STUFF FROM THE LOFT - Dave Dye Dave DYE

I​ u​sed to like Tesla​s, I nearly bought one.​N​ot any more.Obviously it’s ​still a great product​, but it’s an Elon Musk company.And his purchase of Twitter, ​and subsequent flooding of my feed with his ​thoughts has put me off him.​​I choose not to give my money to a multi billionaire who whines everyday about how unfair the world is.I want best product for the least amount of money, but who I buy it from counts too.If I like the company I​’ll give the benefit of the doubt, if I don’t, I’ll swerve them.I suspect I’m not alone.But most creative work is judged as if it’s being consumed by a cyborg, only logic and facts, as if 1% more of this or 3% less of that will win the day.Rarely factoring in what people may think of the company.I guess it gets you talking about brand advertising and that’s indulgent and squishy isn’t it?Not like hard sell – that makes the money, doesn’t it?Paul Feldwick gives a different view in his excellent book ‘Why Does The Peddlar Sing?’.And unlike most books written by people about themselves……it’s unvarnished.It focuses on the famous Barclaycard campaign; from the first pitch to the last ad.If you’d have asked him why the campaign was successful back then, he’d have pointed to the key messages, like the free travel insurance.Now, he he has a different view ‘Rowan Atkinson​. People liked him and that rubbed off on Barclaycard.’And the messaging underpinning the ads? ‘Well, an ad has to have a message, otherwise it just feels a bit weird?’I​ really enjoyed chatting with Paul, hope you enjoy it too.P.s. The peddlar sings to attract and enchant people, it increases sales.

A muffin company wants to make more money.It's hard to increase their current customers weekly muffin intake - so they need add some new ones.To flip muffin fans who aren't choosing theirs, they need to tell them about their company or muffins that will get them to try one.And tell them in a way that gets their attention.But the first thing they need to do is choose who to speak to. An ad agency?A design company?Branding agency?Packing firm?Social media experts?Behavioural scientists?Media agency?I could go on.And on.Is it helpful to muffin companies out there to slice ‘communication’ into so many tiny specialisms?Some ad agencies dabble in design, some designer companies do the odd ad.But why is it so segmented?Essentially, we're all working with words and pictures to create personalities.Michael Johnson has always straddled that line, the last 30 years running Johnson Banks.And straddled it well, picking up every creative award going, for design and advertising.We had a great chat, hope you enjoy it.Dx

‘Remember how seriously we all took it?
Not that we took ourselves seriously or that we didn’t have fun, but we just tried so, so hard to make great work.
It may be chip paper to most people, but we’d really sweated every last detail.
Even on the bad ads, we'd stay lat trying desperately to improve them.
Like we were on a mission.
It seemed so important.’
I enjoyed chatting to Mary.
Although afterwards, I must confess, I was a little irritated; why on earth had she never set up her own agency?
Or run her own Creative Department for that matter?
(And why wasn’t that one of my questions?)
She was born to do it.
She’s such a clear thinker, funny, ballsy and confident, as you’ll hear.
Also, and this is often gets overlooked - in 1987 Mary picked up the coveted Whitbread Most Promising Beginner Award at The Creative Circle.
Hope you enjoy it.

Pick up any New York Art Directors Club Annual from the sixties and you can feel the heat coming off the pages.
The Writers are using words previously confined to conversation, the Art Directors are trying to find new ways to present the information (‘Creating new pages’ as Helmut Krone put it.)
Then, the seventies.
A whole different story; the experimentation and energy appear to have dried up.
True, there are still lots of good thoughts and lines, but in terms of how it's presented the search for 'a new page' seems to have come to an end.
Maybe it was agreed at some Annual General Art Directors meeting that Art Directors should stop pfaffing around, decide once and for all what a god damn ad should look like!
If it was, the look they settled on was this;
All headlines should be set in a bold serif font.
Squeezed.
(In the spring you’re allowed to use initial caps for each word.)
Underneath the headline should be a photo (the more serious the better).
100 words of copy should be divided into two columns and placed under the picture.
Put a logo bottom left.
Job done.
It's odd, because the job of an art director is to set a distinctive tone and get attention.
To do both, you have to create something that looks different from the norm.
All companies aren't the same and unusual get's more attention than familiar.

As the '70's ended so did the Art Direction lockdown.
Art Directors began to play again.
One of the leading players was Gary Goldsmith.
Take a look at his VW Rabbit ad from 1981.
It looks nothing like an ad, let alone a VW ad.
Or his Chivas Regal Christmas ad.
Where's the lovely photograph of the whiskey they had in the previous 200 award-winning Chivas ads?
Giant letters turning up at all angles?
Copy out of a brightly coloured box, a box printed in a 5th colour (it added $1m to the cost of production).
What the hell was he playing at?
I guess that’s the point, look through the work below you can feel the joy of a human being communicating to others.
He'll hate me for saying this, but as a small child I used to look through the One Shows to find Gary's work.
Each client would always have its own distinctive look.
If the clients were premium the ads felt premium, if the clients were more basic the ads felt more basic.
Every campaign had a bespoke look.
The only thing they had in common was that they felt intelligent and playful.
I had a great chat with Gary, hope you enjoy it.

When you start out in your advertising career, Pentel in one hand, Macbook in  the other, you seem to be surrounded by good work.
Awards books are choc-a-bloc with it.
As you go on, year by year, you seem to see less and less.
For example, the first D&AD Annual looked at probably had an 80/20 ratio of good to bad.
10 years later those percentages are likely to have flipped.
As you move on you become less swayed by awards, famous names or cool agencies, you now have 10 years of data to compare any new idea to - Is it as fresh as A? As funny as B or, actually, isn’t it just a reworking of C?
It’s hard not to.
You’re no longer that naïve, impressionable young thing you once were.
In the music business they believe that our musical taste can be tracked back to our 16th summer; that's when we were most impressionable and hungry for experiences.
As you get older it gets harder to find that tingle of excitement you feel when you experience things for the first time.
In advertising, not being easily excited can be seen as being jaded.
In fashion, architecture and many other creative they have different name for it; knowledge.
I say this for two reasons;
a) I’ve seen A LOT of stuff.
b) David's stuff always causes a tingle, (not a minty-fresh, mouth tingle, but a work-fresh, excitement tingle).
Somehow, he manages to produce work that feels like it's avoided committees, cliches and compromises.
Whereas most work can be quickly categorised as good or bad, with David’s I often have to think about first.
The Orange spot with the couple dancing; Is that good?
The Guardian ‘3 Little Piggies’; Is that good?
The Coal Drops Yard Branding with the seemingly random bunch of shapes, pictures and colours; Is that good?
None are what you’d expect.
Each take balls to go with.
All are hard to ignore or forget.
Much of the work he’s created and overseen at Drog5 London feels as though the team enjoyed thinking it up, then just couldn’t wait to make it and show the world.
Good work tends to have that vibe.
Unfortunately, we recorded this a while back, and David being David, he came up with a cunning way to make this podcast not only unusual, but complicated to make.
Eventually, for reasons that would take too long to go into, it's coming out in a non-unusual, uncomplicated, familiar format. (Soz David.)
It means that we don’t cover the great work Droga5 have been knocking out over the last year or so, like their exceptionally tingley Super Bowl ad for Amazon.
Enjoy.

'Recorded any new podcasts lately?'
I get asked this a few times every week.
The askees range from college attendees to retired adman.
As I pick the people I interview, they seem as famous as The Beatles to me, but they're often unknown to the askees.
After offering up a name and watching a blank expression appear, I reach for a quick handle, something from culture that I think they'll know.
Occasionally it's an ad fact; 'Set Up Fallon before his name was lopped off' (Tom McElligott), but it's better if it's something that's escaped from the pages of Campaign and the various awards annuals and seeped into the culture.
A good test is whether it would pique the interest of your parents.
For example, mine wouldn't be fussed about who founded Fallon, but they might be interested in the bloke who 'Created those Smash Martians and Cresta Bear ads, yet wasn't John Webster' (Chris Wilkins), or the 'Typographer who used to be in a band with David Bowie' (Dave Wakefield) or maybe the guy who 'Shot all those Gary Lineker Walker's ads' (Paul Weiland).
Should I bump into another askee before I post this, and they haven't heard the name Trevor Beattie, the problem wouldn't be trying to think of a cultural link they may know, it will be trying to figure out which one is most relevant to the person in front of me.
I could create a very bespoke answer.
Because Trevor seems to have had a disproportionate amount of brushes with popular culture.
Here's a few that spring to mind:
He went to school with UB40.
Worked for the bloke who wrote the R-Whites 'Secret Lemonade Drinker'.
Did those Weetabix 'Skinhead' ads.
Got Bob Hoskins to do the voiceover.
Hired by the guy who wrote Campari's 'No, Luton Airport'.
Wrote those ads where people turn into Bertie Bassett.
Created an Irish Tourist Board campaign featuring Wendy Craig and Billy Beaumont.
Wrote 'Cats Like Felix Like Felix' in 1989 (it's still used).
Discovered Holly Willoughby for Pretty Polly ad.
Wrote ‘Hello Boys’.
Shot with Hugh Hudson.
Did that 'Cometh The Hour' David Beckham ad.
Created that F.C.U.K. campaign.
Owns the biggest Muhummad Ali collection in the world.
Did a Unicef ad with Nelson Mandela.
Persuaded Chris Cunningham to direct his first commercial.
Shot an ad with David Lynch.
Used John Shuttleworth for Yorkshire Tea ads.
Rewrote Lionel Bart's ‘Food, Glorious Food’ for McCain’s ad.
Pays for hundreds Veterans to go back to the beaches of Normandy to commemorate D-Day every year.
Approved 'Double Life'.
Invested in 'Lock Stock and Two Smoking Barrels'.
Bought the original Abbey Road sign.
Approved Peter Kay’s John Smith's campaign.
Oversaw the marketing for Tony Blair and New Labour for three successful General Election campaigns.
Created poster for that film 'Layer Cake'.
Hired Zowie Bowie.
Produced the cult film ‘Moon’.
Made a documentary about Rudolph Nuryev.
Produced a documentary about the history of the Spitfire.
Producing a film about Brian Epstein.
Trekked to the South Pole with Buzz Aldrin.
Produced a documentary about Thalidomide (Attacking The Devil).
With Harold Evans.
Going to space in 2020.
(At the time of writing he's desperately trying to make a film about Hilda Ogden.)

We had a great chat, hope you enjoy it.