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Lidia Celeste Thierry-Tiry MADISON AVENUE ARISTOCRACY 

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Madison Avenue Book by Martin Mayer (1957): Madison avenue WAS advertising (Phil Dusenberry, vice-chairman of BBDO) and the best time to work on that was XMAS 1960. According to Mayers ads agencies could be clearly differentiated: o Young&Rubican: predominately decorated in green o McCann-Erickson: featured “restful pastels” o J Walter Thompson: “a class in itself” decorated like a “new England colonial farmhouse” 1950’s ads attitudes: Cary Grant character in Hitchcock’s North by Northwest (1959) and the man in grey flannel suit (Wilson’s 1955 novel) David Ogilvy (charming Englishman born in West Horsley in 1911) According to his book confessions of an advertising man” (1963) he got expelled from Christ Church college and lost his History scholarship as he was “too preoccupied to do any work”. Later in Viewpoint, he confessed to have had 2 serious head operations for double mastoids which didn’t allow him to concentrate. o He thought of going to America but landed in France and got a job in the kitchen. He was inspired by his boss chef Pitard and considered him a formidable individual. o He went back to England to sell Aga cooking stoves and ended up writing a salesman manual for other Aga employees as he succeeded as a seller and it later became a standard text for aspiring sales people. o He later begun working along with his older brother Francis in Mather&Crowther agency and convinced them to send him, to NY to study transatlantic ads techniques o Ogilvy stayed in NYC and got a job with researcher George Galluop (The unpublished life of David O.) He convinced the agency to lend him money and then made another English agency to invest in his new agency: Hewitt, Ogilvy, Benson & Mather. His British accent helped. o Anderson Hewitt was the president and Ogilvy the vice-president. Hewitt eventually left. o The 2 campaigns that made him famous: the man in the Hathaway shirt (1951) (Eye patch+moustache model drew attention to the ad) “story appeal”. Schweppes tonic water and copywriting. o HE won the Rolls Royce account in 1975 and produced 26 different headlines for first advertisement o HE knew how to motivate staff says Joel Raphaelson (Pavillon restaurant) o He quoted his old friend Rosser Reeves: “Do you want fine writing? Do you want masterpieces? Or do you want to see the goddamned sales curve start moving up? o He disliked cocktails parties but attended anyways since he was able to meet new potential partnerships and “smell billings”. In the Scottish Council (lunch at NY) he got Shell as Max Burns (Shell’s president) was at the lunch.

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o WPP acquired the agency in 1989 and he accepted the post of non-executive chairman. He later died in 1999, an ads agent who began his career at 40. The science of selling: Ogilvy spoke about the need to REFORM advertising. o Vance Packard’s book: The Hidden Persuaders became a bestseller when it exposed the “motivational research (Ernest Dicher) techniques agencies were using to probe the minds of consumers. Dicher’s work said to inspired a slogan for Ivory Soap “Wash your troubles away o McCann Erickson is thought to have been the first agency to hire psychological research staff to apply on its campaigns. It ended up working for brands such as General Motors and Coca-Cola and competing against J Walter Thompson for global research. o The Depression lead the agency to fuse with another one called AW Erickson. Harper (the boss) was later in charge of the new big agency and had Mexican cockfight painting hanging in his office as a metaphor for the ads business. o Harper believed the ads people work should be based on statistics rather than creativity. Hopkins described elements that distracted the audience from the key message of an ad as “vampires”. o Reeds drove the success of the Ted Bates agency. He published in 1961 “Reality in Advertising” (anti-Hidden Persuaders) o Overall, in the history of ads there was a constant tug of war between the creatives, who believed art inspires consumers to buy; and the pragmatists, who sell based on facts and come armed with reams of research CREATIVE REVOLUTIONARIES

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Bill Bernbach (late 50’s, NYC) left Grey Advertising to found his own agency with fellow revolutionaries: Ned Doyle (an account man), Maxwell ‘Mac’ Dane (a promotions wizard), Bob Gage (an art director) and Phyllis Robinson (a copywriter). o He went to NYU and studied music, business administration and philosophy. He also played the piano. o He got a job as a mail boy at the Schenley Distillers Company. He wrote an impromptu ad for Schenley’s American Cream Whiskey and personally delivered to the firm’s ads department. He then got promoted there. o In 1939 he went to work as a copywriter for the NY World’s fair and then for the William H Weintraub Agency where he worked alongside with Paul Rand o Bernbach opened his own agency of copywriters and art directors: Doyle Dan Bernbach (no comas as Bernbach explained “Nothing will ever come between us. Not even punctuation”. Paul Rand was the agency’s firebrand art director who’d arrived at the age of 27 demanding and getting exclusive control of the art department. He was influenced by cubism and constructivism and De Stijl. He designed the logo of IBM. Doyle Dan Bernbach worked with Levy’s Bakery and Volkswagen “A Nazi car in a Jewish town”

Lidia Celeste Thierry-Tiry o Beetle: “Think Small” “The only water a Volkswagen needs it’s the water you wash it with”. When the New Beetle was launch in 1998, the ads paid homage to the 1959 original with only minor changes. THE CHICAGO WAY 

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The Leo Burnett Building is a 50-storey sky-scraper located at 35 West Wacker drive. Tom Bernardin is the agency’s chairman and CEO and you will find in the reception a bowl of rosy red apples and a giant black pencil suspended from the ceiling (recalling Leo’s Dad shopkeeper). It is believed that this way Leo discovered the big Alpha 245 pencils he used throughout his career and which the agency adopted as part of its brand identity. Leo Noble Burnett was born in St Johns Michigan on 21 October 1891. He laid out some ads for his dad’s store and got a job as a ‘printer’s devil’ on the local newspaper (at first cleaning the press and later setting type and running the machines). After he became a reporter. In 1914 he was offered a job on the Peoria Journal and a year later he left to write advertising copy at the Cadillac Motor Company. o ‘MacManus… taught me the power of the truth, simply told’ o Burnett rose to become advertising manager of Cadillac In 1919 Burnett moved to Indianapolis to work for LaFayette Motors and then landed on his first agency job at an outfit called Homer McKee: o ‘Don’t try and sell manure a spreaders with a Harvard accent’ o ‘If a kid can´t understand it, it’s not good’ In 1930 he moved with his pregnant wife to Chicago to work at the Erwin, Wasey & Company agency as a chief copy editor (job provided by Art Kudner) o Chicago was experiencing a morass of jazz, mobsters, prohibition and poverty apart from unemployment. Leo was, according to his wife Naomi, ‘a miracle worker’ o An ‘advertising’s fall of the Roman empire’ took place Burnett drafted the plan for his new agency on the ping-ping table of his home: ‘The advertiser wants ideas, needs ideas, and is paying for ideas’ o HE started his agency with $50,000 and a handful of people from Erwin, Wasey & Company including a copywriter and ‘ideas man’ Jack O’Kieffe. o The agency opened on Michigan Avenue, 5 August 1935, with a bowl of red apples on the reception desk. QUITE A CHARACTER

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Leo was beyond plain: his suits were invariably navy or grey, with the jacket often buttoned askew. He was not a great orator. He was a charmer: the darlingest sense of humor. He believed in loyalty + repaid it: when he collapsed due to low blood sugar before a meeting, a colleague rushed off to get a chocolate bar. Leo croaked from the floor: ‘Make sure it’s a Nestle’s’

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Stubborn and indefatigable, he built his agency based on family values although he was rarely at home. The only time he forgot about advertising was when he was at the racetrack. He disliked confrontation and hated firing people. o Staff measured his opinions of the ads they show him by the LPI (Lip Protrusion Index) The more Leo’s jutting lower lip stuck out, the bigger trouble they were in. The contrast between Burnett’s apparent disadvantages; humble origins, unlovely appearance, and his achievements is summarized up by the agency’s original logo, which depicts a hand reaching for the stars. o O’Kieffe said to be inspired by a line in Virgil’s Aneid: So man scales the stars CORNFLAKES AND COWBOYS

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Burnett received a call from Procter&Gamble (the largest advertiser in the US) and a call from Kellogg P&G hired Leo to examine the ways it might defend itself against potential criticism. He recommended a series of full-page ads to be placed on influential magazines such as Times and Life explaining how P&G wide range of innovative, affordable products benefited the consumers. o P&G wouldn’t budge without research while Burnett had founded his agency on the principle of unhampered creativity. They disagreed on his first campaign as it tested badly and was cancelled. A TV campaign based on the same idea was more successful. o The company was impressed enough to hand him its Lava soap brand in 1953 o P&G turned Leo Burnett Company into a more mature MKT organization, encouraging it to back up its creativity with solid research. After meeting with Leo, Kellogg handed the agency the Corn Pops and Corn Soya Brands. Burnett proposed TV-oriented campaigns; the agency advice on the matter was so convincing that Kellogg handed over the Rice Krispies account as well. o While redesigning the packaging of Rice Krispies the agency came up with the idea of using the box itself as an advertising device. o The agency created a series of dummy designs that reduced the lettering and used the remaining space for colorful graphics. This was packaging revolution and won Burnett the Corn Flakes account. In 1952, Kellogg’s handed the agency all of its advertising across the US and Canada. For Kellogg’s Frosted Flakes, Leo Burnett Company crated one of its most enduring brand icons: Tony the Tiger. Then also came Jolly Green Giant and Pillsbury Doughboy. The Marlboro man rode into view to confront a straightforward marketing problem in 1954 as the Philip Morris company wanted to change the image of its filter-tripped Marlboro cigarette, which was regarded as a women’s brand. o Leo both changed the packaging and repositioned the brand. Do you know anything more masculine than a cowboy?

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o Leo also gave the Marlboro lettering on the packs a capital “M” and switched the color from red-and-white stripes to solid red. o The agency turned Marlboro into the world’s best-selling cigarette. Even though for some years they had placed no consumer ads for their cigarette brands in any newspaper Millward Brown still ranked Marlboro at number 7 in a list of the world’s most valuable brands. (estimated value: over $73.6M) In 1956 the Burnett Company moved into a new headquarters in the Prudential Building taking up 100,000 square feet of space. 2 years later, the agency passed the $100M billings mark and in 1969 their billings had soared again to $269M As Leo grew old, he accepted that day-to-day operations were safe in the hands of his second-in-command Phil Schaff. o In June 1967, Schaff became chairman and CEO while Leo adopted the title of founder chairman. o On 1 December 1967, at the agency’s annual breakfast gathering, Burnett gave the ‘When to take my name off the door’ speech which made many cry. The agency had taken longer than many of its rivals to go global. In May 1969 they merged with the London Press Exchange and almost overnight, Leo became the world’s fifth largest advertising agency, with billings of $373M In 1971, at the age of 79, Leo was still going into the office 4 days a week. On 7 June, he dictated a letter to Jack O’Kieffe, saying that he planned to cut this down to 3 days. o He died of a heart attack later that evening, at home on the farm. THE ALTERNATIVES: EXILES FROM THE MAINSTREAM

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The headquarters of 180: one of the most successful group of super-hip agencies clustered in Herengracht, Amsterdam. o KesselsKramer, 180, Wieden & Kennedy, BSUR and Amsterdam Worldwide. The Amsterdam ads crew is regarded as a larger grouping referred to as “the alternatives” o They are known for their enviable reputation for creativity and their early adoption of the internet. A few of them drop the surnames and think up brand names for themselves. o They tend to specialize in sport shoe brands: 180 handles Adidas, Wieden & Kennedy works for Nike and Amsterdam Worldwide is contracted by Asics. o Nike and Adidas headquarters are located nearby in Amsterdam (keep your enemies closer) AMSTERBRAND

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Alex Melvin left advertising to set up a racing team in Stockholm with round-the-world yachtsman Ludde Ingvall. Soccer was next on the agenda. The following year he took a call from headhunter and the post in question was with Agency Wieden & Kennedy.

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o ‘They needed someone who knows a bit about football’. Wieden & Kennedy had been founded in Portland, Oregon by Dan Wieden and David Kennedy. o The pair worked together at McCann Erickson’s Portland office. They met Phil Knight, owner of Nike during a stint at a smaller agency called William Cain. He became the duo’s first client when they decided to do it alone. Wieden penned the ‘just do it slogan. Knight disapproved most of their ads. Innovative and exigent, he challenged the agency to impress him. It helped. o ‘Nike constantly wants us to surprise and amaze them’ (Wieden) o The ads ranged from gritty and dramatic to elemental and human. A spot for Nike’s Air Revolution show featured muddy Super 8 images of athletes, both professional and amateur, over the Beatles song ‘Revolution’. The Beatles took legal action over the use of the track and this called for some useful additional press coverage. Another commercial for the ‘Just do it’ campaign in 1988, starred ab 80-year-old San Francisco runner, who said, ‘I run 17 miles every morning. People ask me how I keep my teeth from chattering in the wintertime. I live them in my locker’. Wieden & Kennedy was the first agency to challenge the hegemony of Madison Avenue and now it was moving to Europe. Alex Melvin thought he’d better just do it. o He joined W&K in 1993 as its first European planning director. o He worked with Microsoft and Coca-Cola apart from Nike. o He ended up to pitch for Adidas anyway. With the help of creative director Larry Frey, they sat in a small apartment and plastered the walls with ideas. o An analysis of the Adidas brand revealed that it was undergoing a major resurgence thanks to 2 things: the introduction of the Predator football boot and the growing street-wear phenomenon driven by Adidas Originals. ‘Our pitch to Adidas’, Melvin continues, ‘involved an approach that clearly grounded Adidas in the world of performance sport, to avoid it becoming subject to the fickleness of fashion. We distilled our thinking down to 2 words: “Forever Sport”. In 1999, in the run-up to the 2000 Olympic Games in Sydney, the agency hired comedian Lee Evans for a series of short films. o The athletes were all sponsored by Adidas and the films were lightly but noticeably branded. They were designed for the internet but were shown on the big screen and even added by BBC A highlight of the ‘Impossible is Nothing’ campaign in 2004 was a special effects extravaganza that depicted a miraculously rejuvenated Muhammad Ali in the boxing ring with his daughter, Laila. ‘There is no magic formula for making great advertising’, says Melvin, ‘but the first ingredient is world-class talent. And that’s the great thing about Amsterdam: it’s a city that’s easy to attract talent to. It’s easygoing, it’s multicultural, it has a reputation for creativity and it is at the heart of Europe’.

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Another Amsterdam agency: Strawberry Frogs was born on Valentine’s Day 1999 with the ‘virtual network’ and Globalization context. o Founders Scott Goodson and Brian Elliott were both nomadic Canadians. Goodson met Elliott, a strategic planner, at Welinder agency in Sweden. o A couple of years later, Welinder was bought by Publicis and Goodson moved on, accepting a job with J Walter Thompson in Toronto. o Afterwards they thought ‘We can do this’ and found their new agency in Amsterdam because it was cheap, groovy and connected. Goodson stumbled on the name StrawberryFrog when he was looking for the opposite of a ‘dinosaur’, which is how he’d begun to view the traditional Madison Avenue agencies. o He started out with ‘lizard’, but then somebody suggested “Frog”. Because that’s kind of boring. So they did some research and found the strawberry frog, which is from the Amazon. It is actually red with blue legs. o It does a good job explaining what they do. They were a small, highly-focused, passionate group of people that moves very fast and efficiently. FAR FROM THE MADISON CROWD

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Famous agencies in the US: Goodby, Silverstein & Partners in San Francisco. o Headed by Jeff Goodby and Rich Silverstein, the agency was founded in 1983 and successfully retooled itself for the digital age. o It has been described by Creativity magazine as ‘a creative hothouse’ that helped to ‘define modern advertising’ o In the same article, creative director Gerry Graf said: ‘They were simply smarter and funnier than everyone else; they made the big New York agencies look old and stupid’ This is the agency behind ‘Got milk?’ o In 1993, Jedd Manning, then executive director of the California Milk Processor Board, hired Goodby, Silverstein to turn a drink with a dull image into something resembling Coke or Sprite. o The agency’s research revealed that milk was so closely associated with certain granular snacks like cookies or brownies that consumers could barely imagine swallowing them without the appropriate liquid accompaniment. This was the trigger for the first TV spot, ‘Aaron Burr’. It featured a history buff called at random by radio quiz show host. While on air, he was unable to answer the $10,000 trivia question (to which he clearly knew the answer) because he’d just taken an enormous bite of peanut butter sandwich. His eyes goggled as he realized that the carton of milk at his elbow was empty, preventing him from washing down the cloying ball of food. Unable to understand his mouth-stuffed mumbling, the DJ hung up on him. The ad’s offbeat humor made milk seem fun; and the slogan was stickier than peanut butter.

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Since that award-winning spot, the ‘Got milk?’ campaigns have taken on myriad forms, including that of a milk-starved planet in a distant galaxy. The agency literally created an entire world, inspired by old episodes of Star Trek, with interactive web experiences that blended seamlessly with the print and TV work. Crispin, Porter + Bogusky agency was founded in Miami in 1965 by Sam Crispin. o They realized that they could stay put and still make a global impact. o They created the agency of the future before others were even aware that the future was happening. o ‘We wanted to build a world class agency in Miami’ ‘If you did terrific, interesting work, everyt...