Madboy – Bonus Post

This blogger skimmed “Madboy” by Richard Kirshenbaum, published in 2011. This ebook is mostly a name-dropping brag-fest.

Granted, the author does have bragging rights as an adman and did provide numerous tips on acquiring clients and maintaining good client relations, and described what it was like working in the ad industry in the 1980’s and 1990’s. But the first anecdote about a major business decision that resulted in a large financial loss, appeared almost halfway through this book. The author did gloze over a few mini-fails prior to that. However, this blogger thinks a career memoir need not put a happy face on every negative story, as though the author is in a job interview. He should be more introspective. Kirshenbaum seemed a tad insecure, and both he and his wife seemed easily starstruck. This blogger is not impressed that he has met and worked with dozens of celebrities in the last few decades.

The author recounted one amusing anecdote involving indecency during a camera shoot in Mississippi. He also made a few rather unfortunate statements:

  • Witty ads for his agency’s first client mentioned politicians famous in the 1980’s, that he said, “…captured the public’s attention, as it hadn’t seen this kind of creativity in the advertising business before.” Doubtful. There is nothing new under the sun.
  • About social networking: “…where now consumers actually control the conversation about brands and have honest and controversial conversations about a company’s brand preferences.” See https://educationanddeconstruction.com/?p=4180
  • Kirshenbaum believes American consumers are fiercely brand-loyal and “…the rise of social media (Facebook, Twitter, and YouTube) influence them.”  Again, see https://educationanddeconstruction.com/?p=4180

Read the book to learn of some of the big-name people Kirshenbaum met through the years, the campaigns and entities he spearheaded, places to which he traveled, what he learned from whom, and what became of his agency.

Stephen Sondheim

The Book of the Week is “Stephen Sondheim: A Life” by Meryle Secrest, originally published in 1993. This is the biography of a Broadway composer who was born in spring of 1930.

In 1946, when Sondheim was attending Williams College, he was finally accepted to a fraternity on his third attempt. Many fraternities automatically prejudged people who had last names that were perceived as Jewish, and rejected them. Throughout this entire book, there was mention of neither Sondheim’s religious observances, if any, nor of his beliefs. Nevertheless, in the spring of 1948, Sondheim religiously wrote more than twenty musical numbers for a show that parodied the school.

After graduation, Sondheim wrote an entire musical. Oscar Hammerstein, a family friend in his childhood, became his mentor. He taught Sondheim that “an author was not writing to satisfy himself… or even the actors… His main consideration should be how to relate the work to the audience’s experience… if the sympathies of the audience were not engaged, it did not matter how brilliant the work was.” The musical, on the initial draft, was angry and bitter, and had no likeable characters– they were all jerks. This blogger is reminded of various unfunny works of that nature: the plays, “Art” and “Some Americans Abroad” and the TV shows, “Curb Your Enthusiasm” and “The Office.”

On a more entertaining note, Sondheim also invented a board game called “Stardom” in which players have sex with show-business celebrities in order to reach the peak of the social ladder. There were different levels of fame and real properties (like in Monopoly) of stars’ homes. However, a player would regress when an opposing player leaked a rumor of a love affair to a gossip columnist.

Sondheim’s score of West Side Story (both a musical and a movie-musical) became popular largely due to the movie’s expensive ad campaign; people had a chance to get to like it. Absent the making of the movie, the songs would have languished in obscurity.

In 1960, Sondheim bought a house in the Turtle Bay section (East 40’s) of Manhattan, five stories high, for $115,000. It was next door to Katharine Hepburn’s. He and the other creators of “A Funny Thing Happened on the Way to the Forum” learned from producer/director Jerome Robbins that the opening number of a musical is crucial for setting the tone for the whole show, so it must be likeable and indicative of the nature of the show.

At age 29, Sondheim formed his own publishing company in order to make significantly more money than other composers. By age 32, he had three hit Broadway shows under his belt. During his career, he wrote more than eight hundred songs.

Read the book to learn the rest of the intimate details of Sondheim’s life.