You break it you own it. Again.

Earlier in the evening, when I was much more awake, I was in the mood to write a new blogpost tonight. But that was then and this is now. Nonetheless I didn't want you to go to sleep without a little reading material, so I'm revisiting this little number from a couple years ago. It holds up pretty well. See if you agree.

Now that we're in the hopefully soon-to-be-ending era of the shithole president, it seems every media outlet—or fake news organization as he likes to slander them—is lousy with Breaking News stories almost every minute of every day.

Not that some of them aren't legit, what with the liar-in-chief committing several impeachable crimes and saying (or tweeting) monumentally stupid, ignorant, racist, misogynist, homophobic, climate change denying, lies, uninformed and just plain wrong things minute-by-minute on a daily basis.

But in reality, a lot of the Breaking News is just an attention getting graphic to induce us to stay tuned for not necessarily new information on ongoing stories, reports and rumors that haven't been confirmed or profiles that aren't so much breaking as being updated.

All of which got me thinking (eventually something had to) about what would actually constitute Breaking News in advertising agencies.

Client only wants to see one idea.

Breaking with tradition, a major automotive client today asked the agency to only present one idea for the global branding campaign. "We don't know what you guys are doing all day, but we have work to do. No one has time to sit through three hours of storyboards and ripomatics on ideas your creative director 'Just couldn't let go.' Show us the one and get on with it."

ManifestNO

For a recent new business pitch, none of the agency copywriters were asked to work on a manifesto. Not by the creative director. Not by the account director. Not by the general manager, although he may have tried. Cell reception is bad from the golf course.

Instead of a lofty, cleverly worded, Jeff Bridges, Alec Baldwin or Peter Coyote sound-a-like voiced statement about what the product is, means and how it impacts the world and all who come in contact with it, the unexpected decision was made to just roll the dice and show up with good work.

No insights

In what witnesses called a startling admission and an unintentional moment of truth, the agency revealed it has absolutely no insights. None. Gerard Pennysworth, Vice President of Knit Caps, Ironic T-Shirts and Global Strategic Planning was quoted as saying, "Your guess is as good as mine. I don't know why the hell anyone does what they do."

Agency gives team enough time

Used to only having 15-minute coffee breaks to create global branding campaigns, yesterday a creative team was told they'd have three weeks to come up with a single television spot. When told they were in fact not the subjects of a cruel joke, the team went into shock and required immediate medical attention.

Buzzwords not allowed

Several account people were let go today for violating the recently instituted "no buzzwords or phrases" rule. When asked if perhaps the punishment was a bit too severe, Director of Human Services and People Management Kathleen Laytoff replied, "It's always difficult to let people go, but net-net at the end of the day, they just 'laddered up' once too often."

Company policy

The two pictures on this post are from actual advertising agency websites. The first describes who doesn't work there. The second describes who they don't want working there.

It’s a philosophical question really. Exactly how many assholes have to be working in an industry before companies are forced to advertise the fact they’re not welcome as employees?

Hospital websites don’t have to tell you they don’t want jerks working there. Neither do insurance company sites. Home appraiser websites. Restaurant websites. Virtually every industry and business assumes you take it for granted they don't want to hire insufferable, egomaniacal, argumentative, contrary jerks and assholes.

Except one. Advertising. Why do you suppose that is? Think for a second….got it? Okay, don’t make me say it.

Alright, I’ll say it. It’s because there are a lot of jerks and assholes working in advertising. (There are also a lot of immensely talented, brilliant, creative, kind, giving people too, but that's not who we're talking about in this post)

Despite all their efforts to keep them out—including garlic, crosses, a no MAGA hat policy and regular pest control service—jerks and assholes somehow seem to find their way into agencies.

I have a suspicion you, dear reader, might believe that somehow I'm directing my ire towards one department in particular.

Not at all.

The fact of the matter is that agency jerks and assholes are equal opportunity players and are department agnostic: they show up everywhere.

All you can do is recognize them for what they are, call them out on it as often as possible, then ignore them and just keep moving forward.

They don’t ever make it easy, and they have this inexplicable, frustrating and unfair talent for failing up. But if experience with these unpleasant individuals has taught me anything, it's that the best course of action in dealing with them is to stay professional no matter what, and not sink to their level.

Because you know who else doesn’t like jerks and assholes? Karma.

I read the whole thing

I can't believe I was there for the whole thing. Well, not the whole thing. But a lot of it.

Let me back it up a bit. It's not often I'll start a book and read it cover to cover in one sitting. But I had a feeling that was going to happen with I Can't Believe I Lived The Whole Thing by my mentor, and the man who gave me my copywriting career, Howie Cohen.

As I've written before, you can blame it on him.

There are two reasons I got through the book faster than Brett Kavanaugh driving to a liquor store near closing time. First, if I can be honest, I wanted to see if my name was in it. Spoiler alert: it's not. Apparently I haven't had the impact on Howie's life that he's had on mine.

Whatever. We move on.

The other is I couldn't put it down.

As reads go, this is a great one. The true story of an advertising legend and Hall Of Famer—did I mention he gave me my start—Howie brings the mad men days of the business in New York to life in vivid, humorous and detailed fashion.

I didn't meet Howie until he moved to L.A. and I worked with him at Wells Rich Greene. I was witness to a lot of the stories he tells in the book. And the ones I wasn't I heard the first time straight from him. Like Mary Wells bringing him and partner Bob Pasqualina into her office, and in front of clients threatening to hang them out to dry for something impolitic they said in a New York Times interview. And I still use the line, "Please excuse the leather smell." when people get in my car.

It'll make sense when you read it.

Here's the thing: I've known Howie for two thirds of my life. His influence on my path cannot be overstated. I know a lot of people have worked with him, and they all like to claim him as their own. It's understandable, I do it too. But only because I'm entitled to because I knew him first.

His book captures the craziness, creativity, relationships, frustrations and rewards of the ad biz in a way only someone who has lived it at the top can. Whether you're in the business or not, it's a great story that'll have you laughing out loud and shaking your head there was actually a time like that.

Personally, I got to relive some of the best times of my professional life (stopping to laugh for using the word professional). As I was reading, I remembered stories Howie told me I hoped would be in the book, and they are. Moments I was there for—like another legend, Mary Wells, addressing the staff after the loss of the Jack In The Box account. And there are the personal battles Howie's fought and won that I never knew about. He reveals them with a disarming rawness and honesty.

Even though my name's not in the book, there are lots of other names that I know and have worked with. And while Howie and I have differing opinions on some of them, it's fun to read his take.

Howie's always had greatness about him, and he's as true to who he is as anyone I've ever known.

You can see it on every page.

The creative review

Here's what doesn't happen in the insurance business. A group of senior management people don't get together in a room with the underwriters every time they write a policy to evaluate how well they've done it.

"I don't know, it just seems to me you could've referenced a more recent actuarial table." "With regards to the deductible, does that line up with the property value in terms of reimbursement?" It doesn't happen in insurance, or most industries. Oh sure, someone takes a quick look before it goes out, but it doesn't have to go through committee.

Because, as any third-grader could tell you, that would be bullshit and a monumental waste of time and resources.

But in advertising, you can't underestimate people's need to be part of the process. And because creative work is the product, it's the one dance everyone likes being invited to.

If you're not familiar with creative reviews, it's where anywhere from one person to several people working on the account, near the account, in the same hallway as the account or in the building next door to the account get together and "review" the work to make sure it's on strategy, saying and doing what it's supposed to. At least that's the theory.

Now a few different things can happen in creative reviews. The work can just go through swimmingly, earning nodding heads, praise, kudos and unanimous agreement from everyone. This rarely happens.

Another way it could go is the creative director will see something strategically off point and, so as not to embarrass the creative team, gently offer up meaningful, constructive suggestions how to course correct to make the work more relevant and effective. This too is a rare occurrence.

Usually, especially if deadlines are tight (they always are) or clients are demanding (they always are), or the creative director has had their own work shot down by the client more times than Glenn Close's dreams of winning an Oscar, it's a complete and total shit show.

There are certain creative directors—although God knows, and let me make this as clear as I can, none that I work with—who just love to hear themselves talk. They laugh heartily at their own jokes, and are constantly taking trips down memory lane reliving their glory days which may or may not have ever actually happened. You can almost set a clock to it—that's right about the time they not so much critique your work as explain exactly how they'd do it. Then they ask you to take another shot at it.

Which, as anyone who's been on the receiving end of that comment will tell you is code for go back to your office—or assigned open office seating space—and do up what they just told you.

Here's the thing: I'm not Hemingway (if you follow this blog even a little you already know that). And while I'm also not a junior reporting for his first day of work, I get the process. Someone with a bigger title and pay grade has to look at the work to make sure it's hitting the marks it's supposed to. But when it's, oh, just for argument's sake let's say an overrated, egotistical, abusive, job-jumping, work-stealing, credit-grabbing, kickback-taking alcoholic who's shut down every agency they've ever worked at and wouldn't know a good idea if they fu..er...tripped over it (family blog)—again, not that I work with anyone like that—then it becomes somewhat frustrating.

On the other hand, it does make for good blog material.

Sounds familiar

Almost six years ago, I wrote the post you see here. I know what you're thinking: "He's been pumping out this crap for six years?!"

One man's crap is another man's shinola, or something like that.

The point is I don't like to recycle my posts, but six years later this one is still as relevant as ever.

How do I know? Because in my day job writing about a luxury automotive brand, I find myself using the same exact words I speak about in the post. I'm not proud.

I guess what I'm saying is even though this is a pre-owned article, it's been through a 140-word inspection and reads just like new. Take it out for a test read, and experience it for yourself.

Like a lot of writers living in Southern California, I’ve worked on many car accounts. From top end $90,000 luxury vehicles to $14,000 coffee-grinders, I’ve written it all.

Commercials, collateral, radio spots, print ads, online banners, interactive content, Twitter posts, Facebook posts, outdoor, customer kits, dealer kits, CPO kits, sale kits, employee bonus kits, warranty kits.

Oddly enough, no matter the price or quality of the car, they all have something in common. The words used to describe them.

Pick a car, any car. I bet it’s exhilarating. It’s probably also a leader in innovation. No doubt it’s been engineered to maximize your driving experience, and designed to turn heads as well as corners.

Let’s not forget the fact it’s also loaded with state-of-the-art technology, as well as class-leading aerodynamics whose job it is to keep you connected to the road. How else could you get a car that makes setting the standard, standard.

But there's no point to any of it unless you're around to enjoy it. That's why the car you're thinking about is loaded with the latest active and passive safety features.

The cars come with airbags. The agencies come with windbags.

Differentiating parity products - different brands with the exact same features - has always been a problem in advertising. Often the only thing that does it is the quality of the creative idea, the consistency of the execution and the personality it establishes for the brand.

I bet you know what BMW builds. But I'm fairly sure you aren't nearly as familiar with the tagline Toyota - which builds awesome cars for all income levels - just spent millions to introduce.

Unless there's a real product difference, almost every category from athletic shoes to cars to fast food use the same words to describe their product. Which makes it even harder to tell them apart.

Sort of like ad agencies.

Taking one for the team

I’ve said it before and I’ll say it again. Of all the snappy little phrases that get tossed around in ad agencies, and God knows there are plenty of ‘em, the one I like least is “team player.”

Now, before you start getting your panties in a bunch, wagging your finger, stammering and screaming, “I knew it!” you might want to hear me out. Then again you might not.

My life will go on either way.

Anyway, just because I don’t like the term doesn’t mean I’m not one. For instance, I’m also not a fan of the phrase “slightly overweight” or "distinguished gray" but, well, never mind. Bad examples. The point is, as much as it goes against my grain, I’m a team player when I need to be.

New business presentations? My sleeves are rolled up, and I’m banging out manifestos and taglines faster than Bret Kavanaugh driving to a liquor store at closing time.

Client meetings? Point me towards the bagels and let me loose. I love presenting, the bigger the room the better. I have a slightly different way of measuring if it’s been a good meeting. Here it is: If I get the big laugh, it was a successful meeting. I know some people think if we sell the work or get the account that’s actually the measure of success.

Whatever. To each their own.

The off-campus pep talk/morale boosting/team building meetings? You don't have to ask me twice. I’d be there even if there weren’t luxury buses to shuttle me, and free food and liquor after. I just wouldn’t stay as long.

Where I seem to be unable to muster up one for the team is Halloween. To me, October 31st at agencies is like personalized license plates: once you’ve seen the costumes, the joke’s over. What starts out at 9 with everyone oohing and ahhhing over the costume you made winds up with everyone tired of looking at it by 9:30.

However, I have nothing but love for the team I work with. So when they decided our group would dress up as characters from iconic 90's movies, even though all my Jedi instincts were screaming no, I decided I'd do it.

I thought it would be good for me to get over my bad attitude and insecurities—and I know what you're thinking: besides my weight, bank balance, increased memory loss, receding hairline, bad skin tone, limited wardrobe, nine-year old car, complete inability to fix the simplest things around the house, having to wear glasses, feeling like an outsider, not liking sports and, did I mention weight, what do I have to be insecure about?

Perhaps I've said too much. You never read this.

The point is I eventually decided to come to work as one of my favorite characters and perpetual profile photo on Facebook—The Dude from The Big Lebowski.

I found an exact match for the Dude's bathrobe. I went not to a pop up Halloween store, but to a professional wig shop and got my long hair locks like the Dude. I bought L'Oreal Light Brown Root Control spray to match the Dude's hair color (I'll probably be hanging on to that). I bought the sunglasses and brown flip-flops to complete the look.

I was ready and set, but I didn't go. I just couldn't do it.

Was it that the look wasn't as exact and perfect as I wanted it to be? Or was it that I couldn't get past the image of me wearing a white t-shirt under the robe that, well, remember the "slightly overweight" phrase? Talk amongst yourselves.

And despite the fact I could've legitimately gotten wasted downing White Russians all day, told my creative director "Well, that's just your opinion man" and said things like "That rug really tied the room together" to stay in character, it wasn't enough for me to suit up.

But not wanting to let my colleagues down, I did finally decide to come in dressed as an older, overweight, gray-haired, married Jewish guy with kids.

I know, it was a stretch. But what can I tell you. I'm a team player.

Shuttle diplomacy

Regrets, I've had a few.

Six years ago I was freelancing at Saatchi. That's not the regret. I'd started there for what was originally a two or three week gig, and wound up being there about three or four months. That used to happen a lot because I could always be relied on to get the job done, and my freelance strategy was to just keep showing up until they told me not to. Like all freelancers, I liked when gigs went on longer than I was booked for, because if there's one thing I love it's a day rate that keeps on giving.

I happened to be freelancing at Saatchi at two different times during two memorable events. One was the day they found out Toyota was moving their headquarters to Plano, Texas. They found out about it the same way I did—they heard it on the news that morning. The agency was buzzing about it when I got there, and management held a hastily thrown together staff meeting to reassure everyone the move wouldn't happen overnight, everyone was safe and to not worry about it.

What the meeting actually did was reassure everyone management didn't have the slightest clue what was happening.

The other event was the landing of the Endeavour Space Shuttle at LAX before its drive to the California Space Center. This was a big deal for Saatchi and Toyota, because they'd sold a commercial—and ponied up some of that Toyota money they printed in the basement—where a Toyota Tundra was going to tow the shuttle a very short distance part of the way between LAX and downtown on its journey to its permanent exhibition space. This was to show that if you bought a Tundra, had a specially made hitch, connector, trailer and several NASA engineers and production assistants, you could also tow a space shuttle should the opportunity present itself. As it does.

The door to the roof of Saatchi's building was unlocked, so when the shuttle was coming into the airport on its final approach, everyone went up there to watch the landing.

Since Saatchi is in Torrance, not far from LAX, it was a great view of the NASA 747 carrying the shuttle piggyback, and the two fighter jets escorting it. Plus if you looked down, you could also see the entire shopping mall parking lot Saatchi sits in the corner of.

After seeing it land, I decided I desperately wanted to be one of the thousands lining the streets over the next few days as the orbiter was towed downtown.

I've had a few once-in-a-lifetime experiences in my time. I met and became friends with Groucho Marx. I snagged sixth row center tickets to see a certain gravel-voiced singer from Jersey in his broadway show. I had floor seats at SNL, hung out backstage and went to the after party as a guest of my friend Kevin who was one of the Not-Ready-For-Prime-Time players. I hung out with my friend Holland Taylor backstage at Lincoln Center after a Tony-nominated performance of her one woman show ANN. I played Barrel Of Monkeys with Helen Hunt at the VFW in Ponca City, Oklahoma when she was shooting Twister.

It's important in life (here comes the life advice, stop rolling your eyes) to recognize real once in a lifetime experiences when they happen. And I figured seeing the shuttle rolling down neighborhood streets was going to be one of them.

I watched the coverage on TV with my daughter, and kept telling her we should go see it in person because nothing like this was ever going to happen again. For reasons I don't remember now, I either wasn't able or decided not to go. In case you couldn't tell, that's the regret.

Today however, I was able to somewhat remedy that missed chance by going to the Science Center with the wife to see Endeavour for the first time since it arrived. I know it's been six years, but you know, life in progress. My daughter wound up seeing it years ago with her class on a field trip, and now it was my turn. Not to see it with her class, but you know what I mean.

Anyway, it was magnificent. I'm not gonna lie. I got choked up. It genuinely felt like I finally stopped denying myself something I really wanted, as well as a dream come true.

Just like my high school girlfriend.

The wife and I watched the Journey Into Space 3D IMAX film before walking into the Endeavour exhibit. And the idea that this, the most complicated machine ever built, that we've seen take off and land so many times over the years, has come here after having been in space orbiting around this little blue ball of a planet was almost too much to take in.

In a world that's felt like it's been crumbling since January of last year, and with ignorant, fearful men trying to convince the nation that science is something as evil as they are, looking up at Endeavour gave me a feeling I haven't had in a while: hope. It restored my faith that mankind's intelligence, ingenuity, curiosity and never ending need to keep exploring ever further might still prevail, and guide us all towards our better selves.

Just like the hope I had that Saatchi's roof door wasn't locked when it closed behind us.

Client rewrites

I'm doing something right now I'd advise anyone writing a blog not to do. I'm writing this post while I'm extremely pissed off. I know what you're thinking, "But Jeff, you're usually so funny and easygoing and levelheaded, what could possibly put you in such a foul mood?"

Well, I'll tell you. Clients who want to be copywriters.

There's a story I may have told before here, but it bears repeating. Paul Keye, who owned Keye Donna Perlstein, one of the great Los Angeles creative shops that isn't around anymore, wasn't just the creative director. He was also a copywriter, and a great one at that. He was presenting his work at a client meeting, and the client was being particularly dickish about it. Finally the client made some bullshit, insignificant, arbitrary change, like "the" to "a". He looked up at Paul and said, "What can I say Paul, I'm a frustrated copywriter."

To which Paul took a beat, then replied, "No, I'm the frustrated copywriter. You're an asshole."

Any copywriter who's been in the ad biz more than ten minutes has had the joyless experience of the client reworking their copy, with total disregard for what goes into creating it. Even when they like the copy, clients rarely get the nuance, cadence, subtlety, humor and rhythm of words well written. One of the most common places they take refuge is "I don't get it, how will any of our customers?"

Respect from clients for consumers intelligence is harder to find than a Christmas bonus.

Don't get me wrong: I'm sure occasionally a client will contribute something positive and helpful that doesn't make the copy sound like a strategy statement. Just like occasionally I believe I'll win the lottery, or Scarlett Johansson will return my calls.

If you think I'm painting clients in broad strokes and generalizations, take a look and listen to TV and radio commercials tonight. They were all client approved before they got there. We'll talk about the ratio of good to bad when you're done.

Originally this post was going to be about the subject of overthinking, but then I realized it's essentially the same thing. Clients examine copy with a magnifying glass the consumer will never use—assuming they even read the copy in the first place (you know the old saying).

It is endlessly frustrating with one client. The good news however is I have several who've been chiming in on how they think it should read. Copy by committee. Mmmm mmmm good.

Here's what I try to think about to keep it all in perspective. When Goodby had the notoriously bad Carl's Jr. account, they insisted on rewriting virtually everything that was presented to them. When asked about it, Jeff Goodby allegedly said, "It's a great deal. They write the copy and pay me." After it left, Goodby apologized to the staff for taking the business in the first place.

Whenever a creative chimes in with anything unflattering about the client, they're usually met with the fact that the client pays the bill and can have it the way they want. Thanks, but we already know this. I pay my doctor bills, but I don't get to tell him how to do the surgery. But then medicine isn't a collaborative sport like advertising. Which leads me to another thing: we're not curing cancer here. Don't get me started.

Here's the thing: this isn't my first rodeo. I know clients are always going to be changing copy, sometimes with the genuine intention of thinking they're making it better. And sometimes just because they're frustrated copywriters.

So I'll try to keep Jeff Goodby's comment in mind, along with my own personal motto.

The checks clear.

Slumber party of one

On the list of things I love in the world, right at the top along with air conditioning, the Fastrak lane and good water pressure are naps.

If you've been following this blog for a while—and really, besides the writing is there any reason not to?—you know this isn't the first time I've written about naps. There was this post from back in 2014. But like money and love, naps are the universal language. I'm sure this won't be the last time I write about them.

As you can probably tell by now, I had a stellar nap today. I really had no say in the matter. One minute there I was sitting in the comfy of my favorite reading chair, reading the newest Stephen King book and trying to keep my eyes open (which had nothing to do with the book), and the next my head was hitting the pillow in the bedroom and I was out for two and a half hours.

Clearly, I'm not a power napper. Those little twenty minute catnaps experts keep saying are supposed to energize you? Not so much. They do nothing but make me groggy and unable to think. Which a lot of people think is my natural state.

The good news is after a long nap, I wake up refreshed and ready to tackle what the day has in store for me. Except maybe a good night's sleep. It's the cruel joke of a great nap—I pay for the daytime sleep with no nighttime sleep. I'll be up for hours because another thing my long nap does is take the edge off the sleepy.

Many times at work, I've felt myself start to nod off at my desk. And if I didn't share an office with three other people, I might just turn out the lights, close the door (yes, I have a door) and grab a shorter-than-I'd-like nap.

Right now my agency is undergoing a remodel, you know, to an open office space to make sure no one including me has doors. Don't get me started. Anyway, maybe they'll be forward thinking enough to build out a few nap rooms where people can go recharge during the day. Otherwise, I can just grab a few quick zzzz's the same place I always do.

In the status meetings.

My compliments to the chef

The happy gentleman in the picture is Michel Richard, a French chef and former owner of Citrus, which was and will always be my favorite restaurant in L.A.

Citrus was novel for many reasons. Location was one. On the northwest corner just one block off Highland on Melrose, Citrus was at the end of an unassuming residential block. It had a closed in patio, with large umbrellas and a roof that could be drawn back, although it rarely was.

Instead of hiding the kitchen in the back of the house, Richard was one of the very first who chose to separate it from the dining area with a wall of glass, turning it into a gallery where diners could watch their food being prepared.

They could see the chefs at work. The attention to detail. The timing. The skill. And, vicariously, they could experience the pure joy of creation.

Citrus was also the home of my favorite restaurant dessert ever. Michel Richard's raspberry tart. Now, I'm not a fan of raspberries, and I'm not crazy about tart flavored items. But the way this dessert was made, the blend of flavors, the impossibly smooth texture, the thickness of the crust, the balance of flavors. It was perfection.

Citrus was around during the years I happened to be doing a lot of commercial production in Hollywood. And as any creative team will tell you, there's no lunch like a production company lunch. Or a post-production house. Or music production. If you had a good idea and a budget, you were wined and dined at the restaurant of your choice.

And since all the production companies and editorial houses were within five minutes of Citrus, the choice was easy.

I'm not saying I took advantage of that as often as possible. But I'm not saying I didn't.

Here's the thing. I can remember a lot of great meals I've had and restaurants I had them in: Jeremiah Tower's Stars in San Francisco. Emeril Lagasse's NOLA in New Orleans. Laurence McGuire's Lambert's in Austin. George Lang's Café Des Artistes in New York. Great meals and chefs to be sure.

But for me, none of them match the feeling of adventure, comfort, happiness, camaraderie and satisfaction of eating on the patio at Citrus.

Sadly, all good things come to an end. Citrus closed in 2001. Another incarnation opened at the Hollywood nightclub Social (cleverly called Citrus at Social- go figure). But the experience was never the same, and that version shuttered in December of 2009.

Michel Richard is no longer with us—he died of a stroke in August of 2016. But he did what every great chef aspires to.

He left me wanting more.

Take the afternoon off

You might think what you're looking at is a ratty old baseball cap with 330 embroidered on it. You'd only be half right. What you're actually looking at is a collector's item.

Years ago, my colleagues and close personal friends Alan Otto, Tena Olson and I decided what America, and dare I say the world, was crying out for was another advertising agency.

And really, can you ever have enough?

So to fill the void, and to have a place to go where we could work with people and clients we like all day long, we immediately leapt into action and started getting together every Sunday morning at Starbuck's to map out our plan of attack for opening our own agency. Between lattes and banana bread, we batted around ideas how we'd differentiate our agency from the zillion others out there.

The first name we were going to go with was The Beefery. We took an old butcher cow chart, and instead of the names of the cuts we substituted clever ad terms, none of which I can remember right now. That may be why we never went with it. Under the heading of collector's items, there are also Beefery t-shirts and hats hidden away deep in some storage locker somewhere.

Anyway, we knew an agency called The Beefery wasn't going to get any vegan clients, but we were okay with that. Then, somewhere in the course of those caffeinated Sunday morning discussions, we decided to go with a name that represented something the three of us had experienced many, many times in our combined years in the business— nothing really good happens after 3:30 in the afternoon.

Ideas. Strategies. Disruptions. Pitches. Performance reviews. Client meetings. They all happen, but just not as well as they should after 3:30PM.

Our promise was we were going to get while the gettin' was good in the first three-quarters of the day. People were fresh, their creative juices flowing, they hadn't burned out yet. Every single day, we were going to hit the ground running first thing in the morning.

We'd be unstoppable. Then completely stoppable by 3:30.

Of course almost immediately it occurred to us, what with this being a "service business" and client emergencies having a timetable all their own, that clients would have a tough time buying into our philosophy. Which explains why, at the end of the day, 330 never got off the ground.

Despite that fact we continued to meet at Starbucks for months afterwards, occasionally talking about opening an agency but mostly just enjoying each other's company and the people watching.

Optimists that we were, when enthusiasm was at its highest we ponied up and had these hats made. I wear it all the time, and have to say I still like it a lot.

But not nearly as much as I like the idea of calling it a day at 3:30.

New math

I have a high threshold for creepiness. I like horror movies. I want the teenagers to go into the dark cave. After the car breaks down in the rain on the deserted road, I can't wait for them to knock on the door of the creepy house. I love it when they don't know their shadows are moving independently of them. And toy clowns with eyes that follow them around the room? Yes please.

But I saw something on television this morning that creeped me out more than any movie has in a long time. This commercial for Mathnasium.

First of all, in the same way people who live in Anaheim never go to Disneyland, I almost never pay attention to commercials. However when the creepfactor is cranked up to eleven, it can't help but be a slow, drive by car wreck I can't look away from.

To quote Stefon, "This spot's got everything."

A pedestrian concept.

White-bread casting.

Bargain-basement CGI.

Needle drop music.

Giant A+ spray painted on the classroom wall (to go with the A+ on all the freakishly animated student sweaters).

Annoying voiceover.

Kid giving a thumbs up.

A token Asian cause, you know, math.

A maybe Hispanic kid and his maybe Hispanic mom.

A kid that says, "Awesome." Because that's how kids talk.

Not sure why, but for some reason for me the spot has an "It's a cookbook!" quality to it. Maybe it's the bad CGI on the badly animated students.

Here's what I think would help: if the kid at the end of the spot smiled and looked at his reflection in the car window. We'd hold for a beat, then his reflection suddenly turns into a killer clown, breaks through the glass and rips the little suckers' throat out.

I know, it probably wouldn't be good for enrollment. But you can't tell me it wouldn't add up to a much more memorable spot.

Don't ask: Working the weekend

This being Friday night, I started thinking about all the things I have to get done this weekend. And how I'm going to have plenty of time to do them. Know why? Cause I won't be working.

Everyone needs a philosophy to live by. I actually have a few of them, and one is if God wanted me to work on weekends he would've called those days Monday 1 and Monday 2. But he didn't, and I don't.

Anyway, there are plenty of times writing these posts feels like work. You know, the same way you feel when you read them. So since tonight is the official start of my weekend, it's pencils (keyboard) down.

In that spirit, I've opted for a re-post from my critically acclaimed, almost award-winning, fan favorite "Don't Ask" series. I think it'll be a perfectly swell start to your weekend.

Please to enjoy.

I know what you're thinking: why haven't I posted a new installment of my ever popular Don't Ask series - the one that brought you such widely read and revered gems like Don't Ask: Moving, Don't Ask: Picking Up At The Airport, Don't Ask: Loaning You Money, Don't Ask: Sharing A Hotel Room, Don't Ask: Writing A Letter For You and the perennial Don't Ask: Sharing My Food.

Well, tonight's your lucky night. I'm posting my latest in the series, and it's about a particular nuisance that effects every creative person in the business: working the weekend.

Jay Chiat of Chiat/Day fame had a quote that's been misquoted and bounced around ad agencies ever since he said it. If you're in advertising, you're already saying it to yourself: "If you're not here on Saturday, don't bother coming in on Sunday."

Looks like I won't be seeing you Sunday.

Agencies are notorious for their outsized and aggressive disregard for both working smart and your life. If they did the first one, working weekends wouldn't happen nearly as often as it does. Which would mean you'd get some of your life back.

Since I believe agencies will start working smart and utilizing their time more efficiently about the same time I ride my unicorn to Xanadu while drinking from the Holy Grail, I've chosen not to wait. I'm taking it back. Weekends are personal time. They're days of rest by definition. They are non-work days. Here's what I do on weekends. I spend time with my kids. I go out with the wife. I get things done around the house. I veg and binge Breaking Bad again.

Know what I don't do? Work.

Maybe if there were fewer 12-person meetings to kick-off the latest banner ad, not as many mandatory attendance pep talks to rally the troops, and less presentations to the staff from the Executive Group Specialist In Experimental Branding Strategy & Innovative Demographic Search Engine Optimization Solutions, there'd be enough time during the week to get the actual, bill-paying, income producing work done.

Not to brag, but because I have this policy of no weekends, I get my work done during the week. When I pack up Friday night, everything that needed to be done is done. Monday will bring a whole new set of challenges, and I'll get those done during the next five days too.

I know this is a radical position for a freelancer with a kid in college to take. Especially since weekends are usually double time. At a nice day rate, that can add up pretty quick. I know freelancers that hope for weekend work - something about gettin' while the gettin's good. Whatever. When your relationship with your kids turns into a Harry Chapin song, don't come crying to me.

Don't get me wrong. This is not to say I haven't worked weekends and won't again on those very few occasions it's necessary. But it usually isn't, despite the desperation, authoritative tone, insinuations about reputations and false logic that since they have to be there you have to be there. Almost as weak an argument as "If I do it for you, I have to do it for everyone else."

So go ahead, talk about how I'm too good to come in on Saturday. How I don't want to be a team player. How pissed everyone's going to be that they're at work and I'm not.

And if you want to tell me to my face, fine.

Call me. I'll be at home.

Short in the tooth

As anyone who’s done it will tell you, working in close proximity to others has its advantages and disadvantages.

For example, my desk is—for now—in an office with three other people. I consider myself lucky I have an office at all, since there’s a remodel coming that’ll convert most of the agency to an open office space floorplan. Did they read any of the articles and studies saying open office plans do exactly the opposite of what they’re intended to do? Do they care it makes people less productive and discourages collaboration? Don’t they realize it may be cheaper than individual offices in the short run, but the cost of replacing personnel as people leave due to lack of human interaction and difficulty concentrating on their work actually make it more expensive? Did they ask me if they should do it? The answer to all of the above is no. No they did not.

Don’t get me started.

Where was I? Oh, right. So my office isn’t really big enough for four people, but everyone likes each other and we work well together. Bonus for me: it means I always have an audience to try out new material. So win-win.

Anyway, our office is situated next to some desks in the hallway right outside it that have become a social gathering place for people in my group to hang out and talk about a variety of things. Some really annoying, some extremely entertaining.

Case in point: today someone was talking about their tiny lower teeth. I filed it under entertaining.

As I read this over, it occurs to me it's probably going to be one of those “you had to be there” posts. But it was hilarious. Not so much the fact this person had a lower row of teeth that would have self-esteem issues around a box of tiny Chiclets, but the fact the conversation just went on and on. And on.

Smiles. Retainers. Teasing as a child. Trouble chewing. It had everything. Plus while he was yapping on, and on, about his Shetland teeth, I was providing running commentary to my audience...er...officemates who couldn't help but also overhear the conversation.

This is the point where I usually try to wrap things up with a snappy little line. I was thinking something about biting satire. Finishing the post by the skin of my teeth. Fighting tooth and nail. Sinking my teeth into the post. But somehow none of them seemed quite right.

I might have to chew on it for awhile longer.

Ass scratchin' nomad

Before I tell you how "ass scratchin' nomad" became my new favorite saying, let's talk about the picture.

If you're a regular reader—and if you are you should get out more often—you know each post usually has a large, relevant photo centered at the top.

But I felt, and I believe you will too, that no one needed to see this particular picture any larger than it is.

Just so you know, the photo isn't of the person I'll be talking about. Butt the action is (see what I did there?).

Because our agency has grown so fast, there are now more people than there is space for them all (still waiting for them to ask me for recommendations about who to tie the can to-don't get me started). Anyway, an individual at my agency, who doesn't have an actual desk or workspace to call his own, wanders around from desk to desk and person to person doing whatever the fuck it is he does there.

So get this: apparently while he was discussing business with someone at the agency, he was leaning on the end of their desk, with his elbows in front of him, and his low-riding blue-jeaned derriere sticking out in the aisle between desks.

And while that may have been a comfortable position for him to discuss business, it wasn't exactly the best view for the individual sitting at the desk directly behind him.

Little did they know the view was about to get a lot worse.

Apparently Mr. No Office had an itch to scratch. So, being cultured and part of polite society, he quickly excused himself, went to find some privacy in the men's room, and discreetly attended to the need.

I'm just messin' with you. He crammed his hand down his pants, under the waistband, and scratched his sweaty, unwashed ass for longer than anyone wanted to watch.

It's the kind of slick move legends are made of. It's also the kind of story that spreads like wildfire through an agency.

I share an office just down the way from where the ass-scratching incident occurred. With me in our one-window, no-view office are three roommates. One of them happens to be an extremely funny writer. Wait, I meant another extremely funny writer.

When the story of the ass scratching eventually made its way to our office, my fellow writer was mortified. She couldn't believe someone would do that kind of thing out in the open for everyone to see. I don't remember her exact words, but it was something to the effect of, "As if the job isn't hard enough, now I have to worry about seeing some ass-scratchin' nomad when I'm walking in the office."

BAM! My new favorite phrase was born.

If you know anything about me, you know I'll often take a phrase or joke I like, hang on to it like a rodeo rider and run it into the ground until people know I'm going to say it before I do. If you think I'm kidding, go back through my posts and see if you can count how many times you see the words "high school girlfriend."

True to form, every day since I heard it, I've been trying to work "ass scratchin' nomad" into my office conversation at least once a day.

So thank you to my writer roommate for a line I'm having immense fun with, and that cracks me up every time I think about it.

When we were discussing the event, someone said the moral of the story is if you're going to scratch an itch like that, maybe you ought to find a more discreet place to do it. But I think that's all wrong.

The moral of the story is don't shake hands with him.

Resist the urge

Let's say you're at the Rose Bowl with a close friend, and you have something you have to talk about with them. Something personal, private. You figure with all the hootin' and hollerin' at the game, the two of you can have the conversation fairly discreetly.

I'm guessing what you don't do is run down to the center of the field with your friend, position yourself in front of the same microphone the sixth-place runner up on The Voice from season three used to sing the Star Spangled Banner, and have that private conversation loud and clear in front of 90,000 people.

Because if you did, it'd be that kind of squirmy uncomfortable and even irritating for the thousands who paid triple scalper prices to be there to watch the game, not listen to your sad life problems.

That's more or less what it feels like when people at work hit Reply All to work emails.

First of all, I love email as much as the next guy. Alright, not so much the ones trying to sell me Viagra or send me my hundred-million dollar inheritance from an Egyptian prince once they receive my bank account and social security numbers. Who falls for that stuff?

By the way, that check should be here any day now.

Where was I? Oh yeah. Emails that aren't strictly business matters at work are for the most part unnecessary. You know the ones I mean. The one or two word ones, that, for some reason, the people sending them feel need to go out to all 245 company employees in the email directory.

"Have a good weekend!"

"Great job!"

"Did the client see it?"

"Lunch?"

"Can you believe this weather?"

"Did you see La La Land?"

"Want to go for a walk?"

How about a long one off a short plank.

For whatever reason, people are too lazy to look at which button they're hitting when they reply. At least I hope they are. It's just too sad to think they want everyone in on their conversation.

And by the way, if the two people who are engaged in the conversation and are replying to all with their personal chit chat are actually friends, can't they just pry their fat derrieres out of their ergonomically enhanced Herman Miller Aeron chair and walk fifteen feet down the hall to the long, open office seating table and talk to their friend face to face?

Don't get me started.

You break it you own it

Now that we're in the hopefully soon-to-be-ending era of the shithole president, it seems every media outlet—or fake news organization as he likes to slander them—is lousy with Breaking News stories almost every minute of every day.

Not that some of them aren't legit, what with the liar-in-chief committing several impeachable crimes and saying (or tweeting) monumentally stupid, ignorant, racist, misogynist, homophobic, climate change denying, lies, uninformed and just plain wrong things minute-by-minute on a daily basis.

But in reality, a lot of the Breaking News is just an attention getting graphic to induce us to stay tuned for not necessarily new information on ongoing stories, reports and rumors that haven't been confirmed or profiles that aren't so much breaking as being updated.

All of which got me thinking (eventually something had to) about what would actually constitute Breaking News in advertising agencies.

Client only wants to see one idea.

Breaking with tradition, a major automotive client today asked the agency to only present one idea for the global branding campaign. "We don't know what you guys are doing all day, but we have work to do. No one has time to sit through three hours of storyboards and ripomatics on ideas your creative director 'Just couldn't let go.' Show us the one and get on with it."

ManifestNO

For a recent new business pitch, none of the agency copywriters were asked to work on a manifesto. Not by the creative director. Not by the account director. Not by the general manager, although he may have tried. Cell reception is bad from the golf course.

Instead of a lofty, cleverly worded, Jeff Bridges, Alec Baldwin or Peter Coyote sound-a-like voiced statement about what the product is, means and how it impacts the world and all who come in contact with it, the unexpected decision was made to just roll the dice and show up with good work.

No insights

In what witnesses called a startling admission and an unintentional moment of truth, the agency revealed it has absolutely no insights. None. Gerard Pennysworth, Vice President of Knit Caps, Ironic T-Shirts and Global Strategic Planning was quoted as saying, "Your guess is as good as mine. I don't know why the hell anyone does what they do."

Agency gives team enough time

Used to only having 15-minute coffee breaks to create global branding campaigns, yesterday a creative team was told they'd have three weeks to come up with a single television spot. When told they were in fact not the subjects of a cruel joke, the team went into shock and required immediate medical attention.

Buzzwords not allowed

Several account people were let go today for violating the recently instituted "no buzzwords or phrases" rule. When asked if perhaps the punishment was a bit too severe, Director of Human Services and People Management Kathleen Laytoff replied, "It's always difficult to let people go, but net-net at the end of the day, they just 'laddered up' once too often."

What game?

I hear there's a game on today. Nah, I'm just messing with ya. I know today is the Super Bowl. Here's the thing: I don't care.

In fact, on of my list of five things I couldn't care less about, four of them are the Super Bowl.

It won't come as a surprise to anyone who knows me, despite my rigorous workout routine of Double-Double's and Neapolitan shakes, that I'm not the sports guy. I'm the movie guy. The theatre guy. The concert guy. The comedy club guy. The TV bingeing guy. The horse racing guy. The car racing guy. The "let's drop everything and go to Vegas" guy.

The football guy? Not so much.

My feeling is every year, Super Bowl Sunday is the best day to do anything else. Between 3:30pm and 7pm, you'll never have a better day to go shopping at the mall. See a movie. Go to Disneyland. Try that restaurant you can never get reservations at. Traffic is non-existent. Crowds disappear. And parking is plentiful.

Of course, because I'm in advertising, there's pressure and a certain amount of obligation to watch the Super Bowl commercials. Every year, ever since the brilliant, industry-changing, Ridley Scott directed Apple 1984 spot, clients blow a shit-ton (technical term) of cash on their Super Bowl spots.

There's a lot of creativity on display. But that's also a lot of cash that could've been better spent much more effectively in any number of different ways. Or maybe not as effectively. As one of my creative colleagues at the agency told me, "Do you have any idea how many banner ads no one looks at that kind of money could buy?"

As I write this, it's about an hour and a half into the game. Here's my take so far:

The Doritos/Mountain Dew spot with Peter Dinklage and Morgan Freeman in a lip-synced rap battle is pretty fun.

The Tide series of spots, with Stranger Things David Harbour show a surprising amount of creativity for a brand not known for it with the premise every ad is a Tide ad.

The Pringles spot with Bill Hader tries way too hard to recreate the success of "Wasssupp!" from a few years ago, only now the word is "Wow!" I think the word is "Yawn."

The Australian Tourism spot with Danny McBride and Chris Hemsworth was going along nicely, until the shot of original Crockadile Dundee star Paul Hogan, who's 78-years old and looks every second of it 'mate.

I'm not offended easily, but in what I believe will be a monumental backfire I'm fairly certain Dr. Martin Luther King Jr. never intended his voice and words to be used selling Dodge RAM trucks.

Obviously I haven't seen them all yet, but I can already tell you my favorite, whether I like it or not, will be the one my agency did (Team player, hello?)

Super Bowl is also where the studios break out trailer premieres for their most anxiously awaited films. It's a testimony to the enormously talented Ron Howard—who was brought in after original directors Phil Lord and Chris Miller were fired with only weeks to go in production—that the Stars Wars movie Solo looks unbelievably awesome.

Who couldn't use a movie where dinosaurs are running amok—again. Thankfully, Juraissic World Fallen Kingdom looks like it's going to fill that vacuum just swell.

Towering Inferno pedigreed Skyscraper with Dwayne Johnson looks like a few hours of mindless fun (just like my high school girlfriend).

That's all I have for now. I'm going to get back to not watching the game and thinking of unencumbered places I can go for the next two hours while it's on.

Right after I don't watch the Justin Timberlake halftime show.

Office shuffle

No matter how close you're watching, you still won't know where it winds up.

You don't have to work at an advertising agency long before you go through it. In fact, you'll probably go through it several times if you're there for more than a few months. It starts innocently enough, usually with a casual stroll through reception. Everything seems normal, but then your Spidey sense alerts you to the boxes, bins and packing tape sitting against the wall, trying desperately not to be noticed. And then the realization hits you—it can only mean one thing: you're being moved to another office in the building.

Every once in a while, someone "upstairs" gets an itch that can only be scratched by inconveniencing and relocating dozens of employees who were perfectly happy and productive right where they were. The reasons, like the creation of the universe or how a dipshit like Trump got elected, might never be fully known. But when it comes to educated guesses, there is always the list.

We're putting each group all together.

We're growing and need more room.

We're giving everyone a fresh start.

And the ever popular, we're shaking things up (or in agency speak: disrupting things).

Whatever. Before I was one person in an office of four. After the move, I still am—except the office is virtually half the size of the old one. And since the desks, monitors, chairs, ideas and my stomach haven't gotten any smaller, needless to say it's going to be a tight fit.

But damn it, I'm paid to solve problems day in and day out. So after putting a little of my pricey brainpower against this issue, here's a solution I've come up with.

For starters, maybe instead of wasting everyone's day with a move they don't want they could just leave things the fuck alone since they were working fine before. Even if it wasn't perfect, to paraphrase Jeff Goldblum in Jurassic Park, "Agency life finds a way."

The other thing I'm sure isn't calculated in the bottom line is how much time is wasted while people walk around trying to find where their colleagues are sitting now.

"Oh, you're here now?" There's a seating chart, but so far no one's carrying it with them.

I'll stop my whining now (you're welcome). It's not the worst thing that's happened in my life, and I'm sure eventually I'll get used to the new world order, as I always do. Besides, it'll only be the new world order until they decide to move everyone's office again.

In a month.

Answer the call

You can’t overstate the ability of advertising people to inhale their own fumes. It may be part of the job description. I’ll have to check with HR.

Many of them have what I’d call an unrealistic sense of consumer behavior that should rightfully be filed under wishful thinking. For example, against all evidence from the beginning of advertising time, there’s a prevailing thought that just because you bark an order at the consumer and tell them to do something, they’ll actually do it.

If it were only that easy.

How else to explain the fact almost every piece of—let’s call it marketing communication—that gets produced has what’s referred to in the biz as a CTA. In civilian terms, a Call To Action.

It’s the instruction from the advertiser on what they want you to do next. And it’s not one-size-fits-all. There is no standard CTA. It can be anything from Learn More to Call Now. Sign Up to Get Started. Take the Survey to Talk To Us. Let’s Go to Join Free For A Month (that was Netflix-it was a great month).

It’s a good thing it’s there. Otherwise how would you know what to do, amiright?

Here’s the truth: agencies consider a 2% click rate on web ad CTAs a resounding success. If you were getting a 2% return on any investment in your life you’d be looking for a new place to invest. But when it’s a 2% click through on banner ads (don’t get me started), the champagne is flowing, the overgrown frat boys are high-fivin', backs are being slapped and the junior team is getting assigned the agency promo piece touting their digital prowess.

On every agency brief—the six to eight page document explaining the assignment and showing that otherwise educated people don't know what brief means—there’s a description about what the agency/client wants the consumer to do as a result of seeing the CTA. For example, “Include CTA to visit website to drive user to website.”

Hey, Captain Obvious, what color was George Washington’s white horse?

Anyway, it occurred to me how much better agency life would be if there were CTAs, like these, that you could click on when the situation called for it.

Make It Stop
Anytime anyone calls a meeting about what they discussed at the last meeting, and what they'll be discussing in the next meeting as a result of this meeting, all you do is click on this CTA and immediately all the sounds stop coming out of their mouth. Their lips are moving, but they're not saying anything. Oh wait, that's already happening.

Go Away
This one's a lifesaver. Great for personal space invaders, hallway talkers or the smug, self-righteous contrarian that lives to argue with everything you say. It's essentially the CTA that wishes them into the cornfield. I'm guessing that's going to be one crowded cornfield.

Not This Again
Remember that revision the client wanted, and you made, and then they took it out? And now they want it back in? This happens on a daily basis on every account in every agency. It just makes you shake your head and ask if they've always had this much trouble making up their mind (well, yes and no - BAM!). Hit this CTA, and it resets time back 15 minutes before the original request got re-requested. Normally only Superman can turn back time by flying counter clockwise to the earth's rotation. This will make it a lot easier on him.

Drop It
Basically a trap door for every occasion. Whatever they're doing to bother you, just hit this CTA and a trapdoor opens under them. Laugh and smile as they go plummeting down an endless tunnel that will eventually land them in the seventh circle of hell.

Or another meeting.