Legendary Advertisement: The Penalty of Leadership

In 1915 Copywriter Theodore F. MacManus was faced with how to improve the situation for Cadillac. They were the market leader, perceived best manufacturer of cars, but the latest model, the very first V-8 engine, was skittish and buggy. This was MacManus’ answer. He dictated the ad to his secretary whilst pacing the room.

It became one of the greatest and most influential advertisements of all time.

As to his inspiration for this, MacManus said:

“The real suggestion to convey is that the man manufacturing the product is an honest man, and that the product is an honest product, to be preferred above all others.”

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The text in full:

In every field of human endeavor, he that is first must perpetually live in the white light of publicity.

Whether the leadership be vested in a man or in a manufactured product, emulation and envy are ever at work.

In art, in literature, in music, in industry, the reward and the punishment are always the same.

The reward is widespread recognition; the punishment, fierce denial and detraction.

When a man’s work becomes a standard for the whole world, it also becomes a target for the shafts of the envious few.

If his work be mediocre, he will be left severely alone – if he achieves a masterpiece, it will set a million tongues a -wagging

Jealousy does not protrude its forked tongue at the artist who produces a commonplace painting

Whatsoever you write, or paint, or play, or sing, or build, no one will strive to surpass or to slander you unless your work be stamped with the seal of genius

Long, long after a great work or a good work has been done, those who are disappointed or envious, continue to cry out that it cannot be done.

Spiteful little voices in the domain of art were raised against our own Whistler as a mountback, long after the big would had acclaimed him its greatest artistic genius.

Multitudes flocked to Bayreuth to worship at the musical shrine of Wagner, while the little group of those whom he had dethroned and displaced argued angrily that he was no musician at all.

The little world continued to protest that Fulton could never build a steamboat, while the big world flocked to the river banks to see his boat steam by.

The leader is assailed because he is a leader, and the effort to equal him is merely added proof of that leadership.

Failing to equal or to excel, the follower seeks to depreciate and to destroy – but only confirms once more the superiority of that which he strives to supplant.

There is nothing new in this.

It is as old as the world and as old as human passions – envy, fear, greed, ambition, and the desire to surpass.

And it all avails nothing.

If the leader truly leads, he remains – the leader.

Master-poet, master-painter, master-workman, each in his turn is assailed, and each holds his laurels through the ages.

That which is good or great makes itself known, no matter how loud the clamor of denial.

That which deserves to live—lives.”

Sol Lewitt on BAD Work, the Worst

“Try and tickle something inside you, your “weird humor.” You belong in the most secret part of you. Don’t worry about cool, make your own uncool. Make your own, your own world… You must practice being stupid, dumb, unthinking, empty. Then you will be able to DO…

Try to do some BAD work—the worst you can think of and see what happens but mainly relax and let everything go to hell—you are not responsible for the world—you are only responsible for your work—so DO IT.”

Sol Lewitt, 1965

Jerry Colonna on Up & to the Left

“When I catch myself wishing for more than incremental progress that’s directionally correct, I remind myself of the companionship I’ve discovered in this murky, mucky place, down and to the left. I belong to this place, for this is the place where, as David Whyte writes, ‘I ask my friends to come, this is where I want to love all the things it has taken me so long to learn to love.’ Me and my broken-hearted friends, we belong here.

Jerry Colonna


An excellent, short post from a man who’s walked the big entrepreneurial paths before and keeps coming back in to the the center of things.

Bill Bernbach on Technique, Substance & What Makes Advertising Great

5/15/47

Dear ______________ :

Our agency is getting big. That’s something to be happy about. But it’s something to worry about, too, and I don’t mind telling you I’m damned worried. I’m worried that we’re going to fall into the trap of bigness, that we’re going to worship techniques instead of substance, that we’re going to follow history instead of making it, that we’re going to be drowned by superficialities instead of buoyed up by solid fundamentals. I’m worried lest hardening of the creative arteries begin to set in.

There are a lot of great technicians in advertising. And unfortunately they talk the best game. They know all the rules. They can tell you that people in an ad will get you greater readership. They can tell you that a sentence should be this short or that long. They can tell you that body copy should be broken up for easier reading. They can give you fact after fact after fact. They are the scientists of advertising. But there’s one little rub. Advertising is fundamentally persuasion and persuasion happens to be not a science, but an art.

It’s that creative spark that I’m so jealous of for our agency and that I am so desperately fearful of losing. I don’t want academicians. I don’t want scientists. I don’t want people who do the right things. I want people who do inspiring things.

In the past year I must have interviewed about 80 people – writers and artists. Many of them were from the so-called giants of the agency field. It was appalling to see how few of these people were genuinely creative. Sure, they had advertising know-how. Yes, they were up on advertising technique.

But look beneath the technique and what did you find? A sameness, a mental weariness, a mediocrity of ideas. But they could defend every ad on the basis that it obeyed the rules of advertising. It was like worshiping a ritual instead of the God.

All this is not to say that technique is unimportant. Superior technical skill will make a good ad better. But the danger is a preoccupation with technical skill or the mistaking of technical skill for creative ability. The danger lies in the temptation to buy routinized men who have a formula for advertising. The danger lies In the natural tendency to go after tried-and-true talent that will not make us stand out in competition but rather make us look like all the others.

If we are to advance we must emerge as a distinctive personality. We must develop our own philosophy and not have the advertising philosophy of others imposed on us.

Let us blaze new trails. Let us prove to the world that good taste, good art, and good writing can be good selling.

Respectfully,
Bill Bernbach


I just… i mean… it’s all so… perfect. This is perfect.

Bernbach is already top of mind for me as I look for people in creative business that I can learn from…

In this note (found here) is a depth of vision showing more than just creative spark.

More than maverick, “fuck it!” creativity. (His work was so good it makes me want to reduce him to this kind of intense, unsafe fire.)

As I build my own company, as we go through the stages of boom, excitement, feedback, plateau, opportunity, reaching, spinning up, scaling, etc., how could I possibly keep this top of mind enough?

I can’t even think of a favorite piece of this quote.

A New Style of Copywriting, mid-1900s

“The new style was called ‘impressionistic copy,’ or ‘atmospheric advertising.’ It made its pitch obliquely, by suggestion or association. It featured opulent art and striking layouts, striving for an impression of effortless high quality and class. The new style valued dignified, elegant writing as a compliment to its high visual tone. Finally, instead of the shady patent-medicine, mail-order associations of [Reason-Why Copywriting], the new style conveyed an impression of honesty and clean ethics.’

Stephen Fox on Advertising in mid-1900s