By Sam Delaney
The scandalous tale of British politics' love affair with ads from Sam Delaney, the journalist with the inside-track.
From the instant Margaret Thatcher met the Saatchi brothers, elections campaigns may by no means be an identical back. unexpectedly, each aspiring PM sought after a fast-talking, sharp-thinking advert guy on their staff to aid dazzle citizens. yet what have been the implications in their fixation with the snappy and simplistic?
Sam Delaney embarks on a trip to reveal the surprising fact at the back of the final election campaigns of the final 4 a long time. every little thing is right here - from the fellow who snorted coke in quantity 10 to the flesh presser who fell in love together with her personal advert exec, from the fist-fights in Downing road to the all-day champagne binges in Whitehall places of work. Sam Delaney talks to the boys on the center of the battles - Alistair Campbell, Peter Mandelson, Tim Bell, Maurice Saatchi, Norman Tebbit, Neil Kinnock - and lots of more.
Dark, revealing and often hilarious, Mad males and undesirable males tells the tale of ways unelected, unaccountable males ended up informing coverage - and the way the British public paid the price.
Sam Delaney is a author for the Telegraph, the mum or dad, the massive factor and diverse others. He has made documentaries for the BBC and Channel four and provides radio exhibits on BBC London and Talksport. he's the writer of 2 prior books: Get Smashed! the tale of the lads who made the advertisements that modified our lives and evening Of The dwelling Dad: Confessions of A Shabby Father. he's the previous editor of warmth journal and present editor in leader of Comedy crucial united kingdom.
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Additional info for Mad Men and Bad Men
Re¯ecting on the quality of senior management within the agency sector, it ponti®cated, `the differences between agencies lies in the advertising they create. . The creative function is therefore the most important one performed by agencies and the one where the most rigorous standards need to be maintained' (Campaign, 16/7/93: 21). Elsewhere the paper reinforced this perception of creative people's central role. In its regular pro®les of the industry's shakers and movers, for example, it was creatives, along with Chairmen, Chief Executives and Managing Directors, who dominated the pieces.
A more differentiated account of these occupations is required; one that can grasp the differences between them as much as `family resemblances'. Additionally, the idea of new cultural intermediaries as Featherstone uses it is inattentive to the organisational cultures of the enterprises that make up this diverse sector of intermediary work. It is a central claim of this book that exploring these workplace, and broader, industry cultures is integral to an adequate understanding of these occupations.
Looming large in this was the move among a group of agencies to realign the commercial and creative dimensions of advertising practice. Associated with a so-called `creative revolution' in British advertising, agencies like Saatchi and Saatchi, Yellowhammer and Bartle Bogle Hegarty (BBH) had sought to shift the terms of what counted as effective advertising and to develop a more aestheticised style of promotion. They argued that the commercial fortunes of their clients could be enhanced by a long term process of brand building and a defence of `brand values'.