Kevin Zengel of PeterMayer on Hyping Homegrown Brands

Plus: His work for the University of Arizona and Mutiny Island Vodka

Kevin Zengel is a creative director at PeterMayer. Outside of the 9 to 5, he does things his 11-year-old self would brag to his dad about: live bull riding in Tombstone, pitting the Baja 500 in Mexico and singing lead for Metalsome (a live band karaoke) in Atlanta.

We spent two minutes with Kevin to learn more about his background, his creative inspirations and recent work he’s admired.

Kevin, tell us…

Where you grew up, and where you live now.

I’m from New Jersey. While home means the Jersey Devil, the Jersey Devils and The Boss … you unofficially start a PR career once you leave. To this day, I hard-sell the state’s history and beaches—then still get asked if I’’ve met Snooki or JWoww. It’s pitch practice if you think about it. Now I live in New Orleans, by way of Miami, Los Angeles, Orlando and Boulder.

How you first realized you were creative.

I was a quiet kid. I liked Batman comics and Sega Genesis. But I was also in Boy Scouts, and Boy Scouts had campfires. As corny as it sounds, other troops would visit ours. Like every other Scout, I’d write skits and songs to pass the night. I didn’t know it then, but that was my first stage—and people loved my songs and jokes. I’m still chasing that 11-year-old adulation.

A moment from college that changed your life.

The first story is heavy outside the DMs, so here’s the second. Senior year, I switched from psych to marketing. One of my professors told me to get an internship. The Martin Agency had just won Adweek’s Agency of the Year, so I figured that was a good place to start. I bribed my friend Simone—who knew Photoshop—to help with my application. After one well-written response, I got in. Martin: “You’re a defense lawyer who specializes in clowns. What’s your vanity plate?” Zengel: “ThxBozo.” The Geico work was fun, but the real game-changer was the meet-and-greets. I got a one-on-one with Mike Hughes in his UPS era. But equally important, they introduced us to the account folks, the strategists and the media team. I heard a lot of pitches about where the “best minds” go. But when the creatives presented, I thought, “Oh shit, that’s me.”

Your most important creative goals.

Write a bestseller. Sell a screenplay. Craft the best epitaph in the graveyard.

One of your favorite creative projects that you’ve worked on.

I was a lead writer on the University of Arizona’s “Wonder Makes Us” campaign. Poetic, visually stunning and totally nailed by Allison Dobkin. Then Covid hit. Everyone in our office got laid off. Thanks to a goddess of a creative resources manager, I was brought back and became the sole creative lead for year two. With no students to film and everyone masked up, I said: “Let’s f**king illustrate it.” Pulling inspo from an Exquisite Corpse x Rick and Morty piece, we built an animated campaign that riffed with students, teachers and alumni alike. Years later, I met a kid in a Wildcats hat who told me he saw the spot, applied, got in, attended and graduated. Advertising works.

A recent project you’re proud of.

When the brand’s look is already tight, I get to write without overthinking—simply making people click, Google or buy. This year, I teamed up with a few friends to launch Mutiny Island Vodka across Florida. For our “Raise the Black Flag” campaign, I drove from Miami to Tampa, then walked from Clearwater to St. Pete in to capture our billboard boat in action.

Someone else’s work that inspired you years ago.

One of my favorite unsung campaigns: MetRX’s “Love the Monster” by Droga5. We always hear about dreams and positivity—rarely about determination and darkness. This one flipped the script. It didn’t cop out. Mean wins, too.

Play

Someone else’s work you admired lately.

Say what you will about McConaughey’s Lincoln ads—but for Special U.S. and Uber Eats, he deserves a Lion. This was a perfectly cast conspiracy theory about pro-sports selling you food.

Your main strength as a creative person.

In 2010, the hot resume word was “detail-oriented.” I beat and broke my brain to never miss a deadline, check-in or kickoff. It’s murder on my sleep. But my superpower is foaming-at-the-mouth accountability.

Your biggest weakness.

To quote Schwarzenegger: “Only pain.”

A mentor who helped you navigate the industry.

Rich Ginn taught me that good ideas need to look better. Dean Jarrett taught that the best work is conversational. Dennis Chalifour proved that kind = smart = effective. Cyril Guichard taught me that great leadership is person-to-person. Adam Griffiths demonstrated that we’re here, now. Tristan Stevens showed that we shape the future of this industry. And today with Dave Damman, I’ve learned that good ain’t good enough.

What you’d be doing if you weren’t in advertising.

A county sheriff keeping the jail empty and the asses whooped.