THEUNIVERSITY

OFQUEENSLAND

LIBRARY

They’re just ads:Greville Patterson’s life in advertising

Sylvia Bannah

Submitted as partial requirement for the Postgraduate Diploma in Arts (History)

The University of Queensland 1999

Applied History Centre Department of History

The University of Queensland St Lucia 4072

THE 14408

Abstract

Despite the significant economic and cultural roles played by advertising in our society and its

all pervasive presence in our lives, the history o f advertising in Australia is poorly documented

and researched. What does exist relates almost exclusively to the business centres of Sydney and

Melbourne, while Queensland is almost invisible. A search for material relating to Queensland

revealed very few written sources, but many people with the potential to shed light on various

aspects o f advertising history through interviews.

The current study focuses on one such person, Greville Patterson, who has worked in the creative

departments o f agencies in Brisbane, Sydney and London since 1963. He has worked in an

unusually wide range o f roles, including copywriter, graphic artist, art director, creative director,

musician, vocalist and freelance creative consultant. While he has worked on state, national and

international accounts, most o f his work has been for Queensland advertisers or aimed at the

Queensland market.

Oral history and a biographical approach are used to provide an insight into the creative

processes involved in making advertisements and to examine some of the ways advertising draws

from and contributes to popular culture and identity. Taking the period of his career as a slice

through advertising history from 1963 to 1999, the study uses the selection of agencies for whom

he worked, the advertisers, and their products as springboards to briefly examine threads o f

history relating to them, to globalisation o f the advertising industry, and to elements of the

history of Queensland. Technological change and the film and television production industry are

also touched on.

The project has an archival purpose in gathering and compiling Greville Patterson's television

advertisements on videotape as well as in recording slogans, jingles, and production details o f

the commercials.

PrefaceMy first contact with Greville Patterson was in 1979 at my husband's animation studio when he

was working on a job written by Greville. Over the years they have collaborated on a number of

commercials. In recent times, I became aware that, while there has been increasing interest in

the history o f individuals in the film and television production industries, despite the fact that

advertisements are used to illustrate their early work, those in advertising agencies are rarely

acknowledged for initiating them. When I decided to switch from my original thesis topic of five

generations o f family history, I was looking for a subject that was more self-contained. Greville

and his work came to mind.

When I mentioned my idea to Dr Rod Fisher, he was immediately encouraging. I would like to

thank him for that, also for his support and assistance throughout the course. I would also like

to thank Dr Raymond Evans for guidance with reading, and Dr Ross Johnston for his assistance

as my supervisor.

Many people provided information and assistance with this project. I wish to thank the following

for their help: John Gamsey for providing personal papers and information relating to early

Brisbane advertising agencies; staff o f the History Department, John Oxley Library and Fryer

Library; Julie Pfitzner, Design College of Australia for help with BAD Club records; many

people in the advertising and production industries; the companies who supplied details of their

histories; and my daughter Elizabeth for proofreading and general comment.

Special thanks are due to Bob Blasdall for transferring commercials to the accompanying

videotape; to Max Bannah for supplying illustrations and organising layouts; and to Greville

Patterson for his cooperation throughout, his diligence in chasing up production details, and most

of all for telling such a detailed and interesting story.

This thesis is my own work and has not been submitted in any form for another degree or

diploma at any university or other institute o f tertiary education. Information derived from the

published or unpublished work of others has been acknowledged in the text and a list o f

references given. The length o f this work is approximately 19,800 words not counting footnotes,

appendices, bibliography or jingles added to the text.

Sylvia Bannah, 30 October 1999

Contents

Chapter 1

Chapter 2

Chapter 3

Chapter 4

Appendix I

Appendix II

Abstract

Preface

Introduction................................................................ 1-11

Just another baby boomer 1948-1972.......................12-19

Door to door salesman 1973-1986........................... 20-36

From tropical fish to fish out of water 1987-1988....37-54

Confusion in the heartland 1990-1999...................... 55-68

Conclusion.................................................................69-71

Jingles, slogans, production details.... ......................72-101

Accompanying video note........................................102-103

Bibliography 104-108

Introduction

Advertising is all around us, on television, on the radio and the Internet, in newspapers and

magazines, in our letterboxes, on roadside billboards, at sporting events, painted over buses and

ferries, in corporate images, on the back of our supermarket dockets, and on our clothing. It plays

an important economic role in Australia which is a major world advertising market.1 Each year

almost $20.5 billion is spent on advertising in its many forms.2 The industry employs a large

workforce as well as contributing to other industries involved in the production and

dissemination o f its products. It is credited with playing an important role in the development and

sustenance o f the Australian film and television production industry.3 In addition, advertising

pays for the existence o f most o f Australia's traditional forms o f mass media.4 Without its

revenue, commercial radio and television would not exist and daily newspapers would be

dependent on sales only for their survival. Advertising is a highly visible form of marketing

which uses mass media to connect producers of goods and services with potential consumers. As

such, it is just one component of the manufacturing-marketing-media complex around which our

society is structured.5

While advertising serves an economic purpose, it also has a cultural role. In addition to shaping

the look and feel o f commercial media, it also contributes to popular culture. According to John

Fiske, 'Culture is the constant process of producing meanings of and from our social experience,

and such meanings necessarily produce a social identity for the people involved.'6 Popular

culture, he suggests, 'is made at the interface between the cultural resources provided by

capitalism and everyday life'.7 It can be defined in many ways depending on the context. For the

purposes o f this paper, in relation to advertising, popular culture is what we, individually and as

1 In terms o f per capita expenditure, Australia is fourth behind the United States, Britain and Canada M. Jones, 'Australia big ad spender', Age, 30 September 1993, quoted in S. Cunningham and G. Turner, eds., The media in Australia: Industries, texts, audiences (St Leonards: Allen and Unwin, 1997), p.132.

2 O f this total, main media accounts for 36.5%; direct marketing, 35.1%, promotion marketing, 25.1%; and sponsorship, 3.3%. Australian Federation of Advertising (URL http://www.afaorg.au/knowledge/indussstats.asp, 24 October 1999).

3 Mervyn Smythe and Associates, TV and cinema advertising production in Australia and New Zealand (Sydney: Australian Film Commission, 1994).

4 K. Windschuttle, The media: A new analysis o f the press, television, radio and advertising in Australia, (Ringwood: Penguin, 1988), p. 3.

5 J. Sinclair, 'Advertising', in The media in Australia, p.124.6 Fiske, Reading the popular (Boston: Unwin Hyman, 1989), p. 1.7 J. Fiske, Understanding popular culture, (Boston: Unwin Hyman, 1989), p. 129.

They’re just ads 2 Introduction

a society, make out of the products and practices o f mass produced culture. Its formation involves

a combination of creators of mass produced culture, their output, and audiences. 8In practice, this

means that in the marketing of goods and services, the advertising industry carefully researches

and draws on the self-concepts, dreams, moods, desires and needs of consumers to produce

advertisements whose images and messages are then selectively diffused throughout society

using commercial mass media. In their transmission they are generally interspersed with items

of information or entertainment. At the receiving end is an audience which interprets and uses

advertising in a multitude of ways.

Research suggests that far from being passive 'couch potatoes' who are brainwashed or socially

engineered, consumers of advertising interact with what they see and hear and use it in

discriminating ways for personal purposes and satisfaction.9 In a stream-of-consciousness study

of the experience o f viewing television commercials, Neil Alperstein found that rather than

focusing on idealised worlds portrayed in advertising, viewers make connections between the

commercials and their everyday lives, engaging in self-talk with them. They may love them, hate

them, try to ignore them or have memories stirred by them, but nevertheless they interact with

them in their minds. He concluded that 'the inward experience of advertising is part of the

individual's construction of reality and helps the individual make sense of his/her world'.10

Along with other forms of popular culture, advertising contributes to the ongoing process of

Australian identity formation. In creating the signs and symbols of advertising images and

messages, people in advertising agencies draw on a core of recognisable national myths, symbols,

memories, values and landscapes which are then used to market products and services.11

Historically television advertisements have been important in projecting a local image and were

8 J. Storey, in Introductory guide to cultural theory and popular culture (Athens, GA: University of Georgia Press, 1993), p. 1, suggested some may find 'that popular culture is in effect an empty conceptual category, one which can be filled in a wide variety of often conflicting ways depending on the context o f use'. After reading many definitions of popular culture, the one used in this study was pieced together from a definition by Storey, p. 201, and analysis o f it by J. Fowles, Advertising and Popular Culture (Thousand Oaks, CA: Sage, 1996), p. 10.

9 N. Alperstein, 'Memories, anticipation and self-talk: A cultural study o f the inward experience o f television viewing', Journal o f Popular Culture, 28 (Summer 1994), pp. 209-221; J. Fiske, Television Culture (London: Methuen, 1987); Fiske, Understanding popular culture, Fowles, Advertising and Popular Culture

10 Alperstein, Memories, anticipation and self-talk', pp. 218-219.11 T. O'Regan, Australian television culture (St Leonards: Allen and Unwin, 1993), p. 80.

They're just ads 3 Introduction

doing it long before Grundys and Crawfords began making local entertainment programs.12

Advertising is regarded as an influential social force and as such is of continuing interest to social

commentators and theorists and subject to scrutiny by the media and special interest groups.

Despite the significance of its role and its all-pervasive presence in our lives, until recently,

advertising in Australia has been poorly researched. In 1984, in a literature review o f early

Australian advertising history, John Spierings highlighted the neglect o f this 'unappreciated,

unloved and unknown’ subject and the difficulty o f researching it due to the paucity of primary

source material.13 He attributed its neglect to a number of factors including the attitudes o f

people working in advertising who themselves have been dismissive of the value of their work

and also to the nature o f the industry which is highly fragmented and subject to continuing

changes o f ownership and staff. He emphasised the urgent need for advertising agencies and

advertisers to preserve the documents, tools and products of their industry.

Since then, a small but significant body o f work has been published to fill some of the gaps in

our knowledge and understanding of the many facets o f advertising history. The legends o f

advertising: Ad News 1928-1998u documents the past seventy years of Australian advertising

focusing on iconic campaigns, personalities, major agencies and changes within the industry. In

keeping with its trade magazine of origin, it is centred almost exclusively on Sydney and

Melbourne. Neil Shoebridge, in Great Australian advertising campaigns, 15 analyses ten

individual campaigns, providing a valuable historical record and insightful analysis o f many

aspects o f advertising including the clients, the products, the individual campaigns, their social

and economic contexts, the creative process, advertising research, and evaluation of success.

A single agency is the focus of Adland, a 'non-fiction novel' or 'corporate drama', written by Ann

Coombs.16 The author spent a year with agency Mojo MDA following the merger of two

significant, creative, Australian-owned companies in 1986. It focuses on key personalities and

12 B. Smith, 'From tele ads to feature films', This Australia, 6, 4 (1992), pp.12-16.13 J. Spierings, 'Australian advertising history: A research note', Media Information Australia, 31 (February

1984), pp. 101-105.14 E. Charles, ed., The legends o f advertising: Ad News 1928-1998, (Surry Hills: Yaffa Publishing, 1998).15 N. Shoebridge, Great Australian advertising campaigns (New York: McGrawHill, 1992).16 A. Coombs, Adland A true story of corporate drama (Port Melbourne: William Heinemann, 1990).

They’re just ads 4 Introduction

the culture they nurtured, setting them against the background machinations o f the agency as it

attempted to expand internationally.

Since the early days o f television, Australian content in advertising has been subject to

government regulation with arguments for maintenance o f regulation centring around its value

in relation to cultural identity. In Framing Culture: Criticism and policy in Australia17, Stuart

Cunningham examines the shape and history o f the Australian Broadcasting Tribunal's inquiry

into Australian content in advertising, and outlines the application o f cultural theory to

advertising. It includes a comprehensive overview o f the literature relating to Australian

advertising as well as examples o f visual landmarks in television advertising and their meanings.

An understanding of advertising in Australia is dependent on knowledge of its development, how

the contemporary industry is structured, how it operates, and where it fits globally. Works by

John Sinclair18 are particularly valuable in explaining these, as well as showing the evolution of

the global industry in which Australian advertising is now firmly entrenched. An earlier work by

Keith W indschuttle19 was important in making the economic and ideological features of

advertising central to analysis o f the media.

In all o f these publications, Queensland barely rates a mention. A search for material relating to

any aspect of the history of advertising in Queensland has revealed two significant works relating

to early national and state professional groups, but other material is sparse. The Fryer Library,

University o f Queensland, holds a copy o f Proceedings and resolutions o f the First Australian

Convention o f Advertising Men held at Brisbane, 2nd to 6th September, 1918.20 Just prior to the

end o f World War I, the Queensland Institute o f Advertising Men hosted a national convention

17 S. Cunningham, The unworthy discourse? Advertising and national culture', in Framing culture: Criticism and policy in Australia (North Sydney: Allen and Unwin, 1992), pp. 71-103.

18 J. Sinclair, Images Incorporated: Advertising as industry and ideology (London: Croom Helm, 1987); 'Imperialism, internationalism, nationalism: Advertising', Australian Studies, 15 (April 1991) pp. 38-46; Sinclair, two chapters, each titled 'Advertising', in The Media in Australia, pp. 124-142, 267-276.

19 Windschuttle, The media.20 Proceedings and resolutions o f the First Australian Convention o f Advertising Men held at Brisbane, 2nd

to 6th September, 1918 ([Brisbane]: Ink: a Magazine o f Advertising, [1918]); Spierings, in 'Australian advertising history', p. 103 notes that 'National Conventions were organised from 1918 and continued throughout die 1920s and that Minutes o f Executive meetings and Convention Reports o f the Advertising Association of Australia are held in the National Library (MS 1014)'.

They're just ads 5 Introduction

J a n u a r y . 1V32

J S r i s b a n r C o u r i e ris

Q u e e n s la n d ’s S u p re m e N e w sp a p e r

B E C A U S E

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It- Ormrnrrrial Pnfrj contain th* mo«t r*Ii«U t Financial Nm.

ita Social r«t« nr* rtnd by evaryene of social importance

and i tío* more ad-ver-iiafivj than A N Y

Publia had by

The Brisbane Newspaper Co. Ltd.C ■ Cummini

Melbourne Representa tive L . S . Marica, Th« A r p o Building.

• f i r d á j Ad vertia kn r

CustomersT o r

allClasses ^C o m m erce

« » • o f R a d io Hi.................- ............. ..................e n c e . F r o m th e la b o u r e r in th e field to th eh iq lie « t p u b lic o ff ic e r R a d io baa it ap p eal.O u t o f th 'i* v a s t n od v a r ie d a u d ie n c e rU c* a d e ­f in i te H i's irr f o r th o b «« t o f m u iicn l p ro g ra m m e *.

J . B. C H A N D L E R C- C O . Adelaide Street, Brisban

The advertisements in INK read like a who’s who o f Brisbane advertising in 1932

They're just ads 6 Introduction

o f advertisers. The meeting was inspired by the development and patriotic application o f

advertising in both Britain and Australia during the War. Ties to Britain were strong and the

Allies were still at War, so the Loyal Resolution' headed the list o f those adopted by the

convention. Other resolutions related to circulation guarantees by newspapers, education o f

advertisers 'in the true value of Art in Advertising’, hoardings, mail advertising, and the creation

o f the Standing Committee o f Ad-Men’s Institutes o f Australia. More minor issues included

ideals, charlatans, advertising for immigrants, and women and buying. The proceedings were

published by Ink: A magazine o f advertising ’published monthly by the Queensland Institute o f

Advertising Men'.

The other item of ephemera held in the Fryer Library is the first issue o f a 'new series’ of Ink: A

magazine o f advertising, published by the Queensland Institute of Publicity in 1932. The editorial

explains that the newly formed body took over the assets and liabilities of the 'then practically

defunct Queensland Institute of Advertising'. The purpose o f the group was 'to fight the battles

o f its members and to build up for Advertising men and those men o f the allied Professions a

prestige second to none in Queensland'.21

The current professional group for agency heads in Queensland is the local branch of the

Advertising Federation of Australia (AFA).22 Former executive officers o f the AFA are local

identities John Gamsey and JoanYardley who began their careers in advertising in Queensland

in the 1950s and 1960s respectively. When Joan was head of Mojo in the late 1980s, she became

the first female president of the national AFA. Joan Yardley and John Gamsey have both owned

and/or managed large agencies and have formally represented the industry for many years at

conferences and business meetings, also through trade magazines and the local press. Between

them they have a wealth o f information about the local advertising industry stretching back to

pre-television days. They also have an eloquent way o f expressing it.

The Brisbane Art Directors (BAD) Club is a different kind o f professional group, representing

those who contribute in any way to the products o f advertising and graphic design. It began in

21 Ink: A Magazine o f Advertising, 1,1 (January 1932).22 Charles, Legends o f advertising, p. 74.

They're just ads 7 Introduction

1974 as the Art Directors Club (Brisbane), changed its name to Brisbane Advertising Club in

1984, finally taking on its present name in 1991.23 Prior to its establishment, the general feeling

of people in the industry had been:

If you were working in Brisbane as the sixties turned into the seventies you will appreciate that it

was tough then. All the national heroes, all the budgets were in Sydney/Melboume. From Brisbane

you had about as much chance o f getting national recognition as Col Joye had of getting equal

billing with the Beatles.24

The BAD Club aims to 'promote and encourage creative excellence in advertising' and to bring

together the broad range of people who contribute to this.23 Since the Club's inception, it has held

annual awards nights, each accompanied by an Awards book. These constitute a valuable visual

and documentary record of agencies, creators, the work itself and individuals acknowledged by

the Club as having made special contributions. In recent times the Club has endeavoured to keep

its records in a central location, but unfortunately many o f the early Awards books are missing.

Occasional items have found their way into the John Oxley Library but until recently, this has

been on an ad hoc basis. Several foundation members of the BAD Club still work in the industry.

BAD Club established 1974 INK 1918 - published monthly by the Qld Instituteof Advertising Men

A collection o f essays in Queensland images in film and television26 documents early film and

television production in Queensland. In a chapter entitled 'Our beer' Jonathan Dawson explores

icons, images and mythologies associated with beer advertisements aimed at the Queensland

23 'Brisbane Art Directors Awards', AdArt, 4 (1984), pp. 4-5; B. Dye, 'President's message', The 1985 Brisbane Advertising Club Awards (Spring Hill: BAD Club, 1985), p. 1.

24 'Brisbane Art Directors Awards', p. 4..25 D. Blackley, 'President's message', The 1993 Brisbane Art Directors Awards (Spring Hill: BAD Club, 1993),

P 126 J. Dawson and B. Molloy, eds., Queensland images in film and television (St Lucia: University of

Queensland Press, 1990), pp. 93-103, 178.

They're just ads 8 Introduction

public. The emphasis, however, is on production companies rather than advertising agencies or

creators of the advertisements. The same is true of the video Bob, Dick, Max and Graham?1 a

history of the Queensland film and video production industry since the 1970s.

Trade magazines Ad News, B& T and Campaign Brief and local newspapers the Courier Mail and

Business Queensland have on occasions featured the local industry or personalities but

inadequate indexing o f these publications ensures that Queensland material is difficult to come

by other than by manual searching and through personal collections.

While very few written records of the Queensland industry were uncovered by this search, it did

reveal a number of individuals who have decades of experience in the advertising industry and

the capacity to shed light on its recent history through interviews. Not only have they experienced

the industry at first hand, but they have also contributed to the changing face o f advertising in

this country. Given the breadth of the topic o f advertising history and the impossibility of

covering its multi-faceted history in a small study, I have chosen to examine the career of one

individual, Greville Patterson, in the belief that his story will shed light on recent advertising

history, as well as illuminate aspects o f Queensland and Australia's economic, social and cultural

history.

Greville Patterson currently works in a Brisbane advertising agency. He has been involved in

advertising since 1963 in an unusually wide range o f roles. In various combinations, he has

worked as a copywriter, graphic artist, art director, creative director, musician, vocalist and

freelance creative consultant. He has worked in Brisbane, Sydney and London in agencies whose

owners have ranged from local individuals to transnational corporations. While some of his work

has been for national and transnational clients and products, the majority o f it has had a

Queensland component. Slogans jin g le s and ads written by him have endured for long periods

and become part o f our popular culture. His peers have recognised his talents with numerous

local and international awards, including admittance to the Brisbane Art Directors Club Hall o f

Fame in 1992, in recognition o f his outstanding contribution to advertising over a long period o f

time.

27 Bob, Dick, Max and Graham, produced and directed by C. Sinnamon, Brisbane, 1999, videocassette.

They're jus! ads 9 Introduction

During his career a small number of articles by or about him have been published in trade

magazines or local newspapers, and his advertisements have been used to illustrate aspects of the

film and television production industry in Queensland. However, outside of the circle o f people

who have worked with him as clients or colleagues, his skills and impact are largely

unrecognised and unacknowledged. This is not surprising, because after all, ’they are just ads',

written to a brief, with a commercial purpose, generally for a short run only. Advertisements are

rarely seen as a form o f art involving creativity.

The memories o f people who are part of recent history have the potential to provide an important

historical source and may be the only source o f information available about events and

personalities.28 For this reason, in the absence o f substantial written material about advertising

in Queensland, oral history presented itself as an obvious technique for gathering information for

this project. Transcriptions of six hours of taped interviews with Greville Patterson form the

major primary source material. Selected transcripts will be deposited in the Fryer Library at the

University of Queensland on completion of the study. Much of the information contained in this

work derives from the interviews and direct quotes are extensively used. Unless otherwise

acknowledged, the quotes are Greville Patterson’s.

Oral history used alone has limitations in fully representing the past since it can only ever harness

the subjective memories of individuals, most o f whose lives are spent in situations they do not

fully understand.29 To balance this subjectivity I have supplemented the transcriptions with a

range o f other sources. These have been useful in cross-checking the accuracy of Greville

Patterson's memories, in providing a context for his life at various stages, and in shedding light

on the some of the forces that have moulded his world. The subjectivity o f oral history can also

be one o f its great strengths, with its ability to capture the 'vividness o f personal recall' and to

illuminate motive, intention and inspiration.30 This is particularly so where the speaker is

involved in creative pursuits, as Greville Patterson is, and has a unique story to tell.

28 P. Donovan, So, you want to write history? (Blackwood: Donovan and Associates, 1992), p.51.29 J. Tosh, The pursuit o f history: Aims, methods and new directions in the study o f modem history, 2nd ed.

(London: Longman, 1991), p. 214.30 Ibid., p. 216.

They're just ads JO Introduction

While this work takes the form o f a descriptive, narrative biography following a chronological

path, it can also be seen as a type o f slice history.31 The span o f Greville Patterson's career is the

equivalent o f a slice through the bigger picture of advertising and will be used to examine threads

o f various subjects and themes across that period. His biography covers seven different

advertising agencies; advertisements for Queensland, Australian and international markets; local,

national and transnational advertisers, all with a past as well as a rationale for promoting their

product at a particular moment in time; and a large collection of products and services, each with

its own history. It also touches on the Queensland film and television production industry and

technological change over the period. Greville Patterson's story is the only one told in full. The

other topics and themes are dealt with as they emerge through his work, some in greater detail

than others. Together, they are like snapshots across a slice o f our changing social, cultural,

political, economic, environmental, and technological history.

While Greville Patterson worked on campaigns involving television, radio, and print materials,

most o f his career has been devoted to the creation of television commercials which are the focus

of this work. Television is a powerful medium with the potential to reach large audiences32 and

as such is favoured by transnational advertisers. Creating a television commercial is a complex

process involving many people who represent the advertiser, the agency and external production

companies. Dozens o f people and hundreds of thousands of dollars may be involved in making

a thirty second commercial. Because of their scale and the amount of time devoted to their

production compared with other forms o f advertising, anecdotally they also command greater

space.

This project has an important archival purpose in gathering and recording the advertisements

themselves. Already some of the most significant early ones have been lost. Jingles and

production details of the commercials are included in the Appendix, while a videotape

31 A. D. Gilbert and K. S. Inglis in the preface to D. J. Mulvaney and J. P. White, eds., Australians: A historical library, Australians to 1788 (Broadway: Fairfax, Syme and Weldon, 1987), pp. xi-xiv. The approach to 'slice history' used in this study is a variation on that used in three volumes o f the above series in which history was sliced through to reveal a representation o f society in one particular year.

32 Ninety-nine per cent o f homes have at least one television set; the average Australian watches three hours thirteen minutes o f television each day; and in prime time thirteen minutes o f advertising is included in each hour o f programming on commercial television. 'Nielsen TV Trends', B&T, 9 September 1994, Supplement p.3.

They're just ads 11 Introduction

compilation of many of Greville's advertisements accompanies this thesis. By their very existence

these advertisements form part of our history. In both their content and style, they represent a

visual record of our times, capturing contemporary lifestyles, trends and preoccupations. Study

of them has the potential to provide us with insights into our society at particular moments in

time.

While this work ranges across a number of themes, in the final analysis it is a biographical study.

In an introduction to a paper on biography, Ingleson wrote, People make history. Good history

has something to say about the human condition - about real people: what they thought, how they

behaved, their inner motivations, their achievements, their failures, their loves and their

hatreds.'33 The following is the story of Greville Patterson's progression towards, and life in an

advertising career which reveals as much about the human condition as it does about many facets

of advertising in our part of the world over the past thirty six-years.

For a Home to hold dear.Full of beauty and Cheer,Some folks go asearching up and down; But Queenslanders Know,Of the RIGHT PLACE to go,And i t ’s here in old Brisbane Town.

Sheet music cover and words of an early Queensland jingle by Meta McLean, 1920’s (JOL)

Back to Tritton’s,Back to Tritton ’s.Ten thousand voices sing Father ’s, Mothers, Sisters, Brothers Make the grand old slogan ring!

So back to Tritton ’s.Back to Tritton’s,And nowhere else to roam.For the RIGHT PLACE is its name.And i t ’s on its way to fame In every Home, Sweet, Home.

So Back to Tritton ’s.Back to Tritton ’s. Ten thousand voices sing Fathers, Mothers, Sisters, Brothers Make the grand old slogan ring!

33 J. Ingleson, "'Great men" and little people: Using biographical material', in The Local History Coordination Project, Locating Australia's past: A practical guide to writing local history (Kensington: New South Wales University Press, 1988), p. 112.

They're just ads 12 Just another baby boomer ¡948-72

Henrietta Greville Genevieve Jeanette Webb

Baby Greville in the backyard at Stafford

Where did I come from? Part o f the Patter son/Webb family tree

Chapter 1

Just another baby boomer 1948-72

Greville Patterson was bom in Brisbane on 6 March 1948, the only child of Adrian (nee Webb)

and Donald Patterson. The inspiration for the new baby's name was Adrian's grandmother,

Henrietta Greville, a remarkable woman who, among many other things, was a renowned

suffragette and a founding member of both the Australian Labor Party and the Workers

Education Authority.34

Greville's early life was spent in the Brisbane suburb of Stafford. Many o f his childhood

memories centre around drawing and music, activities he enjoyed but which also had strong

family associations. His father Donald had an interest in art and often talked about George

Wilson Cooper, a Brisbane cartoonist who had been in his class at Teneriffe State School. His

regular comment when Greville was drawing was: 'You should have seen this Wilson Cooper

bloke draw! He could draw anything - draw a horse! Just like that!' Also, Donald had a brother

called Lexie who had shown potential as an artist but died in a prisoner of war camp during

World W ar II. On family occasions Lexie's sketch books would be brought out and his father

would exclaim in response to a pencil drawing of a lion's head: 'Looks like it'll leap off the page,

doesn't it!' Another reminder of Lexie was a childhood gift, a painting on glass o f Donald Duçk,

the inspiration for Donald's nickname, 'Duckie'.

Stafford Stale School, Grade 3 ‘Pinocchio’by GP, 23/10/58

34,Australia's oldest suffragette dies', Northern Star, (Lismore), 31 August 1964; Henrietta Greville: Veteran iMbor pioneer, with a foreword by Mary Gilmore, (Sydney: Current Book Distributors, 1958).

They're just ads 14 Just another baby boomer 1948-72

On Adrian's side were stories of the mother she never met, but who she learned about when she

was in her twenties. Genevieve Jeanette Webb, daughter o f Henrietta Greville, came to Brisbane

in 1912, unmarried, pregnant and just beginning to 'show'. She gave birth to Adrian and

committed her to an orphanage before returning to Sydney where she died two years later.

Genevieve was a published poet and talented musician, renowned for her ability to play complex

pieces after hearing them only once. Some of her poetry was published in an Eden newspaper

under the pseudonym 'Grev'.

Like many other Australian mothers of the fifties, Adrian fulfilled the roles o f wife, mother and

household manager. She encouraged Greville in all his interests, one of which was learning to

play the guitar. It was given to him when he was nine, in the same year as his father's job took

the family to Melbourne. Donald worked in the motor trade, initially as a mechanic, then later

as superintendent o f the maintenance workshop for the bus company Pioneer Tours. In 1957 he

was transferred to Victoria to set up a new workshop. It was an exciting move as they had heard

a lot about Melbourne the year before when it hosted the Olympic Games. They had also heard

about television which was introduced to Sydney and Melbourne to coincide with the Games.

Having never seen television before, the highlight of their trip down was an overnight stay in

Sydney with an aunt who had a brand new TV set. The Patterson family stayed glued to it.

The 1957 TV set that impressed Greville so much

In Melbourne, Greville attended a number o f small co-educational schools and had settled into

high school when, in 1962, his father was transferred back to Brisbane. He joined the sub-Junior

They're just ads 15 Just another baby boomer 1948-72

year at 'Churchie', a highly regarded boys-only school.35 He hated it from the first day when the

Maths B teacher repeatedly asked the new boy what his name was, refused to accept that it was

'Greville', finally set him straight, told him his name was 'Patterson' and to sit down. Maths and

science were more advanced and taught differently in Queensland and he found it difficult to

catch up. He fought to leave school, arguing that he could draw and wanted to become a

commercial artist.

The full complement of his knowledge o f commercial art came from the advertisements on the

back of Pix and Australasian Post magazines. When he was younger, he had responded to their

ongoing invitation for readers to send in drawings for a free assessment o f their talents. He

believed them when they said he was talented, although he was not convinced by their suggestion

that he could be even better if he paid to do their course.

In 1963, aged fifteen and confident in his artistic ability, he left school. It was six weeks before

the Junior public examination and although he had officially left, he was allowed to return to do

the exams which he passed respectably with four Bs and two Cs.

1963-71 Merchandising Publicity, Moriarty and more

In search o f a job for Greville, his father approached Ken Lawrence who had served in the army

with him during World War II. In 1947 Lawrence had established the advertising agency

Merchandising Publicity in partnership with Peg Cameron and it quickly became one o f the most

successful agencies in Brisbane.36 Ken agreed to consider Greville and following an interview

with Colin Anderson, illustrator and head o f the art department, he was given a job. For at least

a year, he alternated between the despatch section and the art department, before becoming a

full-time junior apprentice. He joined about twenty-five other staff, including his future wife Jan

Richards who was a junior copywriter.

35 Sub-junior was the equivalent of Grade 9. 'Churchie' was the Church o f England Grammar School, later renamed Anglican Grammar School.

36 By the mid-1950s Merchandising Publicity was among the top five o f about twenty advertising agencies in Brisbane, most locally owned. The agency later became known as M. P. Advertising. It was a significant Brisbane agency until the early 1970s when it was taken over by Sydney agency Berri Currie. John Gamsey, interview with author, 10 March 1999.

They're just ads 16 Just another baby boomer 1948-72

Merchandising Publicity had many large accounts including Golden Circle, Queensland

Newspapers, Industrial Enterprises, Southern Cross Windmills, ICI, Pauls Ice Cream, Taubmans

and Freedman. There was a rigid hierarchical structure in the agency, with very little

communication between people in various roles. Compared with current practice, accounts were

managed in a conceptually restricting manner:

In the early days, you'd go o ff to work in a su it ... The account executive would sit in his room

with the door shut and conceive and write the ad. It would then be put in the copywriter's 'in' basket

with little or no discussion or explanation. There was a little slot in the door o f the art department

where the copywriter would put the copy and a rough scribble o f how the ad should look. Head

Artist, Colin Anderson would take care o f it from there, either dealing with it himself or moving

it on for layout or finished art. There is now much greater respect for creativity ...

Jobs were done manually and something as simple as a full page Golden Circle advertisement

for the Womens Weekly involved the production of watercolour backgrounds by a skilled

illustrator and a hand lettered headline by a lettering artist; arduous retouching of washed-out,

colour photographs of canned food; a celluloid overlay with added type of a recipe or other

information; and a tissue overlay with instructions regarding the artwork. Finally it was sent off

to a photo-engraver for four-colour separations and proofs which were then sent to the magazine

for printing. Clippings of advertisements were kept in 'guard books' to record their publication.

Because the structure in the agency was so formal and Greville was a junior, he considered it an

honour whenever he got to talk to Peg Cameron - ' a savvy, smart woman who was about 5'2",

very thin and smoked 40 Camel cigarettes a day'. She became his mentor. She was hardworking

and had a highly disciplined approach to advertising. She was tough but fair, knew what was

required to get a job done and inspired him to do his best. When it seemed Greville was not

progressing in the art department, Peg encouraged him as a copywriter. She gave him books to

help with basic writing skills and organised regular exercises for a small group of juniors to help

develop their creative thinking. Occasionally she gave him a go at writing ads, mostly for print,

but occasionally for radio, cinema or TV. He cannot remember any of his ideas getting up but

he appreciated her encouragement.

They're just ads 17 Just another baby boomer 1948-72

Greville could not draw very well in the realistic commercial style which was popular at the time,

so it was suggested he go to Central Technical College to improve his skills. In 1967, after a

couple o f weeks o f trying and failing to produce anatomically correct images o f Greek plaster

casts at 'life drawing', he switched to evening classes with Mervyn Moriarty in the basement o f

St Mary's Church Hall in Kangaroo Point. Moriarty was a committed artist-teacher, an enthusiast

o f contemporary abstract expressionist methods and concerned with both the conceptual and

practical aspects of art.37 Greville progressed to the 'advanced students class', painting on

Thursday nights and drawing on Tuesdays with an enthusiastic group of progressive young

students.38 It was the most enlightening period o f his life during which any preconceived ideas

he had about art and creativity were stripped away. It taught him to look for the essential

elements in everything around him. Having felt a failure with art in the agency, this new found

talent and enthusiasm for a different kind of art boosted his self esteem. He became convinced

he would become an artist rather than stay in advertising, so in 1967, after four years of sticking

ads together, he left Merchandising Publicity.

Artists

‘The tutor’ (Mervyn Moriarty) and “The artist’s eyes” (Grev Patterson with Robert Morris c. 1971)

(Source: G.S.Burstow, Touch Me, pp. 129,130)

Greville's employer for the next year was Norman Beard who was taking advantage o f new

technology in his business Ace Foam Signs. The job involved painting, delivering and assembling

37 H. Fridemanis, Artists and aspects of the Contemporary Art Society, Queensland Branch (Bowen Hills: Boolarong Publications, 1991), p. 35.

38 Robert Morris, John Mainwaring, James Leonard Robb, Rick McCracken, Jenny Pugh and Sheelah Mee.

They're just ads 18 Just another baby boomer 1948-72

foam signs for shops. They met at art classes and at the end o f 1967 participated in their first

Moriarty student exhibition at the Design Arts Centre, at that time located in a basement in

Elizabeth Street:

It opened a whole new world to me - very arty - an opening night, a catalogue with our names,

paintings and prices, seagrass matting, hessian-covered boxes with sculpture and pottery, and an

introduction to the modest-in-size but big-in-enthusiasm Brisbane contemporary art crowd ...

fuelled on with the standard fare of cheap plonk, cheese cubes, sliced salami and diced gherkins.

He wanted to paint more seriously so the next year he began freelancing for Leo Burnett

advertising agency, assembling ads for a few hours each day, then painting through till the early

hours o f the morning. This pattern continued through the next two years, a productive period,

during which he contributed to group exhibitions in Sydney, Melbourne, Perth and Brisbane.39

Early in 1971 he went solo at the Reid Gallery on Wickham Terrace with a sell-out exhibition

of twenty works. Art critic Gertrude Langer wrote in the Courier Mail.

Young Brisbane painter Greville Patterson who studied under Moriarty, has come to notice in

several group shows. The quality o f his first one-man show ... is impressive. His strictly

geometrical, flat, abstracts, executed with painstaking accuracy and purity, give much aesthetic

satisfaction and have a vibrant life o f their own. This is achieved with beautifully handled colors

... and a subtle use o f very thin linear elements. These lines, whose colors interact with the

colorfields they traverse, set up an almost tinkling vibration ....40

Soon after the exhibition, Greville and Jan, now married, left for London. While Jan did

secretarial and debt collecting jobs, Greville worked as a sales assistant at Clifford Milbum Art

Supplies. Prior to starting there he half-heartedly looked for a job in advertising, not realising the

opportunities that may have existed. Ogilvy and Mather gave him some ads to take away and

39 The Moriarty School, exhibition (with Mervyn Moriarty, Paul Memmot, James Leonard Robb, Colin McMiniman, Robert Morris, Jenny Pugh, David White, Norm Beard), Rudy Komon Gallery, Sydney, July 1969; The Terrace Exhibition, (with Rex Coleman, Paul Memmot, Robert Morris and James Leonard Robb), Reid Gallery , 2-22 November 1970; also exhibited at Georges Gallery, Melbourne, 1969 and contributed to Lloyd Triestino inaugural voyage exhibition to Perth and back. From Greville Patterson, exhibition catalogue, Reid Gallery, 28 March -23 April 1971; E. Lynn, 'Culture minus commerce - it matters', Bulletin, 2 August 1969, pp. 46-47.

40 G. Langer, 'Nude is not the shocker it was', Courier Mail, 3 April 1971.

They're just ads ¡9 Just another baby boomer 1948-72

rewrite but he did not take it seriously, so did not get a job there. After two years o f soaking up

the exciting music, theatre and art scene o f early seventies London, he and Jan spent a few

months in Europe, then headed home. With a baby on the way, Greville felt he should look for

a secure job to support his family.

Reid Gallery35S Wickham Terrece. Phere 2 9£c7

2nd Kcrvcmbor -- 22rd Ncve-xhc:: ! air. - E.3Ü p.rr. Wocr.ewa-/ • Sunday

The Terrace Exhibition catalogue Nov. 1970

Jan and Greville in the kitchen, late 1960s Dylan fans and lyrics from “Ballad o f a Thin Man

Chapter 2

Door to door salesman 1973-1986

A characteristic of the advertising industry is its highly mobile workforce. It is common for both

'suits', who manage the business side of an agency, and 'créatives', who generate the verbal and

visual output, to move from agency to agency throughout their careers either by choice, by being

pushed, or as a result o f agency mergers or takeovers. During this part o f his career, Greville

fitted the mould, moving, as he described it, like a gypsy or door to door salesman, through five

very different agencies, finally deciding to use his talents to step sideways from the agency

environment.

1973-1976 Jones Knowles McCann Erickson

Prior to the introduction of television to Sydney and Melbourne in 1956, there were only two

American advertising agencies in Australia, both having started from scratch.41 In 1959, McCann

Erickson became the first US agency to enter the Australian market by buying into a local

agency. It joined one of Australia's oldest and largest agencies, Hansen Rubensohn whose

Managing Director was John Bristow.42 In 1964, John's son Bill began his career with McCann

Erickson which by then was owned by Interpublic. After working with McCann Erickson in

Sydney and New York, in 1970 Bill moved to Brisbane to join Jones Knowles Vinnicombe

Shirley43 as creative director. This agency was bought out by Interpublic in 1973, after which it

became known as Jones Knowles McCann Erickson.

In 1973, while Greville and Jan were on their way home from England, Bill Bristow rang the

Classifieds section o f The Sydney Morning Herald to place an advertisement for an art director.

41 Spierings, 'Australian advertising history', p. 103.42 Hansen Rubensohn was founded in 1928 and by 1959 employed more than 140 people in Sydney. Charles,

Legends o f advertising, p. 55; P. McCarthy, 'Inside advertising', National Times, 13-19 May 1979, p. 28.43 Jones Knowles was established in 1959 by Paul Jones and Bruce Knowles. They were joined by

Vinnicombe and Shirley (date not certain, possibly 1970). Bill Bristow replaced Paul Jones who moved to Sydney where he became a successful creative director, responsible for It's Time, the advertising campaign which helped bring Gough Whitlam's Labor Party to power in 1972. In 1978, Bruce Knowles teamed up with Bill Bristow to form Knowles Bristow. The Vinnicombe part o f the name belonged to the son o f Hal who ran Vini combe Art and Advertising Services as advertised in Ink: A magazine o f Advertising, p. 32. John Gamsey and Bill Bristow, interviews with author, 11 October 1999.

Door to door salesman 1973-1986

By coincidence, Jan's aunt took the call and informed Bill that the person he needed was due

back in the country soon. On his return, Greville proved himself with a few exercises and was

given the job.

They're just ads___________________________________ 21_

It was a reasonable sized agency for Brisbane, with about twenty people working on accounts

such as Rover Mowers, Trittons, J. B. Conlan, Queensland Permanent Building Society, Wallace

Bishop and Mathers. Through Bill Bristow, as well as through exposure to trade publications,

Greville began to get glimpses of the wider world o f advertising. Mostly he did layouts for press

ads but the agency also handled radio and television advertising. It was in these fields that he

reached a number of significant milestones in his career.

Greville wrote his first jingle for a radio commercial for Adsett Shoes, a family owned shoe

repair company established in Brisbane in 1938. He sang The Adsett Treatment himself and

recorded it with musician Bob Rees44 at radio station 4BC. It ran for many years, becoming

indelibly imprinted on the minds of commercial radio listeners of the 1970s and 1980s.45

Greville's first television commercial was for another long standing family company, Brisbane

jewellers Wallace Bishop (est.1917).46 He devised the storyboards and camera movements for

You need timing, and used the 1950s Jumpin' Jimmy Jones pop song of the same title for the

soundtrack.The Adsett Treatment

I ’ve got some shoes I love I wouldn’t throw away They fit me like a glove I wear them every day

And when the weather Mucks the leather up Wear and tear Scuffs them up

I take them to the Adsett man He gives them the treatment They ’re bright and shiny He gives them the treatment.

44 Bob Rees and Keith Fowle established sound recording studio, The Voice Plant, in 1976. Keith Fowle, telephone interview with author, 13 October 1999.

45 Adsett Shoes remained family-owned until the mid-1990s when it was then taken over by Belgian multinational Mister Minit, which in turn was as bought out by the United Bank o f Switzerland in 1997. Information provided by Tony Steele, Mister Minit, West End, 11 October 1999.

46 'A short history outline o f Wallace Bishop Pty. Ltd.', supplied by the company, which remains in the familyin 1999.

They're just ads 22 Door to door salesman 1973-1986

The year was 1976. Colour television had arrived the year before bringing with it longer viewing

hours, a significant increase in advertising47 and an accompanying growth in the number o f

production houses. In making You need timing, Greville had his first contact with Brisbane’s

fledgling music, film and television production industry. The commercial was produced by

Martin Williams Films, the earliest o f the 'new wave' o f production companies, established in

1967 by Mike Williams and Vic Martin to cater for the developing Queensland film, television

and advertising market.48 Their cinematographer Ron Johanson filmed it, Max Bannah animated

the graphics and Steve Cooper edited the commercial49 which won Greville his first awards, a

Gold Award and the David Sherbon Special Award for Best Television Campaign, at the Third

Annual Art Directors Club (Brisbane) Awards night.50

Jones Knowles McCann Erickson had employed Greville as an art director but he started to cross

the line between being a writer and an art director. After four years, when he had gone as far as

he could, Bill Bristow said to him, 'You'll have to leave to get past me, to be your own person a

bit more'. Not knowing where else to go, he took a job at a locally owned, very low profile

agency, Donnelly Smith Advertising.

1976-77Donnelly Smith Advertising

Peter Donnelly operated his advertising agency from a converted house under the Story Bridge

at Kangaroo Point. He was a frustrated commercial artist, always looking over Greville's shoulder

and involving himself in jobs. A highlight o f his time there was the production of a dog food

television commercial How 're you gonna treat your Dinky-Di doggy tonight? It was shot by

cinematographer Dick Marks at the Exhibition Grounds where Greville vividly remembers

47 Charles, Legends o f advertising, p. 74.48 Mike Williams, interview with author, 14 October, 1999.49 When this ad was made, Ron Johanson had just moved from Melbourne to Martin Williams Films (MWF)

to replace Dick Marks; Max Bannah had recently set up Max Bannah Animation (1976); and Steve Cooper had taken over as editor at MWF from Bob Blasdall. Bob established Short Cut Editing in 1976, becoming En-Cue in 1982 , then THEpostWORKS in 1999. Steve set up Brisbane Post Production Services (BEEPS) in 1979. Ron Johanson worked with MWF until 1982 then began Roly Poly Picture Company. Dick Marks established FAT Pictures in 1975, became Dick Marks: The Queensland Film Company in 1982, then Dick Marks: The Australian Film Company in 1988. All have worked closely with Greville since then. Interviews with author, 13 October, 1999.

50 Art Directors Club (Brisbane), The 1977 Art Directors Club (Brisbane): Third annual exhibition (Brisbane: Art Directors Club [Brisbane], 1977).

They're just ads 23 Door to door salesman 1973-1986

watching in awe as the working dogs leapt across the backs o f the sheep, rounding them up to

earn their feed o f Dinky Di Dog Food. Panic set in when the dogs would not touch the product

but fortunately the problem was solved when some ’real' food was added. He also made a

commercial, Our Land, for real estate company L. J. Hooker which was developing the Brisbane

suburbs Jindalee and Mt Ommaney. It included footage o f the area as it was in 1976, a few

houses and a lot of land. After a year o f working at Peter Donnelly Advertising and feeling very

'held-under-the-thumb' he was ready for a change.

1978-79 Ogilvy & Mather (Brisbane)

In late 1977, change came in the form of young, ambitious, copywriter George Muskens 'who

broadsided into the agency parking lot one afternoon in his hotted up Torana'.51 George was

involved in establishing the Brisbane branch of Ogilvy and Mather, a US agency which had been

in Australia since 1967.52Greville had been recommended as art director and following an offer

from George, he jumped at the chance to join this new agency that promised a more dynamic

approach to advertising. The office opened for business in January 1978.

Greville was able to be more expressive, in an environment that nurtured and valued creativity.

For the first time he was in the position o f being responsible for what was created rather than

being briefed by someone above him and then left to work in a vacuum. He had direct contact

with the clients, so interacted professionally with people at all levels. As he remembers this

period, Brisbane was becoming more vibrant, advertising standards were lifting and clients were

more receptive to new ideas. They got excited about what they saw on television and what was

happening around them and were keen to try fresh approaches.

When Ogilvy and Mather moved into Brisbane, it did so by buying out a small advertising

agency.53 Among its clients were the Bank o f Queensland and Security Permanent Building

Society. Greville worked on these accounts, designing logos linking the two organisations and

51 George Muskens came to Brisbane with Sydney agency Hertz Walpole. In 1976 he began freelancing as 'George', writer/producer/director, sharing office space in Milton with FAT Pictures, Short Cut Editing Services, Jan Murray Film Sound and Max Bannah Animation. Max Barm ah, interview with author, 21 March 1999.

52 Charles, Legends o f advertising, p.88.53 Unable to be identified.

They’re just ads 24 Door to door salesman J973-1986

creating You can count on a Queenslander for the Bank. It

is the most enduring campaign of his career and the one

which has become most entrenched in the popular culture

of Queensland. Unfortunately the jingle has been lost to

memory and the commercial cannot be located.

You can count on a Queenslander.

Bank o f Queensland was a small but successful trading bank which had existed in Queensland

under a number of different names since 1874.54 The agency was briefed to capitalise on the

Bank o f Queensland's parochial, personalised nature which differentiated it from the large,

impersonal national institutions. Greville and George came up with the line 'You can bank on a

Queenslander'. When they presented it to Manager, Graham Hart, he immediately responded, 'No,

you can bank on the Wales. How about you can count on a Queenslander?', leaving them

wondering why they didn't think of that in the first place! And so the slogan You can count on a

Queenslander was born.

The advertisement aimed to establish the Bank as a quality institution which had the interests o f

Queenslanders at heart. The jingle was sung by popular entertainer Doug Parkinson in a strong,

earthy style, suggesting to its audience that just as they could count on highly respected

Queensland institutions such as Golden Circle, XXXX, and cricket captain Allan Border, so they

could rely on the Bank of Queensland. It was a parochial commercial but a timely one. It showed

Queenslanders positive images of their state, at a time when the focus had been on Queensland

as different, redneck, second rate and out of step with the rest o f Australia.

The question o f Queensland's difference from the rest o f the nation has long been a topic for

debate.55 Throughout the 1970s it was used to great effect by Premier Joh Bjelke-Petersen for his

own political purposes. Bjelke Petersen's biographer Hugh Lunn attributed much o f Joh's political

success to his 'total dedication to, and belief in, state chauvinism. He saw himself as a

M It was the Brisbane Permanent Investment Society from 1874 to 1886, after which it was the Brisbane Permanent Building and Investment Banking Society, finally becoming the Bank o f Queensland in 1970. A. N. Murrell, The first one hundred and ten years: Bank o f Queensland Limited 1874-1984 (Bowen Hills: Boolarong Publications, 1987).

P. Charlton, State of mind: Why Queensland is different, rev. ed. (North Ryde: Methuen Haynes, 1980); R. Fitzgerald, From 1915 to the early 1980s: A history o f Queensland (St. Lucia: University o f Queensland Press, 1984), pp. 250-252.

They're just ads 25 Door to door salesman 1973-1986

Queenslander first, and made the slogan "I stand up for Queensland" his warcry against the

south’. He continually bashed the 'Canberra socialists', vowed to keep communism and socialism

out of Queensland and was responsible for setting in train the events which led to the downfall

o f the Whitlam government. Under him, the National Party went from strength to strength,

decimating the Labor opposition in the 1974 election, then the Liberals, eventually governing in

its own right. While many southerners admired Bjelke Petersen's style, more often than not,

outside o f the state, he was treated as a laughing stock. By association, Queenslanders o f all

political persuasions became the butt of southern jokes.56

(Source: A. Moir, Smile its Joh ’sp la c e )

You can count on a Queenslander was among the earliest o f a series of parochial commercials

produced by advertising agencies for the Queensland market.57 It was successful for the Bank at

the time, and after more than twenty years, the logo and slogan are still used in its promotion.

56 H. Lunn, Joh: The life and political adventures o f Johannes Bjelke-Petersen (St Lucia: University o f Queensland Press, 1978), pp. xi-xv.

57 John Blanchard, Creative Director o f Legrand McCann Erickson wrote Make it a XXXX mate which began with the line 'What do you like about Queensland?' Greville Patterson, interview with author, 20 October 1999.

They're just ads 26 Door to door salesman 1973-1986

You can count on a Queenslander hit just the right chord, providing some with a popular

parochial catchcry, others with a term encapsulating Queenslanders' attitudes.58

Greville worked on commercials for other

local companies in his two years at this

agency. He and George worked closely on

F eel in' good and Who's gonna keep you

warm this winter?, lively, humorous,

irreverent campaigns centred around 4BK

radio announcer, Wayne Roberts. The

F eel in' Good commercials include

montages o f fashions, performers, rock

concerts and record covers from the

sixties and the seventies which, coupled

with the graphic style, give them

something o f a 'time-capsule' feel.

You’ll fin d me in the Sunday Sun promoted the classified ads section o f Sunday Sun newspaper

which had grown out of the Sunday Truth.59 In 1979, Greville produced It's cheaper at the

warehouse!, a retail advertisement60 for Errol Stewarts Warehouses, an electrical goods company

established in Kedron in 1965 when the warehouse concept o f minimising overheads to keep

prices down was new to Brisbane. A previous, somewhat irritating advertising campaign, The

■8 J. Dawson in Queensland images, p. 95, used the slogan as a section heading in a discussion of populism and parochialism; W R. Johnston in The call o f the land: A history o f Queensland to the present day (Milton: Jacaranda Press, 1982), p. 206, observed that in relation to 'the lackadaisical attitude of the electorate [which] let the leaders, political or economic, go ahead with whatever they want to do ... A local bank has probably accurately encapsulated the trusting sentiments of the community in its slogan, "You can count on a Queenslander".'; and H. Lunn in Joh, p. xiii, described the development of a more assertive mood in Queensland in the early 1980s:

Queenslanders called NSW and Victorian-registered cars "Mexican cars" and started wearing T-shirts like "You can count on a Queenslander" and "It's hard to be humble when you are a Queenslander". The song "Love you, Brisbane" made the state hit parade, the beer ads said "What do you love about Queensland?", and Brisbane actor Ray Barrett... in a television ad ... announced he had driven off "the darned southerners".■9 Mirror Newspaper's Sunday Sun (Sept. 1971 - April 1992) continued Sunday Truth (Oct. 1960 - Aug. 1971)

which grew out o f the Truth (Sept. 1900 - 9 Oct. 1960). Information supplied by John Oxley Library.60 Retail ads are designed to attract attention and sell products and are generally made with low production

budgets. Sinclair, 'Advertising', in Media in Australia, pp. 274-75.

They’re just ads 27 Door to door salesman 1972-1986

Bunch o f Softies (1972), had aided the expansion of the company to such an extent that when

Greville wrote his advertisement, there were eight warehouses with an annual turnover of

$26m.61

The advertisements produced by Greville and George at Ogilvy and Mather were enthusiastically

embraced by the clients, the advertising community and the public. Confidence in their creative

ability grew and they began to wonder what it would be like to work in the Big Smoke' on

accounts with bigger budgets.

1979-81 McCann Erickson (Sydney)

Greville's next move was to McCann Erickson in Sydney where George Muskens had found high

profile positions for both of them. At the time it was Australia's third largest agency. The

American giant had moved into Australia in 1959 in order to supply advertising services,

merchandising and market information to its multinational clients who were also expanding into

Australia.62 While these companies were able to impose their own styles on advertising, local

content regulation ensured that commercials screened in Australia had to be made here.63 At

McCann Erickson he gained a much greater awareness o f world advertising. Previous outside

influences had come from television, personal contacts and reading trade publications, whereas

here he was exposed to monthly reels o f work from the agency's offices around the world. In

keeping with the origins of the parent body and its clients, there was a heavy American bias.

The agency had a large creative department in which accounts were allocated to teams. George

secured the position of'Group Head' responsible for the Coke, Levis and Maggi accounts, while

Greville became art director in the team. When George left after a year, Greville moved into the

senior position. He worked on campaigns for these three 'world brand' products which were being

61 The company experienced a number of changes o f ownership before ceasing trading under the Errol Stewart name in 1998. Errol Stewart and partner Peter Piese sold their shares to business associate Gary Shannon in 1977. It was acquired in 1987 by Billy Guyatts Ltd., who sold it to Vox Ltd. In 1994 Vox sold the subsidiary of which Errol Stewarts was a part, to major Australian investment company ACIL. From information supplied by Vox Retail Group, 1 June 1999.

62 Charles, Legends o f advertising, pp. 54, 55, 120.63 Sinclair, 'Advertising' in Media in Australia, p.141.

They're just ads 28 Door to door salesman 1973-1986

marketed internationally in a systematic way with huge budgets.64

Television promotions were accompanied by prolific print

advertising. Greville collaborated with photographer Terry

Straight63 in the production o f numerous high quality

advertisements for glossy magazines.

The Coca Cola account came with rigid rules and guidelines aimed at maintaining the look,

quality and essential elements of the product in its advertising. It was also accompanied by

'pattem material', examples of acceptable commercials in the style being sought. Within these

parameters, Greville made a Coca Cola advertisement using the line, Have a Coke and a smile.

While he was thrilled to be working on a Coke campaign, he found the line trite and lacking the

youthful ness and excitement of Coke ads he had grown up with. The brief was to use a narrative

or 'storyline' approach, focusing on the refreshing values of Coke and ice. He found this method

of working extremely challenging, leaving little room for creative expression. Nevertheless, he

successfully wrote and produced the commercial, in which the hero arrives in an outback town,

brings the rain with him, breaks the drought, makes everybody happy and wins the girl. A new

phenomenon was the large budget, a sizeable portion of which was used to build the facade o f

a town in the Currumbin Quarry on the Gold Coast. He enjoyed this taste o f extravagant film

production.

If the international accounts came with international formulas and mies, they were also

accompanied by research. The American agencies in Australia had been using research methods

since the 1930s,66 but until this time, Greville had worked on gut feeling or instinct alone, with

clients accepting or rejecting concepts in the same way. He experienced the full force o f research

for the first time while working on the Levis ad The original stands alone:

Levis sounds like it would be a terrific account for a thirty year old to work on, but ...it was so

tough ... There were two sets o f research you had to go through - 'qualitative' and 'quantitative'.

You'd sit in on qualitative research group for Levis and everyone would agree that there was this

04 Sinclair, 'Advertising', in Media in Australia, p. 129.05 Co-director o f Brisbane audiovisual production house Multivisuals, established in 1975 with John

Callinan. Terry Straight, interview with author, 24/10/99.t>0 Spierings, Australian advertising history, p. 103

They’re just ads 29 Door to door salesman 1973-1986

image about Levis that was to do with the loner. He was very laid back and very much in control

of his life. You'd go away, do a music track, put together a storyboard and come back with it. And

everyone would say, 'Yes. That's exactly what Levis is all about'. Then they’d put it in this

primitive research thing called quantitative, where people would sit and watch the commercial with

a dial that they'd turn to register excitement value ...

Everything that succeeded in qualitative failed in quantitative - until we decided sex was the only

way out of it. To preserve the loner image, the plot was that this guy was leaving his girlfriend.

Eventually it got through both types of research with really good results. So somehow we'd

managed to crack the system. But it did come through as slightly negative with women who

thought he was a bit of a bastard for leaving the girl. We went ahead and produced the commercial

which in 1981 cost about $110,000. It was shot by Russell Boyd, who filmed The Man from

Snowy River.

When the commercial was finished and researched it got an even bigger negative result from

women so Levis decided not to run it. We said hang on we'll make the sequel - he'll go after her

and she'll leave him - anything if you just want to balance the score. We tried re-editing it, we put

different music to it, but everything we did made it worse. We gave up in the end and decided you

just can't please these two forms of research. It was never shown.66

Apart from finding it difficult to be creative working on these international accounts, Greville

also found it extremely stressful. After two years, he was 'reduced to a gibbering idiot' and

decided to head back to Brisbane. As a parting gift he was presented with a tape o f jingles

resulting from the research sessions, all twenty-five o f them!

1982 George Patterson Brisbane

While Greville was shooting a commercial in Queensland and looking to get out of the fast lane,

John Cornwell, managing director of George Patterson Brisbane, offered him a job as

copywriter/creative director. He gratefully accepted and for the following year worked in the

Queensland branch o f Australia's oldest agency which had been established in Sydney in 1934.

66 For a later discussion o f negative effects o f research, see 'Castrating creativity', Campaign Brief September 1994, pp. 6-8.

They're just ads 30 Door to door salesman 1973-1986

In 1959 George Patterson's moved into Brisbane through the local agency Noble Bartlett68,

becoming one o f the earliest southern agencies to have a presence in Queensland.

George Patterson's entry into the Queensland market was prompted by the introduction o f

television. In 1982, Queensland experienced another milestone in its history, the staging o f the

Commonwealth Games. Development of city and state pride was high on the agenda. In a forum

presentation following the Games, John Gamsey reflected on the role played by advertising

during the Games, particularly in relation to the awakening o f a more positive and self-confident

Queensland identity. Proudly parochial television campaigns such as Love you Brisbane for BTQ

Channel 7 and Shine on Brisbane for the City Council, helped 'build awareness and civic pride

not only in the Games but in Brisbane itself... firing community support, spirit, and goodwill so

essential to the Games ultimate unqualified success'.69

Intense parochialism was one feature of the state which was commented on in a series of

optimistic reports in a 1982 special supplement to trade magazine B&T. It also noted

Queenslanders' suspicion o f outsiders, the relaxed lifestyle, and staggering economic growth

68 The principals o f Noble Bartlett (est. late 1940s) were 'Nuts' Noble and Alf Bartlett. After the merger the agency was known as Noble Bartlett Patterson. In 1964 international agency Ted Bates took over, from which time the Queensland branch operated as George Patterson Brisbane. John Gamsey interview with author, 11 October 1999.

69 J. Gamsey, 'Queensland and Brisbane as a focus for advertising strategies and the Games', paper presented at a forum organised by Dr Paul Reynolds, Australian Studies Centre, n.d.

They're just ads 31 Door to door salesman 1973-1986

fuelled by interstate migration and an emerging tourism industry. Queenslanders were described

as 'those one-time country cousins ... who can now look toward one o f the most exciting futures

of any people on this earth'. At that stage, about thirty-nine accredited agencies handled $80

million of local business, with southern-based agencies controlling fifty-five percent o f agency

billings.69

In addition to their local accounts, interstate companies handled the Queensland portion of

national accounts. At George Patterson, Greville worked on two national accounts in particular.

He created a campaign for Peters Ice Confection to promote an iceblock called Aussie which was

intended to appeal to children in the lead up to the Commonwealth Games. The animated

advertisment showed a series of Australian animals running a relay, passing on the

iceblock/baton and being urged 'to show the Aussie green and gold' and 'show your Aussie to the

world'.

The other national client was Carlton and United Breweries (CUB) which in 1982 was planning

to launch Fosters Beer on tap throughout the state. Fosters had originated in Melbourne in the

1880s and been marketed as an Australian icon both locally and internationally. However, despite

its popularity at home and abroad, it did not sell well in Queensland where Castlemaine's XXXX

dominated the market. Research had shown that advertising created for the national market

would not be effective in Queensland, so Greville was asked to create a regional campaign to

appeal to the locals.

Have a Fosters Instead was an extensive promotion, involving print, radio, cinema, television

and point o f sale components as well as a glitzy, expensive launch to Fosters dealers from around

the state. At the centre o f the advertising were cartoon characters, Blue and Son who were

inspired by a 'Bluey and Curley' cartoon on the back of a matchbox. The cinema and television

commercials open on father and son, standing in front of a run-down old Queenslander, watching

a Fosters advertisement go up on a billboard over the road. Full of pride and with quavering

voice, Blue says to Son, 'See that can? It's just like you and me. You can't get more Australian'.

The chorus follows and the animation cuts to a series of live action situations showing 'typical',

69 J. Hawkins, 'Queensland sunshine superstate,' B & T, 1 April 1982, pp. 20-49.

llieÿre just ads 32 Door to door salesman 1973-1986

mostly male, Queenslanders enjoying Fosters Beer. In an exploration of identity and mythology

in Queensland beer ads, academic and film critic Jonathan Dawson, considered the use o f

animation to advertise beer most unusual, and suggested the commercial provided evidence that

'the Queensland male does indeed like his artwork simple and unthreatening'.71 It was however,

an extremely successful advertisement.

While Greville was grateful to have had the opportunity to return to Brisbane, he found that in

character with George Patterson’s head office, the Brisbane branch was 'big, safe and

conservative with a public service feel to it'. After a year there, he was ready for a break from the

constraints imposed by advertising agencies.

l̂ rÇ iú-z. il-

f i v d t .

VToo.

Woo.

CM

3& -

Concept development ideas for Foster ’s lager 1982 Blue and Son on a point of sale poster

Foster ’s Lager Outdoor poster

71 J. Dawson, 'Our beer', in Queensland images, p. 100.

1983-86 Greville Patterson Creative

They're just ads____________________________ 33 Door to door salesman ¡973-1986

In 1983, Greville set up his own consultancy, Greville Patterson Creative, which he operated

from a worker's cottage in Paddington, with his wife Jan. They worked long hours on a continual

flow o f jobs, dealing directly with clients or with advertising agencies from Queensland and

interstate. Commissions varied greatly in the type of client, style o f commercial and budget.

One o f his first jobs was to come up with a commercial for Mortein. Since 1957, animated

character Louie the Fly had been used intermittently, but very successfully, to advertise Mortein.

Following Louie's retirement in 1980, Samuel Taylor lost its way with its advertising, and in six

years ran forty different television commercials for Mortein products, only to see sales slump.72

Waddaweneed? McCann Erickson came to Greville with a very tight brief

The more you know Australia,The more you need MorteinThe further you go, the more you knowYou know we need mortein

There’s a million trillion Aussie nasties Out to spoil our day Out to make us crook and cranky We need Mortein spray

to make Mortein Australian again, to re-establish it as an

Australian 'leaning post brand... one o f those commodities

that has been there since we were kids and we assume

should always be there'. Greville came up with

Waddaweneed? and once again, used his own voice in theTo match those blowies blow for blow To hit those mozzies on the nose To keep those cookies out of sight We need Mortein day and night

We don Y need more beaches,We don Y need more fun We don 1 need more barbies And we don ï need more sun

commercial. It showed animated black on white graphic

representations of cockroaches, mozzies, spiders and flies.

The animation was followed by live action shots of various

groups who knew the answer to the jingle's question

Waddaweneed? - they needed Mortein!Waddaweneed, waddaweneed, waddaweneed? Mortein

Une drawings from Waddaweneed? animation sequence

By the time the advertisement was made, Samuel Taylor had decided to go back to using Louie

the Fly so Waddaweneed? had a run of only eight weeks on television. While the commercial did

not solve Samuel Taylor's problems, it did win Greville and the team who created it, their first

72 Charles, Legends o f advertising, p. 54

They're just ads 34 Door to door salesman 1973-1986

international award, a Hollywood Film and Television Society Award 'honoring the world's best

broadcast advertisements' in the category o f combined animation and live action. It was one of

eleven winners from over 5,000 entries and the only Australian entry to reach the finals.72

Take it Easy Take a Train was yet another animated commercial created in 1985 for a small

owner-operated agency, Ken Campbell Advertising, which had been briefed on a corporate

campaign to modernise the image of the railways:

I'd done something for G.M.H. in Melbourne - The Lion Will Roar in '84. He'd seen that on TV

and thought, 'That's what we need for Queensland Rail. We need one of those really pumped up,

beefy commercials'. I got back to him about a week later and said, 'I don't think that's the right

mood for trains. Trains are about not having to do very much. You know, you just sit on them, so

its more about taking it easy'. He'd come to me because he thought he wanted one of those

commercials and a week later I'm saying, 'No, I think you want something that's the opposite of

that'! So it took a little while to sell the idea to him.

Greville then suggested banding, naming and creating separate logos for each of the divisions of

Queensland Rail and so Citytrain, Freightrain and Traveltrain were created. It was a simple

suggestion with long lasting consequences but little remuneration:

I wouldn't have charged terribly much for the job but even now Citytrain is on the side of the city

trains and there are delivery trucks driving around with Freightrain on their sides. If someone like

Ken Cato73 had done the job ... it would have been 250 grand for it and lots of manuals on how

to use the typeface ...

Unbeatable Drumstick was done directly for Peters, very quickly and with pleasing results:

They rang up on a Friday night wanting a concept to put into research for Monday. 1 said I couldn't

do it. They insisted I'd have to. I said I'd do a deal with them - I'd do something so simple it would

be achievable by Monday. So I had a girl talking to camera about Drumsticks and all the flavours

you could get. It won through on research - about the only thing I've ever done that has. It was

72 McCann Erickson promotional brochure, 1983.73 Melbourne graphic designer.

They're just ads 35 Door to door salesman 1973-1986

made specifically for Sydney where it increased their sales by seventy percent. So I got a letter

saying nothing else had changed so it must have been the advertising that did it. Usually you only

get feedback when things don’t work.

Many o f the advertisements reflect the Queensland origins or focus o f the products. City Living

advertised Riverside Apartments, a new style o f unit accommodation being developed near the

Freeway in South Brisbane. Up on the Downs was for the Toowoomba based Heritage Building

Society established in 1979 by the merger o f the Toowoomba and Darling Downs Building

Societies.75 Their budget was tight so locals were invited to submit historic photos of the area for

use in the commercial. Stefan Hair Fashions76 advertised its rapidly expanding chain o f salons

in a commercial which drew on a scene from the film Tom Jones. Following a lusty chase

through fields and bams, as the couple finally fell together in the haystack, they looked at each

other and asked the question 'Stefan?' which was common to all Stefan advertisements at the

time. Using Greville's commercial, Dreamworld77 urged TV viewers to Take a trip away from

the everyday, Take a Dreamworld, one-day holiday. He wrote jingles for Bundaberg Rum 78, first

made in Queensland in 1889; and for Golden Casket79, the lottery set up by the government in

1916 to boost war funds. Ingham Chicken Love 'em used the tried and tested formula o f food,

family and motherly warmth to get its message across. The slogan began as a line tagged onto

the end of a commercial for chicken nuggets but went on to become the Queensland company's

corporate slogan, still used in 1999.

Working for himself was creatively satisfying but also frustrating. As Greville became busier it

was difficult to fit in all the running around associated with the production of commercials. He

began to realise that while the openings were there to expand into an advertising consultancy, he

was not a natural empire builder. He was never sure whether to employ another creative person

or an account services person. Employing more staff would have complicated his situation, so

75 Murrell, The first 110 years, p. 387.76 The first salon was established by Steve Ackerie in Longreach in 1966. Stefan Hair Fashions, 14 October

1999.77 Dreamworld is an American-style theme park located on fifty-eight acres between Brisbane and the Gold

Coast. It was established in 1981. Dreamworld, 10 July 1999.78 The Bundaberg Distilling Company, was established 1888. Adopted the polar bear as its symbol in the early

1960s. Superbrands. An insight into 65 o f Australia's superbrands (Sydney: Superbrands, 1997),p. 28, 29.79 Sunshine and shadows, Book Eleven, Century (Brisbane: Courier Mail and Suncorp Metway, 1999), p. 172.

They're just ads 36 Door to door salesman 1973-1986

he chose not to do that. An ongoing frustration was the difficulty of charging adequately for

creative services. He found that:

In general, people are unwilling to pay for ideas.They never divide it up and go - well that's the

jingle and that's the script for the TV commercial and that's a little marketing idea and that's the

logo idea. A lot of these ads . ..seemed to do the job at the time, yet it seemed as if writing jingles

or coming up with visual ideas was not taken all that seriously. They didn't quite belong in

business. Yet the business world would take advantage of them and use them to inject wit, charm

and emotion into their products to make them loved and to put them in a favourable light. The

ideas part of advertising is incredibly undervalued.

Graphic design for Queensland Rail, Take it easy, Take a train campaign

Greville Patterson Creative iMtrobe Tee Paddington 1983 - 86

Chapter 3

From tropical fish to fish out of water 1987-1989

Barry Humphries, in Flashbacks, describes the 1980s as 'the greed is good' decade - a time when

wealth was created overnight but was owned by the banks; when entrepreneurs reigned supreme,

only to be brought undone by the stockmarket crash o f 1987; when sportsmen were treated like

pop stars; and the Bicentenary' focused on issues of identity, which for the most part equated with

Australiana rather than the complexities of being Australian.79 Advertising reflected these aspects

of Australian life. The entrepreneurs were big advertisers, with extravagant ideas and big

budgets. Greville moved from his suburban Brisbane studio into an agency that was about to take

on the world. In parallel with the agency and some o f its clients, in the next year and a half, he

experienced the roller coaster ride of the late eighties.

1987-1988 Mojo Brisbane

The airing of Waddaweneed? brought Greville to the attention of the principals o f the dynamic

Australian agency Mojo. Following its acquisition of the XXXX account in 1983, Mojo had set

up a small office in Brisbane to service their large client. A number of times during Greville's

freelance years, Alan Morris (Mo) and Allan Johnston (Jo) approached him to join them, but he

was quite happy working for himself. Then, after he finished a job for Mojo for Overseas

Telecommunication Company (No one's far from anyone anymore), they invited him once again,

and having reached the point of uncertainty about where to go with his own consultancy, he

accepted their offer.

For the next eleven years he worked for Mojo in Brisbane, London and Sydney. It made a

welcome change to work in an agency where the people running it were creatively involved in

making the ads. Given the priorities of Mo and Jo and the style of work produced at Mojo, it is

not surprising that Mo, Jo and Greville should be drawn to each other. They were part of what

Frank Crowley describes as 'the jingle explosion of the 1970s, also called the advertising anthem

79 B. Humphries and R. McDonald, Flashbacks (Pymble: Harper Collins, 1999), pp. 150-1.

They're just ads 38 From tropical fish to fish out o f water 1987-1988

industry ' as a result o f which 'nearly every child in Australia could recite TV jingles like "Up

there Cazaly" [for Aussie Rules] ... and "C'mon Aussie, C'mon" [World Series Cricket]'.80 All had

the intuitive ability to tap into the mood of the moment, connect with ordinary people and

become part o f their lives. What Mo and Jo and others did with jingles at the national level,

Greville did in Queensland.

Mo and Jo had been in advertising since the late 1960s, working individually, then freelancing

as a copywriting team from 1975. By the time they opened Mojo in 1979 they had been involved

in the production of a number of memorable ads including Anyhow have a Winfield ( 1972), / fee l

like a Tooheys (1976), You oughta be congratulated (1977). Their words and lines became part

of the vernacular. An ad for a non-alcoholic drink, Clayton's - the drink you have when you're

not having a drink, led to the word 'Clayton's' being adopted by Australians and included in the

Macquarie Dictionary to describe something that is not really what it appears to be.81 They had

decided to open their own agency because as freelancers they found, as Greville did, that selling

ideas was a difficult way to make a living. As an agency they could have greater creative control

and at the same time be more profitable, since media commissions were payable on all billings.82

Their work reflected Australia's concern with national identity which had been gathering

momentum since the late 1960s and became a focus with the 1972 election o f the Whitlam

government. Mo and Jo are credited with playing a prominent role in stopping the cultural cringe,

giving Australians a sense of pride in being who they were, and Australianising the advertising

industry.83 Jo said of the Anyhow have a Winfield commercial which he produced with Jim

Walpole84 and which launched the career of Paul Hogan:

We both had a big urge to break through the borrowed international imagery with a truly

Australian campaign ...At that time the airwaves were choked with Australian announcers imitating

the accents o f their English and American counterparts. The advertisers and the media seemed

80 F. Crowley, Tough times: Australia in the seventies (Richmond: William Heinemann, 1986), p. 264.81 A. Coombs, Adland p. 335.82 'Billings are the total number of dollars spent by an agency's clients on advertising in a year, both in the

production o f ads and in buying space for them in the media. It is the recognised method of gauging the size of an agency's business.' Coombs, Adland\ p 22.

83 Jbid., p. 5.84 Principal o f agency Hertz Walpole.

They're jus I ads 39 From tropical fish to fish out of water 1987-1988

publicly ashamed of speaking like Australians.85

They put creativity ahead of all other considerations and had an intense dislike for 'agency

bullshit and politics' or regimentation of any kind.86 Author Ann Coombs spent a year with the

agency just before Greville joined it. She wrote of Mo and Jo's ability to bring people together,

particularly 'creative misfits who couldn't (or wouldn't) get along in the big agencies'. The

atmosphere was described as 'irreverent and informal, different from other agencies. Going to

work was like spending the day at home with friends with a hot lunch prepared by the agency

cook and drinks around the kitchen table in the evening'.87

In 1986, Mojo merged with Melbourne company Monahan Dayman Adams (MDA) to fonn the

largest Australian-owned advertising agency, Mojo MDA. Their intention was to expand

internationally. The newly created organisation linked MDA's overseas connections with Mojo's

large clients such as Bond Corporation and Australian Tourism which had interests in promoting

themselves overseas. The merger and subsequent expansion defied the general trend towards

transnational ownership of Australian companies.88 In the following year, the agency grew from

a staff o f seventy people in the Sydney office with small branches in each of Brisbane,

Melbourne and Perth, to a worldwide organisation with five hundred staff in eleven offices.89

Greville joined the Brisbane office as creative director in 1987 when the expansion was well

under way. It was a very successful agency with about thirty-five people working from its office

in Petrie Terrace. Joan Yardley was the chief executive, one of only two females in such a

position within the network. There was a good sense o f fun and the Mojo culture was totally

embraced by everyone there.

Mojo sought big accounts and clients who would let them get on with their job with minimal

85 'Winfield: a classic campaign that broke all the rules', B&T, 6 May 1988.86 Charles, Legends o f advertising, p. 76.87 Coombs, Adland, p. 21 .88 D. Browne, 'MDA and Mojo hold hands for their big leap overseas,' B&T, 25 July 1986, p .l; Sinclair,

'Advertising', in M edia in Australia, p. 138.89 Coombs, Adland, pp. 1, 287.

They're just ads 40 From tropical fish to fish out of water ¡987-1988

interference.90 It was not long before one such account and client came Greville's way.

Christopher Skase was one o f the new breed of entrepreneurs who came to prominence and

experienced a meteoric rise through the mid-to-late 1980s.91 As Chairman of Qintex Limited and

Mirage Trust, he approached Mojo for its help in launching Mirage as a brand name for a new

style of exclusive tourist development. He was building resorts and facilities at Port Douglas and

the Gold Coast, with the intention o f establishing Mirage as a name which could be used on

similar upmarket developments throughout the Pacific. Not only did the name Mirage apply to

the hotels and condominium accommodation (over 500 at Port Douglas alone), but also to

sporting and shopping facilities, a $6.5m. luxury cruiser, two hovercraft, a helicopter and a jet

to convey executive and key clients to the resorts.92

Greville was called by Mo and Jo to a meeting in Sydney where Christopher Skase was briefing

them on his project. Even though this was a new concept in resorts, it was not difficult to

envisage it, given the product description and photographs o f the site. It was clear it was going

to be a spectacular complex on the beach. Christopher Skase had invited Mo to Port Douglas to

see the building in progress but Mo refused, saying he could go and visit a hole in the ground in

Sydney if he needed to see one.

Greville assumed Mo and Jo would do the main campaign and that he would play a minor role

as the Brisbane connection who might be called on to do occasional magazine and press ads.

Instead he found himself creating the campaign Too good to be true which he considers to be his

best and one o f the most romantic ads ever to come out o f Mojo. Greville's account of the

realisation o f this campaign illustrates aspects o f the client, the Mojo style, the creative procçss,

his attitude to creativity and his style o f working.

Mojo always made it clear to clients that they needed six weeks to think about a job and come

up with ideas. After three weeks, Greville began to panic:

90 Ibid., p. 21.91 The entrepreneurs grew out o f conditions created by the government's monetary policy, deregulation o f the

banking industry in 1983-5, and the stockmarket boom. P. Kelly, The end o f certainty: Power, politics and business in Australia, rev. ed. (St Leonards: Allen and Unwin, 1994), pp. 379-80.

92 'Mirage looming on the horizon', B&T, 15 May 1987, p. 41.

They're just ads 41 From tropical fish to fish out of water 1987-1988

I rang Mo and he said, ’Oh shit, haven't you done that thing yet?'

I said, 'No, I'm not going to do it. Christopher Skase doesn't want me to do it, he wants you to. He

wants you and Jo to do it. You're the heroes.'

Mo said, 'No, no. Go on, think about it. You can do bloody something.'

He said he wouldn't. He was terrified, having stood in awe o f Mo and Jo and feeling the weight

of expectation. With the deadline looming, he once more prompted head office:

So Mo came up ... walked through the door and said 'Where's that bloke [from account services]

who went around the world spending all my money [looking at resorts]. I think I'll fire him for a

start.'

The door slammed behind him and he came out about five minutes later saying, 'Right I've fired

him, got rid of him', because Mo was quite a tyrant, you know. Then he said, 'Righto, where are

we going for lunch?'

I said, 'Mo, come on, we've got to sort this thing out'.

He said, 'It can't be too bloody hard. Imagine, it's the best bloody location in the world, there are

palm trees and the sun's shining. There's all this luxury, it's a terrific place, and you go back home.

How do you describe a holiday like that?'

I said, 'I don't know. Too good to be true?'

And he said 'Yeah, that'll do. Work that up. Now where are we going for lunch?'

He admired Mo's ability as a writer and creative director who could see the simple solution to

a problem and 'clear away all the bullshit'. At the time, Mo and Jo were working on accounts for

Tooheys and Australian Tourism so he was left to his own resources to develop the concept. The

name Mirage suggested a dreamlike atmosphere with illusory imagery. This concept was further

fuelled by the fact that as yet there were no buildings to film. In relation to the creative process,

Greville observed:

They're just ads 42 From tropical fish to fish out of water 1987-1988

Coming up with ideas is the instinctive part. In some ways it's also just common sense. If someone

gives you a brand like that, the assumption is that you'll make something o f it. It is a bit like

writing poetry. The poets have got the most common sense because they see what the essence o f

something is. They see its reality. They're not dreaming something up. We tend to assume that the

people who are the pragmatists, the practical ones, will actually see those things, but they don't

seem to.

The marketing strategy was to establish the Mirage name, the destination of the resorts and the

components o f each. To achieve this, Mojo's budget was $3m.93

By the time he met with Skase again they were six weeks overdue. He had written and recorded

the music and put together a storyboard of about twenty frames of sketches and pictures from

magazines to give a visual interpretation of the concept. The intention was to put it on videotape

with the soundtrack but for twelve weeks' work it looked unimpressive so he chose to present it

as still pictures and leave Christopher Skase to imagine the rest.

They presented the concept at Qintex headquarters, in ' the big blue building in Eagle Street. In

that office was this big blue marble boardroom table ... the most ominous thing'. Greville had

visions of the power games that could be played out there. Feeling intimidated, he refused to do

the presentation at the table, nominating instead a small coffee table in the corner. Following

negotiations with Skase, the presentation went ahead at the coffee table:

He sat down and told us to go for it, that we had five minutes. I told him that apart from us being

late, we actually had quite a bit o f work to show him and it would take more than five minutes ...

He left about an hour later.

He looked at it all and said, 'That's terrific. Go and do it. There are two points which I'll detail in

a memo to you tomorrow'. We had left out a visit to the Mossman Gorge, so he wanted that shot,

and he wanted his boat M irage 3 in it. Then he left us alone to get on with it. That's very little

interference.

93 Ibid., p. 41

They're jusl ads 43 From tropical fish to fish out o f water 1987-1988

The first commercial was shot at Port Douglas, in and around the partly built resort. The illusory

quality of the ad was enhanced by the extensive use of special effects which were achieved using

a Quantel Paintbox and Mirage editing machine, extremely expensive 'state of the art’ equipment

for the times but primitive by the standards of the late 1990s.94

When the commercial was roughly finished they returned to show it to Christopher Skase:

He looked at it once and said, 'All the sky in the Mossman Gorge shot should be blue. I think it's

fabulous. Just fix that up.' We explained there was a camera move in that shot, where a crane

moved across the water, lifted up, followed two people in yuppie whites stepping onto a rock and

embracing each other, then moved on to the view up the gorge, so there were lots o f trees and tiny

leaves with grey sky in between. We told him that for us to make it blue, we were going to have

to paint every single frame. It would cost a lot o f money. He said he didn't care, that people

wouldn’t come to Mirage for grey skies. He wanted blue skies. So we changed it to blue. It

probably cost another ten grand to fix all that up.

Greville found it puzzling to be working on such a lavish campaign, promoting exclusive resorts

to television viewers, most of whom could never have afforded to go there. Christopher Skase

informed him that it was not so much to do with the numbers who went to the resorts, as with

establishing an image for himself and Qintex in order to impress the banks and investors from

whom he was seeking money. Despite the intention, it also impressed ordinary people who saved

to stay there, but then economised by getting takeaways, as evidenced by the wrappers in the

rubbish bins.

The campaign was intended to be developed globally, so with that in mind, Greville included in

the jingle the lyrics 'Could this be the Tropic of Paradise?' alluding to an imaginary line that

could link the chain around the world. However, in 1991, Christopher Skase's empire was itself

exposed as being too good to be true. It collapsed with corporate debts worth $1.5 b. Christopher

Skase fled to Majorca from where the Australian government has failed to extradite him.93

94 The special effects were done at Jumbuck, BTQ Channel 9's film production house.C. Manly and E Meryment, 'Spanish setback for Skase', Courier Mail, 2 March 1999, p. 1

They're jus! ads 44 From tropical fish to fish out o f water 1987-1988

Greville lamented:

We all know who Christopher Skase is and what he stands for, but he was probably one o f the best

people I worked for in terms o f a client having an incredibly clear vision o f what his product was

and letting you go and do it.

RESORTSCOLD COAST AND PORT DOUGLAS

\ V,f M » q 0» U S ÍS V t X VA X«'

Clients have widely varying motives for advertising and for using particular agencies. The

Japanese motor vehicle manufacturer Toyota, always a prolific advertiser, gravitated towards

Mojo for its ability to create 'Australian' advertising using emotional links between the general

public and the products being advertised.96 The Toyota Corporation began manufacturing motor

vehicles in Australia in 1962 and by the late 1970s had become the country's top distributor of

commercial vehicles. Ten years later the company was endeavouring to increase production and

sales of their non-commercial four wheel drive and small passenger vehicles.97 Without Greville

realising it at the time, his campaign Toyota you're Queensland all over was responsible for

bringing Toyota advertising into Mojo.

Toyota's agency through most of the world was Saatchi and Saatchi who were good at clever,

conceptual advertising. However, marketing manager Bob Miller wanted Mojo to handle part of

Toyota's advertising because it was considered the heartland agency, in tune with the Australian

public. Because of the Japanese commitment to loyalty, Miller was having difficulty getting

1,0 Sinclair, in Images incorporated, p. 3, and in 'Advertising', in Media in Australia, p. 129, explains that it is common for transnational companies to do 'multidomestic' corporate advertising to create a 'national' image for them. Goods are produced and marketed in accordance with local, cultural sensibilities.

07 Superbrands: An insight into 65 o f Australia's superb rands (Sydney. Superbrands, 1997), pp. 132-3.

They're just ads 45 From tropical fish to fish out o f water 1987-1988

permission to use another agency. To get around the problem, he Tack-doored' Toyota

advertising through Mojo Brisbane by requesting a statewide campaign.

With a brief to do a parochial campaign for Queensland Toyota dealers, Greville came up with

Toyota you're Queensland all over. Toyota vehicles were shown managing a range of Queensland

conditions, from the city to the outback, and including Brisbane freeways, rainforests, the North

Queensland coast and the bulldust track around Winton. It was so successful it was followed by

a national version, Toyota you're Australia all over. By 1991, assisted by Mojo's advertising, it

became the first non-American owned company to take outright market leadership in car sales

in Australia, a position it held for four years."

Also showing off the landscape were a number of

commercials for XXXX, a beer with a long history

in Queensland. Castlemaine Brewery produced its

first brew, XXX Sparkling Ale, in the Brisbane

suburb o f Milton in 1878. Forty-six years later,

Castlemaine XXXX Bitter Ale was bom, the beer

that Queenslanders came to claim as their own.

Following mergers, the company became

Castlemaine Perkins in 1928, then Castlemaine

Tooheys in 1980.100 Five years later, entrepreneur

Alan Bond's company, Bond Corporation, took it over and committed the sin of taking the Milton

address off the XXXX label, replacing it with Perth, where Bond Corporation was based.

Queenslanders were outraged, offended and alienated.

Bond's plan, in 1985, was to market XXXX nationally. With this brief, Mo and Jo came up with

99 Ibid , p. 132100 Promotional material, Castlemaine Perkins, 10 June 1999.

They're just ads 46 From tropical fish to fish out o f water 1987-1988

I can fee l a XXXX coming onm which, despite Queenslander's reservations, became a popular

and long running campaign. By the time Greville got to work on the XXXX account in 1988, the

original music and lyrics were so well known that a number o f advertisements had been made

with sound effects only, leaving viewers to fill in the music and words for themselves. The

brewery marketers were becoming worried about the leap of faith required o f the viewers and

wanted to drop the sound effects concept. Greville was called on to come up with alternative

campaigns, none of which were spectacular successes.

Duelling banjos used the tune of I can feel a XXXX coming on in a situation which paralleled the

famous scene and sound track from the American back-woods film Deliverance. It featured two

males sitting on a verandah in the country, playing the XXXX tune on their banjos, then being

rewarded with cold beer. At the end, one of the bushies smiled at the camera, revealing a broken

front tooth. A small number of viewers complained that this made Queenslanders look like hicks,

so the advertisement was immediately taken off air.

Our Land also relied on the music only o ï l can feel a XXXX coming on. The campaign consisted

of a series of simple but very expensive panoramic homages to Queensland, to its landscapes in

particular. About ten concepts, a mix of people and landscape-based ideas, were presented to the

brewery. They chose all the landscape concepts, so they ended up looking more like tourism

commercials than beer ads. Greville believed 'the campaign lost all its blood, its humanity, the

barbed wire fe e l ... These ads weren't really failures, just the last outpost o f I can fe e l a XXXX

coming on which had run for years'.

I love Saturday morning at Mitre 10! was low in budget but high in spirit. Made in 1988 for

franchise chain Mitre 10, it featured animated character "Nails' in broad brimmed hat and Jacky

Howe singlet letting loose in a Mitre 10 hardware store, the grown-up's equivalent of a toyshop.

Nails survived a series of agency changes and attempts by interstate art directors to make him

l0" 7 can feel a XXXX coming on was originaJly conceived as / can feel a Coke coming on. Mo and Jo started out freelancing in Sydney. Jo had worked for Coke and the agency asked if they'd throw in a couple o f ideas for them to take to Atlanta. Mo's legendary line came out o f it. They were presenting I can feel a Coke coming on. The top of the totem pole said: 'That's an interesting concept gentlemen. Exactly who are you aiming your advertising at?', and Mo said, 'Any cunt with a mouth!' So he got himself into the hall o f fame by saying that. They didn't get the job of course. That got put in the bottom drawer, then when XXXX came along, out it came. I think it was a pretty good beer line'. Greville Patterson interview with author, 27 November 1998.

They're just ads 47 From tropical fish to fish out o f water 1987-1988

look more sensitive. While he no longer appears on television, almost twelve years later he can

still be seen on bags and point o f sale material, or on occasions as a giant blow-up on top of

Mitre 10 stores." I LOVi.' SATURDAY MORNING AT MITRE 10"

MONDAY TO FRIDAY CAN BE SUCH A DRAG

3 0 " T V C !

NOT MY BAG

I 'VE GOTTA GET MY

SATURDAY MORNIN’

(MUSIC)

I LOVE (WE LOVE) SATURDAY MOP.NIN *

GET ME DOWN TO MITRE 10, THE JOINT'S REALLY JUMPIN'.

- N

V_____________________I LOVE SATURDAY MORNING AT MITRE 10.

HAND ME A SAW 3

SATURDAY MORNIN'S WHAT I'M LIVIN' FOR

I LOVE SATURDAY AT MITRE 10!MOPNIRV

A story-board sketch proposal for the ‘7 love Saturday morning at Mitre 10” animated tvc 1988

They're just ads 48 From tropical fish to fish out o f water 1987-1988

Other campaigns reflected contrasting aspects o f Queensland environmental history. Face to face

with your Aussie mates was a very inexpensive advertisement for Currumbin Sanctuary. It used

existing footage from the sanctuary, forwarding and reversing it so the animals looked like they

were dancing to reggae music. The wildlife reserve was established in 1947 by enthusiastic bee

keeper and flower grower Alex Griffith who gifted it to the National Trust of Queensland in 1976

in order to secure its future from developers who were ravaging the Gold Coast at the tim e.102

By way o f contrast, How could you stay away from Raby Bay? was a long running campaign

whose very existence represented a victory for the developers. The emotional and endearing tone

of the 1988 advertisement belied the fact that the canal development had been at the centre of

years of protest by environmentalists. Plans for the development at Cleveland (originally called

Raby Bay) had existed since 1973 but were vehemently opposed by the Redland Foreshore

Protection Group who were concerned about the destruction o f mangroves and the effects on

fisheries. As with many other controversial real estate developments throughout Queensland at

the time, the developers won and construction of Raby Bay began in 1983, five years before

Greville wrote this commercial.103

In the year and a half he had been working for Mojo, not only had his own work been well

received, but the agency had also been extremely successful. It had been awarded the 1988

International Agency of the Year in New York; Mo and Jo had won admittance to the Melbourne

advertising Hall of Fame; and the Sydney office had produced widely acclaimed international

campaigns including I still call Australia home, for Qantas, and Throw another shrimp on the

barbie, starring Paul Hogan, for Australian Tourism.

1988-90 Mojo London

Greville was invited to become creative director of Mojo's office in London where the agency

had been operating for a year. It was an irresistible offer career-wise and his family was

enthusiastic about the move. Consequently, in August 1988, with high expectations they flew out

102 Promotional material, Currumbin Sanctuary, 10 June 1999.; Fitzgerald, From 1915 to the early 1980s, pp 457-480,618-9.

103 Tracey Ryan, Historian, Redland Shire Council.

They're just ads 49 From tropical fish to fish out of water 1987-1988

of Brisbane, leaving behind the vibrant atmosphere o f Expo 88 and a state which was reeling

from the revelations o f the Fitzgerald Inquiry into police corruption.

Prior to establishing the London office of Mojo, there had been much debate over whether to

acquire a ready made agency or start from scratch, 'create their own image and put the Mojo

culture into Britain'.103 They had been warned by Hugh Mackay, the agency's consultant

psychologist, about the hazards of moving into the international arena.104 While Mojo's strength

was its ability to intuitively understand the fears and aspirations of ordinary Australians, to get

inside the 'cages' o f ordinary consumers, he reminded them that different cultures produced

different cages. The challenge for Mojo would be to translate the nationalistic and jingle-based

Mojo style into something that would work internationally. Full o f confidence, they chose to set

up from scratch, believing they had something different to offer, and enough ready-made clients

in London to make a go of it.105

K’3 Coombs, Adland, p. 60.104 Ibid., p. 159.105 Ibid., p. 72. Don Morns, Manager of Mojo had said:

Advertising in the UK is crying out for a fresh approach. We want to do for English advertising what the Paul Hogan commercials did for the States The British make clever use of words, they use a lot o f humour, but there is a tremendous sameness about their ads. Advertising people there don't appeal to the common man, their ads are directed at their peers The clients that want us there, the Australian-based ones, want us because they want the Australianness of our advertising. They don't want another Bntish agency.

They're just ads 50 From tropical fish lo fish out o f water 1987-1988

The London office was staffed by three other Australians and two Englishmen, all committed to

bringing the Mojo style to London. After a short while, Greville realised that with this bloody-

minded attitude to be Mojo in London, the agency was destined for failure. When Mojo's U.K.

manager Wayne Kingston was setting up the office the previous year, he created animosity within

advertising circles by appearing in the trade journals saying Mojo was in London to show the

Poms how to make advertising. As far as the English were concerned, they produced the most

sophisticated advertising in the world and they did not need Australians showing them how to

do it.

It was a clash of cultures. English advertising was comparatively obscure, in keeping with their

heritage. It was like a puzzle or a word game which had evolved from living with the English

language. At the time, Australian advertising, particularly Mojo's, was a celebration of Australia

and its sunny, outdoor culture. The English did not celebrate their country in the same way.

Greville felt trapped by his Australian heritage as well as by the requirements o f his job. When

he tried to be more subtle and incorporate 'Englishness' into his work, he met resistance within

the agency because they wanted to create real advertising, real Australian advertising. His ideas

would not be presented to clients because the others in the agency believed it was not the sort of

thing Mojo should be doing. He found himself fighting with them, arguing that if it was going

to work, it had to have a lighter touch, be more obscure and more entertaining.

There were other reasons why things didn't work out. The jingle-based style had been through

London some time earlier, so it seemed old hat; just as they got close to winning Tooheys, the

deal with the importer fell through and with it went the campaign; and some pitches, like the one

for Rupert Murdoch's Sky TV, simply failed to impress the right people. They came close to

winning one very large account only to find themselves up against the British establishment.

In seeking out business, manager John Thompson had got a list o f big-spending television clients,

those with budgets over $lm. He believed companies spending less than that were not worth

following up because British TV was so expensive. He sent out about fifty reels of Mojo’s work

and Dulux responded. Their marketing manager w'ho had been briefing advertising agencies on

paint for the last thirty years thought Mojo had a very instinctive approach and asked the agency

7 hey're just ads 51 From tropicaI fish to fish out o f water 1987-1988

to com e back and tell him about paint.

Greville phoned Hugh Mackay to see if he could shed any light on the subject:

I asked him, 'What's paint all about, Hugh?'

He said, 'I’ll tell you all about paint. Paint is about various stages in your life'.

And he gave me this whole thing about how, by painting rooms, we clear ourselves for the next

stage of life. The teenager paints his room red or black ... declaring his own space - that's the

beginning of that stage of life. Then we get married and we move into a flat and we ask the

landlord if we can paint it - 'If you supply the paint, we'll paint if - so that declares the next stage.

Then we get our own house and the first baby comes along and we paint their room - that's the

pink or blue room - so that's another stage. And then when the kids have stopped bouncing off the

walls with their bikes and its safe to paint - that's the next one. He described seven of them ...

This inspired a campaign called New life Dulux which the marketing manager o f Dulux found

impressive. He w ent around the world with it, doing his best to sell it to dealers in various

countries. He got c lose, but eventually explained:

You've got something that would be very effective as a piece of work. Its got an insight that we've

never had before, but this is Dulux and Dulux is ICI and ICI is almost like the Royal Family. It's

an institution in England and I cannot convince the board that we could possibly give our account

to six Australians.

Greville argued that i f Dulux gave them their account there would probably be twenty-five people

in the agency to manage it and most o f them would be English! Dulux became yet another pitch

to add to the list o f failures.

Back in Australia, M o and Jo did not seem to be too bothered by it. They were preoccupied with

their own problems. Occasionally, i f he complained, they would suggest he throw it in and come

hom e, but he persisted in an attempt to rescue his ego. Unfortunately, things did not improve.

W hile he did a sm all amount o f print work in maintaining existing accounts such as Qantas,

They're just ads 52 From tropical fish to fish out o f water 1987-1988

Australian Tourism and Vegemite, he did not initiate any campaigns that went to air. He spent

almost two years pitching, getting close, but not winning any new business.

THE WONDERS OF WINTER

DOWN UNDERPaul Hogan promoting Australian Tourism, London 1989

Reflecting from a distance he concluded that if the agency had adapted the Mojo philosophy

rather than trying to impose it on the English, it might have worked:

It was a very un-Mojo thing to do, but like all other advertising agencies Mojo had principles or

philosophies that expressed what they were about. Theirs were nice and simple, fairly bullshit-free,

like - try to build a slogan that gets taken into the vernacular; fence in the existing loyalists rather

than trying to recruit new ones; if there's a bushfire burning, don't try to start another one, keep this

one going; support the people who support you. If we'd taken the essence o f Mojo's principles o f

advertising, its appeal to ordinary people, its humanity, its warmth and emotion, then converted

those into equivalent scenarios in the other culture, we may have had more success.

It was a debilitating experience. He was a long way from home, without friends, in an entrenched

culture, being asked to push a kind of advertising nobody wanted. Having an Australian accent

was an added disadvantage.

Through the first half of 1989, while Greville's anguish and sense o f failure were increasing and

his self esteem diminishing, Mojo MDA was negotiating a sale to the large United States agency

They're just ads 53 From tropical fish to fish out o f water 1987-1988

Chiat/Day Inc. By July, Chiat/Day had secured ninety-four percent of Mojo shares and their

takeover was formalised, leading to the removal from the stock exchange o f Australia's only

publicly-listed advertising agency.106

Shortly after, Jay Chiat, a principal of the parent company visited London to see his new agency.

In a personal sense, things went from bad to worse for Greville, while professionally the

encounter did not augur well for the future o f the partnership:

John Thompson and I had dinner with [Jay Chiat] one night. We picked him up at the hotel... He

was leaning against the window of the taxi, looking out at the rain and I'm in the back seat with

him trying to make polite chat. He turned to me and he said, T don't know why you’re bothering

to talk to me because I don't know why I'm here. I don’t particularly want to know you.' So I'm

thinking to myself, 'How the hell did I get myself into this situation. This is just crackers.'

... I had to show him what I'd been doing since I'd been there which was pretty embarrassing. It

was all jingle-based because I'd been briefed to make it that way. He had a look at my reel and

said, What are you doing in goddamn advertising, Boy? Why don't you write songs?' He probably

had a point.

Chiat Day's Christmas card from the year before said on the front 'Bells bells bells' and when you

opened it up it said TSio jingles'. So Mojo couldn't have got itself into a more diametrically opposed

culture. It was absolutely the wrong fit and I think it was the beginning of Mojo becoming

unhinged in Australia too.

After eighteen months his body said stop. He began to come out in lumps. If he sat on a chair

with his arm over the back, or put his arm over his guitar, that night there would be a lump 'as

big as an emu's egg' under his arm. He found himself in an infectious diseases hospital with an

undiagnosed condition which in retrospect he was convinced was his body's way of saying, ' I'll

get you out of here. I'll just pack our bags for us. I'll get sick enough that we'll have to leave'.

So he came home with his tail between his legs with no doubt that setting up Mojo in London

106Ibid, p. 342

They're just ads 54 From tropical fish to fish out o f water ¡987-1988

was one o f the great mistakes of all time. Mo and Jo were not particularly concerned about the

failure of the London office. They had given it a go and it did not work, so they moved on. After

he left, the London office was absorbed by Chiat/Day.

‘Toyota you’re Queensland all over’film shoot, 1988. Greville, Roly Poly Picture Company cinematographer Ron Johanson and camera assistant Tony Politis.

Chapter 4

Confusion in the Heartland 1990-1999

In an encouraging letter to Mojo in 1990, Hugh Mackay reminded the agency that it was

recognised as 'a gutsy but wholesome agency' which had 'always had the particular responsibility

of being the "heartland" creative agency : the agency whose creativity was undisputed, but who

spoke the language of the common man, and went right to the hearts of the Australian people.'108

In the period following Greville's return from London, Mojo experienced a period o f deep

confusion. While it was exacerbated by the merger with Chiat Day, it was also in keeping with

what was happening in the wider community. It became increasingly difficult for Mojo to keep

sight o f just what that heartland was.

By the early 1990s, the community's understanding o f what it meant to be 'Australian' was not

as straightforward as it had seemed to be in the previous two decades. People were no longer

satisfied with the narrow range of so-called defining images of the quintessential Australian - the

ocker, the bushman, the digger, the mate - Anglo-Celtic, masculine stereotypes which had been

so popular. Women had gradually been acknowledged as constituting half the population and

gender roles were being redefined. Dramatic changes had taken place within the family with

spiralling divorce rates, fewer children, fewer people marrying, and homosexual relationships

being acknowledged and accepted.

Australians were questioning the image of their country as an egalitarian land of opportunity

where a comfortable middle class majority was assured of prosperity if they were prepared to

work hard. They were being confronted by the concept of multiculturalism with many fearing

that it would fragment Australian society rather than enrich it. Prime Minister Paul Keating

publicly accused Britain of betraying Australia by not defending Singapore in 1942. With the

acknowledgment o f Aboriginal land rights in the Mabo judgment, came public debate about

whether the colonisers were 'settlers' or 'invaders' and a questioning o f their role in the sorry

plight in which many indigenous Australians found themselves.109

u's H. Mackay to Don Moms, letter, 'Mojo: on the rise again?', Sydney, 28 August 1990.109 H. Mackay, 'A national identity? Wait and see', in Where to now: Australia's identity in the nineties, ed.

J. Beaumont (Sydney: Federation Press, 1993), pp. 12-25; and D. Day, 'The demise o f the digger: Australian identity in a post-colonial world', in Australian identities, ed. D. Day (Melbourne: Australian Scholarly Press, 1998), pp. 73-95.

They're ju st ads 56 Confusion in the Heartland 1990-1999

This general sense o f confusion was reflected in the world o f advertising. During this period,

issues o f identity were major concerns for both Mojo and Greville.

1990 - 1997 Mojo Australia

Greville returned to Mojo as a writer in early 1990, living in Brisbane and working between

Brisbane and Sydney. The agency a much less happy place to be than before he went to London.

The full merger with Chiat Day was under way and the parent agency's style was being pushed.

While it was fresh and exciting, it was more conceptual and less heartfelt than the old Mojo style.

The mood o f Australia was flat. Mackay Research found that following the return o f Hawke's

Labor Government in a close election, voters felt cheated that the Opposition had not represented

a serious alternative. Recession appeared imminent. Mackay Research was advising that 'the

market is looking for substance, responsibility, restraint and integrity. Companies and brands

who look as if they know who they are and where they are going will provide a welcome

counterpoint to a political scene which seems rather tired, aimless and dispirited'.110

After championing Mojo through the 1980s, the media now turned on it, portraying it as a jingle-

only agency that was on the decline. Following retrenchments, rumours were rife about Mojo'

affairs. In an attempt to counter negative perceptions, Creative Director Doug Watson

highlighted the quality of the creative personnel who would carry the agency forward. As well

as Mo and Jo, he said, the agency was fortunate to have Terry Hennessy in Sydney and Greville

Patterson in Brisbane. He described Greville as being in the classic Mojo mould, approaching

the genius o f Mo and Jo in having 'that wonderful, lyrical, musical, heartfelt, common

understanding o f what goes on in the street'.111

By m id-1990 Greville had created an extremely successful campaign for Toyota's six cylinder

family car, the Lexcen. Toyota had named the car as a tribute to Ben Lexcen, innovative designer

of the 'winged keel' which was credited with taking Alan Bond's yacht Australia II to victory in

110 Mackay Research, 'The post-election mood', in The Mackay Report 1990 (Lindfield: Mackay Research, 1990), pp. 19-20.

1,1 'Chiat/Day/Mojo, Sydney', Campaign Brief, October 1990, pp. 32-33.

They're just ads 57 Confusion in the Heartland 1990-1999

Be a little bit different

OK Gang, here we go!

We ’re a little bit different Not like the folks next door They never get into anything new They ’re a little bit too traditional - boring.

We ’re a little bit different And why wouldn’t we be?When there ’s a big six LexcenWith a lot more tricks than the other big sixesEverything that opens and closes.

Be a little bit differentbe a little bit differentAll you need to be is be a Lexcen familyTo be a little bit different.Oh, what a lovely feeling, Toyota!

the America's Cup in 1983. Despite the Lexcen

offering almost identical features to its competitors,

its advertising aimed to appeal to families who

wanted to Be a little bit different from other six

cylinder, family car owners. Three variations on the

jingle showed proud, extroverted families using the

car to run around the city, to go from the country to

the beach on a camping holiday, and as a wedding

car 'out in the bush’. Apart from assisting Lexcen

sales, the commercials were credited with boosting

the confidence of a jaded advertising industry as

well as silencing Mojo's critics by showing the

agency had gone back to basics and was doing it

better than ever.112

Subsequently however, Mo and Jo began to be marginalised and made to feel that their brand of

advertising was not as relevant as it used to be. In 1991, Mo extricated himself from his contract

with Chiat Day and left, while Jo honoured his and stayed on until 1994.113 After his departure,

Greville continued to look after the Toyota account, over the next few years producing many high

quality commercials in a range of styles. The Really roomy Corolla campaign launched the

seventh generation Corolla, the first model to come out o f Toyota's Altona plant, the only new

car manufacturing facility to be established in Australia in more than 30 years. The Corolla was

heavily promoted, with $3m being spent on advertising over three months.114

TOYOTAV O H WHAT A F E E L I N G !

112 Mackay, 'Mojo: On the rise again?'

113 Charles, Legends of advertising, p. 77.

114 Superb rands, p. 132.

They're ju s t ads 58 Confusion in the Heartland 1990-1999

The Lexcen and Corolla jingles were popular with the public, some of whom took the trouble to

write to Toyota telling their stories. Following the Corolla launch, Greville was interviewed

about the commercial on radio station 2GB by program host Ron Casey. At the time it was

unusual for an ad to be featured in this way. One enthusiastic openline caller described it as

'sexy'.1,5

5 a Whom it m ag Ganc&ut

3'. ju st had ta uvate, to. you. about gout iate&t jingle and 531 ad; it i& driving, me oiaszg. 3. ring it going to. the ahapo,, 3. ring it doing mg fiau&euwdl and 3. ring it in the »hautest, it uton’t leave mg head, ao. maybe. writing ta gau mag case mg »offering. “51g the w ag 3. love it!’.

3. can’t “Sag gaadßge ta mg old ja lapg” a». 3. don’t have one and 3, can’t “ca ll gou on the phone” a». 3. can’t afford one ( “cwt that i»’’) hut if ev&i 3. win Jßotta 3. w ill hug a 5agota and put mg mind a t test and then 3. w ill call gou on the phone. 3. don’t auppooe gou have casta, with, “uae hg dated!’.

3n the mean-time 3. looh fottwastd ta gowt neat haut of ado and wenden what you’l l drive me cwcvzg with neat time?

SJhxwho, fan hearing me out and 3. da have a ll mg maride»,.

3iegasid&,

A letter to Toyota, 16 November 1994

In parallel with Toyota advertising, in the early 1990s he also worked on a number o f beer

accounts, particularly XXXX. In 1992, New Zealand company Lion Nathan bought Castlemaine

Tooheys in a takeover of Bond's Australian breweries. The account was put up for pitch. Mojo

expected to lose XXXX but retained it with Greville's concept, We love it up herel The brief was

to return XXXX Bitter Ale to being a Queensland beer. The new thinking was that beers

belonged in their own regions, so should be marketed that way rather than nationally.

We love it up here (Version 1 )

Fish are jumpin ’, waves are pumpin ’Steaks are sizzlin’, this is livin’An ocean as blue as the sky up above it We love it up here.

We don’t just like it, we love it!We don’t just like it, we love it!We love it up here!

The people, the places, the mates, the faces The XXXX, yep, the beer up here We love it up here.

We love it up here (Version 2)

Melbourne got rain and Sydney got yuppies, Tassie got the chop but we got lucky Nowhere does it like up here does it We love it up here!

We don’t just like it, we love it!We don’t just like it, we love it!We love it up here!

115 N. Clement to Greville Patterson, letter, Sydney, 22 September 1995.

They're just ads 59 Confits ion in the Heartland 1990-1999

At the time, the campaign seemed to Greville to do the job it was supposed to, despite having

only a light media schedule. It was popular with followers of rugby league which was sponsored

by XXXX. Whenever Queensland scored at Lang Park, the slogan would be flashed up on the

screen, then after the game the crowds would sing the jingle at the nearby Caxton Hotel.

However, all was not as it appeared to be. Greville said of We love it up here!'.

It got into the culture a bit.1161 thought it was reasonably successful at the time but I learnt recently

that XX X X had come to view it less favourably. Their research showed that at that stage a lot o f

their potential new drinkers had moved to Queensland from Victoria and they didn't like what We

love it up here represented. It was a good example o f the things they didn't like about Queensland

because it was so parochial.

In a general sense, Mojo's beer accounts were in disarray. Not only was XXXX just hanging on

in Brisbane, but the office in Sydney was experiencing enormous difficulty with Tooheys.

Previously Mo and Jo had done / feel like a Tooheys which was internationally regarded as an

outstanding beer campaign. Now their style was seen as old hat and Mojo went through an

endless embarrassment of trying to do things that were rejected. Greville managed to get one

Tooheys advertisement through. The things we do for a Tooheys or two was a cleverly edited

series of catastrophic moments in sport combined with the slogan and the background question

'How do you feel?' O f course, had the sportsmen been able to respond, the answer would have

been 'I feel like a Tooheys'!

It was one o f the last commercials Mojo did for Castlemaine Tooheys. In August 1992, the

writing was on the wall with Tooheys, and XXXX was looking bad, so Mojo resigned the whole

account rather than waiting to be fired. Business Queensland reported the transfer to Clemenger

Advertising o f XXXX Bitter Ale which had been held by Mojo since 1983. It described XXXX

as a part of Queensland history, with jingles such as 1 can fee l a XXXX coming on and We love

it up here being part o f the local vernacular. In terms of billings it estimated the account to be

1,6 We love it up here! features in R. Eccleston, 'Paradise found', Australian Magazine, 20-21 February 1999, pp. 12-18. The special edition was devoted to Queensland and earned the title 'The chosen land: Why everyone's going to Queensland'.

They're just ads 60 Confusion in the heartland ¡990-1999

worth about $2m .117

In hindsight, Greville felt the work he did on beer advertising was very disappointing, partly due

to his own inadequacies but also to factors outside o f his control. 'Beer advertising was driven

by the "big Australian" thing, blokes being blokes, particularly in the bush or at sport.' It drew on

entrenched myths from which he found it was difficult to depart:

I wasn't [using the bush] through an intimate knowledge of it. It wasn't as if I'd lived in the bush

and was sitting near the water tank one day and this funny thing happened that inspired a

commercial. It was more to do with using the bush lifestyle for its energy, for working up heat,

a licence to drink piss. It was about that simple.

Ballymore118 was like the second boardroom. It always seemed to be so pumped up. These guys

had to have the next macho commercial coming on. I think I was running scared half the time. I

never felt very blokey anyway and I used to wonder what 1 was doing working on this beer thing

at all. I’d think - if it's not about the footy and if it's not about all these blokes riding around on

horses with a pseudo-Marlboro soundtrack and blokes pulling beers out of ice and throwing them

down their gullets, what is it? I just couldn't get a handle on what it could be if it wasn't that.

I started to feel inadequate that there wasn't this capacity in me to have some other vision of it. As

an Australian, you don't know yourself. You're a product of all these other influences. You've

actually missed out on what it is that's you, what makes you Australian. So you start to feel as if

you're a bit pseudo ... This would probably make a pretty good commercial - two blokes sitting

around saying how piss-weak the TV commercials are and what could they be and how would you

do it? I dunno. Have another one. Who are we? Well we don't bloody know who we are do we,

but if we keep pouring this shit down, drink enough of it, it won't matter who we are. Then it

would be okay to be no one!

1 look back on the stuff I did for beer and think - how disappointing! It was difficult to change the

style of the ads. In research sessions people would say, 'We don't want to watch a whole lot of

blokes, can't you put some sheilas in these ads?' The people in control would say: 'The big takeout

p. 12.117 G. Gardiner, 'Local understanding clinches XXXX for Clemenger', Business Queensland, 8 February 1993,

118 Queensland Rugby Union headquarters.

They're just ads 6! Confusion in (he Heartland 1990-1999

o f this research mate, is they want to see women. So what sort o f situation are you going to put the

women in? Come up with the ad.' That would be the fruit o f a research session. No one would say

’There's not much wit or charm about the concept. Can't we have something completely different?'

To have done something different, all the brewery and agency blokes at the bar at Ballymore

would have had to get their heads into the space that said 'Ah well, this is the new place we're

supposed to be at. We all understand that. We're not on the footy field now. We can be anywhere.'

Instead, you'd go in and it would be 'Anyway mate, you going to the footy on Saturday?' and I'd

go 'Shit, I wouldn't know anything about the footy! You sure you got the right bloke to write these

ads?' They probably didn't.

The atmosphere wasn't there to give you a clue or guide you out o f that part o f the wilderness. Or

maybe I wasn't quite the right person. If I'd been 10’6" and highly respected and could say this is

all bullshit blokes, what you've bloody got to do is this and move on, they might have snapped to,

but it didn't happen for me. It didn't happen for anyone.

A campaign presentation for New Zealand beer DB Draught took an unexpected turn, enabling

Greville to indulge his 'wit and charm', and for his efforts win another international award for

creativity. He and Jo had been briefed to do a parochial ad for New Zealand which, they were

told, was like Australia had been about ten years previously - not confident about itself but finally

starting to find its feet. What they needed was one of those Aussie commercials for New Zealand,

to help them celebrate being themselves. They came up with 'My kind o f country, my kind of

beer', recorded a sound track, did an animatic and confidently went off to New Zealand to sell

it. The presentation was followed by deathly silence. Then one by one the board members gave

their opinions, concluding that if it went ahead, it would be the death knell for the brand.

Jo began to nudge Greville, urging him to tell them about his alternative idea. Being the problem

solver that he was and continually thinking ideas through, a couple of nights before they went

he did up a series o f simple posters with lines like ’Need a bit of a break?', 'You must be ready

for one by now' and 'Can we bend your elbow?' in white lettering on a black background. He

explained to the board that in the ads, the lettering would move into frame to appropriate sound

effects, form the words, then the 'D' and the 'B' would change to yellow and move forward to

form the logo:

They’re just ads 62 Confusion in (he Heartland 1990-1999

They said 'That's a bit more like it. That's a bit more interesting'. Because they were in fact more

English in their style and were happy to be a little bit more obscure and less chest-beating about

themselves and their country, to be entertained and a bit more subtle ... We made about ten ads in

similar form to what we'd presented at the meeting. Multivisuals did them. They were sent o ff to

the London Television Awards where they won in a very modest budget category.

One o f them had a barbecue line ... there was a 'D' and a 'B' in there somewhere. The letters

clunked down and became the timber, then an T came out and struck the side o f another piece like

it was a match and that lit the other letters up and all the letters became the steaks. They flipped

over and started to sizzle and then I had a fly come in which I think was a full stop. But they made

us take the fly o u t ... there is always room for interference somewhere. People probably would

have quite enjoyed the fly too, would have thought it was a bit o f fun.

While it was difficult to pinpoint just what did constitute a representative identity, in 1992,

reaction to a commercial for the Queensland Tourist and Travel Corporation made it clear that

the government, media and viewing public had very definite views about the way they did not

want to be portrayed. Yo! Way to go! was the most controversial commercial of Greville's career,

the only ad he ever made that went to air, on the news, before it went to air!

Its launch caused an immediate furore, with complaints that the slogan was Americanised and

the content sexist. The advertisement was perceived to be un-Australian. Despite the heavy

American influence in almost every aspect of Australian life and outward signs of its acceptance,

it quickly became clear that the public did not want Americanisms used in representations of

their identity.119 In response to the images o f women, journalist Kate Collins speculated that 'it

would have overseas visitors staying away in droves ... particularly that market share of women

who are non-Size 8 and don't want the special "Pervert's Package" tour o f Queensland with oil

change and groping thrown in'.120 Carolyn Mason, head o f the Womens Policy Unit told the

media that the ads were a contravention o f government policy which had been established to

119 This reaction supports the view put forward in S. Cunningham and G. Turner, The media in Australia, p. 342, that in a post-colonial country such as Australia which is economically weak by Western standards, 'a national cultural identity assumes an exaggerated political importance as a point o f resistance to domination, and as a point where local interests may be asserted and defined'. They add that the general perception is that producers of film, music and television content have a responsibility to represent our difference from others; and that analysis o f the content o f these cultural products centres around their representation of identity.

120 K. Collins, 'The gender agenda seems to run off the rails', Courier Mail, 9 November 1992

ITiey're ju st ads 63 Confusion in the Heartland 1990-1999

ensure its media activities reflected role models free of stereotyped sexism.121 The campaign

became the focus of a range of articles in the Courier Mail, some trivialising the controversy,

others taking it more seriously. Greville defended the ads as a reflection of real life and suggested

that Opposition Leader Rob Borbidge who was vigorously pursuing the matter was 'just not a hip

dude'.122

Yo! Way to go!

This is it, just the trick This is heaven on a stick Big blue skies, amazing days.Yo! Way to go!

Drift away, tan your tail Chckety clack, ride that rail Boil the billy, outback Sip on a cool one, get laid back.

Yo! Way to go!

.45 they say, as you ’d expect 'Beautiful one day, perfect the next’ Queensland.

Yo! ( Queensland)! Way to go!

Yo! (Sunshine State)! Way to go!

fci wry

Media reaction to Yo!

Yo?... ItpiO■m, emWHAT'$ WAPPENIN 9U 9E ?

fftfc OUT MAU." EVIT cm.

"WÊHaW Yp/WaYTo 60"cm m MYo ?p o/

w iTHE ÖIAIMINT

WART* TOyjckwme mm

J s L

A Yo! g W 9 &. TAKEtlE

PAP MAN- ...AH MyoV& m l.

d u tifu l one day... i f e Am

Sean Leahy’s comment on “Yo! Way to go!” drew on an earlier long running QTTC slogan “Beautiful one day, perfect the next ” (Courier Mail, 7 November 1992)

1:1 The Womens Policy Unit was established by the Goss Labor government in 1990 Information supplied by Womens InfoLink.

S Strutt and P Morley, 'Yo! No way to go, says Rob’, Courier Mail, 6 November 1992; S. Strutt, Tour boss defends the pinch’, Courier Mail, 7 November 1992; B. Ruddy, ’Yo! Hubby did the pinching’, Courier Mail, 8 November 1992; K. Collins, ’The gender agenda seems to run off the rails,1 Courier Mail, 9 November 1992.

Confusion in the Heartland ¡990-1999

Following the removal o f the most offensive shots Yo! Way to go! began its run as a tourism

commercial. Despite the controversy (and partly because of it) the advertisement succeeded in

boosting tourism. It ran for one year until Jim Kennedy became chairman of the QTTC and

scrapped the campaign.123 The creative brief for 1993/1994 acknowledged that while the previous

campaign was controversial, ’the jingle... had a very good recall and was instantly recognised as

representing Queensland’.124 For Greville, however, the campaign is imprinted in his mind as a

disaster. He was shocked and embarrassed that he had underestimated the public mood and had

not anticipated the reaction, and all o f this while he was working in the Australian agency

renowned for understanding the way ordinary people felt. He viewed its creation as a ’comedy

of errors':

There was no brief for Yo! Way to go! It just stumbled into existence ... Don Morris, the CEO of

Mojo in Sydney, knew Peter Laurance who was the chairman o f Gold Coast Tourism. He was a

bit flash - had the yellow Rolls Royce and the yellow sports coat. He was a bit o f a socialite, a bit

o f a personality, an entrepreneur. I think he ran Sea World for a while too . 125 Every time he'd see

Don he'd say: 'When are you going to get your blokes to do a Gold Coast campaign?'

Periodically, the créatives from the agency would spend time at the Gold Coast where they would

try to write campaigns. One particular week they came up with Good better best for Telecom,

the Tooheys campaign and a number of others. They were reminded to try to do something for

the Gold Coast:

So one day we were sitting on the balcony o f the hotel looking at Surfers and saying, this is just

like Venice Beach in California. There are kids getting around on skateboards and its bikinis and

it's all a bit flash and in your face. There are body builders walking up and down the beach ... The

'mutton bird man' in the middle o f Surfers Paradise ... would go around with suntan oil and the

girls would stick their backsides out and get themselves sprayed ...

In addition to what he was seeing, Greville believed people from southern states saw Queensland

They're just ads____________________________________64_

123 A. Homery, 'Sex does sell but not penetratingly enough’, B&T, 27 August 1993, p. 4.124 Queensland Tourist and Travel Corporation 'Creative/Media/Advertising brief for 1993/1994' (Brisbane:

Queensland Tourist and Travel Corporation, 1993).125 Business Queensland, 4 January 1993, p. 4, reported that the 66.3% o f the Seaworld Trust held by Peter

Laurance's Q-West Group had been sold.

They're just ads 65 Confusion in the Heartland 1990-1999

as a place to go to let off steam, to escape from the 'real world'. He suggested putting these sorts

of images together with a catchy expression like 'Yo! Way to go!' and so the ball started rolling.

They worked it up as a Gold Coast campaign, but shortly after, Peter Laurance became chairman

of the Queensland Tourist and Travel Corporation and despite the agency's protests, insisted on

using it to advertise the whole of Queensland. When the commercial was finished he did not

think it was sexy enough.

Whatever else Yo! Way to go! did, it clearly demonstrated that advertising does not simply

imprint itself on an unthinking and undiscerning public; that Australians do not want aspects of

other cultures used in their public representation; also that government policy can influence the

portrayal o f women, if only in its own advertisements.

The principals of Mojo were not overly concerned about it. They were in Sydney and the general

feeling was that whatever problem Queensland had, it was not a real problem compared with

what one would have been in Sydney. Greville was conscious of being from Queensland, not

through jokes or put-downs, but through awareness o f the general attitude that Sydney was the

capital of Australia and that the big-budget, 'important' work could only happen there.

A big-budget account for Queensland was Golden Circle, Australia's largest fruit and vegetable

cannery,126 for whom Greville did a number of campaigns through the Brisbane office. The

Golden Circle cannery was established as a job creation scheme by the State Labor government

in 1947. It operated as a co-operative run by farmers until the early 1990s when it became a

company with grower-shareholders. Greville first worked on Golden Circle jobs when he was an

apprentice at Merchandising Publicity in the 1960s. His role at Mojo in the early nineties was

very different from what it had been then. Instead of doing menial work on press advertisements

and being bothered by the cockroaches that ate the artwork in the rolling compacta files, now his

ideas were being transformed into complete campaigns with the aid o f digital technology.

The economic problems faced by Golden Circle in the 1990s were also different. The corporate

126 In 1997/98, Golden Circle employed 1,500 staff in Queensland with revenue o f $82.9m. Golden Circle,7 July 1999.

They're just ads 66 Confusion in the Heartland 1990-1999

campaign, Mother Nature, came about in response to management's concern at competition from

cheap, imported, canned pineapple and other fruit from south-east Asia. Without being overtly

critical o f other countries, they wanted a campaign to highlight the positive qualities of the

Queensland environment in which the cannery's produce was grown. The result was a poetic

tribute to the warmth and beauty o f the fertile Queensland landscape. It won a New York Art

Director’s Award.

goldencircle

^>rcrn iu m Q u a l ify

Traditionally canned pineapple was Golden Circle's main product, but overseas competition led

to diversification o f the company's operations. It must be Summertime127 was made to promote

Golden Circle's new range o f soft drinks. The commercial was produced by a Sydney company

which went to great lengths to achieve a tropical look, also to be inclusive o f Australia's multi­

ethnic population. The result was a commercial that had the appearance o f being shot in the

Caribbean, rather than North Queensland.

Delicious, delightful, Defiance

Wherever you find lots of love and careWherever you find good things to shareWherever you find a Mum, making tasty treatsI ’ll tell you what more often than notYou ’ll find defiance therePlaying just a little part in the things that wintheir heartsAustralia’s finest flour has reached its finest hour Delicious, delightful, Defiance.

As the creative director for the Queensland branch,

Greville did campaigns for other locally based

clients whose stories reflect the on-going trend

away from local ownership o f companies.

Delicious. Delightful. Defiance was made for

Defiance Flour Mills. In it, a 1950s mum is

nostalgically portrayed lavishing ' lots o f love and

care' on her family by baking them 'tasty treats' and

'the things that win their hearts'. At the time it was

made, Defiance was a Queensland-owned

company, having been established in Toowoomba

127 It started off as an idea for cricket. C'mon Aussie c'mon had run for many years and Greville was asked to come up with the next summer's cricket theme His concept related to the ball hitting the willow and became ’Hear that sound - it must be summertime'. It was not used but got stored away and modified for Golden Circle. The sound o f a cricket ball hitting the willow became the sound of a can bemg ripped open - 'Hear that sound? It must he summertime'

They're just ads 67 Confusion in the heartland 1990-1999

in 1898 in opposition to the Dominion Milling Company which monopolised the Darling Downs

grain market, in 1997, Defiance was taken over by a South American company to become Bunce

Defiance Limited, which in turn was taken over in July 1999 by Goldman Fielder.128 Other clients

with long histories in Queensland, such as Chandlers Electrical Stores,129 Amotts130 and

Mathers131 have experienced similar changes o f ownership since the late 1980s. They join already

mentioned companies, Bundaberg Rum, Erroll Stewarts Warehouses and Adsett Shoes.

Budgets for jobs varied widely. Greville made very low budget commercials for Birch Carroll

and Coyle who needed to promote upcoming programs on a regular basis. You want it, you got

it showed brief tantalising moments from the movies while the voice-over and supers listed the

features offered by the cinema chain. In terms of an idea, he was happy with the result and in

general believes that smaller budget jobs can be more interesting because they need a strong idea

to carry them through.

Over time, Mojo’s internal problems took their toll on Greville. In 1992, the Mojo network was

acquired by Chicago based company, Foote Cone and Beiding (FCB), part of the global

communications giant, True North, which exists purely as an owner of advertising agencies.132

Several high-level staff resignations in 1995 had an unsettling effect on both clients and staff,

then Greville had a creative director assigned to him with whom he found it impossible to work.

His last two years at Mojo were unhappy ones. Like Mo and Jo before him, he began to be

marginalised and treated as an old-fashioned writer in the jingle mould. Increasingly the agency

was run by the account services staff, taking it ever further from the warm, creative, people's

agency he had joined ten years earlier. Greville resigned from Mojo in 1997, just prior to its

128 'The Defiance story', Goldman Fielder, 23 October 1999.129 John Chandler established Chandlers Electrical Stores in 1913. The company was taken over in 1987 by

Vox Retail Group, described as 'one o f Australia's largest electrical retailers'. Vox Retail Group, 1 October 1999; For further information on John Chandler, see Fitzgerald, From 1915 to the early 1980s, various references.

130 Amotts was taken over by American company Campbell Soup in 1992 as a springboard for further expansion into South East Asia. 'US giant hungers for Amotts', Courier Mail, 13 October 1992; Amotts history began on the NSW coalfields in 1847. An Amotts factory was established in Milton, Bnsbane in 1913. Queensland Country Life, 12 February, 1981

131 Mathers was taken over in 1988 by the Venator Group Australia, a subsidiary of a New York based coompany. Venator Group Australia, 25 October 1999.

132 'Mojo on the move', Person to person, 4,1 (1994), p. 4; Charles, legends o f advertising, p. 121 observes, using Mojo as an example: 'The interesting thing to note is that, in the case o f mergers, one plus one rarely equals two. And while many o f the arguments for mergers centre around synergies and the like, few have demonstrated the ability to create any real value in the long term.'

They're just ads 68 Confitsion in the heartland 1990- J 999

transfer to French agency Publicis, another True North company.

Life after Mojo

Following his departure from Mojo, Greville returned to Brisbane, and took a year off work to

paint, write music, and consider his future. He produced Maybe Palestine, a CD of original songs

that had been accumulating over a number of years. In 1998 he eased back into part-time work

with Brisbane advertising agency BCM Partnership, one of whose partners is Bill Bristow, the

person who gave him his first 'grown-up'job in advertising at Jones Knowles McCann Erickson

in 1973. The other partners133 are both firmly Brisbane based and many of their clients are

Queensland companies. The cycle connecting Greville to his past includes familiar clients like

Golden Circle and Dreamworld, as well as people in the production industry, many of whom

have worked with him since the mid 1970s.

For a while it seemed he was out of step with what the times required, but gradually ideas for

jobs began to be realised and he has produced a number of television commercials for

predominantly local organisations including Queensland University of Technology, Eagle Boys

Pizzas, Dreamworld, Golden Circle (You are my sunshine) and Queensland Transport {Mr

Redface). In September 1999 he became creative director of BCM Partnership.

Mr Redface campain created for Queensland Transport to explain national road rules to the Queensland public

133 Paul Cornwell and Kevin Moreland are the other partners in BCM which was previously known as Knowles Bristow. BCM Partnership employs 46 people Bill Bristow, interview with author, 11 October 1999

Conclusion

The end results o f Greville Patterson's endeavours are 'just ads' or brief messages of persuasion

which appear in the mass media interspersed with other items o f information or entertainment.

Greville's biography highlights various aspects of advertising history and provides us with an

insight into the creative processes involved in producing advertising campaigns. While these

works were created for specific clients and target groups, many o f them in Queensland, the issues

that emerge are applicable to advertising in general.

Anecdotes relating to a number of the commercials illustrate some of the ways in which

advertising, as a distinct form o f popular culture, contributes to the social identity of the people

who view it. You can count on a Queenslander, made for the Bank of Queensland in 1978, was

immediately popular, taking on an anthematic role, becoming a catchcry for the state, and in the

ensuing twenty years being used by journalists and historians to express the times and what it

meant to be a Queenslander. We love it up here! was lauded by many locals for representing

them and sung at the pub after the footy, at the same time as it was loathed by 'southern' migrants

for its parochialism. Both the negative and positive views contributed to differing senses o f

identity. The controversy of Yo! way to go! forced public discussion about issues of Queensland

identity and gender portrayal in advertisements.

As a result o f the processes involved in their creation, advertisements represent captured

moments in time. They tell us about the period in which they were made, the target group,

preoccupations of society at the time and the available technology. In keeping with the mood of

the late 1970s, Feeling good, made using hand-painted animation shot on film, harks back

nostalgically to the good times of the sixties. Too good to be true with its extravagant production

shots and lifestyle imagery encapsulates the excesses o f the eighties. Reaction to Yo! Way to go!,

the failure in London and Greville's own feelings about beer advertising convey the sense of

cultural confusion and changing attitudes to gender portrayal that continued through the nineties.

A recent commercial, Real things, for Queensland University o f Technology, with its invisible

fusion of fragmented live action and sophisticated graphic imagery reflects the digital revolution

and a target group accustomed to viewing music clips and other frenetically paced messages. It

also says something about the commercial aspirations o f universities in the late 1990s.

They're just ads 70 Conclusion

It is common for advertising to draw on locations and familiar stereotypical images to project

their messages. Fosters beer characters, Blue and Son, were created specifically for the

Queensland market to give the imported brew the appearance o f belonging to Queensland. They

exist in a rural setting with an old Queenslander as the backdrop. Most of the XXXX beer ads

are firmly located in the Queensland landscape where the bush and the outback are commonly

associated with working up steam to earn a drink. Golden Circle and Queensland Tourist and

Travel Corporation commercials use the landscape to declare their location in Queensland.

It is generally accepted that advertising doesn't change attitudes but reinforces existing ones.

Attitudes to particular social groups are expressed through the way they are portrayed in

advertisements, or equally by being excluded from them. Stereotyping of both men and women

is common, as in the beer, food and tourism advertisements, while people who look different by

virtue of characteristics such as race or size are generally excluded.

Because most o f Grevilie's work was made for Queensland companies or products, or aimed at

the Queensland market, his advertising represents the interests, preoccupations and identity of

people in this state at the times the advertisements were made. They capture the collective

consciousness, which, when screened back to Queenslanders, reinforces their sense of identity

and o f belonging in this region. In a London magazine article he outlined his approach to seeking

solutions to advertising problems. He declared that he looked for the ties that bind, the common

chords; he placed his faith in emotion, instinct and imagination, in the heart, not the head; he

stressed the importance of knowing the lingo, the street language.134 In most of his commercials

he uses music very effectively to connect with his audiences and deliver advertising messages

in an appealing and memorable way.

In seeking information about the meaning o f the Hall o f Fame award 1 spoke to long standing

BAD Club member Hugh Edwards who said o f Greville,

He is much more than simply a jingle-based advertiser. He has been successful in the marketplace

because he understands how people think in relation to an advertising problem. He doesn't follow

134 G. Patterson, 'It's an emotional business’, LWT Marketing Review, 78 (December 1988), p.6

They're jus! acts 71 Conclusion

trends and he doesn’t try to be clever or overtly creative. Whatever he does is always commercially

relevant to the problem at hand. Most people are good at one tiling only. He is very creative in so

many ways.

As well as documenting the career o f one individual, this project has an important archival

purpose. It represents a commitment to collecting the products o f a neglected area of our culture

which, like memories, can easily disappear. Early commercials like You can count on a

Queenslander and Toyota! You're Queensland all over could not be located while others were

in danger o f deteriorating on recording tapes. The advertisements are important in their own

right, allowing us and others to see what advertisements and people were like in Queensland

from the late 1970s to the end of the twentieth century. In addition to its historical value, this

collection represents a body o f work with the potential for exploration and analysis by others in

related fields such as media, cultural and communication studies.

Just as these works help us to recognise our past by what they show us, so they also acknowledge

the contribution of an industry which is ever present in our lives but most often portrayed

negatively. Very little of the history o f advertising in Queensland has been documented but in

the course o f this project I came in contact with many people with the potential to shed light on

aspects of advertising history. In a relatively short time, professions which were once essential

to advertising, have completely disappeared. There is no doubt that change will continue. Already

the Internet is altering the possibilities of advertising in such a way that, what we are used to

now, in a short time will appear antiquated.

There is a major role for oral historians in collecting and documenting the memories o f people

in fast changing industries such as advertising. Processing oral history is time consuming but

extremely rewarding, particularly with a subject as articulate, entertaining and informed as

Greville Patterson. The result of thirty-six years in advertising is the accompanying forty-five

minute tape o f advertisements. Of course, 'they're just ads', but along with this biography, they

have a great deal to contribute to the social and cultural history of this part of the world.

Greville Patterson, March 1997

Appendix i

Jingles and production details(Many o f the following are memory based so may contain inaccuracies. Dates have been included

where possible but many commercials are known only to belong within particular timespans.)

1973-77 - Jones Knowles McCann Erickson

The Adsett Treatment (1975)

(Radio Jingle)

Client: Adsett Shoe Repairs

Recording Studio: Bruce Window

Producer/Arranger: Bob Rees

Lead Vocal: Greville Patterson

I've got some shoes I love

/ won Icin'I throw away

They fit me like a glove

I wear them every day

And when the weather

Mucks the leather up

Wear and tear

Scuffs them up

You need timing (1976)

Client: Wallace Bishop

Film House: Martin Williams Films

Director/Cinematographer: Ron Johanson

Film Editor: Steve Cooper, Martin Williams Films

Animated Graphics - Max Bannah Animation

Soundtrack: You need timing, Jimmy Jones

/ take them to the Adsett man

He gives them the treatment

They're bright and shiny

He gives them the treatment

Oh you need timin'

A ticka ticka ticka good timin'

A talka talka talka talka

Timin' is the thing it's true

Good timin' brought me to you.

1977 - Donnelly Smith Advertising

Our Land

Client: Hooker Centenary

Film House: FAT Pictures

Director/Cinematographer: Dick Marks

They're just ads Appendix I 73 Jingles, slogans and production details

H o w 'r e y o u g o n n a t r e a t y o u r D in k i - D i d o g g y to n ig h t?

C lie n t: D in k i-D i D og F o o d

F ilm H o u se : F A T P ic tu re s

D ire c to r /C in e m a to g ra p h e r : D ick M ark s

F ilm E d ito r : B o b B la sd a ll, S h o rt C u t E d itin g

R e c o rd in g s tu d io : V o ice P lan t

P ro d u c e r /A rra n g e r : B o b R ees

L ead V o ca l: G re v ille P a tte rso n

M azd a 323 (1977) This is the M azda 323

F ilm H o u se : M a rtin W illia m s F ilm s This is the way to go

D ire c to r /C in e m a to g ra p h e r : R on Jo h a n so n It's got to he the best looking

M u s ic P ro d /A rr: M ik e P e r ja n ic , S y d n ey Test value hatchback

You've ever seen

M azda's got to be the way to go

M azda 323

1978-79 - Ogilvy & Mather (Brisbane)

Y o u c a n c o u n t o n a Q u e e n s la n d e r (1 9 7 8 ) N o t re c o rd e d . In c lu d e d lin es lik e :

C lie n t: B a n k o f Q u e e n s la n d You can count on a Q ueenslander

F ilm H o u se : M a rtin W illia m s F ilm s When it com es to som ething sweet

D ire c to r: G e o rg e M u sk e n s ( im a g e re la te d to G o ld e n C irc le )

C in e m a to g ra p h e rs : R o n Jo h a n so n , T re v o r H one .... When it com es to beating the heat

F ilm E d ito r : S te v e C o o p e r , M a rtin W illia m s F ilm s (X X X X B it te r A le)

R e c o rd in g S tu d io : U n k n o w n , S y d n e y ... W hen it com es to staying in

L ead V o ca l: D o u g P a rk in so n (A lla n B o rd e r , A u s tra lia n c r ic k e t c a p ta in )

They're just ads Appendix I 74 Jingles, slogans and production details

W ho 's g o n n a keep y o u warm th is w inter? (1 9 7 9 ) W ho's gonna keep you warm this w inter?

C lie n t: 4 B K M u s ic Who's gonna win y o u r heart?

F ilm H o u se : O g ilv y & M a th e r In -h o u se W ho’s gonna keep yo u nice a n d cosy?

D ire c to r: G e o rg e M u sk e n s :

D ire c to r o f P h o to g ra p h y : Jo h n H ad d y

A n d rip yo u r cheeks apart?

F ilm E d ito r : B o b B la sd a ll, S h o rt C u t E d itin g W ay nee Pooh that’s who

R e c o rd in g S tu d io : V o ic e P lan t W ay nee Pooh that's who

P ro d u c e r /E n g in e e r : B o b R ees W ay nee Pooh that's who

V o c a ls : V a r io u s 4 B K o n -a ir p e rso n a litie s inch

W a y n e R o b e r ts , R a y M c G re g o r , D av id K id d

W aynee Pooh

F eeling g o o d ( 1979) F eeling g o o d Feeling good

C lie n t: 4 B K M u s ic

A n im a tio n H o u s e : M a x B a n n ah A n im a tio n

N othing in the world

Like fee lin g goo d

C h a ra c te r d e s ig n /A n im a tio n : M a x B an n ah There's nothing in the world

R e c o rd in g S tu d io : E M I, S y d n ey

P ro d u c e r : B o b R e es

Like music to make y o u fe e l g o o d

A rra n g e r : G e o f f W ilk e s D on't it fe e l good to know

L ead V o ca l: M ic k y L e ig h to n

B a c k in g V o c a ls : M a rk H u n te r , S h a u n a Je n sen ,

We keep com ing out o f your radio

R ock 'n Roll rhythm a n d soul

K e rry B id d e ll D on't it make you fe e l good.

W e'll p lay y o u all those m elodies

W ell sing y o u alt those harm onies

Those good o ld songs those mem ories

There 's nothing that we wouldn '1 do

To m ake yo u fe e l go o d

F eeling g o o d Feeling good

4BK music Feeling go o d

They're just ads Appendix I 75 Jingles, slogans and production details

You 'll f in d m e in th e S u n day S u n on S u n day

C lient: Sun N e w sp ap e rs

Film H ouse: O g ilvy & M ather In -H ouse

D irector: G eo rg e M uskens

D irec to r o f P h o tog raphy : John H addy

Film E ditor: B ob B lasdall, Short C ut E diting

M usic: U n k n o w n

It's ch ea p er a t th e w areh ou se!

C lient: E rrol S tew arts W arehouses

Film H ouse: O g ilvy & M ather In -H ouse

D irector: G eo rg e M uskens

D O P: John H addy , T rev o r H one, Ron Johanson

Film E ditor: B ob B lasdall, S hort C ut E d iting

R ecord ing S tud io : B ruce W indow

P roducer/A rranger: B ob Rees

Lead V ocal: W ayne R oberts

1979-81 - McCann Erickson - Sydney

M a g g i M a g g i M a g g i F lavou r F la vo u r F lavou r

C lient: C oca C o la C om pany

Film H ouse: R oss W o o d s F ilm s

D ir/C inem atog rapher: R oss W o o d s snr.

Editor: R oss W o o d s jn r .

R ec.S tud io : A lb ert S tu d io ,P add ing ton

M usic: Pat A u lto n

Lead V ocal: R oss H iggins

They're just ads Appendix l 76 Jingles, slogans and production details

L et y o u r L evis do the talking Let y o u r Levis do the talking

C l ie n t : L e v i S t r a u s s Let y o u r Levis say

F il in H o u s e : P a d d in g to n F ilm s The little things that words d o n ’t get through

D ir e c to r : T o m S to v e r n Let y o u r Levis play

C i n e m a to g r a p h e r : U n k n o w n B, h, h, body gam es

E d ito r : T e d K o r t ik a a s B, b, b, body gam es

R e c o r d in g S tu d io : A l b e r t S tu d io s , S y d n e y

P r o d u c e r a n d L e a d V o c a l : P a t A u lto n

C o - A r r a n g e r s : P a t A u l to n , T o n y A n s e ll

Let yo u r Levis do the talking

H ave a C oke an d a sm ile ( 1 9 8 0 ) It's a fu n n y thing alright

C l ie n t : C o c a - C o l a C o m p a n y But it's a sim ple fa c t o f life

F ilm H o u s e : F o n ta n a , S y d n e y One little sm ile can break the ice

D ir e c to r , C i n e m a to g r a p h e r : U n k n o w n

F ilm E d i t i n g : U n k n o w n

H ave a Coke and a sm ile

R e c . S tu d io : A lb e r t S tu d io s , S tu d io B . S y d n e y It takes a nice co ld ice cold C oca Cola

P r o d u c e r /A r r a n g e r : P a t A u l to n To get a body sm iling all over

That refreshing taste o f ice co ld Coke

H ave a Coke and a sm ile

What's it take to make you sm ile all over

That refreshing taste o f Coca Cola

H ave a Coke and a sm ile

That refreshing last o f Coca C ola

H ave a Coke and a sm ile

H ave a nice co ld ice co ld C oca Cola

H ave a Coke and a sm ile

H ave a nice co ld ice co ld C oca Cola

H ave a Coke and a sm ite

They're just ads Appendix I 77 Jingles, slogans and production details

T h e o r ig in a l s ta n d s a lo n e (1981 ) Can't explain it

C lien t: L ev i S trauss Nothing you can say

F ilm H ouse: E u re k a F ilm s You get that feeling

D irecto r: R ic h a rd M cC arth y Gotta gel away

C in em ato g rap h e r: R u sse ll B oyd You you you and Levis stand alone

F ilm E d itin g H ouse: K iw i

R eco rd in g S tu d io : A lb e rt S tud ios, S y d n ey

P ro d u ce r A rranger: P a t A u lton

L ead V ocal: M ag g ie M cK in n ey

1982 - George Patterson Brisbane

You c a n ï b e a t th e o r ig in a l { 1982)

C lien t: A u stra lian U n ite d F ood

P roduct: P e te rs D ru m stick

Film H ouse: M u sk en s M ovies

D irecto r: G e o rg e M u sk en s

D O P: Jo h n H a d d y

F ilm E d ito r: S teve C o o p er, (B E E P S )

R eco rd in g S tud io : S u ite 16

P ro d u ce r/A rran g er: P e te r B ly to n

A u s s ie G reen a n d G o ld (1982 )

C lien t: A u s tra lia n U n ite d F oods

A nim ation : M a x B a n n a h A n im ation

R eco rd in g s tud io : S u ite 16

P ro d u cer/A rran g er: P e te r B ly to n

They're just ads Appendix I 78 Jingles, slogans and production details

H a v e a F o s t e r s i n s t e a d (1 9 8 2 ) S o n : T h e y 're p u tt in g up a sign B lu e , ju s t a c ro ss

C l ie n t - C a r l to n a n d U n ite d B re w e rie s the ro ad .

P ro d u c tio n C o m p a n y : D ick M a rk s : T h e B lu e :T h a t 'll g iv e us sh a d e in th e a f te rn o o n .

Q u e e n s la n d F ilm C o m p a n y (D M :Q F C ) S o n : T h e y 're p u ttin g up a b ig b lu e F o s te rs can .

D ir /D O P - D ic k M a rk s F o s te rs eh , h e re in Q u e e n s la n d

A n im a tio n H o u s e : M a x B a n n a h A n im a tio n B lu e : Y o u se e th a t can S o n ? It's j u s t lik e y o u an d

C h a ra c te r D e s ig n , A n im a to r , D ir .: M ax B an n ah m e. Y o u c a n 't g e t m o re A u s tra lia n . A n d it’s

E d ito r : B o b B la s d a ll , S h o r t C u t E d itin g p a c k e d w ith q u a lity .

R e c o rd in g S tu d io : S u ite 16 S o n : T h e y 're p u tt in g up so m e w o rd s B lue .

P ro d u c e r /A rra n g e r : P e te r B ly to n B lue:! w o n d e r w h a t th e y 'l l say?

V o c a ls : U n k n o w n g ro u p o f se ss io n a l s in g e rs Sow: H a v e - a - F o ste rs - in s tead . In s te a d o f w h a t

B lu e?

B lu e : In s tea d o f ta lk in g ab o u t it 1 su p p o se .

C h o r u s : W h y d o n 't w e h av e a F o s te rs in s te a d ?

W h y d o n ’t w e h av e a F o s te rs in s te a d ?

W h y d o n ’t w e h av e a F o s te rs?

W h y d o n ’t w e h av e a F o s te rs?

H av e a F o s te rs in s tead .

VO : I t’s here . F am o u s F o s te rs L a g e r is a t y o u r

local h o te l a n d a t local p r ice s .

1983-86 - Greville Patterson Creative

T h e f a m o u s A u s s i e s p i r i t

P ro d u c t: B u n d a b e r g R u m

C lie n t: B u n d a b e rg D is ti l le ry

A g en c y : K n o w le s B r is to w

F ilm H o u se : D M : Q F C

D ir /C in e m a to g ra p h e r : D ic k M a rk s

R e c o rd in g S tu d io : D o ts

P ro d u c e r A rra n g e r : G e o f f W ilk e s

W h o 's g e ttin g , in to th e s p i r i t ?

W h o 's g e t t i n g in to th e f u n ?

W h o 's g e t t i n g in to th e f a m o u s ta s te

O f f a m o u s B u n d y R u m ?

T h a t 's th e s p ir i t , th e A u s s i e s p i r i t

T o d r in k a n y t h in g e ls e

W o u ld h e d o w n r ig h t u n - A u s t r a l ia n

T h e f a m o u s A u s s i e s p i r i t B u n d a b e r g R u m

They're just ads Appendix / 79 Jingles. slogans and production details

W h a t' l l y o u s p la s h in y o u r B u n d y

C lien t: B u n d a b e rg D is ti lle ry

P ro d u c t: B u n d a b e rg R u in

A g en c y : K n o w le s B ris to w

F ilm H o u se : M u lti v isu a ls

D ir /C in e m a to g ra p h e r : T e r ry S tra ig h t

F ilin E d ito r : D a v id L a w le r

R e c o rd in g S tu d io : S u ite 16

P ro d u c e r /A rra n g e r : P e te r B ly to n

W a d d a w e n e e d ? (1 9 8 3 ) The m ore you know Australia,

P ro d u c t: M o r te in In se c t S p ray s The m ore you need M ortein

C lie n t - S am u e l T a y lo r The fu r th er you go, the more you know

A g en c y : M c C a n n E ric k so n S y d n e y

P ro d u c tio n C o m p a n y : D M :Q F C

You know we need M ortein

L ive a c tio n D ir /D O P : D ick M a rk s There's a m illion trillion Aussie nasties

A n im a tio n : M a x B a n n a h A n im a tio n Oui to spoil our day

E d ito r: B o b B la sd a ll, S h o r t C u t E d itin g Out to make us crook and cranky

R e c o rd in g s tu d io : S u ite 16

P ro d u c e r /A rra n g e r : P e te r B ly to n

We need M ortein spray’

L ead v o c a l: G re v il le P a tte rso n To m atch those blowies blow fo r blow

To hit those mozzies on the nose

To keep those cockies out o f sight

We n eed M ortein day and night

We don 't need m ore beaches,

We don 't need m ore fu n

We don 't need m ore barbies

A n d we don't n eed more sun

Waddaweneed, waddaweneed, w addaw eneed?

M ortein

Waddaweneed. waddaweneed, w addaw eneed7

M ortein - Full stop

They're just ads Appendix I 80 Jingles, slogans and production details

U n b e a ta b le ! Personally, I think the original Peters Drumstick

C l ie n t - A u s t r a l i a n U n i t e d F o o d s is unbeatable

P ro d u c t : P e te r s D r u m s t ic k Royal vanilla icecream with peanuts and choc

A g e n c y : D i r e c t w i th G r e v i l l e P a t te r s o n C r e a t iv e But som e peop le ju s t can't go p a st the triple

P r o d u c t io n C o m p a n y : D M :Q F C choc D rum stick

D ir /D O P - D ic k M a r k s (Unbeatable)

E d ito r : B o b B la s d a l l . S h o r t C u t E d it in g A n d others too who ju s t go fo r strawberry

R e c o r d in g s tu d io : S u i te 16 (Unbeatable)

P r o d u c e r /A r r a n g e r : P e te r B ly to n Pve a fr ie n d who's a real mint fr e a k

V o c a ls : U n k n o w n Won't try anything but the mint D rum stick

(Unbeatable)

But when 1 want to spoil m yse lf - the ve ty

original Peters Drumstick.

I ready like the choc-lined cone.

The l io n w i l l r o a r in '84 ( 1 9 8 4 )

C l ie n t : G e n e r a l M o to r s H o ld e n

A g e n c y : M c C a n n E r i c k s o n M e lb o u r n e

F i lm H o u s e : U n k n o w n ( M e lb o u r n e )

D i r e c to r / D O P : U n k n o w n ( M e lb o u r n e )

F ilm E d i to r : U n k n o w n ( M e lb o u r n e )

R e c o r d in g S tu d io : S u i t e 16

P r o d u c e r /A r r a n g e r : G e o f f W ilk e s

V o c a ls : J o h n S w a n n

They're just ads Appendix I 81 Jingles, slogans and production details

T a k e i t e a s y . T a k e a t r a in ( 1 9 8 5 ) Look around the scenery>

C lie n t : Q u e e n s l a n d R a il That yo u never see

A g e n c y : K e n C a m p b e l l A d v e r t i s in g Take il easy take a train

A n im a t io n H o u s e : M a x B a n n a h A n im a t io n (See Queensland)

A n im a to r /D i r e c to r : M a x B a n n a h No m ore stop go

R e c o r d in g S tu d io : S u i te 16 No m ore no no

P r o d u c e r A r r a n g e r : G e o f f W i lk e s Take it easy take a train

L e a d V o c a l i s t : J o h n G a r d in e r (Around Queensland)

We can take y o u r parcels and y o u r fre ig h t

To a timetable round the state

We can take it take it easy

(Around Queensland)

City '¡rain Travel Tram Freight Train

Take it easy take a tram.

B u lk c h e a p !

C l ie n t : E r r o l S te w a r t s W a r e h o u s e s

A g e n c y : S h a z a m !

P r o d u c t io n H o u s e : S h a z a m ! I n h o u s e

R e c o r d in g S tu d io : D o ts

P r o d u c e r A r r a n g e r : G e o f f W i lk e s

V o c a ls : G r e g D o o la n , R o y D a n ie ls , B i l ly

M a s te r s

C ity l if e . C i ty l i v in g

C lie n t : M a x C h r i s t m a s

P ro d u c t : R i v e r s id e G a r d e n s

P ro d u c t io n C o m p a n y : D M :Q F C

D IR /D O P : D ic k M a r k s

F ilm E d i to r : B o b B la s d a l l , S h o r t C u t E d i t in g

R e c o r d in g S tu d io : S u i te 16

P r o d u c e r /A r r a n g e r : G e o f f W i lk e s

L e a d V o c a ls : M a rk W i l l i a m s , K e r r in M in c h e l l

They're just ads Appendix I 82 Jingles, slogans and production details

U p o n t h e D o w n s

C l ie n t : H e r i t a g e B u i ld in g S o c ie ty

A g e n c y : K n o w le s B r is to w

F ilm H o u s e : K n o w le s B r is to w I n h o u s e

V is io n : S ti l l p h o to g r a p h s s o u r c e d f ro m H e r i ta g e

o r g a n i s e d D a r l in g D o w n s p h o to g r a p h ic

c o m p e t i t io n

R e c o r d in g s tu d io : D o ts

P r o d u c e r /A r r a n g e r : G e o f f w i lk e s

L e a d V o c a ls : J o h n G a r d in e r & D e n is e T a m e

C o u n t r y g i r l - S te f a n H a i r S tu d io

A g e n c y : K n o w le s B r is to w

F ilm H o u s e : D M :Q F C

D ir e c to r : D ic k M a rk s

C in e m a to g r a p h e r : R o n J o h a n s o n

E d i t in g : B o b B la s d a l l , S h o r t C u t E d i t in g

R e c o r d in g S tu d io : J u m b u c k /K P M lib ra ry ' t r a c k

R o c k w a tc h & H a n d s u p

C l ie n t : W a l l a c e B i s h o p

W r i te r : H a r r y S c o t t

A r t D ir e c to r : G r e v i l l e P a t te r s o n

N o o n e ' s f a r f r o m a n y o n e a n y m o r e

C l ie n t : O v e r s e a s T e l e c o m m u n ic a t io n s C o m p a n y

A g e n c y : M o jo S y d n e y

O th e r d e t a i l s : U n k n o w n

They're just ads Appendix I 83 Jingles, slogans and production details

Ingham Chicken love 'em This is how yo u do it

C lien t: Ingham C hicken This is how it's done

A gency: G a n ise y C lem enger Australia i f yo u want to do

Film H ouse: D M :Q F C The right thing by y o u r Mum.

D irec to r/C inem atog rapher: D ick M arks

F ilm E ditor: B ob B lasda lk S hort C ut E diting A ustralia, you 've got to do

R ecord ing S tud io : S u ite 16 The right thing by yo u r M um

P roducer/A rranger: P e te r B lyton Give her a bell, tell her you 're com ing

Give M um time to pop

That Ingham Chicken in the oven.

Ingham C hicken cookin '

Ingham C hicken love 'em

In ju s t thirty minutes M um,

C rispy m elting-in-your-m outh chicken

Ingham C hicken love 'em.

H ere they com e Mum, here they come.

V O .: I f you f i n d y o u rse lf cooking about eight

meals a day,you 'll f in d Ingham cooked a n d

crum bed chicken very handy M um . A ll we have

to do is train A ustralia to think ahead thirty

minutes.

Ingham Chicken love 'em

Ingham C hicken love 'em.

They're just ads Appendix J 84 Jingles, slogans and production details

T ake a tr ip a w a y f r o m th e everyd a y (1986) / can f ly yo u can too

C lien t: D ream w o rld We can do anything here its true

A gency : N o m s B row n Let m e share this day with you

Film H ouse : R o ly P o ly P icture C om pany

D irec to r/c in em a to g ra p h e r: R on Johanson

It's another w orld to take a trip aw ay to

Fim E d ito r: S teve C o o p e r, B E E P S Som e fo lk s never let them selves go

R e c o rd in g S tud io : S u ite 16 N ever kiss a hear on the nose

P ro d u ce r/A rran g er: G e o f f W ilkes, D ots That’s crazy

L ead V ocals: C h ris L loyd and A llison Ja ie r They say one day, don't say one day

Take a trip aw ay fro m the everyday

Take a D ream world one day holiday

Take a trip aw ay fro m the everyday

la k e a D ream world one day holiday

D o n ’t say one day

That day will never come

Wash aw ay y o u r worries

Go on take it

Take a trip away fro m the every day

Take a D ream w orld one day holiday

Take a trip aw ay fro m the everyday

Take a D ream w orld one day holiday

Today

They're ju st ads Appendix I 85 Jingles, slogans and production details

F o o d s to re Bill and B etty Darby a n d Joan

C lien t: F o o d sto re H arry and H ilary le s s and Tone

A gency: M o jo B risbane Got together

Film H ouse: R o ly Poly To stock their shops

D ir/C in em ato g rap h er: R on Jo h an so n For a lot less cost

E ditor: S teve T h o m as/B E E P S

R eco rd ing S tud io : D o ts

Than they ever could on their own

It's am azing what getting together can do

P rod u cer/A rran g er: G e o f f W ilk es

R eco rd ing E ng ineer: G e o ff W ilk es

L ead V ocal: Jo h n G a rd in e r

Well all together now

It's am azing what getting together can do

We're stocking up a Foodstore

Foodstore, Foodstore

Stocking up a Foodstore

When you see a foodstore popping up near you

You’ve got a Foodstore with Bill and Betty

D arby and Joan

H arry and H ilary Tess and Tone

G etting together to ge t the best price fo r you

You'll see a Foodstore,

A fr ien d ly Foodstore

You'll see m ore and more Foods tores

Popping up near you

1987-88 M ojo Brisbane

C an do

C lien t: C re d it U n io n A u stra lia

Film H ouse: D M : Q F C

D ir/C in em ato g rap h er: D ick M ark s

Film E ditor: B ob B lasd a lk S h o rt C u t E diting

R ecord ing S tud io : S u ite 16

P roducer A rranger: G arry Sm ith

V ocal: A d rian Pane

They're just ads Appendix I 86 Jingles, slogans and production details

H o w c o u l d y o u s ta y a w a y f r o m R a h y B a y ?

C l ie n t : P R D R e a l E s ta te ( 1 9 8 8 )

A g e n c y : M o jo B r i s b a n e

F ilm H o u s e : R o ly P o ly P ic tu r e C o m p a n y

D ir /C in e m a to g r a p h e r : R o n J o h a n s o n

F ilm E d i to r : S te v e C o o p e r , B E E P S

R e c o r d in g S tu d io : S u i te 16

P r o d u c e r A r r a n g e r : G a r r y S m ith

V o c a l : G r e v i l l e P a t te r s o n

N o t r e c o rd e d

S lo g g i s t r e tc h w i th y o u r b o d y Y o u n g g ir ls b ig g ir ls

C l ie n t : T r iu m p h S h y g ir ls m y g ir ls

F ilm H o u s e : R o l y P o ly P ic tu r e C o m p a n y H e r e 's to the g ir ls w ho d o n 't w e a r a n y th in g e lse

D ir /C in e m a to g r a p h e r : R o n J o h a n s o n B u t T r iu m p h

F ilm E d i t o n S t e v e C o o p e r , B E E P S H e r e ’s to the g ir l s w h o d o n 't w e a r a n y th in g e lse

R e c o r d in g S tu d io : S u i te 16

P r o d u c e r A r r a n g e r : G e o f f W i lk e s

B u t T r iu m p h

H e r e 's to the g ir ls r ig h t a r o u n d th e w o r ld

L e a d V o c a l : R o b b i e M c K e lv ie H e re 's to the g ir ls w h o d o n 't w e a r a n y th in g e lse

B u t T r iu m p h

T o o G o o d to b e T r u e ( 1 9 8 7 /8 8 ) P u t y o u r s e l f h e r e

C lie n t : Q in t e x / M i r a g e R e s o r ts Y o u 'll b e d o in g it too

F ilm H o u s e : R o l y P o ly P ic tu r e C o m p a n y P in c h in g y o u r s e l f

D ir /C in e m a to g r a p h e r : R o n J o h a n s o n

A n im a t io n C o n s u l t a n t : M a x B a n n a h

To b e su r e it 's true .

F ilm E d i to r : S te v e C o o p e r , B E E P S T oo g o o d to b e true , M ira g e ,

S p e c ia l E f f e c t s : J u m b u c k Too g o o d to b e true , M i ra g e

R e c o r d in g S tu d io : S u i te 16

P r o d u c e r A r r a n g e r : G a r r y S m ith

This is to o g o o d to be true .

V o c a l : R ic k P r i c e / R o b b ie M c K e lv ie To s e e th e y s a y is to b e lie v e

B u t th is h a s g o t m e lo o k in g tw ice

C o u ld th is b e th e tro p ic o f p a r a d is e ?

'Too g o o d to b e true , M ira g e ,

l o o g o o d to b e true ,

T h is is, too g o o d to be true.

They're just ads Appendix I 87 Jingles, slogans and production details

F ly H o v e r M i r a g e

C l ie n t : Q in te x

F ilm H o u s e : T e l e s c a n

D ir /C in e m a to g r a p h e r : M a rk W a r e h a m

F ilm E d i to r : P h il H o rn

R e c o r d in g S tu d io : S u i te 16

P r o d u c e r A r r a n g e r : G a r r y S m ith

V o c a l: R o b b ie M c K e lv ie

S e t y o u r s a i l s S e t y o u r sa ils (D o it d o it)

C lie n t : Q in te x S e t y o u r sa ils (D o it d o it)

P ro d u c t : H o v e r M ir a g e

W r i te r : G r e v i l l e P a t te r s o n

S e t y o u r sa ils f o r M a r in a M ira g e .

F ilm H o u s e : M u l t iv i s u a l s Too g o o d to b e tru e

D ir /C in e m a to g r a p h e r : T e r r y S t r a ig h t M a r in a M ir a g e

F ilm E d i to r : D a v id L a w le r Too g o o d to b e tru e

R e c o r d in g S tu d io : S u i te 16

P r o d u c e r A r r a n g e r : G a r r y S m ith

M a r in a M ir a g e

D o it d o it

S e t y o u r sa ils f o r M a r in a M ir a g e

D o it d o it d o it d o !

T o y o ta , y o u 'r e Q u e e n s la n d a l l o v e r ( 1 9 8 8 )

C l ie n t : T o y o ta M o to r C o r p o r a t i o n

P ro d u c t : T o y o ta Q u e e n s la n d

W r i te r : G r e v i l l e P a t t e r s o n

F ilm H o u s e : R o ly P o ly P ic tu r e C o m p a n y

D i r /C in e m a to g r a p h e r : R o n J o h a n s o n

F ilm E d i to r : S te v e C o o p e r , B E E P S

R e c o r d in g S tu d io : S u i te 16

P r o d u c e r A r r a n g e r : G a r r y S m ith

L e a d V o c a ls : R o y D a n ie ls

They're just ads Appendix I 88 Jingles, slogans and production details

D u e l l in g b a n jo s (1 9 8 8 )

C lie n t: B o n d C o rp ./C a s t le m a in e B re w e rie s

P ro d u c t X X X X B itte r A le

F ilm H o u se : D M : Q F C

D ir /C in e m a to g ra p h e r : D ic k M a rk s

F ilm E d ito r: B o b B la s d a ll , S h o rt C u t E d itin g

R e c o rd in g S tu d io : S u ite 16

P ro d u c e r A rra n g e r : G a r ry S m ith

V o ca l: G re v il le P a tte rso n

O u r L a n d (1 9 8 8 ) I c a n f e e l a X X X X c o m in g on

C lie n t: B o n d C o rp ./C a s t le m a in e B re w e rie s O u r O u tb a c k

P ro d u c t X X X X B itte r A le O u r S u n se ts

W rite r : G re v il le P a tte rso n O u r N o rth

P ro d u c tio n H o u se : D M : Q F C O u r C o a s t

D ir /C in e m a to g ra p h e r : D ick M a rk s

F ilm E d ito r : B o b B la s d a ll , S h o r t C u t E d itin g

R e c o rd in g S tu d io . S u ite 16

P ro d u c e r A rra n g e r : G a r ry S m ith

V o ca l: M ark W ill ia m s

and o th e rs

F a c e to f a c e w i th y o u r A u s s i e m a te s

C lien t: C u r ru m b in S an c tu a ry '

F ilm H o u se : M o jo in h o u s e

F ilm E d ito r : S te v e T h o m a s , B E E P S

R e c o rd in g S tu d io : S u ite 16

P ro d u c e r A rra n g e r : G a r ry S m ith

They're just ads Appendix I 89 Jingles. slogans and production details

/ Love Saturday Morning (1988)

Client: Mitre 10

Product: Mitre 10 Hardware Stores

Agency: Mojo Brisbane

Writer: Greville Patterson

Animation House: Max Bannah Animation

Character design & Animation: Max Bannah

Recording Studio: Suite 16

Recording Engineer: Julian Lynch

Lead Vocal: Roy Daniels

Monday to Friday can he such a drag

This nine to five is not my hag,

I gotta get my hands into something,

Get me down to Mitre 10 the joint's really

jumping.

1 love (we love) Saturday morning

I love (we love) Saturday morning

I love Saturday morning at Mitre 10.

Throw me a hammer, hand me a saw

Saturday morning's what I'm living for.

I love Saturday morning at Mitre 10

1990-1997 -Mojo Australia

You want it, you got it! (1992/3) You want parking?

Client: Birch Carroll and Coyle You want to eat?

Agency: Mojo Brisbane You want a drink?

Film House: Alojo inhouse You want a treat?

Film Editor: Brett Straughan, Jumbuck You want some fun?

Recording Studio: Jumbuck, KPM library tracks You want to escape?

Producer Arranger: Michael Oakhill You want to see a movie?

Voice Over: Ray McGregor You want the choice o f eight?

You want it? You got it!

(Super - Caríndale 8, Indooroopilly 8,

Toomhul 8, Strathpine 8)

They're just ads Appendix I 90 Jingles, slogans and production details

You w a n t i t y o u g o t i t (V e r s io n 2) Y o u w a n t m o r e th a n a m o v ie ?

Y ou w a n t th e la te s t te c h n o lo g y ?

Y ou w a n t e ig h t b ig s e s s io n s '?

You w an t D o lb y s te r e o ?

Y ou w a n t a c o m fo r ta b le s e a t?

Y ou w a n t e a s y p a r k in g ?

Y ou w a n t to e a t?

Y ou w a n t to d r in k ?

Y o u w a n t it? You g o t i t /

A t C a r in d a le 8, In d o o r o o p illy 8, T o o m b u l 8 ,

You 're in g o o d h a n d s a t C h a n d le r s

C l ie n t : C h a n d le r s E le c t r i c a l S to r e s

A g e n c y : M o jo B r i s b a n e

F ilin H o u s e : R o ly P o ly P ic tu r e C o m p a n y

F i lm E d i to r : S te v e C o o p e r , B E E P S

R e c o r d in g S tu d io : S u i t e 16

P r o d u c e r A r r a n g e r : G a r r y S m i th

R e c o r d in g E n g in e e r : J u l i a n L y n c h

V o c a l i s t : G r e v i l l e P a t t e r s o n

S tr a th p in e 8.

D e lic io u s . D e l ig h t f u l D e f ia n c e ! W h e re v e r y o u f i n d lo ts o f lo v e a n d c a re

C l ie n t : D e f i a n c e F lo u r M il ls

P ro d u c t : D e f i a n c e F l o u r

W h e r e v e r y o u f in d g o o d th in g s to sh a re

W h e r e v e r y o u f in d a M u m , m a k in g ta s ty trea ts

A g e n c y : M o jo B r i s b a n e I 'l l te l l y o u w h a t m o re o fte n th a n n o t

W r ite r : G r e v i l l e P a t t e r s o n Y o u 'l l f in d D e fia n c e th ere

F ilm H o u s e : R o ly P o ly P ic tu r e C o m p a n y

D i r /C in e m a to g r a p h e r : R o n J o h a n s o n

P la y in g j u s t a little p a r t in

T h e th in g s th a t w in th e ir h e a r ts

F ilm E d i to r : S te v e T h o m a s , B E E P S A u s t ra li a 's f in e s t f io u r

R e c o r d in g S tu d io : S u i t e 16 H a s r e a c h e d its f i n e s t h o u r

P r o d u c e r A r r a n g e r : G a r r y S m i th

R e c o r d in g E n g in e e r : J u l i a n L y n c h

L e a d V o c a l : G r e v i l l e P a t t e r s o n

D e lic io u s . D e lig h tfu l. D e fia n c e !

They're just ads Appendix I 91 Jingles, slogans and production details

F o r g e t th e r e s t ( 1 9 9 2 /9 3 )

C lien t: A u s tra lia n R e so rts

P ro d u c t: G re a t K ep p e ll Island

A g en c y : M o jo B risb a n e

D ir /C in e m a to g ra p h e r : V a rio u s f ro m p re v io u s

G re a t K ep p e l 1 T V c o m m e rc ia ls

F ilm E d ito r : S tev e T h o m a s , B E E P S

R e c o rd in g S tu d io : S u ite 16

P ro d u c e r A rra n g e r : G a r ry S m ith

R e c o rd in g E n g in e e r : Ju lia n L y n ch

B e a L i t t l e B i t D i f f e r e n t ( C i ty v e r s io n ) (1 9 9 0 )

C lien t: T o y o ta M o to r C o rp o ra tio n

O K G a n g , h e r e w e g o !

P ro d u c t: T o y o ta L ex c en W e're a l i tt le h it d if fe r e n t

A g en c y : M o jo S y d n ey N o t lik e the f o l k s n e x t d o o r

F ilm H o u se : M o jo in h o u se & R o ly P o ly

D irec to r: R on Jo h a n so n

C in e m a to g ra p h e r 3 5 m m film : R o n Jo h a n s o n

T h e y n e v e r g e t in to a n y th in g n ew

T h e y 'r e a l i t t le h it to o tr a d itio n a l - h o r ing .

H an d h e ld h o m e v id e o : G re v ille P a tte rso n , V ick i

L ee & T o n y P o litis

F ilm E d ito r : S te v e T h o m a s , B E E P S

R e c o rd in g S tu d io : S u ite 16

W e 're a l i tt le h it d if fe r e n t

A n d w h y w o u ld n 't w e be?

W h en th e re 's a b ig s ix L e x c e n

W ith a lo t m o r e tr ic k s th a n th e o th e r b ig s ix e s

P ro d u c e r A rra n g e r : G a r ry S m ith

R e c o rd in g E n g in e e r : J u lia n L y n ch

E v e r y th in g th a t o p e n s a n d c lo ses.

V o ca ls : R oy D a n ie ls , T o n y G o rd o n , Je n n y

W ilso n

B e a little h i t d if fe r e n t

B e a little h i t d if fe r e n t

A l l y o u n e e d to h e is h e a L e x c e n fa m ily

To h e a l i tt le h it d iffe ren t.

O h, w h a t a d i f fe r e n t fe e lin g , T o y o ta !

They're just ads Appendix I 92 Jingles, slogans and production details

B e a little b it d iffe re n t (C oun try version) We 're a little b it d ifferen t

H ere ou t in the bush

We d o n 't ju s t want a b it o f room to m ove in

We w ant a b it o f oom ph - cruisin '.

W e're a little b it d ifferen t

A n d w hy w ou ldn 't we be?

W hen there 's a b ig s ix Lexcen

W ith a lot m o re tricks than the o ther b ig sixes

W hen y o u g o t the legs y o u like to stre tch 'em

Be a little b it d ifferen t

Be a little b it d ifferen t

A ll y o u n eed to be to be a L excen fam ily

Is b e a little b it different.

B e a little b it d iffe re n t (H o lid ay version) H ere we g o ! M ove over, m ove over.

W e're a little b it d ifferen t

W hen we g o o n ho liday

We d o n 't ju s t g o dow n to the beach

We g o all the w ay - in a b ig way.

W e're a little b it d ifferen t

A n d w hy w ou ldn 't we be

W hen there 's a b ig s ix Lexcen

W ith a lot m o re tricks than the o th er b ig sixes

B ig en ough to even take Tiny. (C horus)

They’re just ads Appendix I 93 Jingles, slogans and production details

W e lo v e it u p h e r e ! ( 1992) V e rs io n 1

C lien t: L ion N a th a n /C a s tle m a in e B re w e rie s F is h a re ju m p in ', w a v e s a re p u m p in '

P ro d u c t: X X X X B itte r A le S te a k s a re s iz z lin ', th is is l iv in '

A g en cy : M o jo B risb a n e A n o c e a n a s b lu e a s th e s k y u p a b o v e it

W rite r : G re v il le P a tte rso n

F ilm H o u se : R o ly P o ly P ic tu re C o m p a n y

W e lo v e it u p here .

D ir/C in e m a to g ra p h e r : R on J o h a n so n W e d o n 't ju s t l ik e it, w e lo ve it!

F ilm E d ito r: S tev e T h o m a s , B E E P S W e d o n 't ju s t l ik e it, w e lo ve it!

R e c o rd in g S tu d io : S ta rso u n d /C h a n n e l 9

P ro d u c e r A rran g e r : G a r ry S m ith

W e lo v e it u p h e re !

R e c o rd in g E n g in e e r: J u lia n L y n ch T he p e o p le , th e p la c e s , the m a te s , the fa c e s

V o ca l: S e ss io n s in g e rs , M o jo s ta f f an d h o n o ra ry T he X X X X , y e p , th e b e e r up h e r e

Q u e e n s la n d e r A lla n Jo h n s to n (Jo ) W e lo v e it u p here .

W e lo v e it u p h e r e ! (V e r s io n 2) M e lb o u r n e g o t ra in a n d S y d n e y g o t y u p p ie s ,

l a s s i e g o t th e c h o p b u t we g o t lu c k y

N o w h e re d o e s it lik e u p h e re d o e s it

W e lo v e it u p h e re !

W e d o n 't j u s t lik e it, w e lo ve i t 1

W e d o n 't ju s t lik e it, w e lo ve it!

W e lo v e it u p h e re !

The b e e r f o r h ere .

They're just ads Appendix I 94 Jingles, slogans and production details

M o th e r N a t u r e a t h e r v e r y b e s t H er head is in the clouds

C l ie n t : G o ld e n C i r c le But her fe e t are firm ly p lan ted in lhe earth

P ro d u c t : G o ld e n C i r c le b r a n d im a g e She rejoices in the warmest sunshine

A g e n c y : M o jo B r is b a n e She bathes in the purest cleanest rain

W r ite r : G r e v i l l e P a t te r s o n A n d am azingly enough

F ilm H o u s e : R o ly P o ly P ic tu r e C o m p a n y She works f o r Australia 's own Golden Circle

D ir /C in e m a to g r a p h e r : R o n J o h a n s o n

T im e la p s e c in e m a to g r a p h e r s : R o n J o h a n s o n &

M a x B a n n a h

F ilm E d i to r : S te v e T h o m a s , B E E P S

R e c o r d in g S tu d io : S u i te 16

P r o d u c e r A r r a n g e r : G a r r y S m ith

R e c o r d in g E n g in e e r : J u l i a n L y n c h

M other N ature at her very best.

I t m u s t b e s u m m e r t i m e

C l ie n t : G o ld e n C i r c le

P r o d u c t : G o ld e n C i r c le S o f td r in k s

A g e n c y : M o jo B r i s b a n e

F ilm H o u s e : B a b y L e m o n a d e

P r o d u c e r : J a s o n S c h e p s i

D ir e c to r : ?

C in e m a to g r a p h e r : ?

F ilm E d i to r : T e d K o r t ik a a s , F ra m e , S e t & M a tc h ,

S y d n e y

R e c o r d in g S tu d io : G r e v i l l e a

P r o d u c e r A r r a n g e r : G a r r y S m ith

R e c o r d in g E n g in e e r : J u l i a n L y n c h

V o c a l: G r e v i l l e P a t t e r s o n

They're jit st ads Appendix I 95 Jingles, slogans and production details

T h e th in g s w e d o f o r a T o o b e y s o r tw o (1 9 9 2 ) The things we do

C lie n t: L ion N a th a n The things we do

P ro d u c t: T o o h e y s D ra u g h t The things we do

A g en c y : M o jo B risb a n e The things we do

W rite r : G re v il le P a tte rso n The things we go through

F ilm H o u se : M o jo In h o u se c o m p ila tio n o f spo rts (How do yo u fee l? )

b lo o p e rs a n d n e w s fo o ta g e The things we go through

E d ito r: T o n y D ick , A rt D irec to r, M o jo S y d n ey

R e c o rd in g S tu d io : S un S tu d io s , S u rre y H ills

(How do you fee l? )

P ro d u c e r A rra n g e r : U n k n o w n The things we do

R e c o rd in g E n g in e e r : P e te r C o n tin i

L ead V o ca l: U n k n o w n

For a Tooheys or two.

The things we do

(How do you fee l? )

The things we do

(How do you fee l? )

The things we do

For a Tooheys or two

A r e th e y A r n o t t s o r a r e th e y n o t?

C lien t: A rn o tts

P ro d u c t: A rn o tts B isc u its

A g en c y : M o jo S y d n e y

F ilm H o u se : D ic k M a rk s : T he A u s tra lia n F ilm

C o m p a n y (D M :A F C )

D ir /C in e m a to g ra p h e r : D ick M a rk s

F ilm E d ito r: B o b B la sd a ll, S h o rt C u t E d itin g

R e c o rd in g S tu d io : S u ite 16

P ro d u c e r A rra n g e r : G a r ry S m ith

R e c o rd in g E n g in e e r : J u l ia n L y n ch

L ead V o ca l: G re v il le P a tte rso n

They’re just ads Appendix I 96 Jingles, slogans and production details

S h o e B op

C lien t: M a th e r s fo r S h o e s

A g en c y : M o jo B r is b a n e

F ilm H o u se : D M : A F C

D irec to r: D ick M a rk s

C in e m a to g ra p h e r : D ic k M ark s , B en M ott

F ilm E d ito r : B o b B la sd a ll , S h o rt C u t E d itin g

R e c o rd in g S tu d io : S u ite 16

P ro d u c e r A rra n g e r : G a r ry S m ith

R e c o rd in g E n g in e e r : J u l ia n L y n ch

L ead V o ca l: P a u l M e a n e y

Yo! W ay to g o ! (1 9 9 2 ) This is it, ju s t the trick

C lien t: Q u e e n s la n d T o u r is t an d T rav e l This is heaven on a stick

C o rp o ra t io n (Q T T C ) Big blue skies, am azing clays.

P ro d u c t: Q u e e n s la n d T o u rism

A g en c y : M o jo B r is b a n e

Yo! W ay to go!

F ilm H o u se : R o ly P o ly P ic tu re C o m p a n y

D ir /C in e m a to g ra p h e r : R o n J o h a n so n

D rift away, tan yo u r tail

C lickety clack, ride that rail

F ilm E d ito r : S te v e T h o m a s , B E E P S

R e c o rd in g S tu d io : G re v il le a

P ro d u c e r A rra n g e r : G a r ry S m ith /S u ite 16

Boil the billy, outback

Sip on a cool one, get la id back.

R e c o rd in g E n g in e e r : J u l ia n L y n c h /D a v e R ic h a rd s

L ead V o ca l: G re v il le P a tte rs o n

Yo! Way to go!

As they say, as yo u 'd expect

'Beautiful one day, perfec t the next'

- Queensland.

Yo (Q ueensland)! Way to go!

Yo (Sunshine State)! W ay to go!

They're just ads Appendix I 97 Jingles, slogans and production details

Live it up in Q ueensland

C lien t: Q T T C

P ro d u c t: Q u e e n s la n d T o u rism

A g en c y : M o jo B risb a n e

W rite r : G re v il le P a tte rso n

F ilm H o u se : R o ly P o ly P ic tu re C o m p a n y

D ir /C in e m a to g ra p h e r : R o n J o h a n s o n

F ilm E d ito r : D ean S u th e r la n d . C u ttin g E d g e

R e c o rd in g S tu d io :S u ite 16

P ro d u c e r A rra n g e r : G a r ry S m ith

R e c o rd in g E n g in e e r : Ju lia n L y n ch

L ead V o ca l: P e te r R o b e rts

Good, better, best You do g o o d

C lien t: T e le c o m Then yo u do better

A g en cy : M o jo S y d n e y W hen yo u beat that

F ilm H o u se : G re a t S o u th e rn F ilm s You're the best

R e c o rd in g S tu d io : G re v ille a

P ro d ./A rra n g e r : G a r ry S m ith /S u ite 16

R e c o rd in g E n g in e e r : J u lia n L y n ch

E ven i f it's on ly in a little way

You go on getting better every day

V o ca ls : G re v il le P a tte rso n G o o d better best

We will never rest

U ntil our g o o d is better

A n d our better best

G o o d better best

We will never rest

U ntil our g o o d is better

A n d our better best

They're just ads Appendix I 98 Jingles, slogans and production details

H e r e f o r th e lo n g ru n

C lie n t: T o y o ta M o to r C o ip o ra tio n

A g e n c y : M o jo S y d n e y

F ilm H o u se : R o ss W o o d s F ilin s

D ire c to r: T o n y D ick

C in e m a to g ra p h e r : G ra h a m L ind

E d ito r : ?

R e c o rd in g S tu d io : S un S tu d io s , S y d n ey

P ro d ./A rra n g e r : G a n y S m ith

R e c o rd in g E n g in e e r: P e te r C o n tin i/Ju l ia n L y n ch

L ead V o ca l: G re v ille P a tte rso n

T h e r e a l ly r o o m y C o r o l la (1 9 9 5 ) M ore room fo r legs

C lie n t: T o y o ta M o to r C o ip o ra tio n M ore room fo r knees

A g e n c y : M o jo S y d n ey M ore room fo r elbows

F ilm H o u se R o ss W o o d s F ilm s M ore room fo r these

D ire c to r: T o n y D ick , M o jo M ore room to stretch out

C in e m a to g ra p h e r : G ra h a m L ind

A n im a tio n H o u se : R fx , S y d n ey

Really com fortably

A n im a tio n D ire c to r: R a y F a lz o n

A n im a to r /F i lm D ire c to r: S arah P a tte rso n

The really room y new Corolla

The really room y new Corolla

R e c o rd in g S tu d io : S u ite 16 The n ifty thrifty racy spacy

P ro d /A rra n g e r : G a r ry S m ith

R e c o rd in g E n g in e e r : J u lia n L y n ch

Really room y new C orolla

L ea d V o ca l: P e te r R o b e rts New sm ooth ride

N eat sleek designs

I w ant one to be mine

Its a ll about how you fe e l inside

The really room y new Corolla

Oh! What a feeling, Toyota

The really room y new Corolla

They're just ads Appendix I 99 Jingles, slogans and production details

It's all about how you fee l inside (1995)

Client: Toyota Motor Corporation

Agency: Mojo Sydney

Film House:Omnicom

Director: Kimble Rendal

Cinematographer: Phil Murray

Recording Studio: Suite 16

Prod/Arranger: Garry Smith

Recording Engineer: David Champion

Lead Vocal: Carl Rush

/ like this space

I like this place

/ really do

Got me grinning ear la ear

/ really do, I like il in here

Let's go, let's go, let's go for a drive

Let's just let the world drift by

Settle back enjoy the ride

It's all about how you feel inside

In your own time

At your own speed

Give yourself all the room that you need

In the really roomy Corolla

Oh! what a feeling, Toyota

Start living, give it a tty

It's all about how you feel, inside.

Leap to it.

They're just ads Appendix I 100 Jingles, slogans and production details

D i d y o u k n o w ? (Corolla) D id y o u k n o w ?

T h a t ev e n th e b a c k se a ts in a n e w C o ro lla

G iv e y o u m o re sh o u ld e r ro o m ?

R e a lly ? th a t's g o o d n e w s fo r th e b ack

O h! W h a t a fe e lin g , T o y o ta !

T h e re a lly ro o m y n e w C o ro lla

D id y o u k n o w ?

N o

T h a t th e new C o ro lla g iv e s y o u lo ts m o re h ead

ro o m ?

R e a lly ? T a ll s to ry

N o it 's n o t

R e a lly ? I'll ta k e m y h a t o f f to th a t

Y o u c a n le av e it on

R e a lly ?

O h! W h a t a fe e lin g , T o y o ta !

R e a lly ro o m y n e w C o ro lla .

W h a c k o o u t t h e y g o (1 9 9 4 ) W hacko out they go

C lie n t: T o y o ta M o to r C o rp o ra tio n

A g e n c y : M o jo S y d n e y

Toyota's really dealing

W hacko out they go

F ilm H o u se : R o ly P o ly

D ir /C in e m a to g ra p h e r : R o n Jo h a n so n

E d ito r : S tev e C o o p e r , B E E P S

We're o f f to ge t the fe e lin g

I f stay ing num ber one is what Toyota wants to

be

R e c o rd in g S tu d io : C la x , S y d n e y There's got to be som ething g o o d in that

P ro d /A rra n g e r : P e te r B a ile y

R e c o rd in g E n g in e e r : P e te r C la rk

T hat’s good f o r yo u a n d me.

Hey, whacko out they go

(We 're dealing)

Get us on the line (Toyota)

Say goodbye to the o ld ja lo p y

There'll never be a better time.

O h! What a feeling!

They're just ads Appendix / 101 Jingles, slogans and production details

I)H le t te r s c a m p a ig n (1992/93) New Zealand's favourite beer

C lien t: L ion N athan N Z /D B D raught You m ust be ready fo r one by now

A gency : M ojo Sydney /A uck land Not bad with a BBQ

P roduction H ouse: M ultiv isuals Can we bend y o u r elbow?

C o m p u te r G en era ted Im ages Dir: T erry S traight

R eco rd in g S tud io : S uite 16

N eed a bit o f a break?

What'll we do i f they're not biting?

P rod /A rranger: G arry Sm ith L et’s duck a round to the pub

R eco rd in g E ngineer: Ju lian L y n ch tff M y throat sure gets dry when the N or’ Wester

blows

T h e e v e r c h a n g in g a lw a y s a m a z in g G o ld C o a s t We like? B ig skies o f blue

C lien t: Q T T C What do we like?

A gency : M o jo B risbane

Film H ouse: R oly Poly P icture C om pany

? every which way.

We like to play, to play, to p la y , to play.

D ir/C inem tog rapher: R on Johanson and various A n d we like do in ' that the most

from p rev io u s G old C o ast TV C s

F ilm E ditor: S teve T hom as, B EEPS

On the G old Coast.

R ecord ing S tud io : S uite 16 E ver changing, always am azing G old C oast

P rod /A rr: G a riy Sm ith

R eco rd in g E ng ineer: D avid C ham pion

L ead V ocal: P e te r R oberts

Q ueensland's coast with the most.

We like it day a n d night. (We like it, we like it.)

The ever changing always am azing

G old Coast. (W e like it.)

C lassifieds

C lien ts: R ockham pton M orning B ulletin .

G lad sto n e O b se rv e r

W riter: Idris Jones

P roduction H ouse: M ultiv isuals

D irecto r: T e rry S tra igh t

A rt D irec to r: G rev ille P atterson

A n im ation C o n su ltan t: M ax B annah

Appendix H

This thesis is accompanied by They're just ads a video compilation of advertisements written

art directed by Greville Patterson. The tape includes the following advertisements:

1978- 79 - Ogilvy & Mather Brisbane

Feeling good (4BK Bear) - Radio Station 4BK

Feeling good (live action) - Radio Station 4BK

1979- 81 - McCann Erickson - Sydney

Have a Coke and a smile - Coca Cola Company

1982 - George Patterson Brisbane

Aussie - Peters Ice Confection

Why don't we have a Fosters instead? - Carlton and United Breweries

1983-86 - Greville Patterson Creative - Brisbane

Waddaweneed? - Mortein Insect Sprays

Take it easy, take a train - Queensland Rail

Unbeatable drumstick - Peters Ice Confection

Country girl - Stefan Hair Fashions

Get splendiferoused - Splendiferous

Take a trip away from the everyday - Dreamworld

The famous Aussie spirit - Bundaberg Rum

Ingham Chicken love 'em - Ingham Chicken

C'est Lee Cooper- Lee Cooper Jeans

Rock watch - Wallace Bishop (Art Direction)

Hands up - Wallace Bishop and Seiko (Art Direction)

Bill and Betty's Foods tore - Foodstores

1987-88 - Mojo Brisbane

Too good to be true (Version I) - Mirage Resorts

Too good to be true (Version II) - Mirage Resorts

Set your sails - Marina Mirage

Duelling banjos (I can feel a XXXX coming on) - XXXX Bitter Ale

Our land - XXXX Bitter Ale (various with time codes)

I love Saturday morning - Mitre 10 Hardware Stores

They're ju st ads Appendix II 103 Video compilation

Here's to the girls who won't wear anything else - Triumph Bras

1988 -1989 - Mojo UK

1990-1997 -Mojo Australia

Be a little bit different (City version) - Toyota Lexcen

Be a little bit different (Country version) - Toyota Lexcen

Be a little bit different (Holiday version) - Toyota Lexcen

The really roomy Corolla - Toyota Corolla

It's all about how you feel inside - Toyota Corolla

Whacko out they go - Toyota

We love it up here (Version I) - XXXX Bitter Ale

We love it up here (Version IT) - XXXX Bitter Ale

The things we do for a Tooheys or two - Tooheys

Need a bit o f a break? - DB Draught

Can we bend your elbow? - DB Draught

You must be ready for one by now - DB Draught

Yol Way to go! - Queensland Tourist and Travel Corporation (QTTC)

The ever changing always amazing Gold Coast - QTTC

Forget the rest (Great Keppel Island) - QTTC

Mother Nature at her very best - Golden Circle

It must be summertime - Golden Circle

You want it, you got it! (Version I) - Birch Carroll and Coyle

You want it, you got it! (Version II) - Birch Carroll and Coyle

Delicious. Delightful. Defiance - Defiance Flour

Checkouts Classifieds (Concept realisation) - Rockhampton Morning Bulletin, Gladstone

Observer

BCM Partnership

Real things - Queensland University o f Technology

Dreamworld - Dreamworld

Holy cow - Eagle Boys Pizza

Hot foot - Eagle Boys Pizza

Rock pool - Golden Circle

Flower field - Golden Circle

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