“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.
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...
It's Christmas Eve in a dive bar, where Santa's most famous reindeer has a lot to say about "The Big Guy," commercialism, and his role as a holiday icon. I wrote this in response to the Theatrical Shenanigans podcast’s call for holiday plays. Since this would be an audio production, I realized I could adapt (and extend) my 2003 short essay about a conversation between a bartender and grumbling Rudolph the Red-Nosed Reindeer and not have to worry about costuming. Produced by the podcast for their "12 Plays of Christmas" Special, December, 2024. (The title graphic for the play was created by me.)
So there I was, on the sands of a Florida beach, surrounded by a group of young people in swimwear, all eyes on me as I instructed them in the dance they were about to perform. The dance I was still coming up with barely five minutes earlier. The Shark Dance. In 1994, I was a writer at an ad agency in Minneapolis, where one of my projects was the launch of that year’s Tigershark personal watercraft models made by Arctic Cat. Along with writing the ads and brochure, I would be going down to Florida to help supervise the film shoot of people riding Tigersharks in the gulf. That included a riff on Jaws , where beachgoers are panicked by a kid yelling “Shark!” as he spots a guy on a Tigershark. And later, the four Tigershark models zooming left to right across the screen, followed by a large shark fin we had made that was pulled through the water on a submerged rig. The fin was convincing enough that two riders unconnected to our shoot darted over and started yelli...
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