. - McGarrah Jessee

BIG LITTLE AGENCY SHOOTS (AND HITS) BEYOND TEXAS
McGarrah Jessee
Like the city they call home, Bryan Jessee and Mark
McGarrah defy stereotype. Bryan loves to rodeo
but sips Chardonnay with BBQ. Mark roots for the
OK Sooners but works in the shadow of the Texas
Longhorns. Their hometown, Austin, is perfect for
their tastes and lifestyles. It’s got cowboys, honkytonks, taco stands and rabid conservatives on Capitol
Hill, but Austin also remains the capitol of Texas
“weird”; a placid blue island in a righteous sea of
red, it’s a progressive marvel, home to Whole Foods
Markets and five-buck shots of wheat grass and to
the Broken Spoke and ten-buck shots of The Ass
Kicker (don’t ask). by Matthew Porter
I
t is a milieu that attracts people like Jessee and
McGarrah, lured here in 1992 and leaving behind
Dallas to join gsd&m (then and now Austin’s
biggest Three Ring Ad Circus). By 1996 they’d
launched McGarrah Jessee (McJ). A fateful encounter
would propel their careers.
Dick Evans, chairman and ceo of Frost Bank, had
heard of McGarrah and Jessee before they left
gsd&m. He made an appointment to drop by their
new, humble office. He recalls:
“It was thirteen years ago and we were looking for a
new agency. Now, as you know, banks are not the
most exciting places and defining the intangible
things that distinguish one from another is awfully
difficult. The first thing Mark and Bryan did was to show me a bunch of bank ads with
their names removed so I couldn’t identify which was which. They all looked the same: an
old white-haired man with a coat slung over his shoulder looking over a construction site
or a nice young couple sitting by a fire petting their golden retriever. Next, they told me
they’d take the time necessary to learn who we were as people and as a company. They said
that would require broad access to everyone in our company. We hired them and opened
our doors to them. They came back with a campaign called, ‘We’re From Here.’ It’s a
phrase that captures the essence of who we are. It remains the basis of our brand message
today. Why? Because it defines the character and values of those who work here.”
In the many years since, strategies, channels and media have changed. Frost Bank has
grown in size and added hundreds of new technologies that have changed the way they
do business. “But,” points out Evans, “people remain the core of who and what we are
as a business. Mark and Bryan understood that from the beginning and, over the years,
have found marvelous ways to tell that story again and again.”
James Mikus, co-executive creative director, wrote the captions.
Right: “Frost has offered financial services in the state of Texas since 1868. No one reflects Frost’s values
better than real, working cowboys. We commissioned tintype photography of these men and women and
their families and turned the results into a tabletop book and a touring exhibit, sponsored by Frost.” Tom
Frost/John Graves/Robb Kendrick, writers; Derritt Derouen, designer; James Mikus, creative director; Robb
Kendrick, photographer; Frost Bank, client.
“Print ads for Frost. Good, old-fashioned customer service meets cutting-edge technology.” Michael
Anderson, art director; Brian Jordan, writer; Cameron Day/James Mikus, creative directors; Chris Frazier
Smith, photographer; Frost Bank, client.
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Beyond Texas
When in 2009 Ad Age named McGarrah Jessee Southwest
Agency of the Year, few would also recall that the magazine
also named its work for Shiner a national campaign of the
year runner up. The irony was not lost on the people of McJ:
A “regional” agency is national campaign runner up? wtf?
Jessee wearies fast when visitors spout off Texas bromides and
clichés to be funny: “Don’t get me wrong; we love our home
state,” he says. “We honor our Texas heritage and love this
city. But our work reaches beyond Texas. Whattaburgers stretch
from Arizona to Florida. Shiner sells in 48 states. Costa del
Mar eyewear advertises across the nation. Our people have
pedigrees and experience that stack up with any agency anywhere.” Then is it accurate to characterize the 70-person,
sub-$100 million Texas-based agency as “small” as Ad Age did?
Face it: In the world of advertising, “big” mostly modifies
“billings” but rarely equates with great.
McGarrah responds: “We’re big enough to remember the first
name of everyone who works here. We never want to get
bigger than that.”
Culture. Clients. Craft. By preserving one, you will attract
the other two. It is said that a principle is meaningless unless
it costs you. McJ has sacrificed to preserve culture and
quality. They choose accounts judiciously and are willing to
resign when a true partnership becomes impossible. They hire
carefully, asking prospects to meet with as many as twenty
staff members before a hire is made. Everyone has a stake in
maintaining the good juju at McJ. No one takes that responsibility lightly.
McJ is located downtown in a nineteenth-century grocery
warehouse that they helped save from a high-rise tombstone.
Their new office is under renovation a few blocks west, inside
Austin’s last significant modernist building whose interiors
were originally designed by Florence Knoll. It houses a significant mural by Seymour Fogel, an American painter whose
work is among numerous twentieth-century museum collections. Thanks to McJ, the Fogel mural and 1950s building were
spared—preserving a slice of Texas’s progressive culture. A
culture in which McGarrah Jessee fits well.
Go deep, then wide
For those who like ads that make them smile, McJ’s work
tickles many funny bones. Their Two-Finger Wave spot for
Frost Bank would be absurd if it wasn’t dead-on, honest and
accurate. It takes guts to tell people you’re the real deal
because if you aren’t they’ll crucify you. To pull that off, you
got to “go deep,” getting to know your clients and their customers inside and out.
Says Al Perkinson at Costa del Mar, “Our communications goal
is to enhance our brand personality and strengthen our con58
nection with our consumers. That requires an agency willing
to gain a deep understanding of both our brand and the community that it inhabits. Fishermen can sniff out a poser in
a minute. You must speak authentically. For example, our ad
campaign has some pithy headlines that are inside jokes among
the fishermen. They have to be just right or we’re busted.”
To get them right, McJ spoke with fishing pros across the
country asking for their input and critique. It was a timeintensive approach, but it led to great work that remains the
talk of the fishing community.
David Kampa is a design legend in Austin. His position at
McJ as design group leader speaks volumes about the agency’s
commitment to hiring the best and giving them the space to
work. “The model for designers at most advertising agencies
is usually as a studio artist implementing creative ideas for
art directors. That’s not the case here. Here, designers, art
directors, writers and interactive designers are integrated as
teams. Our ‘Deep and Wide’ approach opens endless design
opportunities for us to affect as much client business as
possible, from identity, packaging, promotions and collateral
to apparel, vehicles, signage, book design and architecture.”
Jeremy Cox leads McJ’s digital design group. He says, “It is
a given that anyone we hire has creative horsepower. The
trick is finding those who can integrate into a team without
feeling constrained or compromised creatively.” Along with
co-executive creative director David Holloway, James Mikus,
an eleven-year McJ veteran, directs the agency’s branding
efforts. “We’ll delve into as much of a client’s business as they
will allow. We’re as likely to be asked to design a building,
shoot a film, create an integrated campaign or pull a stunt as
we are asked to create a print or tv campaign. The trick is to
execute across all those platforms with a consistently high
level of craft.”
At McJ, account management is called “integration” because
Right: Whataburger packaging. “Not exactly the glass milk bottles
people had delivered to their doors when Whataburger was founded,
but darn close. The only thing better than milk is chocolate milk. When
Whataburger began offering its own premium coffee, we offered up
premium cups. The graphics for the T-shirt are all taken from old photos
in Whataburger’s archives.” Craig Crutchfield/Lauri Johnston, designers;
Craig Crutchfield/David Kampa, creative directors; Whataburger
Restaurants LP, client.
“One of Whataburger’s most popular burgers was going away, which
caused significant angst among its fans. The Farewell campaign was
our way of helping them cope.” Beau Hanson, art director; Tannen
Campbell, writer; Cameron Day/James Mikus, creative directors; Jeremy
Cox, interactive creative director; Whataburger Restaurants LP, client.
“Whataburger started as a small town burger joint. And thankfully, in a
lot of ways, it hasn’t changed much. We wanted that to come through
in these print ads.” Michael Anderson, art director; Brooks Jackson,
writer; James Mikus, creative director; Andrew Yates, photographer;
Whataburger Restaurants LP, client.
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it weaves together so many aspects of the branding equation.
“We accomplish this by proving that our strategic planning and
account management can knit many facets of their communications into one cohesive, effective and memorable whole,”
says Britton Upham, an eight-year McJ veteran.
Wizened, wired but not British, planning director Clay
Langdon agrees: “Fundamentally, planning hasn’t changed since
I was a kid at Merkley Newman Harty. It’s still about listening
to people and understanding brand opportunities. The difference
today is that inputs and outputs are more complex. Fifteen years
ago, we were searching for the idea for the campaign. Now, we’re
tackling multiple business problems across multiple channels
and improving brand experience across multiple
environments—simultaneously. That makes planning more
challenging, but more fun, too.”
McJ clients say they are part of the process and, thus, the outcome. Campaigns are not the result of fairy dust but, instead,
integration, coordination and hard work. At Shiner, marketing
manager Stacey Williams says that makes everyone part of the
success story: “I believe the Shiner brand team is indirectly
responsible for the great work of McGarrah Jessee because we
spend the time outlining our goals and objectives for each and
every program. This lets creative teams focus on areas of
importance and come up with earth-shattering ideas. It is my
role to allow creative to explore new and exciting avenues and
messages, while keeping my eye on well-defined objectives.
McGarrah Jessee understands this.”
2-4-1
Who doesn’t love good value? McGarrah and Jessee have worked
together for more than a quarter century. They’ve shared the
same office enclosure since founding McJ. They trust each other,
This page: “Newspaper ad and in-store signage for artisianal grocer Central
Market. We wanted our work for them to reflect the handmade feel of their
offerings.” Michael Anderson/Beau Hanson, art directors; Cameron Day,
writer; Ryan Rhodes, designer; Cameron Day/David Kampa/James Mikus,
creative directors; Central Market, client.
Right: Two Central Market cookbooks.”Bread Guide. Since Central Market
makes a lot of their own bread, this guide was a way of educating people
about the different types and styles they bake. Hatch Cookbook. Hatch
chilies are beloved in the Southwest and Central Market holds a Hatch green
chili festival each year. We collected Hatch recipes from customers and
created a cookbook to be given out at the event.” Craig Crutchfield/Ryan
Rhodes, designers; David Kampa, creative director; Central Market, client.
“We wanted these in-store signs to have a hand-wrought feel to them.” Ryan
Rhodes, designer; David Kampa, creative director; Todd Sanders, Roadhouse
Relics, production designer; Central Market, client.
Outdoor board. “Central Market wanted customers to stretch their
boundaries and try something they may have never tried before. This was
part of our take on that mission. P.S.: It’s a chayote, and it’s delicious.”
Michael Anderson, art director; Cameron Day, writer; Cameron Day/James
Mikus, creative directors; Central Market, client.
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do not disagree on final decisions yet
bring their own opinions to the
decision-making table. Each of their
skills complements the other’s.
Says Evans, “They are one. It is amazing.
After thirteen years, I have never seen a
difference between them. Sure, they have
different opinions but their respect for
each other’s talent is palpable. When you
talk to them, there is no divide—it’s like
talking to one with the benefit of two.”
What inspires loyalty? Among other
things, honesty, integrity and appreciation. Jessee and McGarrah are quick to
share credit. Foremost, they say, is lifelong friend Rob Lawton (emeritus
professor at Creative Circus in Atlanta),
both Jessee and David Kampa’s instructor
years ago at East Texas State in El Paso.
Second, is Stan Richards who taught
them to never accept “good enough.”
Then, there’s Dick Evans, their mentor,
first and longest-active client. If we’d
had time we’d have heard about the
contributions of all 68 McJ employees.
It takes a long time to grow loyal
friends. Putting people ahead of profit
has netted Jessee and McGarrah many.
They’ve set high standards and stood by
their principles. Now, after fourteen
years, they’re getting the recognition they
deserve. Who knows if getting bigger will
make them bad? One thing is certain:
They can’t grow much bigger in their
new office. The Fire Marshal won’t let
them. Occupancy is limited to 140. Get
in line. CA
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This page: Print ads. “McCoy’s is a chain of
building supply stores. They carry the ‘meat and
potatoes’ of building materials: wood, nails, bolts,
etc. No decorator items.” Robert Lin, art director;
Matt McCaffree, writer; James Mikus, creative
director; McCoy’s Building Supply, client.
“The spot was intended to boost morale among
employees as well as position McCoy’s as the place
hardcore builders get their stuff.”
“French” :30
(Open on heroic shots of McCoy’s employees)
Title Card: Guess what?
Title Card: The word “depot” is French.
Title Card: And the French wear berets.
Title Card: ‘Nuff said.
Robert Lin/James Mikus, art directors; Matt
McCaffree, writer; James Mikus, creative director;
Ron Pippin, interactive designer; Steven Bohls,
editor; Sacred Noise, music; David McNamara,
director; Meredith Roach, agency producer;
McCoy’s Building Supply, client.
Right: “Costa is a manufacturer of high-end
sunglasses with a cult-like following of fishermen
and water enthusiasts. We traveled to Belize and
shot a film aimed at the conservation of native fish
species and their habitats.” Tim Cole, art director;
Curtis Jinkins, designer; James Mikus, creative
director; Jerrett White, animation; Meredith Roach,
agency producer; Mairin Flynn/Austin McKenna,
project managers; Costa Del Mar, client.
Packaging for Costa sunglasses. Ryan Rhodes,
designer; David Kampa, creative director; Costa Del
Mar, client.
“This is an Airstream trailer we customized for
Costa to take on the road to events they host across
the country. It’s hand-painted, not vinyl-wrapped,
by the way.” David Kampa, designer/creative
director/illustration; Todd Sanders, Roadhouse
Relics, production designer; Costa Del Mar, client.
“This tradeshow booth is built from reclaimed
100-year-old barn wood.” Ryan Rhodes, designer;
David Kampa, creative director; Costa Del Mar,
client.
“Print execution touting Costa’s impact-resistant
lenses.” Michael Anderson/Tim Cole, art directors;
George Ellis, writer; Cameron Day/James Mikus,
creative directors; Nicole Truly, photographer; Costa
Del Mar, client.
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This page: “The Bock (or Ram) is the official
mascot of Shiner Bock Beer. What better way
for fans to profess their love of the beer than to
record a video message on the official Ram Cam.
These messages were then posted on a special
‘Bocklove’ micro site. Mounted in the finest
watering holes throughout the land.” Tim Cole,
art director; Meredith Callaway, designer; James
Mikus, creative director; Meredith Bohmfalk,
agency producer; Spoetzl Brewery, client.
“TV spot for Shiner Beer. Shot in the brewery’s
hometown of Shiner, Texas: 2,071 people, one
stoplight, no script.”
“Heritage” :30
Super: Shiner, Texas.
(Open on a series of images from the town of
Shiner, Texas, interspersed with dialogue of local
residents)
Anncr. (VO): You know you got towns that are
college towns, towns that are baseball towns.
Well Shiner is a beer town. It’s a small rural
community, you know, of Czech and German
people. That’s why Shiner Beer was first made
here in Shiner. We love our beer. The brewery
has been open 96 years. We’re getting close to
that centennial year coming up here soon, you
know. In Shiner everybody has to polka. Polka.
Food. Beer.
Title card: Shiner, from the town that loves beer.
Michael Anderson, art director; James Mikus,
creative director; Travis Aitken, editor; David
Hamburger/Brian Jordan/Shiner Hobo Band,
music; Jeff Bednarz, director; Meredith Roach,
agency producer; Spoetzl Brewery, client.
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Right: Shiner Bocklove micro site, mobile
app, banners and photo booth. “A micro
site dedicated to the viewing and uploading of
Bocklover stories in video, photo, audio and
written form. There’s also a fancy Webcam
interface for creating stories instantly. The
mobile app, a simplified version of Bocklove.com
lets users view all Bocklove content including
Ram Cam and Bock Booth submissions. Web
banners include tiny TVs where people can view
Bocklover stories or, better yet, create one of
their own to be instantly uploaded using the
Webcam banner. The Bock Booth travels to
various local events where it records videos of
happy Shiner Beer drinkers and their stories,
which are immediately uploaded to Bocklove.
com.” Tim Cole, art director; George Ellis, writer;
Meredith Callaway/Craig Crutchfield, designers;
Jeremy Cox, interactive creative director; Dave
Holloway/James Mikus, creative directors;
Spoetzl Brewery, client.
“Shiner Beer is brewed by the 66 employees of
the Spoetzl Brewery. They put their hearts and
souls into the beer, so we made them the heroes
of this campaign. This was a poster that hung in
men’s rooms over the urinal, during the SXSW
music festival.” Michael Anderson, art director;
Cameron Day, writer; Cameron Day/James
Mikus, creative directors; Spoetzl Brewery, client.
“Shiner is homegrown. Just like a lot of the
music Shiner fans enjoy. This ad ran in a music
magazine in support of the local music scene.”
Michael Anderson, art director; James Mikus,
writer; Cameron Day/James Mikus, creative
directors; Spoetzl Brewery, client.
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