In the last installment of The Biz, I recalled origin stories about my life in the New York ad agency world, including Schelp-Rock, copywriters, and would-be vampires. In the continuing saga of agency life, here’s an ode to a shirt ad that inspires even today…

*Read the copy below…

Back at the agency I was buddies with one of the creative directors. Martha was in her forties and I was in my twenties. She was tough as nails, but also had a glow of a beauty pageant queen. She hated her name because it wasn’t glamourous and some would brand her as “old” before even speaking with her. I could see her cut down a vendor at the knees and then strut down the hallway like she was working the catwalk. She was amazing when it was the 11th Hour and a campaign was due. Together, we never missed a deadline. She gave all of the credit to her Creative Director Kit that sat on her rickety bookshelf that sat opposite her drafting desk.

What was in that Creative Director Kit, you ask?

The kit was a curated collection of childhood memories: bobbleheads, vintage cameras, Charlie Brown lunch boxes, industry awards, Star Wars action figures, a View-Master in its original packaging, and Pez dispensers. While other non-creative departments often gossiped about how the kit was an overreach, i.e., a middle finger to the non-creatives, inside the department, we used it as the springboard to the Mendoza Line of the minimums of greatness.

Over the years, I’ve noticed that the greatest advertising creatives I worked with give their Creative Director Kits deep thoughts and carefully ensure that additions and subtractions to these shelves aren’t taken for granted. While their desks are disorderly messes, their muse art grease the wheels of capitalism and advertising art. I chronicled my kit a while ago here.

In Martha’s case, on the right partly hidden by her three Clio Awards and wilted bamboo leaves were a few classic print ads—some hers and some clipped from the pages of Life Magazine or Sports Illustrated. One ad that always caught my eye was powerful image of a man with an eye patch that rested upon five chunky paragraphs of copy: “The man in the Hathaway shirt.”

This legendary ad, conceived by David Ogilvy in 1951, is arguably one of the most inspiring pieces of advertising copy ever conceived and the pre-curser to non-sequitur campaigns such as Dos Equis “The Most Interesting Man in the World” and all of the Geico mascot ads. On eBay, there are dozens of framed reprints for auction with sales reported as “brisk.” The origins of the ad are a lesson in serendipity mixed with thinking outside of the box.

The man behind the Hathaway Shirt: Ellerton Jette

Ogilvy was on the way to his Hathaway shirt photo shoot when he stopped at a Manhattan drugstore and was struck by the jar of 50-cent black eyepatches. He bought a few and became a trailblazer for a brand new style of rogue advertising. Ogilvy was under a tight $30,000 national advertising budget set forth by Maine-based CF Hathaway, a new client who had never advertised before. He knew something out of the ordinary was called for but never expected that the eye patch would become part of advertising lore. He suggested to his photographer, “Just shoot a couple of these to humor me. Then, I’ll go away and you can do the serious job.”

The eye patch became the talking point, the buzz of the fashion industry. Without it, the Hathaway campaign was simply another shirt ad with a fit, well-dressed man in an upscale tailor shop. With the eye patch, the ads had a hidden story that made the reader wonder what really happened to this man. Where was he? What did he get into? It appealed to both women and men. The perfect ad.

The first media placement was in the New Yorker, clocking in at over 10 per cent of the total ad budget ($3,176, or the equivalent of $31,288 today). The impact was immediate. Seven days later, every Hathaway shirt in the city was sold out just seven days after the ad appeared.

“The man in the Hathaway shirt” is a master course in copywriting. It’s an ad for a short but created a myth and a legend in one fell swoop without ever deviating that the shirt is the primary reason that three thousand dollars was being dropped on a single magazine ad that reached approximately 350,000 people in 1951. Even more startling is that this 247-word advertising manuscript is almost impossible to put down. Try finding an ad now this long in our short-attention-span world. Even today, the copy flows like a novel would, conjuring instant pictures of the finest that a shirt company could offer:

The man in the Hathaway shirt

At long last American men are begging to realize that it is ridiculous to buy good suits and then spoil the whole effect by wearing a cheap, mass-produces shirt. Hence the growing popularity of Hathaway shirts, which are in a class by themselves.

Hathaway shirts wear infinitely longer — a matter of years. They make you look younger and more distinguished, because of the subtle way Hathaway cut collars. The whole shirt is tailored more generously and therefore more comfortable. The tails are longer, and stay in your trousers. The buttons are made of mother of pearl. Even the stitching has an ante-bellum elegance about it.

Above all, Hathaway make their shirts of very remarkable fabrics, collected from the four corners of the earth—Viyella and Aertex from England, woolen taffeta from Scotland, Sea Island cotton from the West Indies, hand-woven madras from India, broadcloth from Manchester, linen batiste from Paris, hand-blocked silks from England, exclusive cottons from the best weavers in America. You will get a great deal of quiet satisfaction out of wearing shirts which are in such impeccable taste.

Hathaway shirts are made by a smaller company of dedicated craftsmen in the little town of Waterville, Maine. They have been at it, man and boy, for one hundred fifteen years.At better stores everywhere, or write C. F. Hathaway, Waterville, Maine, for the name of your nearest store. In New York, telephone MU 9-4157. Prices from $5.50 to $25.00.

Ogilvy on the campaign: “For some reason I’ve never known, it made Hathaway instantly famous. Perhaps, more to the point, it made me instantly famous.” It also made the eye patch famous.

The patch started popping up in other company’s ads featuring eye patches on cows, babies, and dogs. Ellerton Jette, Hathaway’s president, was laughing all the way to the bank having being the genius of deferral, allowing Ogilvy to dream up a campaign unencumbered, promising never to change a word of his copy or fire the agency.

Over the years, I’ve convinced colleagues to take a deeper dive in the Creative Director Kit found in every creative’s office because ads like Hathaway truly puts things in perspective. As the old golf saying goes, you “drive for show and putt for dough. And while it is true that the big drive off the tee brings the oooooooooooo’s and aaaaahhhhhh’s, the short game is the hard work just like the Big Idea is the hard work and when you land it, it makes you indispensable.

So yes, “The man in the Hathaway shirt” sets a very high creative bar. If you find the ad sitting in the in a creative director’s office, rest assured this is someone who aspires to greatness. Someone who realizes their duty is much more than their desk or their paycheck. Someone like Martha. A nod to the diligence and creative energy of yesteryear.

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Okay, so where am I?

Most of my regular readers know I am always on the search for that Big Idea. It’s something I learned the importance of from a, intimate David Ogilvy talkback I scored tickets through a viscous corporate ladder climber I was dating at the time. Research and writing were the keys back then. Still are if you wan to know the truth. Today I am humbled by the announcement of my 12th and 13th lifetime Telly Awards. These are the super elite Gold Awards. I am honored to have such a great team around me to make this possible and elated those long hours looking for the “Big Idea” continue to pay off.

Here’s the official Gold Award Winners Reel:

Reveling in these awards, sent me down a rabbit hole remembering one of my first big award, a local Emmy Award for an infomercial of sorts for my work with the legendary Pat Summerall on a United Airlines partnership I dreamed up when I was back at Leslie’s Swimming Pool Supplies (laugh all you want about Leslie’s and their name, but they had almost 500 stores across the States and they were a monster). Surely I wish I had a copy of this spot, but like many things pre-digital age, it’s lost in the ether. My informercial was entirely different that the hallmarks of the informercial that aired late night before cable hit its stride.

Infomercials gained steam in the 1980s as a popular advertising medium after getting its start as a long-form 1940s Vitamix blender commercial. In the 1970s, the advertising format skyrocketed in San Diego (stay classy!) with a one-hour show running Sunday television. In 1982, the infomercials us older crown know and love aired, specifically for hair growth and restoration treatments. Then in 1984, the FCC regulations imposing time limits on advertising were lifted and they really soared. Couple that with the boon in self-help products and home cooking aids and it was game on.

Here’s a rundown of my top infomericals:

Suzanne Somers
“ThighMaster”

Suzanne Somers was the mostly dimwitted blonde on “Three’s Company.” We didn’t hear much from her after a holdout cost her the sweet gig on the popular sitcom and then all of the sudden she was back holding down court on late-night squeezing the odd-shaped ThighMaster between your legs. Women couldn’t get enough (they sold 1o million units) and adolescent boys were glued to their television screens.

The Clapper
“Clap On, Clap Off”

Before smartphones and the real Internet, The Clapper introduced millions to the concept of home automation which begs the question: would Alexa exist without it?

Life Call
“I’ve Fallen and I Can’t Get Up!”

Back in the day, I was in the room and help conceptualize the iconic “I’ve Fallen and I Can’t Get Up!” commercial spot for Life Call. Yes we were laughed at. Yes, they wanted to fire us. Yes, they sold millions of units. Yes, they still run the same concepts today. No, I didn’t get any royalties. Bugger!

Hair Club for Men
“I’m not only the Hair Club president, I’m also a client.”

Sy Sperling used the signature catch phrase, “I’m not only the Hair Club president, I’m also a client,” to sign off his Hair Club for Men infomercials. He was on television so much that I’m sure many college fraternities used his spots for drinking games. After an endorsement from Ron Blomberg of the New York Yankees his hair club was greeted with “instant success” raking in $100 million annual in its peak years.

The “Gazelle” with Tony Little

The ponytailed Little with the hugh thighs called himself “America’s Personal Trainer.” Actually he’s probably the “World’s Personal Trainer” as his infomercials have aired in 81 different countries, selling almost 50 million fitness-related products. This 48-minute informercial ran almost nightly at one point:

RONCO

Ron Pompeil was the man. Nothing was out of his seller’s hands: pasta machines, pocket fishing poles, smokeless ashtrays, pray-on hair, food dehydrators, BBQ machines, devices that scrambled eggs inside their shells. You name it, he sold it. Here’s a sweet thirty minute spot for his Showtime BBQ and Rotisserie:

“OxiClean” with Billy Mays

When the loud, bearded Billy Mays hit your screen hawking hawking the mysterious powdered substance OxiClean, you listened. I mean how can he get red wine out of anything when you cannot? And the ad copy? It’s amazing!:

Watch the wonders of Oxiclean:

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I’m checking email and low and behold, hard work pays off sometimes. I just received notification that I am officially a 10-time Telly Award winner.

Always nice to be honored amongst the best in TV and cable, digital and streaming, and non-broadcast productions. In the old days I’d celebrate all week with some of ther other winners I know. Now? I’ll toast to the achievement tonight and get back to the business of looking for the next big idea.

Speaking of the next “big idea,” that idea was spawned by the genius of David Ogilvy. His formula seemed simple:

Big Ideas = Fame and Fortune

In his book OGILVY ON ADVERTISING, he shared a checklist to help decipher if an idea cqualified as a big idea:

• Did it make me gasp when I first saw it?
• Do I wish I had thought of it myself?
• Is it unique?
• Does it fit the strategy to perfection?
• Could it be used for 30 years?

Ultimately, I’ve only have a few ideas that qualified by those standards. Motivation indeed!

Winning awards gives you pause to reflect on big ideas. One of the things I pull out in times of reflection is the “Scratching the Back of the Hand that Feeds You” memo authored by advertising icon Leo Burnett in December of 1958.

When Burnett — a hugely influential force in the industry who had a hand in creating Tony the Tiger, the Jolly Green Giant, and the Marlboro Man — heard that his admen were driving Fords instead of Chryslers and, goodness gracious, eating Wheaties over Kellogg’s Frosted Flakes, he decided to give his staff a piece of his mind.

The three-page memo circulate through his agency reminding his staff of their unwritten duty to at least try the very products they helped to advertise to the nation; the sales of which funded their salaries. The sentiment of the green-papered memo (sorry, all I have is a black and white copy) of “believ[ing] in the products we advertise,” is juxtaposed with Burnett’s condemnation of the employees who eat competitors’ cereals (“I hope he chokes”), makes the memo a must-read. [See transcript after the visuals of the actual memo below.]

A couple of my Telly beauties…part of the big idea philosophy.

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#5. “Never write more than two pages on any subject.”

Many days it seems, I am asked how to be a good writer. To be sure, I don’t know why people come to me. Humbly I say, you either love my writing or you hate it (but geez, I hope more love it than hate it). Anyway, who knows? I’ve made a living for nearly thirty years putting word to paper or film or audio so I guess I did something right.


How did I learn? 


It surely wasn’t from Norman Mailer’s school of hard knocks where the motto was “Writer’s block is only a failure of the ego.”* (However, maybe it was.) I should definitely give a nod and a tip of the cap to David Ogilvy.

Wait! You don’t know who Ogilvy is? The original Mad Man? The man whom in 1962 was called “the most sought-after wizard in today’s advertising industry” by Time Magazine? The man who seemed to invent unorthodox imagination in advertising? If you don’t know Ogilvy, you need to. Today.

I remember attending an intimate evening with Ogilvy where I sneaked a plus one from a viscous corporate ladder climber I was dating at the time. Ogilvy’s words still echo in my vacuous mind. He could still bring the heat late in his life. He spoke uninterrupted for 53 minutes. Even to this day, his philosophies and methodology are timeless:

The better you write, the higher you go.
Woolly minded people write woolly memos, woolly letters and woolly speeches.
Good writing is not a natural gift. You have to learn to write well. 

I remember reading a memo that he sent around in the early eighties to his peeps. The memo — it was it a mission statement? — was simply titled How to Write.** with these pearls of wisdom:

1. Read the Roman-Raphaelson book on writing. Read it three times.
2. Write the way you talk. Naturally.
3. Use short words, short sentences and short paragraphs.
4. Never use jargon words like reconceptualize, demassification, attitudinally, judgmentally. They are hallmarks of a pretentious ass.
5. Never write more than two pages on any subject.
6. Check your quotations.
7. Never send a letter or a memo on the day you write it. Read it aloud the next morning — and then edit it.
8. If it is something important, get a colleague to improve it.
9. Before you send your letter or your memo, make sure it is crystal clear what you want the recipient to do.
10. If you want ACTION, don’t write. Go and tell the guy what you want.

You know who could have used a better copywriter? Folger’s Coffee in the 1960’s. Take a peek at this ad (Women…you’ve come a long way. Keep it rolling.)

(*) You don’t know who Norman Mailer is? Norman Mailer? The author of 40 books and the chronicler of the American Century? Oh my. Well, start here.


(**) You can find more of Ogilvy’s timeless advice in the 1986 book (you remember those things, right?) The Unpublished David Ogilvy. I found a copy on Amazon, right next to this classic:

Only a few hundred thousand left unsold.

What does the book jacket say?: A book of photographs of the royal family with humorous captions. Ogilvy said it best. Less is more.

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