कालिया 

सेलफोन के ईजाद से बहुत साल पहले, एक काले रोटरी-डायल टेलीफोन के जादुई शक्ति ने मेरे बचपन और अस्सी के दशक में जन्में अन्य बच्चों की कल्पनाओं को ऊँची उड़ान दी थी।

देवाशीष मखीजा, लेखक और फिल्म निर्देशक

कोरोमंडल एक्सप्रेस में हमारे डिब्बे को अलग कर बैंगलोर मेल में लगाया जा रहा था। हमारे डिब्बे को छोड़कर अन्य सभी यात्रियों की यात्रा मद्रास में समाप्त हो चुकी थी । हमारा वाला डिब्बा करीब तीन घंटे से एक ही जगह स्थिर खड़ा था, और उसके दोबारा चलने के इंतज़ार ने मेरी बेचैनी को बढ़ा दिया था । मैंने माँ से हमारा काला वाला टेलीफोन मांगा ताकि मैं नानी को कॉल कर उनसे कुछ गुलाब जामुन भेजने के लिए कह सकूं। “अगर हमारी ट्रेन कभी शुरू नहीं हुई तो हम कभी बैंगलोर नहीं पहुंचेंगे,” मैंने कहा, “और पिंकू सब कुछ चट कर जायेगा ।” अपनी छोटी बेटी के साथ यात्रा कर रही एक मारवाड़ी महिला बगल की सीट पर बैठी थी। माँ को उलझन में देखकर उसने मुझे खुश करने के लिए कुछ पेपर सोप निकाल कर मेरे हांथों में थमा दिया । मैंने पहले कभी पेपर सोप नहीं देखा था। उसने मुझसे कहा, “अगर नानी का नंबर डायल करने पर आपकी उंगलियां साफ नहीं होंगी, तो वह आपको नहीं सुन पाएगी,” और धीरे से मुस्कुराई। दरवाजे के पास वॉश बेसिन में अपने हाथों को साफ करने में मैंने लगभग आधा पैक इस्तेमाल कर लिया । तब तक बोगी नई ट्रेन से जुड़ चुकी थी और हमारी यात्रा फिर से शुरू हो गयी थी । 

कैम्पा-कोला बेचने वाले लड़के को देखकर मैं गुलाब जामुन को भूल ही गया ।

अबोध बचपन में उस काले रोटरी-डायल टेलीफोन को मैं किसी जादू से कम नहीं समझता था। उससे मैं अपने लिविंग रूम में घूमते उस ग्लोब के दूसरे छोर पर बसे चाचा-चाची की आवाज़ें सुन सकता था। मुझे किसी से संपर्क करने के लिए केवल एक जादुई कोड की आवश्यकता थी – पांच अंकों की संख्या। इसलिए मुझे यह मानने में बिल्कुल भी संकोच नहीं हुआ ही कि वह ब्लैक बॉक्स बहुत कुछ करने में सक्षम था। अगर मैं अपनी आंखें बंद कर लेता और एकाग्र हो जाता तो शायद मैं उन लोगों को देख सकता जिनसे मैं बातें करता था। और शायद मैं उन्हें टेलीफोन के नीचे खिसकाकर पत्र भी भेज सकता था। और यह भी कि मैं उसकी मांग अपनी ट्रेन यात्रा पर भी कर सकता था, और नंबर घुमा कर नानी से बात कर सकता था।

लगभग बीस साल बाद मैं जिस विज्ञापन एजेंसी में बतौर कॉपीराइटर कार्यरत था वहां मैंने उस दिन खुद को अपने बॉस के केबिन में बंद कर लिया था क्यूंकि मैंने कसम खायी थी कि जब तक मैं बिहार में सेल-फोन सेवाओं के शुभारंभ की घोषणा करने के लिए एक प्रेस विज्ञापन के लिए एक शीर्षक नहीं लिख लेता, तब तक बाहर नहीं निकलूंगा ।

मुझे उस कमरे में बंद हुए एक दिन से अधिक समय बीत गया था। मेरी समय सीमा बहुत पहले बीत चुकी थी और मैं हताश, कमजोर और बेचैन महसूस कर रहा था। 

तभी दरवाजे पर एक हलकी सी खट-खट हुई और किसी ने फैक्स पेपर नीचे से खिसका दी। उस पर एक मोटा-मोटी खींचे हुए डिब्बे के अन्दर लिखा हुआ था – ‘हमारी प्रतियोगी का अभियान।’ डिब्बे के अंदर मेरे काले टेलीफोन का जाना-पहचाना ग्राफ़िक था। और उसके बगल में, एक बदसूरत हिंदी फ़ॉन्ट में शोले का प्रसिद्ध डायलॉग था: “अब तेरा क्या होगा कालिया?”

उस वक़्त मुझे पता नहीं क्यों अचानक गुलाब जामुन खाने कि इच्छा हुई थी।

(नोट: बैंगलोर बेंगलुरु में बदल गया है, मद्रास चेन्नई हो गया है, और कालिया अब ‘पीरियड’ फिल्म की शूटिंग के लिए मुश्किल से मिलने वाला प्रॉप है)

देवाशीष मखीजा (nakedindianfakir@gmail.com) मुंबई में रहने वाले एक लेखक और फिल्म निर्देशक हैं, जिन्होंने लघु फिल्में ‘अगली बार’ (2015) और ‘तांडव’ (2016), फीचर फिल्में ‘अज्जी’ (2017),  और राष्ट्रीय पुरस्कार विजेता ‘भोंसले’ (2020) बनाई हैं। मखीजा लघु कहानियों के संग्रह ‘फॉर्गेटिंग’ (2014) और नीव पुरस्कार विजेता उपन्यास ‘ओंगा’ (2021) के लेखक हैं।
(The piece was first published in Vol LVI No 48, dated November 27, 2021, in the Economic & Political Weekly in English, and has been adapted in Hindi by Shillpi A Singh for this blog)

‘Nigel, Nigel, is that you?’

In the early 90s, British Airways created history with the launch of its cinema commercial.

It was one of the most brilliant and freshest ideas in advertising history. Created by advertising firm Saatchi & Saatchi, the commercial was a textbook case of media innovation.

Set in a Parisian boulevard, a man and woman were shown embracing each other. And then came the unexpected.

A woman in the cinema audience jumps to her feet and starts shouting to the man on the screen: “Nigel, Nigel, is that you?”

Not until “onscreen Nigel” answers back does the penny drop.

The woman was an actress who was planted in the audience by British Airways. She continued a rather emotional dialogue with Nigel, her lover, who was with another woman on a British Airways romantic break.

The commercial, if it can be called that (it was more like a new type of advertising medium), culminated with the actress storming out of the cinema. Every time that was staged, the audience spontaneously applauded.

The challenge with a cinema commercial is somehow to make sure that it will be recalled after the intense experience of the film. If this one didn’t, nothing could.

More here:

https://www.britishairways.com/100/story/memorable-television-adverts

Copywriting is all about being word wise

In February 1977, I met K. Kurian, founder and chairman of Radeus Advertising, for the first time. He was interviewing me for the post of Hindi copywriter in the agency. 

He said, “Before I ask you any question, I want you to look at our existing Hindi advertisements and give your comments”. 

Then he called for all his clients’ guard books. I don’t think today’s advertising professionals would know what guard books are. A guard book is an advertising agency’s internal archive of work done for a particular client. 

First, the guard book was for Firestone Tyres

In the first ad, in its first two sentences itself, I could spot errors. I asked him, “May I please get a pencil, Mr Kurian?”

He was amused and wondered, and rightly so. “Why do would need a pencil?” was his question. 

I replied, “To mark spelling errors, first.”

Mr Kurian shot back, “You mean to say our published ads have spelling errors?” 

Well, yes, they had. But he was gracious enough not to get offended, and that’s how I bagged my copywriting job at Radeus.  

Today, spelling errors ain’t a great deal because “sab chalta hai dude.” 😀😀😀

Dr Verghese Kurien: The brightest star of the Milky Way

A trip down memory lane, reminiscing my professional association with the Milkman of India on Amul’s 75th anniversary that also coincides with his centenary year celebration. Truly, it is nothing but ‘pyaar ki meethi bhent’ for someone I deeply admired. 

We are supposedly in a galaxy made up of about 200 billion stars and an all-encompassing halo… Looking back at one of the strongest influences in my life, I cannot but liken this man, who the world calls the ‘Milkman of India’, to this galaxy, ironically also called the Milky Way.

My first encounter with Dr Verghese Kurien, the man behind AMUL, GCMMF, NDDB, IRMA, was almost four decades ago. I first met him as a raw, young advertising man who was introduced to him as the media planner on the account. I knew him as my client. My first encounter with him set the course of what I term as my coming of age in advertising.

Dr Kurien was, what most advertising professionals today may term, a terror. But again, which client isn’t, one may ask? But the terror here was not the one who would yell or scream or misbehave or want one to do stuff his way. In fact, he was just the opposite. A client who called his agency, briefed them, set targets and cordially told them he would meet them a year later… if we met the targets, we continued servicing AMUL; if we did not, he would give us a warm send-off. Now which advertising professional would not find this terrorising… an invisible sword hanging over our heads that reasonably said, meant perform, increase sales and continue on the account. If you fail to meet the marketing goal, EXIT! Clear. Precise. Unarguable. 

When I first met him, I felt I was starting school. Still, after continuously servicing his account for 17 successful years, meeting targets year after year, I felt I had successfully graduated and post-graduated, year-on-year, with honours.

The man was clear in his vision, precise in his method and unarguably accurate in what he believed was good for the farmers. His indefatigable attitude of taking a bull by its horns made sure he successfully took on every challenge thrown up by the white revolution. When the problem of excess milk going to waste surfaced after AMUL successfully harnessed the massive support of milkmen, who contributed directly to the co-operative eliminating middlemen, he started the manufacture of AMUL milk powder. When he saw multinationals successfully market milk chocolates, his next thought was ‘why not AMUL’ and here came Amul Milk Chocolates…

The introduction of AMUL milk chocolates was a chapter in communications by itself. The chocolate went through multiple modifications to suit the 4 Ps of marketing. When it melted in summers due to retailers not having refrigeration to store it, he introduced carton packing to keep the chocolate safe. When it came to fighting out the frequency war in advertising, he, like the dream client he was, quickly took on my media suggestion of running 10-second commercials to every ‘slice of life’ commercial of the leader. 

We re-wrote the way creative worked, by aligning them to adhering to ‘only 10-second commercials’. At one-third of the budget, AMUL Chocolates soon captured the nation’s heart with its ‘A Gift for Someone You Love’ proposition.

Amul Chocolate advertisement.

His journey to make AMUL a head-on competitor, if not a leader in every milk product category, drove him to manufacture condensed milk, a product he felt was not as good as the competitors despite several modifications. But he was relentless in his pursuit of taking the co-operative to heights none of its shareholders could imagine.

Manthan by Shyam Benegal.

The story of the co-operative’s success behind the “Anand Pattern” of dairy development, which today has been adopted all over the country, was captured in the Shyam Benegal movie Manthan. This was the first time in India that a feature film was financed by farmers — the 500,000 farmers of Gujarat, as part of Dr Kurien’s Gujarat Co-operative Milk Marketing Federation.

In 1994, when the agency where I was working for, Radeus, another co-operative, was surreptitiously sold off to what is now TBWA-Anthem, Dr Kurien withdrew the account stating, “Your agency may be up for sale. My account isn’t.” 

Maybe the man behind India’s most successful co-operative movement felt as cheated as us, that his namesake Kurien, the head of Radeus had committed this breach.

For more than five decades, this ‘Milkman of India’ blazed many trails, taking his dream project to dizzying heights. India is what she is today due to the contributions of great men like Dr Verghese — an engineer who gave up the prospect of a good life and walked into a village to lead India to her glory. Rare is such selflessness, and rarer is the ability to see the largesse such men build, not for themselves but the masses. After struggling and fighting against middlemen and establishing a profitable co-operative, he saw the path he had made slowly obliterated, with none other than his protégés in an uprising against him. Dr Kurien was subject to utmost humiliation, by none other than those who served and were mentored by him, and finally gave up by resigning in 2006.

He, however, continued to stay in Anand, which from an unknown, remote village transformed into an invigorating, recognisable and exemplary speck on the world map. Today, many shall sing his praises, and many of these would be his detractors, who put this great man through ignominy. But like all great men, he too must be laughing all the way, at this farce that will be put up, as a good show, devoid of all sincerity.

I pay my heartfelt tribute to this man, who is as much a reason for my success as my other mentor, his namesake Kurien. My book would not have been what it is if it was not for the experiences I earned from Amul.

As I bid remember my dearest teacher, I cannot but recite this apt couplet, “Woh log humne ek hi shokhi mein kho diye, Paida kiya falak ne jinhe khaak chhan kar”.

I wish if I could…

I have a wish to make at least 4 more good advertising professionals before I leave this world. I have been a teacher and would love to pass on whatever little I know to a few eager-to-learn bunch of advertising newbies. It will be a small group so that I can respond to queries, and give individual attention. The takeaway would be an opportunity to learn the nuances of media planning.
Unfortunately, today most of the advertising agencies are owned by “Foreigners” who have made every employee, including CEOs to earn “Profits” for them. With the account type individuals, training, professional development has taken a back seat.
Even professional associations, etc., too have mediocre people at the helm of affairs. If any one is offended with my remark, I invite them to debate with me on a public forum.
Looking at the situation, I’ve now decided to conduct my Creative Workshop for students, once again.
Would you want to join?

What is PR?

Today’s so-called PR agencies were “Financial Agencies” during the Harshad Mehta Scam. Once the bluff was called off, those “Financial Agencies” started converting themselves into “PR” agencies with Global Tie-Ups.
Neither were they aware of the real meaning of “Public Relations” back then, nor are they any wiser now. During my tenure as Training & Professional Development Chairman at AAAI, we had requested our dear friend Sushil Bahl, Communication Street, to put together a manual for PR professionals. Sushil did a fabulous job. In this generation, I don’t know anybody who read or seen Sushil’s manual. Had they seen it, they would have been much better professionals.

Name, numerology and Bisca ready-to-eat noodles

It was in 1980s that Parle’s had launched first ever ready-to-eat noodles. The name of instant food was branded as Bisca (Yes, on astrologer’s recommendations five letters brand name like Limca. Pandit Ji’s recommendations did not work as product didn’t work with consumers. Probably the product was much ahead of it times). You were supposed to add boiling water in the pack and wait for 3 minutes & it was ready to eat.
The commercial for Bisca, which I wrote was:
Iss ka Bisca
Uss ka Bisca
Mera Bisca
Sab ka Bisca
Bisca
Bisca
Bisca
Bisca
(Product Window)
We were taught that we must try to brand name as often as possible because product was the hero and monies were spent to promote it.
These days when I am watching commercials, there are times when I struggle to get the brand name. Ain’t monies going down the drain if a consumer is made to struggle to get the name of the product?

‘विज्ञापन व्यवसाय कला के इंद्रधनुषी रंगों से सजा विज्ञान है’

अपने पचास वर्षों के अनुभव के आधार पर विश्वास से कह सकता हूँ कि भारत में या फिर शायद सारे संसार में विज्ञापन व्यवसाय से जुड़े लोगों की एक जटिल समस्या है और वो है, इस दुनिया में हर व्यक्ति के दो व्यवसाय होना।

जी हाँ, हर व्यक्ति के दो व्यवसाय होते हैं, एक वो, जिससे वो व्यक्ति जुड़ा है, और दूसरा होता है विज्ञापन व्यवसाय। हर व्यक्ति समझता है कि वो विज्ञापन बना सकता है। उसका मानना है कि विज्ञापन आख़िर होता क्या है — सिवाए एक तस्वीर और एक नारे के। तस्वीर खोज लो। एक अच्छा, बुरा या ऊट पटाँग नारा लिख लो, बस, विज्ञापन तैयार है। तभी तो वो विज्ञापन अभियान जिसे विज्ञापन अजेंसियाँ महीनों की मेहनत के बाद तैयार करती हैं, उन्हें उत्पादक स्वयं या उनकी पत्नियाँ या फिर उनके कर्मचारी मिनटों में तहस नहस कर देते हैं।

जो लोग विज्ञापन व्यवसाय से जुड़े हैं और सही मायनों में व्यवसायिक हैं, जानते हैं कि एक नारा और एक तस्वीर तय करने में कितनी छान-बीन करनी पड़ती है। जिस उत्पादन का विज्ञापन करना होता है, उसके बारे में लगभग सब कुछ जानना और समझना पड़ता है। क्यूँकि विज्ञापन व्यवसाय कला भी है और विज्ञान भी, ये कहना भी ग़लत नहीं होगा कि विज्ञापन व्यवसाय कला के इंद्रधनुषी रंगों से सजा विज्ञान है, जहां तर्क भी खोजने पड़ते हैं और उन्हें कला के रंगों से सजाना संवारना भी पड़ता है। 

हर अच्छा विज्ञापन उपभोक्ता तक पहुँचने से पहले विज्ञापन एजेन्सी में तीन मुख्य चरणों से गुजरता है। पहले चरण में इस बात का फ़ैसला किया जाता है कि क्या कहना है जबकि दूसरे और तीसरे चरण में ये तय किया जाता है कि कैसे कहना है और कहाँ कहना है।

पहले चरण में, यानी क्या कहना है, में जिस उत्पाद का विज्ञापन करना है उसके गुणों और कमज़ोरियों का उसी समान या उसके प्रतिस्पर्धी की तुलना में अध्ययन किया जाता है और ये मालूम करने की कोशिश की जाती है कि वे कौन से गुण हैं जिनका उल्लेख प्रतिस्पर्धी ब्रांड अपने विज्ञापनों में नहीं कर रहे हैं।

उत्पादक के तौर पर, लिम्का से पहले और अब फिर शीतल पेयों के विज्ञापनों में रंगारंग तस्वीरें का बड़े पैमाने पर इस्तेमाल होता है। जब हम लिम्का पर काम करते थे तब हम जान बूझ कर तस्वीरों की जगह इलसटरे्शन का इस्तेमाल किया। उस समय, प्रिंट, सबसे बड़ा माध्यम हुआ करता था। इसके इलावा सारे शीतल पेय रंग जामने की बात किया करते थे। उस समय लिम्का सारे अभियान का आधार प्यास था. हमारा मानना था कि शीतल पेयों का पहला काम होता है, प्यास बुझाना और ज़्यादातर उपभोक्ता प्यास बुझाने के लिए ही पेय ख़रीदते हैं। 

इसी को आधार बना कर, विज्ञापन अभियान बना गया था। 

इस चरण में क्या कहना है का फ़ैसला होता है। 

कैसे कहना है और कहाँ कहना है, दोनों चरण पर साथ-साथ काम होता है क्यूँकि इस बात का फ़ैसला कर लेने के बाद किस प्रकार के उपभोक्ताओं से बात करनी है, ये फ़ैसला करना होता है कि उनसे कहाँ बात करनी है? टी वी पर, रेडीओ पर, डिजिटल मीडिया में या प्रिंट मीडिया द्वारा? 

मान लीजिए कि हम आफ्टर शेव लोशन पर काम कर रहे हैं और सर्वेक्षण द्वारा मालूम होता है कि क़स्बों में रहने वाले रईस किसानों में आफ्टर शेव लोशन ख़रीदने की सम्भावना अधिक है। उस स्तिथि में पत्र-पत्रिकाओं की जगह टी वी और डिजिटल मीडिया बेहतर विकल्प होंगे। 

इस बात का फ़ैसला हो जाने पर उन माध्यमों के लिए उपयुक्त विज्ञापन अभियान तैयार करने की प्रक्रिया शुरू हो जाती है। 

मिसाल के तौर पर आयोडेक्स द्वारा ये तय कर लेने के बाद कि उपभोक्ताओं से कहना है कि आयोडेक्स दर्द भी दूर करता है और अच्छा भी करता है। तीन शब्दों ‘ऊह, आ, आउच’ का चयन किया गया होगा । यही उनके विज्ञापन अभियान के चिन्ह बन गए।

World Chocolate Day

Amul Chocolate was one among the many brands that I nurtured during my 18-year stint at Radeus Advertising Pvt Ltd, Mumbai.

“A gift for someone you love.” These words are etched in our memories, yours and mine, and for obvious reasons. A mere mention of this slogan leaves a sweet taste in the mouth. It serves as a reminder of how Amul Chocolate’s six flavours – milk chocolate, crisp, orange, fruit and nut, bitter and coffee – transformed a bar of humble chocolate, till then considered a luxury product meant for the elite class, into a household name, loved by one and sundry. Today, on World Chocolate Day, I can’t help but remember my sweet association with the brand. Undoubtedly, it remains the most loved advertisement for Amul Chocolate from the 80s and 90s when the market space was dominated by two other giants, Nestle and Cadbury. 

The story of how we arrived at this slogan is interesting. My boss, K. Kurian, founder and chairman of Radeus Advertising, asked us to find out why a person buys a bar of chocolate before we started work on the campaign.

He told us that if we didn’t have enough money for a formal research, we must do “Janta Research”, but we couldn’t do without research. Accordingly, we got to our business with a sample size of 40. It included all the employees working for Radeus, who responded to this question. The answers were not surprising. The responses from 40 odd people conveyed the larger thought of 90% Indians of how a chocolate bar was something that people only bought to offer to others, as a gift, reward or a token of love or remembrance, but never for themselves. And that’s how we coined, A gift for someone you love or प्यार की मीठी भेंट. 

The slogan was more than just a corporate positioning or an advertising jargon. It conveyed a noble sentiment. It was all about the love between a father-child, mother-child, husband-wife, friends, lovers, etc., that made them buy chocolate as a gift. 

The slogan for Amul Chocolate — A gift for someone you love or प्यार की मीठी भेंट — cast a spell on the public and made them choose Amul above others because love was the defining thought; a gift of love bought with love for someone you love and to spread love.   

अमूल चॉकलेट। प्यार की मीठी भेंट
Amul Chocolate | A gift for someone you love