Striking a Harmonious Chord: How Music Brought Jared Kinsler to Wunderman Thompson
Jared's passion for music has been intertwined with his journey as a writer, shaping his unique approach to storytelling.
Music is immersive, responsible for the writer’s inspiration and flow-state. The words come more smoothly when we’re plugged into our music; our walls can come up, or be brought down.
Speaking with LBB, Jared shares insights into his creative process, experiences with prestigious awards, and how he envisions using his diverse background to elevate his work at Wunderman Thompson.
LBB> How do you balance your passion for music with your role as a copywriter at Wunderman Thompson?
Jared> I make sure that no matter how tired I am, I make it to band practice.
I came to writing through music. At first, I could only think up melodies. Which meant I had to sing. Which meant I had to write lyrics. Lots and lots of lyrics to lots and lots of songs. I wrote one about a child realising he was the devil’s son. Dad didn’t like that. I wrote about adventure and heartbreak. Some were so heartfelt my crushes crushed back. I wrote about a matador’s last match. About a gnome named Eerie. I felt like I had to. The songs needed lyrics. And that was my role.
I didn’t know, but I was learning to write. I learned rhythm, spacing, and to hear music in phrases like “contamination by a nation”, alliterations like “crimson crimes”. I was experimenting. I was finding my voice. I think I still write like a musician trying to be a writer.
LBB> Do you consider your work to be creative in nature? If so, can you elaborate on that a bit?
Jared> Absolutely. To make something out of nothing is a wonderful feeling. I chase it in everything I do. So, my advice is to take on those experiences only you can have. And find someone else who did the same. Then, argue endlessly over what headline is better for selling canned tuna.
LBB> Can you share some insights into your experience working with IBM and winning Clios for marathon anthems created for Nike?
Jared> I’ll start with Clios. It was a project I cared about, with music I was proud of, alongside my closest friends. We knew nothing about nothing when we entered it. We couldn’t really front the entry fee, so they halved it. Then, we won. We flew to New York. It was my first taste of advertising. I got to meet Jorge Benjor. His record Samba Esquema Novo is often on repeat. It was so cool to get to tell him how much I love his music.
Jerry Seinfeld spoke,killed it, then he walked directly out of the building from the stage. No one followed. Which was probably the right move. But I couldn’t help it. I ran outside and said hi. I got what I thought was a photo, that turned out to be a 3-sec video of us awkwardly smiling at the camera.
IBM has an incredibly rich history of design and design thinking. I felt lucky to be there. And just wild to work with third-generation employees whose mothers and grandfathers had worked there before them. That’s a pretty rare thing in the States.
LBB> What role do you think music plays in enhancing the impact of advertising campaigns?
Jared> An ad without music is just sophisticated shapes. Honestly, it’s a question I’ve thought aboutand still think about. For a few summers, I had time on my hands, and I wrote about it. I think if we all knew how to be as creative with sound as we are with graphics, there‘d be a lot less noise.
LBB> How do you plan to bring your diverse background and experiences to your work at Wunderman Thompson?
Jared> We all bring our baggage wherever we go. We just hope that we packed the right stuff for the trip. Some days, I feel I have just what it takes. Other times, I feel like a complete failure. Or a stranger lost at sea never to be found. I just hope what I have is enough. And I’m so lucky to have a creative partner paddling along with me.
LBB> What are your aspirations and creative goals as a copywriter with the agency?
Jared> I want to make stuff I’m proud to point out to a stranger or play loud with my windows down. Everything else is just gravy.
