Page 1

volume 1, issue 1 fall 2010

Wonder Boy

The Amazing Advertising Adventures of Three Generations of AdMen

The Beauty of Ellen



America’s Favorite Funny Girl Becomes a Cover Girl

Human Trafficking

Fighting One of New York City’s Fastest-Growing Crimes

The Blizzard of 2010

A Frozen American Icon Turns 25

New Flatiron Resident Debuts Its Landmark Space

plus: E*TRADE Baby, NFL, Pantene Reality Hair Star



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gravy / Contents


Business & Finance

Effective 42 Famously Since 1917 Nine decades (and counting) of marketing milestones.

47 E*TRADE’s New Baby

The new spokesperson for this innovative financial services company has some pretty small shoes to fill.





Cannes, Saw, Conquered
















Opening DOUALA Night

28 Mean Streets

Famously 30 AEffective Global Network


A new study from Grey Asia Pacific provides insights into shopping mindsets and behavior across the region, plus Cannes winners from Costa Rica and London.

A New York City copywriter imports a big idea from Aarhus. SYDNEY







53 The Beauty of Ellen How Ellen DeGeneres became CoverGirl’s newest cover girl.

hat We Can Learn Brand 34 W from 18 People 59 Pantene: Building in Real Sitting in a Room in Denmark

Commuting to work on two wheels is not for the faint of heart or weak of leg. RIO DE JANEIRO Tales of the pain (and pleasures) of city SÃO PAULO cycling.




The amazing advertising adventures of three generations of admen, all of whom are named Jim Heekin.


Not who, what: TED is a global community of thinkers and doers committed to changing the world. For the better, of course. One New York advertising agency is committed to helping them.


23 Wonder Boy

50 Who Is TED?



Grey Group throws a housewarming party in its new headquarters. (For more on the renovated landmark building, see page 76.)


Grey Chief Creative Officer Tor Myhren on the lo-fi, high-tech revolution that is changing the world of advertising as he (and everybody else) knows it.



Cheap and 48 Fast, Out of Control






Putting Human Trafficking in Plain View

STOCKHOLM TALLIN GOTHENBURG MOSCOW LONDON VILNIUS RIGA COPENHAGEN More than 8,000 advertising and communicaDUBLIN FRANKFURT WARSAW tions professionals plusAARHUS Yoko Ono gathered One of New York City’s fastest-growing AMSTERDAM DUSSELDORF at the beach, and the best of them picked BELGRADE crimes is one of the hardest to spot. A new BERLIN PRAGUE up prizes LUXEMBOURG at the advertising industry’s most ZAGREBKIEV campaign sheds light on the ever-increasing BRUSSELS BUDAPEST prestigious awards festival. ATHENS problem. PARIS BUCHAREST SOFIA LJUBLJANA MADRID TIRANA MILAN BEIJING BARCELONA ISTANBUL SARAJEVO LISBON People & Society



The world’s leading hair care brand gets into reality show business with the world’s first live beauty commercial.


Story Beyond 62 The the Still

The story behind “The Story Beyond the Still” blockbuster digital campaign.


Don Julio ix It Up: A building 102 76 Mfrom Reinvents the Shot the past defines the future

A look into Grey Group’s new global headquarters, as a landmark building in New York’s Flatiron district gets a modern makeover.

Six new recipes from the world’s leading bartenders, courtesy of Diageo.

Blizzard 104 The of 2010

DQ launches the Blizzard Mobile and a new campaign to celebrate its 25th birthday, and even Warren Buffett gets in on the fun.


68 Moment of Truth

How zebras, wildebeests and sharks inspired the portrayal of Bears, Rams and Dolphins in a new campaign for America’s biggest sport.

Architecture & Design

Gizmos 70 Gadgets, and Geeks

Grey’s geek in residence files a report from WPP’s Gadgethon 2010.

95 Agency Flair

Do art directors in Hong Kong dress like account managers in Colombia? What about planning directors and what about Zagreb? What they’re wearing around Grey’s Famously Effective (and fashionable) global network.


Out? 108 Selling Try Selling In

The decline in the recording industry has been a boon for marketers. Noted musical Adman Josh Rabinowitz gives a decade’sworth of top brand /music matches.

112 Horoscopes

What the stars have in store this month.

Fall Fashion

What you’ll be wearing this season, according to T.J. Maxx.


grey new york Leadership

Chief Strategy Officer Pele Cortizo-Burgess Chief Financial Officer Chris Esposito Chief Digital Officer Josh Golden Global Chief Marketing Officer Michael Houston Chief Account Management Officer Maureen Maldari Chief Creative Officer Tor Myhren Chief Talent Officer Natalia Schultz Grey Group

Chairman and CEO, Grey Group Jim Heekin Vice Chairman and Chief Creative Officer Tim Mellors Chief Communications Officer Owen Dougherty Chief Legal and Administrative Officer John Grudzina Global Strategy Director Suresh Nair Chief Financial Officer Bob Oates Global Leadership

Chairman and CEO, Asia Pacific Nirvik Singh President and CEO, Europe, Middle East and Africa David Patton Chairman, Grey Latin America Riccardo Ferraris Top Global Clients

3M • allianz • bat • Bayer • Boehringer Ingleheim • Coca-Cola • deutsche bank • Diageo • eli lilly • ferrero • GSK • hasbro heineken • Hong Kong Tourism Bureau • ing • mitsubishi • nestlÉ • Novartis • Playtex • Pfizer • Procter & Gamble roche • sony • Volkswagen Grey New York Clients

3M (1995) Command Hooks and Picture Hanging Strips, Filtrete Filtration Products, Scotch Tape Products, Nexcare Bandages, Nutri-Dog Dog Chews, Scotch Fur Fighter, Post-it Products, Scotch-Brite Products • Allergan (1998) Botox Cosmetic, Juvéderm, Latisse • Allianz (2009) • American Egg Board (1993) • America’s Natural Gas Alliance (2009) • Bausch + lomb (2010) Alaway, Besivance, Ocuvite, PreserVision, Soothe • BMW (2008) • Boehringer Ingleheim (2005) • Bosch (2009) Purolator oil, air, transmission, fuel and cabin air filters • Canon U.S.A. Inc. (1976) • CB Richard Ellis (2010) • Darden Restaurants, Inc. (1986) The Olive Garden, LongHorn Steakhouse, Red Lobster • Diageo (1994) Captain Morgan brands, Crown Royal brands, Ketel One Vodka, Tequila Don Julio • DirecTV (2009) • E*TRADE (2007) Eli Lilly (2000) Cialis, Evista, Forteo, Gemzar, Humalog, Strattera • Frontier Airlines (2002) • GlaxoSmithKline (1955) Abreva, Aquafresh Toothpaste, Aquafresh Flex Toothbrushes, Breathe Right, Biotene, Citrucel, FiberChoice, Polident, Poligrip, ProNamel, Sensodyne, Tums • Green Earth Technologies (2008) • Hess Corp. (1985) Hess Express Convenience Stores and Hess Toy Truck Promotion • Hostess Brands (2008) Home Pride, Nature’s Pride, Merita, Wonder Bread • International Dairy Queen (1997) • J.M. Smucker Company (2002) Crisco, Jif, Martha White Baking Products, Pillsbury Cake Mixes and Frostings, Smucker’s Ice Cream Toppings, Smucker’s Jams, Jellies and Preserves (including Sugar Free Products), Smucker’s Uncrustables, Laura Scudder’s peanut butter, Adams peanut butter • Mayflower/United Van Lines (2009) NFL (2009) • Ortega (2010) • Penguin Group U.S.A. (2008) • Pfizer Consumer Healthcare (1995) Advil Cold and Sinus, Alavert, Dimetapp, Preparation H, Robitussin • Playtex Products, Inc. (1968) Infant care products, feminine care products, Hawaiian Tropic, Banana Boat, Wet Ones, gloves • Procter & Gamble (1956) Clairol, CoverGirl, Downy, Febreze, Hugo Fragrances, Pantene, Pringles • Sargento (2009) • Steelcase (2010) • Terlato Wines (2007) Rutherford Hill, Santa Margherita T.J. Maxx (2009) • TruTV (2009) • Tuna Council (2010) • UPMC (2010) INTERNATIONAL NETWORK

Asia Pacific Australia, Bangladesh, China, Hong Kong, India, Indonesia, Japan, Malaysia, New Zealand, Pakistan, Philippines, Singapore, Sri Lanka, South Korea, Taiwan, Thailand, Vietnam Europe, Middle East and Africa Albania, Belarus, Belgium, Benin, Bosnia & Herzogovina, Botswana, Bulgaria, Cameroon, Croatia, Cyprus, Czech Republic, DR Congo, Denmark, Egypt, Estonia, Finland, France, Germany, Ghana, Greece, Hungary, Iceland, Israel, Italy, Jordan, Kazakhstan, Kenya, Kuwait, Latvia, Lebanon, Lithuania, Luxembourg, Macedonia, Mauritius, Morocco, Netherlands, Nigeria, Norway, Poland, Portugal, Qatar, Romania, Russia, Saudi Arabia, Senegal, Serbia & Montenegro, Slovenia, South Africa, Spain, Sweden, Turkey, Ukraine, United Arab Emirates, United Kingdom, Zimbabwe Latin America Argentina, Brazil, Chile, Colombia, Costa Rica, Dominican Republic, Ecuador, El Salvador, Guatemala, Honduras, Mexico, Nicaragua, Panama, Peru, Puerto Rico, Trinidad & Tobago, Uruguay, Venezuela North America Canada, United States Partner Companies

Entertainment Marketing Alliance Public Relations Cohn & Wolfe Activation Marketing G2 Media Buying and Planning GroupM Hispanic Marketing Wing History, Ownership and Size

Founded in 1917. Acquired by Ireland-based WPP, a world leader in marketing communications, in 2005. Overall global billings: > $8 billion, as reported by trade publications Employees globally: >9,000 Employees, New York office: >650 200 Fifth Avenue New York, New York 10010 + 1 212 546 2000 Contact: Global Chief Marketing Officer Michael Houston +1 212 546 2150


gravy / Letter from the Editor

Why is it that so many of my fellow ad cowboys project such nostalgia around the photo on the following spread? None of us worked in the business when the picture was taken, the majority of us yet to be conceived. But thanks to Darrin Stephens, Larry Tate and the madmen of Sterling Cooper Draper Pryce, we feel as if we were there. The guys in the photo have no doubt just come back from a three-martini lunch. Their ashtrays will soon be filled, brilliant world-changing ideas sprouting with every puff. Oh, and never mind the greyhound in the middle of the table — what’s the big deal? It’s the heavily bejeweled Tiffany collar that has real talk value. This is perhaps the most fabulous photo ever taken inside the walls of advertising. But looking longingly at this boardroom scenario and comparing it to our own meetings today raises the question: Is advertising as majestic today as it was back then? Have we lost the style, glamour and grandeur? Worse yet, is it possible that we as an industry have collectively jumped the shark? On the surface, it doesn’t appear that “The Business” is as awesome as it was during the Mad Men heyday, and naturally many blame the economy. But the economy is less than deserving of its scapegoat status. Just because things get financially tough doesn’t provide a plausible excuse for sucking. It’s called a challenge, kids. And those who are prepared and willing to adapt rise to it. For the entrepreneurial type, challenges are a welcome excuse for innovation and, I’m proud to say, at Grey there are many flavors of it alive and well. Day in and day out I see our teams coming up with fresh ways to employ creativity in its broadest sense to meet our clients’ business challenges. This magazine is a celebration of all things Famously Effective, work from across the globe and glimpses into the people who create it. Interestingly, I believe diversity of thought is what tends to stoke our creative fire best. And diversity of thought can only come from a diverse team, a prime example of which is our New York Operations Team whose diversity borders on absurd but serves nicely as the intro to a really bad joke: Three Catholics, an Eastern Orthodox, a Methodist, a Jew, a Hindu, an agnostic and an atheist walk into a boardroom. But the joke doesn’t stop there. If all that big-time, super-important EOE language prohibits discrimination based on race, color, national origin, religion, sex, sexual orientation and age, we’ve got our bases fully covered. Race? Check: White, African American, Asian and Pacific Islander. Color? Check, although I don’t really know how to begin classifying us by color: naturally tan, fake tan, needs a tan? National origin? Check: United States, Ukraine, India, Samoa. Gender? Check: male, female and potentially others. Sexual orientation? Check: straight, gay, ambiguous. Age? Check: 30s to 60s. We could easily serve as the poster children for corporate diversity. The nine of us meet every Thursday in the CEO’s boardroom to discuss the general affairs of the agency. And while three-martini lunches may indeed be a thing of the past, as our cover story, “Opening Night,” shows, after work is another story; our housewarming party in Grey’s awe-inspiring new space proves that today is every bit as glamorous and lush as advertising’s supposed heyday. Despite our spirited boardroom debates and diverse points of view, it’s not the things that could potentially divide us that remain important. Rather, it is our unified passion for this business, our collective desire to create Famously Effective work that binds us together. And hell, we’re a small fraction of the 600 people in New York and 10,000 people around the world who view advertising as a religion and count Grey as their professional house of worship. Innovation. Determination. Passion. Creativity. Diversity of thought. Famously Effective. Some might call these our raisons d’être, our x-factors or even the gospels according to Grey. We’ll just call them gravy. Michael Houston Global Chief Marketing Officer



PLEASE DRINK RESPONSIBLY. KETEL ONE Vodka. Distilled from Wheat. 40% Alc./Vol. ©2010 Imported by Ketel One USA, Aliso Viejo, CA.


Grey Advertising Dennis Stock, 1959


In 1956 I participated in an unusual adventure: a joint solicitation with another agency. [Grey Co-Founder Arthur] Fatt and I flew to San Francisco, where the Greyhound people were holding a convention. As soon as we checked into our hotel, he showed me his presentation. His research department had penetrated the heart of the problem, and his copywriters had developed a slogan which hit the nail on the head [Go Greyhound, and Leave the Driving to Us] ... Forthwith I called the Greyhound advertising manager on the house phone and invited him to join me in Fatt’s room. “Arthur Fatt has just shown me his half of our joint presentation. It is the best I have ever seen. I advise you to give your whole account to Grey. To make your decision easier, I am now returning to New York.” I then left the room and Grey was appointed. —David Ogilvy, Confessions of an Advertising Man


gravy / Upfront

Cannes, Saw, Conquered The Cannes Lions International Advertising Festival is the world’s biggest celebration of creativity in communications, and the only truly global meeting place for advertisers, advertising and communication professionals. More than 8,000 delegates from 90 countries attend seven days of workshops, exhibitions, screenings, master classes and seminars. With virtually everybody who’s anybody in the world of brand communications gathered in one place, it would behoove an agency to make as big a splash as it can. Which is exactly what Grey did in 2010, with some big wins, the most tweeted-about event of the week and a couple of young lions who celebrated and were celebrated in style.

Leone di Cannes

The first International Advertising Festival took place in Venice, Italy, in 1954, the brainchild of Screen Advertising World Association members who felt their work deserved as much attention as that recognized at the Cannes International Film Festival. After a brief stop in Monte Carlo, the Festival was held in Venice and Cannes on alternating years, with the latter named the permanent venue in 1984. But the Festival’s Venetian heritage lives on in its namesake trophy; it was inspired by the lion at St. Mark’s Square.

Grey’s global network won a total of 20 Lions, including the agency’s first Titanium, for Canon “Beyond the Still.” All regions were represented in award-winning work for a diverse group of clients, including Procter & Gamble, Playboy magazine and the Catholic Church. Grey’s 2010 Cannes Winners:

Gold Lion Media

Canon (New York)


Commercial Arge (Pilot Pen) (Barcelona)

silver Lion Outdoor Conservation

International (Jakarta) Outdoor

Film Craft Tierschutzbund (Dusseldorf) Outdoor Lotus Charity (Hong Kong) Direct GGRP (Vancouver)

Findus (Paris)

Direct Grupo Q (Playboy), II (Buenos Aires)

Outdoor P&G Downy (Kuala Lumpur)

Outdoor Tzabar Travel (Tel Aviv)

Outdoor Editora Abril (Brazil)

Outdoor radio tango (Oslo)

Direct Grupo Q (Playboy) (Buenos Aires) PR Catholic Church (Costa Rica) Promo

Canon (New York)

Cyber Commercial Arge (Pilot Pen) (Barcelona)


bronze Lion Direct Grupo Q (Playboy), I (Buenos Aires)


Toshiba (London)

TV NFL (New York) Titanium

Canon (New York)

As part of Grey’s fourth annual Music Seminar with Living Legends (previous legends: Tony Bennett, Stevie Van Zandt, Donovan and John Legend), Yoko Ono, the world-famous multimedia artist known for her groundbreaking conceptual and performance pieces, sat (and stood, lay on the floor, did gymnastics, danced and took off her shoes) for an interview with Grey Creative Director Tim Mellors (whose shoes Yoko also removed, along with his pants). Mellors was only slightly flustered, and quickly felt comfortable enough to ask her about her famously unusual vocal stylings. Yoko responded with a remembrance of the shock she felt when as a little girl she overheard women talking about how intense—and loud—giving birth can be. “[Women] have the power to scream and Grey’s Tim Mellors sits with Yoko Ono. See the full interview on YouTube. shout in a very strong way, but it’s censored because men do not like that,” she said. “We appease the men. So I wanted to show what women were made of.” Then the tiny, pixieish Yoko let loose with a classic Yoko wailing roar that showed the audience not only what women are made of but why one woman in particular has remained an inspirational counterculture icon.

Global contest winners Garret Dafferner and Salina Cole

For its second annual Global issue, leading trade publication Advertising Age sponsored a cover contest for the industry’s young (under 30) creative community, designed to show that great ideas can come from everywhere. Of the 220 ideas that were submitted, the greatest of the great came from Grey. New York’s Salina Cole and Garret Dafferner’s cover, “Gears,” symbolizes the idea that creativity makes the world turn. The duo won a trip to Cannes, where they got into the spirit of the Festival.


gravy / People & Society


Night Grey christens its new space, with vodka.

Skinny black tie was optional. So was clothing, at least for the tableau vivant models lounging on a couch watching TV in their underwear, getting up only to refill their glasses from the Ketel One vodka luge that kept the cocktails coming at the speed of sound, which for part of the party came from the roving Slavic Soul Party who bill themselves as “NYC’s #1 brass band for BalkanSoulGypsyFunk.” Of course they are. Musical entertainment also included John Forte, a former Fugee whose compelling performance was drowned out by people in a photo booth raucously determined to leave photographic evidence of inappropriate public displays of affection. It’s probably a good thing Grey moves only once every 45 years.



gravy / People & Society

shinyhappy people Give people heavy hors d’oeuvres, Ketel One-based cocktails and access to a camera, and they mug endlessly; they simply cannot help themselves. As these pictures prove, a good time was had by all, except possibly the two guys below.



art & commerce A Lady G. and G. Washington mash-up by U.S. artist Craig Gleason leads to a memorable intersection of the above. Gravy thanks Craig for allowing us to reprint his works of art with a simple, “Yeah sure go ahead.�




gravy / People & Society

How Little Jimmy Heekin Grew Up to Rule the World by Mary Ghiorsi what is going on in this photo? The boy seems happy — no, delirious — to be handed a sandwich by someone we can assume is his mother. The photo was obviously taken in the ‘50s; the fashions, haircut and décor scream “Cleaver,” as in “Beaver,” as in “Leave It To.” We can infer that the mother doesn’t work, is probably wearing a crisp shirtwaist dress to go with her dressy black watch and will shortly be donning her hat to go to the butcher’s for a roast to cook for dinner. The father is at work in an office in a mid-western city and may or may not wear

a coat and tie on weekends. But the boy — really, he’s way too excited about that sandwich. What’s going on? Jim Heekin, Grey Group Chairman and CEO, can explain exactly what’s going on because he is the boy, that is his mother and the photograph, though originally shot for a different purpose, could serve today as an illustration of some key themes in his life: ambition and competition, fathers and sons, advertising, serendipity and how yielding to your destiny can be the greatest thing since sliced bread.


gravy / People & Society

Jim today in his office at Grey

“That picture was taken in 1956,” Jim says, pointing to the framed photograph on the wall in his 4th-floor office at Grey Group headquarters. “We were living in Cincinnati, where my dad’s family was from. He came out of the Army and started an advertising agency called Peck and Heekin. Wonder Bread was one of his first clients, and this is from a print ad that they took in the kitchen of our house.”

Mather in New York to work on the Unilever account. So the family moved east. Jim’s father went on to become the president of Ogilvy, reporting directly to David Ogilvy, whom he idolized, to the point that the wallpaper and the floor pattern in the front hall of the family’s new home in Summit, New Jersey, was a copy of David’s

Competitiveness, pushing limits, teamwork and

“” being a straight shooter were things my father associated with his

success in advertising, and in life.

Jim doesn’t remember much about the experience beyond that for his father it was all in a day’s work, though Jim didn’t really have a clue as to what that work was. “I didn’t know or care much about advertising at that age,” he remembers, “No kid is thinking about work at six years old.” But Jim did pick up on certain things: “I noticed that my father absolutely loved what he did. He was devoted to it, and I mean just really passionately devoted. His advertising career was absolutely everything.” The year after the photo was taken, Jim’s father got offered a job at Ogilvy &



wallpaper and floor tiles in New York City. Jim had already fulfilled one of his father’s dreams just by being born. “He was obsessed with having his first child be a boy,” Jim says, “and he took an extraordinary interest in me. From an early age, he pushed me hard, more than he did the next siblings who came along.” Jim remembers when his father would stand on the sidelines during weekend football clinic. Two lines would face each other, and one would have to tackle the other. “He would count back in the line to see how big the kid was that I was going to have to go against, and if the kid was my size

or smaller, he would come into the line and move me so I was going to face a guy that was much bigger.” Later when Jim began to really understand what his father actually did for a living and how he approached business, he better understood why his father drilled certain things into him. “Competitiveness, challenging oneself, pushing limits, teamwork, being a straight shooter — they were all things that I think he associated with his success in advertising, and in life,” Jim says. Those qualities, once instilled, fit well with Jim’s natural athletic talent. Jim ended up captain of the football team in high school and the captain of the lacrosse team in college, going on to become an All-American lacrosse player and an All-New England football player. Those same qualities could also have prepared him for a career in advertising, but Jim had other ideas. “I adored my father. But at the same time, even with the closeness we had, the pushing resulted in a paradox. I was determined without a doubt not to follow in his footsteps.” And he didn’t, at least not right away. After graduating from Williams College (his father’s alma mater), Jim chose a dramatically different course and went into teaching. He liked teaching, but found himself wondering if he would be better off doing something else. After much soul searching, the 26-year-old English-Psych double-major who was a good communicator, a good writer and interested in why people did what they did, realized that despite his reservations, advertising was a perfect fit. But there was more to the career move than that: “I think on some level I wanted to compete with my father and show him that I could do it better than he could,” Jim says. That’s a hard thing to admit, honestly, and I wasn’t aware of it at the time.”

Characteristically, his father offered to help, but Jim conducted the job search on his own. He landed in the planning department at J. Walter Thompson. Everything he had observed and absorbed from his father’s lessons made him remarkably well prepared

counts. “I was brought in to fix all that,” says Jim, “but McCann is a tough place with an embedded culture, so it wasn’t an easy job.” It wasn’t long before Jim was leading the agency in winning pitches for MasterCard, Microsoft, Motorola and Marriott, all in the

I think on some level

I wanted to compete “” with my father and show him that I could do it better than he could. for the business, and he rarely found himself overwhelmed by any situation. “Even when I was a young guy starting out, I felt I knew how to deal with things,” says Jim. “The business felt incredibly natural.” Twelve years after landing his first job, he was made President of JWT’s New York office. “That was pretty young in those days, when advertising wasn’t quite as young a business as it is today,” says Jim. He insists he wasn’t smarter than anyone else (“that’s for damn sure”). Rather, it was what he learned from his father — competitiveness, pushing limits, challenging both himself and people around him and the willingness to take on a big load — that led him to early and ongoing success. In 1992, McCannE r i c k son hired Jim to run its North America division, which at that time was struggling to win new business or even get asked to pitch the big, exciting ac-


same year. Adweek named McCann Agency of the Year three years in a row. Since JWT, all Jim’s leadership jobs have been at agencies in challenging situations. Following McCann, Jim headed up Euro RSCG Worldwide, where he is credited with spearheading the revitalization and growth of its global network that contributed to that agency being named Advertising Age’s Agency of the Year the year after Jim had left to join Grey, which was facing the biggest change in its history. Seventy-nine-year-old Ed Meyer, Grey’s demanding and highly successful CEO for 40 years, had just sold the agency to WPP and the agency was in need of new vision and new blood. Jim arrived in late 2005 as President of Grey Group’s a d ve r t i s ing agency and when Ed retired the first day of 2007, Jim was appointed Chairman and

Chief Executive Officer of Grey Group. “Again, it was an agency in need of reimagining,” says Jim. “We’ve made a lot of changes here at Grey, all focusing on nextgeneration thinking and a real drive to get young, bright creative folks to come work here believing in doing something audacious. I want to be able to say without a lot of argument that we are really doing it as well or better than anybody else out there, and people have to at least nod and listen.” For the sake of that argument, in the past twelve months, Grey left the 30-plus floors it had occupied for 45 years in midtown for six floors in the Flatiron District’s Toy Building, a move that is as symbolic as it is literal. In that same time, the agency has won more new business than any other agency, been named by Fast Company magazine one of the world’s 50 most-innovative companies in the world, made Ad Age’s Agency A List and had the top Super Bowl spot (for the third year in a row). So the heads are starting to nod. When Jim talks about next-generation thinking, it should be noted that some of that thinking was, until recently, being done by his son, also named Jim (as was Jim’s father, James Heekin Jr., and as is Jim’s grandson, James Heekin V) — who, after trying out other lines of work after college, became a popular and successful member of Grey’s creative department. “It was great to see him learn and do well, to see how much he enjoys it,” says Jim. “You can get pretty far away from things as a CEO, and through him, in a way that is unusual or unavailable to most, I could kind of feel what it’s like to be a 20- or 30-something in a creative department in a big agency in Manhattan.” Jim says that the two of them knew the situation was temporary, and Jim was proud when his son landed a job at Crispin Porter + Bogusky this past summer. “It’s important that he took what he learned here and went off to apply it somewhere else. But I think both of us enjoyed working two floors away from each other,” says Jim, adding, “I’ve got to tell you, I wouldn’t have considered doing that with my father. No way. But Jim’s a very different guy than I am.” When it’s suggested that Jim is a very different guy than his father was he replies, “Exactly.” Three generations of Jim Heekins, three distinct personalities. “My father was what you’d call a classic ‘star,’ out front. My son is more salt of the earth, part of the fabric of the place. I’m — I don’t know what I am. But it’s great to see how three generations contribute and do it differently.”

Jims IV, III and Jr., 2007


gravy / People & Society

You can get pretty far away from things as a CEO, and

“” through my son I could The differences seem less important than the similarities: three men with a passion and talent for advertising that runs in the family and creates ties between them that they couldn’t break even if they wanted to. Which brings us back to the picture. Jim vaguely remembers the shoot, and while the fact that his father had put him in a Wonder Bread ad was part of Heekin family lore, Jim hadn’t seen or thought of the picture in decades, until last fall. “My dad died in October and my mother spent the last six months combing through a lifetime of boxes,” says Jim. “She found the picture and gave it to me.” This past spring, after not advertising for more than a decade, Wonder Bread and its famous red-, white- and blue-balloon logo appeared in a new campaign from its new agency. And through a neat twist of fate, that agency is Grey. Wonder Boy indeed.

kind of feel what it’s like to be a 20- or 30-something in a creative department in a big agency in Manhattan.


VP Director of New Business Content Mary Ghiorsi has been writing Grey’s RFP responses and other new business marketing material for 10 years. As a result, she knows off the top of her head Grey’s average client tenure (11.7 years) and the number of countries GSK is in (81) and can’t decide if that’s a good thing or just really sad.

Always Wonder What is going on in this ad? The girl looks so sassy. We can infer that she’s about to mouth off to her mother. Actually, we don’t have to infer; the headline says it all. So what’s that about? Wonder Bread’s first campaign in more than a decade updates its message about nutritional benefits for today’s ingredient-conscious moms, complete with a name change to Wonder Smartwhite. The print ads and TV commercials play off the phrase “You wonder” in parental musings about their kids’ thoughts and behaviors. The payoff: “You’ll always wonder about your kids, but you’ll never have to wonder about the goodness of new Wonder Smartwhite.”


The print ad also reflects how the portrayal of kids, if not kids themselves, has changed in the past 54 years; the tough blond in the new print campaign looks like she would eat angelic young Jim alive. “Regardless of whether young Jim has ever openly defied his parents, the Wonder Bread of yesteryear would never feature behavior like that in an ad,” says Shawn Couzens, Creative Director and co-creator of the new Wonder Bread campaign. “By the same token, today’s Wonder Bread would never feature an overly zealous, half-crazed sandwich we won’t be re-running Jim’s ad anytime soon.” Sorry Jim.


gravy / People & Society

mean streets by Sean Burns

Thanks to the silky new bike lanes, a new cyclists-have-the-right-of-way attitude among cabbies and daily injections of EPO, I’ve cut my bike commute to Grey from 27 minutes to a crisp 4 and a half. In truth, New York is not very bicycle-friendly. Yes, since 1996 the city has added 200 miles of bike lanes and enacted a bike indoor parking law. For the first time, New York cracked Bicycling magazine’s Top 10 bicycling cities in America, coming in at #8. And after nine consecutive years of being the worst city for bicycle theft, New York City has dropped to #3, according to bike lock manufacturer Kryptonite. But while impressive on paper, the tires on the ground tell a slightly different story. It still feels as if the bike lanes are just nothing more than a convenient place for bus drivers to find cyclists to smear into parked cars. Pedestrians, crossing midblock with faces buried in the PDAs waddle constantly into your path. (Getting hit by a bike... there’s an app for that.) And a mouth guard to deal with the shock of potholes is a daily consideration. Even though the city remains more Grand Theft Auto than Portland, I still wouldn’t commute any other way. And neither would the growing number of Grey cyclists who lock up their bikes outside 200 Fifth every day. I sat down with a bunch of them recently. Consider them trailblazers. Like the Donner Party on two-wheeled steeds.

Cyclist Sean Burns happily shares the road with a New York City cab

Greg Nance

Shannon Flynn

Art Director; Woodside, Queens Name your commute. Tour de Nance.

Matt Baker

monthly repairs Can you Yes, an

Audio Production; Greenpoint, Brooklyn How could Grey improve your cycling experience? Give each of us a $20 stipend to be used toward (law in Washington, D.C.). do a wheelie? If so, how far? infinite distance.

Proofreader; West Village Oddest experience on a bike? I got cut off by a New Jersey couple. I hit their driver’s side door and flew over the hood. Their only concern was if my handlebar scraped their side view mirror. She was screaming at me; he was shaking his fist in my face. I picked up my bike and took off. They followed me, so I hid in a church basement on Sullivan Street. There was an AA meeting going on so I had a free cup of coffee.

Doug Kagan

Alex Cohen Video Editor; Upper East Side Do you fear or embrace the spandex? I fear what the sight of me in it will do to others.

Eric Johnson VP, Account Director; Chelsea Have you had your bike stolen or vandalized? Had a bike stolen on Christmas Day. Had my grips stolen. Had the air let out of my tires.


VP Associate Creative Director; Upper West Side Oddest experience on a bike? A friend of mine ran over a raccoon in Central Park with a brand new graphite racer. Split the raccoon right in half. Almost killed himself. Kids in the bushes laughed their heads off.

Ian Daly Sr. VP Planner; Greenpoint, Brooklyn Why commute by bike? Once you start biking, it’s like discovering the city all over again. Go over the Brooklyn Bridge at night and tell me you could live anywhere else. I’ve never been more ok with more neardeath experiences.

Clementine Swan Art Director; Crown Heights, Brooklyn Would you mind being photographed with your bike? Not at all, my bike is very photogenic.

Dante Desole Audio; Park Slope, Brooklyn Any final bike thoughts? Almost anyone can bike to work. It’s an awesome way to spend 20, 40 or 60 minutes depending on where you live. Just ride.

Gustavo Asman EVP, Chief Creative Executive, Wing; Upper West Side Why commute by bike? It’s good exercise, it’s fun, it’s good for the environment.

Grey VP Creative Director Sean Burns has won Gold awards at the Addys, the New York Festivals and the Effies for his work on brands that include Starburst, UPMC, Pringles, ANGA, Canon, Crown Royal and Captain Morgan. He is allergic to pet dander and pollens.


gravy / World View

Grey’s Famously Effective Global Network

















































Retail Details



















Grey Group Asia Pacific Examines Shopping Mindsets and Behaviors BOGOTÁ






ence affect their purchasing decisions? Wouldn’t marketers love to know the answers to those questions? Grey Group Asia Pacific has answers to those questions and more in their 2010 Eye on Asia Retail Study, a tool designed to help marketers create distinct and effective shopper strategies that result in getting their brands into the shopping cart. The findings are based on real-time conversations with over 2,100 shoppers from Australia, China, India, Indonesia, Japan, Korea, Malaysia and Vietnam about shopping

experiences in supermarkets, drugstores and mom & pop stores in a variety of categories, including OTC supplements and treatments, health food and drinks, beauty and snacks. Nirvik Singh, Grey Group Asia Pacific’s Chairman & CEO, said, “The dynamics in the retail landscape are constantly evolving, and recognizing this change is key for marketers to win at the first moment of truth in-store. It is no longer about converting desire into purchase but engaging the shopper through every step of the purchase decision journey.” Grey Group will continue to track the latest shopper trends throughout the year and unveil subsequent new findings each month. JAKARTA






What, exactly, goes through shoppers’ minds when choosing categories and brands in-store? Do they give any attention to in-store marketing? Do they want advice from sales staff ? Does their in-store experi-








Some key insights—or “eye-sights,” as they’re called in Eye On Asia parlance: Asian shoppers visit stores not just for products but also for the experience

Eye on Asia is Grey Group’s annual proprietary study that looks at the hopes and dreams of the Asia Pacific region, and determines the powerful underlying trends that will shape branding and communications today and in the future. Now in its fifth year, Eye on Asia has to date interviewed over 33,000 people across the region. Highly regarded as an annual trends revealer, the proprietary study aims to get closer to the people of Asia, providing detailed insights on a variety of topics including attitudes towards work, family, finance, the environment, value systems, brands and marketing. For more information, contact Candie Chiong, VP, Marketing & Corporate Communications, Grey Group Asia Pacific,

Two-thirds of final purchase choices are made in-store Almost half the promotions done in-store are wasted Advice is appreciated as long as the staff’s approach is nonintrusive Asian shoppers take time to study products in-store


Advertising and the Final Frontier



Toshiba and Grey London take viewers on an awe-inspiring journey to the edge of space VANCOUVER


the backdrop of a desert sunrise, it is lifted from the wilderness of northern Nevada to an altitude of 98,268 feet by a simple helium weather balloon. As Matt McDowell, Marketing Director at Toshiba UK, explains, “We chose to send a chair on the journey as it is central to the user’s experience of Toshiba’s products, whether they are watching TV or using a laptop.” The ad features two new products: The REGZA SV Series, which is the first-ever Toshiba LCD TV to combine Toshiba’s Resolution+ technology and an LED backlight; and the Satellite T Series of lowNEW YORK





















Nevada has one of the highest densities of UFO sightings in the U.S., so it’s possible that its citizens didn’t give a second thought to the living room chair floating almost 100,000 feet above the Black Rock desert. But probably not. More likely even they were amazed by the high-altitude stunt and

resulting commercial that redefine armchair viewing and reinforce Toshiba’s brand philosophy of leading innovation. Created for Toshiba by Grey London and filmed using Toshiba cameras, “Space Chair” follows the journey of an ordinary chair through the atmosphere. Against











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voltage laptops. “Offering the performance and functionality of full-sized laptops with portability and a battery life of up to eleven hours, the Satellite T Series frees users from the shackles of their desks, empowering them to explore new environments,” says McDowell. The ad was shot by Haris Zambarloukos, the cinematographer behind Mamma Mia, Sleuth, Venus and The Other Man, and directed by Grey London Creative Director Andy Amadeo. The shoot required the construction of a custom-built camera rig engineered by aerospace experts. Tied to it was a specially created full-size model chair made of biodegradable balsa wood that was light enough to make the 83-minute journey up towards space. Four independent GPS systems were placed on the rig to accurately

record its height, longitude and latitude position, which was transmitted every 15 seconds back to ground control. That information was monitored via a computer satellite system to enable the team to locate the rig once it had fallen back to earth. “Space Chair” follows another groundbreaking commercial shot with Toshiba cameras. “Timesculpture,” created in 2008, was the first of Grey London’s “Project” line of commercials to be produced with an eye toward breaking a world record as they underscore Toshiba’s innovation. “Timesculpture” used 200 of Toshiba’s Gigashot HD camcorders on a custom-built, 360degree rig — the Guinness World Record for most moving cameras used in a composite film shot. “In 2008 we set a new world record with ‘Timesculpture,’ proving that their domestic camcorders could produce a breathtaking, never-before-seen piece of film” says Grey London’s Amadeo. “This time we have used the Toshiba HD camera to produce some of the most stunning footage shot at the edge of space.” And set a record: “Space Chair” broke the record for the highest television commercial shot in high-definition. The commercial won a Bronze Cannes Lion in June 2010.

228-Year Tradition Enters the Digital Age H1N1 virus necessitates viral pilgrimage in Costa Rica

Space shot shoot facts: Shots were taken at 98,268 feet above the earth using Toshiba cameras To reach the altitude required and conform to Federal Aviation Administration regulations, the weight of the rig could be no more than four pounds The biodegradable chair cost about $4,000 Launch coordinates were 119 degrees, 14 minutes by 40 degrees, 48 minutes (12 miles northeast of Gerlach, Nevada) The quality of the footage from the Toshiba iK-HR1S cameras was 1920x1080 pixel count; 1081i at 50Hz; 100Mbps



The temperature dropped to minus 90 degrees when the chair reached 52,037 feet The chair took 83 minutes to reach VANCOUVER 98,268 feet, where it broke andTORONTO took NEW YORK 24 minutes to fall back to earth with the rig SAN FRANCISCO














celebrate the historic Cartago Pilgrimage In Costa Rica, the annual pilgrimage to the and pay tribute to the Los Angeles Virgin. city of Cartago’s Basilica de Nuestra Senora The Catholic Church’s offical radio de los Angeles draws half of the country. station in That’s 2 Costa Rica million asked its people that advertising walk across agency, Jotathe country bequ Grey, every year on to help come August 2nd up with a to honor the solution. Virgen de The Result: los Angeles, The Virtual Costa Rica’s Pilgrimage — patron saint, a place also known as where all La Negrita. people could Or at least easily walk, they made the albeit virtupilgrimage ally, to Carevery year Virtual pilgrimage site tago by using for 228 years their Facebook and Twitter accounts to conuntil 2009. That year, for the first time in its nect directly with other virtual pilgrims on a history the pilgrimage was cancelled by the bespoke site created by the Catholic Church Ministry of Health because of the danger to honor the Cartago Pilgrimage. of a massive transmission of the H1N1 (Spanish for virus or “swine flu” which was in the throes “virtual pilgrimage”) was launched five days of a global outbreak. before the traditional August 2 start date. So the Costa Rican Catholic Church In that time hundreds of thousands of found itself in a conundrum. It had to suppeople along with Costa Rica’s mainstream port the decision of the Ministry of Health media connected to the Virtual Pilgrimage and protect the physical well-being of its website through their social networks. followers, but it still wanted to provide During those five days, the website received a method by which the followers could




295,000 visits with an average stay on each page of 7 minutes, something never seen before on a local website. Furthermore it allowed Costa Ricans from all over the world who would not have been able to make the physical pilgrimage to partake in that year’s tradition. Costa Ricans from 46 different countries participated in the pilgrimage, making the 2009 Cartago Pilgrimage one of the most international pilgrimages in its history. Finally, The Virtual Pilgrimage had another extraordinary benefit. It was the catalyst that launched the Costa Rican Catholic Church into the digital age, and started the Church down the road of shaking off its staid and distant image. Among the rewards that may await Grey, it received some worldly acclaim: The campaign received a Silver Cannes Lion in June 2010.








Non-virtual pilgrimage, Cartago, Costa Rica





gravy / World View

What We Can Learn from 18 People Sitting in a Room in Denmark A New York copywriter brings a big idea home from a small agency in Aarhus Last year, as part of a creative exchange program between Grey agencies, New York writer Jon Kallus spent three months at Uncle Grey in Aarhus, Denmark. There, he learned how to bike through the snow, identify different types of pickled fish by texture and make ads in Danish. Upon his return, Jon gave a presentation at an agency-wide town hall meeting. He asked his colleagues to join an Uncle Grey initiative. Thursday Night Idea Night has turned out to be a successful Danish import, somewhere between mid-century modern furniture and smoked mackerel. Proactive creative ideas for a range of the agency’s clients continue to come out of it, and the same program is about to start up at Grey Melbourne. Just one example of what can happen when some creative minds, a blank wall and beers collide. Aarhus, New York owes you one.

Jon Kallus



Windows of the World

Grey has 432 offices in 96 countries. All have windows; here’s what’s outside 18 of them.

Kristen Bernikows Gade 1 Copenhagen K, Denmark

Budapest 6th district, Andrassy ut 9 Budapest, Hungary

Via Alberto Mario 19 Milan, Italy

Ebisu Square 1-23-23 Ebisu, Shibuya-ku Tokyo, Japan

200 Fifth Avenue New York, New York

Av. Arequipa No. 4080 Miraflores Lima, Peru

Rua Do Alecrim, no 73 Lisboa, Portugal 36

No. 1 Magazine Road Singapore

Avenida Major Sylvio de Magalhaes Padilha, 5200 Sao Paulo, Brazil

270 Munoz Rivera Avenue San Juan, Puerto Rico

Beit Mery Roundabout Beit Mery, Lebanon

Annankatu 28 Helsinki, Finland 23 Mizia Str. Sofia, Bulgaria

598 Ploenjit Road Bangkok, Thailand

Ramirez de Velasco 845, Buenos Aires, Argentina 4-10 Amsterdam Street Melbourne, Australia

TRG. Bana Jelacica 3 Zagreb, Croatia

92 av. des Ternes Paris, France



gravy / People & Society

Human Trafficking in Plain View by Lisa Selin Davis

Mayor Bloomberg’s Office Sheds Light on One of New York City’s Fastest-Growing Crimes

A man is offered a job and perhaps a place to live in the promised land of America. He’s shepherded into the country and set up with shelter and work: home health care, construction, maybe food service — something low-paying and low profile. He’s asked for his passport and identification, perhaps to process some paperwork. Yet the days go by and the papers aren’t returned, and his wages either fail to materialize altogether or are garnished so heavily he has no money for rent or food of his own. Still, he can’t complain. Alone and indebted to those who brought him here, he finds himself a modern day slave, his captors threatening to harm his family or have him deported if he breathes a word. The worst part is, he doesn’t know that what’s happened to him is a crime, and neither do

those around him, even if they see signs of his captivity — the frantic look in his eye, lack of money in his pocket, his few changes of clothes. None of them know that he can call 911 and tell them, “I’m a victim of human trafficking.” If it surprises you that the man selling hot dogs or painting a brownstone on your corner, or the woman babysitting in your local park, could be a victim of human trafficking, you’re not alone. It may be one of the most ubiquitous and fastest-growing crimes in New York City, but it’s also one of the hardest to spot, especially when we don’t know what to look for. In 2006, after discovering that thousands of New Yorkers were victims of this crime, Mayor Bloomberg established the Anti-Human Trafficking Task Force, which aims to stem the ever-increasing problem of trafficking both foreign and domestic workers. Still, the numbers of trafficked workers continued to climb. So this year, the Mayor of the City of New York’s office decided to launch a campaign to spotlight the issue — “Let’s Call An End Human Trafficking” — and, in partnership with the Somaly Mam Foundation, a non-profit battling human trafficking, they tapped Grey to bring their message to New Yorkers of all walks of life. Like a lot of us, the team at Grey knew little about the subject, including how pervasive, and how serious, it is. “We were really shocked at what we found,” says Grey VP Account Director, Seema Patel. “People are buying and selling human beings like property right here in New York City.” For Patel, the campaign was a chance to use Grey’s vast creative resources for an important pro bono project, one that could make a difference in thousands of lives. Their first task, then, was to educate Grey and expand its perception of what trafficking is and who its victims may be.

If it surprises you that the man selling hot dogs or painting a brownstone on your corner, or the woman babysitting in your local park, could be a victim of human trafficking, you’re not alone.

“Just exploiting workers is not trafficking,” explains Grey Creative Director Alice Ericsson. “You have to be denied money. It involves tricking or being coerced in some way.” Workers who are recruited, harbored, transported and provided to employers through force or fraud are victims of human trafficking. They don’t have to be smuggled, stashed in the back of a truck and transported across state lines — it is the control, the coercion that defines the crime. And workers of all stripes can be coerced and controlled. While it’s true that victims of human trafficking are often young women brought in from other countries and forced to work in the sex trade — the most common perception — trafficked workers can in fact be male or female, young or old, American citizens or foreigners. They can work as nannies or food cart vendors, as masons or landscapers, in bars or on the street, as prostitutes or janitors. The problem is, those workers are everywhere, and may show no outward signs of being abused, making the crime all the


gravy / People & Society


“People are buying and selling human beings like property right here in New York City.”

CALL 311

go to if you see something, know something, or if you are a victim of human trafficking.


with generous support from

T:11.5” S:10.75”



CALL 311

go to if you see something, know something, or if you are a victim of human trafficking. with generous support from


with generous support from


CALL 311

go to if you see something, know something, or if you are a victim of human trafficking.





harder to detect. “We don’t see it because it’s not in plain view,” says Ericsson. “So our task was to put it in plain view, and in plain language. We needed to make the issue unavoidable.” The Grey team needed to translate what they found — that there is no one single face of human trafficking — into an image that could be as pervasive and ubiquitous as the crime. They chose to create silhouettes, adumbrations of shadowy figures that Ericsson calls “an international sign of victim.” “There’s something about the anonymity that’s provoking,” she says. They plastered subway cars and bus shelters with the posters, whose images had to do more than alert New Yorkers to the possibility of human trafficking; they had to clear up once and for all just what defines it, and then tell them what to do when they stumbled upon it. Ericsson likens the endeavor to the domestic abuse campaign of the mid-1990s, when slathering billboards and TV screens with images of battered spouses — even the girl next door could be one — brought the violation out of the bedroom and into the mainstream. A crime that was completely hidden and yet incredibly common was suddenly legitimized, and victims who thought they were alone in their situation realized they had brothers and sisters in the struggle, not to mention a legal system on their side.



CLIENT: PRODUCT: pro bono HT JOB#: 000-00-000 ART DIRECTOR: N.Bosaka

GREY WORLDWIDE SIZE, SPACE: 11.5” x 16.75”, bus shelter PUBS: outdoor ISSUE: 2010 COPYWRITER: A. Ericsson

JOB #: 000-00-000



OP: sobol

SPACE/SIZE: B: 11.875” x 17.125” T: 11.5” x 16.75” S: 10.75” x 15.5” LEGAL RELEASE STATUS

“We have made New York the safest big city in the nation by developing innovative new policies and programs and targeting our resources where they are needed most,” said Mayor Bloomberg. “This new public education campaign will play a critical role in raising awareness of the impact of this horrible crime, encouraging New Yorkers to report it and, most importantly, letting victims know that help is available. Working together, let’s call an end to human trafficking.” AD APPROVAL DATE:

New York City Mayor Michael Bloomberg


To shed light on human trafficking, these silhouettes are accompanied by quotes from trafficked workers explaining their situations. “He lied about the job, and then he took my passport and my wages,” reads one. “He promised me a place to stay, then he forced me to work as a prostitute,” reads another. Perhaps just as important as the silhouettes and their stories is their tag line: Call 311. “We really want people to call that number and actually report things that they think are suspicious,” says Ericsson. Borrowing a line from the anti-terrorism campaign that has been so successful in the city — if you see something, say something — the call to action here is “See it. Know it. Report it.”

“He promised me a place to stay, then he forced me to work as a prostitute.” Six Potential Signs of Human Trafficking

The team at Grey and the Mayor’s office have high hopes for the campaign and plans for expansion. They’re dreaming up peel-off silhouettes that will be on park benches or bus shelters — life sized shadows that will be anywhere a trafficked victim might sit or stand, wait or walk. So far, they’ve seen a sharp spike in interest in the issue. Anyone who learns about it, says Patel, is immediately drawn to it and eager to assist. “It’s easy to get people to want to be a part of this just by explaining what it is,” she says. “With this campaign, we can get anyone who learns about it passionate about stopping it.”

1) T he worker has no ID, passport or documents 2) T he worker shows signs of abuse— physical, sexual, emotional or mental 3) T he worker has been threatened by or is indebted to his or her boss

Lisa Selin Davis has written about environmental and urban issues for The New York Times, Time, and New York magazine, among many other publications. She is the author of Belly, an urban planningthemed novel, and lives in Brooklyn.

4) T he worker is a minor (under 18) and involved in the commercial sex industry 5) T he worker cannot come or go as he or she wishes 6) T he worker doesn’t seem to be receiving payment, or is getting substantially less than he or she is owed.


gravy / Business & Finance

93 years of Famously Effective Business and Marketing Milestones From one of Madison Avenue’s iconic agency brands







 ( V$ !!# % # D & © 2010 NFL Properties LLC. Team names/logos/indicia are trademarks of the teams indicated. All other NFL-related trademarks are trademarks of the National Football League.




gravy / Business & Finance

Out of the Mouths of Babes The Darling of the Last Three Super Bowls Creates (and Possibly Catches) a Buzz

One of the most-talked-about campaigns of the past three years was launched by projectile vomiting. You know the one — cute baby talks up E*TRADE and pukes during Super Bowl XLII, followed by same cute baby in Super Bowl XLIII, now with more hair and some friends, still racking up buzz and sales for E*TRADE. E*TRADE and its agency, Grey, went for a three-peat in 2010’s Super Bowl XLIV with commercials featuring a new cast of babies. “Girlfriend” was in the top three of every major Super Bowl poll, featured in more than a thousand media outlets and seen by more than 770 million people. More important, the number of new E*TRADE customers has continued to grow. The new babies are cute and obviously good for business. But viewers are left to wonder: What happened to the original E*TRADE Baby? The official story is that he “grew up.” A look at his behavior throughout the campaign — clown rentals, cuddle battles, golf — points to a baby on the edge, a fact that, in hindsight, should have been clear from the very first commercial. Why was he unable to get through the taping of a 30-second spot without vomiting? How many bottles did he drink? Is he, in fact, a milkoholic? That is the $100 million question.


gravy / Ideas

Fast cheap and out of control

The wild ride that is today’s media landscape and why marketers better get used to it by Tor Myhren Wired magazine calls it the “MP3 effect.” It goes like this: Any audiophile can tell you vinyl records have the best sound quality. Then CDs were born, which sounded worse than vinyl, but quickly dominated the market because they were easier to play, more portable and cheaper. Then MP3s came along and they really sounded like shit—worse than CDs, way worse than vinyl. But most music purchased today is in the MP3 format. The lesson: We will quickly sacrifice quality for more functional things like speed, price, shareability and accessibility. It’s why the Flip camera, which shoots basic video, has no image stability control and produces horrible sound, is now the best-selling consumer video camera in America. You can put it in your pocket, shoot anywhere, then plug it into your computer and download everything to your Facebook page. Welcome to the lo-fi high-tech revolution. Where fast, cheap and out of control is the new way to do business. And we as marketers better get used to it. It’s why old-school agencies are laboring to keep up with their clients. It’s why once-booming production companies are dropping like flies and trying to reinvent themselves as “content” providers. It’s why big media companies that purchase their plans 18 months in advance are being laughed out of the room. In short, it’s why our industry is 20 percent smaller than it was a year ago. And, ironically, it’s why this is the most exciting time in the history of advertising. Fast, cheap and out of control. Anyone in our business knows that time lines are shorter, money is tighter and expectations are higher than ever. It’s a time for renegade productions. Where smart, fast and fearless is winning over slow, safe and methodical. Where videos done for free with a Webcam or mobile phone can be seen by millions of people worldwide with zero media dollars. It’s a time unlike any other. It’s chaos. It’s anarchy. And it’s fun as hell. Why fast? Because speed kills in this market. The rise of digital has amplified the speed of business expo48

nentially. We’re no longer reporting things that happened, we’re reporting things as they are happening. Since we now get all our news in real time— online, mobile, texts, tweets—rapid response time for marketers is now at a serious premium. And things aren’t slowing down anytime soon. For agencies, production companies and media companies alike, the ability to think, move and execute at lightning speed is what clients and consumers expect. Why cheap? The cost of execution these days is low. Blame it on the Flip. Blame it on YouTube. Blame it on the kids, for God’s sake. But how we view has fundamentally altered what we view. Most screens we’re watching these days are about 6 inches wide, so high production values are lost. We want to watch on any screen, anywhere and be able to send it to our friends anytime. It’s the MP3 effect, in video. This cultural/media shift is devastating an advertising production community built on the two-week, $2 million, wet paved Icelandic road boondoggle. Confusing the hell out of media buyers who get their biggest bargains buying 30-second slots months and years in advance. And forcing agencies to reconsider where their profits are coming from.

Why out of control? Well, we could start by talking virals, blogs, chat rooms, parody videos and consumer-generated content. But let’s not. Suffice it to say we have less control over our brands than we ever have. Which is terrifying and wonderful. The best we can be is proud parents and the brand is kind of like our own little baby boy. We can raise him, dress him, teach him right from wrong and prepare him for the real world. But eventually he has to leave home. And then people are either going to be his friend, or kick his ass. Our brands face the same brutal reality once put in the hands of the digital world. Out there, your brand will be praised, punked, glorified and vilified. So make sure you raise it well. And like any good parent, be ready to jump in on a moment’s notice and help it navigate the stormy waters. Because in this wild media landscape, brands need our guidance more than ever. The future of advertising is fast, cheap and out of control. And I personally wouldn’t want it any other way. We’re living in a time when quality of content, rather than quality of picture or special effect, reigns supreme. People are seeking out amazing stories over amazing production values. Shorter lead time means less focus groups and less overthink. Faster, cheaper productions mean more experimenting and more chances to shine. We live in a time when everybody has the means to shoot, upload and spread their message. And if it’s great, the world will listen. They don’t need an agency, or a production company, or a media buy. They are renegades, marketing their ideas with new tools and new rules. And we can learn a lot from them. Tor Myhren, Grey New York’s Chief Creative Officer and father of the E*TRADE Baby, was named to the Crain’s Business Journal prestigious “40 Under 40” list. He was also placed along with James Cameron, Dave Eggers, Spike Jonze and Lady Gaga on the elite Creativity 50 list, honoring the 50 most influential creative minds of 2010. Tor was ECD of Leo Burnett Detroit where he did the famous Oprah Car Giveaway episode. He was also CD at TBWA/Chiat/Day in Los Angeles, and opened WONGDOODY/LA. He started his career as a sports journalist.

I saw a subliminal advertising executive, but only for a second. Steven Wright

gravy / Ideas

Brain Trust

A forward-thinking agency and a conference of visionaries join forces The world’s most fascinating thinkers and doers gather at the annual TED conference. TED stands for Technology, Entertainment and Design, and when it started out it 1984, participants were from those three worlds. Since then, TED’s scope has broadened to include people from any world at all, as long as they believe in TED’s mission—to use the power of ideas to change the world. In 2008, Grey became the agency partner of the TED Conference with a simple idea, as explained by SVP Alex Lubar: “bring us an idea worth spreading and for the duration of the conference, we’ll be the agency partner in spreading that idea.”

Relationships that began at the conference have not ended there: Grey partnered with the United Nations Envoy on Malaria to join forces with the Gates Foundation battling malaria in Sub Saharan Africa and created a launch campaign for the Aptera, America’s first mass-production Electric car. The agency is represented on the board of the Copenhagen Communications Council on Climate Change and is spearheading an effort to rebrand global warming to “climacide” with a collective of artists, creatives, musicians and filmmakers. TED expects action from its constituents, and any partner that comes into the TED

During a TED conference, 50 presenters over 4 days have a maximum of 18 minutes each to share their ideas. Conference presenters over the years have included Bill Gates, Frank Gehry, Jane Goodall, J. J. Abrams, Bono and hundreds of others you may not have heard of but should listen to. And you can: TEDTalks are archived at

With hundreds of brilliant TEDTalks, it’s hard to pick a favorite but not impossible. Four Grey New York participants in recent TED conferences give us their picks:

environment is expected to do something for the TED community. Lubar explains why Grey is more than up for the challenge: “As the agency partner for TED, we will continue dedicating time and resources to spreading ideas worth spreading. Fortunately for TED and the people of the world who will benefit from ideas that could change attitudes, lives and, ultimately the world, that’s something we do very, very well.”

Sir Ken Robinson (2006) “Schools kill creativity. Brilliant. Funny. I relate to it. I’m a victim of it. We all need to be reminded of it. (Note to self: Please continue the sword fight with the perfectionist inside. It’s killing your creativity...)” – Natalia Schultz (Chief Talent Officer)

Daniel Kahneman (2010) “Listening to one of the world’s most renowned psychologists describe the conflict between the ‘experiencing self’ and ‘remembering self’ as they relate to happiness struck a chord with me, particularly on a professional level. When things get stressful at the office, I try to convince myself that despite the pain I believe I am currently experiencing, it won’t seem nearly as bad when I remember it in the future. All these pitches can’t be nearly as fun as I remember them.”

Mark Roth (2010) “Biochemist, cell biologist explains why suspended animation is not science fiction and is in fact within our grasp. This is my favorite talk because if Roth’s work on reversible metabolic hibernation succeeds our future could be delightfully filled with celebratory death matches between Walt Disney and Demolition Man.” – Alex Lubar (SVP, New Business)

– Michael Houston (Chief Marketing Officer)


Barry Schwartz (2005) “Psychologist Barry Schwartz makes an unbelievably compelling case against a core tenet of western society: freedom of choice. Is it possible that our litany of choices has actually made not happier but more dissatisfied? Schwartz sure as hell thinks so.” – Tor Myhren (Chief Creative Officer)

Four days. Five projects. Lots of fertile thinking. , proud partner with 51

gravy / Sex, Health & Beauty

the beauty of ellen by Mary Ghiorsi CoverGirl is America’s #1 cosmetics brand but, like its mass-market competitors, it’s had trouble convincing women of a certain age to give up their department store brands. Through a powerful brand partnership, a brilliant consumer insight and an unexpected spokesperson, CoverGirl’s new age-defying make-up is defying category convention to become a Boomer favorite.


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“She is the surprising anti-CoverGirl, yet she’s so refreshingly honest that when you listen to her, you can’t help but talk about her with your friends.”

The spokesperson is Ellen DeGeneres, 50+ year old gay comedian and talk show host whose fashion statements are largely made through her vast collection of sneakers. “We were brainstorming, and her name came up along with other more expected ones,” says EVP Rick Reilly, “but we kept coming back to her because she is unique. She is the surprising anti-CoverGirl, yet

Ellen and “Simply Ageless”

she’s so refreshingly honest that when you listen to her, you can’t help but talk about her with your friends.” How honest is she? “When we met with Ellen,” says General Manager CoverGirl North America Vince Hudson, “the first thing she told us was that she wasn’t very into makeup. So we all sat there like, ‘Wow, we must be in the wrong place.’” But it turned out that Ellen’s initial apprehension reinforced the validity of our big brand insight. The reason Ellen didn’t like makeup was that she was constantly being told how much younger and better she looked without it offstage. “We told her that was because she was using makeup that actually settled in her fine lines and made her look older,” says Hudson. CoverGirl’s newly developed Simply Ageless, on the


other hand, with its Olay Regenerist AntiAging Serum, smoothes over fine lines and doesn’t settle in wrinkles; it just make you look more beautiful. “We were telling Ellen about a product formulated to solve the exact problem she had with makeup. She tried Simply Ageless and loved it,” says Hudson, “and that was a magical moment.” Hudson says that the magic continued throughout the commercial shoot, as Ellen worked with Grey’s creative team. “I think the test of a great copywriter is to be able to create a script but then make adjustments to let the talent’s personality shine through. Alice [Ericsson; see box below] and Ellen collaborated on the spot, and there was magic in that.” Hudson points out that such collaborations between agency and talent don’t work because they’re more about the personality of the personality than the consumer or the brand. He credits Grey for developing not only a strategic focus but also coming up with an insightful way of bringing that strategy to life, while letting the talent add value in a relevant way. “It all adds up to fantastic breakthrough advertising.” As much as CoverGirl loves Ellen, that’s how much Ellen loves CoverGirl. “She has, of her own volition, talked about CoverGirl on her show more than 25 times since the launch,” say Reilly. “She’s talked about it on the Tonight Show. She’s talked about it to the press, to her mom, to women on the street, to Wal-Mart, to CVS.” And

when she talks, women listen. Simply Ageless consumption over-delivered P&G’s forecast by 145%, selling off the shelves at its top retailers and quickly became the #1 anti-aging line. Today, Simply Ageless remains the #1 anti-aging line and the #1 foundation in the mass cosmetics category for share and sales. Since the success of Simply Ageless foundation exceeded expectation, CoverGirl has developed and launched several line extentions to lure even more department-store anti-aging Boomer shoppers to the brand. Sales figures show that it’s working: in 2009, CoverGirl was the first U.S. cosmetics brand — mass or department store — to hit $1 billion in sales. Mary Ghiorsi, Grey VP, Director of New Business Content, wears Simply Ageless in Classic Ivory.

not just another pretty face Alice Ericsson

Creative Director Alice Ericsson is Grey’s beauty and fashion maven. She has written every CoverGirl commercial since 1998, when she first came up with “Easy, Breezy, Beautiful CoverGirl” line that is still used today. Her expertise with creative storytelling inspired a somewhat incongruous nickname. “Rapping is about being able to make rhymes to make a point,” says Vince Hudson, “which is why I call Alice my rapper.” So does another CoverGirl spokesperson, who knows of what she speaks. Says Alice, “If Queen Latifah calls you a rapper, it doesn’t get much better than that.

Model CoverGirls “Our brand name says a lot about our brand’s mission,” says CoverGirls’s Vince Hudson, speaking of the fantasy that women who wear CoverGirl cosmetics could be cover girls themselves. Today, models as cover girls have been replaced by actresses, singers and other entertainers—September’s Vogue, Harper’s Bazaar and Elle feature Halle Berry, Jennifer Aniston and Julia Roberts, respectively—and CoverGirl has transitioned to celebrities in its ads accordingly. But back when covers were the exclusive domain of models, the most fresh-faced among them could be found in CoverGirl ads. Many of the women went on to achieve fame as actors or supermodels (a whole different kind of famous from the photographer’s models of decades past), but here they are when they were just girls. Cover girls, that is.

Top, left to right: Jennifer O’Neill (1968), Cybill Shepherd (1970), Cheryl Tiegs (1972) Middle: Christie Brinkley (1981), Carol Alt (1984), Rachel Hunter (1992) Bottom: Niki Taylor (1992), Helena Christensen (1995), Tyra Banks (1998)




The faster you go, the more damage you do. 58

gravy // Sex, Health & Beauty

Brand Building in Real Time Pantene Creates the World’s First Reality Hair Star on Live TV


With Pantene, everyone’s hair can pass its toughest test. Fine hair, medium-to-thick hair, curly hair or colored: basically if you have hair, Pantene’s new simplified, customized solutions can make it look fantastic. To prove it, Pantene and Grey put Pantene to the test on live TV and created the world’s first reality hair star in the process. “The whole idea around Pantene’s new collection is real solutions that work in real life,” said Grey Executive Creative Director Linda Mummiani, who developed the campaign with her creative partner Caitlin Ewing. “So the ‘first reality hair star’ just seemed to flow from that. In an ever-more skeptical world, we thought reality advertising really answered the challenge with real-time proof.” Thus was born the first “Reality Hair Star Contest,” a nationwide search to find

someone to put Pantene to the ultimate test, on the world’s first live beauty commercial. “A real woman,” emphasized Grey EVP, Global Brand Director Will Platt-Higgins, “not a paid celebrity read that some ‘live commercials’ claim to be.” At a press conference to kick off the search, Pantene spokesperson, reality celebrity Stacy London of “What Not to Wear” fame, invited fans to visit the dedicated website to post one-minute videos that described why they should be selected as the first reality hair star. Print and digital media, including full-page newspaper ads, reality celeb videos and beauty bloggers, generated hundreds of millions of media impressions in the eight weeks leading up to the live spot. From more than 200 online video submissions, 12 finalists were selected by a panel of beauty experts (with some input from fans) to come to New York for a casting call. On the day of the live commercial, three finalists received a Pantene hair makeover; one would be the winner. That night, millions of fans tuned into three NBC stations broadcasting the live commercial simultaneously at 9:30 p.m. EST in primetime shows: “The Biggest Loser on NBC,” “Housewives of New York” on Bravo and a romantic comedy on Oxygen. The winner — 24-year-old journalism student Marissa Hopson, a brunette with long, straight hair — learned she won in spectacular fashion: live on TV. She was filmed in her own home watching the broadcast, so her candid surprise at hearing her name announced was simultaneously beamed live to America’s homes. The 60-second live ad was followed by a 45-second commercial from the brand campaign touting Pantene’s new custom collection, “Healthy makes it happen.”

(top) Reality Celebrity Stacy London about to announce the winner and (bottom) Marissa Hopson finds out on live TV that she’s Pantene’s First Reality Hair Star

Pantene plans to make Melissa a true reality star; she will be doing her Pantene hair flip in future advertising. Meanwhile, the buzz from the groundbreaking live commercial continues to grow: a month after the live commercial broke on the air, impressions were up to 1.5 billion. Chris Brown, SVP, Director Corporate Communications, has been an award-winning writer and editor her whole career, 27 years of which have been spent at Grey. Her corporate metier includes executive communications; speechwriting; internal/intranet communications; magazine, newspaper and internet publishing; press and public relations; and lately, corporate tweeting. She has her M.A. in Corporate & Political Communications.

A Beauty Brand Born of Science Back in 1980, when actress/model Kelly LeBrock made “Don’t Hate Me Because I’m Beautiful” a pop culture catchphrase, women didn’t hate her, exactly, but neither did they show any love for Pantene. It was a small niche brand sold in a handful of countries, with advertising that barely hinted at its remarkable scientific heritage. Pantene was born during World War II. Scientists developing a healing serum from Panthenol (pro-vitamin B-5) to treat burn victims discovered that Panthenol not only healed skin, but actually improved the health of hair. In 1947, Pantene pro-vitamin hair tonic was launched in apothecaries in Europe, the world’s first with Panthenol as an active ingredient. The tonic was imported in the U.S. during the 1960s with limited distribution to pharmacies and department stores, where it remained until Procter & Gamble bought it and, in 1988, asked Grey to turn it into a global megabrand. Grey conducted extensive global research to understand how women think about hair and found that all over the world, irrespective of geography, women used the word “healthy” to describe their ideal hair. This insight led to an idea and iconic signature line that merged Pantene’s heritage of deep and authentic therapy with beauty benefits: “Pantene: For Hair So Healthy, It Shines.” Today, Pantene is the most successful beauty product in history, launched in 130 countries. It is the #1 hair care brand in the world.




A New Generation of Digital SLR Cameras with HD Video Capabilities Puts Photographers in the Directorâ&#x20AC;&#x2122;s Chair By Eric Rudolph


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“Suddenly we had to explore how we continue to own still photography and also make an equal mark in the new HD video world...”

The worlds of still and movie photography were rocked recently when still cameras hit the market with a new feature: serious 1080p High-Definition (HD) video capability. Suddenly a sophisticated still camera is also an astonishingly affordable movie camera, capable of image quality rivaling television and feature films. With a wealth of interchangeable lenses and 12 minutes of HD video capture at a time, these highend Digital Single Lens Reflex (DSLR) still cameras are also inexpensive and versatile filmmaking tools. To quote Vice President Biden, this is a BFD. By comparison, the Red One digital cinema camera was huge news recently with its base price of $17,500; new 35mm (film) motion picture cameras cost around $75,000 – $100,000. The 1080p HD-videocapable Canon EOS 7D DSLR retails for around $1,700. Feature-film-worthy HD video from a consumer-level DSLR is such an epochal development that an equally bold marketing approach was needed. So longtime Canon agency Grey, together with Vimeo (the HD-video sharing site) launched the first nationwide usergenerated filmmaking project, The Story Behind the Still Contest, to introduce the HD video-capable EOS 7D DSLR late last year. While many digital cameras shoot HD video (and the new iPhone 4 shoots 720p HD) Canon DSLRs offer more: the spectacular image quality of Canon DSLR stills


Three Lions for Canon at Cannes The famously effective “Beyond the Still” campaign was a big winner at this June’s Cannes Lions International Advertising festival. Canon and Grey New York went home with a Silver Lion in the Promo & Activiation category, a Gold in the Media Lions category for Best Use of Branded Content and a Bronze in the Titanium and Integrated category, which is a shortlist of 25 entries from all of the categories in the competition.

in 1080p HD, superb low-light capability and the array of lenses and other technical features that make Canon #1 in this field. But just how real is this unlikely revolution? Filmmaking legend Monte Hellman (Two-Lane Blacktop, Ride in the Whirlwind) debuted his new feature Road to Nowhere at Cannes recently, boasting that it was shot entirely with a still camera (a Canon EOS 5D DSLR). Hellman hailed the 5D, telling the New York Times that its 12 minutes of uninterrupted shooting time is longer than with a 35mm movie camera. Look for other prominent filmmakers to follow Hellman’s lead, using aftermarket accessories that transform HD-capable DSLRs into true movie production cameras. So for the EOS 7D launch Grey needed to make news too, and decided to give fledgling filmmakers the chance compete to create six chapters of a sevenchapter short film via The Story Beyond the Still Contest. Vincent Laforet, a well-known still photographer, made the first chapter of the film-in-progress, The Cabbie. (Laforet

put DSLR filmmaking on the map with his short, Reverie, made with the Canon EOS 5D DSLR two years ago.) Entrants were invited to make the remaining six short chapters (two-to-four minutes) to continue The Cabbie, taking the story wherever they choose. The initial entrants had to start with a still image— a treasure-chest-like trunk in a warehouse—the final still frame of Laforet’s chapter. A judging panel that includes major filmmakers selects five finalists for each chapter; Vimeo members choose each chapter’s winner. Once a new chapter of the film is chosen the contest opens up for the next chapter, and entrants continue on with the story (starting with the final still frame of the previous winning chapter). The idea for the competition developed organically from the brand’s essence. “Canon is a photography company, their brand DNA is beautiful photography. But with HD video capability, suddenly we had to explore how we continue to own still photography and also make an equal mark in the new HD video world,” explains

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Frames from the winning entries for chapters 1 through 7, each one guiding the story line for the next. The completed short film will be entered into film festivals and the Academy Awards.

Rick Cusato, Grey EVP, Group Account Director. Still images are, after all, slices of moving scenes, he notes. “Behind every still photograph there is a story, the stories might be logical, or something different,” Cusato adds. Grey, working closely with Laforet, knew they could engage consumers and bring the dual still photo/HD video capabilities of the Canon EOS 7D dramatically to life with this competition. It’s a new marketing approach for a new era. “We’re not preaching about how to use the HD video capability; we’re literally saying, ‘Play with it and tell us what you think,’” Cusato notes. “Social media is growing as a marketing force, and there is so much richness in having people engage in branding their own way; it is truly a twoway conversation,” he adds. The Story Behind the Still Contest is a big hit. Over 110 entries were received for the first consumer-generated chapter and subsequent chapters have around fifty entrants each. It’s drawn everyone from, “Two dudes sitting on a couch saying ‘Let’s do this thing,’ to professional television commercial directors,” Stephen Krauss, Grey SVP, Executive Creative Director explains. Entrants have spent as much as $10,000 producing chapters, Ari Halper (also a Grey SVP, Executive Creative Director) adds. Contest prizes include new Canon

HD DSLR cameras, lenses and a chance to make a film with Laforet. The completed short film will be entered into film festivals and the Academy Awards, Cusato says. The contest is also a marketing success. “Our impressions to date are 37 million, which is pretty astounding in the digital

“Social media is growing as a marketing force, and there is so much richness in having people engage in branding their own way; it is truly a two-way conversation.”

space, considering that Super Bowl TV spots get around 88 million impressions,” explains Grey’s Krauss. But while Grey, Canon and Vimeo are all pushing the boundaries, the filmmakers have been playing it relatively safe. Laforet, Halper and Krauss all hoped entrants would take the story in genre-busting directions, but the winning entries hew to a conventional storyline, using the same characters (played, of course, by different actors, because each chapter is from a different filmmaker). The winning chapters resemble a short

episode of Lost or The X-Files. “I’m not all that surprised, and won’t say that I am disappointed… but I am slightly,” Laforet admits, echoing Halper and Krauss. “My preference is for the film to take off in a wild direction and then make sense in the end. But that takes an incredible level of screenwriting skill.” (Some entries told a more unconventional story but were weaker in other areas, he notes.) “But we said, ‘It is your choice; do what you will’ — and the results speak to difficulty of filmmaking. Just because you have an incredible tool (like an HD-capable DSLR), does not make you a director or screenwriter,” Laforet says. “I hate it when people think you can simply buy a camera and you’re instantly a movie director. I want people to know these great tools are out there, and if you study the craft you can make films with a level of visual sophistication that was not realistically possible just a few years ago,” the photographer-turned-filmmaker emphasizes. Eric Rudolph was East Coast Contributing Editor of American Cinematographer magazine for six years, and worked for the magazine for nearly a decade. He has written about still photography for several decades, for PDN, Popular Photography and every other major photography magazine. The current issues of Pop Photo and American Photo feature his work.




moment of truth How the brutal beauty of nature mirrors the brutal beauty of football when viewed at a thousand frames a second By Nick Childs


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It’s the last day of June in Dallas’s sweltering heat – 98 degrees at 5am – and we’re about to shoot our first work for the NFL, having won the account three short weeks ago. There’s some added anxiety as we wait in an unfinished, cavernous Cowboys stadium, because not only are we up against the usual insane production issues, we also need one last piece to lock in place, something a little beyond our control. The sun. More specifically, since we’re trying to capture pro football players at a thousand frames per second, in high-definition video on a Phantom camera custom-crafted for this moment, we need light. A lot of light. So the sun has to rise in a cloudless sky and make things a hell of a lot brighter just so we can expose at the right levels to even get an image. And not any image, the absolutely perfect instant we’ve promised the client we’ll capture to show a never-before-seen aspect of the game to millions and millions of fans. So far, we’ve handled what we can— a totally redesigned camera, rows of stadium spots, banks of additional lights trucked in overnight from LA, tremendous talent on screen and off—and now it’s up to the weather. We can’t have any clouds at all, just bright, blazing sun. In a few minutes, we’ll know if we’ll be able to shoot. And visualize, for the first time ever, exactly how this hundred-yard game of inches is, in fact, decided by the tiniest moments of truth. The gravity-defying leap for a fingertip catch. The mid-air flight of a touchdown dive. The brute collision of muscle and force on fourth-and-one. Those instants of each and every football play which, when slowed down to nearly frozen speed, will prove why the NFL, at its breathtaking, jaw-dropping, heart-stopping best, is unarguably the greatest game in the world. Which all begs one question: how did we get approval to shoot something that’s never been done before, and barely even tested? Well, we showed...animals. Not internet “LOLcats,” or cute bundles of puppies. No, we took the slowest motion film ever captured of a brutal animal kingdom and asked our clients to picture their brand in the same realistic, documentary way, cutting against a stampede of wildebeests, and said, “Picture Adrian Peterson juking across the

face of a defensive line.” We played a minute of footage showing the second it takes a great white shark to rise from the black ocean and capture a seal in its jaws, and said, “Imagine Justin Tuck coming off the blindside to swallow Tony Romo whole.” Authentic footage. Honest. True. And now we’re here, in a Texas frying pan, with the cameras ready to roll and several of the sport’s greatest superstars poised to re-enact a split-second play that we will turn into an epic 30 or 60 second story told in a single shot. Later, we’ll move on, handing our cameras off to the best cameramen at NFL Films to capture the greatest highlights throughout the year. So we can continue to play back these frozen moments of truth all season long. Right up to a final, culminating spot during what will become the most-watched event in the history of television, Super Bowl XLIV. But today, right now, there’s only one goal. To get the shot. And just like every play in every game in this league, there is the potential for greatness at any instant. You prepare. You’re ready. And you wait for the snap. The sun crests over the horizon. Light pours through the stadium glass, igniting the field. The camera rolls. The quarterback lofts a pass deep. The ball arcs toward the endzone and a receiver’s outstretched hands. And we stand frozen in a moment of stunned silence, the sheer grace of this instant of a beautiful game needing no words at all. Nick Childs is an award-winning filmmaker. His independent film The Shovel, starring Academy AwardNominee David Strathairn, won Best Narrative Short at the Tribeca Film Festival and 15 other top awards at festivals worldwide. In addition to NFL, he worked on Grey’s campaign for Canon, Beyond the Still, which won three Lions, including one Gold for Branded Content, at Cannes.

Lion and zebra (left); Eagles and Jaguars (right)


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Gadgets, Gizmos and Geeks High-tech devices inspire at WPP’s Gadgethon 2010 by Josh Golden

Put 250 very competitive digital brand and agency leaders together from around the world to compete in a “best gadget wins” throw-down, and you are sure to see the best techno-advanced gadgetry ever. And that’s what attendees saw at Gadgethon 2010, held this past October in Greece. Part of WPP’s yearly Stream “unconference,” for creative, media and technology types from around the world, it’s the Olympics of Gizmos, according to its website. Everyone came out swinging to show their high-tech best. There were over 60 entries; below you can see what this self-confessed gadget lover felt were the tops. Josh Golden is Grey New York’s Chief Digital Officer. He is a geek.

1st place

Funk Engine

A combination of a tuba, synthesizer and a Christmas tree — think Grinch raving at band camp. The sounds this new instrument could make were truly far, far beyond what you would expect. Suffice it to say that its inventor took the first prize by a long shot both in innovation and finding a way to make a tuba have a cool factor.

Photo: Gary Shainberg

2nd prize

Valkee Bright Light Headset

Originating from polar regions of Finland where they are blessed with both “midnight sun” and even more popular “polar night” (when the sun never actually rises above the horizon— yay!), this enlightening device goes inside your ears and, believe it or not, gives you your daily suggested “light requirement” in under 10 minutes. Also, it’s supposed to be a great solution for jet lag and seasonal depression. Only downside is if you keep it on too long it lets you see directly into people’s souls. (insert evil laugh here) 3rd place

iPod-controlled drone helicopter

Yes, ladies and gentlemen... they even have an app for this. The crowd just went wild as this “helicopter” flew into the event to kick it off. Totally controlled by iPod with two 2.4 GHz cameras that stream live video back to the iPod. Most importantly, every piece is 100% replaceable for the inevitable crash.


Put an end to hair in your clothes. 71

Downtown express After 45 Years in Midtown, an Agency Returns to the Old Neighborhood

The famous one-room office of Grey legend, where the agency was founded in 1917, was at 309 Fifth Avenue, a mere ten blocks north of the agency’s new space at Fifth and Twenty-Third. So in a way, it’s like going home. But in another way, now that the New York agency has grown from one person in one room to upwards of 600 people sharing several floors totaling 370,000 of some of the most-talked-about and admired square feet of New York City commercial real estate, it’s kind of not. At Grey, there is definitely the feeling that they’re not in Kansas anymore, or in a faceless midtown tower. Metropolis magazine was sufficiently impressed with Grey’s new home to devote the cover and 17 pages inside to it, and Grey was sufficiently impressed with the coverage to reprint it in its entirety with Metropolis’ gracious permission.


Right, and following spread: Photography by Zachary Martinez




gravy / Architecture & Design


Photographs by

Opposite page and top left photos, Nikolas Koenig/Chris Boals Artists; others, Sarah Palmer

Bilyana Dimitrova Sarah Palmer and

Nikolas Koenig by

Suzanne LaBarre

200 Fifth Avenue—an old and venerable building in New York’s Flatiron District—gets a stunning modern makeover by Studios Architecture.

The advertising giant Grey Group makes a new beginning in a 1909 New York City landmark building, 200 Fifth Avenue. Studios Architecture’s work for Grey is characterized by a mix-and-match eclecticism, a sampling of which is shown in the headline.

Tor Myhren laughed. He sat in black slacks and yellow sneakers in a glassy meeting room. Manhattan’s 23rd Street lay just below. It was mid-February, and he had been explaining his ideas for the splashy new headquarters of

Grey Group, the advertising giant that gave the world “Choosy Moms Choose Jif ” and Playtex bras on TV. Three months earlier, the company had moved into a downtown landmark building formally known as the International

Metropolis 04.2010



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Studios replaced the building’s messy T-shaped lobby with a single entrance (left) on Fifth Avenue that looks out onto Madison Square Park.

tables. “Our business is all about collaboration, sharing, taking an idea, playing on it, layering another idea on top of it. That was continued on page 84






Studios widened the courtyard, then added square footage (below, striped shading) on the main floor for better daylight and circulation. _






Studios Architecture’s design team (below, left to right) is David Burns, Todd DeGarmo, and Tom Krizmanic.

Old meets new in the secondfloor lobby, with a customized oak reception desk set against the original tile flooring and terra-cotta ceiling.


The architects terraced the lower floors to bring light into the building’s deep-set western corridors.

Top and bottom right photos, Bilyana Dimitrova; bottom left photo, Bonnie Burke; plans, courtesy Studios Architecture

Toy Center, after spending nearly half of its 93 years in a midtown skyscraper straight out of Mad Men. “This was a totally, totally raw space, and I said to the architects, ‘Let’s keep it as open and as close to this as possible,’” says Myhren, Grey New York’s chief creative officer, his legs neatly crossed in a vintage Wassily chair. “At one point, I was getting really mad at them, saying, ‘Why did you put a wall here?’ They were like, ‘It’s a bathroom, Tor.’” His laugh was quick and dry. Myhren is a hands-on boss, the sort who signs off on everything from the latest Super Bowl ad to which band plays the company party. He sees the agency as an extension of his personality and has been known to pass out copies of The Fountainhead to creative staff. Around him, his vision had sprouted to life: exposed ceilings, floors scrubbed to their original reddish concrete, glass every which way. So much glass it could have been a display case or a panopticon, depending on whom you asked, and instead of private offices, workers sat at communal

The building had plenty of built-in assets: the original facade, the terra-cotta courtyard, the views of the park. “We could see by doing a few simple big moves, we could create something really unique,” Todd DeGarmo says.


200_A_04_10.indd 80


3/15/10 12:10:05 AM


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Spread over the lower floors of a 15-story monolith that was all but boarded up three years ago, the renovation is a triumph of urban preservation in a neighborhood defined by its architectural heritage.




Photo by Nikolas Koenig

Far right photo, courtesy Studios Architecture

“Let’s face it, it’s a business of cool,” Grey’s CEO, James Heekin III, says. “The move was an affirmation of where we wanted to take the agency.” Don Draper, it seems, has gone beatnik.

Left: A view of the courtyard from inside the glass-curtain-wall addition. Above: The courtyard once housed mechanicals for ground-floor retail. MIX IT UP

Metropolis 04.2010



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continued from page 80 physically

Right: The Grey creatives exchanged private offices for communal desks and tables.

“Our business is all about collaboration, sharing, taking an idea, playing on it, layering another idea on top of it,” says Tor Myhren, Grey New York’s chief creative officer.


dominiums, Studios played an important role in helping David W. Levinson, the chairman of L&L Holding Company, close the 2007 deal for the property By Martin C. Pedersen and, soon afterward, attract Grey as the anchor tenant. Todd DeGarmo, the CEO of Studios ArDeGarmo didn’t just tour the gutted chitecture, is clued in to an elemental building with Levinson at the outset. (“We truth about architecture: “We have were immediately excited,” the architect learned that there is no project without a deal.” And for 200 Fifth Avenue, which says, “because we’d done work on similar buildings in D.C. and Paris.”) He also was at one point slated to become con-

FEB. 19 2007

FEB. 26 2007

MAR. 19 2007

Levinson and DeGarmo tour the building. Three days later, Studios produces preliminary sketches.

Levinson and DeGarmo present ideas to the investment bankers who finance the deal. Studios continues design work.

First major design presentation to L&L, the new owner of 200 Fifth Avenue.




made design presentations to help the developer secure financing, met and collaborated with the leasing broker, and, very early in the process, pitched Grey. “By combining the design with the financing and space brokerage, the time was significantly compressed,” DeGarmo says. “The marketing of the building was essentially integrated as part of the design.” Levinson had a more immediate and pragmatic goal. “Our motivation in bring-

APR. 16 2007 First meeting with the building broker, Mary Ann Tighe, of CB Richard Ellis, who quickly understands the plan’s value to a creative organization.

ing on the design team early was to assess the feasibility of the deal itself,” the developer says. “It did speed up the process, but that was not the intention. We had to know what it would take— financially and from an architectural standpoint—to move forward.” Below, background: The concrete wall Studios left exposed in a second-floor conference room.

APR. 23 2007 Studios presents designs to Grey Group.

NOV. 19 2007 Grey signs a 15-year lease for 370,000 square feet.

This page top, opposite page bottom and opposite page background photos, Bilyana Dimitrova; this page bottom and opposite page inset photos, Sarah Palmer

impossible in the old space,” Myhren says. “Here, you walk in, there’s light, energy, the neighborhood, the street.” That the headquarters became a tribute to collectivism from a fan of Ayn Rand, the poet laureate of individualism, is clearly not lost on Myhren or on the building itself. On an exposed wall behind him, someone had scribbled the first line of The Fountainhead: “Howard Roark laughed.” These are tricky times for the industry. Ad agencies are under tremendous pressure to distance themselves from Madison Avenue, as the old methods for the hard sell—the sensational print ad, the 30-second TV spot— collapse under the weight of the Internet. Razzle-dazzle offices are a relatively cheap way to telegraph to clients that “We’re with it!” without necessarily being with it. They’re the new office-party ice sculpture. Some agencies throw Astroturf on the walls. Others decorate with carousel horses. Grey’s headquarters in the heart of the Flatiron District blows them all away. Spread over the lower floors of a 15-story monolith that was all but boarded up three years ago, it’s a triumph of urban preservation in a neighborhood

LIGHTING Linea fluorescent pendants from Amerlux

defined by its architectural heritage. In a few masterstrokes, Studios Architecture transformed a creaky old building into an airy, loftlike confection tethered effortlessly to its surroundings, and thus provided Grey the best possible self-advertisement: its own offices. “Let’s face it, it’s a business of cool,” Grey’s CEO, James Heekin III, says. “The move was an affirmation of where we wanted to take the agency.” Don Draper, it seems, has gone beatnik. Earlier that week, 200 Fifth Avenue looked gorgeously radiant. Snowy light from a window facing east onto Madison Square Park flooded the second-floor lobby and slipped over the Hans Wegner chairs in the waiting area and the curious wall art: three gold monkey heads exploding from the canvas (a Myhren touch). The light continued through a freshly rebuilt courtyard, then seeped into the other side of the building, where creatives busied themselves shilling stuff to the American public. “This is the main space,” Tom Krizmanic, a Studios principal, announced. “It’s still connected to the park, so it’s got this amazing New York feel. And now it’s looking to the future with this modern addition.” He gestured to the courtyard, which cozily framed the snowfall. Damned if it didn’t LIGHTING Powell Street incandescent pendant from 2Thousand Degrees

By Fred A. Bernstein

On a sunny winter afternoon, the lobby of 200 Fifth Avenue is glowing brightly, thanks to dozens of light sources trained on its white terrazzo floors and limestone walls. David W. Levinson, the owner of L&L Holding Company, “wanted it to blow away all the other lobbies in New York,” says Clark Johnson, the lighting designer for the building’s public spaces (as well as for the Grey offices upstairs). L&L, which is in the business of attracting tenants, insisted that no one looking into the lobby should see a “dead space.” That means that the lights can’t be turned off when it’s bright outside—they have to be turned up. Fortunately, new technology—and the creativity of Johnson’s team— made it possible to satisfy the client while keeping power usage low. For the largest fixtures, Johnson used HID (high-intensity discharge) bulbs, which provide more light than incan-

Hanging, triple-height LED lights help visually connect the lobby to the Grey Group offices upstairs.

descents or halogens of the same wattage. For accents, he went with LEDs, designing a series of hanging fixtures for the triple-height space at the back of the lobby. The singlewatt LEDs add a lot of sparkle without much wattage, and because they descend through an atrium visible from Grey’s reception area, they create connections between the lobby and the offices upstairs. There, the kind of work environment Grey wanted—a series of memorable and clearly differentiated spaces, with a minimum of interior walls—couldn’t have happened without Johnson’s ingenious mix of fixtures: incandescent, halogen, fluorescent, HID, LED. Sometimes the fixtures are markers—Moooi’s on on 92) 103 Dear Ingo (continues continued

Grey’s creative director, Tor Myhren, wanted the work areas to feel like home, so he put his old bed in a glass conference room. MIX IT UP

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look like an advertisement. Four years ago, Grey was the Talbots of advertising—big, reliable, and terribly dowdy. It had convinced America to glut itself on Olive Garden breadsticks and lather up in Pantene for hair so healthy it shines, but buzzy campaigns—the sort that get noticed in a crowded media landscape—weren’t its bailiwick. After the communications conglomerate WPP bought Grey in 2005, Heekin, the newly minted CEO, set the agency on a different course: new people, new branding, new headquarters. Those efforts are

finally paying off. Last year, Grey landed 17 of 18 new pitches, including campaigns for the NFL and T.J. Maxx, and fattened its operating profits by 44 percent, at a time when other ad firms were picking pennies off the ground. The creatives produced good work along the way, managing to make a financial-services company interesting with some sassy talking babies, and Studios’ additions (section drawing, highlighted areas) include a 15-story glass curtain wall and extra floor space on three levels.

LIGHTING Veroca fluorescent ceiling lights from B.Lux

By filling in the second level’s Ushaped floor plate, Studios created a vast “town hall” for meetings and social confabs. It can be left open (above) or screened behind reclaimed-wood slats (left).

“ The peak of activity at an ad agency is around the pitch of new business,” DeGarmo says. “They want to grab the attention of potential clients the moment they walk in the door and manipulate it the whole time.” Cantilevering this conference room over the second floor on the west side bounces light into some of the building’s deepest recesses—and lets clients spy on people working (or, in this case, partying).




turning footage of the Saints running back Reggie Bush diving into the end zone into something approaching art. “That was what was going on, but all in the old boxy building,” Heekin says. “So to move down here was incredibly symbolic for us.” In the old toy center, Grey found its architectural soul mate. Designed in 1909 by Maynicke & Franke, the Fifth Avenue building appears as a squat fortress beneath some of Manhattan’s earliest skyscrapers. Daniel Burnham’s bow-shaped Flatiron Building is kittycorner to the south; and just

Photos, Bilyana Dimitrova; plan, courtesy Studios Architecture

SIGNAGE An LED message board, designed by Design Communications, is projected onto a column.

Background and top left inset, Sarah Palmer; lower left inset, courtesy Pentagram; top right inset, Bilyana Dimitrova

LIGHTING Grüv fluorescent lights from Amerlux

east across Madison Square Park, the gilded cupolas of the Metropolitan Life and New York Life towers rise majestically over the trees. When it was built, 200 Fifth Avenue was considered wildly innovative. Floors formed a U around a white-terra-cotta inner courtyard that threw light indoors, recalling the Beaux Arts buildings of Europe. Most of its days, however, were spent in the dark, its showrooms blacked out and little used. By World War II, the building had become the New York nerve center of major toy manufacturers worldwide. But like the slaughterhouses of the Meatpacking District and the clothing manufacturers of the Garment District, the toy companies dispersed years ago. The last tenants left the toy center in 2007, deepening the neighborhood void. The developer David W. Levinson purchased the building that year, after visiting it with Studios’ CEO, Todd

followed Studios’ lead: “Grey has a logo and a typeface, and whatever material was in the space became the signage.” For the upper floors, Scher’s approach was restrained. On a recent visit, there were no graphics at all on the fourth floor, which houses the corporate offices. But taking her lead from Tor Myhren, Grey’s chief creative director, Scher treated the signs in By Kristi Cameron Studios Architecture treated the Grey the areas where the ad staff works like art installations. “Tor’s attitude interior as if it were working for two clients: the creatives and the corpor- was that the space is a gallery,” ate staff. That left Paula Scher, who she says. So she carved the letters handled the environmental graphics, of Grey’s logo directly into a wall of distressed wood in the third-floor with a dilemma. “They thought we would try to unify the space with the lobby and jumbled them in neon inside a rolling, 34-inch acrylic cube signage program, but that seemed for the second floor. like it would look rather ridiculous,” While it may not unify them, there says Scher, a partner at the graphicis one common element on all of the design firm Pentagram. Instead she

Myhren pushed for incandescents. The problem: they would have violated energy code, so Studios scattered fluorescent tubes over work zones like pickup sticks, for an artier aesthetic.

DeGarmo. Together they set about restoring its place in the Flatiron District. As DeGarmo saw it, 200 Fifth Avenue had plenty of built-in assets: the original facade, the terra-cotta courtyard, the views of the park, the unprecedented amounts of light. It just needed some tweaking. “We could MIX IT UP

Scher’s bold bathroom graphics (above left)— a unifying motif—stand in contrast to the disparate signage on the second and third floors (left and above).

floors: the huge orange icons designating the bathrooms. Visually distorted at certain angles, they snap into place from the right perspective. “We did that because of the atrium,” Scher says. “There are certain spots where you stand and can see these giant figures on every floor, and it was kind of amusing to us. One of the mandates for the project was that somebody walking through should feel like it is a creative environment. Jokes were welcome.”

see, by doing a few simple big moves, we could change the perception of the building and create something really unique,” he says. The first step was to close off the U, which left dead ends on floors along the building’s west side, choking circulation. By shortening (continues onpage pg. 91) continued on 99

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MIX IT UP continued from page 87

MIX IT UP continued from page 99

(continued from pg. 85)

the courtyard on the lower levels, then filling it with floor space, they turned the U into a doughnut. That created a vast, column-free expanse on the second floor, which Grey uses for big confabs and calls the “town hall.” Three landscaped terraces around the courtyard usher in the outdoors, and a balustraded rooftop deck affords views of the city’s marquee architecture. A 15-story glass curtain wall thrown up on the inner eastern wall dispatches light straight through the building, completing the architectural set piece.

As it turned out, the architects were right. Sanding down the floors proved so expensive that Grey didn’t have money left over to finish the ceilings. Aesthetically it’s fine—great, even. But aurally it’s a mess. These “few simple big moves” work to connect the inside and the outside. The city appears from just about every spot in the building, whether you’re standing in front of the old arched windows looking out onto 23rd Street, or in the recesses of the ground-floor lobby. What’s more, passersby now have unobstructed views into the building for the first time in decades. At press time, a chichi Italian marketplace had signed on for 32,000 square feet at street level, completing the transformation of 200 Fifth Avenue. “It was kind of a black hole,” DeGarmo says. “This was the key missing piece in the renaissance of Madison Square.” DeGarmo immediately marked 200 Fifth Avenue for an advertising company. His firm had designed interiors for Bloomberg and IAC and knew the key ingredients of a corporate-creative office. “The peak of activity at an ad agency is around the pitch for new business,” he says. “Essentially they want to grab the attention of potential clients the moment they walk in the door and manipulate it the whole time.” WPP agreed to lease six floors and sent in 1,200 employees from Grey and its marketing and PR companies. In the old building, the agency had 21 floors. (Grey insists the decision wasn’t financially motivated, but it’s hard to imagine that money didn’t at least play some role in a move that shed 110,000 square feet.) Working with floor plates as large as football fields, Studios made a heroic effort to humanize the place. Desks never stray far from windows, and work areas are littered with break rooms and whimsically placed furniture—beach loungers in front of a window, a bed in a glass conference room (for, um, inspiration?). Many of the midcentury pieces were recycled from Grey’s own warehouse in New Jersey, a decision that will help the building earn LEED Gold certification. A vast collection of lighting fixtures and reclaimed oak planks slapped onto walls, reception desks, benches, and tables keep the headquarters from looking like an insurance agency. Generous kitchens make it feel like home. There were battles. Myhren hated anything overtly corporate, including fluorescent lighting. Instead, he pushed for incandescents. The problem: they would have violated New York state energy code, so Studios scattered fluorescent tubes over work zones, like continued on page 101 April 2010

pickup sticks, for an artier aesthetic (see “Lighting,” page 85). Myhren also hated carpet. Again, too corporate. Studios insisted the space would be terrifically loud—and costly—without it. Myhren was firm. “There were about four meetings in a row where we’d end the meeting and say, ‘Guys, next time you come back, it has to be concrete,’ ” Myhren says. “They’d come back, and they’d have carpet. We’d be like, ‘What the F? What’s going on?’ Finally, we put our foot down. There was yelling in the final meeting.” He added, “In the end, I think everyone won the right battles.”

“Collaboration and tranparency are the enemy of creativity,” George Lois says. “You could put five great art directors and five great writers in a room together, and you know what you’ve got? A shit fight.” But as it turned out, the architects were right. Sanding down the floors proved so expensive that Grey didn’t have enough money left over to finish the ceilings. Aesthetically, it’s fine—great, even. The exposed pipes look fantastic against the concrete floors; as Myhren himself might say, they’re totally, totally raw. But aurally they’re a mess. Chatter in the bullpens mushrooms into a shout, and parties in the nearby town hall— and there are many—sound like a Slayer show. “Now that we’re in open seating, we have really good headphones,” Josh Rabinowitz, Grey’s director of music, says wistfully. Such complaints are inevitable when privacy is compromised. But the spontaneous nature of advertising might be particularly ill-suited to open-floor plans and the work habits they supposedly nurture. “Collaboration and transparency are the enemy of creativity,” says George Lois, the illustrious adman. “You could put five great art directors and five great writers in a room together, and you know what you’ve got? A shit fight.” There’s a cautionary tale in the annals of ad-office design. Back in the 1990s, TBWA\ Chiat\ Day was an agency desperate for rebirth, so Jay Chiat turned the workplace into a “virtual office,” stripping employees of desks, drawers, and pretty much any sign of personal space. It was supposed to convey the firm’s unfettered modernity. Instead, it turned into a latter-day Stanford Prison Experiment. Employees became paranoid and defiant, and their productivity plummeted; within three years, the whole thing fell to pieces. Grey’s no Chiat\ Day, but the new headquarters approaches that murky zone where great architecture might not equal a perfect place to work. I asked Todd Tilford, Myhren’s second-incommand and himself a Rand devotee, about the seeming contradiction of espousing objectivism, then thrusting employees into a space where they’re expected to behave like they’re on a kibbutz. “If I have my idea,” he says, tapping his own shoulder, “and you have your idea”—he tapped my shoulder—“we can combine them. Improve them. Produce an even better idea. See what I mean?” But what about the virtues of the singular vision? He tapped his shoulder again, then mine. “I have an idea. You have an idea. We feed off each other . . .” (continues onpage pg. 92, continued on 102far right column) April 2010


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frompage pg. 83) MIX IT UP: LIGHTING (continued continued from 85

chandelier, composed of 16 swing-arm drafting lamps, dominates one conference room; a pendant that resembles a bouquet of flashlights, from Established & Sons, looms over another. Elsewhere, lighting is used to turn materials chosen by Studios Architecture (such as honeycomb acrylic), or graphics created by Pentagram’s Paula Scher, into beacons and signage devices.

Given all the places where fixtures are used to highlight and dramatize, it’s easy to forget the goal was to provide adequate lighting. Indeed, given all the places where fixtures are used to highlight, dramatize, and differentiate, it’s easy to forget that Johnson’s main goal was to provide adequate lighting for Grey’s employees. Here he was guided not just by 25 years of experience but by ASHRAE 90.1, the energy conservation standards developed by the American Society of Heating, Refrigerating, and AirConditioning Engineers, in conjunction with the Illuminating Engineering Society of North America. The code, which was adopted as law by New York state in 2008, permits a maximum “lighting-power density” of one watt per square foot of office space. (The limits range from 0.3 watts per square foot for fire-station sleeping quarters to 2.2 watts per square foot for hospital operating rooms.) As a result, “You’re constantly recalculating,” Johnson says. “If you add light in one place, you have to cut back in another.” Those constraints weren’t in place when Johnson collaborated with Studios in 2005 on the New York headquarters of Bloomberg. In that project, brightness, with its connotations of power and dynamism, was both a means and an end. This time the client wanted to signal resourcefulness and restraint. Along with the wattagedensity limits, the corporate culture resulted in more subdued interiors—a kind of Soho loft to Bloomberg’s indoor Coney Island. For the large, open-plan offices, Johnson started with simple fluorescent fixtures, which he placed diagonally across the ceiling, as if to encourage out-of-the-box thinking at the desks below. Some of the fixtures also contain up-lights, which wash the April 2010

frompage pg. 91) MIX IT UP (continued continued from 101

white-painted ceiling, but many of them were eliminate to keep the wattage density at one per square foot. Johnson took pains to illuminate walls at the building’s core. “Seeing bright surfaces, even if they’re at a distance, makes you feel like you’re part of a bright space,” he says. He also made generous use of LEDs, with most of them contained in ceiling fixtures made to his specifications by Amerlux. The fixtures provide twinkly effects that belie their mere nine watts of power, while referencing the lobby’s own sparklers. As if to ensure that nobody felt lost amid the openplan offices, Johnson gave every employee a dimmable LED desk lamp (a mere 8.8 watts at maximum power). “There’s nothing better than having a pool of light in front of you, for intimacy,” Johnson says. Somewhat to his surprise, employees hardly ever turn them on. (They’re more likely to be looking at computer screens than paper.) But they do use them as sculptures, bending them into shapes that announce their presence— X, Y, or Z marks the spot. There were other ways in which Johnson had to respond to current realities. In 2008, he says, after three years when his firm had been busier than ever, money stopped coming in. Forced to downsize, Johnson “sold” some of his jobs to Kugler Ning, a competing firm, whic took on several of his employees, including Terry Nelson who had been the project designer on the Grey and 200 Fifth Avenue projects, and Patrick Tiago. The clients go continuity, key employees kept working, and Johnson was able to stay out of debt. His recent projects include the Ace Hotel, where he created a lighting scheme that the designers Roman an Williams fleshed out with a collection of vintage fixture and the new Mondrian Hotel in Soho, whose designer, Benjamin Noriega-Ortiz, credits Johnson with “using LED and fiber optics to create the feeling of ‘enchanted Though he sees himself as an artist, not a technician Johnson spends much of his time going over calculations with his staff. In the future, he says, “I predict mo ‘wattage-density police’ checking up on projects, verifying levels.” But at the same time, “There will be more efficient delivery systems, which will make it possible to comply with the limits in ever more creative ways.” Of the required trade-offs, he adds, “You just have to choose your moments.”

Myhren, in fact, worked at Chiat\ Day after the mutiny. Which might explain why he readied his staff for the new building by yanking them out of their private offices and forcing them into bullpens on the second floor of the old building years before the real move. And it also might explain why he informed them via a video later posted on YouTube, in which he

Myhren readied his staff for the new building by yanking them out of their offices, forcing them into bullpens years before the move. horridly sang his own version of Sinead O’Connor’s “Nothing Compares 2 U,” shaved head and all. (Sample lyric: “I know that leaving your big office is sometimes hard,/but the thing is, you don’t really have a choice.”) And that might explain why Grey contacted a business psychologist about a plan to give the staff “space therapy.” Sessions would focus on “mourning the loss of the old offices,” developing new “rules of engagement” (like bans on smacking gum and eating tuna), and “leveraging the advantages of the new space,” Grey’s psychologist, Joel Mausner says. At a housewarming party a couple of weeks later, the space was being plenty leveraged. Supermodels and journalists and vaguely familiar TV personalities quaffed vast quantities of Ketel One vodka (a Grey client) as San Francisco’s “hottest DJ,” to quote the invite, presided over the turntables and a couple made out in an open photo booth. Upstairs, anyone who wanted to check a coat passed three actors in a vitrine watching a TV screen in their underwear. Performance art. A brass band appeared. They zigzagged around a snarl of people in Buddy Holly specs, the crowd drunker now, rowdier. It wouldn’t be long before Grey’s casting director began coolly twisting alongside a clutch of models. Outside, snow fluttered to the ground. The old toy center groaned under its glassy new sheen. In the courtyard, visible from just about anywhere in the building, an ice sculpture glittered in the party lights. It said, “Grey.” / April 2010




gravy / Style

Leon Dorai

Hong Kong

Agency Flair People who work in advertising sometimes laugh when people who donâ&#x20AC;&#x2122;t work in advertising refer to it as a glamour business because there is nothing glamorous about 16-hour days punctuated by midnight discussions among coworkers about whether or not the leftover sushi someone found in the kitchen will, in fact, kill them. But if itâ&#x20AC;&#x2122;s not a glamour industry, then somebody at Grey needs to send an agency-wide memo.


gravy / Style Primoz Jakin, Tomaž Apohal Slovenia

Marcella Braga, Rafael Artissian Brazil

Pele Cortizo-Burgess New York

Hristiana Toteva


Maja Tonkovic`ćć Zagreb

Angelo Estrella Philippines

Raymond Chan Singapore

Ana Avila

New York

Ryan Weimer

Vale Bracco

New York


Riaad van der Merwe Shanghai

Richard Hol



Michelle Woo Hong Kong

Oana Gheorghe Romania

Rommel Vaz

Dario Rodriquez, Andrea Leitner, Kendal Ocampo



Lucia Gavarret


Bernard Wong


Joao Raya, Manuel Vera Mexico

Tatsuhisa Nakajima


Bobo Bao China

Nils Leonard


Terry Gibralter

New York

Ana Albarrรกn Mexico




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Fashion Preview: T.J. Maxx is the nation’s largest off-price store for fashion-savvy shoppers who love fashion deals and steals. Four times a year, several months ahead of each season — which in the world of retail is Spring, Back to School, Fall and Holiday — T.J.’s buyers determine what’s going to be hot in the months to come. They check out European fashions and see what’s moving in high-end boutiques in the States, in addition to gathering forecasts from


must-haves for fall

trend-spotting organizations and via their own relationships with design houses. Theatrical looks that start off on the runway are always a little more wearable in seasons to come. As Laura McDowell, fashion spokesperson for T.J. Maxx told us, “A couple of seasons ago we saw shoulder pads reemerge on the runway, and now we’re seeing it translate into shoulder interest, including the most recent ruffledshoulder cardigans.”

So what are the big looks for Fall? “The military-inspired look is going to be huge, but it won’t be drab or combat-like,” says McDowell. “Think sophisticated jackets and polished details, like an olive blazer with a great fit and epaulet details. McDowell shared with us the Must-Have pieces and trends for Fall 2010. What colors will we be wearing? “Gray. Gray is the hottest color of the season.” Sounds about right.


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Drop shot s

The world’s top mixologists’ sophisticated mini-cocktails, Luxury Drops, help Tequila Don Julio bring shots to a whole new level




Matthew Bax

Patrice Wilson-McHugh

Brian Van Flandern

Tippling Club

diageo Managing Director of Companies

don julio brand ambassador


Reposada Lightning

Spanish Raindrop

“I named this Drop after an Australian designer friend of mine who is known for his creative cutting-edge designs. His designs are always fresh and left of field, a little like this drop. The versatility of Don Julio is demonstrated in this drop; it needs very little help to make something special and memorable.” .5 oz/15 ml Don Julio Reposado .5 oz/15 ml aloe vera juice yuzu foam atomized lime oil Shake Don Juilo with aloe vera juice. Top with yuzu foam and finish with a spritz of perfumed lime oil. Sip the drop through the yuzu foam to get the full experience.


“This Drop was inspired by the Jamaican Olympic runners who aspire to be the best in the world—just like Don Julio.” .5 oz/15 ml fresh ginger juice .5 oz/15 ml agave syrup 1 oz/20 ml fresh tangerine juice 1.5 oz/45 ml Reposado Tequila Combine all ingredients into a cocktail shaker, shake and double strain into a tall shot glass. To drink, start by imitating the world’s fastest man, Usain Bolt, by quickly running in place for 9.58 seconds, after which you do Bolt’s signature “lightning pose.” Then quickly drink the Tequila Lightning. After drinking, quickly run in place for another 9.58 seconds, then do the “lightning pose” again.

“Historically, Spain and Mexico are inexorably linked. Spanish Sherry, when blended with Tequila Don Julio, is a logical marriage of two distinct flavor profiles that complement each other.” 1 oz/30 ml Don Julio Anejo 1 oz/30 ml Oloroso Sherry .25 oz/7.5 ml fresh lime juice .5 oz/15 ml simple syrup Combine all ingredients, pour into tall shot glass. Dip an orange peel in agave nectar and sugar in the raw; flame the rind over the top of the drop and rim the shot glass with peel. Click glasses and say, “Viva Don Julio.” Drink the drop.

“Tequila in general, and especially the concept of doing shots, has had a bad name,” says Elayne Duke, spirits ambassador for Diageo, the world’s leading premium spirits, wines and beer companies (and a Grey client since 1994). Tequila Don Julio, Diageo’s premium tequila portfolio, deserves better. So Diageo had 20 of the world’s top mixologists, handpicked by Don Julio brand ambassador Brian Van Flandern, a world-renowned mixologist himself, create a new kind of shot: Luxury Shots, mini-cocktails that combine the fun and ritual of a shot with the fundamental principles of mixology and the sophistication worthy of Tequila Don Julio. Mixologists were asked to keep the number of ingredients to four (give or take a raspberry or two) in a combination

that was “luxurious enough for a four-star restaurant but also simple and enjoyable enough for a club environment—not an easy thing to balance,” says Duke, who should know; in addition to her work for Diageo, she was recently honored by the James Beard Foundation as one of the most prominent women mixologists in the country. In addition to enhancing the finer qualities of Don Julio, the ideal Luxury Drop experience is memorable and creates a ritual among friends. Like a body shot, but different. One example involves running in place and striking a pose (see Reposada Lightning, below). More simply, one can just shout, “Viva Don Julio” before downing the Spanish Raindrop, which is what its creator recommends. Says Duke, “If you create your own ritual,

the next day it will probably be the most memorable moment of the evening.” Duke prefers to sample Luxury Drops before dinner (“to get the juices going”) or after (“to tie up the meal like a dessert”), but says people should experience Drops in any way they please. “In the end, it’s all about friends and being together.”




Leith Matthews

Danielle Tatarin

Paul Mant

Reserve Brand Ambassador

The Keeper Bar, vancouver

Quo Vadis, london

Terra Rosso de Primavera

Brut Force

Duo de Sangrita

“The Drop was created for a VIP party for Dubai Fashion Week at the Crossroads Bar in Raffles. One of the models requested a shot that was ‘earthy, sweet and full of passion.’ Terra Rosso de Primavera was created and enjoyed by the jet-set models and bartenders alike.” .9 oz/25 ml Don Julio Reposado .4oz/12.5 Chambord ½ passion fruit 2 fresh raspberries .3oz/10 ml agave syrup Shake all the ingredients, pour into a shot glass.

“Brut Force is a play on the use of Brut Champagne. I’ve always liked the idea behind the drop shots but got tired of the high alcohol content usually associated with them. This drop by contrast is refined and delicious. It has all the ritualistic fun of a shot combined with all the sophistication of someone who practices social responsibility. The combination of orange, cinnamon and tequila is a magical pairing and has always been a favorite of mine.” 1 oz/30 ml Don Julio Blanco 3 oz/90 ml Brut Champagne 2 dashes orange bitters orange wheel dipped in cane sugar and cinnamon

Inspired by the three colors of the Mexican flag, this is a marriage between the U.K. and Mexico. 1.8 oz/50 ml Don Julio Blanco, chilled 1.8 oz/50 ml Sangrita Ingles (shallots, green pepper, cucumber and salt) 1.8 oz/50 ml Sangrita Mexicana (typical sangrita, but with a dash of Clementine) Serve in elegant tall shot glasses in sequence of the Mexican flag, and drink in sequence; 3, 2, 1, enjoy!

Pour one ounce of Don Julio Blanco into shot glass. Pour Champagne into highball glass and add orange bitters. Dip orange wheel in cinnamon and sugar. Drop the measure of Don Julio into the Champagne and drink at once. Finish by eating the orange wheel. 103

gravy / Entertainment

the Blizzard of 2010 This year, DQ’s Blizzard frozen treat marks its 25th birthday. Grey, DQ’s agency partner since 1997, is helping celebrate with a campaign aimed at making more people buy Blizzards, because a quarter of a billion a year is not enough. So far, so good: since the campaign launched, unit sales were up 176% the week after the campaign launched. To commemorate a quarter-century of soft serve with things mixed in, here are 25 Blizzard and DQ facts, one for each creamy and delicious year:  ince its introduction, Blizzard has 1 Sintroduced more than 100 new flavors. Blizzard flavors 2 TinhethetopU.S.fivearemost-popular Oreo, chocolate chip cookie dough, M&Ms, Reese’s Peanut Butter Cups and Butterfinger.

are more than 550 DQ locations in 3 T19here countries outside the U.S. and Canada. 4 D Q in China serves green tea Blizzards.

n 2009, a DQ operator in Madison, South 5 IDakota sold more than 18,000 Blizzards on Miracle Treat Day in a town of only 6,000 people.


exico features such mix-ins as 6 Mchamoy (plum, tamarind or apricot fruit base mixed with chili powder) and horchata (a sweet milk-based treat with hints of cinnamon and vanilla).

n China, portion size is smaller 7 Ibecause many Asians are not

accustomed to eating a lot of treats at one time.

Q is adding a six-ounce mini8 DBlizzard to its U.S. menu after consumer research showed that people couldn’t eat a burger and finish off their meal with a regular-sized Blizzard.

9  ne-of-a-kind holiday favorites 10 Oinclude Pumpkin Pie, Yule Flip Really? Who are those people?

Peppermint Chip and, for Valentine’s Day, Choco Cherry Love.

arren Buffett, CEO of Berkshire 12 WHathaway, owner of DQ, third-

actor who plays the father in 18 TtheheBlizzman Family is the same

wealthiest person in the world and a fan of Famously Effective advertising (see #15) visited the Blizzard Mobile at this year’s stockholder’s meeting in Omaha.

actor who starred in the “Napkin” commercial for the FlameThrower burger.

Napkin” was part of a campaign 19 “that helped reestablish DQ as an

 world’s largest frozen treat, 13 The according the to Guinness World

American icon brand.

lizzard commercial “Tongue20 BTied” is part of the permanent

Records is a Blizzard made by a DQ in Springfield, Massachusetts in 2005. It was 22 feet high, weighed more than 8,244 pounds and contained more than 700 gallons of soft serve and 3,000 pounds of crushed Oreo cookies.

archives of the Museum of Modern Art in New York City.

Blizzard Fan Club, launched 21 Tinhe2005, now has 2.6 million members, with more than 300,000 of them joining in first two months of the Blizzard 25th Birthday campaign.

gained 22 DQ 97,000 new

Facebook fans in April following the campaign launch.

utspent ten to one by com14 Opetitors such as McDonald’s and

Burger King, DQ has experienced six consecutive years of samestore growth.

is up 23 Ttootalalmost 402,000.

Buffett likes that; in a let15 Wterarren to Grey he thanked the agency

Q has owned the Blizzard 24 Dtrademark since the late 1950s,

on behalf of owners, managers and franchisees: “The terrific job you are doing for Dairy Queen is showing up in sales.”

when it was a shake-like treat without fruit, cookies or candy ingredients.

he first Blizzard as we know it 25 Twas created by franchisees in St.

16 Grey’s work

Louis. The mix-in concept was so successful, DQ made it a staple throughout the entire system.

for DQ has won more than 80 awards since 2004.

 very August, DQs in the U.S. 11 Eand Canada participate in Miracle Treat Day; Blizzard proceeds that day benefit Children’s Miracle Network, a nonprofit organization that raises funds for children’s hospitals.

esearch shows that Blizzard 17 Rconsumers are passionate about

the treat and about DQ. Grey’s new campaign features the Blizzman Family and their crosscountry chase of the Blizzard Mobile that’s marking the birthday by giving away free Blizzards.

The Billionaire and the Blizzard Blaster Legendary investor and renowned philanthropist Warren Buffett, whose Berkshire Hathaway company happens to own DQ, took a turn in the Blizzard Blaster at the 2010 stockholder’s meeting in Omaha. We’re not sure what a Blizzard Blaster is, but here are some photos of Buffett in and around it. According to the DQ corporate blog, “In case you’re wondering, yes, the Blizzard Blaster still smells like money.”




Selling out? Try selling in. by Josh Rabinowitz

An unmistakable tipping point has transpired: the concept of “selling out” has been taken over by “selling in.” Think of Pearl Jam doing a Target ad – that’s nuts!   The recording industry’s dip from $40 billion in annual sales to half that these past 10 years has been well documented. Due to this seismic shift, advertising could do nothing but reap the benef its and tap into an ever-widening reserve of music. With this in mind, here are 20 brands that made great use of music from 2000-10: 108

gravy / Entertainment


VW Cabriolet Nick Drake, “Pink Moon”: Drake’s

arresting, drug-addled, British-public-schoolaccented song increased album sales for an artist who had taken his own life some 25 years earlier. It also instilled the belief that ad music could take a brand, a 60-second piece of film and a car, and approach the realm of Art. Also successful: J. Ralph’s score for the VW spot “Squares,” a deceptively simple electronic track. VW is to ad music as Trainspotting is to film scores.


Various Brands Moby, Play: It’s believed that every song from this album (actually released in 1999) was licensed for either an ad, videogame, TV show or film. The music was so popular that it generated copyright infringement complaints and a hyperbolic geometrical formula called “The Moby Quotient” that presumably calculated the degree to which a band or recording artist has sold out.


Apple Yael Naim’s “New

Soul,” Feist’s “1-2-3-4,” The Ceasers’ “Jerk it Out,” and more: As

Billboard noted, the No. 1 way for a band to get maximum exposure was to get its track on an Apple TV commercial. Dare I say it? Apple is to advertising as The Beatles were to pop music.


Sony Jose Gonzalez’s

“Heartbeats” and Alana Davis’ “Carry On”:

Gonzalez, a Swedish indie folksinger and songwriter of Argentinian descent did a soothing cover of the Knife’s song, providing a stunning sonic juxtaposition to 250,000 colored balls bouncing on the streets of San Francisco. Davis’ masterful cover of Crosby, Stills, Nash & Young’s “Carry On” could have become a smash hit except for its unfortunate timing: the ad, about a businessman going up in a space shuttle, was pulled after the Challenger crash.


Honda The “Grrr” spot, featuring Garrison Keillor’s “sing-speak,” had a meaningful message about diesel fuel, superior animation, a memorable whistling hook and won the Cannes Grand Prix – what more can I say?


Adidas Karen O, “Hello Tomorrow”: This haunt-

ingly beautiful track was created by Squeak E. Clean’s Sam Spiegel and realized through the voice of Karen O of the Yeah, Yeah, Yeahs.


Cadillac Led Zeppelin’s “Rock n Roll”: Surely

this was a lucrative deal for the English power-rock band, but the ROI for Cadillac was humongous. Equally huge was the amount of people in the biz who claimed credit for making the deal.


Old Navy Ingrid Michael-

son’s “Who I Am”:

The track from this ukulele-strumming Staten Island singer isn’t necessarily any great shakes, but it started a minirevolution of ingenue-like, sweetvoiced female vocalists that seemed to grace so many ads for so many years, including those for JC Penney, Target, Kohls and even Apple.


Mitsubishi Eclipse Dirty Vegas’ “Days Go By”:

We in the ad world all know that this track helped take an unknown band to a known place and inspired lots of folks to buy a track that they first heard on a car commercial. In fact, it opened the door for other little-known bands and artists to collect some nice cash from car companies.


Nike Almost too many to mention: Take your pick, from music and sound design company Endless

Noise’s “Freestyle,” The Killers’ “All These Things That I’ve Done,” Marvin Gaye’s version of “THE Star-Spangled Banner,” Jonathan Elias’ beautiful piano piece on “Move” and the Kanye, KRS One, Rakim, et al. tribute track used for the 25th anniversary of the Air Force 1 sneaker.

11 12 13

Royal Caribbean Iggy Pop’s “Lust for Life”:

This shows how lyrics can be completely obscured in the crusade to persuade.   Jaguar The Clash’s “London Calling”: The

Clash’s apocalyptic rant is completely incongruous with a luxury car. I hate to admit it, but like No. 11, it somehow worked. E*TRADE Mr. Mister “Broken Wings”: The E*TRADE babies are iconic and have captured the attention of millions of consumers. When one of them sang “Broken Wings” in an ad a few years back, you could hear your neighbors holler with joyful laughter.


McDonald’s Os Mutantes’ “A Minha Menina”: Damn

great use of a track. And the McDonald’s tag, “I’m lovin’ it,” as well as the tune it’s set to, has been around for seven years and plays everywhere in the world.

15 16 17

Alka-Seltzer Rhett & Link’s “Buffet”: If you

haven’t seen and heard it, go to YouTube right now. It gives “plop, plop, fizz, fizz” a run for its money. Starbucks Survivor’s “Eye of the Tiger”: The 1970s rock band parodies itself in a hilarious TV spot for Starbucks’ Doubleshot Espresso. “Glen, Glen, Glen, Glen!” Genius!   NFL Arcade Fire’s “Wake Up”: Maybe the greatest anthem of the decade by a band that decided to license this amazing track to the NFL for its Superbowl Spot and then donate all monies to Partners in Health for Hatian Relief–can you say WIN WIN Win?   KIA The Heavy “How you like me Now”: Anthemic Pop rock Funk homage to James Brown that captivates the listener to the maximus. Tell me that you haven’t seen this ad and said to the person that you’re watching with – “Isn’t that a great song?”

18 19

Lincoln MKZ Shiny Toy

Guns “Major Tom (Coming Home)”: It’s hard to

make a cover version of a song that compels listeners as much, or at times, more than the original, but this track may have beat it. Peter Schilling’s song “Major Tom (Coming Home)”, originally done in 1980, is speaking to consumers probably a ton more 30 years later, and it’s all because of Lincoln. Cadillac Phoenix “1901”: Great band, great track, cool band, cool track – a music supervisor’s dream really, a brand’s dream, an ad agency’s dream.


Josh Rabinowitz is SVP, Director of Music for Grey Group. He is also bandleader of NYC’s own funk outfit The Second Step, a former NYU adjunct professor of Music presently at The New School and a contributor to Billboard magazine. He was recently chosen by the London International Awards as its first Music Jury President. LIA is the first major awards show to recognize and honor Music categories across all media with a separate Jury President and panel.


gravy / Ad Credits


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Procter & Gamble CoverGirl, U.S.

Mercedes-Benz, Brazil

Procter & Gamble Pringles, France

GSK Aquafresh, France

Procter & Gamble Boss Orange, U.K.

Steps Toward Life, Romania

Bike Bauer, Germany


Diageo Ketel One, U.S.


 ( V$ !!# % # D & D<BI>EF$9EC

Apartheid Museum, South Africa

SHS, France



Snowboard Association, Norway

TannerMedico Asonor, Denmark

Transport Accident Commission, Australia

John West, Australia

Procter & Gamble Fairy, Poland

3M Scotch Brite, Brazil

PETA, Singapore

3M Scotch Tape, Turkey

Brother, France

Don Pascual, Uruguay

Findus, France

Lust Erotic Boutique, Denmark

Procter & Gamble Hugo, U.K.

Procter & Gamble Pantene, South Africa

Pilot, Spain

Four days. Five projects. Lots of fertile thinking. , proud partner with

The faster you go, the more damage you do.



Horoscopes By Mike the Copywriter

Sign of the Month:

Scorpio October 23 – November 21

The year ahead is filled with adventure. A whirlwind winter romance invigorates your personal life, leading you to believe that happiness is within your grasp. But a mid-spring breakup over your partner’s infidelities flushes you back down the dark toilet of despair. Fortunately, a pithy summer pay-raise and monstrous amphetamine habit perks you up just in time for the fall TV line-up and several months of convincing yourself that contrary to what your family says you will one day amount to something. Famous Scorpios: Madame Curie Marie Antionette Pablo Picasso Theodore Roosevelt Pat Sajak Simon and Garfunkel



November 22 – December 21

July 23 – August 22

A duck will come to you in your hour of need. But it won’t be able to do much because it’s just a duck.

Stop indulging the irrational fear that your dog means you harm. It’s the cat that’s trying to kill you.



December 22 – January 19

August 23 – September 22

This is the month to once again put off moving on to bigger and better things.

November will bring a plethora of opportunities that you’ll totally screw up by December.



January 20 – February 18

September 23 – October 22

An encounter with a friendly zombie leads you to re-evaluate your fear and prejudice of the living dead.

You will buy a new coffee mug. And that’s your month.

Pisces February 19 – March 20

You’re in it to win it, but you lose anyway.

Aries March 21 – April 19

Your new team member, Sam, will get annoyed with the way you constantly express your dislike for green eggs and ham.

Taurus April 20 – May 20

This month, remember the best things in life are free. Except pudding.

Gemini May 21 – June 20

This month, your religious convictions will be rewarded when a vision of Christ appears in your peanut butter and jelly sandwich. And is He delicious!

Cancer June 21 – July 22

This month, the only thing more joyous than giving birth to a healthy baby boy, is discovering that he’s stuffed with money.


Mike is not a professional astrologer and barely manages to function as a professional copywriter for Grey New York clients that include E*TRADE, Pringles and Captain Morgan.


Gravy | volume 1, issue 1  

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