YOUTH MARKETING: THE CREATIVE - Three young(ish) creative duos share the ads they remember from their childhood

UK versus Australia

Mother's Kim Gehrig and Caroline Pay say they can't remember the ads from when they were little, but they can remember the jingles. So they indulge in a bit of head-to-head jingling, with Caroline jingling for England, while Kim jingles for Australia.

CP: "I feel like Chicken Tonight!"

KG: "I feel like a Tooheys or two!"

CP: "Everyone's a Fruit & Nut Case."

KG: "Nibble Nobby's Nuts."

CP: "Nuts! Oh Hazelnuts!"

KG: "I love Aeroplane Jelly! Aeroplane Jelly's for me!"

CP: "The Milky Bars are on me!"

KG: "We're happy little Vegemites, as bright as bright can be."

CP: "If you like a lot of chocolate on your biscuit, join our club."

KG: "LJ Hooker, you're the best."

CP: "A finger of fudge is just enough to give your kids a treat."

KG: "Thank you very much, thank you very, very, very, very much!"

CP: "Um Bongo, Um Bongo, they drink it in The Congo."

KG: "I still call Australia home ..."

- Kim Gehrig and Caroline Pay are creatives at Mother

YELLOW FINGERS AND A YELLOW BEETLE

Ian Heartfield had the frighteners put on him by an anti-smoking ad, while Matt Doman was inspired by VW.

IAN HEARTFIELD.

I have never smoked a cigarette and I couldn't for the life of me remember why. Most of my friends smoked, I never had an inhale once/throw up experience and my parents didn't tell tales of cancer-struck relatives.

Then one day I was flicking through an old D&AD, when I saw a long fingered, big-nosed, human-like creature sucking on a cigarette in a smoke-filled room. It all came flooding back. I'd never put a cigarette to my mouth because "the natural born smoker" commercial had scared the living shit out of me when I was 12.

I can't say it inspired me to do advertising. I only started writing ads as a way of avoiding doing logos on my graphic design course.

Would the same ad work today? I guess so, as long the viewer is as young and hopelessly naive as I obviously was.

MATT DOMAN

When I was nine, my dad (then a salesman for a Volkswagen garage) came home from work one night and handed me a book called Remember those great Volkswagen ads?

I was chuffed to bits because it had loads of pictures of cars. My favourite was the customised yellow Beetle with the "Is nothing sacred?" headline. I thought it was the coolest looking Beetle ever. It wasn't until I was 15 that I realised the ads were clever, and I wanted to work in advertising.

They're still great ads 20 years on and could run today, with a little re-art direction. In fact a (weaker) version of "Is nothing sacred?" ran last year.

Unfortunately for dad, this one book scuppered his plans for me. I still turned out to be a salesman, just not for the family car dealership.

- Ian Heartfield and Matt Doman are creatives at Abbott Mead Vickers BBDO.

CIGARETTES AND CRESTA

Tony Davidson was inspired by a Russian composer and a polar bear while Kim Papworth loved cigarette ads.

TONY DAVIDSON

Back in 1973 there was a series of ads that took my school by storm. As a direct result of the advertising, I remember my classmates drinking a revolting frothy drink called Cresta and making weird noises after consuming it. Who would have thought a Russian composer called "Rimsky-Korsakoff" would become a catch word among eight-year-olds?

Why were the ads so popular? Well firstly they were simple. The product was central to the idea. The concept of a polar bear who leaves the North Pole for the fruity flavour of Cresta was entertaining. And kids loved the lunacy of what went on when the bear drank the product. It's easy to forget in this world of research that the unexpected, the thing you haven't seen before, is often the most memorable.

Add to that great animation, great dialogue, great voice, great music, great sound effects, great endline ("It's frothy, man"), not to mention the small matter of who wrote it (Chris Wilkins), and you can't go wrong.

Would the campaign still have the same effect on kids today? Well it would definitely beat most of the crap we see on our screens.

Great commercials often stand the test of time. However, I'm not sure the line-drawing style would be quite as fresh today.

Interestingly, there was another campaign in the early 90s, about a soft drink that gave you a hit, which also affected the behaviour of kids all over the country. You know when you've been ... watching a great commercial.

KIM PAPWORTH

I remember being picky about what films I went to see at the cinema because of the ads around the main feature. There were two in particular.

The first was Hugh Hudson's "swimming pool" commercial for Benson & Hedges.

I was knocked out by the cinematography, its coolness and the thumping soundtrack, which I think was by Godley and Cream from 10cc. It was a real cinema experience, and I was left wanting more. The other was the Silk Cut "Zulu" commercial, easily the funniest thing I had ever witnessed in a cinema seat (Monty Python and the Holy Grail did give it a run for its money though). I couldn't believe that ads could be so clever and wonderful.

Sixty seconds of film, done in the right way, can easily compete with a whole feature film. As for- what kids would make of them today, visually speaking, I'd like to think the surreal content would definitely hold up. And as for "Zulu", it's funny and that will always stand the test of time. Plus kids would love the fact it's politically incorrect.

Lastly, it worries me that the two most memorable ads from my childhood are for cigarettes, but I did grow up to be a non-smoker (honest, mum).

- Tony Davidson and Kim Papworth are creatives at Wieden & Kennedy London.

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