Like a Gold Lion only golder!
My last post on corruption at the International Advertising Festival in Cannes drew quite a few readers, almost breaking the record on my humble little blog. Thank you…I guess. Nothing like timely controversy to goose a blog.
Anyway, I got to thinking about advertising awards shows and what makes them so popular despite the obvious chicanery. Scam ads are as common as pigeons. Most festivals happily accept them. Now we here tell of rigged juries and the calculated “killing” of good work so as to give crappier offerings a better shot. Corruption at all levels from agencies and festivals alike.
So, what is up with the popularity and propensity of advertising awards shows? The big ones continue to thrive despite shenanigans, to say nothing of economic recession and advertising downturns.
There are exactly three reasons why:
- On the receiving end it’s all about the money. Each submission has a startlingly high fee attached. Need I say more?
- Agency creative are egomaniacs with inferiority complexes. We think we are awesome and yet crave validation at every turn. I have this defect as much as you do.
- Awards shows are boondoggles. The judging and/or ceremonies usually take place in exotic locations, like New York or Cannes. We like going to them.
Money. Ego. Hedonism. In other words a petri dish for the awards show virus to flourish. Indeed, more and more strains are added to Cannes bloated category lists every year.
In a classic episode from season three of the Simpsons, “Brother, Can You Spare Two Dimes?” a routine physical exam at the Springfield Nuclear Power Plant reveals that safety inspector Homer Simpson has become sterile after being exposed to radiation. Fearing a lawsuit, plant owner Mr. Burns awards Homer with the “First Annual Montgomery Burns Award for Outstanding Achievement in the Field of Excellence” in exchange for a legal waiver freeing the nuclear plant of all liability.
June 26, 2011
Picture perfect day in Chicago but once again I’m at the Admiral’s Club in O’Hare airport. Here the sunshine is more of a nuisance than anything else. Right now it’s pouring in through the windows causing numerous guests to uproot and move. Twenty miles east the city’s annual Gay Pride Parade is probably breaking all records for attendance. It truly is a perfect day for being “out.”
Anyway, once again, I’m flying to Los Angeles. Trust me I’m not complaining. This is exactly what I want and need to be doing. Talking with companies interested in producing my movie scripts is an avocation I will pursue to my grave, and, given my latest script is about the undead , maybe even after that!
Meeting with entities interested in my services as creative director and/or copywriter is even more important. That’s my vocation. My forays into freelancing have been a great experience for me and hopefully to the agencies I’ve helped. I’d like to do more of it. As I wrote on Twitter the other day, “Hire me and you get ECD talent at CD prices!” What’s not to like? Don’t answer that.
By the way, I intend to write about my experience on the other side of the desk from a creative director. It’s been surprisingly fun and satisfying NOT being the boss. Creating and presenting ideas more than makes up for any loss of credentials.
Still, Chief Creative Officer was my last job. This particular trip west has me visiting the CEO of a pretty terrific company who just might be looking for a creative leader. The more I read about his company the more I like the opportunity. I’m thrilled to meet him.
I’m telling you all this because I don’t have another essay prepared. Frankly, if my flight wasn’t delayed for mechanical difficulties I couldn’t have even written this. Who’d ‘a thunk being unemployed would be so damn time consuming?
Too bad I can’t make a living writing Gods of Advertising. But like fishing, it’s a labor of love. Even so, I beg your pardon for its ‘Dear Diary’ like content. I’ll be back at my desk soon enough. And for those of you coming back from the Advertising Festival in Cannes: Welcome back to yours!
Per usual, a great many short-listed adverts in the press and poster categories in Cannes are driven by their visuals. Assume similar for films. This has come to be expected; after all, it’s an international festival. Words are not the same everywhere. Not only is translating copy an imperfect means of determining its exact meaning (wordplay hardly ever comes across) but, let’s be honest, judges are impatient to do so. Jet lagged and jaded from hundreds of submissions, how can we expect each and every judge to take the necessary time to read the provided –often flawed- translations? It’s not fair –to them and the submitting agencies.
President and co-chief creative officer of the Martin Agency, Mike Hughes wrote an excellent article last week in Ad Age entitled, “Why Judging for International Awards Shows is Broken.”
In it, he writes: “I confess that I often can’t even tell how good the craftsmanship is on many foreign pieces of work. How do I know if the writing’s sharp or if the use of local idioms is relevant when all I’ve got is a translation?”
But here we are and that’s the way it’s done. That said, pictures –be they illustration or photography- do translate across cultural divides. While aspects of the concept may yet be indigenous to a given population, and alien to others, an image fares infinitely better at being interpreted correctly than a piece of copy. Goes without saying, doesn’t it? Which is why so many of the submissions to Cannes also go without saying. (Point in fact there is little chance my hopefully clever double usage of the phrase “goes without saying” would ever come across translated in 17 different languages.)
And so we “see” more and more visually stunning ads in Cannes than we do copy-driven work. Maybe this isn’t so bad? Maybe it’s indicative of our shrinking world, whereby people from all walks of life are juxtaposed more than ever. The advent of social media has only turned up the heat. It’s like the melting pot at full boil.
In addition, for better or worse, I’d argue we are becoming an ever more visually driven world. Instead of all learning a common vocabulary we are increasingly reliant on images to communicate. This was said when TV first entered our lives, changing them forever. And it has only become more so.
As a wordsmith, I suppose I find the continuing transformation bittersweet. Watching communication be whittled down to 140 characters on Twitter or brief updates on Facebook can be disheartening.
On the other hand, it’s not like I don’t appreciate the changes either. Hell, I’m a part of them. I now use words to create images. I write stories (advertising and fiction), seeing the narratives in my head. Frankly, I started doing this a long time ago. Truth be told, agents and editors were quick to criticize my two books, The Last Generation and The Happy Soul Industry as being more like screenplays than novels. Younger people, however, appreciated them for precisely the same reason.
And so it goes at Cannes. The new breed of marketing communications is quicker: mobile technology, Apps, links, shared video, posters and design. A picture is truly worth a 1,000 words. Or millions of dollars, like this short-listed poster for the Illinois Lottery from Chicago’s own Energy BBDO.
Poster for JPA “Choke”
After being blanked at Cannes, Euro RSCG Chicago is proud and delighted to receive a people’s choice award for our campaign on behalf of the Juvenile Protective Association.
While not a Lion, it does represent a “Best Of” winner as judged by the people and attendees at Cannes…and it is in a category of human consequence. In addition, we got to meet and shake hands with the mayor of Cannes. I’ve attached the press release below.
From left: Euro Worldwide CEO, David Jones, the Mayor, moi, Blake Ebel.
CHICAGO, June 29, 2009— Juvenile Protective Association (JPA) and Euro RSCG Chicago were honored for their print ad “Choke” on Friday, June 26, 2009, in Cannes, France by the Mayor of Cannes and ACT Responsible. In conjunction with the International Advertising Festival, ACT Responsible showcases the best cause-related work via a public exhibition in the Palais des Festivals in Cannes, France. As part of the exhibition, the public is asked to vote for their favorite piece of work that is on display. This year, Euro RSCG Chicago was awarded a special people’s choice award by the Mayor of Cannes and ACT Responsible.
“Choke” is one of three print ads created for JPA that carry the tagline “verbal abuse is still abuse.” The arresting photography incorporates images of a hand that are made up of shocking, insulting words. The hand is grabbing a little boy’s neck in Choke, a girl’s hair in “Hair Pull” and holding a fist to a girl’s head in “Punch.”
“We’re honored that the public has chosen our work with JPA to be what they consider the best, most effective work on display in the ACT Responsible Exhibition in Cannes,” said Blake Ebel, executive creative director at Euro RSCG Chicago. “Our goal was to communicate that verbal abuse is as damaging as physical abuse to a child and cannot be tolerated. I believe that this campaign does just that.”