Nonfiction: They’re Not ‘Mad Men’ Anymore. But the Ad Business Is Still High Stakes.

Nonfiction: They’re Not ‘Mad Men’ Anymore. But the Ad Business Is Still High Stakes.

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They’re Not ‘Mad Men’ Anymore. But the Ad Business Is Still High Stakes. – The New York Times

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Nonfiction

They’re Not ‘Mad Men’ Anymore. But the Ad Business Is Still High Stakes.

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A 1950s billboard for Nabisco’s Oreo in Los Angeles.CreditGary Leonard/Corbis, via Getty Images

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  • June 5, 2018

FRENEMIES
The Epic Disruption of the Ad Business (and Everything Else)
By Ken Auletta
358 pp. Penguin Press. $30.

Once upon a time, everyday America was fascinated by the advertising business, in somewhat the way that the turkey is fascinated by the ax. It began in the 1930s and ’40s, when sellers of consumer products and their ad agencies controlled the contents of the radio programming to which the nation listened. Comedians turned advertisers — and the denizens of Madison Avenue who worked for those brands — into grist for their mills. In “A Word From Our Sponsor: Admen, Advertising, and the Golden Age of Radio,” Cynthia B. Meyers recalls a joke from a Jack Benny show in 1948, a show sponsored by Lucky Strike: When Benny told his wife, Mary Livingstone, that he was calling the cigarette’s ad agency, Batten Barton Durstine & Osborn, she replied, “Sounds like a trunk falling down stairs.”

Elsewhere in popular culture, there were novels and movies — and novels made into movies — about the ad game and those who played it, among them “Take a Letter, Darling,” “Laura,” “The Hucksters,” “Mr. Blandings Builds His Dream House,” “Will Success Spoil Rock Hunter?,” “Lover Come Back,” “The Thrill of It All,” “Good Neighbor Sam” and “The Arrangement.” On television, there was “Bewitched” and, whenever characters in “The Twilight Zone” were especially anxious to flee the rat race, Rod Serling made sure, in episodes like “A Stop in Willoughby” and “Walking Distance,” that they worked in advertising.

The nonfiction best-seller lists were filled with ad books, from “The Hidden Persuaders” and “Madison Avenue, U.S.A.” to “Confessions of an Advertising Man” and “From Those Wonderful Folks Who Gave You Pearl Harbor: Front Line Dispatches From the Advertising War.” And versions of TV commercial jingles — for products like Alka-Seltzer, Diet Pepsi and Coca-Cola — made the pop-music hit parade. (Fun fact: The original “Hit Parade” was created by an ad agency, Lord & Thomas, for Lucky Strike.)

Image
A 1950s ad for Chevrolet automobiles.CreditHulton Archive

This widespread infatuation with advertising appears, in retrospect, to have peaked around 1971 with the spot that inspired one of those hits, the “Hilltop” commercial for Coke, a.k.a. “I’d Like to Teach the World to Sing.” It’s been downhill from there. For one thing, the process by which the professionals sell us soft drinks, soap and soup ceased to be a novelty. And the switch in the ’70s from the “brought to you by” sponsorship model of radio to the magazine-style, multiple-ad format of TV transformed advertisers from benign patrons into interruptive annoyances. Besides, other industries became shinier objects in the public’s eye, particularly Wall Street and Silicon Valley.

One could make the case that technology has assumed the place in the zeitgeist that advertising once occupied — and then some. The most recent TV series set in an ad agency, “The Crazy Ones,” lasted a season; “Silicon Valley” has been renewed for a sixth season. (Yes, there was “Mad Men,” from 2007 to 2015, but one of its main accomplishments was to remind us that Madison Avenue meant more then than now.) There have been other efforts to rekindle the American appetite for all things advertising, but none has truly broken through.

Now comes another attempt, from Ken Auletta, the prolific media reporter, critic and best-selling author, with “Frenemies: The Epic Disruption of the Ad Business (and Everything Else).” The title comes from a word popularized by Martin Sorrell, formerly the chief executive of WPP, the world’s largest advertising and marketing holding company; he started referring to Google as a “frenemy” of WPP’s in that they do business together (friend) at the same time they compete against each other (enemy). For those who wince at the characterization of the likes of Google, Facebook and Amazon as “frenemies” of the ad industry, be thankful; according to hbr.org, Sorrell also used the word “froes” to describe that love-hate relationship.

Sorrell is a principal figure in “Frenemies,” which seeks to rebuild interest in Madison Avenue by borrowing interest from Silicon Valley. It’s not unlike how advertisers themselves borrow interest, hiring celebrities to endorse products or devoting ads to buzzed-about subjects like a royal wedding. Auletta posits that few industries have been “convulsed by change” as much as advertising, which, as a result, is “facing fundamental challenges to its existence.”

It may be a mug’s game to figure out which industry has suffered the deepest damage at the hands of Silicon Valley; if you’re reading this in print, you’re holding another example of a business under siege. But Auletta works hard to get us to care about the fate of ad folks, despite our diminished interest in them or our distaste for what they do, because of their essential role as suppliers of the dollars that fuel the media ecosystem. If you “follow the money,” he writes, you’ll understand the importance of advertising and the significance of the threats against it, and maybe value it more, or at least disdain it less.

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Auletta surveys the tumultuous, treacherous ad landscape through the framework of frenemies. Not only are Madison Avenue and Silicon Valley frenemies, but so, too, he declares, are ad agencies and their marketer clients; agencies and media companies; traditional and digital media companies; agencies and consultancies like Accenture and McKinsey; agencies and software firms like Adobe and Salesforce.com; and, perhaps most telling, advertising and consumers. The easier it becomes for the public to zip, zap through and avoid interruptive ads — through innovative technology like ad blockers and streaming video — the madder, and more anxious, the mad men (and women) grow.

Yet as dire as their fate looks, some flowers bloom amid the gloom, taking the edge off the book’s pessimism. A respected industry strategist, Rishad Tobaccowala, tells Auletta: “People say we are dinosaurs. We are not dinosaurs. We are cockroaches. Everybody hates us. Nobody likes to see us. But cockroaches have outlived everyone. We scurry out of corners. We soldier on and hire people with different skill sets.”

Auletta details the adaptive behavior — new types of agencies; reviving the sponsorship model; embracing data-driven, two-way marketing based on individualized relationships — while suggesting that, at the biggest ad conglomerates like WPP, the money for such substantive changes exists thanks to still-respectable margins (“a relatively robust 15 or so percent”). And he weaves into his narrative evidence of the wealth the business can still produce.

For instance, one conglomerate’s chief executive “spends much of the year at his home in Palm Beach.” The leader of a large agency has a “glassed weekend home perched on 200 acres overlooking the Hudson River” along with an “8,000-square-foot Chelsea loft.” And a well-known industry consultant sells his company for potentially as much as $207 million, hosts a $400,000 dinner at Cannes, buys a Tesla, gets rock-star treatment at his favorite restaurants and arrives at a meeting “sporting his Christmas tan from Turks and Caicos.” There are martinis aplenty scattered among the pages of “Frenemies,” lending a nostalgic touch to the forward-facing proceedings.

Alas, “Frenemies” can’t avoid a pitfall common to such topical books, in that some of what’s chronicled has been overtaken by events between writing and publication. The most notable example: In the book, Sorrell is “secure” in his top role at WPP and “unlikely to step down anytime soon” — but he did, suddenly, in mid-April, after an internal investigation into alleged misconduct. It’s disconcerting, given how much Sorrell figures in “Frenemies,” to read of him telling Auletta, “I will stay here until they shoot me!” It’s ameliorated, though, by a newsy tidbit: Several years ago he negotiated “to sell WPP to Warren Buffett, but they did not see eye to eye and the discussions amicably collapsed.”

That’s a shame, if only because it’s fun to imagine how Buffett — whose holdings at Berkshire Hathaway include Geico — might have approached the ad business: “Marketers, save 15 percent on your campaigns with Geico WPP.”

Stuart Elliott, who freelances on advertising, marketing and media topics, wrote the Advertising column for The Times from 1991 to 2014.

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A version of this article appears in print on , on Page 12 of the Sunday Book Review with the headline: And Now for a Commercial Break. Order Reprints | Today’s Paper | Subscribe

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data-tag=”endnote”u003EStuart Elliott,u003Cu002Fspanu003E who freelances on advertising, marketing and media topics, wrote the Advertising column for The Times from 1991 to 2014.u003Cu002Fpu003E”,”htmlInfoBox”:”u003Cpu003Eu003Ciu003EFollow New York Times Books on u003Cu002Fiu003Eu003Ca href=”https:u002Fu002Fwww.facebook.comu002Fnytbooksu002F”u003Eu003Ciu003EFacebooku003Cu002Fiu003Eu003Cu002Fau003Eu003Ciu003E and u003Cu002Fiu003Eu003Ca href=”https:u002Fu002Ftwitter.comu002Fnytimesbooks”u003Eu003Ciu003ETwitteru003Cu002Fiu003Eu003Cu002Fau003Eu003Ciu003E, sign up for u003Cu002Fiu003Eu003Ca href=”https:u002Fu002Fwww.nytimes.comu002Fnewslettersu002Fbooks-review”u003Eu003Ciu003Eour newsletteru003Cu002Fiu003Eu003Cu002Fau003Eu003Ciu003E or u003Cu002Fiu003Eu003Ca href=”https:u002Fu002Fwww.nytimes.comu002Finteractiveu002F2017u002Fbooksu002Fbooks-calendar.html”u003Eu003Ciu003Eour literary calendaru003Cu002Fiu003Eu003Cu002Fau003Eu003Ciu003E. 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The Epic Disruption of the Ad Business (and Everything Else)”,”formats”:[{“type”:”id”,”generated”:true,”id”:”$Article:QXJ0aWNsZTpueXQ6Ly9hcnRpY2xlLzA1ZmViMWNhLWU2NWQtNTgzZi1iNDgyLTA2Mjc0ZTRjMDNlNQ==.sprinkledBody.content@filterEmpty.1.content.2.formats.0″,”typename”:”BoldFormat”}]},”$Article:QXJ0aWNsZTpueXQ6Ly9hcnRpY2xlLzA1ZmViMWNhLWU2NWQtNTgzZi1iNDgyLTA2Mjc0ZTRjMDNlNQ==.sprinkledBody.content@filterEmpty.1.content.2.formats.0″:{“__typename”:”BoldFormat”,”type”:null},”$Article:QXJ0aWNsZTpueXQ6Ly9hcnRpY2xlLzA1ZmViMWNhLWU2NWQtNTgzZi1iNDgyLTA2Mjc0ZTRjMDNlNQ==.sprinkledBody.content@filterEmpty.1.content.3″:{“__typename”:”TextInline”,”text”:” “,”formats”:[]},”$Article:QXJ0aWNsZTpueXQ6Ly9hcnRpY2xlLzA1ZmViMWNhLWU2NWQtNTgzZi1iNDgyLTA2Mjc0ZTRjMDNlNQ==.sprinkledBody.content@filterEmpty.1.content.4″:{“__typename”:”LineBreakInline”,”type”:null},”$Article:QXJ0aWNsZTpueXQ6Ly9hcnRpY2xlLzA1ZmViMWNhLWU2NWQtNTgzZi1iNDgyLTA2Mjc0ZTRjMDNlNQ==.sprinkledBody.content@filterEmpty.1.content.5″:{“__typename”:”TextInline”,”text”:”By Ken Auletta “,”formats”:[]},”$Article:QXJ0aWNsZTpueXQ6Ly9hcnRpY2xlLzA1ZmViMWNhLWU2NWQtNTgzZi1iNDgyLTA2Mjc0ZTRjMDNlNQ==.sprinkledBody.content@filterEmpty.1.content.6″:{“__typename”:”LineBreakInline”,”type”:null},”$Article:QXJ0aWNsZTpueXQ6Ly9hcnRpY2xlLzA1ZmViMWNhLWU2NWQtNTgzZi1iNDgyLTA2Mjc0ZTRjMDNlNQ==.sprinkledBody.content@filterEmpty.1.content.7″:{“__typename”:”TextInline”,”text”:”358 pp. Penguin Press. 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1950s ad for Chevrolet automobiles.”,”__typename”:”TextOnlyDocumentBlock”},”$Article:QXJ0aWNsZTpueXQ6Ly9hcnRpY2xlLzA1ZmViMWNhLWU2NWQtNTgzZi1iNDgyLTA2Mjc0ZTRjMDNlNQ==.sprinkledBody.content@filterEmpty.10″:{“__typename”:”Dropzone”,”index”:4,”bad”:true,”adsMobile”:false,”adsDesktop”:false},”$Article:QXJ0aWNsZTpueXQ6Ly9hcnRpY2xlLzA1ZmViMWNhLWU2NWQtNTgzZi1iNDgyLTA2Mjc0ZTRjMDNlNQ==.sprinkledBody.content@filterEmpty.11″:{“__typename”:”ParagraphBlock”,”textAlign”:”DEFAULT”,”content”:[{“type”:”id”,”generated”:true,”id”:”$Article:QXJ0aWNsZTpueXQ6Ly9hcnRpY2xlLzA1ZmViMWNhLWU2NWQtNTgzZi1iNDgyLTA2Mjc0ZTRjMDNlNQ==.sprinkledBody.content@filterEmpty.11.content.0″,”typename”:”TextInline”}]},”$Article:QXJ0aWNsZTpueXQ6Ly9hcnRpY2xlLzA1ZmViMWNhLWU2NWQtNTgzZi1iNDgyLTA2Mjc0ZTRjMDNlNQ==.sprinkledBody.content@filterEmpty.11.content.0″:{“__typename”:”TextInline”,”text”:”This widespread infatuation with advertising appears, in retrospect, to have peaked around 1971 with the spot that inspired one of those hits, the “Hilltop” commercial for Coke, a.k.a. “I’d Like to Teach the World to Sing.” It’s been downhill from there. For one thing, the process by which the professionals sell us soft drinks, soap and soup ceased to be a novelty. And the switch in the ’70s from the “brought to you by” sponsorship model of radio to the magazine-style, multiple-ad format of TV transformed advertisers from benign patrons into interruptive annoyances. Besides, other industries became shinier objects in the public’s eye, particularly Wall Street and Silicon Valley.”,”formats”:[]},”$Article:QXJ0aWNsZTpueXQ6Ly9hcnRpY2xlLzA1ZmViMWNhLWU2NWQtNTgzZi1iNDgyLTA2Mjc0ZTRjMDNlNQ==.sprinkledBody.content@filterEmpty.12″:{“__typename”:”Dropzone”,”index”:5,”bad”:false,”adsMobile”:false,”adsDesktop”:false},”$Article:QXJ0aWNsZTpueXQ6Ly9hcnRpY2xlLzA1ZmViMWNhLWU2NWQtNTgzZi1iNDgyLTA2Mjc0ZTRjMDNlNQ==.sprinkledBody.content@filterEmpty.13″:{“__typename”:”ParagraphBlock”,”textAlign”:”DEFAULT”,”content”:[{“type”:”id”,”generated”:true,”id”:”$Article:QXJ0aWNsZTpueXQ6Ly9hcnRpY2xlLzA1ZmViMWNhLWU2NWQtNTgzZi1iNDgyLTA2Mjc0ZTRjMDNlNQ==.sprinkledBody.content@filterEmpty.13.content.0″,”typename”:”TextInline”}]},”$Article:QXJ0aWNsZTpueXQ6Ly9hcnRpY2xlLzA1ZmViMWNhLWU2NWQtNTgzZi1iNDgyLTA2Mjc0ZTRjMDNlNQ==.sprinkledBody.content@filterEmpty.13.content.0″:{“__typename”:”TextInline”,”text”:”One could make the case that technology has assumed the place in the zeitgeist that advertising once occupied — and then some. The most recent TV series set in an ad agency, “The Crazy Ones,” lasted a season; “Silicon Valley” has been renewed for a sixth season. (Yes, there was “Mad Men,” from 2007 to 2015, but one of its main accomplishments was to remind us that Madison Avenue meant more then than now.) There have been other efforts to rekindle the American appetite for all things advertising, but none has truly broken through.”,”formats”:[]},”$Article:QXJ0aWNsZTpueXQ6Ly9hcnRpY2xlLzA1ZmViMWNhLWU2NWQtNTgzZi1iNDgyLTA2Mjc0ZTRjMDNlNQ==.sprinkledBody.content@filterEmpty.14″:{“__typename”:”Dropzone”,”index”:6,”bad”:false,”adsMobile”:false,”adsDesktop”:false},”$Article:QXJ0aWNsZTpueXQ6Ly9hcnRpY2xlLzA1ZmViMWNhLWU2NWQtNTgzZi1iNDgyLTA2Mjc0ZTRjMDNlNQ==.sprinkledBody.content@filterEmpty.15″:{“__typename”:”ParagraphBlock”,”textAlign”:”DEFAULT”,”content”:[{“type”:”id”,”generated”:true,”id”:”$Article:QXJ0aWNsZTpueXQ6Ly9hcnRpY2xlLzA1ZmViMWNhLWU2NWQtNTgzZi1iNDgyLTA2Mjc0ZTRjMDNlNQ==.sprinkledBody.content@filterEmpty.15.content.0″,”typename”:”TextInline”}]},”$Article:QXJ0aWNsZTpueXQ6Ly9hcnRpY2xlLzA1ZmViMWNhLWU2NWQtNTgzZi1iNDgyLTA2Mjc0ZTRjMDNlNQ==.sprinkledBody.content@filterEmpty.15.content.0″:{“__typename”:”TextInline”,”text”:”Now comes another attempt, from Ken Auletta, the prolific media reporter, critic and best-selling author, with “Frenemies: The Epic Disruption of the Ad Business (and Everything Else).” The title comes from a word popularized by Martin Sorrell, formerly the chief executive of WPP, the world’s largest advertising and marketing holding company; he started referring to Google as a “frenemy” of WPP’s in that they do business together (friend) at the same time they compete against each other (enemy). For those who wince at the characterization of the likes of Google, Facebook and Amazon as “frenemies” of the ad industry, be thankful; according to hbr.org, Sorrell also used the word “froes” to describe that love-hate relationship.”,”formats”:[]},”$Article:QXJ0aWNsZTpueXQ6Ly9hcnRpY2xlLzA1ZmViMWNhLWU2NWQtNTgzZi1iNDgyLTA2Mjc0ZTRjMDNlNQ==.sprinkledBody.content@filterEmpty.16″:{“__typename”:”Dropzone”,”index”:7,”bad”:false,”adsMobile”:true,”adsDesktop”:false},”$Article:QXJ0aWNsZTpueXQ6Ly9hcnRpY2xlLzA1ZmViMWNhLWU2NWQtNTgzZi1iNDgyLTA2Mjc0ZTRjMDNlNQ==.sprinkledBody.content@filterEmpty.17″:{“__typename”:”ParagraphBlock”,”textAlign”:”DEFAULT”,”content”:[{“type”:”id”,”generated”:true,”id”:”$Article:QXJ0aWNsZTpueXQ6Ly9hcnRpY2xlLzA1ZmViMWNhLWU2NWQtNTgzZi1iNDgyLTA2Mjc0ZTRjMDNlNQ==.sprinkledBody.content@filterEmpty.17.content.0″,”typename”:”TextInline”}]},”$Article:QXJ0aWNsZTpueXQ6Ly9hcnRpY2xlLzA1ZmViMWNhLWU2NWQtNTgzZi1iNDgyLTA2Mjc0ZTRjMDNlNQ==.sprinkledBody.content@filterEmpty.17.content.0″:{“__typename”:”TextInline”,”text”:”Sorrell is a principal figure in “Frenemies,” which seeks to rebuild interest in Madison Avenue by borrowing interest from Silicon Valley. It’s not unlike how advertisers themselves borrow interest, hiring celebrities to endorse products or devoting ads to buzzed-about subjects like a royal wedding. Auletta posits that few industries have been “convulsed by change” as much as advertising, which, as a result, is “facing fundamental challenges to its existence.””,”formats”:[]},”$Article:QXJ0aWNsZTpueXQ6Ly9hcnRpY2xlLzA1ZmViMWNhLWU2NWQtNTgzZi1iNDgyLTA2Mjc0ZTRjMDNlNQ==.sprinkledBody.content@filterEmpty.18″:{“__typename”:”Dropzone”,”index”:8,”bad”:false,”adsMobile”:false,”adsDesktop”:true},”$Article:QXJ0aWNsZTpueXQ6Ly9hcnRpY2xlLzA1ZmViMWNhLWU2NWQtNTgzZi1iNDgyLTA2Mjc0ZTRjMDNlNQ==.sprinkledBody.content@filterEmpty.19″:{“__typename”:”ParagraphBlock”,”textAlign”:”DEFAULT”,”content”:[{“type”:”id”,”generated”:true,”id”:”$Article:QXJ0aWNsZTpueXQ6Ly9hcnRpY2xlLzA1ZmViMWNhLWU2NWQtNTgzZi1iNDgyLTA2Mjc0ZTRjMDNlNQ==.sprinkledBody.content@filterEmpty.19.content.0″,”typename”:”TextInline”}]},”$Article:QXJ0aWNsZTpueXQ6Ly9hcnRpY2xlLzA1ZmViMWNhLWU2NWQtNTgzZi1iNDgyLTA2Mjc0ZTRjMDNlNQ==.sprinkledBody.content@filterEmpty.19.content.0″:{“__typename”:”TextInline”,”text”:”It may be a mug’s game to figure out which industry has suffered the deepest damage at the hands of Silicon Valley; if you’re reading this in print, you’re holding another example of a business under siege. But Auletta works hard to get us to care about the fate of ad folks, despite our diminished interest in them or our distaste for what they do, because of their essential role as suppliers of the dollars that fuel the media ecosystem. If you “follow the money,” he writes, you’ll understand the importance of advertising and the significance of the threats against it, and maybe value it more, or at least disdain it less.”,”formats”:[]},”$Article:QXJ0aWNsZTpueXQ6Ly9hcnRpY2xlLzA1ZmViMWNhLWU2NWQtNTgzZi1iNDgyLTA2Mjc0ZTRjMDNlNQ==.sprinkledBody.content@filterEmpty.20″:{“__typename”:”Dropzone”,”index”:9,”bad”:true,”adsMobile”:false,”adsDesktop”:false},”$Article:QXJ0aWNsZTpueXQ6Ly9hcnRpY2xlLzA1ZmViMWNhLWU2NWQtNTgzZi1iNDgyLTA2Mjc0ZTRjMDNlNQ==.sprinkledBody.content@filterEmpty.21″:{“__typename”:”ImageBlock”,”size”:”SMALL”,”media”:{“type”:”id”,”generated”:false,”id”:”Image:SW1hZ2U6bnl0Oi8vaW1hZ2UvNjcxNGJlNTctYjNiOS01ZGQ3LTkxZmMtMmFiZGE5YjFmMDJm”,”typename”:”Image”}},”Image:SW1hZ2U6bnl0Oi8vaW1hZ2UvNjcxNGJlNTctYjNiOS01ZGQ3LTkxZmMtMmFiZGE5YjFmMDJm”:{“id”:”SW1hZ2U6bnl0Oi8vaW1hZ2UvNjcxNGJlNTctYjNiOS01ZGQ3LTkxZmMtMmFiZGE5YjFmMDJm”,”imageType”:”photo”,”url”:”https:u002Fu002Fwww.nytimes.comu002Fimagepagesu002F2018u002F06u002F05u002Fbooksu002Freviewu002F17elliott3.html”,”uri”:”nyt:u002Fu002Fimageu002F6714be57-b3b9-5dd7-91fc-2abda9b1f02f”,”credit”:””,”legacyHtmlCaption”:””,”crops({“renditionNames”:[“articleLarge”,”jumbo”,”superJumbo”,”popup”]})”:[{“type”:”id”,”generated”:true,”id”:”Image:SW1hZ2U6bnl0Oi8vaW1hZ2UvNjcxNGJlNTctYjNiOS01ZGQ3LTkxZmMtMmFiZGE5YjFmMDJm.crops({“renditionNames”:[“articleLarge”,”jumbo”,”superJumbo”,”popup”]}).0″,”typename”:”ImageCrop”}],”caption”:{“type”:”id”,”generated”:true,”id”:”$Image:SW1hZ2U6bnl0Oi8vaW1hZ2UvNjcxNGJlNTctYjNiOS01ZGQ3LTkxZmMtMmFiZGE5YjFmMDJm.caption”,”typename”:”TextOnlyDocumentBlock”},”__typename”:”Image”},”Image:SW1hZ2U6bnl0Oi8vaW1hZ2UvNjcxNGJlNTctYjNiOS01ZGQ3LTkxZmMtMmFiZGE5YjFmMDJm.crops({“renditionNames”:[“articleLarge”,”jumbo”,”superJumbo”,”popup”]}).0.renditions.0″:{“url”:”https:u002Fu002Fstatic01.nyt.comu002Fimagesu002F2018u002F06u002F17u002Fbooksu002Freviewu002F17elliott3u002F17elliott2-popup.jpg”,”name”:”popup”,”width”:296,”height”:450,”__typename”:”ImageRendition”},”Image:SW1hZ2U6bnl0Oi8vaW1hZ2UvNjcxNGJlNTctYjNiOS01ZGQ3LTkxZmMtMmFiZGE5YjFmMDJm.crops({“renditionNames”:[“articleLarge”,”jumbo”,”superJumbo”,”popup”]}).0.renditions.1″:{“url”:”https:u002Fu002Fstatic01.nyt.comu002Fimagesu002F2018u002F06u002F17u002Fbooksu002Freviewu002F17elliott3u002F17elliott2-jumbo.jpg”,”name”:”jumbo”,”width”:296,”height”:450,”__typename”:”ImageRendition”},”Image:SW1hZ2U6bnl0Oi8vaW1hZ2UvNjcxNGJlNTctYjNiOS01ZGQ3LTkxZmMtMmFiZGE5YjFmMDJm.crops({“renditionNames”:[“articleLarge”,”jumbo”,”superJumbo”,”popup”]}).0.renditions.2″:{“url”:”https:u002Fu002Fstatic01.nyt.comu002Fimagesu002F2018u002F06u002F17u002Fbooksu002Freviewu002F17elliott3u002F17elliott2-superJumbo.jpg”,”name”:”superJumbo”,”width”:296,”height”:450,”__typename”:”ImageRendition”},”Image:SW1hZ2U6bnl0Oi8vaW1hZ2UvNjcxNGJlNTctYjNiOS01ZGQ3LTkxZmMtMmFiZGE5YjFmMDJm.crops({“renditionNames”:[“articleLarge”,”jumbo”,”superJumbo”,”popup”]}).0″:{“renditions”:[{“type”:”id”,”generated”:true,”id”:”Image:SW1hZ2U6bnl0Oi8vaW1hZ2UvNjcxNGJlNTctYjNiOS01ZGQ3LTkxZmMtMmFiZGE5YjFmMDJm.crops({“renditionNames”:[“articleLarge”,”jumbo”,”superJumbo”,”popup”]}).0.renditions.0″,”typename”:”ImageRendition”},{“type”:”id”,”generated”:true,”id”:”Image:SW1hZ2U6bnl0Oi8vaW1hZ2UvNjcxNGJlNTctYjNiOS01ZGQ3LTkxZmMtMmFiZGE5YjFmMDJm.crops({“renditionNames”:[“articleLarge”,”jumbo”,”superJumbo”,”popup”]}).0.renditions.1″,”typename”:”ImageRendition”},{“type”:”id”,”generated”:true,”id”:”Image:SW1hZ2U6bnl0Oi8vaW1hZ2UvNjcxNGJlNTctYjNiOS01ZGQ3LTkxZmMtMmFiZGE5YjFmMDJm.crops({“renditionNames”:[“articleLarge”,”jumbo”,”superJumbo”,”popup”]}).0.renditions.2″,”typename”:”ImageRendition”}],”__typename”:”ImageCrop”},”$Image:SW1hZ2U6bnl0Oi8vaW1hZ2UvNjcxNGJlNTctYjNiOS01ZGQ3LTkxZmMtMmFiZGE5YjFmMDJm.caption”:{“text”:””,”__typename”:”TextOnlyDocumentBlock”},”$Article:QXJ0aWNsZTpueXQ6Ly9hcnRpY2xlLzA1ZmViMWNhLWU2NWQtNTgzZi1iNDgyLTA2Mjc0ZTRjMDNlNQ==.sprinkledBody.content@filterEmpty.22″:{“__typename”:”Dropzone”,”index”:10,”bad”:true,”adsMobile”:false,”adsDesktop”:false},”$Article:QXJ0aWNsZTpueXQ6Ly9hcnRpY2xlLzA1ZmViMWNhLWU2NWQtNTgzZi1iNDgyLTA2Mjc0ZTRjMDNlNQ==.sprinkledBody.content@filterEmpty.23″:{“__typename”:”ParagraphBlock”,”textAlign”:”DEFAULT”,”content”:[{“type”:”id”,”generated”:true,”id”:”$Article:QXJ0aWNsZTpueXQ6Ly9hcnRpY2xlLzA1ZmViMWNhLWU2NWQtNTgzZi1iNDgyLTA2Mjc0ZTRjMDNlNQ==.sprinkledBody.content@filterEmpty.23.content.0″,”typename”:”TextInline”}]},”$Article:QXJ0aWNsZTpueXQ6Ly9hcnRpY2xlLzA1ZmViMWNhLWU2NWQtNTgzZi1iNDgyLTA2Mjc0ZTRjMDNlNQ==.sprinkledBody.content@filterEmpty.23.content.0″:{“__typename”:”TextInline”,”text”:”Auletta surveys the tumultuous, treacherous ad landscape through the framework of frenemies. Not only are Madison Avenue and Silicon Valley frenemies, but so, too, he declares, are ad agencies and their marketer clients; agencies and media companies; traditional and digital media companies; agencies and consultancies like Accenture and McKinsey; agencies and software firms like Adobe and Salesforce.com; and, perhaps most telling, advertising and consumers. The easier it becomes for the public to zip, zap through and avoid interruptive ads — through innovative technology like ad blockers and streaming video — the madder, and more anxious, the mad men (and women) grow.”,”formats”:[]},”$Article:QXJ0aWNsZTpueXQ6Ly9hcnRpY2xlLzA1ZmViMWNhLWU2NWQtNTgzZi1iNDgyLTA2Mjc0ZTRjMDNlNQ==.sprinkledBody.content@filterEmpty.24″:{“__typename”:”Dropzone”,”index”:11,”bad”:false,”adsMobile”:true,”adsDesktop”:false},”$Article:QXJ0aWNsZTpueXQ6Ly9hcnRpY2xlLzA1ZmViMWNhLWU2NWQtNTgzZi1iNDgyLTA2Mjc0ZTRjMDNlNQ==.sprinkledBody.content@filterEmpty.25″:{“__typename”:”ParagraphBlock”,”textAlign”:”DEFAULT”,”content”:[{“type”:”id”,”generated”:true,”id”:”$Article:QXJ0aWNsZTpueXQ6Ly9hcnRpY2xlLzA1ZmViMWNhLWU2NWQtNTgzZi1iNDgyLTA2Mjc0ZTRjMDNlNQ==.sprinkledBody.content@filterEmpty.25.content.0″,”typename”:”TextInline”}]},”$Article:QXJ0aWNsZTpueXQ6Ly9hcnRpY2xlLzA1ZmViMWNhLWU2NWQtNTgzZi1iNDgyLTA2Mjc0ZTRjMDNlNQ==.sprinkledBody.content@filterEmpty.25.content.0″:{“__typename”:”TextInline”,”text”:”Yet as dire as their fate looks, some flowers bloom amid the gloom, taking the edge off the book’s pessimism. 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