Lies, damned lies and advertising

In his book Lying, Sam Harris says, “By lying, we deny others a view of the world as it is. Our dishonesty not only influences the choices they make, it often determines the choices they can make—and in ways we cannot always predict. Every lie is a direct assault upon the autonomy of those we lie to.” 

The most fundamental problem with advertising is the very essence of its existence: the communication of something other than the truth. When we are paid to present information on behalf of a person or entity we are almost always duty bound to present that information in its best light. So we end up accentuating the positive and eliminating the negative, creating those shampoo or fast food images that fall disappointingly short of reality. Or we use meaningless words such as ‘special’, ‘super’ and ‘natural’. Are Frosties really Grrreat? Is Happiness actually a cigar called Hamlet? Did Sony TVs truly offer colour like no other?

Then there’s the age-old advertising conceit of taking a product attribute and exaggerating it, something that has underpinned many classic executions for Lynx/Axe (smell better=smell so good you’ll be irresistible to models), The Economist (be better informed=be so well informed you’ll be a very successful genius) and Stella Artois (good and slightly expensive=so good it’s worth risking your life for). 

So far, so what? After all, why on earth would you pay to present yourself at your shoddiest? And why can’t we have a bit of fun taking things so far that it becomes obvious hyperbole? Well, I’m not normally one to get my wisdom from Game of Thrones, but as John Snow once said, ‘When enough people make false promises words stop meaning anything. Then there are no more answers, only better and better lies, and lies won’t help us in this fight.’ Indeed…

For decades, if not centuries, advertising has been one long demonstration of The Boy Who Cried Wolf. We’ve spent so long building an entire industry on a lack of truth that no one even expects veracity anymore. People will say that the lies are fine because people know they’re lies, so they’ll never take them seriously enough to be fooled by them. They understand what exaggeration is, therefore they take it into account automatically. So that’s fine, right? Sure, but only if you want to make everything you say literally unbelievable. Imagine you have a friend who always lies or exaggerates. How do you listen to what he says? You might take things seriously the first few times, even the first few hundred if you’re credulous or charitable, but eventually you’ll stop believing anything that comes out of his mouth. You might still listen because his stories are so entertainingly told, but you give these stories no credibility because 100 times bitten, 101 times shy.

And yet we want to believe what we’re told. The idea that corporations deliberately expend time and effort to pull the wool over our eyes is a little odd, not to say depressing. And watching messages you’re not supposed to take seriously is ultimately a waste of time. A quote often attributed to George Orwell suggests that in a time of universal deceit, telling the truth is a revolutionary act, and any ad campaign that actually did so would be unusual (see the recent FCK apology ad for KFC). The problem is that we are now conditioned to believe that all ads are simply versions of lies, so the truth will no longer be accepted without skepticism.

Where does this leave us? Is advertising incapable of having an effect on our highly-tuned bullshit detectors? Of course not. Ad campaigns still work simply by letting us know things exist or reminding us of things we might have forgotten: “Oh yeah, oven chips. I haven’t had them in a while.” Or “Maybe I should also consider an Audi when I compare that BMW and that Mercedes.” Do we actually ‘feel’ Money Supermarket? Of course not, but we might recall the name when we’re next online. 

But if the ads contribute to the sale of goods and services, is any of this problematic? After all, they’re just doing their job. Well, the problem is they’re also contribute to a general expectation of lying in other forms of public information. If advertising is the most sophisticated form of mass communication, anyone seeking to replicate its effectiveness would be mad not to lie. Can you think of any other areas of life where you are constantly exposed to lies? Would those areas be improved by the use of truth instead? 

Misinformation is a tool often employed to keep people confused and subordinate, because if you don’t know what’s true, you also don’t know what’s false (for an in-depth study of this effect watch the excellent Adam Curtis documentary, Hypernormalisation). Is that really the effect we want to have on people (including ourselves, and our loved ones)? What would happen if we started telling the truth for a change? Although a small amount of truth would be indistinguishable from a sea of lies, a large amount of it might change the way we relate to advertising and, by extension, other forms of communication.

When Bill Bernbach insisted on addressing people with intelligence he caused a revolution whose effects improved the world. Perhaps now is the time for another revolution: the insistence on truth. It has the ability to turn the tide of discontent, it will zig through the zagging of subterfuge and it might just set you free, along with the rest of us.

As Nadine Gordimer said ‘The truth isn’t always beauty, but the hunger for it is.’ 



Come ride with me through the veins of history. I’ll show you how God falls asleep on the weekend.

Insects + Star Wars.

The worst advertising of the 20th Century (thanks, C).

Time cover made from drones (thanks, J).

Cheese rolling injuries:

Emilia Clarke recreates stock photos:



Yes you’re suitably at one With your body and the sun, yes you are. Well you’ve read Karl Marx and you’ve taught yourself to dance, you’re the best by far. But you keep asking the question, one you’re not supposed to mention the weekend.

Every member of the England World Cup squad ranked by how likely they are to eat a worm, Sean Dyche style (thanks, J).

Ten things you don’t know about yourself.

A great movie poster designer just passed away.

Ice cream mosaic pothole dude.

Royal Wedding Bad Lip Reading (thanks, G):

Lightsaber colours explained:



When I was five years old I realized there was a road, at the end I will win lots of pots of gold. Never took a break, never made a mistake, took time to create cause there’s the weekend.

One company makes almost all the glasses in the world.

How Soho changed and is changing.

The playwright directs – David Mamet:

Proper opossum massage:

Sesame Street Regulate:



Tote a hundred grand, cannon in the waistband. Looking for a sweet lick? Well this is the weekend.

Cool inventions.

Great article about Massimo Allegri by Massimo Allegri.

Viewing movies at home vs cinemas.

Beckham Deadpool trailer:

https://www.youtube.com/watch?v=Gnd7WfYAVmw

Fantastic Rube Goldberg stuff (thanks, J):



White man came across the sea. He brought us pain and misery. He killed our tribes he killed our creed. He took our game for the weekend.

Fake your online life, professionally (thanks O&J).

World’s largest Mr. T collection Kickstarter (thanks, J).

Kubrick was the best film director of all time, and a great photographer.

Modernised sound/visuals of NY in 1911:

https://www.youtube.com/watch?v=aohXOpKtns0

Bad Lip Read Zuck (thanks, J):



At home drawing pictures of mountain tops with him on top. Lemon yellow sun, arms raised in the weekend.

Soviet film posters of the 50s and 60s.

Keeping up with Kanye: a screenplay.

Pulitzer prize-winning author Junot Diaz on childhood trauma.

Why facts don’t change minds (thanks, D).

Movies With Mikey is fun and interesting. There are a lot more of these on YouTube (thanks, B):

Five Fave Films: Michael Caine:



This is a journey into sound Stereophonic sound Stereophonic sound Stereophonic sound for the weekend.

Mozart was into poo humour (thanks, J).

Many very interesting articles on ad tech.

Google’s Patrick Collister on the ways in which data aids creativity (thanks, J).

Trippy fun:

Don’t Hug Me I’m Scared 6:

And DHMIS analysed:



Malaika, nakupenda Malaika Malaika, nakupenda Malaika Ningekuoa mali we, ningekuoa dada the weekend.

An intricate map of alt music history.

Very cool photos (thanks, J).

Mollie Ringwald on John Hughes in the #MeToo era.

Fine anti-racism ad:

https://www.youtube.com/watch?v=O1YS-yDW2Y8

Scorsese doc on Fran Leibowitz:

https://www.youtube.com/watch?v=pwPPmqbzA78



The Right Kind Of Fear

Last week I read this excellent post by my friend Bob Hoffman. He makes a great point about the extent to which older, extremely talented creative people would never find a job in the woefully ageist world of advertising. Here’s a sentence some of you might find disturbing: ‘While people over 50 comprise 42% of adults in the US, they comprise only 6% of agency employees. This is even more pronounced in creative departments where people over 50 make up about 0% of the population.’

Last week I was also having lunch with a friend of mine who works as a creative in an ad agency here in LA. He’s 35 and much of our conversation centred around the fact that he felt his job insecurity so strongly that he was genuinely prepared for the axe to fall at any minute. Not because he was bad at his job (he’s really good), but because of circumstances beyond his significant control. He said this to me with a bemused smile as we both agreed it was crazy.

Here’s my personal take on the situation: as a 44-year-old I’m very aware of the concept of borrowed time. I agree that my 35-year-old friend could be sacked at any moment, and that is ridiculously young to find yourself on the periphery of an industry that used to provide another 15+ years of employment. Such insecurity does indeed breed fear, along with the erosion of the soul.

On May 23rd 2010, aged 36, I wrote this post. It included such blinding prescience as:

Even if the industry does not change one iota from now (it will get much worse, believe me)…

Coupled to this is the ageism: advertising regards the over-forties as geriatric and the over fifties like people who should be wetting themselves in a wipe clean plastic chair while a truculent ‘carer’ cleans Jaffa Cake sludge from the front of their sta-prest pajamas.

So do the maths: to retire with a decent sum you have to work till you’re 65 in an industry that will almost certainly kick you out in your forties.

If anything, I was too optimistic. So what do you do?

Well, it’s going to have to be something scary, I’m afraid (pun intended):

Let’s assume you’re somewhere in your late 30s/early 40s with enough solid client logos to put on a new website or creds deck, with maybe a few Cannes Lions or D&AD Pencils for good measure. What now?

Well, here’s a quote from Withnail and I: If you’re hanging on to a rising balloon, you’re presented with a difficult decision — let go before it’s too late or hang on and keep getting higher, posing the question: how long can you keep a grip on the rope? So the later you are asked to leave the industry, the harder it is to get back in.

That means you have to start thinking: what do I have to offer? Who could I do it with? What do I have to put in place to be ready?

Then you get fully inspired by reading that post I put up last week about how thousands of people start their own businesses under much harder circumstances every single day, or listen to some of the start-up podcasts I put out last year, and you keep an eye out for the right people, the right moment and the right idea.

Then you jump.

Will it be scary? Yes, but weirdly enough that’s a completely different kind of fear. It doesn’t eat the soul; it nourishes it.

You’ll feel scared at not having a salary, not knowing where your next client is coming from and not having a clue when the uncertainty will end. You’ll be scared of looking like a failure, saying the wrong thing to a client that could make or break your agency, and trying to progress in an industry that will forever be dominated by Google and Facebook (it won’t, I promise).

But!

But that’s the good fear. It’s the fear that will drive you forward. It’s the fear that will sit on your shoulder as you put an agency-saving ad together and whisper that it needs to be better. It’s the fear that you’ll only get if you’re control of your own destiny.

Dealing with that takes courage.

Trying to eke out another few years of so-so earnings at JWT Sarajevo doesn’t take courage; it takes the bad kind of fear. The kind of fear that knows you’re hiding at the back of a cave, hoping the monster doesn’t find you. The kind of fear that diminishes you on a daily basis. The kind of fear that eats your soul.

So give that kind of fear a swerve.

And you don’t have to start your own ad agency. You can start your own circus-skills school, gardening app or novel.

Just make sure it’s yours and it’s capable of doing what you want it to do.

And if the thought of that scares you, just think how scary it will be when you’re asked to leave your six-figure salary at age 47, with 18 years left on the mortgage, two tween kids and a 30k pension.

Work out your next step now, feel the fear and do it anyway.