Sorry it has been so long since I have added to the Chevrolet ad story. Lots of other things have been happening and I'll try to do better in this New Year. Happy New Year Everyone.

This ad from 1982 that I came across seemed like it just had to be seen again. Government spending has always been a concern of Americans and here was an ad for Chevy Nova that addressed the subject head on. It was true too. Lots of communities had been using the less expensive Nova as Police Cars and here was the proof of less spending. The Nova not only cost less to purchase, but less to operate too. The ad copy goes on to make the point that the Nova would be a good choice for anyone wanting a great car that costs less. The Chevy story that has for ever been true. This ad also ran as a full page newspaper ad in black and white.

I just found this old ad and I'll bet nobody has seen it for years. It ran in Hot Rod, Motor Trend, Automobile Topics, and Car Life for April of 1962. I always liked the '62 Chevy and especially the SS version of the convertible. The styling was and still is exceptional in my opinion. So why not show how great it looked? By April there were already lots of Impalas on the road and lots ads that showed it's beauty. The assignment here was an ad for the buff books with emphasis on performance. I began to think about that pedal called the accelerator and the idea of acceleration with our impressive SS models. So I looked up the word "accelerator" in the dictionary. And there it was--great copy with no effort. The visual was a given and to my surprise the ad sold. I think either David E. Davis Jr. or Ray Clark finished the copy for me. It was very unusual back then to see a car ad with no product illustration. Unusual today too. 

This is the cover of the Corvette Catalog Folder for 1961. It was shot at the GM Proving Grounds near Milford, Michigan. Shooting there was a real challenge because there was so much security involved. Arrangements to shoot there had to be made far in advance and approved by about a hundred people--or so it seamed. Each person to be there had to have been cleared in advance. There was always a wait when everybody arrived at the gate office and had to have their identity checked and approved once more. Then you had to have a special driver to get you around the facility. Only these guys knew all the regulations and could keep you from trouble. Your pre- selected location had to be cleared and closed to other traffic. Someone from Chevrolet had to be with you and responsible for all you did. You were not allowed to see into any of the other divisions buildings. 

Our location was a good one in that it didn't look like the proving grounds. It could have been almost any smaller road in America. The person standing with the camera is Warren Winstanley's assistant. Warren was the photographer for this and all the other shots in the catalog. The two fellows in the car were models. The rear view was on the cover because it represented the newest thing about the Corvette. Not only was the styling new but there was a real trunk for the first time. The rear styling gave a good look at what the Stingray would be like in a couple of years but nobody knew that at the time. The car isn't really moving but the illusion of some dust was created by throwing some cement powder at just the right time. I even helped with that on occasion. I had all the fake rally signs made back at our office along with the '61 sign that eliminated the need for other cover copy. This and the picture to follow are often used in publications about Corvettes. I wish I could remember who wrote the copy--maybe Vic Olsen.

This is page two of the '61 catalog and a nice transition from the rear view of the Corvette on the cover. Not much changed here except for some detail in the grill. Our model doing the driving gives a good impression of really moving but once again a little cement powder thrown on each side of the car helps with the illusion. This was a very modest catalog by todays standards. It was really only a folder and cost little to produce. Still, if you have one it is worth quite a few bucks and if you have the Corvette it is worth a ton. 

This is an ad about a 1973 TV commercial. As I recall it ran only in Life magazine--maybe the Saturday Evening Post too. The commercial was a repeat of one done years before in the same location with pretty much the same result--great impact and recall. The original was called "Pinnacle" and was a real stopper at the time. There were reports of airline pilots doing a double take as they saw a car on top of the 2000 ft. high rock as they flew by. Both commercials were leadership statements about Chevrolet and it's position at the time. I made the recommendation to Chevy for the second version represented here. For lots of reasons advertisers seem reluctant to repeat ideas even when they are very good ones. Or maybe it's the creative people in the agency that feel they just can't use a concept thought of by someone else, at another time, even if it was a great idea. All of us making the ads want to do the next great one and the credit that goes with it. This is the only time I can remember asking Chevrolet to redo an idea and now that I look back I think I should have done it more often. 

I didn't go on the shoot for the commercial because all the pre-production and production needed were obvious when we viewed the original spot. I did however ask for a bunch of stills so I could put together an ad later. At the time there were very few ads and commercials that worked hand in glove together. The pictures in the ad kind of tell the story of how it was done and the copy tells the story of how Impala had improved over the years. There is more to tell about how it was done. The engine was removed along with the transmission, doors and trunk lid to lighten the car as it was lifted by the helicopter. Reassembly took place on top of the rock where it was discovered to be very windy and kind of dangerous especially for the young lady model. There wasn't a lot of extra room around the car for the model unless she was close to the edge so Doug Mahoney hid in the trunk of the Impala and held on to a rope wrapped around the young lady's waist as she waved to the camera in a helicopter. Doug is seen in one of the pictures helping the model into the helicopter. He was in charge of our LA facility where we prepared cars and trucks for ads and commercials--a jewel of a guy who could make things happen. 

When the shoot was all over and the commercial and ad in the works Doug presented me with a memento of the shoot--a small piece of rock from the top of the location mounted on a wooden base with an inscription that dated the event. I still have the "trophy". Thanks Doug.