“Deconstruction on Madison Avenue,” advertising essays, and stories
Remembering Riney
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The ad industry lost another legend this week. There isn't much I can add to this obituary for Hal Riney, who passed away at the age of 75, except to say that -- in addition to all the success his commercials brought to Saturn cars, the Reagan re-election campaign and Bartles & Jaymes wine coolers, among other clients -- probably the highest compliment he's earned is this: In advertising circles, during the '80s and '90s, his name alone became synonymous with the style of advertising he was most famous for. When you'd say to your partner, "let's do a Hal Riney spot," you both knew what that meant -- a montage of warm images of Americana, sweet, soft music and an laid-back announcer expounding on the simple virtues of life (and that was usually the cue to attempt your best Hal Riney impression, since his distinctive voice narrated many of his best spots). Like this one:
Yes, the "Hal Riney" spot, in the hands of its imitators became a syrupy cliche, but when Hal himself was behind the commercial, it felt genuine and heartfelt.
An oddly intriguing 1960s-era campaign I stumbled across recently. Let’s handle this part right up front: Obviously, seen through modern eyes, it’s sexist as all get-out – but if you just want to reinforce your disgust at the ads, there are other web sites out there that will indulge you. Here, I’m more interested in examining these ads as an ad campaign – what made them attention-getting, recognizable, and endlessly reproducible, as well as how they channeled the zeitgeist (for better and worse). So who is this Mr. Thomson with the audacity to feature himself as a handsy designer of women’s apparel? The internet is surprisingly barren when it comes to The Thomson Company , the textile manufacturer behind the ads, the brand, and the exclamation – but digging deep, here’s what I’ve been able to find out and suss out. Though he was the public face (so to speak) of the company, our Mr. Thomson was, in fact, an advertising creation, as fictitious ...
Last fall, I posted here about having a two-minute (yes, two-minute) play, Thinking of Elephants , produced by the Minnesota Shorts Festival. It was a simple idea for what was essentially a quick skit. Taking place in a laundromat, one person’s discomfort at having the “underthings” in her basket seen by a coworker ends in a kind of “mutually assured destruction” scenario; she demands a peek at his own “unmentionables.” But even for that simple scenario, I wrote too much dialogue and had to throw out many lines to keep it to about two minutes. But after seeing the two-minute production, I wondered if the idea couldn’t sustain the 10-minute length that most short-play competitions request. The key wasn’t just to add back in my excised dialogue, but to find an emotional core to the story that would make it about more than just embarrassment. Pondering this for a while, I realized that the text of the story – feeling exposed before a coworker – could be su...
We referenced this ad campaign in an earlier post , but it really deserves its own entry. This memorable/notorious American Airlines campaign appeared back in 1971, at the behest of National Airlines' Lewis Maytag who sought to modernize the airline and the image of its stewardesses. (Yes, they were still known as stewardesses back then.) At the time, airline advertising had frequently based their messages on the friendliness and attentiveness of their stewardesses, but previous efforts tended more toward the chauvinistic end of sexism spectrum, treating them more like Ladies Of The Air than ladies of the night: (Despite the caveman ethos of the headline and illustration, if you click on the ad to enlarge it and read the copy, you'll see it's actually about men being so beguiled by their stewardesses that they often took them for wives -- after first mistaking wives for servants, I suppose.) But now, with the sexual revolution and women's liberation in full swing (an...
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