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Wall Street Jounal about the Creative Leaders
 

Wall Street Jounal about the Creative Leaders

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The one best read to understand the career patterns of most creative people in advertising industry.

The one best read to understand the career patterns of most creative people in advertising industry.

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    Wall Street Jounal about the Creative Leaders Wall Street Jounal about the Creative Leaders Document Transcript

    • Back to top For over 25 years, The Wall Street Journal has produced one of the most memorable of all trade advertising campaigns: "Creative Leaders." The campaign pays tribute to a gallery of remarkably talented people who have shaped the face of advertising. Because of that, selection as a featured Leader has become one of the highest honors in the industry. In these ads, we trace the notable careers of the Creative Leaders with in-depth interviews. They talk about their individual and professional philosophies, their dreams, their successes and their mentors. They touch upon subjects ranging from the importance of the client and the consumer to their visions of the future of the business. And they offer a glimpse into the processes that have produced some of the most compelling advertising in history. Here, you'll find nearly 100 of The Journal's "Creative Leaders" ads reproduced in full. Taken together, they provide a fascinating chronicle of advertising's evolution over the past quarter century. At the same time, they serve as inspiration to all of us - to never settle for giving less than our very best. A B C D E F G H I J K L M N O P Q R S T U V W Y Z A Abbott, David Ally, Carl Ammirati, Ralph Anderson, Ron Avrett, Jack B Backer, Bill Batey, Ian Beaver, Allan Bell, Ted Berger, Ron Berman, Cheryl The Wall Street Journal - Print http://advertising.wsj.com/PromoLib/CLeaders.htm (1 of 5) [3/13/2004 10:02:46 AM] Creative Leaders
    • Back to top Berry, Norman Boyko, Rick Brignull, Tony C Caples, John Chiat, Jay Chu, Mike Clow, Lee Cordner, Tom Cosmopulos, Stavros Cunningham, Pat D De Vito, Frank DeGregorio, Tony Delaney, Tim Della Femina, Jerry Deutsch, Donny DiSesa, Nina Dupuy, Marie-Catherine Dusenberry, Phil F Federico, Gene Ferrell, John Fitzpatrick, Sean Fizdale, Rick G Gage, Bob Garfinkel, Lee Gargano, Amil Geer, Peter Gillette, Susan The Wall Street Journal - Print http://advertising.wsj.com/PromoLib/CLeaders.htm (2 of 5) [3/13/2004 10:02:46 AM]
    • Back to top Back to top Goldsmith, Gary Goodby, Jeff H Hamilton, Bill Hample, Al Hawkey, Penny Hayden, Steve Hegarty, John Hill, George J. III Hughes, Mike J Jacobs, Harry M. Jr. Johnston, James J. Jones, Caroline K Kaplan Thaler, Linda Keye, Paul Kopcha, Steve Korda, Reva Korey, Lois Krone, Helmut Kurnit, Shep L Lane, Bill Lawner, Ron Lois, George Lord, Dick Ludwig, Bill The Wall Street Journal - Print http://advertising.wsj.com/PromoLib/CLeaders.htm (3 of 5) [3/13/2004 10:02:46 AM]
    • Back to top M Manning, Burt Marsteller, Bill Massimi, Gabe Maynard, William McCabe, Ed McCall, David McElligot, Tom McKinney, Charles Merkley, Parry Messner, Tom Monahan, Tom Moore, Mary N Nelson, Jim Newsom, Hal O O'Neill, Kevin O'Toole, John P Postaer, Larry R Reinhard, Keith Richards, Stan Riney, Hal Robinson, Phyllis Rosenshine, Allen Rothschild, Diane Rydholm, Ralph The Wall Street Journal - Print http://advertising.wsj.com/PromoLib/CLeaders.htm (4 of 5) [3/13/2004 10:02:46 AM]
    • Back to top S Sann, Ted Schulberg, Jay Schutze, Virgil Siano, Jerry Silverman, Paul Sloan, Mike Spivak, Helayne Stone, Robert T Tanaka, George Trygg, Steve W Westbrook, Bill The Wall Street Journal - Print http://advertising.wsj.com/PromoLib/CLeaders.htm (5 of 5) [3/13/2004 10:02:46 AM]
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    • On words and pictures. "In my last semester of college, needing to fill a hole in my schedule, I took a class given by a former Y&R art director who’d come to Austin to flee the rat race. He showed us reels of great commercials, but it was the discipline and purity of print that got me hooked, the way you could juxtapose the two things that interest me most -- words and pictures -- to come up with a third, entirely different meaning. I graduated, went home to Dallas, put together a book and was lucky enough to get it in front of Stan Richards. He recommended I apply to Art Center in Pasadena. I thought I was about to get a job. He was telling me I needed to go back to school. It was the last thing I wanted to hear, but it was a turning point in my life." On rubbing shoulders with giants. "I went to Pasadena, and for two years and eight months I worked like a dog. It was very intense. When people ask what Art Center is like, I tell them it’s medical school without the blood. Just before graduation, we were asked to list the 10 places we most wanted to work. I wrote Doyle Dane Bernbach 10 times. They told me I was only setting myself up for disappointment. I flew to New York anyway, and the day after I arrived was hired by Roy Grace. That was 1981, back when the legends still roamed the halls. Bill Bernbach was there. Roy was the creative director. Bob Gage and Helmut Krone were still doing campaigns. All had different styles and personalities, and all lived for the work. You couldn’t have asked for better influences." On putting up his shingle. "At a certain point you say, ‘OK, I want to go out and do this on my own.’ Bob Jeffrey and I had worked together at both DDB and Chiat and shared the same crazy idealistic vision of what an gency could be. And we were still young enough to work 24 hours a day. We opened in April of ’87. The stock market crashed in October, but if anything the hard times gave clients a rationale to take a chance with us over the big guys. Over the next 10 years we did a lot of work I’m still very proud of. In ’96, we were acquired by Lowe, but I’ve tried to maintain the mentality of an entrepreneur and forget that I’m in a big agency surrounded by all these resources. I remind myself to stay close to the work, take chances, be bold." On tough love. "Creating anything new is tortuous. The only way to end the torture is to have an idea. You want it to be good, because you know that means the torture will be over. My job is to send people back into the torture chamber to come up with something better, something with the right combination of logic and magic. Without the logic, no one will be persuaded. Without the magic, no one will care." On building a culture. "About eight years ago, a lot of creatives went freelance. Others began bouncing from shop to shop. People wrote it off as the nature of the business -- they said you couldn’t build a place where creatives felt loyalty toward each other and the place they worked. It’s a myth. You show loyalty toward others, they’ll return it. I think now, more than ever, people are looking for a place they can believe in and call home." On The Wall Street Journal. "I always remind our creatives to be aware of the context in which their work will run, and no media offers a more supportive and challenging context than The Journal. Whatever an ad may say, its mere presence in The Journal lends it credibility and authority. But it also carries a challenge. Having been given an audience with many of the smartest and most influential people in the world, it’s up to us not to blow it." Mr. Goldsmith Goes to Manhattan. Raised in Dallas and trained in Pasadena, Gary Goldsmith arrived in New York in the winter of 1981, determined to create great advertising. Now the chairman & chief creative officer of Lowe/USA, he has earned the respect of his peers as much with the quality of his character as his lean, thoughtful, provocative work.
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