It was May 4th 1979 and the big day had come.

We'd been working on Maggie Thatcher's Election campaign for a good few months and it had certainly put the Saatchi name on the map (not always friendly - a few weeks earlier I'd been thrown out of a taxi in Charlotte Street by an anti-Thatcher cabbie!).

It was supposed to be a lazy day. The manic campaign work was over; we had no New Business presentations on and a handful of less-urgent jobs to play with and were looking forward to the all-night Election Party planned in the offices.

Then, at about 9:30 ish, I had a call from Jeremy Sinclair (Creative Director) "can you pop down" and my lazy day was over. I walked into his office where he and Charles had been busily creating an ad. We'd apparently booked half pages in that days Evening Standard and Evening News and Charles said "whatever it takes – get these ads in!"

The big film at the time was Star Wars and Charlie had written the headline "DEAR MAGGIE – MAY THE FOURTH BE WITH YOU" and was mysteriously signed "From your Party Supporters".

I dashed back to the studio, called both the publications to tell them I'd be down soon with copy and layout for an instant 'paper-set' ad, scamped out a layout, ran back to Jeremy's office for approval, grabbed a Saatchi cab for a few hours and we sped off to the Evening Standard – but in all this panic I hadn't allowed for one rather important factor. Trade Unions. Newspapers were hotbeds of left-wing Trade Union confrontation.

I walked into the Production Managers office, based within the huge print area, and showed him the ad, very simple, a few words, tight layout and dick-proof typographical instructions.

He looked at me as if I'd shown him a dodgy photograph of his daughter and it was then I realised that there could be an issue – and worryingly remembered Charlie's parting comment.

I told him I would be back in about 45 minutes to check and sign off the proof – and was sharply back in the car and off to the Evening News rather concerned about what had just happened and a little nervous as to what I could expect at the News – and I was right, I had the same frosty reception.

So it was back in the car and off we went to the Standard to approve the proof and when I arrived it was obvious that the nature and content of the ad had spread like wildfire – and as I nervously walked into the Production Manager's office I could sense dozens of eyes glaring at me.

It was very intimidating and in the Manager's office where previously there was just him, there were now 4 or 5 other chaps, silent and staring. Shit!

Without saying a word he handed me the proof which, surprisingly, was perfect. I signed the official stamp and he gave me a spare proof to take away and (bravely I thought) I had the presence of mind to ask him to stamp that proof also and sign it, which he did, just in case there was any skullduggery after I'd left.

Back at the Evening News I had the same reception except worryingly all the machines had ground to a halt. Whether that was down to me I doubt but it seemed that way and I was certainly glad to grab my second signed and timed proof and get back in the cab.

Back at the Agency I showed the 2 proofs to Jeremy & Charles who were both delighted and were irritatingly extremely amused as I related my experience to them. Bastards.

And amazingly both the ads did happily appear in the Midday, City and Late editions.

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Written for the book, CHUTSPAH & CHUTSPAH