Articoli correlati a A Big Life in Advertising
A personal portrait of American advertising from the 1950s through the 1980s follows the career of the legendary advertising executive, describing some of her campaigns--including Ford's "Quality Is Job One" and the slogan "I Love New York--her role as the first female CEO with a company on the New York Stock Exchange, and her decision to sell the company she had built. 50,000 first printing.
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L'autore:
Mary Wells Lawrence was born in Poland, Ohio, and attended the Carnegie Institute of Technology. She has been inducted into both the Advertising Hall of Fame and the Copywriters Hall of Fame. She lives in Mustique, London and Saint-Jean-Cap-Ferrat.
Estratto. © Riproduzione autorizzata. Diritti riservati.:
Chapter 1
I was working at McCann Erickson for the money, for little black dance dresses that showed off my Norwegian legs, for my baby daughters' smocked dresses from Saks and for an apartment larger than I could afford-but then I met Bill Bernbach and he made a serious woman out of me. In the fifties in New York if you talked about "Bill" you meant Bill Bernbach. He was the talk of the town because he was creating a revolution in the advertising business, which was a glamorous business at the time. He challenged all the big advertising agencies that had become important since World War II, saying they had killed advertising, ads had become dishonest, boring, insulting, even insane. Worse, they didn't sell anything to anybody. The big agencies defended themselves; they said they made advertising scientifically, with sophisticated research. But Bill said either they were liars or they were stupid; their pitiful research reduced advertising to, basically, one poor tired ad that was repeated over and over again. When he really got going he would say things like, "The big agencies are turning their creative people into mimeograph machines!" and all the frustrated creative people in town would stamp their feet and cheer, "Yea, Bill!"
The advertising business, like America itself after the war, had built up the fiction of safety with its hierarchies and armylike respect for the boss. In the big agencies the boss was a group of executives called the Creative Review Board. Their research told them that America hungered for happiness and peace, so they produced advertising that was happy and peaceful. Children were always clean and smiling. Dogs were clean and smiling. Firemen, police, farmers and coal miners were clean and smiling. Everybody waved to each other in the ads. Beautiful women stretched out on the roofs of cars in their gowns and jewels and furs to make the cars look prettier. Bottles of whiskey wore crowns and stood proudly on red velvet columns pretending they were the Duke of Windsor. Bill was right; advertising was the land of the insane. There was never any direct personal communication, never any tension or drama or interesting information in them, but those ads, based on spurious research, had been touted so long as scientific that Bill was seditious criticizing them.
He had galloped out of the Grey agency to set advertising free with a little gold mine of people: Ned Doyle, Mac Dane, Bob Gage and Phyllis Robinson. They opened an agency, Doyle Dane Bernbach, and set about changing the way advertising looked, what it said, how it sounded; they even felt free to change the product or the company that made the product if that was what it took to have a success. Bill gave lectures to the press. Radiating moral gravity, he would tell them that the big agencies had it all wrong: "Advertising is not a science, it is persuasion, and persuasion is an art, it is intuition that leads to discovery, to inspiration, it is the artist who is capable of making the consumer feel desire."
He utterly bewildered the big agencies. They asked each other, "Why is this guy making a ruckus and disturbing the peace? Who is this Bill Bernbach?" Pretty soon everybody knew who Bill was. It was as if he had cordoned off Madison Avenue and set up a stage where he called for advertising to be honest and candid, smarter and more interesting. He demanded bolder language, humor, wit and stylish design. He said, "All of us who professionally use the mass media are the shapers of society. We can vulgarize society or we can help lift it to a higher level." When Doyle Dane Bernbach's first ads began to appear, they were as effective as Bill promised they would be, and after that, in the advertising business, there was no turning back and Bill was the star.
Phyllis Robinson was his copy chief and when I went to my interview for a job with her I was not optimistic. I knew how the work I had done at the large, traditional McCann Erickson agency would look to Doyle Dane Bernbach. I was dying to work there, partly because everybody was dying to work there, it was the hot spot, the place to be, but also, although my mind was still a young and silly place, because I thought Bill's revolution was the most important event of my life. If he had been John the Baptist I could not have been more enraptured. I spent days creating pretend ads to suggest that I was more talented than what my portfolio of real samples had to show. I arrived much too early. When Phyllis finally came out to the waiting room to collect me I had become frail, I could have fallen to my knees. She, on the other hand, was like the lead angel in an opera, tall, handsome, strong, brimming with energy and humor and purpose, an honest-to-goodness adult, she swept me into her office and turned her intelligence on me like a beam from outer space. Seeing how overimpressed I was, she eased down into the role of a friend and did all she could to help me with the interview. "Oh, this is interesting," she said, "yes, mmmm, good, tell me all about this," and I melted into adoration.
From this moment on
A week later she hired me. She said she persuaded Bill to go along by showing him a campaign I had created for International Silver for its silverplate flatware, knives, forks and spoons. They had inserted a bit of sterling at the places where flatware gets the most wear but they never told anybody about it. I decided to call that reinforced silverplate DeepSilver and persuaded a lot of brides that it was as good as sterling and a lot better than ordinary silverplate. Phyllis liked my thinking. Bill wasn't sure but he said yes. When I met him he took my hand, looked soulfully into my eyes and baptized me, saying, "McCann Erickson is a terrible agency so you are a big gamble from my point of view but Phyllis sees something in you." I have never forgotten those exact words of his because it took me a few years to get over them, he was full of himself at the time and I wasn't, yet. Then he lit up as though he had thought of a great practical joke to play on me and said, "Now you have to meet Ned Doyle, he handles the Max Factor account and you will be working on it with him, let's see what he thinks of you!" and he led me next door to the man who was the head of account services.
Ned Doyle, as Irish as he could be, watched me cross his office without expression, but then I saw him think "Huzzah!" and I knew he was going to be a fan. He was a slender, older man with white-and-grey hair, cool eyes and a carved face. He was wildly flirtatious but in that safe, careful, old-fashioned way, and he liked everything about me except my nickname. "Where did you get the name Bunny? You can't work at Doyle Dane Bernbach with a name like Bunny. Get rid of it before you come here. Mary is a good name, I like Mary, from now on you're Mary." For a couple of hours we bantered, he wanted to see if I was tough enough to be any fun, and I learned a lot about the agency right away. Ned loved Bill, he said. Bill would not admit he loved-and needed-Ned. Bill was the genius but Ned was the businessman and Ned was also the gladiator in any fight for Bill's ideas.
Taken in pieces Bill Bernbach wasn't much. He was shorter than he sounded, he had a wary half-smile, cow's-milk eyes, pale skin, soft shoulders, he seemed to be boneless, but he communicated such a powerful inner presence he mowed everybody around him down and out of sight. In his peak years many people were afraid of him. I was; I didn't want to get too close. There was something volcanic, something unsettling going on; it was a little like being in the company of Mao or Che or the young Fidel. Many of us had hiding places at the agency where we could avoid him. One of his top talents, who worked for me later in my own agency, said he used to go to work at dawn to get his work done before Bill arrived in the morning and would be long gone before Bill put a foot into the place. It is true that even some of the surest men who were close to Bill drank more than they should have.
By the time I arrived the gods were firmly ensconced, the pantheon was established, the rituals, the sacred writings were already beloved. The Dei Majores were the originals, Bill, Ned, Mac, Phyllis and Bob Gage; they spoke a secret language. The Dei Minores were Helmut Krone and Julian Koenig, who were becoming famous for their Volkswagen advertising. There were talented others, the spirits and the elves, but the gods were the gods, everyone in the industry knew who was who.
Bill wrote few ads himself, but he had the great ideas and he had a sensibility that was rare in business in the fifties. Consider Avis, a car-rental company that barely existed before Bill got hold of it. Its stores were usually in places you wouldn't take your mother. There was really only Hertz at the time. But Bill told the world that Avis was Number Two, making a mountain out of a molehill to say the least. He also told the world that because Avis was Number Two, it tried harder. Almost overnight Avis became perceived as a threat to Hertz-an awesome act of magic-and people began going to Avis because Avis tried harder than Hertz.
I once attended a meeting with some Avis dealers. Nobody was more surprised than they were to discover they were Number Two and trying harder than Hertz. Some of them flew into a rage because all the new customers they got from the new advertising were so expectant, they would march into Avis offices with the dirty ashtrays they found in their cars, dump the ashes on the managers' desks and demand their money back. It was nip-and-tuck for a while whether the dealers would go along with the new image and the expectations. "I couldn't even get a job at Hertz," one of them told me. "Now you people tell me I am better than Hertz? That I try harder than Hertz? Are you crazy?" But in the end they did go along, and the wonders never ceased.
When Bill looked at a produc...
I was working at McCann Erickson for the money, for little black dance dresses that showed off my Norwegian legs, for my baby daughters' smocked dresses from Saks and for an apartment larger than I could afford-but then I met Bill Bernbach and he made a serious woman out of me. In the fifties in New York if you talked about "Bill" you meant Bill Bernbach. He was the talk of the town because he was creating a revolution in the advertising business, which was a glamorous business at the time. He challenged all the big advertising agencies that had become important since World War II, saying they had killed advertising, ads had become dishonest, boring, insulting, even insane. Worse, they didn't sell anything to anybody. The big agencies defended themselves; they said they made advertising scientifically, with sophisticated research. But Bill said either they were liars or they were stupid; their pitiful research reduced advertising to, basically, one poor tired ad that was repeated over and over again. When he really got going he would say things like, "The big agencies are turning their creative people into mimeograph machines!" and all the frustrated creative people in town would stamp their feet and cheer, "Yea, Bill!"
The advertising business, like America itself after the war, had built up the fiction of safety with its hierarchies and armylike respect for the boss. In the big agencies the boss was a group of executives called the Creative Review Board. Their research told them that America hungered for happiness and peace, so they produced advertising that was happy and peaceful. Children were always clean and smiling. Dogs were clean and smiling. Firemen, police, farmers and coal miners were clean and smiling. Everybody waved to each other in the ads. Beautiful women stretched out on the roofs of cars in their gowns and jewels and furs to make the cars look prettier. Bottles of whiskey wore crowns and stood proudly on red velvet columns pretending they were the Duke of Windsor. Bill was right; advertising was the land of the insane. There was never any direct personal communication, never any tension or drama or interesting information in them, but those ads, based on spurious research, had been touted so long as scientific that Bill was seditious criticizing them.
He had galloped out of the Grey agency to set advertising free with a little gold mine of people: Ned Doyle, Mac Dane, Bob Gage and Phyllis Robinson. They opened an agency, Doyle Dane Bernbach, and set about changing the way advertising looked, what it said, how it sounded; they even felt free to change the product or the company that made the product if that was what it took to have a success. Bill gave lectures to the press. Radiating moral gravity, he would tell them that the big agencies had it all wrong: "Advertising is not a science, it is persuasion, and persuasion is an art, it is intuition that leads to discovery, to inspiration, it is the artist who is capable of making the consumer feel desire."
He utterly bewildered the big agencies. They asked each other, "Why is this guy making a ruckus and disturbing the peace? Who is this Bill Bernbach?" Pretty soon everybody knew who Bill was. It was as if he had cordoned off Madison Avenue and set up a stage where he called for advertising to be honest and candid, smarter and more interesting. He demanded bolder language, humor, wit and stylish design. He said, "All of us who professionally use the mass media are the shapers of society. We can vulgarize society or we can help lift it to a higher level." When Doyle Dane Bernbach's first ads began to appear, they were as effective as Bill promised they would be, and after that, in the advertising business, there was no turning back and Bill was the star.
Phyllis Robinson was his copy chief and when I went to my interview for a job with her I was not optimistic. I knew how the work I had done at the large, traditional McCann Erickson agency would look to Doyle Dane Bernbach. I was dying to work there, partly because everybody was dying to work there, it was the hot spot, the place to be, but also, although my mind was still a young and silly place, because I thought Bill's revolution was the most important event of my life. If he had been John the Baptist I could not have been more enraptured. I spent days creating pretend ads to suggest that I was more talented than what my portfolio of real samples had to show. I arrived much too early. When Phyllis finally came out to the waiting room to collect me I had become frail, I could have fallen to my knees. She, on the other hand, was like the lead angel in an opera, tall, handsome, strong, brimming with energy and humor and purpose, an honest-to-goodness adult, she swept me into her office and turned her intelligence on me like a beam from outer space. Seeing how overimpressed I was, she eased down into the role of a friend and did all she could to help me with the interview. "Oh, this is interesting," she said, "yes, mmmm, good, tell me all about this," and I melted into adoration.
From this moment on
A week later she hired me. She said she persuaded Bill to go along by showing him a campaign I had created for International Silver for its silverplate flatware, knives, forks and spoons. They had inserted a bit of sterling at the places where flatware gets the most wear but they never told anybody about it. I decided to call that reinforced silverplate DeepSilver and persuaded a lot of brides that it was as good as sterling and a lot better than ordinary silverplate. Phyllis liked my thinking. Bill wasn't sure but he said yes. When I met him he took my hand, looked soulfully into my eyes and baptized me, saying, "McCann Erickson is a terrible agency so you are a big gamble from my point of view but Phyllis sees something in you." I have never forgotten those exact words of his because it took me a few years to get over them, he was full of himself at the time and I wasn't, yet. Then he lit up as though he had thought of a great practical joke to play on me and said, "Now you have to meet Ned Doyle, he handles the Max Factor account and you will be working on it with him, let's see what he thinks of you!" and he led me next door to the man who was the head of account services.
Ned Doyle, as Irish as he could be, watched me cross his office without expression, but then I saw him think "Huzzah!" and I knew he was going to be a fan. He was a slender, older man with white-and-grey hair, cool eyes and a carved face. He was wildly flirtatious but in that safe, careful, old-fashioned way, and he liked everything about me except my nickname. "Where did you get the name Bunny? You can't work at Doyle Dane Bernbach with a name like Bunny. Get rid of it before you come here. Mary is a good name, I like Mary, from now on you're Mary." For a couple of hours we bantered, he wanted to see if I was tough enough to be any fun, and I learned a lot about the agency right away. Ned loved Bill, he said. Bill would not admit he loved-and needed-Ned. Bill was the genius but Ned was the businessman and Ned was also the gladiator in any fight for Bill's ideas.
Taken in pieces Bill Bernbach wasn't much. He was shorter than he sounded, he had a wary half-smile, cow's-milk eyes, pale skin, soft shoulders, he seemed to be boneless, but he communicated such a powerful inner presence he mowed everybody around him down and out of sight. In his peak years many people were afraid of him. I was; I didn't want to get too close. There was something volcanic, something unsettling going on; it was a little like being in the company of Mao or Che or the young Fidel. Many of us had hiding places at the agency where we could avoid him. One of his top talents, who worked for me later in my own agency, said he used to go to work at dawn to get his work done before Bill arrived in the morning and would be long gone before Bill put a foot into the place. It is true that even some of the surest men who were close to Bill drank more than they should have.
By the time I arrived the gods were firmly ensconced, the pantheon was established, the rituals, the sacred writings were already beloved. The Dei Majores were the originals, Bill, Ned, Mac, Phyllis and Bob Gage; they spoke a secret language. The Dei Minores were Helmut Krone and Julian Koenig, who were becoming famous for their Volkswagen advertising. There were talented others, the spirits and the elves, but the gods were the gods, everyone in the industry knew who was who.
Bill wrote few ads himself, but he had the great ideas and he had a sensibility that was rare in business in the fifties. Consider Avis, a car-rental company that barely existed before Bill got hold of it. Its stores were usually in places you wouldn't take your mother. There was really only Hertz at the time. But Bill told the world that Avis was Number Two, making a mountain out of a molehill to say the least. He also told the world that because Avis was Number Two, it tried harder. Almost overnight Avis became perceived as a threat to Hertz-an awesome act of magic-and people began going to Avis because Avis tried harder than Hertz.
I once attended a meeting with some Avis dealers. Nobody was more surprised than they were to discover they were Number Two and trying harder than Hertz. Some of them flew into a rage because all the new customers they got from the new advertising were so expectant, they would march into Avis offices with the dirty ashtrays they found in their cars, dump the ashes on the managers' desks and demand their money back. It was nip-and-tuck for a while whether the dealers would go along with the new image and the expectations. "I couldn't even get a job at Hertz," one of them told me. "Now you people tell me I am better than Hertz? That I try harder than Hertz? Are you crazy?" But in the end they did go along, and the wonders never ceased.
When Bill looked at a produc...
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