I can't wait for the movie

So it’s a book review. I don’t do them often, but sometimes—like Glenn Close in Fatal Attraction—a book comes along that simply will not be ignored.

Like most ads, this book review comes with a disclaimer. I’ve been friends with the author for somewhere in the neighborhood of thirty years, and I may have had a hand in editing this book.

And by the way, it’s a finely edited book.

The book I’m talking about is Stones & Sticks by Cameron Day. It’s the thrilling conclusion to the advertising trilogy, along with Chew With Your Mind Open and Spittin' Chiclets, that we didn’t know we needed but now can’t live without.

In Stones & Sticks, Cameron, who has clearly earned every gray hair on his LinkedIn profile, delivers a masterclass on what it’s like to sit atop the creative food chain.

Spoiler alert: it’s not all cappuccinos and Cannes Lions.

This isn’t just a book—it’s a survival guide for anyone who’s made it to the big chair with “Creative” in the title, and discovered that it comes with less creating and more fending off crises.

From managing tantrum-prone copywriters and art directors to explaining why your budget really needs those extra drone shots, Cameron walks us through his journey in the high-stakes chaos of wielding ultimate responsibility with wit, wisdom, and just the right amount of jaded sarcasm.

Added bonus—if you’re looking for a fun drinking game, take a shot every time he drops an f-bomb.

The writing is sharp, as if every sentence were honed during a midnight brainstorm fueled by stale donuts and cold pizza, two items that are somehow always available at agencies. Yet beneath the humor lies a treasure trove of practical advice only someone who’s been through the advertising wars with a view from the top could offer. The anecdotes about managing clients who think “just make it pop” is a strategy will leave you laughing and crying—sometimes simultaneously.

What makes Stones & Sticks truly stand out is its brutal honesty. Cameron doesn’t shy away from the burnout, the compromises, or the sheer number of acronyms you’ll pretend to understand during boardroom presentations.

But it also reminds us why we fell in love with advertising in the first place: the thrill of turning a half-baked idea into something iconic.

By the time you close the book, which if you’re like me you’ll wind up doing in one reading, you’ll feel both inspired and slightly terrified—a perfect encapsulation of what it means to be a Creative Director or Executive CD.

Whether you’re an intern dreaming of greatness, or a grizzled vet wondering if it’s too late to start a llama farm, this is the book you need.

If it were a campaign, it’d win gold at the One Show. And the client might even approve the first draft.

Encore post: Book Report

I've taken the easy way out this fine Monday morning (again). I was planninng on writing a new post about a musician I discovered over the weekend, but then the Google started giving me all sorts of Captcha issues with embedded videos in Blogger. The musician post will be here tomorrow.

In the meantime, you can happily fill up a few minutes with this encore post about my pal Rich's fine book. Now I'm not saying I expect a commission on any additional book sales as a result of this post. Then again I'm not saying I don't.

Monitization. It's all the rage. Anyway, please to enjoy.

I don't make a lot of money from this blog. And by a lot I mean none.

However being in advertising, it's occurred to me from time to time I probably could break open a few corporate wallets by selling ad space on here. After all, the very desirable demographics of my readership are the same as Disneyland's - 8 to 80. Plus it is the happiest blog on earth, so there's that.

Advertisers would have a direct line to the 11 people who read this blog on a regular basis. I know that may not sound like much, but it's 11 people they wouldn't have otherwise.

Before I go climbing up the corporate ladder asking for money, I probably should have proof of concept: an example of how well advertising might work on this site, and could work for them.

So as a trial run, I'm going to plug my pal Rich Siegel's book, Round Seventeen & 1/2: The Names Have Been Changed to Protect the Inefficient.

The title comes from his popular blog of the same name. In it, Rich covers a diverse variety of topics like advertising, sex, the situation in the middle East, why he sucked at being a creative director and poo. More than one post about poo.

Alright, maybe not exactly the same demographics as Disneyland.

Anyway, I haven't read the book yet. But I had lunch with Rich a couple weeks ago, and I did get to hold a proof copy of it. And I have to say, I was duly impressed. It had everything the great, classic books throughout time have had.

There are pages, lot's of 'em. And on almost every single page, words. Lots of 'em. Like Moby Dick and The Bible, it also has a front cover and a back cover.

What more do you need to know? If you need a good laugh, and really, who of us doesn't, then pick up a copy of his book today. You can order your copy here.

And once you're done with it, if you don't mind I'd like to borrow it. Because, you know, twelve bucks is twelve bucks.

One cool cat

If you know anything about me — and if you don't, go back and read the previous twelve-hundred posts, I'll wait here — it'll be pretty clear I'm without a doubt quite the vocal dog lover. I love most dogs, especially the larger breeds. The kind that lets me send my kid to the liquor store at midnight and say "Dad needs a beer. Take the dog."

I'm particularly partial to German Shepherds. I'm currently on my second one, Ace, who was a rescue and is just the sweetest boy. And of course before him, there was the world's greatest dog, Max. You can read Max's story in the wonderful, moving, heartfelt, funny, beautiful labor-of-love book Gone Dogs, available here. Or here. And even here.

But despite being a dog person, I have a secret I don't tell many people. However given the readership numbers here I feel pretty safe in, shall we say, letting the cat out of the bag (sorry).

A long, long time ago, in a galaxy far, far away, I had a cat. Her name was Mr. Kitty. And I loved her.

The short story is Mr. Kitty was a stray who followed my then girlfriend now wife home and never left. So right off the bat we had something in common.

We named her Mr. Kitty because we weren't close enough to check out the equipment, so we went with that.

Mr. Kitty would show up at my girlfriend's door every night. We'd feed her, take her on walks around the block (she just followed us) and then bring her in for the night where she'd sleep on my head. We'd let her out in the morning when we were leaving for work, and she'd always be there to greet us when we got home.

When we moved into my apartment in Santa Monica, even though there were no pets allowed we brought Mr. Kitty with us. We'd hide her when the maintenance people had to come in, or when the fire alarms in the building went off and we'd have to walk down seventeen flights of stairs with her disguised under a blanket or in a box.

A close friend of ours who's a veterinarian estimated she was about four years old. She was seventeen when we had to say goodbye to her. So for thirteen years, I had a cat.

Who slept on my head.

Who I gave subcutaneous fluids to everyday for years for her kidney disease.

Who when she got seriously old and ill, I gave cat enemas to so she could do her business without straining or being in pain. This was something I could've gone my whole life without knowing how to do and I would've been just fine.

When my son was born, someone gave us a Moses basket as a gift. But we never used it for my son. We put it under his crib, and it became Mr. Kitty's bed when she got to be too old and weak to hop up on ours.

Not long after, the time came to say goodbye. We took her to my vet friend, and I held her on my lap as she passed. I cried every time I thought about it for weeks after. I still do.

So when people say I don't know what it's like having a cat, a small, knowing smile comes across my unfairly handsome face. I know they're wrong. I know exactly what it's like, because I had the coolest cat ever.

Which is the reason I don't want another one.

That, and the fact Ace has another name for cats. He calls them appetizers.

Gone Dogs

It's taken me years, but I've finally written something I believe people will actually want to read and enjoy (and I think we both know it's not this blog).

Not that you don't already love my spellbinding prose about twin-turbo engines in Korean sports sedans. Or my memorable musings about the unparalleled amenities, Nappa leather and 22-way adjustable driver's seat in the top-of-the-line, flagship of the fleet. And I have no doubt you're waiting with bated breath—and who would blame you—for the next installment of a little gem I like to call Exceptional Lease Offers.

I'm just messin' with ya. I don't read 'em either.

What I'm talking about here is the story I've written about the world's greatest German Shepherd—the late, great Max—in the newly released, beautifully produced coffee-table book Gone Dogs.

A project by dog lovers extraordinaire Jim Mitchem and Laurie Smithwick, Gone Dogs is a heart-warming, heart-breaking and ultimately life-affirming collection of stories about the power of love through our relationships with dogs who are no longer with us.

A call went out to parents of all kinds of pups to submit stories of their dearly departed canines, and I was lucky enough to have the one I wrote about Max selected for the inaugural volume.

Since I am in advertising—I'm not proud—I'm going to be shameless about it and just ask for the order. What you need to do right now is go to Amazon and buy several copies for your dog-lovin' friends. And their dog-lovin' friends. In fact, I know it's only August, but why not beat the Christmas rush and stock up on a few copies for the holidays.

I also want to say that I can't thank Jim and Laurie enough for including my story. It means the world to me knowing people will get to see what a magnificent dog Max was, and how much I loved him.

Here's what I'm saying: order yourself a copy today. And when it comes, just sit, stay and enjoy every one of these beautiful, heartfelt stories.

Starting with mine.

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.

Simon says

The list of songs that've managed the virtually impossible task of rhyming the words yacht, apricot and gavot is a very short one. In fact, there's only one.

The song is You're So Vain. And the songwriter is Carly Simon.

You'll be hearing a lot about both of them in the coming weeks, because Simon has a new memoir coming out. (Ironically, it's being published by Flatiron Books, and not Simon and Schuster, the publishing powerhouse Carly's father, Richard L. Simon, co-founded).

To be sure, Simon has led a colorful life that's included lovers from Mick Jagger to Warren Beatty. When she was married to James Taylor, they were at one point the richest entertainment power-couple with a heroin-addicted guitar-playing husband in all of Martha's Vineyard.

One thing Simon promises to address, sort of, in the book that has the entertainment press chomping at the bit (if you've seen Simon's smile you know why that last line is so funny) is one of the timeless mysteries of the music world: who exactly is You're So Vain about.

She's already said in past interviews one of the verses is about Warren Beatty. Beatty himself has said the whole song is about him. He's so vain. Which brings up a contradiction inherent in the song that's bothered me each and every time I've heard it.

The main lyric is "you're so vain, you probably think this song is about you...." Here's the thing: the song is about him. So is he so vain, or just right in what he's thinking? Discuss.

Admittedly it's not a mystery on the scale of say who shot JFK, or did we know about Pearl Harbor ahead of time. But I have to say I'm kind of curious. Maybe we'll find out, time will tell.

The one thing I know for sure is it's not about me.

As an only child, I have to say that hurts.

Are you the gatekeeper?

Once upon a time, when it came to getting into an agency, whether for a full time position or freelance, hopeful creative people sent their books (portfolio of their work in layman's terms) or promo piece (remember promo pieces?) to the creative director. That's because in a kindler, gentler industry, creative directors usually carved out some time - an hour or so a week - to go through books that'd been submitted.

They returned the ones they didn't want with a nice, brief thanks-but-no-thanks note. They called in the owners of the ones they liked for an interview or a meet-and-greet.

They were obviously the most qualified people to do this for a few reasons. For starters, they were creative people themselves. They understood what goes into coming up with an ad, the obstacles encountered in shaping and crafting it to make it great and the hurdles involved in getting it presented and produced. They spoke the language.

They were the first stop on the job tour.

Fast forward to today, where they're the last.

In today's fully-integrated agencies, with their manifestos on their websites, granola in the kitchen next to the Starbucks Via envelopes and planners offering their "insights," there's a position called Creative Resources Director. Or Creative Services Coordinator. Or Talent Relations Supervisor. Or Creative Concierge. However, that's not what they're called by the actual talent.

They're called gatekeepers.

These are the people who make or break you by getting you - or not - into the agency, and getting your work in front of the creative director.

Gatekeepers usually have the full trust and endorsement of the creative directors, even though most of them have never actually worked as a creative in a creative department. Yet there they are, judging on some criteria only they know which books get through and which don't. I imagine it's a carefully worked out formula of quality of work, reputation, freelance budget and have I had my coffee yet.

Gatekeepers, like creative directors (and freelancers), come in all flavors. There are absolutely great ones out there (like the ones at all the agencies where I work - you know who you are, and thank you). These are the ones that return your email, maintain a friendly attitude, negotiate a rate you're both happy with when they bring you in and let you down easy when they don't.

They keep the lines of communication open, and make it clear it's alright to check in every now and then to see what's going on.

Then there are the other kind of gatekeepers. They're what I like to call the meter maids of gatekeeping. They have a uniform so they think they're real policemen. But they're not.

Every creative person has or will run into one of these. They almost go out of their way not to have a relationship with the very people they will at some point want to work for them. They will never answer any emails, yet they will fully expect you to negotiate your day rate to the basement for them when they call you in two hours before they need you. They'll make sure you know how lucky you are they even considered you.

They'll check your availability, and then they'll never check back with you.

In the same way creative people establish reputations around town, so do the gatekeepers. It's well known in the freelance community who the great ones are, just like it's known who the um, less-than-great ones are. Like the French resistance, there actually is a freelance underground where the community has its ways of sharing their gatekeeper experiences with each other. It's a way of looking out for each other even if everyone's competing for the same jobs.

At the end of the day, gatekeepers are something you accept and work with. If they're the good ones - and I can't say this enough, like all the ones I work with - it's always a pleasure dealing with them. If they're the bad ones, you find the grace to muddle through while holding your ground.

By the way, if you happen to be a gatekeeper and you're reading this, you know the meter maid crack wasn't about you, right?

Book report

I don't make a lot of money from this blog. And by a lot I mean none.

However being in advertising, it's occurred to me from time to time I probably could break open a few corporate wallets by selling ad space on here. After all, the very desirable demographics of my readership are the same as Disneyland's - 8 to 80. Plus it is the happiest blog on earth, so there's that.

Advertisers would have a direct line to the 11 people who read this blog on a regular basis. I know that may not sound like much, but it's 11 people they wouldn't have otherwise.

Before I go climbing up the corporate ladder asking for money, I probably should have proof of concept: an example of how well advertising might work on this site, and could work for them.

So as a trial run, I'm going to plug my pal Rich Siegel's book, Round Seventeen & 1/2: The Names Have Been Changed to Protect the Inefficient.

The title comes from his popular blog of the same name. In it, Rich covers a diverse variety of topics like advertising, sex, the situation in the middle East, why he sucked at being a creative director and poo. More than one post about poo.

Alright, maybe not exactly the same demographics as Disneyland.

Anyway, I haven't read the book yet. But I had lunch with Rich a couple weeks ago, and I did get to hold a proof copy of it. And I have to say, I was duly impressed. It had everything the great, classic books throughout time have had.

There are pages, lot's of 'em. And on almost every single page, words. Lots of 'em. Like Moby Dick and The Bible, it also has a front cover and a back cover.

What more do you need to know? If you need a good laugh, and really, who of us doesn't, then pick up a copy of his book today. You can order your copy here.

And once you're done with it, if you don't mind I'd like to borrow it. Because, you know, twelve bucks is twelve bucks.

Al Franken called it

It was true then and it's true now.

I've always been a fan of Al Franken. Beginning when he was half of a comedy team called Franken & Davis, through the years he was head writer for Saturday Night Live (to me, it'll always be the Al Franken decade) and today as Senator from Minnesota.

Sorry about the ad in front of the clip. Curse you Hulu!

Hysterically funny, wildly entertaining and, the part I like best, vicious in the way it exposes not just the glaring hypocrisy and inaccuracies of almost everything Limbaugh says, the book also calls out the entire conservative party for the lies they shamelessly continue to peddle.

An easy example of the hypocrisy: Newt Gingrich and Rush Limbaugh both taking a righteous stand about family values as they're on their third and fourth wives respectively.

The amazing thing is the book's title - which Franken gave it because he knew it would be controversial and get noticed - has proven even more true in the last week than it was when it came out.

I think it's only fitting that we take a moment and enjoy some of Limbaugh's more entertaining and insightful quotes:

''Have you ever noticed how all composite pictures of wanted criminals resemble Jesse Jackson?"

''She comes to me when she wants to be fed. And after I feed her -- guess what -- she's off to wherever she wants to be in the house, until the next time she gets hungry. She's smart enough to know she can't feed herself. She's actually a very smart cat. She gets loved. She gets adoration. She gets petted. She gets fed. And she doesn't have to do anything for it, which is why I say this cat's taught me more about women, than anything my whole life."

You're forgiven if you thought that one was from Rick Santorum.

And of course, it wouldn't be complete without this past week's words of wisdom:

''A Georgetown coed told Nancy Pelosi's hearing that the women in her law school program are having so much sex they're going broke, so you and I should have to pay for their birth control. So what would you call that? I called it what it is. So, I'm offering a compromise today: I will buy all of the women at Georgetown University as much aspirin to put between their knees as they want. ... So Miss Fluke and the rest of you feminazis, here's the deal. If we are going to pay for your contraceptives and thus pay for you to have sex, we want something. We want you to post the videos online so we can all watch."

I hope Al Franken is working on a Rush Limbaugh Is A Big Fat Idiot 2.

God knows there's enough material to work with.

Bad apple

I just finished reading Steve Jobs biography, and I have two thoughts: what an incredible person to work for. And I thank my lucky stars I never worked for him.

Visionary? Of course. Innovative? Without question. Son of a bitch? Absolutely.

What's revealed in the book is perhaps the worst secret in the tech community: Steve Jobs was just a miserable person to be around. Abusive to colleagues and family, his lifetime of bitterness seemed to come from the fact his birth parents put him up for adoption.

He wound up emotionally savaging virtually everyone he came in contact with. Whether it was his use of his "reality distortion field" or "the stare", Jobs only ever wanted things one way: his. Fortunately most of the time his way was the best thing for Apple and the remarkable products they make. But when it wasn't, he wasted no time blaming someone else for the failure.

He would've made an excellent creative director.

Those around him thought that after his cancer diagnosis he might soften a bit, change his ways given the limited time he had left. What he actually did was become even feistier and more determined to control everything he came in touch with.

Near the end of both the book and his life, he writes an uncharacteristically touching letter to his wife on the occasion of their 20th anniversary. And he does acknowledge people were right to think he was an a#%&@$e.

There was some speculation that Jobs had control over the content of the book. But I think if that were true, it would've been a much prettier picture of him than it is. He obviously kept his word to Walter Isaacson about not wanting to know what was in it.

It's a great read that wants to love its subject and still be truthful about him. It's a difficult balancing act the book manages to pull off.

Oh, and one more thing.

It's very clear why there'll never be a business leader like him again in our lifetime.

Book 'em

Every year I go with my son to Comic Con in San Diego. That's not the problem. The problem is so do 135,000 other people.

Which makes it extremely difficult to do two things: get a hotel room, and get one close enough to the event so you don't need a sherpa and seven day supply of water to get there.

Last year when Comic Con's discounted rooms became available online, I struck gold. I was on at 9AM sharp, and wound up at the new Hilton Bayfront right across the street from the Convention Center. It was particularly convenient, especially when we had to line up at 3:30 in the morning (which is worth at least 1,000 dad points) for the 10AM LOST panel. I know it's early, but when we got there we were the 400th people in line for a room that holds 6500.

It's that kind of crowd.

Having won the hotel lottery last year, I assumed I'd have similar luck this time. Except this year, Comic Con changed the way you book hotels. Last year I went online, chose my hotel, paid with a credit card and got my confirmation. Ba-da-bing!

Apparently that worked too well. So they decided to rewrite the rules.

This year I had to list 12 hotel choices in order of preference. 12 hotels - it's not Vegas, and it's not London. 12 San Diego hotels. I didn't get a confirmation until the end of the day. And while I was waiting for it I had no idea which hotel I was going to get.

I'm pretty sure you can tell by now I didn't get the one I wanted.

I called the Comic Con travel planners this morning, and expressed my unhappiness at the accommodations they booked for me. I then listened while a very calm employee, who's obviously used to fielding complaint calls from thousands of unhappy geeks dressed like Darth Maul and Wolverine, talked me off the edge. Kind of.

So now I'm on the wait list for three better, closer hotels, and I'll know in a week if I get in one of them.

I'm not sure my son appreciates all the trouble I go through to get us to this event every year.

Maybe I'll explain it to him when we're sleeping in the car.