wall street jounal about the creative leaders

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For over 25 years, The Wall Street Journal has produced one of the most memorableof all trade advertising campaigns: "Creative Leaders."

The campaign pays tribute to a gallery of remarkably talented people who haveshaped the face of advertising. Because of that, selection as a featured Leader hasbecome one of the highest honors in the industry.

In these ads, we trace the notable careers of the Creative Leaders with in-depthinterviews. They talk about their individual and professional philosophies, theirdreams, their successes and their mentors. They touch upon subjects ranging fromthe importance of the client and the consumer to their visions of the future of thebusiness. And they offer a glimpse into the processes that have produced some ofthe most compelling advertising in history.

Here, you'll find nearly 100 of The Journal's "Creative Leaders" ads reproduced infull. Taken together, they provide a fascinating chronicle of advertising's evolutionover the past quarter century. At the same time, they serve as inspiration to all ofus - to never settle for giving less than our very best.

A B C D E F G H I J K L M N O P Q R S T U V W Y Z

AAbbott, DavidAlly, CarlAmmirati, RalphAnderson, RonAvrett, Jack

BBacker, BillBatey, IanBeaver, AllanBell, TedBerger, RonBerman, Cheryl

The Wall Street Journal - Print

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Berry, NormanBoyko, RickBrignull, Tony

CCaples, JohnChiat, JayChu, MikeClow, LeeCordner, TomCosmopulos, StavrosCunningham, Pat

DDe Vito, FrankDeGregorio, TonyDelaney, TimDella Femina, JerryDeutsch, DonnyDiSesa, NinaDupuy, Marie-CatherineDusenberry, Phil

FFederico, GeneFerrell, JohnFitzpatrick, SeanFizdale, Rick

GGage, BobGarfinkel, LeeGargano, AmilGeer, PeterGillette, Susan

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Goldsmith, GaryGoodby, Jeff

HHamilton, BillHample, AlHawkey, PennyHayden, SteveHegarty, JohnHill, George J. IIIHughes, Mike

JJacobs, Harry M. Jr.Johnston, James J.Jones, Caroline

KKaplan Thaler, LindaKeye, PaulKopcha, SteveKorda, RevaKorey, LoisKrone, HelmutKurnit, Shep

LLane, BillLawner, RonLois, GeorgeLord, DickLudwig, Bill

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MManning, BurtMarsteller, BillMassimi, GabeMaynard, WilliamMcCabe, EdMcCall, DavidMcElligot, TomMcKinney, CharlesMerkley, ParryMessner, TomMonahan, TomMoore, Mary

NNelson, JimNewsom, Hal

OO'Neill, KevinO'Toole, John

PPostaer, Larry

RReinhard, KeithRichards, StanRiney, HalRobinson, PhyllisRosenshine, AllenRothschild, DianeRydholm, Ralph

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SSann, TedSchulberg, JaySchutze, VirgilSiano, JerrySilverman, PaulSloan, MikeSpivak, HelayneStone, Robert

TTanaka, GeorgeTrygg, Steve

WWestbrook, Bill

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On words and pictures.

"In my last semester of college,needing to fill a hole in my schedule, I took a class given bya former Y&R art director who’dcome to Austin to flee the ratrace. He showed us reels of great commercials, but it was thediscipline and purity of print thatgot me hooked, the way youcould juxtapose the two thingsthat interest me most -- wordsand pictures -- to come up with athird, entirely different meaning.I graduated, went home to Dallas,put together a book and waslucky enough to get it in front ofStan Richards. He recommendedI apply to Art Center in Pasadena.I thought I was about to get a job.He was telling me I needed to goback to school. It was the lastthing I wanted to hear, but it wasa turning point in my life."

On rubbing shoulders withgiants.

"I went to Pasadena, and for twoyears and eight months I workedlike a dog. It was very intense.When people ask what Art Centeris like, I tell them it’s medicalschool without the blood. Justbefore graduation, we were askedto list the 10 places we mostwanted to work. I wrote DoyleDane Bernbach 10 times. Theytold me I was only setting myselfup for disappointment. I flew toNew York anyway, and the dayafter I arrived was hired by RoyGrace. That was 1981, back whenthe legends still roamed the halls.

Bill Bernbach was there. Roywas the creative director. BobGage and Helmut Krone werestill doing campaigns. All haddifferent styles and personalities,and all lived for the work. Youcouldn’t have asked for betterinfluences."

On putting up his shingle.

"At a certain point you say, ‘OK,I want to go out and do this onmy own.’ Bob Jeffrey and I hadworked together at both DDB andChiat and shared the same crazyidealistic vision of what an gencycould be. And we were stillyoung enough to work 24 hours aday. We opened in April of ’87.The stock market crashed inOctober, but if anything the hardtimes gave clients a rationale totake a chance with us over the bigguys. Over the next 10 years wedid a lot of work I’m still veryproud of. In ’96, we wereacquired by Lowe, but I’ve triedto maintain the mentality of anentrepreneur and forget that I’min a big agency surrounded by allthese resources. I remind myselfto stay close to the work, takechances, be bold."

On tough love.

"Creating anything new is tortuous. The only way to end thetorture is to have an idea. Youwant it to be good, because youknow that means the torture willbe over. My job is to send peopleback into the torture chamber tocome up with something better,

something with the right combination of logic and magic.Without the logic, no one will bepersuaded. Without the magic, noone will care."

On building a culture.

"About eight years ago, a lot ofcreatives went freelance. Othersbegan bouncing from shop toshop. People wrote it off as thenature of the business -- they saidyou couldn’t build a place wherecreatives felt loyalty toward eachother and the place they worked.It’s a myth. You show loyaltytoward others, they’ll return it. Ithink now, more than ever, peopleare looking for a place they canbelieve in and call home."

On The Wall Street Journal.

"I always remind our creatives tobe aware of the context in whichtheir work will run, and no mediaoffers a more supportive andchallenging context than TheJournal. Whatever an ad may say,its mere presence in The Journallends it credibility and authority.But it also carries a challenge.Having been given an audiencewith many of the smartest andmost influential people in theworld, it’s up to us not to blowit."

Mr. Goldsmith Goes to Manhattan.

Raised in Dallas and trained in Pasadena, Gary Goldsmith arrivedin New York in the winter of 1981, determined to create greatadvertising. Now the chairman & chief creative officer ofLowe/USA, he has earned the respect of his peers as much withthe quality of his character as his lean, thoughtful, provocativework.

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