MAYBE WE SHOULD ALL HAVE BEEN THERE THEN

Last week Andrew Cracknell took all of us here at BMB to New York and back.

Well, 1960s New York to be precise, with a very inspiring talk about his book The Real Mad Men.

His yellow cab took us through New York’s cultural history since the fifities – from the changing relationship between art directors and copywriters, to the ads that changed the world – from Think Small to ‘Chick’.

Overall, the message he impressed on half the agency was this: just because Mad Men is about events fifty years ago, its lessons – persuasion, power of narrative, simplicity, creative responsibility – are just important today, if not more so.

If you’ve not read the book already, it’s a wonderful read which takes you back to the alleged ‘golden age’ of advertising. I have to confess that we read it a year ago and have been meaning to write about it ever since – oops – sorry Andrew! I do remember very much liking his sentimental scribble in the front of my copy though – the words, ‘Maybe we should all have been there then’. Which in fairness, probably rings true more for the blokes among us than for Nat and I – who would have no doubt ended up as overweight housewives or bored secretaries.

Incidentally, Andrew is mad keen to do his talk again, and is currently available for agency lunchtime lectures, weddings and barmitzvahs, as they say.

 

SANS HUMOUR

A constant fascination of mine (and I don’t think I’m alone in this…) is the over-zealous use of the font Comic Sans.

I (lol) have a theory that Comic Sans is to the world of typography what the exclamation mark is to punctuation. In other words, it’s like laughing at your own joke!

The irony is, The Sans isn’t funny to look at (it’s actually pretty gross isn’t it?). It is only comic when it’s used in situations where humour really has no place.

So for the last year, for no real reason, I’ve been collecting the silliest uses of this self-proclaimed Funny Font. Examples which are funny, but probably not in the way the typographer intended. Like these little chaps.


Fig 1. A friend’s correspondence from her accountant 
(you might need your reading glasses for this one, but it’s worth it. If nothing else he also uses the phrase ‘going forward’:


Fig. 2. A lecture on particle physics
(OK, so I wasn’t there for this one. I found it on the internets)


Fig. 3. A letter about a smear test from a DOCTOR’S surgery in Sweden:

(Fitzgerald would be vomiting in if he saw this one, it’s got exclamation marks in it TOO!)

 


Fig. 4. Gang warfare in North London:

 


Fig. 5. A holy church in Bethnal Green:


Fig. 5.
 A business hotel in Singapore 

For me though, the worst offender is actually this one:


Fig. 6.
Some ‘handouts’ given to us on a COMEDY course. (Needless to say that it wasn’t the most insightful course on the inner subtleties of humour. But you’ll clock that for yourself when you read point two).


Another one which I do not have physical evidence of but have it on good authority: A leading fiction publisher told me the other day that he often receives submissions written in Comic Sans. Needless to say they go straight in the bin.

Lastly, some time ago a friend of mine was living in Nepal and she unfortunately needed a brain scan. Luckily the results were fine and there was nothing to worry about. But the MRI results were written in you guessed it – the sans.

I experimented with writing this whole blog in comic sans, but I just couldn’t take it seriously. It all turned self-referential to the point where I felt a bit giddy.

Anyway, am I over-reacting, or can anyone defend the funny font? Is it ever appropriate?

Just before posting this, I learned that I’m not alone; that there exists someone even nerdier than me.  A bloke called Matt Dempsey has begun to police the streets and stamp out comic crimes, reminding us all that it is only relevant to an audience below the age of eleven; not a day older.

I would add that it’s only relevant to people still living in the 1980’s, but that’s just me (!)

 

 

 

Suburban Banksy and foreign supermarkets…

…are just two of our favourite things.

At the end of last year we were asked to write a piece for the IPA about what inspires us.

Which was very flattering. The only snag was that, work being work, we didn’t have very long to do it in. So mine (Lol) ended up about six pages too long. But as Pascale and every great rambler knows, it takes a lot longer to write short things than it does long things!

Not only that, for some unholy reason I have left out two of my favourite screenwriters…

1) Aaron Sorkin – the patron saint of razorsharp dialogue. Although he’s most known for The Social Network, his best work (in my humble opinion) is Studio 60 on the Sunset Strip. Get the box set if you’ve not seen it!

2) Bruce Robinson, the brilliant brilliant writer of How to get a head in advertising and Withnail and I. I really recommend reading the screenplay – it’s astonishingly written, and there are even more hidden gems in his stage directions.

All disclaimers aside, for anyone that’s interested, here is our piece on what inspires us as a team.

Thank you and a belated happy new year one and all…

L & N x