Yes, it’s true: Madison Avenue was cranking out advertising well before Donald Draper et al. were doing their thing. The glorious proof comes in the form of The High Art of Photographic Advertising, an exhibit running through Oct. 9 at Harvard Business School.

The website includes the back story:

“The 1934 Art and Industry Exhibition Photograph Collection brings together some of the finest examples of 1930s documentary, public relations, and advertising photography from prominent photographers such as Margaret Bourke-White, Russell Aikins, Alfred Cheney Johnston, Victor Keppler, Gordon Coster, Anton Bruehl, Nicholas Muray and others. This stunning group of black and white gelatin silver prints and color images was originally displayed in a 1934 exhibit sponsored by the National Alliance of Art and Industry (NAAI) and The Photographic Illustrators, Inc.”

Even a photography novice like me can tell that these photos are stunning, original and ahead of their time. (Check out the wild one at the bottom of this page. Something that’s sure to scare the hell out of the kiddies.)

And from a copywriter’s point of view, some of these ads made me a little jealous. Take the one at the bottom of this page, for the Auburn Phaeton motor car: Four meaty paragraphs concluding with …

“You find crowning justification of your judgment in your relaxed comfort and sense of security as you drive one of these New 1935 Auburn Models. This experience you are cordially invited to enjoy.”

These days, you rarely get that kind of space to tell a product’s story in a print ad. And grandiose phrases like “You find crowning justification” generally don’t fly either. (Well, maybe that’s a good thing.)

Anyway, if the TV and print ads you see on “Mad Men” have tempted you to sample advertising from another bygone era, then check out the HBS exhibit.

When I turned 30, my best friend gave me a birthday card that read, “Happy Birthday, Ma’am.” Then on the inside: “Get used to it.” But I can’t. Six years and hundreds more “ma’ams” later, I still bristle every time I hear it.

So when I read Natalie Angier’s article, “The Politics of Polite,” it, well, it was like the article I’ve been meaning to write for six years.

Ma’am, a simple contraction of “madam” meant to show respect, instead, as Angier puts it so perfectly, “can feel like a tiny jab, an unnecessary station-break to comment on one’s appearance: Hello, middle-aged- to elderly-looking woman, how may I help you this evening?” Yes! That’s exactly what it feels like.

So until there is a linguistic equivalent that makes men self-conscious of their prematurely balding head or spare tire, I think we need to all agree to just stop saying “ma’am.” OK?

Sometimes procrastination pays off.

For over a year now, I’ve had an item on my to-do list for our blog: usage rules you can ignore. The idea being, if you’re a writer who knows what he’s doing, you don’t have to stick to every single rule they taught you back in high school. Some of those rules are silly, while others are just plain wrong.

Now Jan Freeman has written exactly what I meant to write (so I don’t have to). In “Un-Rules,” she explains 10 language laws that you can safely forget — starting with one that’s been a huge pet peeve of mind for ages:

“And” can start a sentence. So can But and However. One theory is that teachers ban the and opening for kids of Tooth Fairy age so they can’t just string together a series of “and then” sentences, thus planting the idea that it’s forbidden. But anyone old enough for Harry Potter should be able to handle the truth.

Here’s the full article. Thank you, Jan.

I saw this on a bumper sticker a few weeks ago and have been thinking about it ever since. There are so many things right about this seemingly wrong tagline for the Montague Bookmill that it’s hard to know where to start.

Can’t you almost hear the objections that would surely arise as it was quickly dismissed in your standard “creative” meeting?

“What?! In this economy you’re going to remind people that books are a luxury item?” And of course, “People hate to get lost. Why highlight a negative?”

I’m glad the creative person behind this tagline — my guess is it was the owner, but I’ll find out and get back to you — either skirted this process or held firm to her instincts. They were good ones.

Here’s why: The “people” these naysayers would worry about driving away would never make the drive in the first place. Montague Bookmill’s real customers (I suspect) are hardcore bibliophiles who would enjoy nothing more than a long drive to an obscure bookstore where, as the website says, “If we can’t find the book you’re looking for, we’ll find you a better one you didn’t know you wanted.” What a great line. Speaking of, that’s another reason the tagline on the bumper sticker works: It’s clever wordplay … and people who love books eat that stuff up.

So, Montague Bookmill, I commend you for knowing your audience, boldly going after them and ignoring everyone else. Because, do I have to say it? Okay, fine, I’ll say it: You can’t be all things to all people. (That means you, local suffering café in my neighborhood that sells sushi, ice cream and bagels.)

I’ve decided to write this blog post for two reasons: 1) People email us all the time asking for advice on how to start a career in the fabulous world of copywriting, and 2) August is almost over, and we haven’t posted anything new this month (gulp).

With these points in mind, here are five tips for those of you thinking about becoming a copywriter.

1) Get your portfolio in order.

One of the best ways to establish your credibility is to have a respectable portfolio. If you have any clips from a previous job or even your college newspaper, collect them in one place and pick out the best ones. These days, I don’t even bother with physical samples. Pointing people to online samples is perfectly fine (and it’s easier to keep your portfolio up to date that way).

What? Your portfolio is thinner than a Russian supermodel? Then …

2) Fatten up your portfolio.

Soon after starting The Hired Pens in 2001, we approached several nonprofits we liked and said we’d work for free. A couple took us up on the offer. This allowed us to diversify our portfolio with website copy, a brochure, press releases, etc. Speaking of which, as you build your portfolio, aim to introduce variety in terms of both deliverables and industries. It will boost your chances of having just the right sample to impress that prospective client.

3) Establish a professional online presence.

You can start by building a website for yourself. It’s such a benefit to have a URL where you can send people for writing samples and background on your experience. Not tech-savvy? Do some bartering with a Web designer who can take care of it for you. Or check out WordPress, which is an easy way for the technology-challenged to create a basic website.

Something else to consider: optimizing your LinkedIn page. Anna wrote about this in May.

4) Get organized.

Don’t be scattershot when you start going after business. Find a way to track your target clients and record your progress. The solution may be something as simple as an Excel spreadsheet. On the high end, you can look at customer relationship management (CRM) tools, but that’s probably over the top.

Also be sure to track the invoices you send out and the payments you receive. Excel might cover your needs for this too, but you can always step it up and invest in QuickBooks or similar products.

5) Create a contract.

Believe it or not, some business people are unscrupulous (!). Or they have a weakness for unwittingly committing to work they can’t afford. Either way, be sure to cover your butt by having a lawyer draw up a contract for your engagements. (There are probably good contract templates available online, though I haven’t checked in awhile.)

In the contract, be clear about the scope of work (How many Web pages are you writing? How many rounds of revisions are you responsible for?). Also be clear about payment schedule. Particularly if you’re working with a client for the first time, don’t hesitate to require 1/4 to 1/3 payment upfront.

OK, that’s all my advice for now. I’m sure I’ll post Part 2 someday (once I’ve thought of five more tips).

Missed Part I? Read it here.

So what is the new wave of development when it comes to generating and measuring ROI? Capitalizing on behavioral targeting. (Yeah, I’m talking to you, Facebook.)

Despite these advances currently being challenged by consumer privacy advocates, there’s a major force working against it: The shift in privacy expectations — and a rising generation increasingly willing to compromise privacy for convenience — are clearing the way for this kind of targeting to become the standard for online advertising. Not only because it cuts waste, but because it allows marketers to advertise using relevant content that speaks to the interest and behavior of a given target audience. (Yeah, I’m talking to you, 36-year-old college-educacted mother from Cambridge who enjoys sushi.)

As a result of these changes, established media companies can be left out of the equation entirely. Marketers no longer need these middlemen because they are able to engage customers directly. Whether in the form of email marketing, social media, behavioral targeting, virtual events or direct mail, there are abundant tools and techniques to measure tactics and to gauge if sales objectives are being met.

The true benefit of new technology is the ability of brands and companies to create and foster meaningful relationships directly with their customers, without the filter of a media company. After decades of renting media space from all-controlling media powerhouses, any marketer in the world — from the local CPA or chiropractor to IBM and Coca-Cola — can create media platforms to host original content that attracts customers and facilitates long-term relationships.

It’s not just the sexism and the homophobia that make Mad Men seem archaic; it’s the business model itself. If marketers can create and own their media channels rather than run ads with traditional media companies — and they can measure the success of those same channels themselves — they certainly don’t need the people who created those ads in the same way either.

This presents a new challenge to media companies, which must now provide marketers with access to consumers along with measurable advertising opportunities. Media companies must additionally provide content that will capture the imagination of consumers and hold their attention in order to compete with increasingly good branded content. Only media companies that innovate and provide measurable value for both the consumer and marketer will survive.

Gordon Plutsky is the director of marketing and research at King Fish Media.

We love guest posts from our pal at King Fish Media, Gordon Plutsky, especially when he writes about our favorite show. Take it away, Gordon …

At the end of July, the AMC show Mad Men returns for its fourth season. The world of media and marketing has changed since the early 1960s advertising heyday. Aside from the obvious cultural changes (drinking, smoking and sexually harassing women in the office were completely acceptable, along with being racist, homophobic and anti-Semitic), the biggest difference is the introduction of an essential measurement that clients now expect their agencies to show: the marketing return on investment.

The Mad Men days were golden ones for media companies and agencies because there was little to no accountability. Marketers spent millions on TV, radio, billboards and magazines, but there was scant actual proof any of it worked. Yes, companies could look at brand sales during the same period of time as a campaign and make some judgments, but it was hardly an exact science.

Media decisions were often made based on the personal — and subjective — logic and taste of the executive who carried the most weight. For example: Think how much money has been spent — and likely wasted — sponsoring golf tournaments.

The advent of cost-per-click from Google changed the equation forever. Suddenly, marketers only paid for consumer action and the “branding” was free. Where did that leave the media empires that were selling the branding opportunities for a king’s ransom? More than a little compromised.

The newfound demand for media measurability among companies formerly beholden to traditional advertising now drives the media itself. Just look at the explosion of digital magazines, mobile/tablet apps and similar media that allow consumers to connect directly with brand content.

Even television is not immune: That medium is now merging with innovative online sites such as Hulu and ESPN3.com to remove the barriers between broadcast television and the Internet to tap into consumer-behavior metrics.

And marketers are already looking toward the next wave of development. So what’s next? We’ll explore that in Part 2 …

Gordon Plutsky is the director of marketing and research at King Fish Media.

I’m on to you, Lorillard, Inc., manufacturers of noted cigarette brands Newport, Kent, True and Old Gold. And now the truth will come out.

Pictured: Not a real band.

Yes, I’ll admit that as a 12-year-old, I snuck into the woods in back of my house to sneak a Newport with my friend Neil. But that was nearly 30 years ago. The statute of limitations has long since expired, and I can no longer be jailed, fined or grounded by my parents. So don’t even try to hold that over my head.

Here’s my shocking revelation: I know the woman and man pictured in a recent ad placed in People magazine don’t actually play in a band!

How have I, a lowly copywriter, managed to uncover this potentially devastating secret? As it turns out, I happen to play guitar. Not very well, but I play it nonetheless. Calling on my years of experience, I present the following evidence:

1. The woman is holding her guitar upside down (the low E string is on the bottom). No one plays the guitar that way, with the notable exception of Jimi Hendrix. And he’s dead! She, however, is not. (Guitar superstar Gerry Giaimo notes:  “Hendrix played lefty, but not upside down. His righty guitars were strung for lefties. But she is playing without a strap, which is bogus.”)
2. Because she’s holding her guitar upside down, I’m willing to bet she’s not playing an actual chord with her right hand. That’s probably why some alert photo editor chose to cut off the photo like that.
3. Guitarists never jump up in the air like that guy unless they’re windmilling, Pete Townsend style. By the looks of this clown, Townsend would eat him for dinner and floss afterwards using the hair from his dreadlocks.
4. I mean, c’mon; do they really look like they’re in a band?

Sorry I had to let the cat out of the bag, Lorillard, Inc. But sometimes (unless I’m being bribed generously) I just have to stay true to my conscience.

Now as for you manufacturing products responsible for the deaths of millions of people each year …

Dear Emma/Madison/Hannah/Olivia,

Wow! You found a kitten. That must have been fun and surprising, but also a little sad. Where is that kitty’s mommy? I’ll bet you wondered … and then wondered if you could be the mommy. Could you?!!!! Could you?!!!!!

But, no. Your mom/dad/grandma/nanny is allergic. So, the answer is no. No, Emma/Madison/Hannah/Olivia, the answer is not going to change no matter how many times you ask. Even if you give them that look. They mean it.

So you reluctantly made this sign. And you photocopied it. A lot of times. I know because I live in your neighborhood and keep walking by it.

It makes me sad that this kitty is lost and that you can’t keep it. But you know what makes me sadder, Emma/Madison/Hannah/Olivia? No one in your family had the copywriting wherewithal to help you create effective signage.

First, let’s talk about the image.

The right image does add impact; you’re right on that. And you clearly have some creative talent, but I can’t tell from this picture what kind of cat it is. Does it have stripes or spots? What color are its eyes? Does it have a collar? Is it very furry or is it one of those yucky hairless cats? These would be helpful details.

Now, moving onto the copy.

Emma/Madison/Hannah/Olivia, I’m afraid I’m going to have to come down on you pretty hard here. I appreciate that your message is concise and includes a strong call to action. However, there are some critical pieces of missing information that, as a potential kitten rescuer, I need to make a decision:

• Where was the kitten spotted? Saying “this neighborhood” is too broad for your intended audience. Offering an intersection or even “near Hi-Rise bakery” would be helpful. Being specific = being a responsible copywriter.

• What does this kitten look like? I highly recommend adding descriptive detail to your message. For example, if I don’t know what the kitten looks like, I might wrongly assume every kitten I see is the lost kitten.

• When did you find it? It would be helpful to have a date. That way if my kitten disappeared Saturday, July 3, and matched the description (which should be on the sign), I would know to call you.

In closing, I hope your parents change their minds (did you already suggest they get allergy medication?) or at least let you get a non-allergenic pet to love. You have certainly proved you are a responsible child, even if your copywriting skills leave a bit to be desired.

Sincerely,

Anna Goldsmith

Concerned Huron Village Resident, Copywriter

As Anna wrote with regard to Puma, we’re not afraid to take credit for our clients’ success. So here’s a quick post about one of our new clients, PerkStreet Financial.

Just like Puma, PerkStreet Financial was featured in The New York Times this week. The article covered today’s announcement that PerkStreet would double the rebate going to its checking account customers for purchases using their credit card.

Congrats to our friends at PerkStreet! As for you, New York Times, would you consider writing a puff piece on a pair of copywriters who are starving for national press coverage? You know how to find us.