Camden Bernatz (00:00:00) - Welcome to Brands and Campaigns, the stories and people behind clever marketing moves powered by EKR. I'm your host, Camden Bernatz, creative director and head of brand strategy at EKR. So last episode, we talked about the Berries and Cream commercial, the famous infamous, depending on how you feel about that song, like it stuck in your head. We talked to Winslow Dennis about who was the senior producer on that commercial. And so today, I've got from our internal agency from EKR. I've got Madeline who is one of our art directors who's joining us today to talk about the conversation with Winslow and the commercial. So thanks for being here on the show today Madeline.
Madeline Trenkle (00:00:42) - Yeah. Thanks for having me.
Camden Bernatz (00:00:44) - Give people a little bit of a background, a little rough how you got to where you're at. What your expertise is, who are you?
Madeline Trenkle (00:00:51) - Yeah, I graduated with my BFA oh, how long ago was that? It was about four or five years ago from now from BYU Hawaii. And I specialize in graphic design and since then, I have been working with Relic and EKR advertising agency. Started out as an intern and I've worked my way up to an art director.
Camden Bernatz (00:01:11) - The question you have to always ask someone who went to BYU Hawaii, was it hard to focus on school or was it pretty easy?
Madeline Trenkle (00:01:17) - Honestly, it, it wasn't too bad because we have the weekends or I don't know, we're right next to the ocean so we can make plenty of time for the beach and living the Hawaii experience in addition to school. I didn't struggle with it too much anyway.
Camden Bernatz (00:01:34) - Nice, cool. Well, yeah you do a lot of good for us with the agency and have helped us on a lot of projects and so glad to get your insight on anything creative but especially something as unique and different as this Berries and Cream commercial. Do you remember this coming out originally? Have you like, do you remember back in the day when this aired?
Madeline Trenkle (00:01:51) - I don't, I actually, I know about it from when it kind of resurfaced on TikTok in the past couple of years, but I do not remember it airing previously.
Camden Bernatz (00:02:02) - So, is TikTok the first time you were aware of it or have you kind of knew about it? But didn't like, weren't there when it first came out?
Madeline Trenkle (00:02:07) - It sounded familiar so I knew that it was referencing something. It was being pulled up from previous commercials. But I don't remember like sitting down at the TV and watching it. But it, it definitely strike a memory in me and yeah.
Camden Bernatz (00:02:23) - Weird memory that you don't know. Yeah. It was funny, I was reading on Reddit recently someone their user name has been deleted so I don't know who it was, but in the Mandela Effect community says Little Lad, those berries and cream ad for Starburst and not Skittles. They thought it was a Skittles as I remember it from 14 years ago, everyone would sing that song and I remember that I went and like, and I bought Skittles specifically because of that ad because it made me laugh. And now I went back to go try to find the commercial and it's a Starburst ad and they're like, all shocked and people are like in the comments, some of them are saying it's, oh, it was always Starburst and someone was like, no, I could have sworn with Skittles too. I remember the specific package and like, and then people are like, oh I think you're thinking of the what's it called? The like, smoothie, the smoothie flavored Skittle. They're like, no, I remember a specific bag of berries and cream Skittles.
So there's some Mandela of that controversy on online. People could have sworn it was a Skittles ad sometimes. But yeah, so a goofy ad and I have lots of questions I want to get to today with the time we have. The first one being one of the things that Winslow talked about that was kind of a blessing in disguise, you could say or a potential benefit is that the client was not there on set. And now we want to be careful, we love our clients. It's not that we don't want their input. But sometimes when you're the one who's actually tasked with creating the creative, putting it all together and bringing it about, a lot of times because of the different hesitations or the different like, yeah designed by committee or things like that would happen with client input, sometimes things kind of get watered down. Winslow felt like the fact that they couldn't make it to the shoot that day kind of gave him freedom to really just try different things that might have been, oh, what are you doing? If the client was there, they ended up giving a really good unique result.
Any response to that? Do you think like what's been in your experience? And again, not that we're going to like name names or point fingers, any clients or anything but like client involvement when it comes to creative, what do you feel like the right balance or the right relationship is and having clients help dictate what comes out in creative?
Madeline Trenkle (00:04:31) - Yeah, I feel like most artists and graphic designers can relate to this to an extent, even if it's not client, but even like an art director, creative director that is on set with you or maybe hovering over a project that you're doing, sometimes you can feel like you need to appease them and their goals and you can kind of forget about the bigger goals of what you're at actually trying to do with the product and what you're actually trying to achieve through the advertising. And so I totally relate to that and I feel like a lot of artists will relate to that as well.
Camden Bernatz (00:05:07) - Yeah, that's a really good point you talk about there makes you think about the importance of having a brief, right? Like it doesn't mean that a brief is necessarily going to mean that you're never going to have a disagreement or a different way of approaching with a client. Like there's still interpretation and some subjectivity. But if you can point back and say, hey, remember we were trying to accomplish this thing or this feel or get this message across or reach this audience, you can kind of point back to like why you're recommending and trying the things that you're trying. Of course, the client is the client, right? Like they're the ones that makes the final approval of things. But I feel like it's more productive to have a strategy based debate, for lack of a better term, not that it has always like a heated debate, but to have to have a disagreement or discussion based on strategy. And so I'm just like, well, I like this or my favorite color is blue is to put that in there so easier said than done but I feel like that you, you've emphasized the importance of making sure you have a good solid brief and strategy in place beforehand.
So another question I want to ask you Madeline, is this commercial is obviously just kind of the word random gets used a lot and you different descriptions that you see about it. It's just so random, it's just so oddball and weird. And when it comes to like randomness or like you could say like shock value just like surprising unexpectedness, how do you feel like that plays as a strategy in advertising? Do you feel like is it always something worth trying? Do you feel like it's effective? I it just very open ended question, shock value and randomness and advertising? What do you think about that?
Madeline Trenkle (00:06:41) - Yeah. No, I think it's very effective because it's very memorable. Like if you have a generic ad for starbursts and it talks about it just being a typical candy, then you're not going to remember it. You have to do something that's unique and different, something that comes to mind to compare it to. I don't know if you remember in the Super Bowl this year. But there was the Reese’s commercials where they freaked out over the fact that they're changing the Reese’s, someone smashes their head into the wall. It's very extreme. And I feel like those extremes are memorable and they help you to kind of connect with the brand because they stand out from other brands.
So I think that's effective. I don't necessarily think that it should be used in all cases, but I do think that where appropriate in advertising, it could be a really a way to help you to stand out compared to your competitors.
Camden Bernatz (00:07:37) - Yeah, that can definitely be done. I have like a theory. I don't know if it's a theory or like a philosophy, whatever you want to call it. When it comes to shock value or randomness, unexpectedness and advertising, my theory or my little philosophy is that it works to the degree that you need to consider and think about a purchase before you make it, it works less well. So the other than that spectrum that means that to the degree that you don't need to think about it, like an impulse buy, it works especially well. You think about the Starburst commercial we're talking about the Reese's one you just, you just mentioned, Skittles has had a lot of weird goofy ones. Do you remember Puppy Monkey baby from Mountain Dew Kickstarter? A few super bowls ago with like this random puppy slash monkey slash baby. Anyways Google that afterward, super random, like nothing to do with the product not talking about the sugar content or the price or nutritional value, you just purely for memorability.
A lot of those things that are listed are like candies, sodas, like something you might see in the checkout line at the store or like on a gas station when you need something quick, you're not sitting there debating for a long time and price comparing like candy bars, right? It's just kind of like, oh yeah, I should grab that. You might not even know what price it was. You just grabbed it knowing it's like, oh, it's a buck or two whatever. And I feel like for those ones, the shock value of, oh yeah. Berries and Cream Starburst. Oh yeah. Puppy Monkey Baby or that funny reason is that they have a karma one now, don't they? Like that works in that sense. But you don't see a lot of shock value, crazy randomness for like car commercials or buying insurance or like law firms. Like, I don't know, things that were like, I need to like kind of shop around and it's more of an investment and the purchase timeline takes longer. Maybe there's some examples out there you could show me that I'm wrong and it's probably not a hard and fast rule. But in general, I feel like when you see those, it's usually for like impulse buy, low cost commodity type of products or services. I don't know response to that. Am I off on that or is there any wisdom to that?
Madeline Trenkle (00:09:43) - I totally agree. I think that with your brand you recognize what tone you want to project and maybe it could be lighthearted and fun. You know, it's a candy, it's colorful so it can be a funny concept. But with cars, for example a lot of people when they're car shopping are looking for stability and a good price and things like that. And to that note, I don't know if you remember those, I believe it was Kia, those Kia commercials with the hamsters or gerbils? Do you remember that? They were like, driving the cars.
Camden Bernatz (00:10:15) - Like the Kia Soul when they used to advertise that? Yeah, those hamsters.
Madeline Trenkle (00:10:19) - Yeah. And I think that, I mean, not that Kia isn't like a solid car or anything like that, but I do think that nowadays on the internet, Kia, drivers get a little bit of hate, they get a little bit of people make fun of them a little bit. You know what I mean? And I think that maybe there's a tie to the advertising of Kia that it was in the past anyway, had a little bit more of goofiness to it. And so that could maybe sway someone's perception of the people that are driving the car compared to a car that is advertised in a very sophisticated way if that makes sense.
Camden Bernatz (00:10:59) - Which you distinguish it doesn't mean that anything that's silly or funny is the same thing is, is like in the same category as berries and cream little lad guy because that you can have like a funny ad that was like, had a message behind it. It was kind of heartfelt or like or was clever and in trying to say something. But there are some again, you go watch Puppy Monkey Baby. It is just like so entirely random where this creature comes in saying Puppy Monkey Baby and hands him a Mountain Dew Kickstarter. Like it's just purely for like, what the heck was that commercial like to see you remember and talk about it after. That's a category that I think that that's what I'm trying to like define here. And so yeah, I think about another example which I don't know if you remember this one. It's been a long time since this one aired but e-trade many Super Bowls ago which is like for investment. They had like the dancing chimpanzee that had e-trade shirt and it was kind of silly and goofy and random. But their whole message was like, it was clever that they had spent that much money on a Super Bowl commercial for something so random because that's part of like their message.
Anyways, I won't dive into that too deep right now. But anyways, randomness. Yes, I think I'm over speaking to it now, but there is a place for it but you got to make sure it's going to be a type of a product or service, a brand that you're okay with just simple recall and being attached to that randomness. If it's something people you are trying to gain trust or they're asking for like their, you know, investment or a long term commitment or things like that, probably not as good of an idea, I would imagine. So, another question for you, I've been thinking about this in my own work a little bit lately as I tried to develop some creative concepts for clients and talking about. We throw the word campaign around a lot and it kind of gets a little bit, it's kind of been stretched in many different ways with the word campaign can mean a lot of different things to different people now.
But in general, if I'm going to define campaign as being a campaign is more than just a one off idea, like it's a multichannel. Like if I have a campaign concept, it's something that I can run across social, a TV commercial, put on my website, like it's something that has legs to have multiple iterations that tie up to it, you know, like the Snickers bar, you're not you when you're hungry. That's a campaign because there's multiple ads related to that. You could do video, you could do print about this concept that like Snickers fuels you and fills you up better than other candy bars does. Anyways, that's a campaign.
Berries and Cream was this really viral one off that was just like, it wasn't what I would say a campaign or maybe you could say as part of the Berries and Cream like campaign in the sense that they had other ads or promotions related to it. But there wasn't like a bunch of little lad stuff that popped up for that year. There wasn't more goofy songs that were made. I shouldn't say one off. There was that second video as a little lad teaching this little lad dance. So I guess there was another iteration but like it was kind of a one off. And so my question, my long roundabout way to get into the question, what do you think the time and place is when, like, when do you need to have like a campaign versus when is it a good idea to just focus on like a one off commercial or a one off ad? Like yeah, what's your thought about that? I know it's not an easy question to answer probably, but any thoughts related to that. Can you help steer me so I can wrap my head around that for my clients.
Madeline Trenkle (00:14:14) - Yes. Right. Right. No, that's a really good question. I think it's important to recognize the shelf life of different advertising. So for example, I can see if they were to push Berries and Cream across all ads, billboards, digital, things like that, how people could go from being intrigued to being kind of annoyed, if that makes sense because I think that there's also this thing where there are trends on TikTok, on social media and advertising and once it hits a certain audience and it becomes more mainstream, then people become less interested in it and more annoyed by it. And so I think you have to gauge a little bit about how much you want to scale the campaign and who you want it to hit. Do you want it to hit your target audience? Do you want it to go viral? Like the Berries and Cream and throughout the run of that campaign? Check the health of the success of who it's reaching and how your target audience feels about it, things like that. But yeah, I do think that it depends on your intentions with the marketing altogether. Long answer short.
Camden Bernatz (00:15:28) - Yeah, that makes sense. Can you imagine pitching that ad to the client, like trying to, they're like, hey, we want to promote this new flavor of Starburst. Like that's, that's the direction they send you in and they're like, you want to dress this guy up in this little outfit and have him do this little dance and sing this little song. Like, I'm not sure I can’t imagine with that meeting. Well, according to Winslow there was lots of meetings but like multiple times like sing that little song and do your little dance and try to explain. I could just, again, I wasn't a fly on the wall but try to think like, okay, well, are you talking about like –
I guess, I guess in hindsight though it's not, you can, it's called Berries and Cream. So it's pretty self-explanatory. It tastes like berries and cream. It's candy. There's not a whole lot to say about it. So I guess other than I guess it kind of goes back to what I was saying before, like if you're going to promote a candy other than saying like, hey, this is out now, go buy it, like just put it on the screen. It's kind of free to just do whatever you can to be memorable, right? And so I was just trying to imagine like, yeah, how trying to sell that, like we're not missing any super important elements you want to say about it other than its Berries and Cream and it's for sale now. But yeah, you didn't ask for all this weird stuff, but trust me, it's going to be memorable and people are going to get a kick out of this.
Madeline Trenkle (00:16:42) - Right.
Camden Bernatz (00:16:44) - You got to have trust with the client, I guess.
Madeline Trenkle (00:16:44) - And I think that when you have such a big brand like Starburst, Reese’s, for example, like you have a lot more opportunity to be creative because people know who you are, you're not bringing awareness so much, you are kind of expanding your brand identity and you're expanding a relationship with your audience and your customers. And you know, because I don't know, most people, at least in America know who, what Starburst is. They've had Starburst, they've tried Starburst. So it's not like they need to do a lot of that explanatory advertising so much as be memorable and make a connection.
Camden Bernatz (00:17:21) - Yeah, it was purely for brand awareness. It wasn't trying to compare or contrast to someone else or trying to yeah, it was just, you're going to think of this next time you're passing the candy aisle. I heard a quote recently on a podcast and I feel bad that I'm not going to be able to give credit to who it was because I honestly don't remember who was saying it. So it's like this quote that lives in my head now, not attached to a source. So forgive me if this was you who said this, but there is a difference between what's funny and what is a funny ad. Oh, I remember who it was. It was the VP marketing for Liquid Death was not a podcast I was listening to and he said, like, a lot of times you'll say, oh, yeah, it's a funny ad. Like you get the ad and see how it's funny. But you're like, outside of it being an advertisement and not compared to other ads, is it funny? And there are sometimes that there's ads where like, oh, it's a funny ad, the Super Bowl. But you're like, if you just saw that not looking and evaluating as an ad, would you laugh at it and not all the time?
And so I think this example of the Starburst commercial makes me think about that where there are some things that you might be like, oh, yeah, the client thinks that you're going to chuck all of that and it's kind of clever and stuff, but a lot of it can just seem kind of forced or contrived or not really that funny if it's still too much of like an ad, if that makes sense.
Madeline Trenkle (00:18:40) - Right.
Camden Bernatz (00:18:40) - So that doesn't mean that there's any perfect formula or secret sauce to make sure you're actually being genuine funny that that's still something you got to kind of figure out, feel out and takes the talent. But that's something I was thinking about as I work on things for clients is, don't just make something that I think is a funny ad. Is it actually funny? And those ones that are actually funny are going to do better as an ad or as a piece of content or whatever related to that. And so I guess that's just my thought of the day. I don't know, it's only a question for you or anything. But, yeah.
Madeline Trenkle (00:19:11) - Yeah. No, that makes sense. I, I totally agree. I think that a lot of times with consumers and advertising you almost don't like the advertisers because they're trying to sell something to you. And so a lot of times when you're seeing advertising, you are already sitting in a place of skepticism. And so once they're able to break that wall of, we're not just a, like, this is relatable. This is something that you would laugh at not just as an ad, like you said is when it starts to last the test of time and like Berries and Cream where however many years later we're still talking about it because it's not just an ad, it's at this point become it's just funny in itself.
Camden Bernatz (00:19:54) - Yeah. To have a resurgence that long after it was actually an ad is like this cultural nostalgic. Yeah, this little icon of this little ad they call him.
Madeline Trenkle (00:20:06) - Right. It's funny as someone in advertising too thinking about, okay, what am I making now that could be resurfaced in the future? It's almost a little scary honestly because it got so viral. So, I don't know. That's interesting for advertisers in general thinking about the virality of what you could be doing and, yeah, it's interesting. It's a fun thing to think about. It's a little bit of you have to wrap your head around it all. But, yeah, it's interesting.
Camden Bernatz (00:20:36) - For sure. And it's always easier to look at it, kind of in hindsight, right. We're from the position right now. We're looking back on something that happened and evaluating why it was worked or didn't work or what we could have been better. But like in the moment making it, it's, yeah, you're figuring it out as you go and trying to rely on best practice and some inspiration. But yeah, that's what we do and I enjoy the game, but it's always easier to kind of evaluate and everyone has their opinion after the fact. It's not hard too is like we, we know working in the industry, we know there are some things that are like best practice or some ways to approach things or ways to be strategic. We know there's like there is a craft, there is a talent involved, but no matter what it is, there's never been a piece of branding, advertising, design that's ever come out that someone won't have a critique of where they're like, oh, that's actually not that good for this reason there's going to be – and so it's like the subjective nature of it that's sometimes hard to balance internally for ourselves. Right? And then also to help the client, like they're paying us to do something they can't do themselves, that's why they're coming to us. But yet you have to find that balance where you're not ripping it out of their hands and telling them like hey, it's our job now. You want to let them feel like they're involved in it. But at the same time, it's like, we're doing something, you can't do yourself. If you want to do it yourself, you, you would have done it. And so it's hard. That's a challenge.
Madeline Trenkle (00:21:53) - No, and I've experienced that a lot within the design world as well. where you'll make a logo or you'll see a logo or this happens a lot of times at museums, if especially like modern art where you see a piece and you think, oh, I could do that easy. That would take me like 20 minutes and people will feel like they could be the creator when branding or whatever it is, but they're seeing the finish product of things. They're not seeing the full process that got to that point. They're not living in and seeing all of the little details that got there. So when you see something like Berries and Cream and seeing its success, you can think, oh, I can make something like that. But in a different realm I'm like, ok, let's, let's pull it back a little bit. I don't know if you actually -- it's harder than it looks. There's a lot more details that go into it than just what you're seeing in the final result.
Camden Bernatz (00:22:46) - Yeah. Well, plus people try to copycat, like, oh, I could do something like that and then someone goes make a knockoff. It's almost the exact same kind of ad and it doesn't hit the same because it's like, well, that already happened. Like you kind of have to do your own thing. You can't just watch and repeat someone else's process or style or commercial. And so yeah, it's funny you bring up modern art because, or like contemporary or a classic art I mean, because I think this isn't a topic of this episode necessarily. But like, I think that also lends itself or is indicative of the power of brand because artists have their own brands. Like you think of Picasso who is well known, famous artist had skill and a certain style and stuff. But like toward the end of his life and end of his like career, if like Picasso would have just like taken a bucket of paint and like throwing it on a canvas and wrote his name on it, it had been worth tons of money because Picasso did it. And so like, even if he didn't actually exhibit what he considered like skill, his brand and knowing what he was about in his cachet, anything he produced would have been worth a lot of money, right? It's because of like the brand of it and you see that a lot with, especially with like celebrities and influencers and stuff like powerful brands usually a good brand is only can only be good because it has a good product or service, of course. But then when they get so much right, respect or notoriety as their brand, anything they see is seen through that lens as being that awesome. That's where you get like the people get mad about like iPhones. So it's like, oh yeah, throw a different camera on it and release it every year. It's the same phone. I'm not saying that's true, but that's what people kind of get frustrated about. Like, well, yeah, it's Apple so you can charge lots of money for it. But it's like, aren't you giving us the same phone every year? I don't know.
Madeline Trenkle (00:24:28) - 100% a lot of it like there is a final result, but a lot of it is also the creators themselves. Another artist that comes to mind is Jackson Pollock where he has a lot of like splatter art and people get mad that aren't necessarily in the art world or art lovers because he's famous and has earned a lot of money through this way of creating art that most people could do themselves. But they're not him.
Camden Bernatz (00:24:54) - But it wasn’t your brand. Yeah, it’s him doing it.
Madeline Trenkle (00:24:55) - Right. They haven't done the work to create the brand that has become this big thing. And it's a lot harder than you would think because you could go out and yeah, you could make that too. But are you going to get as famous as him? Probably not.
Camden Bernatz (00:25:10) - You can create something that looks the same but it's not a Jackson Pollock. It's just a splatter painting. His is a Jackson Pollock painting. Brand. I love it.
Madeline Trenkle (00:25:19) - Something else. This is a little bit, this is funny but it comes to mind. Another part of brand within celebrities because you mentioned celebrities is their brand identity and what they have been able to promote and make that has been based off of their brand. A big one is the Kardashians. They have a lot of different makeup brands, clothing brands, things like that, but they are like big businesses and not just because they're famous, but because a lot of people are sold onto their brand and to their brand identity. So not saying I'm a Kardashian fan, anything. Hate on them all you want but I'm just saying that the brand that they have cultivated has helped them to be as iconic as they have been and helped them to have these successful businesses in addition to the products. It's not just the fame and it's not just the name, but it's also the being able to contain the brand and have it last as long as it has. That's just one example. There's a lot of celebrities that do that as well.
Camden Bernatz (00:26:22) - Kardashians are like the textbook, like the picture in the dictionary next to influencer. Like they were like, I don't know if they're saying that they're the first like celebrities have always had influence and stuff, but like they purely were like because of their personal brand, influenced people to buy stuff and now including their own products. So and so comes out with the, it was like, Kylie had like her makeup line that was like instantly like worth a billion dollars or something like that. Yeah, that's a good example. Good stuff, good insight. Any advice for the podcast? We're still relatively new, but we're not like new, new and we want to grow our followers, you know. We got to grind, we got to promote. By the way, like and subscribe if you're listening to this. But what do we need to do as a podcast? What can we do, do you think to help get this out? Is there an audience for this? Am I speaking to the wind or is there an audience for this kind of content?
Madeline Trenkle (00:27:14) - Oh 100%. I've said this before but on my social media, for example, on my Instagram on my Explore feed, I am in graphic design world and a lot of my content is graphic design related. But I also get a lot of branding content too. Same with TikTok, the algorithm will kind of do its work for you. And so I get a lot of graphic design related content. And in addition to that I do get some podcast snippets. And so you don't have to do a ton of work when it comes to social media because there's already an algorithm in place that will like support. But I 100% if I'm seeing a podcast show up, I've found a lot of podcasts through social media just through snippets of audio and things like that. I don't know if you can think of those videos where like half of the screen is an audio and then half of the screen is like those satisfying videos. Those give me every time, but they have gotten me like hooked on certain podcasts or things like that because the audio comes from someplace else. Anyway but I think that yeah, I think the power of social media with in the podcast world is really a good marketing tool.
Camden Bernatz (00:28:26) - It's either it's like an aesthetically pleasing video or it's subway server.
Madeline Trenkle (00:28:30) - Yeah, it's like the car, the animated car videos.
Camden Bernatz (00:28:34) - Yeah. What is that? I got to go see that game. It's more of an advertisement for that car game than anything else. I want to go fly through those tunnels and stuff. That's funny. The cultural random things we all can relate to. Like, we don't like, talk about but like, we've all seen that random car. Yeah, it's funny.
Madeline Trenkle (00:28:48) - Yeah.
Camden Bernatz (00:28:48) - Good stuff. Well, thank you for joining us Madeline. Is there anything that you want to let us know that you're up to? I guess the first question is if people want to contact you or follow you, what's the best way to get in touch with you or follow you?
Madeline Trenkle (00:29:01) - Yeah. I guess I can plug my Instagram handle, which is funny because it's babyymadeline. So it's been like that for a while. But as a baby with two Y’s and then Madeline, but kind of funny.
Camden Bernatz (00:29:16) - Babyymadline. Maybe there's a story there? Is that just to be a mystery?
Madeline Trenkle (00:29:23) - Okay. It is a long story but basically every single year for Halloween, I love Halloween. It's my favorite holiday. I'm usually multiple costumes but one year, like 10 years ago I was a baby and I got a bald cap, but the cap that I got came in like a set of 10 bald caps. And so then from that moment, I made it a goal every single year to be a bald character for Halloween. So since then I've been like Shrek, I've been, Doctor Phil, Mr. Clean. I've been a lot of bald characters for Halloween. Mr. Worldwide himself.
Camden Bernatz (00:30:07) - You still got the bald caps?
Madeline Trenkle (00:30:09) - Oh, yeah, I sold the bald caps. Well, I've actually gone through most of them. I need to replenish my stock. But, so I started out with that because then people started calling me Baby Madeline and so I just changed my Instagram handle to it.
Camden Bernatz (00:30:22) - There you go, that's your brand. There you go.
Madeline Trenkle (00:30:24) - Yeah.
Camden Bernatz (00:30:24) - Okay. Check you out babyymadeline. What kind of stuff do you post there?
Madeline Trenkle (00:30:28) - Oh, nothing special. Yep. Yep. I do have my link in my bio. It's in my Behance account. So sometimes people will message me on Behance for freelance work, but I will admit this agency is keeping me busy. I'm not taking on too much freelance work.
Camden Bernatz (00:30:45) - Yeah, that's a thing I want to make sure. Hopefully we're far enough if you follow the show for a little bit. I obviously we mentioned this is a podcast powered by EKR, the agency where Madeline and I and some of our other guests we've had on work and we don't want to make this a shameless plug for our agency, but we do offer a lot of these services, right? We offer creative branding services along with other marketing fulfillment. So if you like what we talk about, we think we know anything we're that we're talking about and not totally out there and want to work with us, we think we can do some good for you. And so, yeah, EKR is the agency. You can reach me at camden@ekragency.com. Madeline is there as well who can be your art director. You've had Cory on, Adam has been on the podcast. So we are looking for great opportunities to attach strategy to creative and do some good things.
So, although I was not the main focus of this podcast, that's my first kind of shameless plug for the agency is we would love to work with you and help figure out what we can do for you and your brand. Anything else? Any parting words of wisdom, any thoughts Madeline? Should we call it a wrap?
Madeline Trenkle (00:31:47) - No, I feel solid about it.
Camden Bernatz (00:31:48) - Awesome. Okay. Well, go eat some Starburst. Go try to get the Little Lad song out of your head or not, you can enjoy it in your head. Thanks for joining with us and those who have listened, wherever you are, thanks for tuning in. Again, please give us a subscribe, a like, share, a review, anything like that would be much appreciated and help expand the reach of the podcast. We look forward to bringing you more content. We'll see you next time.
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