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Taught by Jimmy Smith · Chairman, CEO & CCO | Amusement Park Entertainment | Cultural Storytelling & Big Idea Evangelist
A book in the Basketball Hall of Fame. A video game. A TV show. A man jumping from 25,000 feet without a parachute. Jimmy Smith's most radical insight is that advertising doesn't have to be an ad. This lesson unpacks the philosophy that launched Amusement Park Entertainment and changed what branded creativity can be.
What if the best ad you ever made wasn't an ad at all?
That's not a riddle. It's the question Jimmy Smith has been answering — in real, tangible, culture-shifting ways — for decades. In this lesson, Jimmy walks you through the philosophy that changed his career and, in many ways, changed what branded creativity can be: anything can be an ad.
Watch as Jimmy traces the through-line from a Nike print campaign to a book in the Basketball Hall of Fame, from a video game to the highest-rated show in MTV2 history, and ultimately to the founding of Amusement Park Entertainment — the company built entirely on this idea.
Most creatives are trained to think inside the brief. Client needs a TV spot? Make a great TV spot. Client needs a banner ad? Make a great banner ad. The format arrives first, and the idea gets poured into it.
Jimmy flips this entirely.
The insight is simple but radical: if the idea is strong enough, the format doesn't matter. People will read a book, play a video game, watch a TV show, or follow a man jumping from 25,000 feet without a parachute — and they will engage with the brand behind it — if the content is genuinely worth their time.
The 30-second spot isn't the destination. It's just one possible vehicle. Your job is to find the idea big enough to transcend the container it arrived in.
Jimmy doesn't just theorize about this — he's lived it. Here are the landmark moments he walks you through in this lesson:
Soul of the Game — What started as a print campaign for Nike NYC became a coffee table book of basketball poetry, photography, and legend. It sold out. It ended up in the Basketball Hall of Fame. It's also, unmistakably, an ad. Jimmy's realization: yes, people will buy a book of ads — if it's done well.
Nike Battlegrounds — EA Sports didn't call Jimmy to make commercials for a new video game. They called him to help create the game — naming characters, building storylines, infusing the culture he'd been channeling into Nike's advertising directly into the product itself. The brief became a creative directorship.
Nike Battlegrounds (TV) — The highest-rated show in the history of MTV2. Not a commercial. A show. Built from the same creative DNA as the ads, but living in an entirely different format — and reaching an entirely different level of cultural impact.
Gatorade Replay — Two rival high school football teams. A game from 1993 that never had a true winner. Gatorade didn't just sponsor the rematch — they made it happen, documented it, and built an entire sports and entertainment network around the concept. Jimmy didn't just sell a campaign. He sold a platform.
Heaven Sent — A man. A space suit. 25,000 feet. No parachute. Pure, undiluted proof that a brand can own a moment so audacious, so genuinely spectacular, that the entire world stops to watch.
Here's the strategic shift underneath all of these examples: the brands that win in the future won't just be the ones buying the most media. They'll be the ones who own and control creative intellectual property.
When you make a great 30-second spot, you rent attention. When you create a book, a game, a show, a cultural event — you own something. Something that lives beyond the campaign cycle, beyond the media buy, beyond the brief.
This is what Amusement Park Entertainment was built to do. And it starts with a mindset shift every creative needs to make.
Every brief contains a bigger idea. Not every client is ready for it. Not every agency will let you pitch it. But it's always there — and your job is to find it and be brave enough to put it in the room.
Jimmy sent a five-page letter to Dan Wieden after two weeks of unreturned calls. He didn't play it safe. He said what he needed to say, because he believed in what he could do.
That's the posture. Find the bigger idea. Believe in it. Fight for it.
Because anything — anything — can be an ad. If it's done well enough.
Jimmy's answer is rooted in trust, cultural credibility, and the quality of the idea itself. When Dan Wieden saw the NYC City Attack print campaign, he didn't need to be convinced — the work spoke for itself. This lesson explores how to build the kind of creative reputation that earns you that latitude.
Absolutely. Going beyond the brief is a mindset, not a budget line. Jimmy's early work at Burrell and Muse Cordero Chin proves that the most original ideas often come from the most constrained environments. The question is always: what's the biggest possible idea hiding inside this problem?
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