Gender advertisements of the 1970s are but one category and decade among hundreds available to blow your mind at the Vintage Ad Browser. You can even search by color, which works remarkably well. Artifact-heavy low-res JPGs on the site link to higher-quality versions on third-party sites. All images are shown under fair use.

Filed under: Advertising, Design

Philadelphia is a happening little city, the cradle of liberty, and the site of Happy Cog East. It’s also a city that gets unfairly overlooked—like a beauty whose sisters are supermodels. But I have a plan.

I want to rebrand Philadelphia as !adelphia.

I can see the logo. I can see half a dozen ad campaigns, some of them even good. I see a decent theme-line and sense that a much better one is out there. I see commercials and bus posters, I hear tourist board tie-ins and radio spots. I see Kottke, Joe Clarke, and Design Observer trashing the campaign on various intellectual and typographic grounds. I see contests where designers submit how they would have done the logo.

Maybe it’s the meds talking, but I think we’re on to something. Viva !adelphia!

Filed under: Advertising, Advocacy, Design

If you enjoy A List Apart and zeldman.com, please doff your chapeau in the direction of our sponsor, the 37signals Job Board.

Everyone knows 37signals, inventors of Ruby on Rails and creators of Basecamp, Highrise, and other great productivity apps. We studied the leading web design and development job boards before signing on with theirs. Each job board we looked at had something great going for it.

We chose 37signals’s board because it appeals to the hybrid designer/ developer who cares as much about great user experience as clean code—the kind of web professional who believes great content and great design are inseparable. This new kind of designer, forged in the fires of the web, reads ALA and this site, and the 37signals Job Board is where you are most likely to find him or her when you need to hire skilled professionals with vision.

Income from the board helps defray the cost of producing our sites and paying our staff. But more importantly, running it alongside our articles provides a service to our readers, whether they seek a job or a great employee.

Filed under: 37signals, Advertising, Coudal Partners, Deck, the, industry, jobs, work

It is illegal to make false claims in a TV or radio commercial unless you are running for political office.

If you’re selling toothpaste, your claims must be vetted by legal and medical professionals. But not if you’re selling a candidate.

If you’re selling a candidate, not only can you lie about his record, but more to the point, you can lie about his opponent.

These lies are seen and heard by millions, not only when they run as paid advertisements, but also when they are run again for free on 24-hour news networks hungry for controversy. And after they are run for free, they become talking points in an “unbiased” conversation that pretends there are two sides to every story, even when one side is lies. Two words: Swift Boat.

Lies, and a candidate’s embarrassing efforts to brush them aside, fill the news cycle and constitute the national discourse. And this terrifying and morally indefensible rupture from reality persists even when the country is on its knees.

If networks refuse to accept cigarette advertising, how can they readily approve dishonest political advertising? Cigarettes kill individuals, but lying political ads hurt the whole country. No democracy can afford this, let alone when the country is at war, and under existential threat from terrorists, and in economic free fall.

So here’s my idea. One that could actually work, if America’s networks remember they are Americans first, revenue seekers second.

Just as they once united to stamp out cigarette advertising, radio and TV stations and advertisers must get together and agree that false statements in political advertisements will not be tolerated. If you run a political ad that proves to be a lie, your network will pay a steep fine, and the advertiser will pay an even steeper one.

To avoid these crushing fines, networks will insist on proof of statements made in political advertisements, just as they demand proof of statements made in sugarless chewing gum commercials.

Political advertisers will not be able to lie about opponents. They will either have to attack opponents honestly, or talk about the actual issues facing the country, and how their candidate will solve those issues.

Imagine. We might hear ads about the banking crisis and how each candidate will address it.

Candidates might summarize their positions on Iraq and Afghanistan and end with links to more detailed positions on their websites.

The public might discuss the real issues facing us instead of manufactured Entertainment-Tonight-style “controversies.” People might even vote for candidates based on their resumes and positions on the issues.

It would be just like democracy.

Tags: advertising, political, political advertising, lies, TV, radio, politics, presidential

Filed under: Advertising, Design, Election, democracy, engagement

I’ll never forget the day Chip Kidd sent me an e-mail. Chip Kidd, author of The Cheese Monkeys, the book that does for design school what Nathaniel West’s Day of the Locust did for Hollywood.

I wrote about Chip Kidd’s work and he sent me a polite e-mail in response. He called me “Mr Zeldman.” Him. He. That Chip Kidd.

Chip Kidd, my all-time-favorite, hall-of-fame book cover designer. Fabricator of the jackets on at least half the modern novels I’ve bought “on impulse”—that impulse triggered and exquisitely controlled by Kidd, who approaches the problem of book design the way a director approaches montage in film. Not a crude film director, but a sly one. One who attacks at tangents, combining images to create compelling narratives that strangely illuminate but never crassly illustrate each book’s contents.

Let me tell you about Chip Kidd. I stare at his work, trying to figure out how he does it. Looking for flaws, like you do when someone is that good. Chip Kidd, you might say, is a design hero of mine. He is likely a design hero of yours, too.

Now he works for us.

The Deck, the premier network for reaching creative, web and design professionals, is proud to welcome Chip Kidd, Dean Allen, Ze Frank, and the crew behind Aviary as the newest members of our network.

• Chip Kidd: See above.
• Dean Allen: One of the finest writers ever to grace the web with wit, insight, and a distinctively detached charm. Also a heck of a book designer, although of a very different school from Chip Kidd. Also a software developer, and not a bad hand at web design. I chose Dean Allen to redesign The Web Standards Project when I was ready to leave the august institution. (It has since been redesigned by Andy Clarke. Not a bad progression.)
• Ze Frank: A man who needs no introduction. The original bad boy of look-at-me, the-web-is-TV. Artist, illustrator, satirist, programmer, and on-screen personality. The Jon Stewart of confessional web video. The Laurie Anderson of pop. The boy Lonely Girl only dreams of becoming. Too big for TV, too big for your iPhone. Coming soon to a conference near you.
• Aviary: makers of rich internet applications geared for artists of all genres. From image editing to typography to music to 3D to video, they have a tool for everything.

The Deck delivered 20,121,412 ad impressions during April. Limited opportunities are now available through the Third Quarter of 2008.

Tags: Chip Kidd, Dean Allen, Aviary, Deck, The Deck, advertising

Filed under: Advertising, Amazon, Deck, the, Design, The, arts, writing, zeldman.com

While employed at a famous New York advertising agency twenty years ago, a partner and I created a TV commercial touting an over-the-counter medicine client’s revolutionary new cold and flu remedy for young children.

Only when the shooting and shouting was over did we learn that the product did not, in fact, exist.

The commercial whose every creative detail we’d had to fight for was never going to run.

The client—the marketing side of a product development group—had a budget of $60,000 to spend. So they spent it, even though the R&D side of the product development group had not been able to deliver the product.

It was not a liquid medicine that needed to be measured. It was not a pill that needed to be chewed or swallowed. It was a pill that dissolved instantly on the tongue. Or would have been, if the engineers had been able to create it.

During weeks of presentation, the client rejected campaigns that would have caught the attention of the nation’s parents. The client bought a safe campaign that called less attention to itself, then set about systematically softening its edges. My partner and I wanted to cast like Fellini or Woody Allen. We brought in amazing children of various backgrounds, their faces rich in character. But the client picked cute blonde girls instead.

And so on. Every decision, however small, required approval. Everything was a fight. A ladies-and-gentlemanly fight. A fight that sounded like polite, mutually respectful discussion. A fight with invisible knives.

We won some and we lost some. For all the back-and-forth with the client, the resulting commercial wasn’t bad at all. The first few times anyone—even the guy delivering sandwiches—saw it, they laughed. Afterwards, they smiled. It could have been okay. It could have gotten my partner and me out of that agency and to a better one.

After the shoot was completed, the client told our account executive that the product did not exist and the commercial was never going to run.

The client had known this going in. So why didn’t they let us win more creative battles? Because they wanted something soft and safe to show the boss who had the power of life and death over their budget.

Why did the boss give them $60,000 to produce a commercial for a product that didn’t exist? Because that’s how corporations work. If they didn’t spend advertising dollars in 1988, they wouldn’t get ad dollars in 1989, when (in theory) they would finally have a product to advertise.

Governments, at least the ones I know of, work the same way. Since last night, the city of New York has been paving 34th Street in places it doesn’t need to be paved. Why do they do this? To justify the budget. In a better world, money set aside to pave streets that don’t need paving would be reassigned to something the city actually needs—like affordable housing, or medical care for poor or homeless people. But cities are corporations—that Mike Bloomberg is New York’s mayor merely confirms this—and few corporations are agile enough to rethink budgetary distributions on the basis of changing needs.

Last week, in an airport, on one of the inescapable widescreen TVs set to CNN (and always set to the wrong resolution) I saw a commercial for a revolutionary children’s medicine product that melts instantly on the tongue.

I guess they finally made it.

Tags: advertising, design, artdirection, writing, copywriting, TV, production, commercials, adverts, wisdom, work, experience, budgets, business, waste, government, medicine, OTC, overthecounter, newyork, nyc

Filed under: Advertising, Design, Zeldman, arts, business, client services, creativity, film, tv, wisdom, work