The first of two volumes that present the current state of research in the field, and do this across as many fields and subjects as possible. The volumes are meant to be introductions to the subjects and aids to research, not summaries, though the mixture of narrative, analysis, and historiographical commentary varies from author to author. Volume 1 contains 19 chapters organized into two parts: the framework of everyday life; and politics, power, and authority--assertions. The extensive chapter-ending bibliographies both support the chapters and provide selective introductions to the current literature. Annotation c. by Book News, Inc., Portland, Or.
‘Allen Brady & Marsh is one of the UK’s greatest and most famous advertising agencies.’ Marketing Week. 5 April 1991. “When he [Tim Bell] moved on to help found Lowe, Howard-Spink & Bell, Campaign, published its annual league table of top industry ‘presenters’. Tim came out top, Peter Marsh, another colleague and legend, came second, and Frank Lowe was third.” Lord Grade mentions Peter Marsh in his eulogy at Lord Bell’s memorial service. 2020. ‘Peter Marsh hired me. Gave me my first job in advertising. He was pretty much the only ‘boss’ I ever had. Taught me all I ever needed to know about advertising. I owe him everything.’ Trevor Beattie. Twitter (or X) 2024.
Marketing Week called Allen Brady & Marsh ‘one of the UK’s greatest and most famous advertising agencies.’ This was no exaggeration. It was an agency that ploughed its own furrow, and produced advertising that still remains remembered and famous today. It was also an agency that others in the industry feared or even disliked. Not just muttering their distaste behind closed doors but publicly. At the root of this was the co-founders flamboyance, and that the agency was a believer in the power of jingles - even when they became deeply unfashionable. None the less, there is much to learn from the ABM story. And much to be amused by - to the extent that there are two volumes devoted to it.
This is an updated version of the first volume of a seven volume, comprehensive examination of the history of advertising that covers its early origins through until the 21st century. Books on the history of advertising are few and far between, and none encompass a global view. More critically, few look closely at the advertising industry's product: its creative work and how this has evolved - particularly over the last 150 years or so. Add to this that the author worked in the business around the world, on some of the biggest advertisers and at the pinnacle of creative excellence, and this too defines the uniqueness of this series. There has been a deliberate attempt to capture what it was truly like to work in the business beyond just the anecdote laden, rose-tinted memories that abound. Volume One looks at the early origins of advertising, its genesis in the 18th century, and how it flourished in the 20th century. Much of what is covered has not been looked at before in any depth, and certainly not by creating a coherent picture of the business and the reality lying behind the way the advertising was both influential and influenced.
Mostly when we read stories about advertising in the media or in books, they concentrate on the big names of the business - whether advertisers and their brands, agencies, or people. Yet while they sit at the undoubted glamorous end of the spectrum, picking up creative awards and with tales of off-screen outré antics to spill, they represent only the tip of the iceberg in terms of numbers. Under the waterline most of the smaller ad agencies were independent; a few were the regional subsidiaries of the biggest agencies (Saatchis, Dorlands, JWT, McCanns, Royds and Streets all had offices in Manchester for example); a few were also second string agencies in London set up by the main agency for a variety of reasons: specialist agencies that worked in recruitment, finance, corporate, and business-to-business advertising for example; or to handle conflicting accounts, or clients that were too small for the main agency to handle profitably. But as Campaign once wrote, there is a ‘stigma attached to these agencies.’ They were (still are?) seen as second class and on the fringes of the business. Rarely did they act as feeder agencies for talent (unlike journalism where many leading journalists started their careers on local newspapers before ending up on Fleet Street). Even the Chairman of JWT Manchester admitted in the early ‘80s that ‘Northern advertising people have a bit of a complex about their London counterparts. All regional agencies are in danger of being a bit provincial in their outlook.’ This volume looks at those agencies mainly through a diary written in the late 1970s. This gives a vivid, truthful, warts-and-or portrayal of what life was like in the tail-end of the advertising business.
The Breakthrough Years opens with chapters that look at how the advertising business was changing and the influence of designers such as Robert Brownjohn. It covers the forming of the mould-breaking CramerSaatchi, then Saatchi & Saatchi before the merger with Garland-Compton in 1975. The story continues until 1980, a pivotal period in the agency’s history. There is much focus on the nature of the creative work and its enduring nature. Labour, of course, wasn’t working then. Chapters are also devoted to the changes being seen on Madison Avenue and the emergence of a new breed of agency.
Conveys the story of the birds and birders that gather in Cape May Point, N.J., describing the adaptations, migratory patterns, and aerodynamics of the birds.
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