This inside look at the production of 20th century television commercials begins with a review of advertising's beginnings going through the 1960s and early 1970s. The author, a career "Mad man," recounts lightheartedly his experiences on commercial productions--both live and film--in theaters and studios in New York City, at LBJ's ranch, on the White House lawn, along Rome's Appian Way, in Lady Astor's dining room and on the Tryall Golf Course in Jamaica, among other places. The technical (and people) challenges involved in producing high-end commercials for major corporations are given in often funny detail.
From the former CEO of Ogilvy & Mather, the first biography of advertising maverick David Ogilvy Famous for his colorful personality and formidable intellect, David Ogilvy left an indelible mark on the advertising world, transforming it into a dynamic industry full of passionate, creative individuals. This first-ever biography traces Ogilvy's remarkable life, from his short-lived college education and undercover work during World War II to his many successful years in New York advertising. Ogilvy's fascinating life and career make for an intriguing study from both a biographical and a business standpoint. The King of Madison Avenue is based on a wealth of material from decades of working alongside the advertising giant, including a large collection of photos, memos, recordings, notes, and extensive archives of Ogilvy's personal papers. The book describes the creation of some of history's most famous advertising campaigns, such as: * "The man in the Hathaway shirt" with his aristocratic eye patch * "The man from Schweppes is here" with Commander Whitehead, the elegant bearded Brit, introducing tonic water (and "Schweppervesence") to the U.S. * Perhaps the most famous automobile headline of all time--"At 60 miles an hour the loudest noise in this new Rolls-Royce comes from the electric clock." * "Pablo Casals is coming home--to Puerto Rico." Ogilvy said this campaign, which helped change the image of a country, was his proudest achievement. * And his greatest (if less recognized) sales success--"DOVE creams your skin while you wash." Roman also carries Ogilvy's message into the present day, showing the contemporary relevance of the bottom-line focus for which his business ventures are remembered, and how this approach is still key for professionals in the modern advertising world.
Until now, most works on the history of African Americans in advertising have focused on the depiction of blacks in advertisements. Madison Avenue and the Color Line breaks new ground by examining the history of black advertising agency employees and agency owners.
"MADvertising" showcases the very best of "MAD"'s fifty-plus years of takeoffs on Madison Avenue. Fans will love these hundreds of spoofs of legendary ad campaigns, plus hilarious behind-the-scenes interviews with the Usual Gang of Idiots. But wait, there's more! Get ready for two Galleries of Sin, featuring every twist on cigarette and alcohol advertising ever done by the magazine; a section highlighting "legitimate" ads by "MAD" artists; a discussion of "MAD"'s longtime no-advertising policy; plus (yes!) all-time favorite takeoffs on Madison Avenue culture, including the immortal musical "My Fair Ad Man" and "The "MAD" Madison Avenue Primer."
A USA TODAY bestseller! One of O, The Oprah Magazine’s “22 Romance Novels That Are Set to Be the Best of 2020” and one of Goodreads’s “28 of the Hottest Romances of 2020” From New York Times bestselling author Lauren Layne, the “queen of witty dialogue” (Rachel Van Dyken, New York Times bestselling author), comes the final installment of the Central Park Pact series, a heartfelt and laugh-out-loud romantic comedy that’s perfect for fans of Sally Thorne and Christina Lauren. Can guys and girls ever be just friends? According to Audrey Tate and Clarke West, absolutely. After all, they’ve been best friends since childhood without a single romantic entanglement. Clarke is the charming playboy Audrey can always count on, and he knows that the ever-loyal Audrey will never not play along with his strategy for dodging his matchmaking mother—announcing he’s already engaged…to Audrey. But what starts out as a playful game between two best friends turns into something infinitely more complicated, as just-for-show kisses begin to stir up forbidden feelings. As the faux wedding date looms closer, Audrey and Clarke realize that they can never go back to the way things were, but deep down, do they really want to?
When the Greatest Generation came marching home, they buckled right down to work. I WAS A MAD MAN is the story of one of those men. Richard L. Gilbert, born in New York, devoted Giants fan in the cheap seats of Coogan's Bluff, CCNY grad, soldier, returned home in 1946. He needed a job. He found one in advertising. You don’t know his name (yet) but you'll recognize his work. In a 40-year career Richard Gilbert and his intrepid staff of copywriters, designers and artists at Gilbert Advertising changed how Americans thought about fur coats, foreign languages, cars, perfume and the Vietnam War. Gilbert Advertising wasn't the biggest shop on Madison Avenue but it was influential beyond its size. From encouraging the Metropolitan Opera to offer less than full season subscriptions (unheard of till 1971) in the Met's first ad campaign; to persuading people Renault had mended its ways (a Renault for the people who swore they’d never buy another); to tweaking the tail of the Russian Bear (Premier Kosygin, we'd like to give you a free tuxedo); London Fog rainwear; Berlitz Language school, and Club Med, Gilbert Advertising was the creator of iconic pop culture images that remain fresh and persuasive years later. Along the way Richard Gilbert spearheaded the ad campaign that helped end the Vietnam War (The First American Ballot on the War; Some Toys Hate War) and helped litigate protection of commercial free speech. Armed only with a pencil, and the indomitable American can-do spirit, Richard Gilbert marched up Madison Avenue into history. This is his story, and ours.
Required to sign away their legal rights as authors as a condition of employment, professional writers may earn a tidy living for their work, but they seldom own their writing. Writing for Hire traces the history of labor relations that defined authorship in film, TV, and advertising in the mid-twentieth century. Catherine L. Fisk examines why strikingly different norms of attribution emerged in these overlapping industries, and she shows how unionizing enabled Hollywood writers to win many authorial rights, while Madison Avenue writers achieved no equivalent recognition. In the 1930s, the practice of employing teams of writers to create copyrighted works became widespread in film studios, radio networks, and ad agencies. Sometimes Hollywood and Madison Avenue employed the same people. Yet the two industries diverged in a crucial way in the 1930s, when screenwriters formed the Writers Guild to represent them in collective negotiations with media companies. Writers Guild members believed they shared the same status as literary authors and fought to have their names attached to their work. They gained binding legal norms relating to ownership and public recognition—norms that eventually carried over into the professional culture of TV production. In advertising, by contrast, no formal norms of public attribution developed. Although some ad writers chafed at their anonymity, their nonunion workplace provided no institutional framework to channel their demands for change. Instead, many rationalized their invisibility as creative workers by embracing a self-conception as well-compensated professionals devoted to the interests of clients.
Reveling in the consumerist decadence of AMC’s infamous advertising house Sterling Cooper, this complementary volume to the groundbreaking series Mad Men provides behind-the-scenes revelations, episode guides, cast biographies, and rich sidebar content, including “How to Party Like the Mad Men.” Delving beneath the glitz and glamour to highlight the workings of a sophisticated modern classic, this definitive fan guide also offers fascinating sociological context and cultural analysis. The details of historical ad campaigns that are woven into the show’s storylines are provided—such as Volkswagen Beetle’s landmark “Think Small” campaign, the Nixon/Kennedy presidential push, and the creation of Lucky Strike’s “It’s toasted” slogan. This is the ultimate guide to a series that has been praised by the New York Times, Time magazine, and USA Today.
