Here’s to the Crazy Ones…

I admit it. I’m crazy. And for the most part I’m okay with that – not that I have a choice. Ever since I can remember I’ve been aware of my, shall we say, unique perspective on the human condition – or my condition anyway. I wasn’t like the other kids. And I’m not like the other men. And while that can prove irksome at cocktail parties, or at times to my wife, it is simply reality.

Fortunately, I was able to forge a very successful career in advertising, where tempered crazy mixed with hard work is called creativity. Finding compelling ways to persuade people into believing in a product, brand or service requires more than a sound strategy; it demands a unique intuition. Crazy good ideas are hatched from crazy good minds. On good days I was crazy.

Like a lot of crazies, I ran into trouble “augmenting” that reality with drugs and alcohol but those days are thankfully over. I accept the way my mind works, even relish it, and am “aware” in ways no artificial stimulation can simulate.

Going deeper, I’ve come to the conclusion that for a great many of “us” being crazy is merely being more wholly aware than most so-called “normal” people. I am aware of my demons and defects and, for the most part, have learned how to live with them and even play with them. They can be muses. Pandora’s Box can be opened and shut. Yes, depression and anxiety are a part of it. And this is not always a small price to pay (see the preceding paragraph). So be it.

Looking at the world, we see chaos. In religion. In politics. In every other Instagram feed. Millions upon millions of people acting crazy but not identifying as crazy. Speaking and voting and even killing and not aware of it as crazy. Are the multitudes normal or just in hopeless denial?

We crazy ones know the difference. That doesn’t make us “better than” or “less than” but it makes us saner.

(Author’s note: The above anthem is the never-aired version with voice over by Steve Jobs. In retrospect, I prefer it to the read given by Richard Dreyfuss.)

Here I go again on my own…

While there’s little chance any of these children know Whitesnake from asparagus (Hell, I doubt many of their parents do either) this back-to-school anthem from Walmart rocks.

The idea couldn’t be simpler, which is why I like it so much (that and my penchant for 80’s metal). You see, it’s time for kids to kiss summer goodbye and get on that big yellow school bus. But they are not moping. Anything but. Armed with supplies from Walmart they do so with a vengeance!

Historically, I do not have an affinity for Walmart. Nor their advertising. But this. This kills it. We barely see the store. No parking lots. No greeters. No deeply discounted back packs for $9.99. None of the tired tropes so familiar in retail advertising.

Instead it’s all kids, facing up to the un-face-up-to-able: School. And they do it with an awesome song in their heart.

Sing it:

Here I go again on my own,

going down the only road I’ve ever known.

Like a drifter I was born to walk alone.

But I’ve made up my mind. I ain’t wasting no more time…

So, let’s hold up our cigarette lighters –er, I mean iPhones- and shine a light on this joyously fun ode to new beginnings.

One request. Come Halloween I hope Walmart has the stones to go even harder. I’m thinking Motorhead.

Final note: If this indeed was The Martin Agency’s swan song for Walmart (having recently lost the account to a Publicis agency) then they should hold their heads high. They went out with a bang.

From dickhead to sainthood…

Thank you, Adweek. I’ve been waiting for something like this. A truly original idea based on a deep and meaningful insight – as opposed to all the farfetched click bait (so-called “weirdvertising”) or, conversely, heavy handed content pushing social causes. So much modern advertising is about riding a pop culture wave, grabbing attention with glib shininess, or bludgeoning us with kumbaya kindness that I’ve almost forgotten what a solid piece of creative looks like.

Almost.

For me, the Martin Agency’s campaign for Donate Life is that concept. One can be redeemed by donating vital organs after death. So simple and yet so compelling. Whether you’re religious or not, the eternal theme of redemption burns within us all. We want to be good people and do the right thing but we always fall short. Some of us more than others but nobody’s perfect. By agreeing to donate our organs after death we are doing something sublime, ending on a high note if you will – a divine benefit we can enjoy right now.

The film depicts “the world’s biggest asshole” being one to anyone and everyone around him: hijacking a washer at the laundromat, honking at the handicapped, shooting at a neighbor’s pet, even stealing candy from children. Mean and misanthropic, bereft of all decorum, Coleman Sweeney was the picture of ugly self will run riot. Until he dies, unexpectedly of an aneurysm while trying to gyp a waitress in a diner. Even more unexpectedly the waitress discovers he’s an organ donor from his driver’s license. “Nobody knew what caused Coleman to do it,” the voiceover tells us. “But there it was. Generous and majestic.” We then see the various beneficiaries of Coleman’s grand gesture – a father of two, a school teacher, a wounded soldier. AVO: “Yes, in life Coleman was a bonafide asshole… but in death… he was not an asshole anymore.”

Is the film too long? Perhaps. Is it a tad over-written? I think so. Do we hear the word “asshole” more than is needed? Yes. And is that Coldplay? But those are qualms. The idea is transcendent. Fresh, vital, and human to the core.

Some creep redeems himself by being an organ donor. Boom.

Coming up with this concept must have felt like winning the lottery. If it were me my hands would’ve shook. I’d write the script in a fever, maybe overwriting out of excitement. I’d be so keen to show my boss, the client, the director that I wouldn’t sleep the night before.

But there I go making it about me. My problem is I’m too self-absorbed. At least now I know how to redeem myself, thanks to this wonderful commercial.

Not in front of the kids!

Have you seen this latest TV commercial from the Clinton campaign deriding Donald Trump? As far as political advertisements go, it’s pretty tight. Well produced anyway. The execution unfolds with scenes of Donald Trump laying some of his most well-known verbal turds: mocking the handicapped. Disparaging Mexicans. Et-cetera.

However, showing the world DT’s gross behavior is nothing new. And, oh by the way, it doesn’t work. At least it hasn’t so far. After all, the DNC tried such tactics during the primaries and it only seemed to strengthen his position as the potential Republican nominee. He, of course, would later win the bid in a landslide.

So, what’s different about this particular salvo? Well, now there are children watching Donald Trump say all these crude and stupid things. The theory being, obviously, that if we weren’t ashamed of Donald Trump before we should reconsider knowing that “our children are watching us” and waiting to see which candidate we choose to be President. Will it be the racist buffoon or (shown here in the least screeching way possible) an almost matriarchal Hillary Clinton?

Does the ad work? Well, first of all, it need only do so on the undecided. Getting the previously shameless to feel otherwise for the sake of “the children” is a wobbly argument. Plus, children have always been used as pawns during political debate. In its own way the tactic is shameful.

That all said, the spot works on me. It reinforces my belief that the devil I know (Clinton) is better than someone incapable of making it through a speech, interview or conversation without shitting on himself and countless others. The possibility of a Trump Presidency makes the otherwise depressing scenario of “business as usual” seem like the only sane option.

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“You’re in the great game now…”

Adweek published a story asking the big winners at Cannes 2016 what their “secrets to success” were. You could read the article here or just stay with me and I’ll tell you how to win at Cannes. Forget analysis and trendspotting. Don’t be mystified by all the never-ending categories either. Winning at Cannes has more or less relied on the same formula for years.

First and foremost, do great work. Then get it seen and talked about. This one-two punch, by the way, is the same formula for ANY awards show.

Ideally, at least some of your great work should be real. Real means it went through the gauntlet known as your client (not to mention your agency’s often debilitating process) was brilliantly produced, ran in genuine media, and received boffo results.

Enter the shit out of it.

But, dear friends, you know as well as I do, that it doesn’t end there.

Long ago intrepid creatives learned how to game the system. At first simple cheating, what this looks like now is far more, shall we say, ornate. Boiled down it means mimicking the legitimate. Something like this: Create gorgeous work, share it with select others internally, maybe have a friendly client smile at it wistfully, then run it on your own dime somewhere cost efficient or, even free, like posters at the local coffee shop or via some innocuous website. Take a bunch of pictures of it “in situation,” make a case study video and voila: you have award show bait!

Enter the shit out of it.

Professional winners have huge budgets for entering shows and a complicit team doing it. Mixing in fake campaigns with real creates a juggernaut that is hard to untangle. A few real pieces win; a few scams. Who knows which is which? Who cares – the agency clearly does good work.

Be part of a network that knows all the ins and outs. Networks have a regular, sustained presence and they will massage the process to help you win. Networks know people in high places. Networks get judges into shows. Networks have wags who do interviews, predictions and the like i.e. Global Creative Directors. Networks do PR. Networks spend money.

Gaming the system has become the system. Varying degrees of corruption are tolerated for the greater good. A few unfortunates get caught and thrown to the –ahem- lions. The rest is the rest. If it looks like a winner and comes from a winner then, by golly, it is a winner!

The agencies that won the most at Cannes do all of the above, legitimately and otherwise. Been this way for years.

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