October 17, 2016
First things first. I love the song. Though recorded before I was born, Lesley Gore’s “You Don’t Own Me” is one of those rare tunes that transcends time. If the song came out tomorrow, sung by Adelle, it would be a smash hit. It’s that good. And it’s certainly the best thing about Toyota’s big budget, 60-second anthem for Corolla, which debuted recently. Because of this commercial, I’ve been singing the hero lyric, off and on now for several weeks. In that regard it’s indisputably memorable.
And yet something is the matter. The “creative algebra” doesn’t add up. Using a classic ballad of female empowerment for selling mainstream automobiles to Millennials is not enough to turn the trick. Showing assorted attractive young people engaging in mildly rebellious behavior isn’t enough either. Try as they do to appear otherwise, the cars seem incongruous to the lovely pictures and strong music. By definition most every commercial is fabricated reality but if it’s pushed too far the stink of bullshit corrupts the narrative. In my view that’s what’s happening here. The ad’s slip is showing.
Said another way, there’s nothing particularly interesting or provocative about these cars except for the fact that they’re in this commercial.
The ad is clearly targeting twenty-somethings and according to this article might actually be working. I’m suspicious about this data so soon after the commercial’s premier. Especially given my intuition points in another direction.
And then, just before posting, I saw another execution in the “You Don’t Own Me” campaign, a 30-second spot.
30 second version, with story…
The same great tune. Slick production values. But this time there’s a story. A young woman quits her job from an ornery chef (he can’t own her) and starts a food truck business. The Toyota Corolla gets her from point A to Point B. It’s a simple story but it is a story. And it made me like –maybe the better word is appreciate- the campaign. Stories will do that.
I haven’t enjoyed a Toyota commercial in ages. Compared to the white bread suburban approach the brand has maintained for eons, at least this musically powered approach –helped now I see by stories- has ambition. What do you think? Have I gone soft or was my original assessment accurate?
(Author’s note: I’m avail for copy, content creation & creative leadership: https://steffanwork.wordpress.com)
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.
A few 24 hours ago, I had the pleasure of conversing with Alex Bogusky before he became a demi-God of Advertising. We were at a vendor-sponsored pool party in Cannes. However unlikely as it seems, both of us were not really digging the scene. He seemed to prefer a quiet discussion versus living it up in the shallow end. I was perhaps more torn on the issue but also more than happy to oblige him.
For the record, later that week, Alex and his namesake agency would win handfuls of Lions, including the Grand Prix for a charming spot from Ikea called “Lamp.” Crispin Porter & Bogusky were in the middle of an epic run making them perhaps the most famous ad agency on earth.
But Alex wasn’t interested in talking about prizes.
Alex Bogusky, from that period…
Like a lot of executive creative directors (myself included), he’d come to Cannes simply because he could. However, he now admitted to being unsettled by the attention he and his agency were getting. He confessed that this would likely being his last time at Cannes. “Steff,” he said, “we’ve got plenty of swimming pools in Miami.” (This was before CP&B moved its home office to Boulder, CO.) Then he added, “I find that I like doing work more than celebrating it.”
I’m paraphrasing from memory but this was my favorite bit. Ironic commentary coming from the man who would later write “Hoopla” (a book about fame in marketing), not to mention win more Lions than probably any other person or agency in the United States.
Yet, to me, Bogusky’s ambivalence about all of it seemed indicative of a higher power beginning to work in his life: that making work, really good work, was more important than drinking champagne and toasting about it. Bigger picture Alex was also discovering the persistent headache and clash of conscience that hedonism invoked.Lessons I would learn the hard way.
Later that year, Alex resigned from his agency to pursue other interests.