By Mark Tungate
Adland is a ground-breaking exam of recent ads, from its origins within the nineteenth century to the evolution of the present ads panorama. writer and journalist Mark Tungate examines key advancements in ads, from print, radio, and tv ads to the possibilities afforded by means of electronic media -- podcasting, textual content messaging, and interactive campaigns. Adland makes a speciality of key gamers within the and contours particular interviews with best names in overseas ads, together with Tom Bernadin, CEO of Leo Burnett; Jean-Marie Dru, President and CEO of TBWA all over the world; and John Hegarty, Chairman of BartleBogleHegarty. Exploring the roots of the ads in long island and London, and happening to hide Western Europe and the rising markets of jap Europe, Asia, and Latin the US, Adland bargains a complete exam of a world and suggests how it truly is prone to advance sooner or later.
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Additional info for Adland: A Global History of Advertising (2nd Edition)
31 32 THIS PAGE IS INTENTIONALLY LEFT BLANK 33 Madison Avenue 03 aristocracy ‘Creative organizations are led by formidable individuals’ I flew in to New York clutching two books: The Hidden Persuaders, by Vance Packard (1957) and Madison Avenue, USA, by Martin Mayer (1958). The thing I liked most about them was that I had managed to get hold of the original editions – tattered ex-library copies with yellowing paper – so I was effectively taking them back to the street that inspired them. One April afternoon I strode half the length of Madison Avenue, stopping occasionally to grab a coffee and leaf through their pages.
A pioneering network that would fuel future growth. Symbolic of its status was its move in 1927 to the monolithic Graybar Building, next to Grand Central Station – the largest office building in the world at the time. This daunting Art Deco skyscraper, with vaguely nautical embellishments, features gargoyles in the form of steel rats scurrying up the ‘mooring ropes’ that support the canopy above the front entrance. The interior design of JWT’s offices was overseen by Helen Resor. Work spaces were divided by wrought iron grilles, instead of walls, so the entire staff could admire the view from the 11th-floor windows.
But Hathaway could spend only US $30,000 against Arrow’s US $2,000,000. ’ The miracle turned out to be an eye patch. Ogilvy wanted the ads to exude class and sophistication, so he recruited a dashing, moustached model named George Wrangell. Early on, he had the idea of accessorizing George with a piratical eye patch, but this was rejected as too unorthodox. 50... ’ 37 38 Adland But Ogilvy knew very well why the campaign worked. He called it ‘story appeal’. The rakish eye patch was unusual and caught readers’ attention.
Adland: A Global History of Advertising (2nd Edition) by Mark Tungate