If you look at the history of advertising, it's been a three-parter so far. Back in the very early days, many people couldn't read, or didn't have access to a daily paper, so advertising worked primarily through visuals and symbols. The first part of the 20th century was dominated by words - copy - and there was a golden age (I think) where art directors and copywriters were put together as teams and produced some of the best advertising ever. This co-incided with the rise of commercial TV.
Then there's this century so far, where screens are all around us, and the emoji has taken the place of the text-speak.
I still have a hankering after words, maybe because I write in my spare time. I recently got the book version of Shaun Usher's brilliant website, Letters of Note. Shaun Usher's favourite of his collected letters (and mine so far) has to be the 1934 covering letter from Robert Pirosh, who at that time was a Madison Avenue copywriter, but had designs on a career as a Hollywood scriptwriter.
How could anyone resist a letter that starts: 'I like words'? And, here it is in its full glory:
I like words. I like fat buttery words, such as ooze, turpitude, glutinous, toady. I like solemn, angular, creaky words, such as straitlaced, cantankerous, pecunious, valedictory. I like spurious, black-is-white words, such as mortician, liquidate, tonsorial, demi-monde. I like suave "V" words, such as Svengali, svelte, bravura, verve. I like crunchy, brittle, crackly words, such as splinter, grapple, jostle, crusty. I like sullen, crabbed, scowling words, such as skulk, glower, scabby, churl. I like Oh-Heavens, my-gracious, land's-sake words, such as tricksy, tucker, genteel, horrid. I like elegant, flowery words, such as estivate, peregrinate, elysium, halcyon. I like wormy, squirmy, mealy words, such as crawl, blubber, squeal, drip. I like sniggly, chuckling words, such as cowlick, gurgle, bubble and burp.
I like the word screenwriter better than copywriter, so I decided to quit my job in a New York advertising agency and try my luck in Hollywood, but before taking the plunge I went to Europe for a year of study, contemplation and horsing around.
I have just returned and I still like words.
May I have a few with you?
Robert Pirosh 385 Madison Avenue Room 610 New York Eldorado 5-6024
I have a belief that if we work in Marketing or Advertising, even if we aren't copywriters, we should be able to put together words in a way that shows we like them, love them even. We are in the business of communication, so surely our documents and presentations should be written with care and feeling and attention to the richness our vocabulary gives.
Instead we (self included) so often fall back on whatever the flavour of the year buzz words are. Engagement (which to me is nothing more than an amalgam of the first bits of that AIDA model - awareness/attention and interest/involvement.) Experience. Insight. Content. KPIs.
Next time, I'll see if I can replace those with fat, buttery words, suave 'V' words or even sullen, crabbed, scowling words.
I've been wondering for the last year or so whether I should upgrade my iPhone. I have a tendency to hang onto mobile phones so long that they end up being retro. My iPhone 3G has a poor excuse for a camera, and most apps only half work, but, I don't know, I'm kind of attached to it. When I first got it I felt terribly leading edge and I take a strange satisfaction in showing that off in a subtle way.
Apple have recently launched the iPhone 7, so I thought I'd have a quick reccy as to what's on offer. Here's an introductory film, voiced-over by Greg Joswick, VP Worldwide Product Marketing:
What do we have here:
Better, faster, more powerful, even better, larger, brighter, better, longer, more detailed, even better ...
A load of adjectives in the comparative form, culminating in 'the best iPhone ever.' So the comparison is with previous iPhones, not with the competition that's snapping at their heels. 'Best iPhone Ever' is supported by a catalogue of technical product details. Apple have gone all Procter & Gamble, old style, with a claim, a demo and a load of 'reasons to believe.'
Where's the magic? Where's the wow? The only genuine new points seem to be that the iPhone 7 is water resistant (big deal) and there's no little hole to stick your headphones in (so you either have to get an adaptor, or buy the super new AirPods at huge expense.)
Apple have been having some rough times recently. Revenues are down, and the company has been ordered to pay a large tax bill in Ireland which hasn't done wonders for the corporate image.
I'm not sure that going back to 1970s-style detergent marketing is the right way to go.
I think my trusty iPhone 3G will stay with me for a bit longer.
I've just finished 98% Pure Potatoby John Griffiths & Tracey Follows. Was it pure genius? Or 98% Rotten Tomatoes?
Here's my review:
The curiously-titled '98% Pure Potato' is the history of the origins of advertising account planning, taking us from the beginnings in the mid-60s in the UK up to 1980. In addition, the authors take a look at the 'state of the art' of planning today, and a glimpse into the future. I started my career in advertising in the 80s, so many of the contributors to this book were known to me by name if not in person.
The book starts with some scene-setting - the context of the advertising industry in the 60s as well as the social and cultural background of the time. Next, the creative leap in thinking about advertising and its effectiveness (less about what message/s we put in and more about how people respond) that inspired the birth of planning at the agencies BMP (under Stanley Pollitt, pictured above) and JWT (under Stephen King) is introduced. The bulk of the book is about the first planners and the contribution they made at those agencies in the late 60s and 70s. Finally, changes and developments in planning since 1980 are discussed.
It seems fitting to the topic that the research for the book was qualitative in nature - the authors conducted depth interviews with a number of those early planners as well as friends, family and associates. In addition, the theme of collaboration carries through into the way the book was published, via crowd-funding and Unbound. The tone is very different to most business books - informal, anecdotal, reflecting those early planners who 'made it up as they went along.' The over-riding feeling about account planning that comes through is that it's about a mindset, not a process, and it all starts with people, not with data points.
While I appreciate that the authors didn't aim for a LinkedIn-style '10 Lessons We Can Learn From Planning Pioneers' approach, the anecdotal nature of the book means that it is very wordy - at 350 pages plus. I did sense rather a lot of repetition, and I felt that the text could have benefitted from further editing. Perhaps a few more specific examples of contributions to individual commercials and campaigns would also have been of interest.
It was good to see the photos of some of the cast, and the book token and book mark from Unbound were a nice touch. A round of applause to the authors and contributors for bringing all these fascinating anecdotes together.
I'm currently reading a book with the intriguing title 98% Pure Potato , which is a history of the origins of Account Planning through interviews with its pioneers - the early planners in the agencies JWT and BMP in London in the late 60s and 70s.
So far, it's a fascinating, if rather wordy, glimpse into the past, with plenty of quotes from those who were there. I started my career in the 80s, so many of these people were known to me, by reputation if not personally.
One theme that comes out strongly in the book is the belief that those early planners had that advertising should connect, human to human. This is described by Leslie Butterfield as follows: It was a kind of 'cuddle up to you' model of how advertising works and I think that advertising was something that could win people over through affection, through charm, through nudging, through cuddling ... put your arm around the consumer, entertain them, involve them, engage them, persuade them, but do it gently, do it with charm, do it with panache, not a bang over the head.
I sometimes think that as advertisers, we have forgotten this. Our attachment to data means that we've become detached from the human side. The early planners crunched plenty of data, but they also talked with and listened to hundreds of people in sitting rooms over sandwiches, biscuits and cups of tea - or even wine in the evenings. In a flood of nostalgia, I dragged out one of the first contacts I had with advertising as a potential career, in the form of the Oxford & Cambridge Careers Guide - this is from the early 80s.
I remember clearly reading the piece by another Lesley - female this time - Lesley Nevard, who was an Account Planner at BMP. What is fascinating to read here is this, unlike the book, is not coloured by decades of hindsight - this is as it was back then.
I hope it's readable - it definitely inspired me in my career choice. I do wonder what Lesley Nevard is doing now.
Sometimes the simplest ideas are the best. Hot on the heels of my last post about airports, here's another super smart piece of advertising, this time from Samsonite.
Do you remember those 'My other car is a Porsche' stickers? I'd guess the creative people who thought this one up did. Samsonite suitcases are durable - we all know that if prompted, but is it really top of mind, outside the holiday season?
The idea, created by Publicis Paris, was to offer free luggage wrapping (SAMSO'WRAP) to people with other makes of suitcase at Palma airport. This was on the condition that they were prepared to act as ambassadors for the brand, as the wrapping carried the message 'I wish I had a Samsonite.' So this would be seen by all as they rolled their nicely-wrapped bags through the airport terminal and beyond.
What I like most here is the thinking. It doesn't start with budget or media. It starts with thinking about people and where they are likely to be receptive to the message. Brands today spend a lot of time on the internet - indeed, most of today's really big brands didn't exist or couldn't have existed pre-internet (amazon, Google, airbnb, Facebook, Uber).
But I think tangible brands, especially when they are talking about something physical and experiential, such as strength and durability, need presence in the real world, in exactly the right place at the right time. This cheekily provocative idea is worth so much more than a beautifully produced film featuring hundreds of tap-dancing elephants on a suitcase - because it is connected 100% to real life.
As we're right in the thick of holiday time, I thought I'd look at a couple of ads associated with airports. The first one is First Flight, Heathrow's first ever TV ad, to celebrate the airport's 70th birthday. Using the tried and tested John Lewis formula of a cute kid and music to pull at the heartstrings, this is the story of a first flight through the eyes of a little girl with an owl trolley and a very fetching pilot's cap.
It's a watchable enough ad, but I'm not sure it really captures the magic in the way it should. Is flying still as magical as it was when I was a young lass, when we'd go to the Queen's Building as a day out, just to watch planes take off and land? This film doesn't show anything of the crowds, the delays, the mangled and lost luggage, the confiscated drinks and children's scissors (I speak from experience ...)
But, OK. I still think it's a brave thing for Heathrow to do, especially in these times of terrorist threat. And it's marvellous to hear that Bowie track again.
My second example is something I saw on my way back from a week away on business, when I arrived back at Frankfurt. An ad for the Bad Homburg Casino in the baggage hall. I hope my pictures will do it justice:
A baggage carousel disguised as a roulette wheel. OK, again the cynical may say that putting your luggage in the hold is a bit of a gamble, but I don't care.
After a long and hard week away, this idea, involving no apps or digital cleverness simply made me smile.
There's a weekly feature in Campaign called something like ' Three Great Ads I Had Nothing To Do With'. Well, I make no secret of the fact that I work with IKEA, but I had very little to do with the commercial above, which is why I think I'm entitled to write a post about it.
Why is this a great ad? Well, where to start?
It's watchable. I defy anyone not to keep going to the end. What is this 18th century scene all about? Why does the meal have to be painted? Why is the painting being carted around for approval?
Involvement with the story results in active processing, which means it ends up in the long-term memory.
It's bursting with insight. It's not just an observation that people these days are always taking photos of food and putting them on Instagram and Facebook. The insight is how absurd this behaviour is, if you think about it, and how this is just one of many expectations these days that prevent people enjoying the simple pleasures of life at home.
It's beautifully done. From the casting, to the scenery, to the costumes to the lovely few bars of that jazzy number at the end, this is a beautifully conceived, directed and produced film. One that you can watch again and again and discover something new each time.
It's very IKEA. Finally, although the first part of the film may be unexpected for IKEA - 18th century costume drama? - this is maybe what makes this commercial so very IKEA. IKEA is a combination of the familiar and the surprising. This spot is for the catalogue launch and sets the theme of the year - Let's Relax - and the whole idea and thought behind it exemplifies the IKEA attitude - common sense, pointing out the absurdities of our behaviour with a twinkle in the eye, and ultimately showing that there is another way. This is exactly the tonality of the famous 'Lamp' commercial from over a decade ago. Not so fitting to today's times with sustainability upfront on the agenda, but nevertheless classic IKEA.
When I was little, I wanted to be a spy. I got off to a good start, studying Psychology at Trinity College, Cambridge but somehow got side-tracked into the wonderful world of advertising and marketing.
My children's books: