Madison Avenue hacks have been ripping off talented artists since the early days of advertising, but the rip offs seem to get worse every year.
The people producing ads these days don't have the art historical references to understand the work they're ripping off. Their knock offs aren't just unoriginal. They're bad.
The latest example is an AT&T rip off of Christo and Jeanne-Claude. The producer probably saw an article about Christo and Jeanne-Claude somewhere -- though I doubt he or she ever actually saw a Christo/Jeanne-Claude project -- and figured it would be a good idea to make a visual pun on the word "cover" by showing buildings and other landmarks being draped in colored cloth.
This pretentious commercial, the latest in AT&T's ongoing "coverage" war with Verizon, is a good example of how mangled art turns up in advertising, and it could have some unintended consequences for AT&T. That's what they get. As every school child knows, you're not supposed to "touch the art." If AT&T rethinks anything, they should rethink this ad, before Verizon jumps on it with an ad that takes the wraps off.
I see people working in an office with big windows and a fantastic view. Some of them are talking on their cell phones. Suddenly, their windows are covered by falling drapes, the room gets dark and the cell phones stop working. We see AT&T covering buildings, cities, a beach. Everything stops until Verizon starts tearing down the drapes, uncovering buildings, rolling up the fabric covering the beach. The cell phones start working again.
Here's a real Christo and Jeanne-Claude project from the Sixties. A study for a wrapped beach in Australia.
If the ad person who produced the AT&T ad had actually experienced a Christo/Jeanne-Claude project, he or she might have realized that wrapping an object confines it, hides it, interferes with it, shuts it up and closes it in. Something wrapped is limited by the wrapping. It's the unwrapping that's the significant event.
Christo's Valley Curtain at Rifle Gap, Colorado. The size and shape of the "waves" are based on Coast Guard research and designed to evoke feelings of dread.
AT&T has had to remake their commercial and add a disclaimer, saying that Christo and Jeanne-Claude have nothing to do with AT&T. One more obnoxious commercial like this one and I'll join them.
Monday, February 28, 2011
Sunday, February 27, 2011
I woke up early and went down to the Corner Bakery for a cup of coffee. I sat at the window, next to a table of Russians. I couldn't understand a word they were saying.
I was watching the raindrops race each other down the window, the big ones gobbling up the little ones that got in their way, and thinking about Raymond Chandler and The Long Goodbye, a Chandler book I'd been reading the night before, when it hit me that The Long Goodbye is Chandler's most personal and autobiographical novel.
They say Chandler's agent was disappointed by The Long Goodbye. He thought the Phillip Marlowe character had gone soft. Personally, I think Marlowe comes across as more bitter and cynical than he is in Chandler's earlier work, and more political, more angry at the rich people who shaped the West Coast.
Some people say: When you dream, everything in the dream is you. I've never looked at novels and films that way, but maybe I should.
Chandler died in 1959. He developed pneumonia after a binge.
The chronology that accompanies The Library of America's Chandler (Stories and Early Novels), ends with: "1959 ... Returns alone to La Jolla where he intended to live. Drinks heavily, develops pneumonia, and is hospitalized on March 23. Dies in Scripps Clinic at 3:50 P.M. on March 26. Buried on March 30 at Mount Hope Cemetery in San Diego."
Robert Altman made a film version of The Long Goodbye in 1973. In a send-up of the detective genre, Altman cast Elliot Gould as a mumbling, bumbling Marlowe who talks to his cat.
The thing about noir in books and films is there is never enough rain for me.