The history of advertising in quite a few objects: 31 The Smash Martians
The Smash Martians' place in British advertising history is assured.
The Smash Martians' place in British advertising history is assured.
Film-makers in the US have never shown much affection for the ad industry. Down the years, adfolk have usually been depicted as manipulative cynics who make people buy things they don't need.
Roland, famously described as the first rat to join a sinking ship - the ill-fated TV-am - rather than fleeing it, may never lose his reputation as the godfather of dumbed-down television.
Saatchi & Saatchi old-timers will doubtless be crying in their beer the day the demolition men move in on the agency's Charlotte Street home.
Probably no advertising better reflected the changing lifestyle - and eating habits - of middle-class Britain during the latter half of the 20th century than the Oxo campaign.
It's a safe bet that in a dark and dusty corner of a few creative departments and design studios, there lurks a tin of Cow Gum.
The "loadsamoney" culture that pervaded adland from the 60s to the 80s - and its sometimes tragic repercussions - symbolically came together when "the Seymour" entered the industry's lexicography.
Few high-rolling admen were eager to practice what Bill Bernbach preached when he challenged consumers in his iconic 1959 ad for Volkswagen to "think small".
The 1973 "boy on a bike" commercial for Hovis was a dazzling piece of deception.
Short of selling their grandmothers, there's probably nothing a creative wouldn't do to win a Cannes Lion. Come to think of it, even grannies might well be sent packing with a Lion at stake.
Agencies the world over have their favourite watering holes. But "of all the gin joints in all the towns in all the world" - as Humphrey Bogart put it in Casablanca - the most famous of the lot stands on the corner of a winding, palm-fringed road at ...
The 1959 TV campaign for Strand cigarettes seemed to have everything going for it. Not only was it innovative, stylish and intriguing, but it also had a soundtrack people still hum. What's more, it had a central character - the Strand man - that ever...
Chris Joseph - who named his agency after the solid silver hallmarked hook that replaced his missing right arm - will be remembered as the adman who won a big victory in protecting the industry's rights over its creative ideas.
Cosmopolitan's UK arrival, in February 1972, linked advertisers with an attractive but not easy-to-reach market. The magazine targeted stylish, classy and liberated young women who wanted great orgasms and didn't mind admitting it.
John Pearce was the embodiment of the eccentric and anarchic culture that was Collett Dickenson Pearce in its creative prime. And nothing summed up Pearce's non-conformist style more than his taste for red socks.
TV sponsorship in Britain came of age in March 1996. Although brands had first been allowed to sponsor programmes ten years previously, strict ITC codes and the failure of media owners to understand the true value of what they were selling got sponso...
The Nabs Rugby 7s, the event that will pitch agency flankers and ruckers against each other for the 49th time on Sunday, is the longest-standing event in the calendar of the industry charity.
The ad industry's single confrontation with militant trade unions is little remembered more than three decades after it took place.
The apples that greeted visitors to Leo Burnett's agency on the morning it opened for business, in Depression-ravaged Chicago on 5 August 1935, were symbolic of its owner's rosy attitude.
Britain's red-top revolution arguably began on 17 November 1969 when The Sun, once a tired old broadsheet, re-emerged under Rupert Murdoch's ownership as a sexed-up, but unashamedly downmarket, tabloid.
For almost three decades, no sound was more synonymous with an agency creative department at work than the squeaking of its Magic Markers.
Not a lot of people know that Maurice Saatchi decided his trademark tortoiseshell glasses should be a permanent feature when people kept mistaking him for Michael Caine.
Derek Dougan was a brilliant footballer for both Wolverhampton Wanderers and Northern Ireland, and never took kindly to being told what to do.
If there was ever a time when the common perception that adland was a place peopled only by shallow-minded hucksters began to change, it was in 1963 when David Ogilvy's Confessions Of An Advertising Man hit the stores.
British advertising changed for all time at 8.12pm on 22 September 1955. Not many people were able to share the moment. Only those living in 100,000 homes across London and the South-East with specially modified TV sets were capable of capturing comm...
On 9 March 1984, Campaign splashed with a story that had the industry aghast. So incendiary were its contents that the reporter who wrote it pleaded not to be given a byline.
Homes don't come much classier than the Belgravia townhouse with its gleaming stucco facade that has been the IPA's headquarters for more than 60 years.
Even by the ad industry's extravagant standards, Edward Booth-Clibborn's lunch bill for two at Mayfair's Le Gavroche in 1991 was a jaw-dropper.
The Ivy, lunchtime haunt of adland's most celebrated - and most well-heeled - air-kissers, table-hoppers and back-slappers, has been called a club in which nobody is sure who the members are.
Welcome to the first incarnation of a new element in Campaign in which we invite experts to burrow beneath the surface of the catch-all that is "digital". Google, Isobar Mobile, JWT London, LBI and MBA share their insights on mobile.