From here, said the ancients, spring aD human pil!l8ions and m}'5tical ~Yetitisalsoa
point ot vulnerability. And how well the entire bod functiom, depends, in y
put
its relative
and tone. uman abdomen, there iW three f1!iJjor mu5de groups. To reach them alfanadevelop .e adt
in~~· . ft!IIIUII'."5 D10I'e UIOUI ll 5111p workout station. Solotlec offer5 five.
=:w~tth the efficiency and 5iUne
simplicity that it bUiJd5
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the the~For a free brochure, all ·~-In Canada, 1-«XJ..543-1005. VHS VIdeo brochure also available upon request.
42
Advertising Annual 1985
CONSUMER NEWSPAPER ADS 1 (series) Nancy Rice, art director Tom McElligott / Mike Lescarbeau , writers Tom McElligott, creative director Tom Bach I Marvy Photography, photographers Fallon McElligott Rice (Minneapolis), agency Episcopal Ad Project, client
By col)lparison, any sm yop've . ever comnutted IS garden variety. In The Episcopal Church we believe that Christ died so that our sins could be forgiven. Join us in faith, fellowship and Christian forgiveness this and every Sunday. The Episcopal Church
2 Jeff Jones, art director Bruce Hannum , writer Kurt Tau sche, c reative director Judy Olausen , photog rapher Bozell & Jacobs (M inneapolis) , agency Minneapolis Star and Tribune, client
Without God, it's a vicious circle.
In a wo.rld too often ruled ~ war, hunger, disease and inhumanity. The Episcopal Church believes there IS hope. Jom us and grow m the faith and fellowship of jesus Christ. The Episcopal Church
In the church started by aman who had six wives, foÂŽveness goes without saymg.
The Episcopal Church beli~ that ju~t as we all make mistakes, we can all be forgiven. Come and JOin us m the Pf of worship and fellowship soon. The Episcopal Church
68
Advertising Annua/1985
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Investigative reporting isn't all bright lights and by-lines. Sometimes it's tedious, grueling research, wacling through stacks of paper to fmd a name, confirm a fact, follow a lead But it's this kind of extra time and effort that may uncover the truth behind a story. And that's what the Star and llibune's special reports are all about
For reporters Joe Rigert and Josephine Marcotty, this extra effort meant seven months of investigation and three ftle cabinets of notes and documents on Minnesota's economy. For Rigertand Tom Hamburger, it meant reviewing the documents of over 100 companies in their four-month investigation of construction contracts for women and minority firms.
Investigative reporting. Sometimes it's more paperwork than legwork. But then, sometimes you have to clig deep, to get to the bottom of a story.
BeyEdition5AnExlla.
Communication Arts 69
ay§~~t!Y. midable competitor in the East. A New Yorker by birth. he came home to establish a Manhattan office for the L. A. agency-and quickly proved creative prowess works on both coasts. Here .from a recelll conversation. are a few if the directions that have poi111ed Jay's way to success.
On beginnings: I was born in the Bronx but grew up in Fort Lee. New Je rsey. In those day â&#x20AC;˘ Fort Lee wasn' t suburban but rural. Safe. Co mfo rtable. A good place for kids. After Rutgers and a degree in education, I got my fi rst job as an NBC guide at $37 a week. A year later, the Air Force took me west to Mather Air Force Base in Sacramento . When my tour ended , I wanted to stay in California. That led to a job as a technical recruiter- and my start in advertising, doing recruitme nt ads. Then a med ia re p to ld me a small Ora nge County agency was looking for a young writer. I moved south and , after fo ur years, started my own agency with $4,000. I fi gured if it didn 't work out , I could always get another job. We survived for four years with real estate and technical account ; then moved into L.A . where I got together with Guy Day to form Chiat/Day. On risk-ta king: I' m uncomfortable when I'm comfortable. I have to start something new- i n the agency, or in my personal life-eve ry two years or so . Taking risks gives me energy. I can' t help it, it 's my personality. I'd li ke to think it's not really a compulsion toward high risks, but the spirit of the entrepreneur. This is the age of the entrepreneur, isn't it? On the big loss and the bigger win : Our first major cl ient was Honda. We did terri fic work , but got caught in the middle of a battle between sales and advertising. The experience was traumaticbut , in retrospect, it was the best thing that could have happened to us. It forced us to recognize the need for sophisticated account handling. Unti l then. we hadn 't had enough respect for account management. On New York : Being in New York has given the agency new purpose, new energy. The myth is that ew York is a tough place to crack. Well , it is-but it isn't. There's so much busines , so many opportunities , that youhave far more chances. So that makes it easy. But it is tough to change your perspecti ve and your life style. On building a campaign : Our best work has always begun with a marketing solution, not a creati ve solution. The ads nowed from the strategy. not the strategy from the ads. Then we found a way to do it with consistency.
We introduced a third discipline. account planning to re present the consumer in the agency, alongside account management and creative . On the system : Every account has a team of equals-account planner, account manager, writer and art director. Together, they develop the strategy based on knowledge of the target aud ience. Creati ve people are involved from the start so they buy into it. Once the strategy is well defined, the clie nt has to approve it before creati ve work is done . There are fewer delays, fewe r disa ters. We feel it leads to better creati ve. It isn't foolproof-but what is?
O n new people: One of our toughest problems is ass imil ating new people. They come with a Jot of me ntal baggage, and it takes time before they understand their baggage isn' t ot1r baggage . Our only interest is the quality of the work. And we won't compromise. On failure: If you see a bad ad coming o ut of Chiat/Day, blame it o n us . We can ' t fa ll back on the excuse that the clie nt made us do it. We just don' t have those kinds of clie nts . They come to us for the kind of work we do. If we fai l, it's our fa ilure , not theirs.
O n bringing the client into the act: Halfway through the process, we bring the clie nt in. It 's a shi rt-s leeves session. No effort to slick up the ads, just fe lt tip roughs. We do n't talk about techniques , onl y about ideas. We don' t even try to sell. It 's just a matter of telling the cl ient , " Here's where we stand ; here's how we got where we are ." That gets the client involved-and at a point where the client can contribute and also have a sense of ownership in the campaign.
O n print: We were weaned on print. In the earl y years, 99.97% of our business was print. And , on top of that, this is an agency started by two writers. So you can see where we've always been concerned about do ing great print advertising. I think there's goi ng to be an explosion of print. Just think of all of the magazines that have been launched in the past few years. There must be a lot of people reading.
O n self-per ception : I' m in charge of quality control. If the work's not up to standard , I call the creati ve team or even the clie nt , and tell them. Cl ients appreciate that-who wants to waste time looking at work the agency doesn' t like? My other job is to keep the agency si mple. As you grow bigger it's easy to grow compl icated . So I do things li ke eliminate memo writing. Memos aren' t communication; they're a corporate disease .
O n finding good account people: We look fo r account people who understand advertising. It 's amazing how few do. All account people are interviewed by creati ve people. Anyone who's just entranced with the stmcture of advertising won't be comfortable with us . It 's tougher hiring account peo ple than creati ve people . After all , you can look at a creative person's portfo lio. Maybe we ought to have account people tear out twenty ads they like , and tell us why. In any area, I look for energy, for a passion about the business. O n good writers: Good writers come in all sizes, shapes and ages. What they all seem to have in commo n is the ability to hear, to listen, to understandand to d istill what they hear and Jearn into someth ing that's human and persuasive. O n office o rganization : We don' t have geographical departments. Instead , we cluster the people who work on a set of accounts together. When an agency is organi zed by functions, there's empire- building and departme ntal loyalties. I think o:.~r way helps make people re ponsive to the client , not to the department head-and that's the way it sho uld be. On T he Wall Street J ournal: No matter what you sell , if the price tag is high, The Journal's audience is right. They have the means, and you can instill the will . The Journal offers what no other publication can match: an incredible immediacy. Yo u run the ad , the ad generates the business. I used to teach an advertising class at the University of Southern California. My students had to subscri be to two major trade magazines-and to The Wall Street Journal . I find there's something in The Journal every day that I can use in our agency. I'm not looking for it , but there it is-a piece of new or information that helps. If you're in sales, or marketing, or advertising, there's no other way to stay current. After all , thi s is a business that moves very, very fast-and you can' t stay on lop of it without The Journal!
The Wall Street Journal. It works.
CtflyriJ<hl/985, Duw Jonu & Company, life . All righ1s r~wrwd.
80
A dvertising A nnual 1985
3
The Nikon FE2. Because not every artist uses abrush and palette.
What milestone marks the moment you out·
grow ~;::nsL: race out at dawn to catch the minute of lig~t that turns the earth sapphire. Or the time you find yourself summoning up the courage to ask someone to pose. ude.
AJ~=~::~~~~~~=~r~· 16nger good enough. You need the Nikon FE2.
ItS the 35mm camera that offers a range of creative options desig:1ed for the imagmative few. Options like an automatic system with the
system that automatically sets the exposure,
A shutter speed of V4000 for a wider choice of apertures in bright light. so your focusing can be as interpretive as your composition. A through-the-lens (TTL) flash metering
and accessories for creative opportunities no other system can offer. Which is why the Nikon FE2 is more than an extraordinary camera. Ill; the ultimate artist!; tool.
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4
BMW WOULD UKE TO THANK ALL THOSE RESPONSiaE FOR PUTTING us IN OUR PLAC BMN extends Its gratr tude to the 416 members of our dealer organozabon. The
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The preciSe measure of our dealers' dedcabon IS most clearly read 1n BMN's 1984 sales figures: 70,897unrtssold,anlmpr!Mlment of almost 2096 C1Jer 1983. What s more, that figure 1ncludes our December performance of 8,135 units sold-the most successful month 1n BMW's hiStory
aktanyofonly's: The ort.; car canpany that has 1ncreased sales e.tery year for the past eleven years. The ortt car company to achieve an average annual growth of l6 6% SKICe 1973. 19n 11n .,. "~ ""' 1111 • • ".., ttm , . t'lll2 lWl , . Suchapastperforrnanc:e, The only car canpany to roll through a decade of fuel cnses. naturally, giVeS us noth1ng but confidence for the future. A economiC cnses and automotive ldentrty cnses Wlth an unconfidence further renforce::J by another of our only's: flagging 11151011 of what makes a superb autornobde. And what The only car company that can cla1m a dealer organozabon as dedcated as you.
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Communication Arts 93
3
Make my day. Visit
the San Diego Zoo. 4
A rare tweet. The
San Diego Zoo
Double-deck bus tours. The
San Diego Zoo Communication Arts
103
YET AN01HER PIECE OF JUNK MAIL.
YOU'RE ON YOURW.TO WINNING THIS BEAUDFUL PIECE OF CHINA.
Communication Arts
109