8 Adland

become a metier in its own right, with large and profitable agencies dedicated to providing this service. The implications for the industry have been far-reaching. Back at the creative agency, production oversees the realization of the creative team's vision. It is likely to liaise with an independent production company. Deadlines, invoices and numerous other admini- strative tasks that ensure the smooth running of the agency are handled by traffic. nr f prn Naturally, the giant ad agencies that will dominate this story embrace many other functions and disciplines — but those I've mentioned should provide some bearings on our journey through adland. Now, in order The duly authorized agent'. to stretch that metaphor just a little bit further, let's start at the most logical place.

On a back street of London's Notting Hill, a man sits cheerfully among piles of ancient packaging like a magpie in a nest of glittering urban detritus. The man's name is Robert Opie, and his multicoloured nest is The Museum of Brands, Advertising and Packaging. Opie may be the ultimate brand archaeologist, with perhaps half a million articles in his collection. To wander through his small but dense museum is to experience the Proustian power of brands. I remember that board game! My mother used that washing powder! At the end of it all, you stand riveted before a screen showing a reel of old TV commercials. It's amazing how many of them you remember — the situations and jingles come bubbling out of some distant corner of your memory to pop with a shock of recognition in front of your eyes. For Opie, however, the museum is about far more than simple nos- talgia. 'Even as a teenager I was interested in the way brands were constantly adapting to reflect our times,' he says. 'Later, while working in market research in the 1970s, I wanted to investigate the origins of consumption, to sift through the evidence of this consumer society of ours. I started going down to Portobello Road antique market to buy up old posters and packaging, and I've been going back ever since.' His passion for branding is such that he refers to it as 'commercial art' , and he is irritated by those who decline to acknowledge its importance. `Until very recently, the children of the wealthy were encouraged 0 Adlnd nr f rn

to go into the arts and sciences rather than trade and commerce,' he what he called a 'bureau des addresses et des rencontres' — a recruitment points out. 'There has always been a stigma attached to the tradesman's office and notice board for the jobless. This establishment soon became entrance. Even advertising people, when they are rich, turn their backs a veritable information clearinghouse for those seeking and offering on commercial art and start collecting artists they consider to be more work, buying and selling goods, and making public announcements respectable.' of all kinds. To disseminate this information more widely, Renaudot Advertising is a crucial piece in what Opie describes as 'the jigsaw created in 1631 the first French newspaper, which he called La Gazette of consumer behaviour'. 'You have to put it into a historical context to (inspired by the unit of currency he'd discovered in Italy, the ztt. see why it is important. Is one commercial an important artefact? No, it Thus he became the first French journalist — and the inventor of the isn't. Is the totality of advertising important? Of course it is.' personal ad. In the United Kingdom, the first advertising agent was probably one William Tayler, who opened an office in London's Warwick Square in E OIGIS O AEISIG 1786. The firm later became known as Tayler & Newton, and it acted as. an advertising sales representative for printers — several of whom had When exactly did advertising begin? It's doubtful that the ancient launched newspapers to promote their trade. Egyptians and Greeks were insensible to the benefits of product promotion. The Romans certainly knew how to make a convincing sales pitch, and early examples of advertising were found in the A IUSY AKES SAE ruins of Pompeii. A roguish adman told me that one of these was a sign promoting a brothel, which is an appealing idea: the two oldest However, most histories of advertising start later, in the mid-19th century. professions benefiting from one another. Others claim that prehistoric The first display case in Robert Opie's museum covers the Victorian era. cave paintings were a form of advertising, which seems altogether more The advertising group Publicis recently published, internally, a book of fanciful. But it's safe to say that advertising has been around for as long groundbreaking ads from throughout history — it was called Born in as there have been goods to sell and a medium to talk them up — from 1842. A hunt for the earliest ad in The Creative Director's Source Book the crier in the street to the handbill tacked to a tree. (compiled in 1988 by Nick Souter and Stuart Newman) unearths a Advertising took a leap forward, of course, with the appearance of newspaper advertisement from 1849. (Bizarrely, it is for a new method the printing press and movable type — an invention generally credited of measuring your head, thus accurately determining your hat size.) to German former goldsmith Johannes Gutenberg in 1447. Other Everyone agrees, then, that advertising got into its stride with the important names loom out of the murk of early advertising history: industrial revolution — aided and abetted by the rise of the newspaper as notably that of 17th-century French doctor, journalist and unlikely a mass medium. Advances in technology meant consumer goods could adman Théophraste Renaudot. be produced and packaged on a previously undreamed-of scale. This Born in Loudon in 1586 to a wealthy protestant family, Renaudot glut of food, clothing, soap, and so forth, encouraged manufacturers studied medicine in Paris and Montpellier. A doctor by the age of 20, he who had previously been confined to doing business in their backyards was considered too young to practise medicine, so he travelled instead to seek far-flung new markets. Some of them established chains of to Switzerland, England, Germany and Italy. On his return, through a retail outlets. Others distributed their wares through wholesalers and family connection, he met and befriended the future Cardinal Richelieu. intermediary retailers. In order to blaze the names and virtues of their This fortuitous encounter led to Renaudot's eventual appointment as products into the memories of consumers, they branded their goods official doctor to Louis XIII. — and began to advertise them. But Renaudot was a writer and a thinker as well as a physician. His In Britain, one of the most prominent clients of the day was A&F reflections on the Parisian poor led him to create, on the Ile de la Cité, Pears, makers of Pears' Soap. The company's success was assured 2 A Adlnd nr f rn

by prototype adman Thomas J. Barrett, who joined the firm in 1862. printing house Chaix and the artist Jules Chéret were taking advantage As well as securing one of the first celebrity endorsements — from of the development of lithography — which allowed for richer colours Lillie Langtry, actress, courtesan and mistress of the Prince of Wales and larger print-runs — to produce groundbreaking posters for the Barrett convinced the popular artist Sir John Everett Millais to sell Folies-Bergere cabaret. These bright, vivacious advertisements were him a painting of a young boy gazing at rising soap bubbles. Not only so popular that the high-kicking girls depicted on them became known that, but he persuaded Millais to add a bar of Pears' soap to the scene. as `Chérettes' . Queasily sentimental, 'Bubbles' became one of the earliest advertising Cherees images were complemented by Henri de Toulouse-Lautrec's icons, and set the tone for a highly successful campaign. equally vibrant work for the rival Moulin Rouge nightspot. Known as In his 1984 book A Cplt Gd t Advrtn, Torin Douglas `The Spirit of Montmartre', the nocturnal painter was the natural choice recounts: 'Firms such as Cadbury and Fry started packaging their for capturing the debauched appeal of a Parisian cabaret. Simple yet products, not simply to protect them and preserve their quality, but also evocative, the posters took their unlikely cue from Japanese art, which to tblh their quality by the use of the company's own name. Instead Lautrec admired. of leaving it to the retailer to determine which company's products a Another towering talent of the era was the inimitable Alphonse customer would buy, they began to build their own relationship with Mucha. Born in Moravia (in the modern-day Czech Republic), Mucha the customer.' was the archetypal struggling artist in Paris until he was commissioned As Douglas points out, the essential argument for advertising was to come up with a poster for Sarah Bernhardt's play, Gismonda, over established right here. By advertising their products to the public, the Christmas holidays. (Legend has it that he got the commission manufacturers were able to boost sales dramatically. 'Since that also because he was the only painter left in town.) The result was the first of increased the retailers' turnover, both sides of the business benefited. the gloriously intricate images — not only for the theatre, but for brands So too did the customers, since they had a wider choice of brands and such as Moët & Chandon champagne and Lefèvre Utile biscuits — that a stronger guarantee of the quality of the goods.' brought the Art Nouveau style to advertising and fame and fortune to Meanwhile, the same technology that had powered the industrial Mucha. Throughout history, art and advertising have often dovetailed revolution was overhauling the printing industry, making newspapers in the French capital. far cheaper to produce — and to buy. From being precious items gingerly On the other side of the Atlantic, advertising was off to a more ram- passed from reader to reader, they became suddenly accessible to bunctious start. Among the earliest goods advertised on a national scale everyone. Magazines, particularly those aimed at women, also became in the United States were 'patent medicines'. Familiar today via a stock more commonplace and affordable. character in Western movies — the quack doctor who stands on a crate Douglas highlights two other crucial factors in the rise of British in a dusty frontier town, extolling the virtues of his dubious potions advertising. 'The Education Act of 1870 in Britain provided elementary — they generated profit margins that left plenty of room for advertising education for all, and this, combined with the abolition of the tax on expenditure. As Stephen Fox recounts in his book h Mrrr Mr newspapers that had taken place 15 years before, led to a huge increase (1984) — a superlative account of American advertising history up until in the numbers of newspapers produced and sold. For the first time, the 1970s — these were the first products 'to aim directly at the consumer advertisers had a mass-circulation press in which to promote their with vivid, psychologically clever sales pitches, the first to show — for goods.' better or for worse — the latent power of advertising'. At the risk of returning too often to France, it's worth touching here Unfortunately, the American public began to associate patent medi- on another medium, the poster, which across the Channel was about to cines with advertising, to the detriment of both. enter a golden age. (h Crtv rtr Sr , by the way, tells us that the word 'poster' derives from the wooden roadside posts to which advertising messages were often attached.) In 1870s Paris the I 4 Adlnd nr f rn

EAY AEISIG AGECIES commission of 12.5 per cent. This later rose to 15 per cent, which remained the standard commission fee for advertising agencies for is generally accepted that the first advertising agency in the United many years to come. States was opened by one Volney B. Palmer in 1842. Located at the `N.W. But while these people were prototypes for today's media buyers, Corner of Third and Chestnut Street, Philadelphia,' Palmer's office was where were the creatives? The first such creatures to emerge from the an unlikely precursor of today's agency monoliths. Nevertheless, there primordial swamp of advertising were freelance copywriters. And the he is in a local directory, describing himself as 'the duly authorized most influential of them all was John E. Powers, described by Advertising agent of most of the best newspapers of all the cities and provincial Age as 'the father of creative advertising' (The Advertising Century: towns in the United States and Canada, for which he is daily receiving adage.conakentury/people). Little is known about this intriguing advertisements and subscriptions...' character's early career, although he seems to have been an insurance Taken alongside our encounter with William Tayler of London, this agent and then a publisher of The Nation (he apparently started out confirms that the earliest advertising agents worked for newspapers in the subscriptions department) before finally turning to commercial- rather than for advertisers. Acting as intermediaries, they sold space writing. The department store tycoon John Wanamaker snapped him up and took a commission out of the fee. As well as offering endless oppor- in 1880 after seeing one of his ads for a rival store. By the late 1890s he tunities for corruption, this arrangement meant that they had nothing was earning more than US $100 a day writing copy. to do with creating ads. In The Mirror Makers, Stephen Fox cites this Powers was stern and reticent, with a neatly cropped beard and juicy morsel dished out by a client to another early advertising agent, piercing eyes emphasized by round, steel-framed spectacles. It was the Daniel M. Lord, who had dared to criticize his ad: 'Young man, you face of a man who believed in honesty and plain speaking. Indeed, may know a lot about advertising, but you know very little about the Powers once claimed that 'fine writing is offensive'. He concentrated furniture business.' on facts and regarded hyperbole as anathema. He was once hired by Along with the negative image engendered by the hollow claims a Pittsburgh clothing company that was on the verge of bankruptcy. of the patent medicine pushers, the lowly status of these early admen `There is only one way out,' Powers told his client, 'tell the truth... The suggested that advertising was barely an honest trade, let alone a only way to salvation lies in large and immediate sales.' The resulting profession. ad read: 'We are bankrupt. This announcement will bring our creditors The next figure to move the industry on was George P. Rowell, down on our necks. But if you come and buy tomorrow we shall have a Boston-based advertising agent who, at the prompting of a client, the money to meet them. If not we will go to the wall.' Impressed by had compiled a directory of advertising rates covering almost every the directness of the ad, customers rushed to save the store. newspaper in New England. His main income, however, came from The success of Powers inspired another notable copywriter, Charles buying newspaper space in bulk and selling it, piecemeal, at a profit. Austin Bates, who went on to found his own agency. Positioning In 1869 — by which time his business had expanded considerably — himself as an 'ad-smith', the outspoken Bates flaunted his expertise by Rowell came out with the first media directory: a guide to more than becoming the first professional advertising critic, establishing a weekly 5,000 newspapers across America, including their circulations and column in the trade journal Printer's Ink. Arch self-promoter though he advertising rates. may have been, Bates was a crucial figure in the history of advertising, If Rowell's directory nudged advertising towards respectability, the as his agency became a cradle of creativity. industry was given a further shove in the right direction by Francis Central to this development was a man called Earnest. Elmo Calkins, Wayland Ayer, founder of N.W. Ayer & Son. (He named the operation who started out as a copywriter, yet did more than most of his peers after his father, an instinctive marketing ploy that provided the agency to take advertising design away from the client and into the agency. with a reassuring family background.) Ayer brought transparency to Deaf due to childhood measles, but blessed with a heightened visual the business of buying and selling space, charging advertisers a fixed sense, Calkins was recruited by the Bates agency in 1897 when he won 1 6 Adlnd nr f rn

prtn pttn, f hh Chrl Atn t hd bn tll, rh, pbl drd nd t frvr nnhlnt, thr jd. Intll hnn n h n rl, Cln n lhd th th hbn ln bv prtn hrt llr. phr tht n rt dprtnt — n f th f n th ndtr t th t. hd nt t b hnd, n ntd t b th nd n rtrtd tht h ld nt prv th l f th d tht br h ntd t b th th. rhp ndr n nth p, Cln t vnn l n ndtrl dn. hd hn thrh n h rt: h frt Arr dl Chrl h, t th nln tht fn p n lnr nh: nr h pnn n lf ll r. lltrtd thr pn ndd t b ld b vl tht tppd th n thr tr. — fr Kll nd Ivr Sp, n thr — bt nn f th hd Wth t nlln t lt h t xplr th ptntll tl th pt h Arr n, h frl tblhd th brnd thr, Cln t p h n n th lph ldn, th fr vl nd ntrd lntl r t dvrtn fr th nxt 2 frr hd f n bn. nn d fr lnt rthr thn r. rl pln th, Cln & ldn fftvl b dlnd A Cln & ldn nd thr llbrtr r brnn n frt rtv ht hp. nblt t th rt dprtnt, prtn ll r l vlvn. nnn, rn h dvrtn ptn th r pt, tphr tl, prtd b hdr MMn t AOW O E UUE Gnrl Mtr. MMn fvrd n pprh tht dpnd th th hrd ll nd ntd ntl d ptntl br, nvnn Whl Erpn dvrtr ftn nd tblhd rtt t th n ltn pr tht th Cdll — fr hh MMn rt dn ptr fr thr brnd, n th Untd Stt t th bnnn h bt p — n rrprhbl lxr prh. f th 20th ntr n nrtn f lltrtr rn n At th Ch n rd & h, dn n x rl b bn t r. h th rtd r bl tv nd Albrt r hd dvlpd prtn hl n t plln. r th frt t, dvrtn t hv jr tn th n rbl t tlntd Cndnbrn rtr lld pt n pplr ltr. hn E. Knnd. Wth f r f xprn ndr h blt, h t drt xpl f th r th Arr Cllr & Knnd hd pl prntd hlf t th n n d ln Shrt dvrtnt. h nr f th Arr brnd hrd Cln tht t dprtl ndd h hlp. lppn thrh Knnd r, & ldn, h n trn nd lltrtr ph Chrtn r prdd. Unfrtntl, t trnprd tht th ll ndr t rt v Arr n. h ht th jpt: rd Knnd flt nbl t th th fr nnt prtr. ndr lltrtn rntd th nr t n xtnt tht `S h tht r, rt Stphn x n The Mirror Makers, h th ld hrdl hv drd n. pd th ln... ndr Grnbrn éré h prnt hd vd h Knnd thd bnd rtl pln pn th t th Untd Stt n 882. d hd h frt brh th th rld f trn tprphl ntrt, nldn lbrl prnln f dvrtn n h tn, hn h pprntd t Ch prntn ptl lttr nd tl, tht ht th dpt jr rhth tht h, hl t th t tn vnn l t th Art Inttt rndd n rdr f rdn n n th n lpdd hl. f Ch. In 86 h vd t r (ln th h brthr rn, Opnntd, nprdtbl nd nnbl, ftr t r tlntd rtt n h n rht t td fr t r t th t bt Knnd lft rd & h t frln, ttn n hh h hl. th t C& nd ndr, n 0, hd flrhd. rpld t th n b Cld C. pn — h rvd t ld rpttn rn fr zn l Collier's nd nt n t b n dvrtn lnd. The Saturday Evening Post. t ndr Arr n ltthr dffrnt phn nn. h n h pntd tll nrtd fn l. h r Adlnd 8 nr f rn

E OKIS AOAC offers to send references to Swift confirming his talents as a copywriter. Next, he convinced his local newspaper to let him write a column about Claude Hopkins never denied — in fact he overtly stated — that the sole advertising, free of charge, in return for a byline with his photograph purpose of advertising was to sell. He spent his entire career honing above it. Each time the article appeared he clipped it out and sent it the techniques that would best serve this end, describing his style as to Swift. Finally, the man who had interviewed him — a Mr I. H. Rich `dramatized salesmanship' in his autobiography, My Life in Advertising, — called him back and offered him the post. first published in 1927. He believed in research, both before and after One of his greatest triumphs at Swift was the promotion of a beef the event, and insisted that advertising was worthless unless it could suet brand called Cotosuet, used in baking as a substitute for butter. To demonstrate a tangible effect on sales. demonstrate the product's effectiveness, Hopkins ordered that a giant In photographs Hopkins looks dour and aloof, with his clipped cake be baked and displayed in the window of a department store. His moustache, round spectacles and balding pate. And yet he was a newspaper ads pulled in customers while emphasizing the colossal populist, believing that a good adman should retain a common touch. cake's key ingredient. The stunt was a perfect example of dramatized' His utter devotion to the advertising business, which he admitted to selling. reading, writing and thinking about 'night and day', could perhaps be It was while he was freelancing in Chicago that Hopkins honed explained by the diametrical rejection of his oppressively Christian another of the techniques that was to leave its mark on advertising upbringing. history. Hired to promote beer brand Schlitz, he discovered that its Claude was born in Detroit in 1866. His journalist father died when bottles were steam-cleaned — just as they were in every other brewery. he was just 10 years old, placing him entirely in the shadow of his deeply But no other brewery had thought of including this nugget of information religious mother. Although she hoped he would become a preacher, he in its advertising. When an ad penned by Hopkins pointed out that broke with the church at the age of 18 and made his bid for freedom. Schlitz bottles were 'washed with live steam', it gave the impression In Grand Rapids, he got a job with a company called Bissell, a maker that the brand cared more about purity and hygiene than any of its of mechanical carpet sweepers. Here he tentatively began preaching an competitors. entirely different gospel. This was the essence of the Hopkins approach. For each product, he Initially a bookkeeper, Hopkins took it upon himself to rewrite the would find the unique factor that set it apart from its rivals. 'You cannot company's brochure, which he felt showed limited knowledge of the go into a well-occupied field on the simple appeal "buy my brand",' he product. Ironically, it was written by that other copywriting pioneer, wrote. 'That is repugnant to all. One must offer exceptional service to John E. Powers, then at the height of his fame. But Hopkins was induce people to change from favourite brands to yours.' Hopkins called not daunted by Powers' reputation. 'He knew nothing about carpet this the 'pre-emptive claim' . Later, in the hands of Rosser Reeves, who sweepers. He had given no study to our trade situation. He knew worked for Ted Bates & Co in the 1950s, it became the Unique Selling nothing of our problems. He never gave one moment to studying a Proposition. Reeves pushed the idea to an extreme, turning each USP woman's possible wish for a carpet sweeper.' Hopkins considered that into a simple slogan that he punched home with repetitive ads. only with a thorough understanding of the product, its benefits and its For the time being, though, it was Hopkins who attracted attention potential customers could a copywriter pen a convincing ad. with his quasi-scientific methods of advertising. His work for Schlitz The success of Hopkins' early promotional efforts for Bissell led caught the eye of magazine publisher Cyrus Curtis — a teetotaller. him to the Chicago offices of Swift & Company, a marketer of meat Bumping into Albert Lasker of the Lord & Thomas agency on a train, products and derivatives. In his book, Hopkins describes how he Curtis advised him to hire the copywriter who could turn the thoughts applied for the job of advertising manager, only to be told during an of abstemious men towards beer. interview that he was 106th on a list of 106 applicants. Undaunted, he Lasker took Curtis at his word and lured Hopkins to Lord & Thomas asked all the advertising agencies that had approached him with job in 1907. This was not an easy task, as Hopkins was happy freelancing 20 Adlnd nr f rn 2

nd hd n ntntn f rtrnn t rfd, h lld t. r r drb h nll ntr nt th dvrtn bn. M ntll lrd pn th n nl frln ntrt: Gv fthr hd drd f bn npprn, b n th thr d... nd r f ... lt n r n th trt nd hr d (nd th n xrtn lt vr npprn t t . nll, pn rd t r fr r t th rrbl hv drnr... I vr dvtd t fthr, nd h prpd hh lr f n thnd dllr , ltr rn t US $8,000 ntd tht I t fr n ht h ndrd ndrd fld — rd r & h n Ch, n dvrtn n... rt t rd & h frtbl n ptn dd nthn t l th rhl h, nd th rt b tht th ld v thr nth prtr tpt. xprntd th drt rpn dvrtn, trl. hn th ld hthr th ld p n (`Wll Strt bn rrr f tt nd pn, rlzn tht t n tr, Stnd. , 48 brr 200. nvlbl f n rdrhp f n d. Whl rrhn Etblhd b nl M. rd nd Abr . h n 88, dntl hn fr prdt lld pdnt, h dvrd pl, th n hd vd th th t, rdtn fr pln d nd rt th frt dvrtnt ffrn n f btn t. t rtn th. An t bt lnt th brr Anhr Clrl nvnd f th pr f h r, h bht t n h. t th n r vn nl t tht ld pdnt nd d frtn hn t t ff — thn t h n vn th t ndn drn ntrnhp thrlln, h prtn ll. pn flr nd ptn htr. 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Enrd b th ft tht r ffrd t ntn thr pl. thn h drd h vr bn frbddn t h. rn fr 0 dllr nl h brht n bn, Abr r fthr hd rtd fr Grn nd, ftr r f h ptd th prpl. r hd t t nd ltrll trl, blt p prpr rr bn n Glvtn, x. prpt fr lnt. Albrt, thn, brn nt lth fl n M 880, th thrd In th ntrv th American Heritage, h rnt: hd thr f ht hldrn. Shn jrnlt bnt rl n, h lnhd t: nr, ddtn, nd l. I fr th frt l nppr hn h nl 2 r ld, nd rd fr th — fr th t I nntn... h frt tn I vrd, ftr Mr. ll Glvtn ttl hl tll n hh hl. dr t r h v trrtr, ttl Cr. hr prpt n b t ppr, prfrbl n Yr. thr h n t pnd $,000... b nt... I l. In r f rnn pblhd b Arn rt zn I fll f nr nd dtrntn. I n b — nd tht n br 4 (nd r rntl nrthd b bn bt, ntrd ppl. h frt d I t... I rdd th rdr f 2 2 M US $3,000... which my predecessor could have landed any time before. 2 He was a fine man, but he wasn't a "closer".' Albert certainly was, and he continued to bring in business, despite his later modest protestation that this was 'largely as a result of the good work done by my predecessor' . Helped by a gift for spotting talents like John Kennedy and Claude Hopkins, Lasker rose smoothly to the top of the agency. Along the way, he began to change the advertising business. While most advertising firms still had only two copywriters, Lasker r prpnd t p created a department of 10. He closely monitored the efficiency of the agency's campaigns, tracking his clients' sales curves against media ` We sold the war to youth' placements to determine which mix of newspapers and magazines was the most successful. In 1904, Lord & Thomas made him a partner. Immaculately dressed, fast-talking and sparking with ideas, Lasker seemed to sweep aside all in his path like a snow-plough. By 1912, he had bought out his former employers and become head of his own agency. With Lasker at the helm, advertising was well on its way to Britain at the turn of the century had never been as brazenly optimistic modernization. In Europe, however, events were taking shape that would cast the as the United States. While across the Atlantic the booming economy advertising industry in a new and sinister role. attracted wave upon wave of immigrants, helping to forge a new society, the British struggled to come to terms with the profound social changes provoked by the Boer War, the death of Queen Victoria, and the demands of women to be granted the right to vote. The latter had recourse to advertising. Hilda Dallas, a member of the Women's Social and Political Union, designed a series of striking posters using the suffragette colours green (for hope and fertility), purple (for dignity) and white (for purity). Dallas studied at the Slade School of Fine Art between 1910 and 1911, at the height of the 'votes for women' campaign. With the outbreak of the First World War, advertising was used to attract volunteers. In 1914, Lord Kitchener, the Minister of War, appeared on a poster urging young men to 'join your country's army', with a steely gaze and a pointing finger. In 1917, the US army adopted an almost identical approach, with a stern Uncle Sam pointing the finger: 'I want YOU for US army'. Everywhere, it seemed, the same guilt trip was required: 'You too should enlist in the army of the Reich,' said a German soldier, with the inevitable accusatory digit. On Italian posters, it jabbed out yet again. The US propaganda machine was cruelly efficient, with the establish- ment of a Committee on Public Information and its 'four minute men', 24 Adlnd r rpnd t Sp 2

who would deliver encouraging speeches to potential volunteers. In h The agency that rose to dominate this era in the United States Mrrr Mr, Stephen Fox writes that the committee's advertising was J. Walter Thompson. Although its achievements in the twenties division placed US $1.5 million worth of advertising. overshadowed everything that had gone before, it had its roots in the After the war, though, some of those who had fuelled the propaganda 19th century. machine were stricken with remorse. James Montgomery Flagg, the James Walter Thompson was born in Pittsfield, Massachusetts in artist behind the Uncle Sam 'I want YOU' poster, said: 'A number 1847 and grew up in Ohio. After serving in the navy at the end of of us who were too old or too scared to fight prostituted our talents the Civil War, he strode down a gangplank in New York determined by making posters inciting a large mob of young men who had never to carve out a career in the big city. In 1868 he was hired by a tiny done anything to us to hop over and get shot at... We sold the war to advertising agency run by William J. Carlton, at that point still involved youth.' in the primitive business of placing advertisements in newspapers and A hint of light in the darkness: in neutral Switzerland, Zurich became magazines. It was the latter that interested Thompson, who noticed known as 'the grand sanatorium' — a gathering place for pacifists, that they ran few advertisements while staying longer in the family deserters, iconoclasts and of course artists, who often combined all home than newspapers, thus making them potentially a more effective of the above. This loose band collected around the paternal figure of medium. He began to specialize in magazine advertising, gradually German poet Hugo Ball. He created the Cabaret Voltaire, a nightly building up an exclusive stable of publications available only to his event held in the back room of a tavern. It comprised art exhibitions, clients. Ten years after joining the agency, he bought it for a total of readings, dance and amateur theatricals in a liberating and faintly US $1,300 (US $500 for the company and US $800 for the furniture) anarchic environment. These soirées spawned the artistic movement and put his own name above the door. that became known as Dada, a word supposedly chosen at random by Mild-mannered and good-looking — with blue eyes and a trim brown Hugo Ball from a French—German dictionary. (It means either 'wooden beard — 'The Commodore' , as he became known, charmed clients. He horse' or 'see you later', depending on whether you are French or hired staff specifically to look after clients' needs, creating the account German.) executive role. Soon he began to offer a 'full service', designing as well But wait a moment: other sources suggest that the name may have as placing ads. He opened offices in Chicago, Boston, Cincinnati and been lifted from an ad for a product called Dada, the name of a popular even London — the first US agency to expand abroad. In these ways hair tonic made by Bergmann & Company of Zurich. After all, it was and others, J. Walter Thompson created the first modern advertising suitably absurd — not to mention a sly indictment of vanity at a time agency. of human suffering. An advertising campaign inspires one of the most In 1916, after 48 years in the business, with both his health and his influential art movements of the 20th century? The jury is still out — but enthusiasm failing, Thompson handed over the reigns to the man who it's an attractive idea. would take the agency to even greater heights: Stanley Resor. Cincinnati-born Resor had tried his hands at a number of jobs — from banking to selling machine tools — before he stumbled into advertising E EGACY O . WAE OMSO thanks to his brother Walter, who worked at Procter & Gamble's in- house agency. It was here that Stanley met Helen Lansdowne, a young After the First World War, society on both sides of the Atlantic had been copywriter who was to have an enormous impact on his professional and twisted and broken — and the structure that emerged to take its place was personal life. Meanwhile, Resor took to his new milieu like a natural, radically different. This did not mean that advertising had lost any of its soon becoming respected for his drive, his keenness to innovate and momentum. On the contrary, the admen seemed determined to improve his way with clients. At a certain point he attracted the attention of on the techniques of persuasion they had deployed so successfully J. Walter Thompson, who hired him in 1908 to open the Cincinnati during the war, and to put them once again at the service of brands. branch of the agency. Helen Lansdowne was taken on as copywriter. r rpnd t Sp 2 26 Adlnd

ndn th frt n t n pt n prfn th rld t th t. h dntn Art rpr, th vl tht rn vrhlnl ldntd t th d. In ntl bllhnt, ftr rl n th fr f tl rt prvl nhrdf dvlpnt, h prntd pn t jr rrn p th rn rp tht pprt th np bv th lnt, ntbl rtr & Gbl. Wrn fr n n h frnt ntrn. lnt d rt n prdt d t n, h pd h ntrr dn f W ff vrn b ln r. rt nht ll ntrl prtn flr. Stphn x rprt Wr p r dvdd b rht rn rll, ntd f ll, tht, fr Wdbr Sp, hh t W n 0, h d th ntr tff ld dr th v fr th thflr nd. d tht nrd l b ,000 pr nt n ht r. h r h ll tht rnd r drnd b rn rt lltn, nd n th frt t rfr bll t x, prn t dlvr th n ln tblhd hr n dprtnt n n llfl t f tht lv t th lnd ptr f n pl. ln prtr. Mnhl, th tl thrtrn Stnl r rld rrd Stnl r n Yr n — n r ftr th pr vr th n fr brnl pnlld ff. t th xtv dnn hd fftvl tn ntrl f th n. r dlld n th thn f n 8thntr Mhtt W drn nvrnnt n n thr rpt. It h frh, tn tht, dpt vrthn, th pl hd rthr ftn bn ntd tht r th frt n b th ll prvnl tt. dr (fr Yl, t tht nd h h dd nt pt th v tht dvrtn hd t tl dn t nr. nd f dvrtn d t lth, dtd trt dn. hrd rrhr A OOMAOOEIC AGECY nd phlt th th f rtn nvrt f dvrtn, hh ld nr tht th n l pth rd th h dn rd Alln fl brvd tht th n O ntf prn. In W d, dtr nd ntt ttfd t th ndd l tr trn flln dn flht f tr. thn ff f prdt ln th th l v tr. th n hd ntrd th 40. It rnl n vn r f h hrrh f th n l br th ht hd n thfl: ttn, rtn, rtn & Obrn. t tht rhn thn bfr. r ltrll th nd f b h dr l pn. bt. fr O, thr O. Stll th ? At th t, h nl rtd ddln n th dtd h pl ft tht r rtn b th t f dn r f th n, n tht ppl ld t h f thr f h d. h n f hrh ntr, n 24 h rt d prbl. Intd, nt hndlr r vrn b r f brph f Chrt, lld The Man Nobody Knows, hh hhrnn xtv nn `btppr. An rnt ttr th btlln b n Ar fr t r n r. In t h drbd tht r drn th r dd th nr nnt t th ltt dn, h hd pd 2 n fr th btt n nfrl hrd lnh. rn f bn nd trnfrd th nt rldnrn Wth Stnl r dntrtv ll prftl blnd b rnztn. rtn dvd h lnt t t n th th th l ln rtv n, W b th t fl dvrtn f thr pn bfr th bn ntn t th pbl. n t dt (lthh t r bfr t b th frt Aftr ll, f th ddnt hv fth n thr n rnztn, h ld t p th US $00 lln blln r, n 4. hn t th th prh t t thr? rtn hd rrd fr bn tht rd Gnrl Mtr nt, f hh t hld hn ntl th prn, th brdr fr rpt t rvrn, nt n rtl n Advertising th n flld th xpl f t fndr b pnn brnh Age (`Advrtn tr blvr, At . rnd th rld: Erp, Afr, A, tn Ar... pnrn rtn hd trtd t jrnlt n th zn Collier's ntr tht ld fl ftr rth. Weekly, hr h nll trnd h hnd t rtn p fr Sbl f t tt t v n 2 t th nlth Grbr dvrtr h rvrd Cl, th t r f dtnl ldn, nxt t Grnd Cntrl Sttn — th lrt ff bldn n b. tr, h nvlvd n rt Wrld Wr lnrn, hh 28 Adlnd r rpnd t Sp 2

h h t dvrtn n Alx Obrn nd rtn. h tr : tb. In th Untd Stt, rvl fr .. nld (Cl, rvd tthr n pnl plnnn th Untd Wr Wr pn. In tt & Mr (Chtrfld nd Arn b ( Str 8, Obrn nd rtn nvtd rtn t jn thr trtp n. hd bn frl ptn fr th trdtnll l rt f rtt Althh h thht f hlf rtr, rtn rd — frn h r. t n th ntd tht n nrtn f n, lbrtd ld tll b n f lttr n h pr t. n trtn t — vn thh th tll ndrd In t rl r O n n f rnrtn nt, ll nptbl. h tb pn d ntrtd ffrt h Gnrl Eltr, Gnrl Mtr nd nlp. It vd t t trt n: ptr hn n zn t Cl ptr p n ff t 8 Mdn Avn, hr t nt th nl tpl xpl r n n t hr Chtrfldpffn dvrtn n: th thr th Gr ttn Cpn. , l . pt th bl pprh, th nbr n dvrtn pnr, Gr ttn hd trtd n f n r n th Untd Stt r fr pr nt f th ttl n n trd th nd f th th ntr. vr, h n 2 t 8 pr nt 0 r ltr. th frt prtn t ffr nh prntn, h blvd n th t th prft tht th dvrtn n rpd fr th n f pln, pl tp t ttrt th ttntn f rdr. ttn dd n rt r nt nh t prtt th fr th pprhn fnnl 8, hvn blt n n t rn th. th t t hrd ltr. hdrtr th O, n 2, th ttn Cpn hd 246 pl. It rd th O n 28 t fr n f th ndtr lrt plr, th blln f US $2 lln. UICAM ESUS E EESSIO h nprdntd f n l W nd O dn trt th xtnt t hh th 20 r b r fr dvrtn. An prvdd b th d n Ar, f Snt Cl drd n In ndn, th dd hd d ff th n Intrntnl Advrtn th rd nd ht lvr f CCl (h trdtnl ttr fr thn Exhbtn t Wht Ct. h ptr fr th vnt hd ndn n, n f th nl hrfl ht n th ntr trt f Ar Undrrnd pltfr rd th rtr dvrtn, hl n . Unplnt hd rn t 8 lln, hvn dbld n th tn pnr nldd n flr dvrtn hrtr: r. h Wll Strt Crh f Otbr 2 hd rppd th flr t f Mnr bnd (bttr nn n rtn h Mhln Mn, th US n nd nt hddr thrh th ntr Wtrn rld th t Kd, ppr th M d nd th rdtd trdn n (th th hv httn dbtrddn Grn prtlrl hrd. fnd n bttl f hnn Wlr l bl (h frt drn n 2 th n Indx hd lt 8 pr nt f t vl — nd 0 b th rtnt rn. rnd hd dfntvl ntrd ld nt fll rvr ntl 4. th pbl nn. A n ht hv xptd, th dvrtn n dptd fxd n th Stt, th ntrdtn f hr prh d tl rn nd prhd pt. hn ld t bttr n, th d. d vlbl t rft f n nr. Sl f rd t r fr t, Stphn x rprt, Albrt r frd t t lr US $60 lln n 22 t US $80 lln b th nd f th dd, t rd & h b 2 pr nt, nd thn ltr hd t fr vr 0 hl th nbr f r n th rd r fr 6 lln t 2 lln n pl... O trd t rr t ppl thrh th hrd t 0 r. In 28 rd rpld t Mdl th th Mdl A, th th nd nntl vrtffd. h hrd ll t hrdr r .W. Ar n hndln dvrtn fr th lnh. t W x pprd n dvrtn. h bttr pbl lnd ddnfll t vr xpnn hd bn lrtd b Gnrl Mtr, Ar d fr prdt th ld n lnr ffrd. Wth th lr d f th drvn b rd, th th n pnn ff n ndn, S 20 t n nd, dvrtn ld nvr rn t tth hr. l nd n Ar. Sll, th b n r n lbl. And t, pl f f n r fr th r. On f h prd l th trnthnn f n ndtr tht t th rntt, hh pnd n th bl f ppl rn rlbl r f n fr dvrtn n fr r t n t rptn d ( Chptr , h Ch . Anthr 0 Adlnd r rpnd t Sp

Yn & b. Althh th n hd bn rnd n 2, nt nh r fr nvr t Ar, hh hd rn tff t n f th f t rnh prft fr th prn, hn t nd plnt. Whl tn trll r Indpndn Sr n l dvlpd th thn tht ld hv ltn pt n th ftrnn, th ddd t lnh thr n n. ndtr. At t p, Y& th lt dlnd hd fr n t th nd nd b nthr frtrtd rtr n tr lttrd f frhln n tht ld ltr pr th rtv rvltn th th. rn n rln n 82, th nt f ht hldrn, f th 0. fltn h n l f frl dtn, b h jt fv r ld hn h fthr dd f tbrl. Wth rrtd tlntd ddbll nd rbl rthr thn ntlltl. rdl h thr nbl t l ftr h, h hffld rnd rrt nn trnd p bfr 0 n th rnn, bt th n plzd prnt n Oh, nvr nd x. A brht t ndplnd hld, n ltnht rtv n, flld b ff nd rtt, nn h lft hl t t r n dvr vrt f ptn — fr np. ln t htl prtr — hthn lll rd n th rlrd h Irnll, th n frt fl pn fr ffn d h ll t. nll h pthd p n hldlph, hr fr ff bttt lld t. rv pn fr th prdt h fl hd t rnl rt. r, dd b rltv, h d nd hd tn vl dnl pprh, pln ff n negative t th hrt tr nd jrnl. lht nd tln p t ltn fr nxt, nn nd pr hn h fll n lv, nd rlzd tht h fnn ld nd dtn. t th d hd nvr ht n, b nd bt f h t b fl n. Aftr hrt, ntftr rrh t fnd t ht nr rll thht f th bvr. It prd n tbl ln, h trnd h ttntn t th nnt trnd t tht n f th r ttrtd b ftr nbd ld dvrtn ndtr. rt pl tb d nd t th hv d — t flvr. S Y& n zn pn ln t th ff f . Wll Artrn, th frt n n th phn thr tht n t th x t, prtrn th drn thn nd tt b nd, nbnn t b, ntrl ntnr dn. bdt bvr. t l t ff. h brnd nr, Gnrl Intll rn t th bddn prtr, Artrn thn lt d, prd th n r r f t ld rlt t Yr h r bnh n th lbb fr nn d n r. On th fnl — hh t dd. d, b nt h nd rt n nr lttr xplnn xtl Y& hd t tlf rpttn rtv n, bt b ht h thht f h trtnt. It , h rlld, dnd t n t tr tht vn t ldt flht f fn r bd n prd n dt ntrv r pl f bl fr th ld rrh. Id fndd n ft b h ntr. d rtr (`dr n Mrtn, Journal of Marketing, Aprl 62. th f vr dvrtr hld b t tr t n r thn r b tlnt t hv blzd ff th p: Artrn lld h pttr d bt th rt, nd pt tht nld nt th hnd b nt th ff nd hrd h. f rtr nd rtt th ntn nd brd hn pth. Evn , b nll t hn t th ntdlvn hlp dvlp th d, b hrd n d th Artrn prtn, nd td jt ln nh t lrn th rd rrh brnd. Gr Gllp prfr f dvrtn nt f prtn bfr vn n — th t t .W. Ar. r, nd jrnl t rthtrn Unvrt. hd b thn fr th Stn pn nt, b ht th rht nt, th n f tr n th dvrtn rld ftr pblhn h rrh nt d drbn th pn h Intrnt f th Irtl. tr, zn rdrhp hbt nd — rll — th pt f zn h rt nthr nnn ln fr th phrtl pn E.. dvrtn tht hd th rtt pt n rdr. dvrd Sbb: h prl nrdnt f vr prdt th hnr nd tht hl th lrt prnt f d fd n th n nd ntrt f t r. ffn f prdt, th tht phd th rht bttn th rdr b lt frnd t Ar Orr Yn, n bl nrnd lt, vnt nd xppl. Othr n trd t ph nt n vn r h nr h hd l vd vr fr th rrhr, bt b nvnd h b prn rtr r th Artrn n. At rtn pnt th bn t fl tht thr fr xprnttn nd frd fr fnnl ntrnt. 2 Adland From Propaganda to Soap

On tblhd t Y&, Gllp blt p rtn rrh bn nprd b rn , rl nr f th ndn dprtnt tht th nv f thr n. At n pnt, n fr Undrrnd, h hd f r rlr d ldn rtt t thn 400 ppl rnd th ntr r nvlvd n fld rrh r dn ptr. fr Y&, ll ndn b nfrtn bt hh d r rn Erpn rtt l d t vr t th Untd Stt. In 8, nd h. tr, Gllp nd b dvd prdr fr ntrn .W. Ar nd th rnh ptr rtt Adlph Mrn rtn t rd h, rrtn ltnn pnl fr hrh nd — bttr nn `Cndr — t p th n fr th n n lb. At th bnnn, ltnr l nd dl r rd 8. Cndr lrd lnd, hvn trnfrd ptr rrdd th th d f ntpd, pnl nd tnnr — bt dvrtn n rn th h bld, nlt Art dn. ltr Gnrl Eltr prvdd Y& th hn dptd t th 6, h rtd h n xhbtn t th M f Mdrn Art n n nd. In , hl tll t Y&, Gllp tblhd th Yr. Sltd ftr th vnt b rd, h prvdd rrlt Arn Inttt f bl Opnn. h ltr br t b th `8 prntd n th ppl. Strn dn t th rrn th Gllp Ornztn, n 8. pdtrn, th nt ht hv bn th nprtn fr Mnhl, n 4, Yn hd lft th n, fftvl n rthr. It l pl n dfn f lltrtn, hh ll ldn b dnn vr th fr. Sht ldr thn h bn prdd b th lrn f phtrph. prtnr, Yn hd l bn l pnt bt th dvrtn S f th t rndbrn r n tht fld dn b bn, prfrrn t pnd t th h fl. . Strln Gthll. An nflntl fr n th thrt h brl b, hvr, ntnd bldn th n fr nthr dd. rvvd th dd, Gthll dd t th f 4 hn h hrnll nnn frl f trn rtv d drvn b ld rrh hrt fnll bd t h frnt lftl. d prv t rn nd r. lln ntnd t lb: Aftr tnt t rd & h nd W, n thr, th rtl US $6 lln n 2, US $2 lln n , US $22 lln n . Gthll trtd h n n n . thd t hr 44, hn b bn ntpltn n rl rtrnt, th th t tlntd phtrphr nd rt d rnd thr , n blln US $0 lln r. lft tht rr, fvrn hhpt, tbld pprh, th tt p nd hpn t fnll rt tht b. t ftr tn th jrnl, h blzn hdln. rbbl h btnn d fr th 2 lnh t th nln tht rtn lf f drdr, nd tht f th Chrlr lth. It ftrd phtrph f Wltr . Chrlr, r f rn n th xtn rrndn f n dvrtn n ft rtn frl n th r fndr, bv th bld ttnt: hd pld h fr h ltr xtn. t A EE. Chrlr pprd t b nrn rdr t pr h tbl t t rvl vhl — fr rd nd Gnrl Mtr — bfr n llnfrd dn. h nrthdx EW SIGS, EW SOUS `hnt ppld t nr, th ptv rlt fr l f th lth. In th Untd Knd, ptr dvrtn n th 0 nll Gthll vn brfl lnhd zn lld Picture. Wdl ttnd th lvl f hh rt. h tndn nrd b rptd pnr r f ntl ptr n dvrtnt... ddntn, th dvrtn nr f Shll. A ht bhn Mr Gthll... n fr lltrtd xptn f tp l th fr, ddntn hd bn rn n Shnh fr 0 r hn lf f hr rl, th dnr f lhtnn, Strn Anl t h rrvd t Shll n 28. xpltd th pn phlnthrp r ht hppn t n rh bth..., nffd th rvl Time trdtn t v fll rn t h ntrt n rt, nn zn (`Gthll Picture', 2 br . It tpl f dvrtn hrdn fr th d f dlvr tr (lrr bll Gthll tht h prd t rn th zn in his spare time n rdr nd fftvl trnn Shll flt nt bl rt llr. Ovr th t ntn rvn h lnt t th n. hr r ltr h r h nd fr th l f Grh Sthrlnd, n — lvn bhnd hld n tl f d fr hrhr r. Crl Wht nd th rrlt n Shlr (`r. hv 4 Adland From Propaganda to Sp

t f phtrph n vltn, th ndtr l dln r. hn t h rd rlt, b rt th rht th thnll rvltn. In f hrt r t hd trd n n n dvrtn. ntrl n thd f dffn t . h t b jnd n hrt rdr b nthr, vn r prfl d. And, th td, th bt rrd nt t th n tht r th t E E O E EGIIG t dpt. In th Untd Stt, rd rl bn lt fr Advrtn nt b t r. A ll bn dpld fr th pr th trt. A rl 22, Yr rd ttn lld WEA, p f btn rl, dvrtn n rhd t v th nd b Arn lphn & lrph, hd bn ffrn 0 prn tht brnd r n th th f th fhtn. In nnr nt dvrtn lt fr US $00. 26, WEA hd vlvd tht vn r dttfl td thn t dd t th t, prdt nt th tnl rdtn Cpn (C. h Clb r lnd t th r ffrt. r ntn, Cdll ld t b n rdtn St (CS lnhd th flln r. Whl n th th vnrd f th nvn, Cdllblt prt ld b fnd n Untd Knd th C, lnhd n 22, rnd dfr, n th th nn f fhtr pln. x rd trt tht th ln Untd Stt rd b th lt xlv dn f dvrtr, th r frd t d tht bn trnd nt r prdt t h pnrd nd prdd h. r ttrn bt dvrtn pd r fr t vtr. h ttfl pnn th `ntrdn n th fl rl r drnd t b th nd f th brht flh f bb xpldn, th Grn rnnn fr vr. Str n Orhtr. hn r nl lhtl r btl n th Untd Knd. h h n d l d pl f n rpttn. n nrv fd prld n d fr r C, th n lltrtn f d n r ndrd nnvntnl nd drn, th dt fhtr plt bt t lb nt th pt. (dr h n ht pnr f thr d. An n lld ntn & l, hh hd `nrv fd r l t drp ln. On lhtr nt, th bn ttrn n th brn f bnrpt, b nn fr t rd hlvd M dn, Gnn pn, fr th n xprt hn t lnhd vrt h lld The Maxwell House S.. nn, t lht jb t th f rth prtrbblt. Showboat, hh prrd n 8 pr nt r n l n nl r. (In n ptr, hn rh t prvnt h pnt f tt fr bn t th ldn n n rd rn rt, rtr f p pd h brthrnr n fhtr pln p rdl dn pr ( lld, f ddnt n, b th r frntl n t. pnrd b dtrnt brnd. hh rnll rtnt nd In th UK lhr, th vrnnt v hrd thrh nntv n prn, rt hd n fr rd dvrtn. dvrtn. lr ln n th rth h frnt nrnd d bn rtn pn fr th d t rd & h fr f pn (`Crl tl t lv nd th nd t r bfr jnn ltt & Spl (n t b lttSpl vtbl fr rtntrvd tzn (` fr vtr. rtn r rt n 2. At tht pnt, th tndrd frt fr pnrd rnd t t r n th blt nd p l t hnd. rd h — prtlrl f t d t n — ltn Stphn x tt n The Mirror Makers tht th US dvrtn f htt hhld hnt. t rt ddd t xprnt th ndtr dntd bt blln dllr rth f p t th r thn r l th lffhnn rl n nppr. Aln ffrt. t r rtn, h d: W dd nt tll th trth, f th h rr nd vntl f Ann Ahnhrt, h rtd, r. W pl t frth n ptr nd p th Adntrtn rt nd prdd rl dr. S f th td n th r fr rnt... h nd nd ptrt nd rl hl th r r. h Jack Artrn dvntr r, pnrd b th brft ltd. rl Wht, trtd t rn n nd ntnd rn n n Cnvrl, rntt flt tht th Snd Wrld Wr fr r nthr ntl th rl 0. Evn r prvl, p dntrtn f th pr f drn dvrtn. [h] vrnnt pr lld Ma Perkins, fr Oxdl dtrnt, rn fr n fr thn t n ntrl n d f dvrtn n fftv n f 6 Adland

ntn t th ppl f th b ntr f r, nd tl fr ttn ppl t d thn n vlntr rthr thn plr b. h n tlf nt bd pbl rltn fr dvrtn. rn th r, h rd, dvrtn rvld tlf t tlf. ddd, `A lt f ppl... dvrd fr th frt t tht th hd rl bltn t t nd ld thr thn jt fftvl n lln d n pddln d. C fflt W hd bn rl brdt n 4. Mdn Avn A r ltr, th n prr t rrd f ttn t fr hr t 4 hr fr th r prd. Aftr th rtr r n hvrd rnd th d, tll nr ht t f t. lvn th trnt dr v vr hd t dh t, `Creative organizations are led by rntt tld th tnl lvn Cnl n 4. Mb tht h r hnd h lttl hn t th r t f th bttl, formidable individuals' bt ll t vr tht. S r tlr thn thr. At O, th hrt Irhn n ff — h hd tn vr t th hd f th n fr r rtn n 46 — prtlrl n n . 4, rdn t Stphn x, ff pndn US $4 lln n th n d, nd th n dprtnt hd rn fr 2 t 0 ppl. I fl n t Yr lthn t b: The Hidden Persuaders, tl US dvrtn pnd n tlvn r fr US $2 lln n b n rd ( nd Madison Avenue, USA, b Mrtn Mr 4 t US $8 lln jt thr r ltr. vn fll (8. h thn I ld t bt th tht I hd nd t t pd th rd lndp, brnd r n frl tblhd n hld f th rnl dtn — tttrd xlbrr p th lln tlvn. ppr — I fftvl tn th b t th trt tht nprd th. On Aprl ftrnn I trd hlf th lnth f Mdn Avn, tppn nll t rb ff nd lf thrh thr p. At th bnnn f th rd b thr nt rld n bl n: New York, Xmas 1960. It hv bn th prft t nd pl t r n dvrtn. Mr b nfr tht Mdn Avn th nl jr Yr trt nd ftr prdnt f th Untd Stt. h thr nd tht th trth tht h d th trt f t p nffth f t lnth, bnnn t bt 200 Mdn nd ndn t bt 60... frn ht th vlr ll d ll r lr lh.... At th t tht Mr rt h b, th n n Mdn Avn ntrlld hlf f th ttl xpndtr n dvrtn n th Untd Stt — hl t f th rt hndld b thr brnh ff. Mdn Avn hd bn th nffl h f th dvrtn bn n 8 Adlnd Mdn Avn Artr bfr th r, bt n th pt f r n nprdntd bldn hr r plnt f rtrnt t h fr. Mrtn Mr b hd trnd t nt ltnn nn f ntn fr. ndrd tht, lnr nx, Mdn Avn hd n l `Mdn Avn t ppr td prvl n, rt Mr n Ar nd f n Erp — nd t n trthfll b d tht th n 8. Mr thn dzn n ff bldn, h r thn 20 rt rtrnt f Yr r hr t pl t rv n n tr hh, hv bn blt n th r... th dvrtn nd ntn fld. t rtrnt l And ht t l nd th nlth n? vn dn rl, th t fn d èl r f tptr nd rn vlvt, th th tr, Mr ld tll tht th ff f Yn & b r blndht n, th dr nt f n, nd th rthr prdnntl drtd n rn. MCnnErn ftrd rtfl hrt lbbn f "2". ptl, bt . Wltr hpn l n tlf. h n On fr ht hv n trlln dn Mdn Avn n tlhn hd lrl nt nd n th 0, nd rdvr h t lnh — prhp th n ll hnn nt h th n f r flrt th dnn t drtd l vr rd — ln Enlhn, drd n td fr ntr Enlnd lnl frh. h tlh rln hr b M r n lhtht t brhtnd th pt r n r. vn dr h hv bn r rnt th, hvr. Gdln, hrn nd (n th rf, t lt rrprbl hn, n, Mdn Avn blzd th US dvrtn lfnfdnt, vd Olv n f th tr f th Mnhttn ndtr. hl nbrr, th frr vhrn f O, h dvrtn n. And h rth. t r n th trt n prtr n th rl 60, nfr: lld, t b n d rthr thn phl pl. Y ld tht Mdn Avn was dvrtn. A IIS AEISIG AGECY th 0, dvrtn ndrd lr — f tll nt I EW YOK xtl hnrbl — prfn. Atttd t th ndtr t th t r prnfd b th Cr Grnt hrtr n th North by vd Olv pld h lr prt n th rtn f h n th Northwest (, dppr Mdn Avn n h tn fr tht t ftn hrd t tll hr th trth ndd nd th brndn bn. p. rd th bnnn f th fl, Grnt t h rtr, In hr r f thn n fr rtn, hvr. brn n th rld f dvrtn thr n h thn l. hr nl th n Wt rl, Enlnd nd dtd t tt Cll, Ednbrh xpdnt xrtn. — hl rnnd fr t Sprtn dpln, rdn t Olv. An ntr thl frd rnd th dvrtn bn Apprntl dtnd t b htrn, h n hlrhp t Chrt drn th prd. h tndrd tplt fr Yr dvrtn Chrh, Oxfrd — bt b h n dn h rd tht p. h xtv The Man in the Gray Flannel Suit, th ttlr fr f rn fr th r nlr. In h b Confessions of an Advertising Sln Wln nvl, h tll rd n pbl rltn. If Man (6 h rt lbl tht h t prpd t d n dn hd vr rn flnnl t bfr th b b btllr, r, nd dl xplld. tr h rvld tht h hd t r th rtnl vdd th ftrrd — lthh th r pd prtn n h hd, fr dbl td, hh ntrbtd t h hndl nh t b ll drd. h r l nn t r l f nntrtn (`vd Olv t , Viewpoint, Sptbr hrd — ftn rdll , ntl th rl hr f th rnn — Otbr 86. In n vnt, ht Olv frvr drbd th hn ll th tl f lr nd hrt d n th prfn. h rt flr f lf hlpd t hp h prdxl prnlt: fht tr th lhl, vn r t th thr rtn lnh. h tht f th hlrl ntrprnr th ddrn prtt. tll xtd, rdn t hl nbrr. h d t ll th vn bn n rdr f Mr n hlb, Olv dpdh dth, h rll, th hl. n br fr trn th ndrlt. Althh th vntl l Ar, lnh, prtlrl f r th lnt, nt b dl n th h frt dtntn rn, hr h t jb n th thn f d. th tl Mjt n r. I hv l blvd tht f I ld 40 Adland Mdn Avn Artr 4

ndrtnd h Mnr trd, th hd hf, nprd h htht nll dtp nt rrl lf, bn n Ah fr n nnlvn. rl, I ld ppl th nd f ldrhp t th nnt f rtntl fr th dvrtn ndtr, h ffrt t fr tb r dvrtn n, h rt ltr. t th nln tht nfl h ttpt t b htr hlr, nd h `n rtv rnztn... ll prd rt bd f r nl t rlzd tht h ld hv t b nt bn. l rlzd ld b frdbl ndvdl. tht h nll t t jb t n dvrtn n. Olv ld b tht ndvdl — bt nt fr hl t. In In th b The Unpublished David Ogilvy, n ntrnl n th nt h lrd b t Enlnd t ll A n tv, dnt pld n 86, hrt tbrphl nt ptr h b th pn ndd bd h ld pth t rnh prdnt t th t. Wll n n hr th n? 8, hf n ndn rtrnt. Olv ntnd thrht h rr nd npld. h bn , ln, dpltt nd tht dvrtn n r r l thn phttd fr f lln, fnnr. n nthn bt rtn, nd h nvr rttn n nd ln l thn t hh h trnd t t b dpt. p. prf t b ntrtd n dvrtn rr (t th drn b d h t rt l nl fr thr A f 8 nd lln t t r fr US $000 r. I dbt f n pl: t ltr b tndrd txt fr prn l ppl, Arn n ll hr h. vr, ndn n did hr ltn drtn fr. Fortune zn jrnlt 0 r h. ltr. Olv ldr brthr, rn, n nt xtv t th h ft r lttl r pltd. Cnvnd tht h ld dvrtn n Mthr & Crthr, hr h hd th rpl. nvr fnd plnt t US n, Olv ddd t trt n f rttn l nl t nnt. Sr nh, vd dl h n. ptl ntd t US $6,000, bt frtntl b tht d t jn th n t. t h brthr rn nn drtr f Mthr & Crthr, Wth th bntn f hr nd chutzpah tht t d h hh rd t lnd h n nd t n. vd l prdd r n dvrtn, n 8 vd nvnd th n t nd h t nthr llnn rth n, S.. nn, t nvt. At th Yr t td trntlnt dvrtn thn. h b h t, h nvnd th Arn brnh f Wdd Chn t t hd rvlld n Huckleberry Finn ff t Ar t lt. Whn h r n n n, f nl fr trt pbn prp. th Mnhttn ln h pt fr j, l Stphn x n The At frt, Olv br d tht th n ndd n Mirror Makers. Arn (nd prbl r xprnd frnt n. And dl t , Olv dd nt rtrn h. Intd, h ht th Andrn tt prdd t lv th Ch ff f . Wltr dv f tblhd Yr dn l r v, t tht t hpn, hr h n nt n, nd b prdnt f th prtr t lttSplrt. Althh Olv drd n n. tt, Olv, nn & Mthr, rth dvrtn v, h ld nvr fll pt h n ntr ldl ntf n n Yr, brn n Sptbr 48. Olv nd pprh t dvrtn, blvn l nd b (nthr f vprdnt n hr f rrh. Althh th prtnrhp tddld Olv hr tht fftv dvrtn hd t b ntrtnn ll ln fr fr r, t b t lr tht Olv rnd t tnd prv. In n, Olv tl f dvrtn nth n h n t ft, nd tt vntll lft. f vrthn tht hd n bfr: th n f Cld pn, In th nt, Olv hd bn b n n fr hlf th phttn f W ndr Stnl r, nd th rrhbd n f th ndtr rn tr. If h br n ndn hd rtvt f Yn & b. nd tht h rhtpl rthn ld b drb n A f t ntn h dvrtn dtn, Olv t jb th Yr, th r t rn. A h ltr rlld n th ntrv th rrhr Gr Gllp, nd pnt th bt prt f thr r Viewpoint, Olv n h t brnd hlf. I hd trrf dvnt trvlln r Ar lrnn bt th hp, dr nd hbt hn I trtd n n n Yr. I hd rth nt. Wth f h dptd hlnd tzn. rhp ht h dtrbd n n, h pttn, Id t — Enlh h, b ftr rt ltr ntlln rv h t n nt, hh hlpd t dffrntt fr th rdnr. hr r 42 Adlnd Mdn Avn Artr 4

n fl lt f Enlh vr thr n dvrtn n, bt n th d Olv rptd th pr fr Shpp tn tr, th t thr r nl bt t f . ht vr hlpfl. rrtn th pn lxrntl brdd dvrtn nr, Of r, t f th pn tht d Olv f r bd Cndr Edrd Whthd, th tr f th pn. h n xtl th nd f brndn b prnlt. h frt th ntlln fr ptrd th ntn f th pbl xtl n n th th hrt. In Olv hrd b th, th n n th th hrt hd dn, th nrt r ll Mnbd lthn fr, t rt ntnl dvrtn n l. pn fr ln f dprd hrt. A Olv hlf xplnd t nt th nl t fl d. Olv l n Confessions, th dt z f th nt dd nt prvnt h fr r prtr, ftn rn ntl th rl hr f th rnn hvn rnd btn. dtrnd t p th t plh th prft pth. h rlt nvrbl plln. pn tht ld rp vn tht f Arr Shrt. t th l phln, prtr h jnd Olv n n 8, ld pnd nl US $0,000 nt Arr US $2,000,000. A rl rll: pt h r f brdn nd phttn, vd nvr rrd. d pltd rd hn pl n ld d. I rbr h h rl trnd t t b n pth. Olv ntd th lnn vr p Id rttn tht rd, "Ch t r tll d t xd l nd phttn, h rrtd dhn, vlbl", nd n, "Wh dnt jt 'good t?" And thd dl nd Gr Wrnll. Erl n, h hd th d th d fr th hrt l d rd l "d" r "n" f rzn Gr th prtl pth, bt th rjtd — nvr "hndrftd". t nrthdx. nll th d f th ht , nd n th t Whn h n th ll nt n , Olv prdd th td, Olv dd nt drtr nd bht n pth fr 26 dffrnt hdln fr th frt dvrtnt. h lnt h: At US $.0... Extl h t trnd t t b fl, I hll nvr 60 l n hr, th ldt n n th n ll n. fr th ltr l. It prbbl ndn tht O d t Olv n xtl h th pn rd. lld t fr r Arr r hd d r r l th ln 2 r `tr ppl. h rh pth nl nd ht rdr rlr. Olv ltr ntd tht h hd pnt thr rrhn ttntn. [h rdr] ln t th phtrph nd t hlf: h n lnt bfr trtn n th p, nd tht h hdln hd "Wht n thr?" hn h rd r p t fnd t. h trp bn nprd b zn rtl. t. bd, n n , ld hv dbtd h ddtn. Whn h Evr th prtl ddrr, Olv d th th pn n n nt, h blvd n lrnn vrthn h ld bt th t rrt r f ttn n hh I ld hv ld t fnd pn, blvn l Cld pn tht th th bt rt lf: ndtn th Yr hlhrn t Crn ll, t l nht. rd ll th hr tht Gd nt, nldn pln th b, pn G t th Mtrpltn M, drvn nd. bd vr dd fr hrd r, h fnd f n, trtr, ln, fnn, bn nr, nd frth. tn h fthr. At th t, Olv hd tfftv nd trtll nd rtntl, h l n h t tvt tff. l phln pprh t bn dvrtn p fr th. h d rn nl rll: Whn I jnd th n, vd t hv bn bt 46 n th ltrr, prt New Yorker zn, th ddn frthr r 4, nd h t dhn fr. Aftr bt , h d t th f l. A Stphn x nt n The Mirror Makers, ftr fr p th h bt n d fr th Yr hlhrn — h r th pn flr tht Olv ld rn n d tht n th brd nd rn d prtn fndrn brptn. p, tht vn th n f th prdt — jt phtrph f th d, "t tl bt t vr lnh", nd d h rtr t ll th n nd h pth. Ctr r bn n , nt l vlln, hh the fnt rtrnt n Yr t th t. pth. t, l Mnr trd n th thn f th Mjt, Olv nvr frt tht n fftv nr hld b frdbl. 44 Adlnd Mdn Avn Artr 4

rd th hll t f pl f t, phln. dvrtn tht ld th rtv r thn t ld th prdt. tprntl nd h ddnt pll pnh. On h nt nt thht th thn tht f th nr r dn r tht rd: "l, I thht prd t h th Sr d lttl ntt. n th htr f dvrtn nd h ndrtd ht lt d. Y hv n bn rn n th fr thr nth rd t f th t — nd h flt tht n prfnl hld — lnr thn th ttn prd n IGS." n tht. Olv ld ppr rrnt, lthh h rrn t hv thr thn trn t trn dvrtn nt n rt fr, Olv trvd bn l fr lrn nrt. ntllnt nh t b r t r t prfnl tt. I thn h fld n tht ffrt, bt t f th, nd vn t hv n f hr bt t. I rbl n f th rn h rn n hnrd fr n th ndtr, vn dffr n vrthn except dvrtn, h rt n Confessions. t f thr hd rtr nfln n th dvlpnt f dvrtn. f ln dn, h ddd: Whn Fortune rt n rtl bt Olv pld n h ntlnl pprn — thn h nd ttld t "I vd Olv n?" I d lr t th pl lnt ld. Yt h rnd ln t hrt, ntntl dtr fr th tn r. Mn r ltr, h v ph t prtn h n n ph, n b, nd ll. Althh h th b Advrtn Clb. Aftrrd h d: Mr Olv, dld tl prt, h frd hlf t t th, b h Indn dvrtn dr t nprtn fr Mdn Avn. Wht ld h ld ll blln. In th thbrthd ntrv th bt Mdn Avn? Wht its r? Olv rpld: Mdt Viewpoint (th n ntrnl zn h rlld, I n nt t frbd. ... thn lld th Stth Cnl. h hd lnh n Yr... h flr nd frr dn Sr Aln rr r Olv And fr tht lnh I vntll t Shll, b Mx rn, thn fntl rtrl n th prf t th 8 rdtn f prdnt f Shll, t th lnh. Confessions. I pt tht Olv rnbll & Ar hrt nd In ft t t nthr lnh, th t n ndn — hr Olv pffn pp r h n r ntn th n n th hd fln t drtp rn ftr hrn tht hd d h xtn pth h hd d f, bt h ld fl t b dd b n — t r th nt. t th tr d jt t th Olv lttl rth nr fd th hrdnd Arn, lfrvn hr: nd h ld h t thr thr lnt fr th vnt. lnhp? rtll fr d n, Olv pprhd b rvl n Althh h t td th th prd rvrd n th ffr t b h t. Ovr th r h fndd ff vrtr fr dvrtn rl th rtv rvltn, Olv p lt vr b n n th bn: Intrpbl, . Wltr hpn, f th d f rtvt. tr r f th dn rl : O, rntt... I th rl fndntl rn rthr `Sll — r l. ld tht h hd rnbl rnl nd, prnl n, h tld Viewpoint. I ld Olv & Mthr. I thht t bt nt t h . I thht lnt thn. In ltr b, Ogilvy n th pr f bn th bt dn n n th htr f on Advertising (8, h rt: I nll th hd rd th rld. And I ddnt nt t ddl t p th n thr n. creative lf, fr l f bttr. t h l d tht f Whn W fnll rd th n n 8, Olv t t hh f dvrtnt th t fl, I ll nr t prnl ffrnt. Yt h ld dn nh t pt th pt f th frt I rt fr ndtrl dvlpnt n rt . It n nnxtv hrn, tll nbl t lt . dd n , n n rd fr "rtvt", bt t prdd r f nftrr t dvrtn lnd h bn h rr hn h lt 40. trt ftr n tht pvrttrn lnd. td h ld frnd r v: nt fn rtn? nt trp? Or d nt t th ddnd l E SCIECE O SEIG rv trt vn p? l phln , vd dd lttl t rrt th nptn In th pr f tblhn h n, Olv ftn p f th tht h vrl ntf bt dvrtn. pl ddnt l nd t rfr dvrtn, ll r tht ppl r rplld b 46 Adlnd Mdn Avn Artr 4 th bn th r fntd b t. h hrdl rprn, ll prtnt n lnt l Gnrl Mtr nd CCl, vn tht thn t th r bn bbrdd b r dvrtn MCnn bl t xpnd rpdl nt vr rt, n thn vr bfr. rvlln . Wltr hpn fr lbl rh. It l xplnd th f n rd The Hidden MCnn prld hlf blvr n ttl rtn, vn Persuaders, hh b btllr hn t xpd th tv th n nt dpln h pbl rltn nd l prtn. tnl rrh thn n r n t prb th nd In 0, th prn phd h t r th th A.W. Ern f nr. `rl ffrt r bn d, rd rnd, n. Albrt Ern hd n nt bn n 02 ftr lvn `t hnnl r nthnn hbt, r prhn dn, nd h jb n th dvrtn ff f dprtnt tr. Althh h r thht pr... ld tht ntt r frnhn n ltd , h d frtn nvtn n thr dvrtn n th tl, th th rlt tht n nrn — nldn th pn tht nvntd hnlr fl. f r bn nflnd nd npltd, fr r thn rlz, Ern dd fr r ftr th rr (h Advrtn Cntr: n th pttrn f r vrd lv. Ad.ntrppl. On n lt hr th r l f th hrn n th ndtr. Wth MCnn n n lrl bl rl, Mrn rpr ld Indd, n rtrpt th b n rdn — rthr l n t t n t h n t trn th n nt prffnt f th prnd 0 v n hh httd ntt d lln hn. d t hv hn Mxn pntn f bttl th nnvnn ln. (It lrl ll rp, hl hn fht n h ff tphr fr th dvrtn bn. rt, th rth rtv nd fndr f rtl l rt. phd fr rtr ph n nr phl nd bn `If vrthn n th b tr, d b bl t ll nthn t tv, ll rfll tdn th fft f d plnt nbd. Yt The Hidden Persuaders b n n pr fnt. n l. A td b Stphn x n The Mirror Makers, rpr h fthr f tvtnl rrh Ernt htr h, n th lt flt tht dvrtn ppl hld b thr r n ttt rthr 0, pnrd th f dpth ntrv t xplr nr thn ppn rnd th Mpl f rtvt. Advrtr r nt tttd t prdt. (htr r d t hv drtl nprd pndn blln t drt d, h d. hr r nt ln fr Ivr Sp, Wh r trbl . rt, lt, nxt... nt rnnt. t th d. th 0 nbr f n — MCnn h vpnt v rpr thn n n th nthr Ern, t, Cn & ldn nd rntt n th — r ntbl 0 d n — r v, vd Olv frr n tvtnl rrh thn t hn thr pn. ntr, n rn t th d t n. t v hd lttl MCnn Ern thht t hv bn th frt t hr ph t fr tvtnl rrh r n thr hhfltn thr bt ll rrh tff. h n dvlpd rpttn fr dt nr bhvr. vrrdn nrn ttn h brnd drvn ffn rthr thn rtv flr ndr t ptr b, ntd d th dl f dvrtn tht n pd nr. Mrn rpr r. h ht trhtld n (dnt b fld A trn prpnnt f Cld pn thr tht dvrtn b th Mrn hd jnd th n n n ff b nd rl n bdnt f th hrd ll, h dvlpd th Un rd h p t hd f rrh n jt x r. r ltr, Slln rptn (US: th nl l tht prtd brnd fr t th f 2, h pld t th hl f th n b t fndr, t pttr. d r trppd dn t th n , th rrn Kn MCnn, h b hrn. n rtv frll, nd rptd n nd n. Indd, h drbd MCnn hd trtd th n — thn lld .K. MCnn — n lnt tht dtrtd th dn fr th f n d hn Stndrd Ol br tlf p t th bht f th US vrnnt, vpr. At th nd f h pn, h ld dt thnd th rbbn h f h ptn th pn d nr. f nr r th ntr t f th rbrd th l. n fftvl Stndrd Ol pnff dvrtn dprtnt. Mr ftn thn nt, th dd. Srvn pn frd fr th ttrd nt f Stndrd, 48 Adland In th nnr, v drv th f th d t n, 4 hh hd bn tblhd n 40 b th tl pn nt xtv h n n th dr. h rn th n tthr, bt nbd n n dbt bt h pd th t nr nd hr. v pblhd h thr n 6 n b lld Reality

in Advertising, hh th anti Hidden Persuaders, rd th n n. Advrtn bn n rt, nd n dvrtn n nt t t rn tht , h rt, nvrnvr lnd hr Crtv rvltnr th n : th rht, b fl t rht. t v ntn n n dvrtn l blnt ntrnt t dd th h hddn, ntv d. A h fnt th h `Let us blaze new trails' lbrr f b nd d rn f hbb — nldn ln nd fln — h nthr n th ln ln f prtr h hrbrd dr f rtn th Grt Arn vl. Indd, hn h rtrd h rt b t n bhn Grnh ll — nd h rt ptr thrht h lf. An ntn drbd th hbb th ndrbl ndrttnt rprn. `In th lt fft n Yr f tld bt "ll" nt If th htr f dvrtn h n vrrdn th, t th ll rnbh, rt Mr Wll rn, rlln hr d ntnt t f r btn t hl: th rtv, h blv rt pl bfr h t p hr n n (A Big Life in npr nr t b nd th prtt, h ll bd n ft Advertising, 2002. rnbh b n n tn b hd t nd rd th r f rrh. In th 0, th ntth f t t hlln th nlth prr n tht n dntd r v (nd vn f th ntlnl vd Olv ll Mdn Avn. Ardn t Wll, rnbh flt tht thr d hd rnbh. brh n n, l n rnbh, prd th b dhnt, brn, nltn — vn nn. rd tht th rtv rvltn. rpttv tt f ppl l r v hd rdd th ndtr t n pr trd d nd tht th nt n r trnn thr rtv ppl nt rph hn. Unl dvrtn h p t d, h rnd, t ld b nvbl, th zr pt n nr. And rnbh nt bt t lt tht hppn. rnbh hd lft Gr Advrtn t fnd h n n th lth f fll rvltnr: d l (n nt n, Mxll `M n ( prtn zrd, b G (n rt drtr nd hll bnn ( prtr. rnbh hlf ntll prtr th trn vl n — bt bv ll h n d hn. In 4, l n rnbh t p hp n th hd f th b Mdn Avn n. It ldnt t thr fr ln. t tht rnbh ld l bd h bt t lht fr ndr n ntr ndtr. Mr Wll rn rt tht h `hrtr thn h ndd th r hlfl, l , pl n [nd] ft hldr. t h nfr tht h pprn 0 Adland Creative Revolutionaries

dptv. ntd h prfl nnr prn tht thr. nd th n frbrnd rt drtr, hd rrvd t th h d vrn rnd h dn nd t f ht. hr f 2 dndn (nd ttn xlv ntrl f th rt dprt thn vln thn nttln n n... In h p r nt. Inflnd b b, ntrtv nd Stjl, nd bht n ppl r frd f h. Erpn nblt t US rph dn. r rp nd rnbh brn n h rnx, Yr, n At , t nlttrd — n ft, dtrbnl Sprtn b th tndrd f th d. b nd b rnbh. Althh h ld t hnt tht h (Mh ltr h nt n t dn th IM l, n hndrd f fr n ndrprvld brnd — n, fr ntn, tht h hd thr n . l th rtv rvltn, nt fll n ddl n b h prnt ldnt ffrd n — n ft h Wntrb dnr n Stvn llr (2000 brph, Paul Rand. Bill Bernbach's Book, fl ld nd rptbl. In th 8 `It l Cznn. Aftr Cznn r nd nd th rttn b h frnd nd prtr b vnn, h nvntd b. t vrthn trtd th Cznn. td drbn h fthr, dnr f n lthn, hl nll fr th d, rnbh rd n tnd th nd, `tr bt lnt. h lvl p rndrn th rt drtr dbl fftv. Aftr ttndn pbl hl, ll nt t Yr Unvrt, h th brth f th rtv t. At th lbrn trdtnl hr h tdd n nl tr f bjt: , bn dn n, prtr nd rt drtr tll rd n prt dprt trtn nd phlph. (Advrtn prhp th nl prfn n nt — ftn n dffrnt flr, trn l t rnh thr hh n ht b xptd t dr n nld f ll thr. rd nd tthr th lttl r n dn. t nd nd l pld th pn. pt bn phll nprpn, h rnbh dvlpd npt tthr fr th bnnn. Whn brht, brvnt, rtlt nd ld rnbl fl tht h rnbh pnd h n n, t n th b: prtr nd t bv n f th ppl rnd h. h tzd — nt rt drtr rn d b d. nn n th th prv nd ldd n nnvnnt Althh rnbh nd nd r l frnd t Wntrb, bd — nvr drtd h. An ftrptd j bt rnbh h Mdn Avn lnd h t tht rnbh ntr nvr frv ll ntn n th d btfl thr. hn , h fr fvrn phtrph n h d vr lltrtn. nd rnbh. ntrtd n tht, hl rnbh ftr pt. rnbh t jb l b t th Shnl tllr Cpn, In th nt, rnbh hd lft Wntrb fr ltr rv. hr h rt n prpt d fr brnd lld Shnl Arn Whn h rtrnd, h hrd b Gr Advrtn, hh hd Cr Wh, nd prnll dlvrd t t th fr dvrtn lrl nnWAS, ltthn p t tht f Wntrb. r dprtnt. h d rn, nd rnbh nrd tht th pn h vd p fr p hf t vprdnt nd rtv drtr prdnt, ntl, n h hd rttn t. Yn rnbh `n ttr f nth, rdn t b vnn, h xpln prptl prtd t th dvrtn dprtnt. In , h nt rnbh r th: vnr, th vnr zl. And t r prtr fr th Yr Wrld r. t h fr h rrr. It llr bntn. r nflnd b h bnt jb, t th Wll . Wntrb At Gr h t rt drtr b G, th h h njd th n, hr h rd prtr lnd th lndr tn f nd nd tlnt tht h hd xprnd th l rph dnr l nd. nd. G flt t t, tlln h f tht n d h xptd t th th Wntrb n nd nd hlf r tplt fr nt bn th rnbh. ht nt lr n M th l n rnbh thd. In 4, Wll . Wntrb 4, hn rnbh rt f lttr t h b t Gr. I hd rtd Yr frt thn n n ltrntv t th rrd tht r n t fll nt th trp f bn, h rnd, vrhlnl WAS (ht AnlSxn prttnt Mdn `tht r n t rhp thn ntd f btn... hr Avn ltr. It nt nldd bnnt, vln nd Shnl r lt f rt thnn n dvrtn... t thr n lttl rb. r — hh prbbl xpln h rnbh ndd p rn Advrtn fndntll prn nd prn hppn t b 2 Adlnd Crtv vltnr nt n, bt n rt... t blz n trl. t prv t th vrthl, l n rnbh trnd t r f rrtn rld tht d tt, d rt, d rtn n b d lln. fr Ohrbh, ll rvn th tr brnd ptnn f hh A n dl, t nd nh. t nt nd nh fr fhn t bl pr. On f th t f ftr n rnbh b, h ppr t hv nrd th lttr. And rrn rdbrd tt f h f ndr h r. rn n r rnbh ddd t blz n trl th h n n. t f, nd fr jt f dllr ll v n n, th th h fndn nt — th dprtnt tr Ohrbh — nd p. A lbn nd tt txt n prft lbr — tht ll, Gr vprdnt nd nt xtv nd d th tl. It prd b th npp rtn f hll l, th h h hd frd tlt f rpt, n l bnn nd th p dn f b G, rbl th frt rd. tr, l n th frt ppl th prn n drn rt drtr n dvrtn. prtr Mr Wll t hn h rrvd t . Sh drb h n nxt jr nt, v r, nfrd t h Irh ld b... lndr, ldr n th htndr tlnt. v d r brd, ntntll h prdt. hr, l nd rvd f. Knn tht th prpd brd nll t tt d l brht n Mxll n, t tht pnt rnnn ll frh lf fr th h br n th rnr, rnbh td n f h n. M n hd trtd h rr rtr t th trtn nnh dn, hh ld b l ll t dvrtn nr f Yr rtlr lld Strn rthr. Aftr th prn. n th frt pn: Y dnt hv t b h tnt rtl prtn nr f th New York Evening t nd t lv v. And tht th nl txt, bl b prtrt pht nt xtv nd prtr t th rlnd Intrntnl n, f n Irh p r t bl d, n thr. On n, th d h b dvrtn nd prtn nr f zn, r pr nd hrp nd ld th prdt n f nd. An vn hr h t l. thn hdd dvrtn nd prtn t plr xtn ftrd thr ht f th l f brd. h th rd ttn WMCA (hr h ntrdd th npt f n frt l hd bt tn t f t — b th thrd ht nl th rt nd blltn vr hr n th hr, n nnvtn t th t, bfr rb rnd. Yr tn t p d th txt. trtn h n n n 44. n jnd fr th h ld h n lfl f phtrph nt pl n th frnd tht rrt, nd h rpd, lp pr n Mdn t pn fr lrd, trn n r tht prdd ntnt Avn b th n n frt h. np. h prdt prv prnt d hd bn lttrd nd , And l n rnbh brn. h l f th hpn f thr xtn bln th frl hft prpnt f nthr dprtr fr th nr. thn ll vr btn , th r. l n rnbh jnd th txt. In th rd f b rnbh xplnd. t vn pnttn. vnn: lrd lln ptr, th dvrtn hd h n ht th rhth f th t — t r l hp jzz b, btfl ptr n ndrnd, ttll trhtfrrd d. h b thn n dvrtn n. Indd, rnbh n prd n l dpld lv dvrtn t drtz th ppl f t r t tht f th rt jzz pnt hln Mn. Clln th rvn lrfl n jt n nt. tn t th bnnn th dprtnt tr b .M. Orbh: If th lrd pn nll ntntl — fn n `ndtd, nr nd b, rnbh drbd h. And t t tnl nt n th nr lf — l n rnbh Ohrbh, prvl Gr lnt, h hd nrd ll t t tl hbtll rdn nd rn nl Yrr p h n n. l rd t p fr th tr frt pn ld b. Gv dd n xpnv blt, th txt bl ptr p frnt l n rnbh ld vr t vrhd. `Ohrbh f d r, rld nntl rnd bttl f Chv l brt f n ntrprnr, nd rnbh d Ohrbh h h. h hdln n prnt d fr Av, W tr hrdr, ld t p rtr rn, brv b vnn. t th rltnhp nt xplnn tht th r rntl n nbr t n th rt, tht frtn: At lt f th tl n ll bl t ldnt ffrd t b plnt. h p fftv tht Av hrd n th Ohrbh fr. b lldl plnd t rnbh, rrn tht th ldnt b bl t lv p t th hh tndrd tht th d prd. 5 4 Adland Crea tive Revolutionaries 55

t l n rnbh t f pn l t ht thht f th Olv lt fr prnt d: hdln, bt hlln. It fr ln. ptr, nd txt, ntl rrnd brbn ln. In dptn t Krn ld hv pt rnbh n t f jnt, Chll rt. `t t l bltl rht: l, nn, rtrnd. IKIG SMA And hl Olv ptr r l pd th ntrn dtl, Krn d tr, r, . l h brtll pl `h ntd t ll z r n h tn, th tpll n rf tpf. h pnn p ddpn t lf t r f rt drtr Gr , h jnd l n dprtn, ttl n th rdr ntlln. rnbh rnd th t t n th ln nt. (fr On f th rlt d fd n th tl rld nn. It h ll hr h r rd n W vn pn nd hd th r, ht fr bv, vrd n p d. h hdln llbrtd n th tl r. t th t f lln th ll, ddl rd: h nl tr ln nd th tr h t th. hpd Grn vhl t th Ar f th lt 0 ntll fll t r, lrd, tn rvltn — f n tht pd nntd b rt drtr lt Krn nd prtr ln Kn, vrn b th vt jrt f th pbl. h hdln ndd n fll tp. Clv rnbh hlf. Chll xpln: ttn fll pnt n hdln n t f dtn. It n ndn tht Krn frt nrtn Grn It br th p nd nvtd nptn — b vn rptn Arn. I t n ln b I th nl n h hd — f th ttnt. Of r th xtl h Krn d n: h vr hrd f th r, h td n n Helmut Krone. The hd ttnt t hh h ntd t b xnd. Book, b Clv Chll (200. I hd n f th frt ln n All f th lnt — th tr plt, th drt fft f th Stt, prbbl n f th frt hndrd, ln bfr I vr rd th fll pnt, th ftl t ntrtnn p — tthr n th [t ]. t n d f th r. It trtd t rprt d fr th trd Inflnd b l nd nd Alx rdvth — th pnrn pr, th lnh p ndn n th ln: ln h b

rt drtr f Harper's Bazaar — Krn r ntrtd n dn th rld ffth lrt ttv r b thnn ll. Mr nd thn n dvrtn. d rd t Esquire zn bfr jnn r ppl r dn th . l n rnbh n 4, t th f 2. Stbbrn nd xtn, r th hdln, ln Kn pld t th rd hn h fd n th bt nd pt f th bv nd bnd ll. n lln nrn. rvr ln fr n p, h lbrd Krn d t hv bn frl nprd b th d t frt, tdl trd prftn. On tr rntd b Chll h Krn lthh th vl ntrprttn bv: I pp nt rn n lbl fr brnd f n lld hndrbrd. Entrn t th r ll? Alt vrn n th rt dprtnt h ff, d l tll h, W rnd tht nt nth . — nldn Gr nd b G — t hv ffrd Krn rpl, It dnt ttr. It nt rht t. dv n th ttr, bt Krn fnll pld lttl tl n th ln Kn thn f hptr. r tlhl rpld ppr lft rnr f bln p, t lht nl. h d ll dr t, nrr t, nd xfrd hrt th bttndn llr. rvd tht lhtl td vrn — th t th vn thtr Ardn t Chll, h hd drppd t f l hl t rt p b b vnn — rn n th nr pr f nth ltr. nvl nd hn t t th Mtrpltn M f Art, bfr flln Enrn nr t thn ll n th lnd f th lr, hr nt dvrtn. At th rhn Grfld n, h rt th x th tbl r th z f b, bvrv. `trtr tt rl, nldn th l ln, ln Anthr lbrtd d n th r h trhtfrrd ptr nd p n tn. f ln n tl, bv th rd n. h p, b ln h thd pr p th th t nflntl dvrtn Kn, xpln: h ln d th bt. h hr pn f ll t. Krn nt nt th rn b ltn trp n th lv prtnt blhd nd t b rpld. It 6 Adlnd Crtv vltnr

nld: W pl th ln t th pl. In hr b, Mr Yr Ct r rll . Grd fr tdnt h xlld n Wll l tht th d t pt th Grn lnt b h ddnt th rt. h rtt hl n th rld, nflnd b h, ndrtnd th pl n rd — nd t brrd t . . rnbh ltr rnzd tht th drn nrd hdln hnd Whn h rd, lthh h n h ntd t b dnr, th frtn f th n. Spp hd rl d, "Evr W dvrtn tll tlnd n th lt 40. h tff th t p rd nptn?" r dn fl. Y r tht x b lt. Aftr bn b vnn rt tht ln dvrtn h bn drftd fr th Krn Wr nd ttn b n n p, h rd `ttd, d, pd, pd, ndrtd nd drd t CS fr t rtv drtr ll Gldn, dnn dvrtn nd r thn n thr pn bfr r n. t t rt l n rph fr th ntr. rnbh nvrn f n th prdt. th ln `t I tll hd th d tht thr r thn t d n dvrtn. r fr ht t : hnt, pl, rlbl, nbl, dffrnt. And h ll rnd nt t . d: "nt d t Gr — dvrtn ntd th dvrtn t b tht t. h ttr r thrfr rld f hl." thht I rz. dd b th rnt lln ln nd h . rtntl, t jb t Sdlr & nn, hr th rt Advrtn ppl tnd t t lttl vrxtd bt drtr rb bln, th hhl nflntl rph dnr. t W d. t thr n dnn tht thr nlt t nd (lt vn thn t lr tht th pl fr l n rnbh. f t tn prn hv td th tt f t. Whn th In ft b G hd lrd trd t hr n, fr th n tl lnhd n 8, th dvrtn pd h t th prtn dprtnt, bt I trnd h dn — I tld h I ntd t rnl, th nl nr hn t lt Krn l lt. It d n dvrtn. Whn I nt b thr t r ltr, t p vl tht th ldr pn tll ld fr prr. n rt drtr. th nl rtv n n th rld t th t. h ndtr vr WAS. hr r thn d MUEES OW dn d thn n dn, bt prt fr tht t pr bllht. Olv rtv, bt n dffrnt — t hd trdtnl l, Gr n f th trt fhtr f th rtv rvltn. thr n r fr n rt drtr t brth. hr r lln A Gr flrt d fr h rnx, h th rhtp f th rl I hd n rl. bnd f fttln, lfnfdnt Yrr h ntd t pt Evn n th hth nvrnnt f l n rnbh, th prttnt pplrt f Mdn Avn. Whn I t n h td t. Whn I jnd l n n rnd 8, I t n d Grnh ll prtnt, h pnn ln th: At l t rpttn vr dffrnt nd f rt drtr. M tff d, n rnbh [n th lt fft] hd th fr bt rt drtr th, th rt f trt nblt. It prtt trn vn b nhr n th rld: b G, ll bn, lt Krn — nd l n tndrd. . It llr lnp. It rdrr r. l, lvr. lrfl ln nd nndr dt tht h vr rv nd pnt. hd tprnt r lnd. Gr rnt th t t Sdlr & nn lrnd th vl f hrd r fr h flrt fthr, h ld fnh hn h b nd lnt ntrd h ff t th vr nt h d th h fnr lrtd th rth. And Gr d h brld n brl th n nt n. I ltrll hd th rn p n n Irh nhbrhd, Gr t d t fhtn h ff th flr b th rff f h n. Sdlr trn t th lnt nd rnr. lntd fr d n (I l thn nd drn : "All r rt drtr r vr pnt ndvdl." lttrn n vrthn , th th nrnt f thr h Anthr f h fvrt ndt nrn th ft tht t l pt prtfl tthr nd nd ntrn t th prt h n rnbh rt drtr rnt lld t tl t lnt. I hnd Shl f M nd Art ( pbl hl fndd n 6 b tht nlhnddl. rn frt pl f I prdd 8 Adland Crtv vltnr

b ptr fr Gdn Mtz [n]. It bll nt r tlnt. It th frt t th rt drtr hd d th t tz... rll trnln . h nt t t vr prnnt rl n n n, . r tht nt n, vr t th lnt, Mr Gdn. Whn h b h d, " dnt hp n d ntd t r n dvrtn n rt drtr. W r l t, d nthr n." I d, " " nd I t th ptr nd l r tr. nt vr thr lf. Idtl fl, K n r fr t nd rx. `S Gdn ttn thr n b l ff, rrndd b It rx pn zrd n n th plt f th hn, h rndhldrn. And thr ll ln t th ptr nd n, hn hpnz n p. rvl thrd bn "Y n, tht nd f fn, ht t rn th tht", nd th fln tht rt drtr ddnt n h t rl, ld n p hrn, "I dnt l t" nll I l tpr nd th r bll fld prdr. t I n dffrntl: trd vr t th b nt nd. I pn t nd ln t th th f r n rt drtr th b d, ld d nthn. ptr, f I bt t thr lf t. "S ht jt tn b d nd n t v. fl l dn?" I ht. "Y th tz — Ill th d" In 62, th n b th frt t pbl. Aftr ntll ll t t b n, prtll hvn hrt tt. prttn tht th nt th f th dvrtn ndtr, n ppl r fnnn h th v h pll nd l f tr. Whn l t, Cn & ldn nd l pnd p thr t t h n fnll brth n h : "All rht, d, ll rht: rn th hrhldr (frhdn lr rh t th t rt n th ddnd d. And f vr t frd, b nd . Ill Untd Knd. 64, th n blln US $0 lln. v jb tz ln." In The Mirror Makers, Stphn x drb K ltpl Aftr f t , ll dltn f rt drtr nd nnvtv... th frt rll fl n n n rnbh nd prtr dd ndd t rnbh th th ntntn f ttn Olv hd trtd n th lt 40. It l th frt ht hp t frd. h thht I nt rht fr l n. t t th xpnd brd, pnn n ff n ndn. rn v, b rnbh hd ld n th frt d, hn `W r rll th trt f th rtv rvltn, ntnd . h t hll t n ff. Id pntd th pl vr `On n nt rvltn. l n rnbh th trn, th nd nd brht n th rt M vn dr h hr. And I bt r th frt brnh. rn n n d fr ld r x rvr — Id d h phtrph f n r bt t b ttd b pnl nd pprlp, hh rnbh bltl lvd. S hn th trd t t frd, E EOUIO WI E EEISE rnbh pd th rtt plnt f lf. d: "Ar ddn? h bntn f l nd nd b Gr" rthr brnh n rd. Anthr rnd, Crl All, br A t trnprd, vn l n rnbh nt b nh t t f K n 62 t t p h n n th th US $ lln ntn th prn. In lt , h pprhd prtr lv nt. A fhtr plt drn th Krn Wr, th pn ln Kn th th d f ttn p th rld nd rtv All ntd t dvrtn tht rbbd ppl b th thrt. n. h ld jn fr th rd prt, h hd lft n On h ll h hn n xhrttn: Cfrt th ffltd fflt th n lld Knn & Ehrdt. Whn I tld rnbh tht I frtbl. Gr rll, Whn h t K, h th lvn, h bnd tnnd, rll . It l Id pnhd nl nt vr t h rz r. All n h n th th. d t vr rl, "t Gr, dnt th rtz rntl r bn nd trnd dvrtn b nt ndrtnd, there can he two creative agencies."' t. r r Av h bn tlln tht rtz nbr n, rd Undntd b th hlln, prt Kn t p hp n th lhn p. r n t tll h. tr, fr lv, th n Sr bldn n nr 60. h n dr n th h n p th th ln: rv t l ht t. th f , th th drrd fr rrh nd ph n Creative Revolutionaries 6 60 Adland

h n nrtn rvlld n thr rrvrn. h prtr rdn ld n dvr h rht h . Enrzd b rr ll n d p th tttd f r ltr, hn h th d tht hr rd ld nd ppl t b lth, Mr rt b tht t t ttl fr ln h hd dl td dvrd hr tr. 2 h b n Yr th rt, t pn ltrn fr: From Those Wonderful Folks Who hr h t jb n th dvrtn dprtnt f M. Sh hd Brought You Pearl Harbour. ft fr rntzn th rld tht prft fr rtn lth. In 6, prtr Ed MCb td p th S Sl nd Mrvn `hn bt... rn r dr, h rt. r nxt tp Slv t fr Sl MCb Slv. MCb hd trtd rn n MCnn Ern — bt hr rr ld nt r n , hn th lr f MCnn Ern hn h jt r ld, nd h nt t r t l n rnbh. h nt n t b n f th t rptd rdth n th At frt, nthr Wll nr rnbh r r tht th n bn. It t th n t tndr hn, fr rd, th rht pl fr hr. r trt, h ddnt trd n npp pn. n f h. `M trn t, thtrlzn lf th dr, rrttd h. tr, Crtvt, n thr rd, brn t ll vr. A pt t, thh, rnbh rfrrd t hr th n dr rhnt `Evn th trdtnl n b rtv rnd th d. nd ld brn lnt rnd t t l t hr tzd ff, At th ntr n f th t prtnt n n th htr th t rn vnl flr nd trpl rttn frntr. h f dvrtn: Mr Wll, fndr f Wll h Grn. In t ht t bhld n th ntrl rhl n, hh prdd Advrtn Cntr rndp, Advertising Age ll hr dvrtn tlf n rff nrlt ntrt t th lr Mdn Avn frt ntrntnl prtr. If thht f tlvn dvrtn nlth. n tr f vn rt, Mr Wll ndrd t fr f thtr. Wll pnt vn r t , rn n nt l Mx Arbl, h th frt dvrtn xtv t nl th ptntl tr, Gnrl Mll nd th rnh trt ff. (r th lttr, Wll f dvrtn ptl. nd phtrphr Ellt Ertt, h ht l f rn n Yntn, Oh, Wll ld hv l b n fthr nd h lttl b, bth n brt, n bl ldn dn tr tr. A h rvl n hr brph, hr thr — h lrl lnd rnh rd, th btt trppd t th b. It rntzd ntd hr t t hd — fnd hr n ltn thr t th th pl plr f th rnh ntrd fr nrtn — nd f fv. At th f 0, n nrd b hr thr, h pld hn I prnt t phtrph xhbtn n r rntl, th hr frt rl t th Yntn lh. tr, h nrlld t th tll lpt t t . hbrhd lh Shl f htr n Yr, flld In 64, Wll lrd fr b Mrn rpr, thn b frthr thtr td t th Crn Inttt f hnl n b bldn th Intrpbl rtn pr ( Chptr , ttbrh. t hr h ddnl rlzd th h tht I nt nl `Cnldtn nrprtd. rpr hd t p n dvrtn thn ddnt r bt bn n tr... I ddnt n ht I ntd tn lld nr & rtnr, hh h hpd t trn nt t td r h r h I . nnl rtv n. Wll ld hlp h d t. rn th prd h t nd rrd rt Wll, n ndtrl Sh tr ld rl n th r f vntt fr AlSltzr, dn tdnt t Crn h. Sh lft th hl nd rtrnd t th ndtn rlf tblt. Wll rnd tht nbd th trl Oh dtrnd t n rt nd I ld nd fr lf n xt lftl ldnt vd n pt th: t n nvtbl Yr. Sh fll nt prtn jb t dprtnt tr lld nn f ll tht hrd r, ll tht prtn, ll th n, MKlv, hr h hd ld ht tnr. r rdn, xt nd p fd. In thr rd, vrn ndd AlSltzr. h hdd th tr dvrtn dprtnt, hrd Wll b h frt d hd h nt f dffrntzd th vr I hd thtr trnn nd I ld tp — th prft bntn f jnl tht b hrt ht. ttr ht hp r th rr, h thht, fr trn prtr . n, th tln. A hrt hl ltr, th n ddd th n ht f t tblt bn drppd nt l f tr: plp, plp, fzz, fzz. 62 Adlnd Crtv vltnr 6

h AlSltzr tr l rvl nthr f Wll ntrbtn nd ntprr — nd th rnff nt. Wll h Grn pnd t th rtv rvltn: ll njtn rzztzz nt t dr n 4 Aprl 6. rl, h ntrl brndn nltnt, bl t prd Aftr vn t f t tprr b n th Gth tl, th lnt t hn thr ntr rtn trt tht t hd n n fnd rpd ff p n Mdn Avn. W ddnt th hr dvrtn. Whn h rptnd AlSltzr lftl hv t fr drtn, rt Wll, lthh dd pltr th prdt, brnd nr Ml brtr rtd prtbl fl p ll th v ptr nd td phdl pll rnd nd tht hld t AlSltzr h nd ld th n n pl, zn lld M r t n "v Y Sn Yr Mthr, b?" tnd, br, rtrnt... nd, ntrll, Ml bn lln t n th tn r. Mr prtntl, Wll h Grn t t h AlSltzr. t hr n n nd n h hd ft fr nt f h fl fr ntrtd rtn frthr hhlhtd b th tlvn. n nxt ht pn, fr rnff Arln. At tht t, Wll And th th pl, plx rt f Wll h Grn. rll, ll rpln r thr tll r ht th trp h hnlr ntn f Wll nd hr ll rtv drtr pntd dn th ddl f th. rnl r r nd ll. Chrl M pnd hhl nn dvrtn fr th l f ln, hh hld hv bn thrlln xprn, tll nn & d, Arn Mtr, rtr & Gbl nd rd. rbl. Wll rl fr rnff ttrtd trn f rln nt: Stndn n r trnl bldn n d, Wll ptrd rnff WA, Cntnntl nd n A. th d0, h th hht `n h f btfl lr. S h hd rnff flt f rrft pd n n dvrtn, rnn r thn US $00,000 r. pntd brht ptl lr. dht Itln fhn dnr El rn tht dd, h bl t hlp t th t tht hd hrd t rdn th ht nfr. (rt f th nfr tnd hr lb t th tp. r n pplrzd ln tht n ld b rvd th pln fl nt rr l Wll ltr rn vtr t Yr n p, vn td. prvtv rl drtzn th h Ar Strp, hh `I lt nt f th nt f ppl h ld t hv nvntd prvd h ht hn hn drn th Spr l. Intrr dnr th ln "I lv Yr", rt Wll, f hr 0 pn t Alxndr Grrd, h hd tld n f Wll fvrt rtrnt brn trt b t th t. bd rtd th xprn t — n hhtn lr nt f Mxn nd drn — v ht ppl hv bn n n I n rbr... th nd f th pln n l. h nd f th pln pln, d At th t, thh, Yr dtntl nlvbl: bnrpt, th prnt dvrtn. Wll nd hr t hd rtd th lt, th rrddn, nd tll rn ftr tr b rb rr. rhp xt — th t sixties — rln rnd. nl Mr Wll ld hv nvnd n dvrtn pn tht In h ntrtnn b Fast and Louche (2002, frr pld l rd l, th vrn fr Grr rl prdr r Stt rll tn Wll t rnd th (prvl t nr Knr (rprnl nd rn Sntr t. Aftr dttn tht h vrd, h drb hr (nvtbl pprn n rn t l bt h h th drd `thrtthn, ll, dln, fhnbl nd xpnvl th t. drd. In h pnn, hd rn fr th bllpn t l n t h fnhn th rt f th dnr Mltn Glr, hr prnt ptn f ttl pr thrh pnt rtnt h h hd p t Wll h Grn th ltn f ptr. Whl ld hv anything'. th t xnn th, h plld rpld p f ppr t Crtnl, thr plnt f tl bnth hr rnt ntr. f h pt nd d, "I l th, ht d thn?" It th "I Whn Mrn rpr rfd t hr prdnt f nr & v Yr" l th hrt n th pl f th rd "v". rtnr, h rnd. rpr ffrd hr lln dllr vr 0 xt t ff r hrt brn th rd I v r, bt h tll rnd. Sh t th hr th rt drtr Strt Yr, pr thht fr Mltn Glr. Grn nd h — th frt l nd rrn, th nd d 64 Adland h n nt n t thr trph, nd t nt ntl th vr nd f th tv 80 tht Wll bn t ndr lln p nd vn n. h ndtr hd b nldtd, lbl rh th t , nd — fr Wll, t lt — f th rn hd lhd fr th ndtr. Shd hd rlr nvrtn th nd Sth & Sth, bt n h b ttrtd b , rnh n th l, n, phttd tl, tht hd pprhd hr th tnttv tl f prtnrhp dl. h dn h Ch r r r, nd ftr h lrhn nd httn, h ld Wll h Grn t n 0, fr US $60 lln (`Qn The advertiser wants ideas, needs ideas and is f dvrtn tll ll, USA Today, 2 M 2002. h nlbptzd Wll bt t t ff t r paying for ideas' trt. thn, dlnd vr dffrnt pl.

Mb t jt d dvrtn, bt Ch dtl tr frndl t. On brz tn rnn, I td n th ddl f th trt th n nfldd p trn t rp tlf rnd f, thr dffrnt ppl p t f I ndd drtn. Aftr t ntn tht I ld b OK, I fnll v p nd dttd t th thrd prn tht I hpll lt. rntt?, th n rptd. It n Wt Wr rv. Yr n Et Wr. t b n th drtn nd p ln: nt t. A I ld n, I rlzd tht I hdnt d th n f h rd n dvrtn — Id jt ptd th ft tht h n ll bt rntt. Whl Olv nd rnbh r nt prt f th thl f Yr Ct, rntt h ntrd Ch fllr. rn lrrthnlf th hrtr h n rtd, fr th ll Grn Gnt t n th r — nt t ntn th Mrlbr b. h rntt ldn t Wt Wr drv 0tr rpr th lbb b nh t prv rphb. An lvtr h vtr p t rnthpd rptn r ftrn bn f tlvn rn, bttr f blld rptnt, bl f r rd ppl nd — pndd fr th ln — nt bl pnl. h nfn f th lt t t ll b dd hrtl. nd th rptn r th l z f ff, nldn th lr f rnrdn, th n hrn nd CEO.