Nickelodeon’s hero.

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Nickelodeon: Everyday Hero on Vimeo.

Writer/producer Scott Webb is probably the creative hero more responsible for the Nickelodeon you love everyday than almost any other single person. It’s not for nothing that he began at Nick as a writer/producer and went on to become the network’s worldwide creative director.

In June of 1984 Fred/Alan was asked to help revive Nick. WASEC/MTV Networks management knew the success we’d had with the ‘branding’ of MTV (though the B-word wasn’t in use yet), and thought they need to taste more of our secret sauce. The channel had the worst ratings on cable and kids everywhere disliked it intensely. We thought the reasons were clear, Nickelodeon was not welcoming to kids of all ages. It looked and sounded like it was for babies, which was exactly American children thought of it. 

We thought the solution was to stop telling kids what was on (they didn’t really care) and promise them that Nickelodeon was the right place for them to hang around when they were watching television. Why? Because Nickelodeon was going to actually listen to them when it came time to pick the shows. No one else listened to kids, but we would.  

Gerry Laybourne and Debby Beece, Nick’s head honchos, pretty much gave us carte blache as to how we’d pull off this task to them. We, in turn, insisted they hire Scott Webb. Scott had been through boot camp with Fred’s mentor, Dale Pon, so we knew he was whip smart, creative, and strong. He had worked for Fred at The Movie Channel, so we knew his phone number. We knew that even though he didn’t resemble any other hack promotion producer in America (he was less of a TV head than a comic book geek) he’d have exactly the right vibe to reinvent Nickelodeon —and all of television— for the future. 

When he brought in the soundtrack for his first promo Debby thought we’d made a horrible mistake. It’s funny when you hear it now, but at first she thought it was too fast and that no one could ever understand it. (Put it up against any episode of The Fairly Oddparents and it sounds downright sloowwww.)

Scott wrote this promo in a media vocabulary that kids would recognize. Comics was the image, “everyday” was the message (it wasn’t just Saturday morning for kids TV anymore), and fun was the takeaway. 

From this day forward, Nickelodeon would never worry about kids again. Six months after “Everyday” ran, with hundreds of other creative spots that followed Scott’s model of “talk with kids, act like kids,” Nick’s image was fixed forever. They went from worst to first in the ratings, where they’ve remained for 25 years.

From worst to first: Nickelodeon Network IDs 1984-1992

See more of our Nickelodeon posts here.

Fred/Alan started with working with Nickelodeon in late 1984 when Bob Pittman was made President of MTV Networks and he fired the existing staff, which had succeeded in losing the company tens of millions of dollars, and worse, making Nickelodeon the lowest rated cable network in America.

Bob assigned us to the remaining executives, Gerry Laybourne and Debby Beece, and suggested to them the Fred/Alan approach to branding could help them succeed. We immediately introduced them to our notion of network “promises” and then redesigned the network with Tom Corey and Scott Nash (Corey McPherson Nash, Boston) and hired some of our favorite writers and producers to create a ‘brand’. There was no money for programming or advertisting, so all the work needed to be done by the airtime on the channel itself. Nonetheless, our efforts succeeded in bringing Nickelodeon from worst to first in the ratings within six months, and Nickelodeon remains America’s #1 cable network of any kind, earning billions of dollars and making millions of kids happy.

N’awlins and Minnesota?

Fred/Alan IDs 1989 featuring Dr. John for TV Heaven from fredseibert on Vimeo.

After Tom Pomposello introduced us to Fred Mogubgub’s pop-art style for the TV Heaven/Channel 41 station IDs, our creative department researched a series of ‘heaven’ quotations which would be read by actors for the animation soundtracks.

In another life Fred/Alan Managing Director Ed Levine (now a famous food writer) had co-produced two amazing records by New Orleans stylist Dr. John (real name Mac Rebennack) and had convinced him to play our annual holiday parties.  Ed reminded us Mac was singing commercials (for their big payday) and thought he might do us a favor and put one of the appropriate quotes to music to give the campaign a little flavor.

Session arrangements were made and Ed and our production team went over to the studio for what we thought we be a normal three hour session with Mac singing and playing solo piano. A little over an hour later they were back in the office doors. We were shocked and concerned they were back so fast; what had gone wrong?!

As often happens with magic talent at the right moment, nothing had gone wrong and everything had gone amazingly right. Mac had taken a look at the lyrics we’d prepared, with the syllables’ rhythm worked out perfectly, and come up with a melody that fit 10 seconds in about…10 seconds! He’d asked for other lyrics and we put everything we had in front of him whether they “worked” or not. One by one, with over a dozen set of lyrics, Mac ran them down in real time, and before our team knew it, he’d sung every word we had. All of a sudden we’d almost doubled our ID output, and with a N’awlins joie de vivre at that.

We eventually used visuals from all of our contributors — Fred Mogubgub, International Rocketship, Mark Karzen, Mark Beyer, and others from our agency creative team— with the unique soundtracks Dr. John provided us.

The first ‘oldies’ television station: TV Heaven Channel 41 Station IDs 1988

Fred/Alan IDs 1989 for TV Heaven 41 from fredseibert on Vimeo.

In 1988, a friend of ours bought a couple of failing UHF TV stations in the upper suburbs of Minnesota. He asked Fred/Alan to work our branding and programming philosphies on the station (linked together with common programming). We made them the first broadcaster* to use an “oldies television” approach and creative director Noel Frankel, dubbed it “TV Heaven.”

For the animated IDs we felt were so integral to branding TV in the 1980s, our producer Tom Pomposello convinced us that the pioneering work of animator Fred Mogubgub would be just the original ticket. Fred’s style had a kind of staccato, pop-art feel, and he’d made an animated film completely out of still images illustrating the text. We hired Fred, Marv Newland’s International Rocketship (Vancouver), and various illustrators and photographers. For text we researched enormous amounts of quotations with the word ‘heaven’ in them. Like “Heaven is on Earth when I look at you, but when I see you in a mirror it’s reversed.” We chose a few dozen and had them read or sung by actors like Fran Rizzo or Dr. John**, put the results together, and had a campaign that was one of our proudest accomplishments.

……….

* Note our post title says “station” not “network.” Alan and I had created the first oldies TV approach for an ABC development deal we had in 1983. After they passed we held onto the idea and reworked in 1985 it when Nickelodeon needed to fill their non-kid hours from 8pm-6am. Immediately, ‘Nick-at-Nite’ became #1 in cable prime with the highly coveted (among programmers and advertisers) group of adults from 18 to 34 years old.

By 1988, the geniuses in the MTV Networks sales department decided that oldies programming (Bewitched, My Three Sons, The Donna Reed Show, and the rest) in black & white couldn’t be sold to advertisers, and the publicity folks insisted the TV writers didn’t want to write about “old shows”. At the time, no one there understood it was the format that innovative and it was the format the audience was in love with. They demanded Nick-at-Nite “reposition” itself. We suggested an all comedy network, since the most successful shows on the network were old sitcoms, and for nine months we preceeded HA!, Comedy Channel, and Comedy Central.

The Nickelodeon folks gave us permission to bring the format to the tiny, tiny TV stations in Minnesota; how much trouble would that cause a big, ole cable network?

Within three weeks of launch TV Heaven had generated more publicity than Nick-at-Nite had in three years. Our marketing client told us we would not only be fired from Nick-at-Nite but from all Nick related channels, maybe even MTV. We resigned TV Heaven and they never paid their bills to Fred/Alan.