The race to the bottom: why agencies keep making offensive adverts

Remember the Hyundai suicide advert? Or the campaign that suggested Flora margarine could strengthen your heart against the shock of having a gay child? Josh Lowe investigates why these deeply offensive campaigns ever see the light of day.

In April this year, Holly Brockwell, an advertising copywriter who blogs as Copybot, wrote a searing open letter to the car company Hyundai and one of their ad agencies, Innocean, about how they had made her sob to the point of nausea with an ad.

The one-minute viral video was based around a simple gag. A threadbare older man has decided to end it all. We know this because we see the taped-up windows of his car, the exhaust feeding in, billowing around him. We assume we are watching a promotional film for MIND. But then, aha! It turns out this tool is even more pathetic than we thought. He’s trying to top himself with his squeaky clean Hyundai ix35, the moron! Didn’t he know, as a line of copy subsequently informs us, that it produces only “100% water emissions”? Our poor sap trudges back to the house, presumably to stick his head in an electric oven or something.

Brockwell didn’t feel able to get in on the joke, as her own father had killed himself in a similar way years before. As she put it in her letter:

I understand better than most people the need to do something newsworthy, something talkable, even something outrageous to get those all-important viewing figures. What I don’t understand is why a group of strangers have just brought me to tears in order to sell me a car.

This has all been discussed before - the ad provoked massive controversy, leading Hyundai to pull it. Their defence, though, was interesting. The FT reported a spokeswoman as saying that the car company had not commissioned or approved the film. The agency chimed in: they had been looking for “consumers’ feedback on creative ideas employing hyperbole to dramatize [sic] a product advantage.” Their only misstep was to do so online, in a prominent place, with people all over the world at the same time.

Once you start to look for it, you realise how pervasive this problem has become. A recent campaign by Lowe and Partners South Africa which advertised Flora margarine as strengthening your heart against the shock of having a gay child was an embarrassment to parent company Unilever, who stressed that it “was not approved”. At the beginning of this year, JWT India produced caricatures of women being abused to great outcry. Ford, for whom the ads were made, denied signing off on them.

“Ad creatives exist in a strange world,” Brockwell tells me. “Their boss wears jeans, the head of HR uses the C-word... making a hilariously tasteless joke ad and sticking it up on the wall in the agency can be a way of letting off steam during a stressful week.” In such a insular, pressurised environment, the responses of outsiders can be a shock: “Those jokes would be perceived extremely differently outside the agency, and when they’re leaked... it’s often only then that the creators see their joke through everyone else’s eyes.”

Ten years ago, Gordon Young, editor of communications and media magazine The Drum, noticed a similar issue. Advertising creatives were increasingly bending or breaking the rules of competitions in order to get tasteless or provocative work entered and make a splash. In response, he created the Chip Shop Awards which recognises “creativity with no boundaries”. “Why try and ban it?” reasons Young, “why not create a platform where they can show it and everybody knows exactly what they’re looking at?”

Why not indeed? Winners of the last awards include a poster of the queen taking a dump to plug Immodium ("Spending Too Much Time On The Throne?") and a spot for popular kids’ boredom-averter Top Trumps depicting a fictional classic entertainers’ set (think Savile, Glitter) and the slogan "Played With Since The 70s". The site carries a hefty disclaimer, meaning that onlookers are likely to view entries and winners with a permissive eye.

When playful platforms like these are available, it’s odd how many other avenues creatives find for releasing their work. One popular forum is adsoftheworld.com, an advertising archive and community which allows anyone to post examples of creative work and receive feedback.

Founder Ivan Raszl found himself at the centre of the aforementioned JWT India/Ford controversy. Creatives from JWT India posted work on the site which demonstrated the capacity of the Ford Figo’s extra-large boot with a cartoon showing Silvio Berlusconi peace-signing to the camera from the driver’s seat with three scantily clad women hogtied in the back, one of them weeping. Another showed Paris Hilton winking while, behind her, grotesque caricatures of the Kardashians struggled to slip their bonds. The internet was not happy.

In a blog written near the time, Raszl explained: “I feel in India... the celebrities and politicians portrayed in the campaign are seen as only comical characters, not as integral players of [sic] the society.” The problem, however, was that “in America the suggestion of sexual exploitation with criminal intent and kidnapping is no laughing matter in any context.” I’m sure many Indians would beg to differ, but his basic point should be familiar to us by now. Out of context, these things blow out of proportion.

So why take the risk of posting there? Raszl thinks creatives often get carried away and misunderstand their superiors: “the client may say on [sic] the meeting; ‘bit risky, but I like it’. And creatives may take it as approval.” His site offers an individual creative or teams of creatives a chance to generate instant publicity. He tells me that “many people [get] new jobs or promotions” as a direct result of uploading ads.

Blaming a tasteless ad on the bravado of art school grads dizzy from consecutive all-nighters is tempting, but everyone I speak to is clear that there is often a darker force at work. “I'm sure these things don't happen by accident as agencies would be too worried about losing clients and agencies and production companies normally have NDA's in place which have heavy financial penalties,” one agency head points out. Often the client, less closely associated with a piece of work than the agency, reaps a double benefit from a leak. They get a publicity spike driven by the off-colour material, followed by a chance to look decisive when they deny all knowledge and condemn the mad men behind it.

For Young, there’s a “checkered background”: sometimes the client is the victim. He suspects, for example, that “Unilever would have been appalled at the Flora campaign.” Sometimes, however, clients leak ads, or at least know they are being leaked, for PR benefit. How can we tell? “I think you’re looking at some of the stuff that works quite well,” he says. Without contradicting their official line, he does bring up Hyundai as an example of a brand he reckons benefitted from a backlash. “It made the brand seem a bit more risque than Hyundai is usually associated with being,” he says, and the ad clearly demonstrated a product benefit: “it was probably very good at getting their message over.”

This is a digital-age phenomenon. The number of platforms available to creatives and the lack of money involved makes this kind of stunt not only infinitely easier, but also allows the client to maintain what Young calls “plausible deniability.” Since accidents do genuinely happen so often, clients can play on public acceptance of that to get away scot free. As Brockwell says, it “creates [a] perfect storm of low risk and high potential... if you can say ‘a bigger boy did it and ran away’ and actually get away with it, why wouldn’t you?”

Is there necessarily a problem here? Young says that the threat of a social media storm makes the industry feel accountable. Nowadays, he points out, the advertising world is disparate and ill defined, and none of its regulatory bodies exercise full control over everything that could be deemed advertising. The possibility of online retribution keeps clients and agencies in check. In my own experience, the prevailing opinion in the communications industries is that debate and outrage are inherently good things anyway.

But Brockwell thinks the industry should be aiming as high as possible. “Advertising contributes to culture in a major way,” she says, “A kid watching TV learns as much about gender roles from the deodorant ad in the break as from the programme on either side. That means advertisers are as responsible for social norms as the people making mainstream content – in other words, very responsible indeed.” Yet what makes advertising interesting to her is the low regard in which it is generally held: “writing for advertising is particularly fun because people hate ads. It’s that much more rewarding when someone praises your ad, because unlike an article or story, they started out hostile to it.”

Brockwell’s point explains why this is more than a harmless case of marketers co-opting moral outrage. Advertisers using poor taste to drive traffic is an insult to the medium they work in. Agencies and clients see the distaste audiences have for being sold to, and rather than either holding off or trying to show them something positive, they bend that distaste to their own ends. At a time when clickbait lurks on our finest news sites and broadcast debate encourages shouting heads rather than talking ones, content creators across all media should take note. It might be easy to shrug off the disapproval of your viewers, but the results won’t be pretty. Besides, trying to change their minds is a lot more interesting.
 

An image from the Flora campaign, put together by Lowe and Partners South Africa.

Josh Lowe is a freelance journalist and communications consultant. Follow him on Twitter @jeyylowe.

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David Osland: “Corbyn is actually Labour’s only chance”

The veteran Labour activist on the release of his new pamphlet, How to Select or Reselect Your MP, which lays out the current Labour party rules for reselecting an MP.

Veteran left-wing Labour activist David Osland, a member of the national committee of the Labour Representation Committee and a former news editor of left magazine Tribune, has written a pamphlet intended for Labour members, explaining how the process of selecting Labour MPs works.

Published by Spokesman Books next week (advance copies are available at Nottingham’s Five Leaves bookshop), the short guide, entitled “How to Select or Reselect Your MP”, is entertaining and well-written, and its introduction, which goes into reasoning for selecting a new MP and some strategy, as well as its historical appendix, make it interesting reading even for those who are not members of the Labour party. Although I am a constituency Labour party secretary (writing here in an expressly personal capacity), I am still learning the Party’s complex rulebook; I passed this new guide to a local rules-boffin member, who is an avowed Owen Smith supporter, to evaluate whether its description of procedures is accurate. “It’s actually quite a useful pamphlet,” he said, although he had a few minor quibbles.

Osland, who calls himself a “strong, but not uncritical” Corbyn supporter, carefully admonishes readers not to embark on a campaign of mass deselections, but to get involved and active in their local branches, and to think carefully about Labour’s election fortunes; safe seats might be better candidates for a reselection campaign than Labour marginals. After a weak performance by Owen Smith in last night’s Glasgow debate and a call for Jeremy Corbyn to toughen up against opponents by ex Norwich MP Ian Gibson, an old ally, this pamphlet – named after a 1981 work by ex-Tribune editor Chris Mullin, who would later go on to be a junior minister under Blai – seems incredibly timely.

I spoke to Osland on the telephone yesterday.

Why did you decide to put this pamphlet together now?

I think it’s certainly an idea that’s circulating in the Labour left, after the experience with Corbyn as leader, and the reaction of the right. It’s a debate that people have hinted at; people like Rhea Wolfson have said that we need to be having a conversation about it, and I’d like to kickstart that conversation here.

For me personally it’s been a lifelong fascination – I was politically formed in the early Eighties, when mandatory reselection was Bennite orthodoxy and I’ve never personally altered my belief in that. I accept that the situation has changed, so what the Labour left is calling for at the moment, so I see this as a sensible contribution to the debate.

I wonder why selection and reselection are such an important focus? One could ask, isn’t it better to meet with sitting MPs and see if one can persuade them?

I’m not calling for the “deselect this person, deselect that person” rhetoric that you sometimes see on Twitter; you shouldn’t deselect an MP purely because they disagree with Corbyn, in a fair-minded way, but it’s fair to ask what are guys who are found to be be beating their wives or crossing picket lines doing sitting as our MPs? Where Labour MPs publicly have threatened to leave the party, as some have been doing, perhaps they don’t value their Labour involvement.

So to you it’s very much not a broad tool, but a tool to be used a specific way, such as when an MP has engaged in misconduct?

I think you do have to take it case by case. It would be silly to deselect the lot, as some people argue.

In terms of bringing the party to the left, or reforming party democracy, what role do you think reselection plays?

It’s a basic matter of accountability, isn’t it? People are standing as Labour candidates – they should have the confidence and backing of their constituency parties.

Do you think what it means to be a Labour member has changed since Corbyn?

Of course the Labour party has changed in the past year, as anyone who was around in the Blair, Brown, Miliband era will tell you. It’s a completely transformed party.

Will there be a strong reaction to the release of this pamphlet from Corbyn’s opponents?

Because the main aim is to set out the rules as they stand, I don’t see how there can be – if you want to use the rules, this is how to go about it. I explicitly spelled out that it’s a level playing field – if your Corbyn supporting MP doesn’t meet the expectations of the constituency party, then she or he is just as subject to a challenge.

What do you think of the new spate of suspensions and exclusions of some people who have just joined the party, and of other people, including Ronnie Draper, the General Secretary of the Bakers’ Union, who have been around for many years?

It’s clear that the Labour party machinery is playing hardball in this election, right from the start, with the freeze date and in the way they set up the registered supporters scheme, with the £25 buy in – they’re doing everything they can to influence this election unfairly. Whether they will succeed is an open question – they will if they can get away with it.

I’ve been seeing comments on social media from people who seem quite disheartened on the Corbyn side, who feel that there’s a chance that Smith might win through a war of attrition.

Looks like a Corbyn win to me, but the gerrymandering is so extensive that a Smith win isn’t ruled out.

You’ve been in the party for quite a few years, do you think there are echoes of past events, like the push for Bennite candidates and the takeover from Foot by Kinnock?

I was around last time – it was dirty and nasty at times. Despite the narrative being put out by the Labour right that it was all about Militant bully boys and intimidation by the left, my experience as a young Bennite in Tower Hamlets Labour Party, a very old traditional right wing Labour party, the intimidation was going the other way. It was an ugly time – physical threats, people shaping up to each other at meetings. It was nasty. Its nasty in a different way now, in a social media way. Can you compare the two? Some foul things happened in that time – perhaps worse in terms of physical intimidation – but you didn’t have the social media.

There are people who say the Labour Party is poised for a split – here in Plymouth (where we don’t have a Labour MP), I’m seeing comments from both sides that emphasise that after this leadership election we need to unite to fight the Tories. What do you think will happen?

I really hope a split can be avoided, but we’re a long way down the road towards a split. The sheer extent of the bad blood – the fact that the right have been openly talking about it – a number of newspaper articles about them lining up backing from wealthy donors, operating separately as a parliamentary group, then they pretend that butter wouldn’t melt in their mouths, and that they’re not talking about a split. Of course they are. Can we stop the kamikazes from doing what they’re plotting to do? I don’t know, I hope so.

How would we stop them?

We can’t, can we? If they have the financial backing, if they lose this leadership contest, there’s no doubt that some will try. I’m old enough to remember the launch of the SDP, let’s not rule it out happening again.

We’ve talked mostly about the membership. But is Corbynism a strategy to win elections?

With the new electoral registration rules already introduced, the coming boundary changes, and the loss of Scotland thanks to decades of New Labour neglect, it will be uphill struggle for Labour to win in 2020 or whenever the next election is, under any leadership.

I still think Corbyn is Labour’s best chance. Any form of continuity leadership from the past would see the Midlands and north fall to Ukip in the same way Scotland fell to the SNP. Corbyn is actually Labour’s only chance.

Margaret Corvid is a writer, activist and professional dominatrix living in the south west.