Nike’s Cougars: The Last Word
Edward Caffyn’s letter to Adweek [Aug. 3] questioned the integrity of Goodby, Silverstein & Partners and Nike for featuring a fictitious girls’ basketball team in the campaign that won gold in the APG-U.S. Account Planning Awards.
Would we have liked to feature a “real” team? Sure. But if we had, all of the girls on that team would have been automatically ineligible under NCAA rules to play college basketball. And you have to figure that many of the players on a state-championship contending team would like to go on to play college ball.
Is it “duping” to make teenage girls feel good about themselves and the supportive benefits of team play? Likewise, is it dishonest to protect the interests of real athletes, ensuring they can continue to play the game they love?
I don’t think so.
Vice chairman, director of planning
Goodby, Silverstein & Partners, San Francisco
OK, fan mail to an ad critic is a little twisted, I admit. Buy hey, it’s been months since I’ve had a fix. She’s back! Seldom do you pick up a publication with the journalistic prowess of a
Barbara Lippert. Thank you, Adweek.
She is unequivocably the best writer on advertising in America and some would say pop culture. If more account planners, creative directors and clients read her, they’d quickly ascertain why they should rethink their campaigns.
She is the raison d’etre behind my subscription, and she is one of the few reasons that every week, I’m happy to work in this crazy business.
Pittard Sullivan, New York
Letter from Britain
Your cover headline “The British Are Coming Again” [Aug. 17] inspired me to write. It is fascinating to me that ad production for all media is largely ignored by the advertising press. Only when a storm develops, with accusations of overcharging, fraud or worse, does production get ink.
Media-buying takeovers may create cheaper space for the client, but there is little point if excessive production costs outweigh the media deal. And since creative work is largely driven by production possibilities, I firmly believe the creative process has been numbed by poor control of production costs. Our experience has shown that controlling costs has meant money available to produce seven posters instead of five, an extra TV ad in a series of six and awards for special effects. Great news for creative people. Better news for the client.
We may be “invading” the U.S., but we’ll fight to bring our clients better value for their money.
Production Link International, London
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