This is what you shall do: Love the earth and sun and the animals, despise riches, give alms to every one that asks, stand up for the stupid and crazy, devote your income and labor to others, hate tyrants, argue not concerning God, have patience and indulgence toward the people, take off your hat to nothing known or unknown or to any man or number of men, go freely with powerful uneducated persons and with the young and with the mothers of families, read these leaves in the open air every season of every year of your life, re-examine all you have been told at school or church or in any book, dismiss whatever insults your own soul; and your very flesh shall be a great poem and have the richest fluency not only in its words but in the silent lines of its lips and face and between the lashes of your eyes and in every motion and joint of your body.
“There are two dozen platforms … from each of which several different bus lines depart. Thereafter, for a kilometre or more, all the lines leaving from any one platform take the same route out of the city, making identical stops.
“Each bus stop represents one year in the life of a photographer,” Minkkinen says. You pick a career direction – maybe you focus on making platinum prints of nudes – and set off. Three stops later, you’ve got a nascent body of work. “You take those three years of work on the nude to [a gallery], and the curator asks if you are familiar with the nudes of Irving Penn.” Penn’s bus, it turns out, was on the same route. Annoyed to have been following someone else’s path, “you hop off the bus, grab a cab… and head straight back to the bus station, looking for another platform”. Three years later, something similar happens. “This goes on all your creative life: always showing new work, always being compared to others.”
What’s the answer? “It’s simple. Stay on the bus. Stay on the fucking bus.”
Oliver Burkeman explains the ‘Helsinki Bus Station Theory’, The Guardian
If I could live like Frank O’Hara, with both a professional and creative life, I think I could be happy.
The natural, conversational rhythm of O’Hara’s poetry really turns me on. I read ‘Having A Coke With You’ pretty much once a day. Mainly for that killer last line.
For nearly three years now I’ve wanted to make some work about the death of Keith Vaughan, a brilliant British figurative painter who endured a lifetime’s struggle with his sexuality.
Vaughan committed suicide on 4th November, 1977 and wrote a poignant last diary entry as he waited for a cocktail of drugs to take effect.
The work I’ve imagined feels right – there’s depth to it and it looks good in my head, but I can’t settle on a suitable (respectful) way to show it. It’s possible there’s no good way. I’ve never used such personal or private source material before and I’m anxious to do it properly. Perhaps sharing his diary entry with you will get that initial reluctance out of the way and put some pressure on me to finally do something.
The capsules have been taken with some whisky. What is striking is the unreality of the situation. I feel no different. R. returned to H.H yesterday. But suddenly the decision came that it must be done. I cannot drag on another few years in this state. It’s a bright sunny morning. Full of life. Such a morning as many people have died on. I am ready for death though I fear it. Of course the whole thing may not work and I shall wake up. I don’t really mind either way. Once the decision seems inevitable the courage needed was less than I thought. I don’t quite believe anything has happened though the bottle is empty. At the moment I feel very much alive. P.W rang and asked me to dine with him tonight. But I had already made the decision though not started the action. I cannot believe I have committed suicide since nothing has happened. No big bang or cut wrists. 65 was long enough for me. It wasn’t a complete failure I did some [At this point the words lapse into illegibility and stop].
Oh go on then, ad grad, here are a few unrevolutionary thoughts based on my memory of the 2012 Ogilvy Fellowship process.
It’s lonely applying to these schemes without any guidance, so perhaps it’ll just help you to know a little about what to expect from the process.
When you’re applying to grad schemes you have one sole mission: simply be interesting enough to be invited through the front door. Be refreshing. Agencies invest large sums in this process and they dread missing talent. That makes your job way easier – whatever you write, make it audacious! Make the agency worry. Leave them thinking it’s risky *not* to interview you.
If you’re invited for interview, great, they want to know you better. Now give them reassurance that you’re genuinely passionate about the industry and someone they’d like to work with.
Interviews at Ogilvy follow a standard pattern: a friendly ‘Tell Us About Yourself’ interview followed by a tougher ‘What Do You Know About The Industry?’ interview.
Let’s assume you’re confident talking about yourself (be engaging, humble, conversational). The second interview is a more demanding opportunity to prove your nous, so be opinionated (form some specially, if you have to) and prepare to discuss the industry with some of the agency’s senior bods. Don’t expect anything in-depth or unfair, but do your homework (research the agency, their clients, their work etc…). The least enthusiastic and knowledgeable candidates are identified (and ditched) fairly quickly at this stage.
The Assessment Centre.
This is an agency’s final means of sifting their remaining candidates. Perhaps thirty final candidates who performed well at interview will be invited to the “assessment centre”. You’ll be expected to spend a day together and perform tasks engineered to reveal how effectively your present, how you socialise and how productively you work under pressure.
Honestly: assessment centres are unpleasant. Don’t be unsettled by the room of implausibly confident, smiling people that greets you – it’s a front. Try not to feel threatened by the backgrounds or experience of other candidates – be yourself, you’ve been deemed worthy already, so go with it.
By this stage in the process I’d used Twitter to search for other candidates (they’re wanna-be-ad-grads after all, they’ll be online). Recognising some faces and secretly knowing that they shared my angst was a useful strategy for feeling comfortable.
The day itself began with short presentations on topics chosen from a list emailed to candidates a week before. Abilities varied wildly and that’s exactly why most agencies test this, so get as much practice as you can. Hint: s.l.o.w d.o.w.n, don’t read from a script and don’t waste the evening before baking cupcakes for everyone (this happened).
After lunch, candidates were divided into teams and handed folders of British Gas literature with which to devise and present a strategy for encouraging consumers to use energy saving gadgets. Each team was monitored and notes were taken; in fact you’re observed pretty much all day. I can’t speak much for this side of the assessment, so I simply recommend you speak up, work together and arrive at a solution as efficiently as you can.
Once the formal elements of the day had ended, candidates were encouraged to stay for drinks. Stay! Success doesn’t hang on the balance here (even though it’s rumoured that some agencies will deliberately try to get you drunk to see how you behave), but the bar is a really integral part of agency life, so try to get comfortable. Besides, you probably deserve a pint after what you’ve been through.
You already know how mad competition in Advertising is, particularly for graduates, but apply anyway. Someone will be successful, why not you? Trust in the process, play up and play the game.
Applications for the Ogilvy Fellowship open on January 7th, 2013 – you can apply on the Ogilvy website. For news of other graduate schemes, try AdGrads and Gradvantage. Bookmark them, find them on Twitter. They’re your friends.
Otherwise, if you have any questions about the Ogilvy Fellowship or things in general that you (foolishly) think I might have an answer to, then fire up Twitter and do ask me (@jontyh) or another Ogilvy Fellow.