Media spins off
10
‘Let us spend your money’
T
he ‘full service’ advertising agency ceased to exist some time ago. By
2000 there was barely an advertising agency left that still had its own
media department. The business of selecting and buying media space
had practically become a separate industry – comparable with research,
direct marketing, or event management. And there lies the rub: in a
world of converging media, it has become almost impossible to separate
these disciplines. Clients are now demanding multimedia campaigns that
combine the firepower of TV, digital, outdoor, sponsored events and a
host of other points of contact with consumers, with one underpinning
creative strategy. This requires highly skilled media planning. Crucially,
it requires a tight partnership between the creative and media teams.
It might help if they were in the same building.
This development has left the advertising agencies rather shamefaced.
Having spun off their media departments into highly profitable selfcontained units, they may now have to figure out a way of getting them
back. Some say that the links between the ‘creative’ and ‘media’ agencies
are strong enough to address clients’ needs. Others are less convinced.
At a forum organized by the British creative advertising journal Shots
in March 2006, one executive said, ‘Separating media from creative was
the worst mistake the industry ever made.’
We’ll return to this argument at the end of the chapter. But for now
the key question is: how did we come to this pretty pass? For the answer,
we must first return to Paris.
The 24-carat idea of Gilbert Gross
Gilbert Gross was born on 3 April 1931, the son of shopkeepers. As
a young man he worked for a tiny advertising agency at the top of
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rue Lafayette, the long straight avenue that runs between the Gare du
Nord and the Opéra Garnier. For the time being, there was little to indicate that he would create a new branch of the advertising profession.
‘It was tough, but not as tough as it had been just before my arrival,’
says Gross – who now is an imposing, bronzed, silver-haired gentleman
in his mid-seventies. ‘As you know, we made our money by accepting a
commission of 15 per cent from the media every time we placed a client’s
ad with them. At that time, the government had just overturned a rule
that said if you took a client from another advertising agency, they
continued to receive the commission for two years. This had completely
blocked the market to new entrants.’
Despite the scrapping of this terrifying regulation in the mid-1950s,
Gross was forced to go from door-to-door along the rue Lafayette, soliciting for business. ‘I remember my first client was a shoe store called Aux
de Lions, a minuscule small ads account. The next client was a tailor...
basically, it was a struggle.’
Eventually, Gross won the creative account for a brand of coffee
owned by Perrier. He was told that while he would be paid a fee for
his creative work on a freelance basis, the media placement would be
handled by Havas. ‘There were a series of meetings at which I met a
certain Monsieur Clément, who was responsible for the media placement. During our conversations, I realized that he was able to negotiate
the media space for a much lower price than the client might have
imagined. I also noticed that he drove a very nice car. It still took me
a while to work out what was going on, though.’
Gross became friendly with Clément, who invited him along to a
lunch with the advertising sales director of a large regional newspaper.
‘It was like being in the bazaar at Marrakech,’ he chuckles. ‘I’d always
accepted that the rates for advertising space were fixed... but no, not at
all! It was, “If I buy two pages what kind of deal can you do for me?”
and so on. All this while sipping wine and eating fine food in a very
jovial atmosphere: I began to realize I was in the wrong job.’
Inspired by this experience, Gilbert approached the beer brand
Champigneulles and offered to place its media at reduced rates. ‘The
boss, René Hinzelin, was a friend of mine. He didn’t think my idea would
work but he gave me a chance. After all, if I came to you and said “If
I can get you a cheaper electricity bill, can I take my fee out of the
difference?” you’d probably agree. You’ve got nothing to lose! And so
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I went to a newspaper and began to use the same arguments as Clément:
“If I buy two pages and guarantee a lot more in the future, can you do
me a deal?” It worked like a charm.’
And so a new metier – the independent media buyer – was born.
Shortly afterwards, the BSN group (now Danone) acquired Cham­
pigneulles along with another beer brand, Kronenbourg. ‘I thought that
was it; my short run as an independent media buyer was over. But they
called me in for a meeting and said, “We’ve noticed you’ve been able to
negotiate some very advantageous rates. How would you like to take
care of media for the whole group?” Suddenly, I had the biggest media
account in France.’
Shortly afterwards, Gross won the French media-buying account for
Coca-Cola. Soon the combined media clout of his accounts enabled him
to buy blocks of space a year in advance and resell them piecemeal to
clients, guaranteeing a fixed income for his media contacts. It was this
media buying operation that became Carat (Centrale d’Achat, Radio,
Affichage, Television) in 1966. In order to offer an extended service to
international clients, Gross began to set up offices in Europe and beyond.
All went well until the introduction in 1993 of the Loi Sapin (‘The
Sapin Law’), designed to create ‘transparency’ in the French marketplace. It effectively fixed media rates and cut the media agency out of the
transaction between advertisers and media supports. Gross uses a neat
metaphor: ‘It meant that instead of going to the market and buying
vegetables in bulk, then selling them to customers and pocketing some
of the money we saved them, we were reduced to telling them whether
carrots or cauliflowers were better for their health. We became consultants rather than traders.’ (The law exists only in France – elsewhere,
media independents are free to act as both traders and consultants.)
Although Gross admits that the Loi Sapin ‘cost us a lot’, Carat eventually flourished in its new consultancy role. The advantage it offered to
clients became qualitative rather than quantitative: thanks to its media
expertise, it could advise brands on exactly where and when they should
be seen in order to achieve maximum impact for their campaigns. This
expertise would be paid for on an entirely above-board fee basis.
Carat is part of the British communications group Aegis, which
bought a stake in the company in 1990 and became a full owner in the
years following the introduction of the Loi Sapin. Carat’s headquarters
were then shifted to London. Entirely free from agency ties, it is the
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world’s largest independent media consultancy. A host of other media
specialists were spun out of full-service advertising agencies. The motivation for creating them was partly practical, but largely financial.
From barter to Zenith
Independent media buying in the United States essentially grew out of
barter arrangements. You might provide some studio equipment to a
small TV company. In return, rather than paying cash, they would give
you TV advertising slots. Then you’d have to sell them on.
One barterer-turned-buyer was Norman King, founder of a company
called US Media. In 1970, he prophetically told the Association of
National Advertisers that their ‘giant agencies’ were not buying media
efficiently. ‘For years, now, your agency has been spending millions of
dollars and nobody’s been really watching them,’ he said. ‘My suggestion
is, let us spend [the money] and let your agency watch us’ (‘The day the
prices fell’, Inside Media, 1 January 1992). Unfortunately, a year later,
US Media went out of business.
At around the same time, Dennis Holt started Western International
Media in Los Angeles. A far more solid concern, over the years this
swelled into a media-buying behemoth with blue-chip clients such as
Disney. In 1994 Holt sold it to the communications group Interpublic,
which re-named it Initiative Media.
In London, in 1972, a young man named Chris Ingram was made
responsible for merging the media departments of seven agencies belonging to the KMP group. He suddenly found himself running a standalone
division of 50 or so people, which was cunningly christened The Media
Department. ‘This was the birth of the agency-owned media specialist,’
he says. But during the 1973 recession, Ingram feared that the media
function would be merged back into the main agency, so he left to start
his own media planning and buying shop, CIA (Chris Ingram Associates).
Another important landmark came in 1985 when Ray Morgan, who
headed Mercury Media at Benton & Bowles, left with most of his staff
and clients to set up a standalone media operation, Ray Morgan &
Partners. Three years later it was acquired by the Saatchis, who wanted
it to handle media for their growing collection of agencies. The operation was re-branded Zenith. This opened the floodgates for the tide of
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re-named agency media operations that emerged throughout the 1990s:
MediaCom, MindShare, Starcom... the list was long and bewildering.
The birth of the media independent was partly driven by industry
consolidation (see next chapter) which meant that single agencies were
subsumed by larger communications groups. A standalone operation
could buy media on behalf of all the agencies in the group, giving it enormous negotiating clout with media owners. At the same time, it could
pitch for clients whose creative work was not held by any of its associated creative agencies. It could also bolt on a whole range of consultancy
services for which it could charge additional fees. The overall result:
more income for the parent group.
Turning back the clock
Although the creative agencies clearly feel uncomfortable talking about
it, there is a lingering suspicion that letting go of the media planning
function may have been an error. An early hint of this came in 2000 with
the formation of Naked, a new breed of independent agency designed to
help clients coordinate the scattered disciplines (see Chapter 20, The
agency of the future). More recently, a number of agencies have launched
initiatives designed to bring the media and creative functions closer
together. BBH called this new discipline ‘engagement planning’. TBWA
preferred the term ‘connections planning’.
But there is certainly no consensus that a return to full service is an
attractive idea. Media specialists argue that in the full service era, clients
were too often persuaded that the best way to raise their profile was via
television advertising – which coincidentally meant bigger bucks and
a greater chance of creative awards for the agency. The media planners’
oft-touted philosophy of ‘media neutrality’ means that if a cheap but
targeted blog is more appropriate to the client’s needs, then that’s what
they should pay for.
Jack Klues, who created Leo Burnett’s spin-off media operation,
Starcom, insists that unbundling actually took place at the behest of the
clients. ‘Clients push for change. We try to keep pace with them, or even
interpret what they want and get ahead of them, but at the end of the
day the advertising landscape is moulded by them. I’d be disappointed
if anyone thought that the media businesses were formed to serve the
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egos of people like Chris Ingram or myself. This turned out to be the best
way of doing our job – but we’re not trying to do it at anyone’s expense.
Some of my friends in the creative agencies say, “You guys are trying to
take over the world!” ’ He laughs. ‘Well, maybe that will happen – but
it’s not my agenda.’
Kevin Roberts, the straight-talking worldwide boss of Saatchi &
Saatchi, dismisses the very notion of a return to the old days: ‘It’s the
burning question that everybody’s asking – but it’s the wrong bloody
question. Old notions of media are no longer relevant. In my view there
is no such thing as media any more: all we’ve got are consumers and
connections. What clients need is a group of consumer experts from all
over our world, sitting around the same table, before the brief has even
been set. In fact, briefs are useless because the clients usually don’t even
know what they want. So give me a group of people who can feel what
the consumer needs. Do those people all need to come from the same
company? Of course not.’
In any case, there’s no going back. It’s impossible, not to mention
pointless, to compare the original single-celled advertising agencies with
today’s highly complex marketing giants.
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INDEX
180 agency
183–84, 185–87, 191
Abbott, David 98–102
Abbott Mead Vickers 99
Absolut vodka 121–22
account executive 21
account planning 81–83
Adidas 183, 185–6, 248
advertising 2, 3–4
creative 43
film directors and 221–25
event 105–06
expenditure 3, 31
First World War 19
future of 251–52
games 248
internet 197–201
magazine 76
multimedia 143
origins 7–8
posters 9–10, 127–28
radio 29–30
Second World War 30–31
social networks 1, 247
TV commercials 77–79, 241
viral 245
Advertising Association 197
Advertising Age 102
advertising agencies 10–12, 251
Argentina 203–04
Australia 217–19
Brazil 204–08
China 236–39
France 107–26
Germany 138–42
Holland 183–88
Italy 127–38
Japan 171–81
mergers/takeovers 149–69
South Africa 213–16
Spain 209–12
UK 73–88, 89–102, 188–90
USA 19–31, 33–59, 61–72, 102–06
Aegis 145, 174
Agenzia Italia 133
Agulla y Baccetti 203
Ajroldi, Paulo 119, 120
AKQA 248
Alka-Seltzer 56–57
Adland_print-ready.indb 255
Ally, Carl 54–55
Almap/BBDO 207–08
Amsterdam Worldwide 183
AMV BBDO 5, 99, 102, 154, 232
Anomaly 244, 247
Apple 104–06, 125
Armando Testa 127–31
Armstrong, Richard 245
‘Arrow Collars & Shirts’ 13
Artzt, Edwin L 241
Asia 234–36
Asics 183
Audi 97–98
Avis 49, 55
awards ceremonies 227–32
Ayer, Francis Wayland 11
Ball, Hugo 20
Barrett, Thomas J 8
Bartle Bogle Hegarty (BBH) 41, 89, 93,
96–98, 147
Bartle, John 96
Barton, Bruce 23, 24, 30, 31
Bassat, Louis 211
Bates, Charles Austin 12
Batten, George 23–24
Baulk, Michael 101–02
Baumgartner, Felix 245–46
Bayley, Stephen 90
BBDO 23, 24, 25, 31, 74, 89, 102, 133
merger with DDB 149–53
Bcom3 165, 174
BDDP 59, 84, 123–24
Beattie, Trevor 136–37
Bell, Tim 87
Benetton 134–38
Benetton, Luciano 134–35
Benton & Bowles 84, 85
Bermann, Georges 221, 223–25
Bernardin, Tom 61
Bernbach, Bill ix, 43, 45–49, 54, 61, 65,
82, 84, 150, 192, 241
Bleustein-Blanchet, Marcel 108, 109–13,
158, 162
BMP 83–84
BMW 141, 193–94, 214
Boase, Martin 83, 84
Boase Massimi Pollitt 81
Bogle, Nigel 96, 98
5/10/2013 5:05:04 PM
256
Index
Bogusky, Alex 191
Bolloré, Vincent 168, 169
Bonnange, Claude 119, 120
Borsten, Eddy 209
brands 24, 109, 246
dotcom 198
Eastern Europe 233
Braniff Airlines 57
British Airways 83, 93
Brignull, Tony 77
Brodovitch, Alexey 50
BSUR 183
Budgen, Frank 222, 225
Bullock, Richard 232
Burnett, Leo ix, 25, 31, 41, 62–72, 98
Cabaret Voltaire 20
Cadbury 9
Cadillac 30, 63
Calkins & Holden 12, 13
Calkins, Earnest Elmo 12
Campaign 86, 90, 94, 152, 157, 188
Cannes Lions International Festival of
Creativity 227–32
Carat 145
Carl Crow Inc 236–37
Carosello 129–30
‘Cassandre’ 28
Cayzac, Alain 117
Chaldecott, Axel 188
Chiat/Day 102–06, 122
‘1984’ advertisement 105, 125
Chiat, Jay 102–06
Citroën 177
Clemenger 219
Clemenger, Jack 219
Clow, Lee 105, 106
Collett, John 75
Collin, Will 243
Collinson Dickenson Pearce (CDP) 74–81,
85, 101
acquired by Dentsu 174
Contrapunto 211–12
copywriting 11–12, 13
Italian 131–34
Cramer, Ross 77, 84–86, 95
Cramer Saatchi 84–85
Crawford, Bruce 153
Crawford, John 66
Crispin, Porter & Bogusky 191
Crispin, Sam 191
Curtis, Cyrus 16
Dada 20
Dane, Maxwell ‘Mac’ 45, 48
Adland_print-ready.indb 256
Day, Guy 103
de Pouzilhc, Alain 168, 169
Delpire, Robert 117
Dentsu 5, 91, 154, 165, 238
history 171–74
television advertising and 173
Dichter, Ernest 41
Dickenson, Ronnie 74, 78
digital media 1
Disruption Days 125
dotcom advertising 197–201
Douce, Jacques 167
Douglas, Torin 9
Doyle Dane Bernbach (DDB) x, 43, 48,
50, 52, 53, 54, 56, 73, 75, 76, 78,
94–95, 100
merger with BDDO 149–53
Doyle, Ned 45, 48
Droga, Dave 244–45
Droga5 244
Dru, Jean-Marie 3, 124–25
Duffy, Ben 31
Durstine, Roy 23
Dusenberry, Phil 34, 89
Eastern Europe 233–34
Elliott, Brian 187–88
EMAP 229, 230
Erickson, Albert 42
Euro RSCG Worldwide 118–19, 168
Eurocom 167–68
Evans, Lee 186
Facebook ix, 246, 247
Fallon 192–95
Sony TV campaign 194–95
Fallon, Pat 192, 193
Fendley, Alison 92
Fincher, David 223
Flagg, James Montgomery 19
Foote Cone & Belding (FCB) 161, 162–63
Ford 24
Fox, Stephen 10, 14, 21, 25, 30, 36, 42
French, Neil 90, 235–36
Fry 9
Gage, Bob 45, 47, 52, 53, 54
Gallup, George 27, 36
Gamelab 248
George Patterson Y&R 217–19
Getchell, J Stirling 28–29
GGK 140, 206
Gillard, John 94–95
Glaser, Milton 58
Glazer, Jonathan 222
5/10/2013 5:05:04 PM
Index
G1 Worldwide 179
Gondry, Michel 221, 224, 225
Goodby, Jeff 190
Goodby, Silverstein & Partners 190–91
Goodson, Scott 187
Gorgeous Enterprises 222
Gossage, Howard 242
Göttsche, Michael 132, 133
Goudard, Jean-Michel 118
Grey Global Group 154, 157, 168–69
Gross, Gilbert 143–46
Gunn, Donald 228
haiku 175
Hakuhodo 178–79
Hampartsoumian, Arto 238–39
Harlow, John 243
Harper Jr, Marion 42, 56, 159–60
Harper, Paul 150
Hatchuel, Roger 229–30
Haupt, Roger 165
Havas 5, 84, 115, 116, 118, 165–69
Havas, Charles Louis 165–66
Hayward, Guy 185
Health Education Council 85–86
Hegarty, John 41, 84–85, 86, 94–98, 121
Heineken 246
Henry, Steve 188
Hertz 55
Holden, Ralph 12
Holt, Dennis 146
Hopkins, Claude 14–16, 17, 18, 36, 39
Howard-Spink, Geoff 81
Howell Henry Chaldecott & Kury (HHCL) 188–90
Howell, Robert 188
Hummert, Frank 29–30
Hunt, John 213–16
Hunt Lascaris 213
African National Congress and 214–16
Ingram, Chris 146
integrated/360 marketing 189
Interpublic 154, 160–62
J Walter Thompson (JWT) 20–22, 24, 34,
73, 76, 81, 154–55, 235
Jacoby, Konstantin 140
Jesus Jeans 133–34
Jobs, Steve 104–05, 125
John Singleton Advertising 217
Johnnie Walker 98
Johnson, Carl 244
Jones, Colin 5
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257
Jonze, Spike 223
Jung von Matt 140, 141
Kagami, Akira 175, 176
Kameleon 245, 246
Karmazin, Mel 159
Kaye, Tony 221–22
Kellogg, Will Keith 67
Kellogg’s 67–68
Kemper Trautmann 141–42
Kennedy, David 184
Kennedy, John E 13–14, 18
Kershaw, David 93
KesselsKramer 183
King, Norman 146
King, Stephen 81
Kitchener, Lord 19
Klues, Jack 147
Koenig, Julian 50–51, 54
Krone, Helmut 50, 51, 52
Kudner, Art 63
Lansdowne, Helen 21–22
Lascaris, Reg 213–16
Lasker, Albert 13–14, 16–18, 25, 161
Law, Andy 122–23
Lawrence, Mary Wells 45
Lemonnier, Pierre 114
Leo Burnett Worldwide 61, 67, 71, 72, 74,
108
Leskinen, Väinö 248 Levenson, Bob 51
Levi’s 96–97
Lévy, Maurice 107–08, 111–13,
162–65
Levy’s Bakery 49
Leyendecker, Joseph Christian 13
Lintas International 160
Lois, George x, 49–50, 52–54
Lord & Thomas 13, 16, 17–18, 25, 161
Lorente, Joaquín 209
Lowe, Frank 80–81
Lowe Group 133, 160
Lubalin, Herb 52–53
Lury, Adam 188
Lynch, David 246
M&C Saatchi 93
MacManus, Theodore 13, 63
Madison Avenue 33–43
Mandela, Nelson 213, 214–16
Marcantonio, Alfredo 73, 81
Marlboro Man, the 68–70
Massimi, Gabe 81
Mather, Francis 36–37
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258
Index
Mather & Crowther 35, 36
Mayer, Martin 33
Mazia, Fabio 203, 204
McCann-Erickson 33–34, 73, 159, 179,
235, 238
McCann, Harrison King 42
Mead, Peter 99, 100
media buying 145–47
Melvin, Alex 184, 185–87
Mendola, Chris 185
mergers/takeovers 149–69
Michel, Philippe 113–14
Millward, Colin 75, 77, 78, 80
Mindshare 157
MMLB 209–10
Moliné, Marcel 209
Montfort, Miguel 209
Morgan, Ray 14
Mother 189–90
motivational research 41
MTV 89
Muccini, Gianni 133
Mucha, Alphonse 9–10
Muirhead, Bill 86, 93
Naked Communications 147, 243–44
Needham Harper 149
NewYorker 69
Nike 183, 184–85, 246–47
Nissan 179
Odagiri, Akira 177
Ogilvy & Mather (O&M) 41, 101, 156,
211, 235
Ogilvy, David ix, 2, 4, 35–41, 43, 65, 102,
113, 154, 156, 158, 249
Ohrbach’s 48–49
Oka, Yasumichi 179–81
Okamura, Masako 176–78
Olivetto, Washington 204–07
Omnicom 122, 124, 149–53
Diversified Services Agency (DAS) 152, 154
Osborn, Alex 23
Packard, Vance 33, 41
P&G (Proctor and Gamble) 66–67
Palmer, Volney B 10
Papert Koenig Lois (PKL) 54, 73, 76
Paradiset DDB 232
Parker, Sir Alan x, 39–40, 75, 76–80,
224
Partizan 221, 223–25
Patterson, George Herbert 217–18
Pearce, John 74, 75, 76, 77, 78, 80
Adland_print-ready.indb 258
Pets.com 199–200
Pirella, Emanuele 131–34
planning see account planning
Polanski, Roman 246
Polaroid 49
Pollitt, Stanley 81–83, 84
Porter, Chuck 191, 192
posters 1, 9–10, 127–28
Postum 26–27
Powers, John E 11–12, 15
Prichard Wood & Partners 82, 83
Projector 247
Publicis Groupe 5, 8, 72, 98, 107, 115,
116, 162–65, 175, 194
Puttnam, David 75, 79, 85, 95
Pytka, Joe 222
Rabl, Preston 155
radio 1, 24, 29
‘soap operas’ 29–30
Rand, Paul 46–47, 50, 54
Raphaelson, Joel 39, 40
Red Bull 245–46
Reeves, Rosser 16, 36, 40, 42–43, 45
Reinhard, Keith 149–54
Renaudot, Théophraste 7–8
Resor, Stanley 21–22, 36
Riney, Hal P 163
Roberts, Kevin 148, 157, 163–64, 232,
238, 242–43
Robertson, Andrew 249
Robinson, Phyllis 45
Rosenshine, Allen 151, 153–54
Roux, Bernard 116
Roux, Michel 121
Roux Séguéla 116–17
Rowell, George P 11
RSA Films 79
RSCG 118
Rubicam, Raymond 25–28, 36
Rutherford, Andrew 87
Saatchi, Charles 77, 84–88, 90–93, 95
Saatchi, David 85
Saatchi, Maurice 85, 86, 90–93
Saatchi & Saatchi 86–88, 89, 108, 148,
151, 153, 155, 157
Conservative Party and 87
expansion 90–93
merger with Publicis 163–64
Sala, Maurizio 129, 130–31
Savaglio, Ernesto 204
Schaff, Phil 70
Scholz & Friends 139, 140
Scholz, Juergen 138–40
5/10/2013 5:05:04 PM
Index
Scott, Charles 92
Scott, Ridley 79–80, 104–05, 224
Scott, Tony 79
SCPF 212
Screen Advertising World Association 229
Seelert, Bob 163
Séguéla, Jacques 115–19, 165
Senn, Fred 192, 193
Señora Rushmore 212
Serpa, Marcello 207–08
Shankly, Bill 159
‘shockadvertising’ 136
Silverstein, Rich 190
Sinclair, Jeremy 85, 86, 93
Singleton, John 217
social networks 1, 247
Snowball, Cilla 5, 232
Sorrell, Sir Martin 2, 87, 154–59, 169,
231, 235, 238
Spring, Steve 198
Springer & Jacoby 140, 141, 142
Springer, Reinhard 140
St Luke’s 123
Stabiner, Karen 103
Starcom 147
StrawberryFrog 187–88, 191
STW Group 217
Super Bowl 105–06, 199
Tainaka, Kunihiko 175
Taubin, Bill 52
TBWA South Africa 216
TBWA Worldwide 3, 96, 119–22, 124–26,
147, 154, 179
Team 139
Ted Bates agency 43, 74, 153, 219
television 1, 31
advertising 83, 89
Testa, Armando 128–31
Testa, Marco 130
Thatcher, Margaret 87
The Economist 100–01
The Gunn Report 228
Thompson, James Walter 20–22
tobacco advertising 24, 69–70
see also Marlboro Man
Adland_print-ready.indb 259
259
Toscani, Oliviero 134–38
Toulouse-Lautrec, Henri de 9
Tragos, Bill 119, 120
Traktor 223
Tugboat 179–81
Unilever 98
Unique Selling Proposition 16, 43
‘United Colours of Benetton’ 134–35
US Media 146
Valmorisco, Manuel 209
Vergara, Marcelo 203, 204
Vervroegen, Erik 231
Vickers, Adrian 99, 100
Vivendi 168
Volkswagen 49–52
Von Matt, Jean Remy 140–42
Wall Street Crash 1929 25, 63
Wanamaker, John 2, 11
W/Brazil 206–07
Webster, John 83–84
Weiden & Kennedy (W&K) 183, 184
Weiden, Dan 184
Weintraub, William H 46–47
Wells Rich Greene 55, 57–59, 78, 123
Wells, Mary 55–59, 123
Western International Media 146
Wilkins, Jon 243
WPP 2, 5, 41, 154, 156–58, 169, 218, 248
Wisendanger, Uli 119, 120
Wren, John 154
Yoshida, Hideo 172, 173
Young & Rubicam (Y&R) 25, 33, 36, 91,
120, 154, 157
Young, James Orr 26, 27
YouTube 246
yuppies 89–90, 98
Zamorano, Jose Luis 211
Zenith 146
ZenithOptimedia 3, 238
Zia, TK 237
Zieff, Howard 78
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