagahama: It was really heartwarming to know that fans who like SixTONES also appreciate SixTONES' radio, "All Night Nippon," and radio culture in general.

— "SixTONES ANN" being a live broadcast also seems to add to its charm.

Nagahama: I think this applies not only to SixTONES but to all live broadcasts. Sharing at the same time creates a special connection, and listeners can feel that they're spending that moment together.

— SixTONES often do live broadcasts remotely even when they are on concert tours, even if they are far away.

Nagahama: "All Night Nippon" has a culture of being primarily live, and they have a stance of being part of the "All Night Nippon" culture, so they do live broadcasts. I think it can be physically demanding, but I believe they approach the broadcasts with the intention of delivering their current voices. I'm grateful for that.

— Up to this point, we've been talking about the members' discussions. On the other hand, "All Night Nippon" also has a culture that values music. In "SixTONES ANN," how do you think SixTONES' music plays a role?

Nagahama: Since their primary performance stays consistent and their identity as artists is firmly established, I think they can go all out on the radio. I believe music is one of the things that gives them confidence. Sony Music also cooperates with us, and sometimes they choose radio as the place to debut their new songs, like the 11th single "CREAK" released this week. I grew up being told by senior directors that "radio is a treasure chest," and I want to cherish the excitement of listeners opening that treasure chest. Therefore, when we create the contents of this treasure chest together, it's important to be excited, and SixTONES' music becomes an essential element of that.

— As you mentioned earlier, you graduated from the program in July. What kind of role do you hope the listeners, or "Little Stones" (the general term for "SixTONES ANN" listeners), will play in supporting SixTONES as radio personalities in the future?

Nagahama: I believe the existence of "Little Stones" will surely be a support for them. Just as listeners have been a source of strength for me, they may already serve the same purpose for SixTONES. I hope "Little Stones" can be like a stabilizer that allows them to enjoy any challenge they take on, and I would be delighted if the program continues to grow with their support. I also hope that it has a positive impact on their main profession. I'm truly grateful to the six members who love "radio," love "All Night Nippon," and have joined us here. They have passion and strong bonds, so I hope they can run forward with confidence.

[iamonlyhereforthefreefood]

Ronald: "This literally feels like reality TV"

oh babygirl...

[madstars-festival]

[JURY INTERVIEW] MAD STARS, WHAT AN EXPERIENCE

MAD STARS attracts attendees from every corner of the Asia-Pacific region as well as jury members from places as far-flung as Mexico and Sub-Saharan Africa.

We wanted to know what they thought of last year’s festival, so we asked juries from countries near and far.

Kapil Bhimekar, creative director, Leo Burnett

MAD STARS was a highly inspiring and enriching experience. I was pleasingly surprised in so many ways, be it the quality of work, the venue, or even the whole organization of the event itself, it was so well done.

The thing that especially stood out for me was the people of Busan. I have never felt such warmth. The people from the organizing committee, as well as the locals around the town, were extremely helpful. The city overall has a beautiful welcoming vibe to it.

James Keng Lim, director of creative strategy, GCI Health

From a purpose and their entries model point of view, MAD STARS deserves all the credit. It embodies the ethos that the maddest ideas can change the world, independent of the size of the proverbial purse strings. I also want to take this opportunity to congratulate and commend the organizers and the relentless work done by the staff.

The festival ran like clockwork. It was well-organized and thoughtfully put together. I think I speak for all the juries when I say it is a festival all of us want to be a part of. That’s a huge compliment and validation of the great work done to put this festival together. 

Rimantas Stanevičius, creative director, Milk

This was my first time at MAD STARS. While the festival typically doesn't extend invitations to preliminary jurors, my enthusiasm for a complete experience led me to secure a grant from the Lithuanian Ministry of Culture. This allowed me to travel to Busan and represent our local Art Directors Club through podcasting.

I had the privilege of meeting tons of amazing people from the industry, forging new connections, and rekindling old ones. For example, I had a chance to reconnect with fellow alumni from the Berlin School of Creative Leadership. I’d say my time there was well-spent, producing over two hours of interviews talking to Rey Kim of Mad Stars, Gabriel Lora, Jesse Wong, Becky McOwen Banks, and Mohammad Akrum Hossain among others.

Nurlan Satarov, creative director & creative group director, Cheil Worldwide

This was my third time as a juror since 2019, and I've noticed that the festival's scale and influence keep growing with each passing year.  What sets MAD STARS apart from other awards shows is that it’s free to enter. And guess what? They've got a ton of entries that have won big awards at Cannes Lions, One Show, Spikes, and D&AD (the toughest festival to win, in my opinion). It's awesome spotting hidden little gems amidst the massive cases. Making it onto the list of award-winning works alongside those giants is a sweet deal, even if you land on the shortlist.

I genuinely enjoy heading to Busan and connecting with fantastic folks at Mad Stars. It's such a cozy and welcoming event. Returning to the festival in person after the pandemic was especially wonderful. There's just something special about being able to participate in person and connect with people face to face again. There's no denying it, festivals by the sea have this magical vibe that's hard to replicate elsewhere.

Speaking of the judging process, the system got a major upgrade. All the necessary information and materials were delivered promptly and without any hiccups, making the whole experience smooth and convenient. With over 20,000 entries last year, Mad Stars has certainly become a big fish in the global awards scene. Winning any type of award at Mad Stars amid such fierce competition is a remarkable achievement and a testament to the outstanding quality of the work. It's no small feat to stand out among the world's top-notch entries. A big shoutout to the folks in the jury support division – they made a difference and helped make the whole process even better.

MAD STARS are like ROCK STARS. It's hard not to love what they are doing.

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MAD STARS 2023 was filled with so many diverse experiences and warm memories!

What kind of juries will be joining MAD STARS this year?

We are looking forward to welcoming global experts who will evaluate various creative solutions with a fresh perspective at MAD STARS!

Don't miss out on the opportunity to evaluate outstanding entries from all over the world and make memories in the hot summer in the beautiful city of Busan by the sea!

Want to be a jury member for MAD STARS 2024?!

👉🏻 https://bit.ly/3wcSNp8

[armanddelioncourt]

Play stupid games (read blood canticle in the jury assembly room) Win stupid prizes (get asked about the amc show in front of all 11 jurors plus the 3 alternates

[painsandconfusion]

HOW AM I SUPPOSED TO GET A JOB AS AN ATTORNEY WHEN I LOOK LIKE THE PERSONIFICATION OF AN ADORABLE LITTLE CHIPMUNK AND THE INTERVIEW IS WITH THREE OLD WHITE GUYS WHO THINK IM TWELVE

[youreamonocoque]

James Marsden pls let me be your controversially young girlfriend

[birdmenmanga]

holy shit I just went back 2 dig up an old project at my mutual's request and by god. we served so much cunt on that oral history project