Unwinding

A few weeks ago, my showbiz son who has a high-salaried, high-powered creative position working for one of the major studios—not saying which one, but I do love their TVs and videocams—moved out to be closer to his place of employment. He was going to make the jump a year ago, but you know, covid. So he worked from here, stashed his money, and now that it looks like the lot will be opening up soon he’s shortened his commute time considerably.

That’s not what this post is about. Stick with me.

In the wake of his relocation, I was finally able to access one of the closets in his bedroom without stepping on any land mines of Star Wars toys, keyboards, books, scripts, musical instruments, clothes and an assortment of other items placed there with the sole purpose of making me go ass over teakettle in the space of ten feet.

Rummaging through the closet, in a box buried and forgotten about 20 years ago, were a bunch of reel-to-reel and cassette tapes of radio spots I’d done very early on in my career (pausing to laugh hysterically for using the word “career”).

I vaguely remembered a few of the titles, but because I don’t own a reel-to-reel or a cassette player I had no way to listen to the solid gold copywriting craftsmanship that was no doubt waiting on them.

Leave it to the interwebs. I went to the Google and found a company called King Tet Productions just slightly south of me in the lovely seaside town of San Diego. I shipped the box down to him, and three days later got back a CD with all the spots restored for my crystal clear, quality listening pleasure.

I raced out to my car, put it in the CD player and listened to them all.

And you know what? They were garbage.

Time is a cruel tease, because in my mind, at the time I wrote them, I thought they were great. After hearing them, I remembered a few of the recording sessions with some of my favorite voice talent. The sessions were great. The writing was awful.

Bad puns, hokey ideas, crummy needledrop music and cliched lines. I have no excuses other than I was just starting out (actually the other excuse I have is "The dog ate my homework" but I didn't think it would apply here). But here’s the thing. They all got sold, produced and aired. Insert something here about clients getting the advertising they deserve. Or maybe it’s just that in the last 20 years my taste has improved, I’ve honed my skills as a writer and marketer, worked on perfecting my craft and have just become better over time.

Nah, I’m just funnin’ ya. That’s not it.

I remember one of them was the first radio spot I ever did. It was for Frings at Jack In The Box, a new product that was a combination of french fries and onion rings in the same bag. The same bag!

Anyway, I recorded it at Wally Heider Studios (bet at least two of my readers haven't heard that name in awhile), in the big room. Jack Angel was doing a Bogart impression, and I had an end line about how the Frings taste better and better "...as time goes by."

I know. It hurts just to read it.

But it was the first radio spot I'd written, and I remember being so excited when I was shopping in a retail store and heard it come on over the speaker. I wanted to tell everyone I'd written it. Not so much anymore.

I guess the lesson here is we all have to start somewhere, and not to worry too much. Because the more you write the better you get, you know....

Nope. Not gonna make the same mistake twice.

Where's my HBO documentary?

I've been watching the HBO documentary on Steven Spielberg, and enjoying it thoroughly. I'm learning things I never knew, like the Star Wars crawl at the opening was Brian DePalma's idea. That Spielberg has three sisters. That his mom divorced his dad then married his dad's best friend (floosy).

I'm certainly not about to compare myself to Spielberg. After all, we have very different skill sets. I've never directed an Academy Award winning film. He's never written a Hyundai banner ad.

I know, it doesn't sound as glamorous as what he does. But that's only because it's not.

The point is, I have lots of interesting things that've happened to me in my life, many of which I've written about here, that might add up to a swell HBO documentary. Or even a limited run series. I even have some ideas about who could play me in the dramatic recreations of pivotal events in my life. Depending on my weight at the time, it could run anywhere from Michael Fassbender to Kevin James. I might be getting ahead of myself.

Deep movie trailer announcer voice over: In a world where truth is stranger than fiction, this Tuesday at 9 on JEFF....

Sure, everyone has stories to tell, but not everyone's stories are deserving of a documentary. And lest you forget, I'm an only child. So we already know the world revolves around me.

Look, I have celebrity friends. I've locked myself in a hotel bathroom in New York. I buried both my parents (yes it was after they died). I've hung off the seventeenth floor of an apartment building. I've flown helicopters. I've worked with Advertising Hall of Fame legends. I've copped to my shortcomings, and taken responsibility for my mistakes. I've broken bones (yes they were mine).

It's been a life full of comedy, drama, action, romance and suspense. A story of love and loss, all based on true events. An epic tale of a life well lived - so far. Complex, emotional, heart-wrenching and, as anyone who knows me will tell you, filled with conflict. Like all the best stories.

Interesting characters? I've spent most of my adult life working in ad agencies—my life story is lousy with 'em.

When it comes to the A B C's of me, there's a lot of ground to cover. I think an experienced documentary filmmaker, someone like Ken Burns for example, would do a fine job of bringing perspective and meaning to the events that've shaped me. God knows someone has to.

An important element to any documentary is the narration, which means it's critical the voiceover chosen for the job imbues the proper tone and feeling of the subject matter. I'm thinking Morgan Freeman. I love what he did for those penguins.

With it's high standard of excellence, unrelenting attention to detail, long-standing relationships with the documentary filmmaker community, I really believe HBO is the only premium channel with the bona fides to do a life story like mine the justice it deserves.

And if for some reason they don't want it, I'll add some Nazis and dinosaurs and bring it to the History Channel.

An open letter to Morongo Hotel & Casino

Dear Person In Charge Of Marketing,

Being a copywriter and creative director as long as I’ve been, I appreciate better than most people how difficult it is to create great advertising. Or even good advertising, you know, the kind that at a minimum gets the communication across in a somewhat entertaining, memorable, non-offensive manner.

And of all the mediums available, from broadcast to print to online, perhaps nowhere is that more true than radio. But then, I don’t have to tell you. I'm sure it's not the first time you've heard this, but your long-running radio campaign for Morongo ranks somewhere between an east-coast sewage spill and a crime against humanity.

I’ve tried to figure out exactly why I have this extreme reaction to your radio commercials. What is it exactly about them that provokes such a visceral, negative response? After some serious consideration, I think I’ve narrowed it down. Everything.

I’ve never been to Morongo Hotel and Casino, so I don’t know exactly what the experience is like. What I do know is if it’s anything like your radio spots, I’d rather stick dull needles in my eyes. Slowly.

I'd also like to offer some constructive criticism, although granted it's hard to know where to start. So let's begin with your tagline: Good times.

In print, on TV and on radio, your announcer or on-camera talent ends the spots saying, enthusiastically, "Morongo! Good times!"

Apparently whoever wrote the spots didn't realize the phrase "good times" is used in everyday vernacular to refer to something bad. For example, one person might say, "I'm number two million twelve on the waiting list for a kidney transplant." The person they're talking to would reply, sarcastically, "Good times."

I don't think the phrase means what you think it means. And no amount of airplay and false enthusiasm will change that.

It's the same as when people say something is bad, they actually mean it's good. Or when someone hears something they want to know more about, they say, "Shut up!"

All I'm saying is a working knowledge of what words mean and how they're used is probably a good thing to have in life and before you start writing radio spots.

Let's talk about talent. I could make a snarky remark like you should try having some in your radio spots. But I'm not going to.

But you should.

Instead of the painfully obvious non-union talent blathering on in the spots, you might try to pony up for union talent that can actually make bad copy sound palatable - a skill that would come in mighty handy in this case. I know, I can hear you griping about budgets and residuals and fast turnarounds. Here's the thing: you're a casino. It says right on your website that by 2008 you had put up to $2.8 billion into the local economy. Crying poor just isn't going to cut it. Pony up for some real talent and polish your public face.

On your radio spot I heard driving to work today, the non-union woman breathlessly says, "Sunday is fun day!" Is it really? It sounded more like "Sunday is being yelled with the direction to sound excited, but not quite making it day."

Also, the phrase "Sunday is fun day!" has been used in bad advertising of everything from mattress stores to car dealerships to coffee shops since the beginning of the Jurassic era. Besides, at a casino aren't all days fun days?

I realize you can't have original music for each spot when you do so many of them. But you can use better needle drop music. Perhaps a track that isn't so forced, isn't trying so hard. Maybe one that reflects a more elegant experience (assuming of course you can provide one).

Finally, the very premise of your spots has been done to death. I'm talking about the top of the spot, where your voice-talent (and I use the word talent loosely) is supposed to be in a recording booth, and we catch him saying something funny when he doesn't think the mic is on. The other problem is nothing he says is funny.

As the movie Spinal Tap teaches us, there's a fine line between clever and stupid. And you are most definitely on the wrong side of the line.

My suggestion would be if you have an agency creating your advertising, fire them and get a better one. And if you don't have an agency, get one. (At the very least, bring in a freelance writer for a fresh point of view. I'm just sayin'...)

There's a huge segment of the population who'd love not to drive all the way to Nevada to gamble and be entertained. And gamble. I believe with media buys that run your spots as frequently as yours do, you can change their perception of Morongo by upping the quality of your radio advertising.

Without attracting new clientele, you can't expect to expand and thrive. Then, if the current customers decide to reduce their visits and average spending, Morongo could wind up just another empty husk of a building, a symbol of excess and broken dreams. A reminder of what could've been if only you'd done better radio.

Good times.

Goodbye Richard Dysart

I've posted before about the many great people I've had the good fortune to work with.

Richard Dysart was one of them.

I was casting a radio spot and I need a homey, Pepperidge Farm kind of voice. When I heard Richard's read of my script, I knew I'd found it.

At the time, he was enjoying his long-running ride as Leland McKenzie on L.A. Law. Because of that, he was in demand and I recall scheduling the session was difficult. I was asked more than once to recast with a different talent so we could get moving on it, but after hearing Richard that just wasn't going to happen.

I remember the session well. We recorded it at L.A. Studios (always a favorite place to work). It was the day before I was going to have surgery for the second time on my right arm, which I'd broken in three places in a serious car accident years earlier. The doctors had to put in a steel plate to hold the bone together while it healed. Once it did, there was no need to keep the plate in, but there was also no need to have another surgery if I didn't have to. So it stayed in for seven years, until one day, while playing volleyball and taking several direct hits where the plate was, my arm swelled up to twice its size. The muscles were inflamed from the hits and the repeated action of them rubbing the edge of the plate.

I decided then and there it was coming out.

Talking to Dysart after our session, we talked about my upcoming surgery the next morning. He could see I was anxious about it, and he went out of his way to take the time to comfort and reassure me it would all turn out fine.

Which it did.

After the surgery, I don't know how but Richard got my home phone number and called to see how things turned out. I was surprised to hear from him - to say the least - but extremely appreciative for his call.

I never worked with him again, but enjoyed many of his performances beyond L.A. Law, including the doctor in John Carpenter's The Thing.

I'll always remember Richard Dysart as a great actor. But even more than that, a class act.

Rest in peace.

From beautiful downtown Burbank

There are a lot of reasons I like writing radio. But I think the main one is that for the most part, people leave me alone. I'm pretty free to do what I want.

There aren't agency sleepwalkers jockeying to be at casting sessions, sneaking in to watch director reels and making comments suggestions as if they were asked.

Radio also doesn't have the glamour and excitement attached to it that television does, probably because there's no where near the money being spent on production and media.

Fine by me.

In my opinion, I'd rather be sitting in a recording studio than an editing bay any day. It's infinitely more fun. And I get to work with a caliber of talent that's unparalleled. Every time out, sometimes over many, many takes, they give it their best. (Although my theory is if you can't get what you need in ten takes, you have the wrong person on one side of the glass or the other).

The very first radio spot I ever did was for Jack In The Box. We recorded it in the big room at the long gone Wally Heider Studios in Hollywood, and the incomparable Jimmy Hite was the engineer. Since it was my first radio spot, my creative director was with me at the session. And even he couldn't believe the talent we had in the room.

Either I wasn't paying much attention to the budget, or the client wasn't. My first spot was a cast of seven legendary voice over talents. Jack Angel. Joanie Gerber. Tress MacNeille. Bob Ridgely. Brian Cummings. Frank Welker. And Gary Owens.

Gary was the consummate professional. He had the quintessential announcer's baritone and also a comedian's timing and sensibility. Between takes he'd joke about Dan Rowan and Dick Martin of Laugh In, where he'd first become a household name as the show announcer. And when it was time to get back to business, he'd look at me and ask, "Is that what you were looking for?"

That was the one and only time I ever worked with him. And I'm not gonna lie to you - I was starstruck not only with Gary, but with everyone in the booth.

Gary Owens passed away yesterday at the age of 80. So I'd just like to say thanks Gary, for taking direction from a kid who really didn't know what he was doing yet, and for making me feel that I was doing it right.

Rest in peace.