{"id":567,"date":"2004-02-24T10:27:26","date_gmt":"2004-02-24T18:27:26","guid":{"rendered":"http:\/\/www.artsjournal.com\/herman\/wp\/2004\/02\/subversives_on_madison_avenue\/"},"modified":"2004-02-24T10:27:26","modified_gmt":"2004-02-24T18:27:26","slug":"subversives_on_madison_avenue","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/herman\/2004\/02\/subversives_on_madison_avenue.html","title":{"rendered":"SUBVERSIVES ON MADISON AVENUE"},"content":{"rendered":"<p><P>What you will see if you <A\nhref=\"http:\/\/turnpikefilms.com\/spots\/nutrigrain.html\"><B><EM><FONT color=#003399>click<br \/>\nthis link<\/FONT><\/EM><\/B><\/A> is a wickedly funny, beautifully made send-up of both a<br \/>\nbrand-name product and corporate America. Anybody who works in an office will recognize the<br \/>\nmilieu as well as the mindless credo of rah-rah teamwork that soars beyond absurdity. Enjoy the<br \/>\nsatire. You&#8217;re never likely to see it actually broadcast.<\/P><br \/>\n<P>Here&#8217;s <A href=\"http:\/\/turnpikefilms.com\/spots\/lunatic.html\"><B><EM><FONT\ncolor=#003399>another<\/FONT><\/EM><\/B><\/A> and <A\nhref=\"http:\/\/turnpikefilms.com\/spots\/pinata.html\"><B><EM><FONT\ncolor=#003399>another<\/FONT><\/EM><\/B><\/A>. They&#8217;re directed by Justin Reardon of<br \/>\nTurnpike Films, a year-old Los Angeles production company that put them on its Website to<br \/>\ndemonstrate its skill for potential advertising clients. &#8220;They&#8217;re just meant to be examples of the<br \/>\ndirector&#8217;s work,&#8221; says Turnpike associate producer Melissa Dean. &#8220;We put these spots on a demo<br \/>\nreel and send it out to ad agencies. It&#8217;s standard industry practice.&#8221;<\/P><br \/>\n<P>Dean, 25, says she was suddenly bombarded with hundreds of e-mails beginning three weeks<br \/>\nago, when the Turnpike site was discovered by Web surfers not from the ad industry. Site traffic<br \/>\nhas gone &#8220;well into the many thousands,&#8221; she added in a telephone interview from Santa Monica.<br \/>\n&#8220;People are going crazy. It&#8217;s just the neatest thing. We never intended it. It&#8217;s the first time anybody<br \/>\nbut industry clients came to us and commented on our work.&#8221; <BR><BR>To&nbsp;Dean&#8217;s<br \/>\nknowledge, <A href=\"http:\/\/geeklife.com\/\"><B><EM><FONT\ncolor=#003399>Geeklife.com<\/FONT><\/EM><\/B><\/A> was the first surfer to come across the<br \/>\ndemo reel. Since then &#8220;it&#8217;s been everywhere,&#8221; she says. The reason for the &#8220;frenzy,&#8221; as she called<br \/>\nit, is obvious: <A href=\"http:\/\/turnpikefilms.com\/spots\/nebob.html\"><B><EM><FONT\ncolor=#003399>Watch this<\/FONT><\/EM><\/B><\/A>, or <A\nhref=\"http:\/\/turnpikefilms.com\/spots\/3yrold.html\"><B><EM><FONT\ncolor=#003399>this<\/FONT><\/EM><\/B><\/A>. In all, Reardon made seven ad demos, spoofing<br \/>\nsuch brands as Budweiser, Nintendo, Starbuck&#8217;s, Raisin Bran Crunch and Nutrigrain.<br \/>\nFor&nbsp;the complete reel of Rearden&#8217;s seven spots, <A\nhref=\"http:\/\/turnpikefilms.com\/spots.html\"><B><EM><FONT color=#003399>go<br \/>\nhere<\/FONT><\/EM><\/B><\/A>. My favorite? Nutrigrain.<\/P><\/p>\n","protected":false},"excerpt":{"rendered":"<p>What you will see if you click this link is a wickedly funny, beautifully made send-up of both a brand-name product and corporate America. Anybody who works in an office will recognize the milieu as well as the mindless credo of rah-rah teamwork that soars beyond absurdity. Enjoy the satire. You&#8217;re never likely to see [&hellip;]<\/p>\n","protected":false},"author":4,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[4],"tags":[],"class_list":{"0":"post-567","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry"},"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pbvgEs-99","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/567","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/comments?post=567"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/567\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/media?parent=567"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/categories?post=567"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/tags?post=567"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}