"Fred and Alan Love Lucy: Fred Seibert and Alan Goodman, Who Make "I Want My MTV" Ads and Nick-at-Nite's Retro Posters, Live Where Mr. Ed Meets Patty Duke, Where Kitsch Equals Rich"
"Fred and Alan Love Lucy"
"Fred Seibert and Alan Goodman, who make "I Want My MTV" ads and Nick-at-Nite's Retro Posters, live where Mr. Ed meets Patty Duke, where kitsch equals rich"
Manhattan, inc.
February 1990
Original Title
"Fred and Alan Love Lucy: Fred Seibert and Alan Goodman, who make "I Want My MTV" ads and Nick-at-Nite's Retro Posters, live where Mr. Ed meets Patty Duke, where kitsch equals rich"
"Fred and Alan Love Lucy"
"Fred Seibert and Alan Goodman, who make "I Want My MTV" ads and Nick-at-Nite's Retro Posters, live where Mr. Ed meets Patty Duke, where kitsch equals rich"
Manhattan, inc.
February 1990
"Fred and Alan Love Lucy: Fred Seibert and Alan Goodman, Who Make "I Want My MTV" Ads and Nick-at-Nite's Retro Posters, Live Where Mr. Ed Meets Patty Duke, Where Kitsch Equals Rich"
"Fred and Alan Love Lucy"
"Fred Seibert and Alan Goodman, who make "I Want My MTV" ads and Nick-at-Nite's Retro Posters, live where Mr. Ed meets Patty Duke, where kitsch equals rich"
Manhattan, inc.
February 1990
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FEBRUARY 1990
EERFred and Alan Love Lucy
red Sebert and Alan Goodman, who make “Il Want My MTV
‘hat Nites retro posters, live where Mr; Fd meets
ads and Na
Patty Duke, where kitsch equals rich
ANETT, PAPARAZZO
doesn’t like being
dropped on her
head Not one bit
By the thirteenth take of
the day for this MTV
commercial, the twenty
foot falls gerting kind of
old.
“Just one more time,
kids,” pleads the ditector,
“Pil getyou oucof there,
bert, thirty-
seven, and Alan Good-
man, thirey-six, founders
and partners of the adver-
tising agency Fred/Alan
Ine., watch intently from
the’ sidelines. Alan
thoughefully pushes his
lasses back when they
slip down his nose. Bred,
checks his Elvis watch oc”
casionally to make sure
everything's. copavetic.
Both are dressed casual-
Iy—Seibert in khakis and
a white oxford shirt, Goodman sporting
his Miami Beach-meets-—Miam Vice will
jacket and salmon sweatshirt. Watching.
them together, one cannot help hum-
‘ming an insidious litte theme song from
one of the reruns they've helped popu
larize on Nick at Nite: “They laugh
alike, they walk alike, at times they even
talk alike...”
While the $150,000 commercial being
filmed today may be a bargain-basement
job by industry standards, ics not small
change to FrediAlan Inc.—nor to theit
client, MTV, which will be using it to
Judith Newman is a New York-based free
“ance writer.
PHOTOGRAPH BY BENNO FRIEDMAN
BY JUDITH NEWMAN
‘Alan Goodman and Fred Seibert: ad men for whom 1V is ther rusted guide,
advertise on other television newworks. It
took some fast taking to convince the
MTV people that it was worth the effort
{oeonstruetan upside-down set and drop
the calent from the ceiling, rather chan
simply to switch the image around
through video editing. What seemed a
minor and expensive detail would, ae
cording co Fred and Alan, determine the
suecess or failure of the spor.
Janet, the stuntwoman, carefully
climbs back into her rig. She greets
her MIPV-watching husband, a gymnast
who's been hired for his ability not wo
pass out when suspended upside down
forlong periods of time. The TV set on
the ceiling suddenly comes loose from ics
moorings, showering the
“normaf” TV-warching
couple below with acloud
of dust. The wife on the
ceiling suddenly realizes
she's upside down, drops
‘on her head into che home
of Ms. and Mrs. Boring
below, stands up, points
to the television, and
whines the now infamous
tag line:
WANTE-MY Mt
Cut. Applause from the
crew. “Looks great,”
shouts the director. The
MTV account executi
hugs the executive pro-
ducer. “Chris, you did it
you big Swedish gummy
bear.
Fred beams. Alan
pushes his glasses back on
his face.
“Hey, I don’t, know
what it means,” Alan
shrugs. “Buc it’s right for
the client, and it works.”
Fred, normally the one
who talks strategy, targeting, and num-
bets, has lft is thinking cap back ac the
office. “his is some tricky shi,” he ex-
claims happily.
Which prety much sums up the work
sd/Alan Ine.
Founded in 1983, the company has
grown froma three-person operation pro-
ducing on-air promes, sales films, and
network identifications for MTV to for
ty-one-person agency with $31 million in
billings: a hip, entertainment-based cli
cent list that includes Nickelodeon, Nick
at Nite, VH-1, and Mosaic Records; and
shot market niche. ‘They define them-
selves as “youth advertisers,” experts at
speaking the (musical, visual) language
FEBRUARY 1950 39Fred and Alan, whose office bathrooms are labeled Lucy and Ricky, were raised
amid the lawn sprinklers and quality aluminum siding of suburbia: having
mainlined TV since they were tots, their extended families include June and
Ward, Darrin and Samantha, Archie and Edith, Gilligan—and the Skipper too.
of the hard-to-persuade forty-and-under
boomer audiences—Baby Bust (1962-
73) and Baby Boomlet (1973 to the pres:
cent) —that account for about 58 percent
of the U.S. population. ‘These are the
folks who have mainlined television
ce they were tots, whose extended
familics included June and Ward, Darrin
and Samantha, Archie and Edith, Gil
gan—and the Skippertoo. he marketis
4 potential gold mine for anyone savvy
‘enough to speak this audience's televi-
sion-inspired language. It'sa language in
which Fred/Alan is fluent
Fred Seibert and Alan Goodman told
us we wanced our MTV. (They worked
with Lois Pon Gershon—now Lois!
GGK—awho just happen to be the same
people who came up with “I wane my
Maypo” during the sixties.) The boys
also helped make Nick at Nite, the pro-
‘gramming format on Nickelodeon that
airs only reruns (“Please, not reruns—
classics,” cries Goodman), 2 household
name in New York.
If the company has a trademark style,
ie that vireually everything: coming out
‘of their shop refers to the small screen.
‘Their appeal to fifties and sixties nostal-
gia, their trash and flash, their use of
dizzying graphics and. music that goes
straight co the gut has been copied end-
lessly. Forget market research. Forget
focus groups. More than any other
agency, they hit the consumer where he
really lives—the mental landscape of his
childhood
esa transitional time for the agency.
‘An attempt to show they had what it
takes to bring America’s tube heads to
the printed word failed: after winning
the prestigious Harcourt Brace Jovan
vich account in early 1989, they were out
the door by year’s end. ‘Then again, a
‘match with a more recent publishing cl
ent—Sassy, a magazine that, for all ics
“relevancy” to teenagers, doesn't exact.
ly presumean audience destined for 800s
on their SATs—looks much more prom-
ising. And for all their iconoclasm, Fred
Alan wants to prove that pitching prod-
tucts to the babies isn’e kid scuff; they
very much want the chance «0 try out
their methods on parity products—the
dog food-and-detergent set, an area of
advertising that they believe will open
uup new doors for the Patty and Kathy of
the industry.
40. MANHATTAN.t
Fred talks, Alan broods. Fred expands
on an idea, Alan summatizes it in four
words. But both agree on why their cam-
paigns for their media clients have been
so successful. It comes back to the child
in usall, our innate need to believe in an
idea ora produet. Parcof Fred and Alan’s
genius isin exploiting our faith in logos—
and having fun in the process.
“See, we're a tradematk-, brand-dri
cen company,” says Fred, whose office
hhouses an enormous Flying A billboard
from Tydol and dozens of original pack-
ages—milk cartons and so forth—from
the fifties and sisties. “Behind a trade
‘mark there's intrinsic value. Coca-Cola
‘means. something, McDonald's means
something. MTV means something—
ich is why people would wear MV
its. How many people do you see
wearing an NBC ‘T-shirt? ‘Ted ‘Turner
ced value with his Superstation. We
iekelodeon, and now,
wwe hope, VH-1." Because ‘television
networks have no brand identity, accord-
ing to Seibert and Goodman, they are
unable to create loyalty among their
viewers. “The point is we've created
brand loyalty for networks, which were
formerly not thought of in terms of
“brands,” and we think you can do that
with any product,” says Fred.
Ifad revenues are any indication, S
bert has a point. While the major ne
works continue to lose share at a steady
pace, the MTV channels (now owned by
Viacom) continue to inerease revenue
and siphon audiences away. According t0
Paul Kagan Associates, an independent
research firm, MTV revenue, after sev-
cer rocky years, is up SIL million, from
$78 million in 1988 to $89 million
1989. Nickelodeon's revenue has i
creased steadily and in 1989 cook a sub-
stantial jump, ftom $27 million to $41
million—partially the result of many
more homes’ receiving the station. Even
‘VEL, which since its inception in 1985
has been the problem child of the 1
‘works, may finally be coming into its
‘own; under Fred/Alan’s guidance (in ad.
dicion to handlingadvertsing, they aceas
consultants), the station has reconstruct
cd its programming to focus on the older
and sales have gone from $6.4
1987 to $18.1 millon in, 1989.
Yet the networks continue to ignore
these stations as competition—henee
NBG, ABC, and Fox are allowing MTV
toadvertise on their airwaves. CBS alone
seems to have spotted the enemy and
will noc air MTV commercials.
Marshall Cohen, who worked closely
with Fred and Alan when they were at
MTV and is now executive vie
dent for corporate affairs and communi-
cations at MTV Necwotks, believes in
Fred/Alan’s talent in creating. identity
and brand loyalty. “he biggest thing
we have going for us is how we commu-
nicate with our viewers,” says Cohen,
who adds that Fred/Alan will be devel-
oping HA! the T'V Comedy Network,
MTV's new comedy channel, “Fred!
Alan has helped us take raw concepts—
names and logos—and make them come
alive on'TV.”
To Fred and Alan growing up, TV was
life. The boys, whose office bathrooms
are labeled Lucy and Ricky, were raised
amid the lawn sprinklers and quality alue
minum siding of suburbia, Both were fa-
natic TV watchers. “I worried that Fred
would never live up to his potential,”
says his mother, Lilliana
Both were also musical. Alan played
trumpet, and Fred played electric key-
boards in high school band with a name
only someone deeply into puberty could
love—the Neglected Few. ‘They met at
Columbia University while working for
WKGR, the college radio station, “At
that time we weren't at all alike,” says
Fred. “Except that we both had this
satiable curiosity. It cemented 0
friendship.”
By their own admission, they've
grown more alike over the years (“Alan
was fat, I was skinny . . . now P've
gained weight, and he’s lost”), but they
like to atcibute their compatibility t0
certain key differences. “The importanc
thing is thacwe don’teac any of the same
foods,” Alan deadpans, “And [ive at the
southernmost tip of Manhattan, and
Fred lives at the northernmost.” But as
for their lives being intertwined, well,
just ask Fred’s sister, Elena She’s be
living with Alan for more than ten years.
Aftercollege the boys went their sepa-
rate ways professionally. Alan took his
film trainingand landed a tesearchingjob
at Consumer Reports, which produced
consumer mini-spots for local “TV sta-
tions “that didn’t have their own Betty
Fumes.” Later he became head copy-