WHAT'S RUN ITS COURSE IS COMMON CULTURE THAT CONFINES. WHA TAKES ITS PLAC ARE ALL THE SP AND INSPIRATIO THAT CHARGE A INDIVIDUAL WITH AN INDIVIDUAL STYLE.
JO
A D V E R T I S I
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3
Did you? Did you for one moment or one breath or one heartbeat beating over all the years of your life, wish, even a little, that you could spend it as a boy? Honest. Really. Even if you got over it . Did you ever wish that you could be a boy just so you could do boy things and not hear them called boy
things, did you want to climb trees and skin knees and be third base and not hear the boys say, Sure, play, but that means you have to be third base. Oh ha ha ha .
But did you ever wish you were a boy just because there were boys, and there were
girls and they were them, and we were, well, we weren't them, and we knew there must be a difference because everybody kept telling us there was . But what was it? You never knew. Like you knew that you were a girl (you run like a girl yo u throw like a girl you girl yo u) and that was great, that was swell , but you
(ro11 11u nl)
couldn't help wondering what it would be like if you ... had been ... a boy. And if you could have been a boy, what difference would it have made? Would it have made you faster, cuter, cleaner? And if you were a boy, this incredibly bouncing boy, what boy would you have been ? All the time knowing no two boys are alike any more than all girls are. So you wake up . And you learn we all have differences (Yes!) You learn we all have similarities (Right!) You learn to stop lumping everybody in the world into two separate categories, or three , or four, or an y at all (Finally!) And you learn to stop beating yourself over t he head for things that weren't wrong in the first place . And one day when you're out in the world running , feet flying dogs barking smiles grinning, y ou'll hear those immortal words calling, calling inside your head Oh you run like a girl and you will say shout scream whisper call back Yes. What exactly did you think I was .P
'"'''" C 0 M M U N I C A T I 0 N
A R T S
45
3
DON'T WORRY.
YOUR BANK IS
A SIMPL E LITTLE BANK
MERGING?
MERGER
NO PROBLEM.
WON ' T CAUS E YOU ANY
NOTHING WILL CHANGE.
INCONVENIENCE.
{NOW LET US TELL YOU ABOUT THE EASTER BUNNY.}
{AND YES, THERE REALLY IS A TOOTH FAIRY.}
be perfect. Bccause,havmgdonea
merge, And they 1old thc1rcus-
centralize their ope r:u1on s.
s all banb do, the U . S.
And as Great Big Bank s
GreatBigBanlucouldn'tqu1te
often do, they sa id every-
relate to. Jn fact, they actually
thing wou ld be bener than ~- •""-'"'"°'~""' ga~ their branches the power eve r. Bu t guess whal. Everyto make some decisions. The US. thing wasn' t better than eve r.
BanJc people could. forcxampk,
They noticed their branch
hours were changmg, willy111lly.T heynot1ccdthc1r names were m1upellcd on
they no longer got the interest rate theyct been prom1 ed. Or they d idn't get their new checks unul Jou and locs
ccrum fees wt'rc bcmg hiked, and ccr-
get per m1ss1on from Way Far Away. What's more, people at U.S. Bank had
of <bys hxt scurncd by. But what rea11y
been acung this way for over a hun-
fncd the cwtomcrs was when they med
dred years. Can you believe 1t? And
ro compb.tn. Sad to~ the kxa1 bn.nchcs
guess what. They're expanding here in
didn't have the authority to solve the
N o rthern Cahfom1a real soon. They'll
They could refund fen that didn't
um services chmmatcd. Some of them even
nuke sense. S1ufTl1kc lh<1t. Can you believe
nouccd their accounu were bcmg traded
u? They d id n't even have to chec k wuh a
around hkc baseball urd1. These things made the
customers~
Mad Mad. Mad
Higher Amhoru y, off m some strange, Fua~y
Land, like LA And gucu what cl1e.
But the b1g banks pretended cvcrythmg Wl.S
They're cxpandmg here m Northern Cah-
jun line. Except fo r o ne called U.S. Bank
forma real soon They'll have a tou1l of 61
problems. lnncad, they had to w:ut for
have a tota l of 61 branches. And fo r
an answer from way off
their cunomers, the whole bank mg
Th11
of Los AngclC1.. Somehow, this didn't
cxpcncnce, though sull not perfect, may
things. When lhey merged wnh anolher
rhc1r customer•, for all pncucal
seem better than ever. Bu t then, wtule
actually be better than
ban\r::, they didn't prctcndcvcrythmg would
will ll\'T: happ1lyeYCr aflcr.6 B A N K,
I NO
DING SOON TO 6 1 LO CATIO S. i
I NON - Fl
in
the Land
C\!Ct'.6BANK,
T I ON BANKING : EX PAN DI NG SOON TO 6 1 LO C ATIONS . )
~nk
had a cn:r:y. wacko w;iiy of domg
-F I CT ION BA
Kl G ' EXPA
br.ux:hes. They'll keep their prom111C1. And pur~s.
4
You
know how
your dog will scratch at the door, anxious to go outside? We know people like that, too.
Dogs have the right idea. They romp in the s un. Bark at the moon. And scratch where it itches. We humans, however, could use more playtime. That's why there's the Northwest Outdoors
=:e:::~::::~:n~;"li!eli~:~ :i°~~~:::n~:t::;! ::~:~~ ~~Qi l Northwest
Outdoors. Thursdays .
C OM MU
! CATI O N
A R TS
65
TRADE
Aos
Bret Ridgeway, art director Mark Jensen, writer Donny Deutsch, creative director Bob Lorenz, photographer Jeff Musser, illustrator Deutsch/Dworin (New York). agency Entertainment Weekly, client
2 Michael Wilde, art director Kara Goodrich, writer David Lubars, creative director Bob Mizono, photographer Leonard Monahan Lubars & Kelly (Providence. RI). agency Po laroid Corporation, client
3 Bill Schwab, art director Tony Gomes, writer Ralph Ammirati, creative director James Nachtwey, photographer Ammirati & Puris Inc. (New York). agency Nikon Inc., client 4 Michael Fazende, art director Mike Lescarbeau, writer Pat Burnham , creative director Craig Perman, photographer Fallon McElligott (Minneapolis). agency The Lee Company, client
2 \\'r don't h.1H' h>
tdl
\'OU .:sbout
could
With I lr.1lchC.u11, \·ou c.m c.a\1h· .mJ IJ nth unprmc p.aurnt c.u't' m .a m)n.1d
f ".ln. Acrnr.Ut' photo\ .arC' thr p<rfrl·t h.mcC"mrnt for \Hlltcn documl.'nt.uum
ur I l1gh Drfin111on GnJF1l111 h.u
rrrnrd
.ind mt'.l\lU'C' "h.ur,cr \OU
J
prr·
hon1,
·•ho" in~ them proof of thC'1r pto'rt .
l I0 llh.·lu·' from ruor ~ub1tct. for infonn.umn nr thr n.amr nf \'our
nr.ucu Jiitnhurnr,
\ 'OU
don't'''"
11.nc 10
pid• up.i prn<il. )Ul>t c.111 l·SOU·i.f MOOO
Polaroid
90
A D V E R T I S I N G
A
UA L
19 93
Woof.
I
For less than eight hundred bucks, you can have complete control of the world of sound.
2
This way to the Museum of Flight.
] 00
A D V E R T I S I
G
A
UAL
1993
3
POSTERS
1 (bus shelter poster) Peter Holmes, art director/writer Franklin Dallas (Toronto). agency Metropolitan Toronto Ambulance Services, client 2 (single transit poster and part of series) Bryan Burlison, art director Todd Tilford, writer Todd Tilford/Grant Richards, creative directors Tom Ryan, photographer The Richards Group (Dallas). agency Optique International Eyewear, client
4
3 (single transit poster and part of series) Bryan Burlison, art director Todd Tilford, writer Todd Tilford/Grant Richards, creative directors Tom Ryan, photographer The Richards Group (Dallas), agency Optique International Eyewear, client 4 (transit poster series, includes 2 and 3) Bryan Burlison, art director Todd Tilford, writer Todd Tilford/Grant Richards, creative di rectors Tom Ryan, photographer The Richards Group (Dallas), agency Optique International Eyewear, client
COMM U
ICATIO
ARTS
117
3
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YOUR FATHER ALWAYS \NANTED A PROFESSIONAL ATHLETE IN THE FAMILY. 'Clrt df.duptiv11 d£,gency 3or 'l<nci11g fJr~ylru1111ds
t/itv raJ/g "111,J., tlltl) lra0t to.
can, but rti fun to rmapnt 1l tlm1 caug/rt "'"· ,"}{!i<"'"rt i11ttm1nl ;,,
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ktrrrrJ. l]l,l..,/d11i Ir.rot""' ol tlrat
VVHEN OUR DOGS CHASE CARS, THEY CHASE PORSCHES. 'Cltf dlduplio11 .!lge11cy 8or 'Racing (}rty!w1111ds
101
&ddlf X iii 'Road, Jeupki11to11, Or~
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COMMUNICATIO
ARTS
131