Now that the Superbowl is over (one can argue it was over after 12 seconds), Adland has already begun planning for the Mongolian Cluster F**k that is Cannes. Festival officials have started naming its 2014 jury presidents. The list contains the usual high profile suspects, a collection of CEO’s and Chief Creative Officers from the world’s largest holding company agencies: David Sable (Y&R), Susan Credle (Leo Burnett) and Amir Kassaei (DDB).
Obvious, elitist and conspicuous… Like a surgically enhanced, rich socialite traipsing along the Croisette, Cannes has always been top heavy. I’ve been to my share so I know of what I speak. Of course, by comparison, I was but a sand fly caught upon the sticky, oily boob of any one these big shots. But so what? I was in the South of France. Whether one is A-list or D-list the pink rose is the same.
Over the years, I’ve attended a bunch of these fetes and I’d do so again, if invited. Which I won’t be. My whistle-blowing hijinks at the Dubai Lynx a while back probably ended those dreams. More on that here.
Or did it? The fellow selected as head juror of film (still the penultimate category at Cannes, Cyber Titanium be damned!), only last year called out the festival (see above linked post) for rampant corruption at the highest levels. And yet there he is. Back for more.
More what, I wonder? Methinks it has a lot to do with prestige and big agency politics. You gotta represent! That, and spend another lost week with one’s peers in the French Mediterranean!
For the record, I’ve actually won Gold at Cannes. And ze bronze. Corruption aside, it’s not an easy thing to do. I’ve also given speeches there. Made presentations. Met all manner of marketing legends. Lee Clow. Steve Zuckerberg. One time I literally bumped into Nike’s Phil Knight while jogging! I even had a chance to visit the street address where my grandmother lived after World War II. Goes without saying, it’s a beautiful place. Even when full of people like us.
Putting my ego in its place…
In preparation for my family’s move from Chicago to San Francisco, I threw out six boxes of advertising awards I’d amassed during my 20+ years in the business. Among the discards were countless certificates of merit and honorable mentions. Basically booby prizes. I was tempted to keep my first place trophies and Best-in-Shows but for the most part even those I chucked. Made of metal, they lasted ten minutes in the alley before the garbage pickers got them. They took the framed certificates, too, no doubt for the generic black frames. Zero chance some local picker will have use for a 1997 merit award from the Chicago Addy’s. On the other hand those bronze and silver One Show Pencils weigh a ton. Scrap prices are sky high these days. I wonder how many cents each of them netted at the smelter, or wherever it is metal gets bought.
A pair of old-school, badass Lions
I did keep my first two Cannes Lions, a gold and bronze awarded for a TV campaign I wrote on behalf of Heinz Ketchup. The gold was for a spot featuring a teen-aged Matt LeBlanc (Joey from Friends). It’s shown from time to time on nostalgic TV specials. A grainy version can be seen HERE. Back then there were far less categories at Cannes. And broadcast was the king. Ergo, I’m keeping my kitties.
I also kept three Andy Awards and two Clio statues, mostly because they look cool, as well as the Kelly Award given to me by the Magazine Publishers of America for best print campaign in North America: for Altoids. With only one winner, the Kelly was once highly coveted. I should mention it came with a check for $100,000 dollars. Ah, the days when magazine publishers were flush! Win a Kelly now you get a handshake and a photo in Adweek.
Advertising awards seemed so important then. I kept every certificate of merit, every clipping in AdAge. Oh, how I coveted those accolades! I was like a Roman conqueror collecting statues. I was a God of Advertising! Now, as I look upon the heap of paper, plastic and metal in my alley I feel anything but.
Author’s note: I realize this post probably qualifies as a humblebrag, which, according to the Urban Dictionary is where “one, usually consciously, tries to get away with bragging by couching it in a phony show of humility.” I’m pleading ‘No Contest.’
June 26, 2011
Picture perfect day in Chicago but once again I’m at the Admiral’s Club in O’Hare airport. Here the sunshine is more of a nuisance than anything else. Right now it’s pouring in through the windows causing numerous guests to uproot and move. Twenty miles east the city’s annual Gay Pride Parade is probably breaking all records for attendance. It truly is a perfect day for being “out.”
Anyway, once again, I’m flying to Los Angeles. Trust me I’m not complaining. This is exactly what I want and need to be doing. Talking with companies interested in producing my movie scripts is an avocation I will pursue to my grave, and, given my latest script is about the undead , maybe even after that!
Meeting with entities interested in my services as creative director and/or copywriter is even more important. That’s my vocation. My forays into freelancing have been a great experience for me and hopefully to the agencies I’ve helped. I’d like to do more of it. As I wrote on Twitter the other day, “Hire me and you get ECD talent at CD prices!” What’s not to like? Don’t answer that.
By the way, I intend to write about my experience on the other side of the desk from a creative director. It’s been surprisingly fun and satisfying NOT being the boss. Creating and presenting ideas more than makes up for any loss of credentials.
Still, Chief Creative Officer was my last job. This particular trip west has me visiting the CEO of a pretty terrific company who just might be looking for a creative leader. The more I read about his company the more I like the opportunity. I’m thrilled to meet him.
I’m telling you all this because I don’t have another essay prepared. Frankly, if my flight wasn’t delayed for mechanical difficulties I couldn’t have even written this. Who’d ‘a thunk being unemployed would be so damn time consuming?
Too bad I can’t make a living writing Gods of Advertising. But like fishing, it’s a labor of love. Even so, I beg your pardon for its ‘Dear Diary’ like content. I’ll be back at my desk soon enough. And for those of you coming back from the Advertising Festival in Cannes: Welcome back to yours!
April 29, 2011
Have a look at the “most effective” print ads of 2010, as determined by GFK MRI Starch Communications, a specialist in print-advertising research. According to a report by Michal Galin in AdAge, Starch looked at nearly 90,000 print pieces in order to find the work “that did the best job of moving consumers, as a result of seeing the ad, toward purchase.”
Now look at the award winners for the 2010 Magazine Publishers of America (MPA) Kelly Awards for best magazine campaigns in terms of “creative excellence and campaign results;” a show, by the way, that I helped judge.
There is not one ad that appears on both scorecards. Not one. If I were a reporter my inclination would be to ask: what gives? If “results” are a primary category in both situations then shouldn’t there be considerable overlap?
But I’m not a reporter; I’m a copywriter and creative director blogging about a subject near and dear to my heart. And I wouldn’t ask such a question (at least not sincerely) because I already know the answer. For better or for worse, creative excellence and marketing results have little in common, at least when it comes to CPG and other big categories. The decisive results of these two shows are indicative of a decades-old reality that creativity and results are as different as Republicans and Democrats. This reality is by no means limited to print advertising but exists for all forms in all channels. And it always has. Always.
While creative awards shows have tried to add results as part of the judging criteria, it amounts to little more than lip service. We, and I speak for the vast majority of the creative community, just don’t like making or giving prizes to time tested, research driven advertising campaigns. We ding the work almost as soon as we see it. Why? Just review the slide show from the Starch test. In terms of aesthetics, most of those ads suck, featuring uninspired headlines and huge pictures of people and products. By every creative measure, they fail at surprising and delighting us, at breaking new ground.
On the other hand, the Kelly award winners show a high level of craft, defined by concept, writing and art direction. They are beautiful. They are stunning. And, in their own way, they have probably demonstrated solid results. But according the Starch, they are not the best at driving results.
If this is news to anyone they are either rookies or living under a rock. As I already noted, the dissonance between creativity and selling has been a back and forth argument for eons. There is no easy solution. Obviously, agencies try and ‘do both’ but in the end we either tend to make work that errs on the side of creativity or we push for salesmanship at the expense of aesthetics. Nothing sums it up like the old saw: Make the logo bigger!
And there are those of us who do fake ads to try and win awards because the real ads we make appease only our hack bosses and clients. This is a dangerous attitude and demeanor and I don’t recommend it.
Ironically, I worked on campaigns appearing on both lists. Not sure what that means but at least I’m not predictable.