June 23, 2008
World of World of Warcraft
Painfully funny because it is painfully true. I love a good Mage.
June 06, 2008
Advice for everybody in the ad/marketing game.
Bill Hicks offers everyone in our business a little advice. Thanks to Armano.
May 30, 2008
R.I.P. Harvey Korman
Too many of these this week. Here's to you Mr. Korman. Thanks for the laughs.
Sidenote: There's a "thing" in theatre about "breaking character." Sure, Conway is chewing the scenery here. But the real laughs come from Korman going ahead and laughing at him. Korman knew exactly what he was doing.
May 29, 2008
Disney brand standards apply. Even to Jack Sparrow.
A guy learns the hard way that there are rules about playing Disney characters.
Via LA Mag and Joe.
May 27, 2008
For those who like to make up words.
Is blogging too much for you? Is micro-blogging too boggling to you? Has tumblr just opened another can of worms that you care to NOT look at? Really, sometimes, all we want (all we need) is one word to describe how we feel.
For those of us desiring just that, in comes Adocu -- specializers of "nano-blogging." Here's what Adocu says about their service:
adocu is a way to let your buddies and the world know what your doing.
Unlike other sites, your posts must be one word long. You can fit whatever you want in that word, just no spaces. That way it stays short and simple.
We like to call it nano-blogging :)
As you might have already figured out, Adocu (please ignore the your/you're grammar mistake on their page, it was probably shortened to make a point) is perfect for all of us in advertising who LoveToMakeUpOurOwnWords -- aka, URLs. Better yet, this is perfect for those of us that make up those one word/sentence tags (just take out the spaces!).
In any case, this is the latest craze that probably won't take flight, but is interesting to check out.
Sorry, I suppose I could've just said: thisprobablywon'tgoanywherebutwhoknows.
April 17, 2008
Yeah, see not everyone can do this.
So, I'm not sure I get this exactly. I am pretty sure that I don't want to.
April 17, 2008
I.D. a font.
See how you do. Feel free to let us know your score. Best score here so far is 30...
March 31, 2008
When creatives get bored before consumers do.
I've always liked the Whiteboard ads. Yeah, yeah, I know a lot of you too-cool-for-schoolers are haters but I think the campaign is smart, differentiating, and appropriate for the brand. Top it off with the fact that is sells pretty hard, too. I've also always felt there was a real charm to the simplicity of the spots and the clever illustrations. But a great deal of that goes away, for me anyway, once you add the animation and the extra characters in with Azula.
So, here's the question I'm posing to people who know or would like to posit: Did the campaign need to evolve for message or did the creatives simply get bored before we (or at least I) did?
March 25, 2008
American Copywriter salutes Hal Riney
Here's to a voice that stood out. Spoken and otherwise. A voice that I'm certain our industry will miss even more than we may suspect. If you're a little young and stupid (which is perfectly acceptable), do yourself a favor and bone up on The Riney Way. You can start by absorbing what Jeff Goodby had to say about the man.
Here's to you, Mr. Riney. We are believers.
December 31, 2007
American Copywriter salutes Phil Dusenberry
Former chairman and CCO of BBDO, Phil Dusenberry, passed away on December 29th after a battle with lung cancer. He was 71. In 1999, Ad Age ranked him 31 on their list of the century's most influential advertising people. He was a bona fide advertising luminary. His lofty titles and achievements disguise the fact that he was, throughout his career, a copywriter's copywriter. Dusenberry's work is the stuff of legends including Pepsi's Michael Jackson spot and Ronald Regan's Morning in America commercials. He penned a few screenplays, too, most notably The Natural. An apt description for Dusenberry himself in the context of his chosen profession.
When I was in college I interned in the corporate communications department of Pizza Hut, Inc. When it came time for the big franchisee convention, I got plopped down in some back room of a Wichita Marriott hotel making last minute changes to speeches for the Pizza Hut execs. I was pecking away (on an original Mac BTW) when I heard someone say, "Hi Phil!" I turned and saw Dusenberry sweep through the room. He was there to present BBDO's new crop of spots to the franchisees. I punched "save" and stole into the darkened hall with everyone else. I really wasn't supposed to be there but no one hassled me. The room was electric. Advertising is a big expense and franchisees pay much of the bill. Hundreds of eyes locked on Dusenberry as he took the stage. From word one he owned that room. With his white hair, whiter teeth and power suit, Dusenberry was the definition of an impressive "ad man." He deftly introduced several spots to the crowd that afternoon including (if memory serves) the classic "Right Field." The crowd loved it. And him. It was a lesson to me. An advertising contract is a potent mix of money, power, politics and creativity. Yes, it's always about the work, the work, the work. But a little showmanship never hurts.
Here's to you, Mr. Dusenberry.
November 20, 2007
Rest in Peace Mr. Whipple.
Dick Wilson, a.k.a. Mr. Whipple, 1916-2007. P&G ran the "Please don't squeeze the Charmin" campaign from 1964 to 1985 and again in 1999. As Steve said, "...Wilson, was a lovable, humorous television advertising icon back in the day when brands didn't change campaigns and agencies at the whim of a here today gone tomorrow CMO."
October 05, 2007
Arnold exposes the focus group.
Watch this and remember why you get paid to do what you get paid to do. The opening to the 2007 Hatch Show from Arnold.
Spotted at Ernie's blog.
September 11, 2007
Design the copywriter's birthday card. They said.
From Noisy Decent Graphics. Thanks to Parc Masterson (cowboy, poet, flash artist) for the find.
September 10, 2007
Behance Action Books = delicious.
SethyG conned the agency into buying a few of these sweet "action books" from a company called Behance. And we're darn glad he pulled it off. Behance is a company that, in their own words, "develops products and services for creative professionals." Here's what they say about capturing creativity:
Great ideas are conceived and subsequently lost in the hands of creative geniuses, everyday. Frustration, rationalization, and despondence loom as creative people jump from idea, to idea, to idea... and fall short of actually making ideas happen. It is a shame that most creative breakthroughs never materialize. The Behance team studies exceptionally productive people and teams working in the creative fields. We document the methods and resources that productive creative professionals use to push their ideas forward. Our inventory of knowledge, products, and services is carefully curated according to our philosophy, "Productive Creativity."
Okay, okay ... so they used the word "curated", but cut 'em some slack because they make one helluva great product. At risk of being sacrilegious, this book might just be, for me, better than a basic moleskine for use at work. There's plenty of room to write, doodle, compose (all important when you're pretending to take notes in a meeting). But you can kick good ideas or action items over those boxes to the right. Seems a little gimmicky at first. But, um, it's actually helped keep me on task. Plus the book is filled with 80lb paper so the pen feels pretty darn good when it hits the page. Look, my moleskine is still going with me to the beach and the Flint Hills and other places where I'm apt to find meaningful words creeping into my mind. But for the too-many-meetings of an average week in advertising, I plan to "curate" these for awhile and see if the action method sticks.
September 07, 2007
Creative Solutions Outside of Advertising.
JJ and I talk to a lot of ad people in a lot of cities, (OK, a few in a few) but one of the things we always say is that we in the creative department are not the only ones in our species that possess creativie abilities, but that everyone out there in the whole wide world can be creative in their own way.
I think this picture is proof positive that we are correct.
And yes, that's a forklift lifting a forklift.
Straight genius. Dangerous, but genius nonetheless.
Thank you Nick Kinney and Flickr.
July 22, 2007
Work that reminds us why we love advertising #1.
Had not seen this Gold Lion winner until last week. Genius. One can only hope to do as well with a full two minutes to communicate an idea. Great concept. Great script. Casting is dynamite. And the direction? So good it can't be fully appreciated until the end. Flat out wonderful. Credit where it's due: Agency: NORDPOL+ HAMBURG Creative Director: Lars Ruehmann Art Director: Bjoern Ruehmann/Joakim Reveman/Matthew Branning Production Company, City: PARANOID PROJECTS, Paris Country: FRANCE 2nd Production Company, City: PARANOID US, Los Angeles Country: USA Director: The Vikings
Thanks to Andrew The Planner
July 19, 2007
Plagiarism is in the eye of the beholder.
Anyone who reads this blog likely knows the unwritten rules of applying creativity to sell a product, service or idea. 
One of the greatest sins? Intentionally ripping off an idea from another creative. In fact, it's considered grounds for excommunication from the creative tribe. Not just because it is wrong but also because it speaks volumes about your opinion of your own talent.
As the lines between entertainment and advertising blur, however, it seems our tribe may have some trouble adjusting to the culture of the networks and Hollywood where straight out rip-offs don't seem to carry the same stigma.
The most recent case in point: Don't Forget the Lyrics on Fox and The Singing Bee on NBC. One of many cases of network duplication including Trading Spouses vs. Wife Swap and Super Nanny vs. Nanny 911.
We've talked before about the collective unconsciousness. Two creative teams working half a country apart on poorly differentiated brands can and do arrive at similar conclusions. It happens. That doesn't stop the whispers and disapproving looks. Even, uh, borrowing elements from other parts of the popular culture can be frowned upon i.e. the kerfuffle about the origin of the look of the iPod spots.
How is it that something so taboo on the advertising side is so out-and-out blatant on the content side?
Maybe it's that TV shows aren't viewed as ideas but rather as competing products.
May 25, 2007
Turn off your inner ad monkey this weekend.
If you're anything like me, you've got some big ass client presentation first thing Tuesday morning. No matter. Turn off advertising for the long weekend and do something utterly out of your average routine. Make the holiday weekend odd. Fill your creative wells with something new and refreshing and, if at all possible, goofy. Advertising (and the accompanying grind) will be back big and bad on Tuesday. So will we.
May 24, 2007
Dead rocker spec work + Web = fired?
The Daily Swarm is reporting that Doc Martens has fired the London arm of Saatchi & Saatchi for unleashing a rejected campaign on the Web earlier this month. The posters have generated a fair amount of controversy.
TDS has also published a response from Saatchi:
“We believe the ads are edgy but not offensive. There has
been blog commentary both for and against the ads, but it is our belief that
they are respectful of both the musicians and the Dr. Martens brand.
We regret that the controversy has led Dr. Martens to terminate the
contract with Saatchi & Saatchi. We are investigating the circumstances and
considering the ongoing employment of the individual who was in breach of
instructions not to distribute the ads further than the original approved
placement in Fact Magazine in the UK..."
There's more than a little "he said, she said" going on. Doc Martens says they did not approve the campaign. Saatchi says the campaign was approved to run in one specific place, but that it was not to be distributed further (which doesn't make a lot of sense). Courtney says she never approved the use of Kurt's image. Whatever the absolute truth of the situation, one thing is irrefutable:
Spec work in the age of instant, global communications can be career-limiting.
Hat tip to: Ben Thoma
UPDATE: More here.
May 21, 2007
Finally, e-cards even ad people can love.
Some Ecards is fuh-ney. And, as you can see, they've really got something for every occasion. Check them out. And hit send carefully.
Hat tip to Woolardspeak.
May 14, 2007
Improving your creative life for tomorrow starts today.
Some of the stuff that has been floating around in my brain the past few weeks.
1. If you have to revise a concept, the copy or a layout more than three times, you need to kill the idea.
I cannot express this enough. David Lubars said it best. When you go shopping for a suit with your significant other, there are a lot of racks with a lot of different suits on them in a lot of different stores. When you like a suit and your wife doesn’t, you don’t just cut off the right pant leg or splash yellow paint on the jacket (revisions). Instead, you put the suit back on the rack and find another you can both agree on. As Dr. Lubars concluded, “There’s a suit out there you and the client can agree on.” Don’t stop until you find it. Just know you’re going to have to embrace murder along the way.
2. Do research first, not last.
Too often, we create concepts out of thin air based on poorly written briefs or for ill-conceived projects. So start with research, do benefit testing, interview consumers of the product, watch them at home, whatever. Hey, the CW/AD team will always come up with something. Let’s start respecting them, ourselves and everybody’s precious time more. Respect each other enough to try to do it right the first time versus wasting two weeks concepting a project without the proper insights or account planning. It’s two weeks you will never, ever get back to spend with your family.
3. Ask for more mandatories.
If I’ve said it once, I’ve said it a thousand times: Creatives are very literal people. If we can’t use blue or have to use the word “Crisp Crumb Coating” just tell us. We’re professionals, we’ll deal with it. What we hate a lot more is when we’re not told that orange and blue are out because one client hates the Florida Gators (true story) or that another one hates the word “administrate” because it reminds her of the word “menstruate” (Again, and sadly, true.) When we can, let’s move this stuff from the creative review to the kickoff meeting.
4. Tell the truth.
For deadlines, client craziness and general ad insanity, simply tell the truth. Creatives aren’t children so don’t treat them as such. If it’s due Friday, don’t tell them Thursday because you know they’ll be late. Tell them Friday and then praise them by saying, “And I know you’ll get it done because you guys rule!” Why? Because, even though they aren’t children, they still like to be praised in the same way my 5-year-old does. Further, stop cheerleading all the goddamn time. When the assignment sucks or the deadline is awful, don’t say things like, “We know the timeline isn’t ideal.” Say, “Sorry this timeline is so shitty, we couldn’t do anything about it.” That lets them know you’re on their team and not the clients’.
5. And creatives, tell the truth about your ability to get the job done.
If you don’t have enough time or are too busy or whatever, tell the AE or traffic. EARLY. Don’t wait until an hour before the review to tell somebody. That’s BS. Man up and ask the AEs for more time. And AEs, man up and ask the client for more time. It was once said that, “There’s never enough time to do it right but there’s always enough time to do it over.” Write that one down and tack it to the wall. It’s truer today the way advertising works than it ever has been. And my personal experience has proved time and time again that, aside from the Super Bowl, virtually every deadline (including media placements and insertions) are arbitrary. There is ALWAYS a day or two in there you can give back to the creatives if they need it.
6. Stop when it’s time to stop.
My stopping time is 5. I get up, close the laptop and go home to see my kids. Now, many nights I’m back online after I get them to bed, but my time to stop is 5. Always has been. After a day of this, I just cannot muster the strength or creativity to keep on going until midnight. Now, like all of you, I have worked all night when I’ve had to, but I don’t believe in it. Great ideas are more likely to come after a good night’s sleep than during some caffeine-fueled all-night concepting circle jerk. That’s where you write those terrible, illegible notes to yourself that – in the fluorescent half-light of an office at 3:30 am – seemed destined to be One Show worthy but stink worse than goose poop. So stop when it’s time to stop and pick it up later. If you don’t have enough time, see #5 and ask for it.
7. Don’t blame the creatives for not caring after round of revisions 13.
Are you kidding? If your spouse asked you – no demanded – that you rearrange the living room furniture 13 times over the course of two days, stopping whatever else you were doing each and every time to do so because it “had to be done right now!” you would quickly stop giving a shit about where the couch and overstuffed chair were. In fact, you’d probably throw him/her and your cadre of Pottery Barn tchotchkes out the freaking window. So don’t blame the creatives when this happens. Man, it’s human nature to stop caring.
Besides, you should have killed that concept 10 rounds ago.
May 14, 2007
Earl does ad people proud.
Ad guy Earl Cole swept all 9 jury votes to take take home a million pre-tax bucks on Survivor Fiji. Earl, who never had his name written down at tribal council, proved that ad people can indeed persuade and manipulate any society (though Earl really does owe his new fortune to Dreamz constant flip-flopping). 
Earl wasn't the only "advertising executive" in this season's show. Edgardo Rivera was also a playa' this season (Edgardo proved that most ad people suck at archery).
I put the "advertising executive" title in quotes because it's just such a goofy, Darren Stephensesque moniker that people outside the industry use to describe what we do. If his beach drawings (and many of his tribal ballots) are any indication, you have to figure that Earl's got an art direction background.
His bio says Earl's an ex-KCK kid transplanted in Santa Monica. Way to go Earl. All of us in Adland are happy for you. Winning the million is at least as good as Gold Pencil, eh?
P.S. If you ever make your way back to KC, look us up.
April 25, 2007
How does your work stack up globally?
Now, it's easy to find out thanks to Dalbir Singh, a creative director with Ogilvy Budapest. Singh has assembled a jury of creatives from around the world who will judge user-submitted entries and crown an "Ad of Da Month." 
Sure, there are other blogs and forums to see the work being done across the globe, but, as Singh says, no one else is picking a winner. So, send in your stuff. Sure there's a chance that your ego may suffer a crushing blow on a global scale. Then again, there are a number of CDs on Singh's jury. So, who knows? Maybe one of your ads will get you a job in Sydney or Dubai or Capetown or even good old Kansas City.
March 27, 2007
Lily and Orson and the micromanaging creative.
Sometimes directors have their hands full. Of course, sometimes directors really blow it. I'm not sure which is the case in the above video from the set of I Heart Huckabees (which is so not work safe). Watch all the clips in the series before you make up your mind.
Of course, this makes me wonder what the talent is really thinking when a micromanaging creative or client begins to pick apart their performance in a studio or on a set. How many of us really know how to direct an actor properly? When it comes to coaxing a performance from either a voice talent or an actor in a TV spot, do you consider yourself a good director or are you really just a good dictator?
Reminds me about the classic recording of the poor agency bastards who ran up against the mind and ego of Mr. Orson Welles. If you haven't heard it in awhile or if you've only heard bits and pieces, sit back, relax and thank your lucky stars you're not selling frozen peas today. Then again, it's hard not to appreciate where Mr. Welles has to say.
March 16, 2007
Have a magically delicious St. Patrick's Day.
For something even more magically delicious, go here.
February 15, 2007
Vee Dub pulls the Jumper.
February has sure been a big month for high-profile spots getting yanked.
Hot on the heels of GM promising to re-edit the Robot spot, Adweek is reporting that VW has decided this pull the "edgy" Jumper spot which, at the time of this writing, can be still seen on the Adweek link.
There's a really frank and open discussion about people's feelings about the Robot spot over at Ernie's blog which demonstrates how polarizing the subject is no matter how deftly it's handled in advertising.
As for me, I'd certainly put suicide themes in the camp of Creative No Fly Zones. Yeah, I know a comedian could tell a joke about it without too many gasps. There likely wouldn't be an uproar if a scene similar to the one depicted in the VW commercial were to be included in a movie. But there's an important difference. Movies, TV, comedians...these are generally considered by the American public as art (even if a low form of it). Art has permission to humorously explore sensitive social issues. Whether we like it or not, the American public does not equate advertising with art. We have no such permission. So, when we attempt to poke at the same issues, we get our leash yanked. This is how it is. So, I'm not sure why we're so damned surprised or pissed off when it happens. Of course, this is where some of you will begin to argue that this whole thing is an engineered controversy. That everyone involved both expected and welcomed the fire-breathing and teeth-gnashing.
God, I hate to think it's really come to that.
February 15, 2007
When. You're. Blocked.
This weekend, Tug and I will be assisting in a creative workshop for marketers in the arts. As we've prepared, it struck me that both Tug and I have a similar way of dealing with a blank page. So, I thought I would solicit some input from you. How do you deal with a blank page. Where does your personal process start? What do you do when no ideas are flowing? Are you a person who likes to springboard off others or hide in a corner and sweat it out before you share? Whatever you feel like sharing will be valuable and we'll credit you in the presentations.
February 13, 2007
Blame Sid & Marty Kroft.
I have now come to believe that advertising's problems arise from the fact that there are still too many active practitioners who grew up watching either first runs or repeats of televison shows created by Sid and Marty Kroft. They screwed us up, man. They flat screwed us up.
(Bigfoot and Wildboy started out as part of the Kroft Supershow. For a fix of all of your old Saturday morning favorites go here.)
February 03, 2007
The edge isn't the only thing that goes when you get old, guys.
When you walk into a meeting with that stuffy client of yours, an earring sez, "I'm a dude who defies convention." Of course, even hipster ad types can't defy Father Time. So, maybe some of you will find a use for these when advertising begins to take its toll on your body and soul. After all, it's hard to be credible with stretched out ear lobes. Think they work with other piercings? Enjoy a classic example of an overwrought direct response execution on the link.
January 31, 2007
Super Disengaged?
I'm just not worked up about Super Sunday. Maybe it's the fact that I've been too busy to preview the Bud snippets or go see the Snickers teaser or dig around for more on Coke's efforts. Maybe I'm bored with Bob Parson's censor games. Maybe I'm still lamenting the money the Saints lost me.
Maybe it's those things.
It's more likely that my lack of interest comes from the dread of Stupid Monday. You know Stupid Monday. That's the day everyone comes back to work and says how stupid the ads were, how they used to be so much better, how the industry is suffering from a dearth of creativity. Where's 1984? Where's Mean Joe Green? Hell, where are the dancing bears?
I'm wondering if I can partially avoid Stupid Monday by keeping myself away from the pre-hype. If I stay off the grid long enough, maybe I'll be surprised by something. Maybe I'll find an argument that creativity is not dead come Stupid Monday morning. At least, that's what I'm hoping for. Because, whether I like it or not, I'll be part of the stupid. Tug and I will join the chorus of people who didn't create a Super Bowl spot bragging and ragging on those who did with our annual Super Bowl wrap-up podcast. Available around 10 a.m. on Monday. You can be part of the stupid, too. Point your browser here and record your thoughts after the game Sunday night with our handy Mobatalk comment system (found on the right hand side of the page). Or just record an MP3 and email it to us. Be pithy.
Of course, many people like to be prepared for Super Sunday. Here's a great post about Super Bowl XLI essentials from Friend of AC Warren Johnston.
January 02, 2007
Your advertising resolutions?
What are you planning to do to improve your personal advertising output this year? Are you planning to abandon the "blank can be, well, blank" copy construct? Are you bringing back the mockumentary style? Will you burn all your CAs? Move to Minneapolis? Establish the Birmingham style of editing? Go to work for a big agency? Small agency? Start your own gig? Any advertising resolutions? List 'em here.
December 21, 2006
Stuff in advertising that sounds dirty, but isn't.
This very funny vid plays on one of my favorite themes: ad jargon that sounds dirty but isn't. Or, in this case, it is. Great stuff from Ignited Minds.
Update as I posted this in a hurry: Thanks to Charlie P. for the tip AND, it should be noted the video is not, as it is said, work safe.
December 14, 2006
Us and them and the work.
Last weekend, I saw some poor bastard dressed up in a Reese's Peanut Butter Cup outfit perched on the edge of a bench near the old Chicago Water Tower. The character sat perfectly still, legs were crossed, "Job Finder" rag held directly in front of him. It was a funny bit, and I laughed out loud. My wife put her arm around me and said, "You can't help but love it can you?"
I think that's probably the biggest difference between those of us who create advertising and the rest of the world. I think we can't help but love it. I think we ended up in advertising because we have always loved it. Didn't you like commercials when you were a kid? I think we just don't see things like the whole milk and cookies scandal coming because we can't imagine anyone not thinking, "Hey, that's pretty clever." 
While the rest of the world ignored Mr. Peanut Butter Cup, I stopped long enough to laugh and make sure the actor knew I appreciated the joke. Someone was making an effort. So I acknowledged it. Like you, I read every billboard; I scan all the ads in the paper; I rewind the Tivo. Can't you always tell when someone tried? Even when the execution falls short, for all the ambient reasons we know it can, I appreciate effort when I see it.
Audiences choose books and TV shows and movies and stage productions. Consequently, audiences don't generally begin the process of consuming those things with built-in animosity. This is a luxury that, in America at least, advertising does not enjoy. Write a joke into a movie, and you might get laughs. Write the same joke into an ad, and you'll probably get letters. No matter how brilliant the execution, the "selling" part of advertising (in whatever form it takes) will always have our audiences keeping us at arm's length. This is how it is, and, if you think about it, just how it should be. Plus the intricate and delicate dance that must be done to coax a great piece of advertising into the world will always be rife with missteps. So, our professional critics will always have an easy time finding the mistakes we already know are there and gleefully pointing them out to us. I'm sure not saying we're above criticism. We make many of our own beds. But too often something good turns into something less good for reasons we can't control or even foresee. What's that line from "She's Having a Baby?" Something about doing one ad a year that you can be proud of?
So, OK. The rest of the world is never going to view our work or our craft with the same eyes we do. Who can blame them? But, even in the face of hate mail, rotten anonymous comments, snarky posts and articles, an out-of-touch agency principal,
an occasionally unappreciative client or a 60 Minutes camera, don't stop loving advertising. Don't stop believing that good work is best for client and audience. Don't stop taking time to appreciate the effort of the craft. It's advertising's only hope. Always has been.
November 17, 2006
All hail the anonymous copywriter #2
We at AC have been remiss recently in recognizing great copy when we find it, and we just found some very tasty stuff from GSD&M in a new ad for BMW's cross-over offering the X3. It's a masterful example of how the "negative" really can sell. If anyone can reveal the copywriter of these words, we're happy to give credit where it is due. In the meantime, we extend a hearty and hail greeting to the author: G
reat job, you magnificent bastard (that last line is truly inspired). Click on the image to see the full ad. Or just enjoy this bit of the craft:
This is not an SUV.
SUVs are ofttimes lumbering behemoths.
They are neither fleet of foot nor ridged of brain.
They have the grace of a steamroller.
They are a heavyweight in the 12th round.
They are a promise unfulfilled.
Many perspire easily,
and they stumble like a punch-drunk has-been.
Insects bounce off their windshields, unharmed.
Many have the grip of an infant
and lack opposable thumbs.
They are soft and pudgy and easily winded.
SUVs eat the food off your plate when you're not looking.
This is not an SUV.
Update: As noted in the comments by our fine AC readers credits go to Michael Buss, writer/ACD, Mark Peters, AD and Mark Ray, CD. Cheers.
November 01, 2006
A cartoon is worth a thousand briefs.
If anyone knows who created this gem let me know. We'd love to give out some props.
October 27, 2006
The following copy is now officially banned.
To gain entry into the AC Copywriter's Union I need you all to leave a comment here as a pledge that you will not use the term, "Monster Savings" from here on out in any retail advertising that you prepare for any client whether it is Halloween or not.
I will see what I can do about a Constitutional amendment.
October 13, 2006
How and why the world can beat creativity out of you.
Saw this on the excellent Beyond Madison Avenue and just flat out ripped it off. I've decided getting invited to TED is a life goal (it really must be the pre-release to heaven). This video is about 20 minutes long. However, if you spend your life as a creative, and/or if you want to raise creative children, this is well worth your time. You yourself may well identify with the story about the choreographer (if you wish, I'd love to hear about the moment you found the place you belong). And, of course, Sir Ken proves once again that an English accent makes you at least 30% smarter than anyone else in the room. Enjoy the video. Over the weekend, take stock in the talent you have. You probably take it for granted far too often.
October 12, 2006
The Creative Life. An occasional column.
Learn from the stuff you don't love.
We've said before that there is room for many voices in this business. There is no one right way to do things. There is no one answer to any brief.
I find that it's a worthwhile exercise to examine spots that, in seventy-eight billion years, I would never conceive. Like this one for Bombay Sapphire (you can find it and watch it on the company's Web site).
So, an elephant walks into a temple filled with martini glasses. He almost crushes one glass, but stops short. Next the creature navigates an ethereal set of stairs before finally placing some olives in a glass next to the product.
If there's a concept here, it's film school obscure at best. It sure doesn't do the stuff that I like ads to do. It doesn't make me say, "Wow, I wish I'd done that." On the other hand, it's a beautiful thing to watch, and, I'll admit, pretty memorable and iconic. Side note: what's with all the elephant icons lately? So, it's not my cup of tea, and I doubt it'll make the short-list for a Gold Lion, but does it work? Well, for reasons I'm not sure I could explain succinctly, I really think it might.
Whether you agree or disagree about the spot, the point is that, as creative people, we often expect our clients to buy something that they personally don't like. "You're not the target," we say. "Just because you don't like it, doesn't mean it's not going to work," we say. Then, as a group, we tend to turn right around and tear down spots that don't fit our personal taste or go beyond our comfort zone. At best, it's a hypocritical practice. At worst, we're missing an opportunity to stretch creatively.
So, try this: Look for concepts and approaches from across the mediascape that just aren't your style, the stuff you'd never author. Instead of dismissing them, delve into them to see what you can learn from them. Then bring that learning into your next concepting session and apply it to your personal process. You may just find yourself exploring new and fertile ground.
October 06, 2006
Fake ad conversations you just know are real #1.
TBWA: "So...there you go. We think 'Dogs Rule' will really resonate with dog lovers."
PEDIGREE SENIOR: "Yes, it's great."
PEDIGREE JUNIOR: "But won't it alienate cat owners?"
TBWA: "Maybe. But this is dog food."
PEDIGREE JUNIOR: "Yes, but what about multi-pet families? I mean, those people aren't just for dogs. They are also for cats....maybe this should be, 'Pets rule!' I don't think that kills it."
PEDIGREE SENIOR: "No, it doesn't kill it."
TBWA: "Actually, it does kill it. This is aimed at dog people. 'Pets Rule' isn't the same at all. Dog people, even if they have cats, are going to respond to this."
PEDIGREE JUNIOR: "You creatives are so sensitive about your work. I'm just worried about the cat lobby."
TBWA: "There's a cat lobby?"
PEDIGREE SENIOR: "Yes. And they're....reactive."
PEDIGREE JUNIOR: "Look, our holding company also makes Whiskas. If people put two and two together we're really in the kitty litter. So to speak."
TBWA: "Sigh."
We tease because we love. Great advertising is hard work. Here's to TBWA and their clients for talking it through and going with a great idea. Dogs rule. So, does the campaign.
October 05, 2006
Studio 60 captures creative angst.
It's official. Studio 60 on the Sunset Strip is my favorite new show of the season. The show nails the messiness and angst of the creative process. The brainstorm sessions, the pressure to be creatively great and make the numbers, the dulling input of a ham-handed focus group, the oft-abused production people and schedule, the pressure from "the sponsors," the ever looming deadline and, of course, the energizing and addictive joy of finally cracking the code. All of it all could be set in an agency as easily as it is backstage at the fictional show. Hell, Matt Perry seems to be channeling most of the ECDs I've known (the ones from the writing side anyway). Check out your life on Monday nights.
October 03, 2006
AC #46 Now Available.
The Russell Davies and David Nottoli Edition.
With Tug on vacation, John sits down with a couple of rather successful planners by the names of Russell Davies and David Nottoli. Two of the four people who make up the Open Intelligence Agency.
From the outset, the conversation leans heavily into the relationship between creatives and planners (2:32). This leads to discussions of boring creative directors (2:56), the blurry future of planners' and creatives' intertwined fates (5:38), and the vs. syndrome (8:11). Taking advantage of this whole social media thing, Russell and David address an audio comment from Make the Logo Bigger's Bill G (9:48). The answers lead to more interesting stuff such as how the planner/creative relationship works at W+K London, why planners should be a fan of creative (12:23), why other agency disciplines should keep in mind how hard creative rejection can be on the soul (13:20), and what one the founder's of the other agency with a sheep in the logo had to say about the role of planning (17:40). There's also discussion of creative credit as currency (18:50) and the importance of celebrating our successes (20:03). Finally, Russell and David break out their crystal balls to answer an AC reader's query about the future of the ultimate business (21:46). Interesting theories abound (23:42) and David testifies (25:12).
All that and an R2D2 ringtone. For free.
Then be part of the show. Send us your thoughts or, better yet, leave us an audio comment.
October 01, 2006
For those with tough client meetings this week.
Go get 'em kids. Clark's got nothing on you. Thanks to Russell for the tip on this clip.
September 27, 2006
Russell Davies in the house.
Russell Davies is making his way to Kansas City and we plan to meet up with him for brews of both cold and hot kinds. Hey, you gotta love a guy with a title like Darth Strategist. In the middle of the brew-sharing, we'll record American Copywriter #46. You all have been most patient with our schedule, but hopefully, #46 will be will worth the wait. I am certain one of the topics we'll explore is the relationship between planner and creative. However, if you have other questions/topics you'd like me to try and fit into the session, leave them here.
September 14, 2006
Chevy's contest could learn you a thing or two.
Days ago, the blogosphere noted that Chevy is sponsoring a contest wherein college students will compete to create a Super Bowl spot. Don't confuse this with raw consumer-generated content, however. This is a contest that will put CGC through the same wringer as OFAGC (old-fashioned agency-generated content).
A glance at the press release reveals the conditions:
1. Ideas will be submitted in writing first. Students, this is known as the RFP process. You will need to be willing to invest blood, sweat and tears with absolutely no guarantee of reward. Your ideas will be judged by subjective criteria. You may have a great idea that is rejected for reasons that you won't ever be able to figure. Many will enter. A select few will move on. The good news is that you can participate if you choose. In the real world, you won't always get a chance to play. Even if you are well-qualified for the project.
2. Finalists will present to a committee. Students, this is what's known as a pitch. You will obsess and stress as you pour countless hours of your young life into the process. You will walk into a conference room where a lot of people with varying agendas will sit and stare at you. What you say and how you act can trump the quality of your ideas for good or ill. It can be very stressful. Just ask the remaining agencies in the Wal-mart pitch. One team will win. The others will walk away empty-handed. This is how it goes. The good news is that, unlike the real world, the client is paying for your trip to see them. No mention of material expenses, however. Or if you lose the right to your intellectual property even if you are not selected as the winner.
3. The winner will get to "participate in the production process." Students, this means that winning is likely going to come with some compromises. Here is what Chevy sez: The winning team will participate in the production process as their concept is developed and made into a 30-second television commercial. Notice that word "developed." This means that your idea is likely going to be subjected to tweaking. Maybe even out-and-out overhauling. Your little brainchild will be wrenched from your hands and raised by those who believe they know better (and they might). Later, it will presented to the world as yours. This could be great. Or not. Along the way, you may find that you become upset as portions of your idea are modified. This is natural. It is also something you will deal with for the whole of your professional ad life. If you can't deal with it, it's best to find out now.
Students, I am not discouraging you from entering this contest. Far from it. In fact, I hope that you will enter and pursue victory with gusto. There's no better teacher than experience. And, at the very least, you'll have a campaign for your portfolio. I also believe the client has good intentions. Just go in with your eyes open. The contest is geared to teach you about a few of the realities of a life in advertising. In that sense, it really is, a Chevy puts it, a great opportunity.
August 28, 2006
Keep in touch with friends. Use real names in ads.
Often, when there is a need for a proper name in an ad, copywriters choose the name of someone they know. For starters, the lawyers like it better that way. But it's also an easy spiff to give a friend or someone you'd like to be your friend.
It's a small industry, however, and if you pay attention, some names in ads can tell you stories.
For years, a writer I know has put his current girlfriend's name in the spots he writes. More than once, I figured out he was dating somebody new just by listening to the radio.
The other day, while I was mopping the kitchen floor, I heard an AT&T spot. I still want to call it an SBC spot. But it's an AT&T spot. The ad referred to personalized plans and threw out the full name of someone who will be referred to in this post as "Trent." It's a name I hadn't heard in awhile. The guy used to be a writer in KC. In fact, when I first moved here, he lived in the same neighborhood as I did and was kind enough to tell me where I could find a grocery store. He went to GSD&M some years ago, and, if the spot is credible evidence, he's still there. Maybe in a supervisory role on the AT&T/SBC account. Just a little piece of copy. But it told me an old friend is doing well.
August 23, 2006
Why being an asshole creative is bad for your career.
If I had to put money on it, I'd wager that senior clients and agency heads really aren't that much different in mindset than the people who run the big studios.
After all, each of these managers use a creative product to make money. All have learned to be quasi-adept at working with creative souls. All allow a certain amount of eccentricities to slide. But no matter how great a creative you happen to be, consistently acting out just because you can will eventually cost you money.
Everyone loves your freak flag. Just know when to put it away. Your personal credibility as a source for smart thinking and ingenious solutions is worth much more than any any street cred you think you're building with some asshole act. As Jeff Goodby once said, "All we're asking for is a little fucking judgment."
July 29, 2006
Kevin Smith, Superman and You.
Tug introduced me to this clip just now. It's long. 20 minutes. But, if you are a creative, this is worth every precious second. The last :05 seconds of this are, without a doubt, worth the journey. You think it's hard to do what we do? Watch this. The screenwriters don't have it much better.
Oh, and check out our friend Russell's take on it.
February 27, 2006
This Makes Me Cringe
Egads! Whoever made this has hit the nail on the head. Unfortunately, stuff like this probably hits a little close to home for a lot of us creatives in the world. But what can you do? This is how brands differentiate themselves from everything else. We, as consumers, are inherently drawn to some... and not to others. I don't know much about Microsoft's branding exercises, regulations, etc., but if they had originally made the iPod, and it came in a box like this, would I have ever taken a closer look? Probably not.
Go check out the video of how Microsoft would redesign the iPod packaging. It's hilarious. Then think about how Microsoft would've changed the design of the iPod itself... dang, I'm cringing again.
February 09, 2006
Need Inspiration?
I know this happens to all of us (copywriters, designers, poets, clowns, etc.), sometimes when I'm working on something new, I end up just staring at my computer screen for hours. Nothing ever comes out. Then, when I'm walking home, the furthest point from a computer, an idea hits me and I've got nothing to jot it down with. If only I could channel that inspirato while at my darn desk.
Yesterday, and today, I was turned on to two sites that could get you over that design hump, if you're stuck somewhere:
- Web Creme - This is a resource that posts 2-3 different web site designs a day for your visual senses. Each entry also has small color swatches associated with it (that are used in the color palette of the design) and users can view entries that are sub-categorized by color. Great stuff.
- Showroom Magazine - From the great land of Sweden comes this great, flash-based, magazine that "celebrates the latest and brightest of new advertising and design and offers chronicles by the industry's creative leaders and thinkers." Very true, very well-designed and very inspiring.
Hope these help you out. If not, sorry, I tried.
November 29, 2005
Scott Adams: Cartoonist. Blogger. Creative.
As a blogger, every once in a while you want to recommend that people read other blogs. I've always been concerned about it, because aren't you really telling people to stop reading your blog and go read someone else's? What if they like the other blog so much they never check yours again? Really, isn't it kind of like introducing the girl you're dating to your buddies?
But I digress. What I really mean to do is recommend the Dilbert Blog. By now you all know Dilbert, the comic strip, and have probably become fans. What you may not know is that Scott Adams, the creator of the strip, has been blogging for about a month now. And it's been really fun to read it, for a number of reasons.
First, it's great to be able to get insight into the mind of a terribly smart creative person. As far as creative people go, I've always placed good cartoonists near the top of the creative ladder; they have to produce -- not just come up with, but execute -- at least 365 funny (or at least smart) ideas a year. Plus, drawing a three-panel strip is a lot more work than one would imagine, and I can bet that most of that work is time spent observing people, reading news, watching TV, and staring at the ceiling with your feet on the table while twisting a sentence around your brain. Sound familiar, creatives?
And like creatives, cartoonists also go throught the same thing that us ad creatives go through. And those have been some of the best posts to read -- posts about getting a strip rejected by an editor because of an unexpected interpretation (how client-like!) or the ones (you'll have to go to last month's archives) about readers who were offended by a dolphin-looking porpoise, or about not being able to draw a gun being fired, and ending up with a... well, you'll have to read it.
Ok, fine, I'll just let you go and check out the blog for yourself. But come back to this one when you're done, ok?
UPDATE: I just found out the Dilbert blog is one of the featured blogs on Typepad this week. Rock on.
November 28, 2005
Beware the Tin Man.
It's a funny thing.
Most of the young creatives I work with tell me they want to be creative directors. In fact, most them want my job right now. I tell them they may not like the job as much as they think. Managing and nuturing creatives is notoriously difficult ("Do you really want to manage you?" I ask with a grin). And then there are the meetings. Meetings that keep you away from your desk and your creatives and working on the work.
Of course none of my motivated, young friends ever believe me (until they get promoted).
Now, I'm not saying you shouldn't desire to become a CD. Nor am I saying the job stinks. But the thing is that you usually get the job because you're good at what you do. However, the job requires that you do less of what you are good at. So, when I get together with other creative directors it's not surprising to hear them lament about "not getting to do the work any more."
This explains why some CDs just can't keep their hands out of the cherry basket. In the long run, of course, that's bad for the product. Bad because if it becomes clear that you do it all anyway, why should anyone else (a) try very hard or (b) stay in such a stifling environment. The title ends in director not dictator. Good CDs get this and get focused on the big picture of creating an environment where good work can flourish. But it's not always easy. A really good CD friend of mine from Santa Barbara once said, "Dude, what I am doing running this business. I'm just a stupid art director. I just want to sit in the corner and do the work." Well, the answer is that he's helping run a business because he's a very smart guy, but, I get his point.
Which brings us to the very worst part of the job. You might think it's giving a bad review. Or dealing with a testy client. Or trying to explain to agency management why the guy who comes in at 9:30 looking and smelling hung over really, really deserves a raise.
Nope. The worst part is the rust. And when you become a CD, the decay can set in far more quickly than you'd imagine.
The truth is, until recently, I hadn't sat down and written a piece of communication in quite awhile. Oh sure, I would get into concepting sessions with the gang. Sure I would offer tweaky suggestions at tissues. Sure I would have an idea and share it. Sure I drive my creatives crazy with nits and nats on edits and scripts and the like. But it had been too long since I was THE COPYWRITER on a job.
Then, last week, I was called in to concept some ads for one our agency's largest clients. I sat down with the brief and the AD and began the creative process. It didn't take me long to realize I was as rusty as the fucking tin man. The cogs grinded. And the strain was apparent to everyone. A few decent ideas were put forth that day. But I still went home upset with myself. Why was that so hard? And that old creative fear began to tug at me a little. You know, the little voice that, when you're young, tells you you're a fraud and then, when you're older, tells you you're washed up? You know anything about that little voice?
We got back together the next day, and again the day after that. And finally the goop in the gears began to clear. The ideas picked up steam and smiles broke out. I left for the TDay break with a renewed sense of self-worth.
And then today, I came in and wrote a killer fucking headline. You know, one of those when you're like, "Holy shit that is IT!" And you say it out loud to the AD and he or she is like, "Holy shit that is IT!" and then you show it to everyone else without a word and they are like, "Holy shit that is IT!"
Best. Feeling. In. The. World.
It's the moment you live for as a creative. And it's a moment that you experience firsthand less often as a CD. It's not that you don't feel like a part of the creative process. And it's not that you don't revel in success. A coach is very happy when a player hits a three-point jumper off a designed play. And that's your job. To bring the best out of others. Still, I think it's important to get out there and shoot around yourself once in awhile. Or, to abruptly switch metaphors for no particular reason, be a little more like Clint Eastwood than Steven Speilberg. Bring out the best in your actors. But push your own onstage performance as well. Not just for the thrill you'll get from doing something great. But to remind yourself of what's it's like to create for a living day in and day out.
Just be sure to keep an oil can handy.
November 24, 2005
Re-posted: November 22nd, 2005
Due to technical difficulties: Here is a repost of J. Chambers ode to a goodbye party we had the other night for friends who are departing SHS for some new jobs:
"Spinning in a circle neatly. What comes goes around completely."
- The Parade
What's up?
Just headed out.
You going to the party?
Yeah, you?
Wouldn't miss it.
Cool. I'll see you there.
Hey, you doing okay?
I guess. Just kind of one of those days.
Yeah, me too.
It's tough saying goodbye.
One of the worst parts of this business.
Yeah, it is.
So, people are seeming a little down.
Everybody's just kinda bummed.
Yeah.
I read somewhere these things go up and down over time. I guess it's fairly common.
Kind of cyclical, I guess.
Yeah, you know. Peaks. Valleys. It's pretty standard stuff.
Well, what can we do to make people feel better?
Dunno. I was hoping you had some ideas.
Not this second, no.
Yeah, it's a tough one.
Well, here's one thought.
Why don't we just kind of celebrate them? You know, honor them?
I think we are. I think that's probably why people are bummed.
Yeah, I get that. Hey, wouldn't it be weird if this is all just part of some grand plan?
Wow. That's deep.
I'm just sayin', you know.
Yeah, I know.
It's possible.
Anything is possible.
This stuff just happens.
It's one of those parts of the biz that just sucks.
Yep.
It's not so hard to say goodbye to a desk or building. It's tough to say goodbye to a friend.
Well, said.
Actually, it was kind of a strange way of putting that?
I thought it was kind of poignant.
No, that's not poignant. You're thinking of something else.
I guess it's subjective.
I think it's more that people are just bummed.
Yeah, you mentioned that.
I did?
Yeah.
I'm sorry. Sometimes I repeat myself.
I know. It's no big deal.
Is that one of the things that makes me kind of endearing?
Not especially, no. But it does make meetings longer.
Yeah, sorry.
Actually, bummed is probably like right word. I mean there's no more...?
Nope.
And this is probabably one of the last ...?
Yeah.
Then, we probably won't be ...?
I wouldn't think so, no.
So what, then?
Something new, I guess.
Yeah, something new. Different, but new.
Yeah, very diffirent.
But good. Different, but good. Even great.
Sure. That sounds nice.
What? You don't believe that?
I didn't say that.
What about all that "glass half full" and "when a door closes, another one opens" type stuff?
I try not to use cliches
Not you. I'm saying it.
Oh, so you're talking about a real "Change is good. Embrace the now." kind of mentality?
Right. Change is good thing.
I guess.
What's with you? You're really being negative. Why can't you just get behind me on this?
What?
The concept.
What concept.
That change is good.
Right, change is good.
You know, mixing it up.
A new beginning.
Right. All that kind of stuff.
Yeah.
But you don't sound too convinced.
Oh, I'm convinced. I'm just bummed.
Yeah, you mentioned that.
Let's just laugh and cry tonight with our friends.
Okay. Sounds good.
Don't worry. I can sound much more convinced by tomorrow. I was in a play once in high school.
Seriously? Me too.
Yeah, and I think I was pretty good.
Really?
Hey, remember that one Seinfeld when...?
To good friends, great memori