The Thing About Brand Taglines...

Every brand wants to say something that stands the test of time. But do they have the discipline and patience to get there?

Brand taglines are treated like a magic bullet.

Some people turn to them to patch up a shaky campaign. But that’s really just putting a bandaid on a bigger problem. If a campaign isn’t working, the short phrase at the end isn’t going to magically make sense of it all.

The value of brand taglines is earned.

Over time.

Take Nike’s “Just Do It.” In 2023, the motivational phrase is so ubiquitous, it’s hard to consider its origins. But in the 1980s when Dan Wieden wrote the slogan and Nike ran it in a campaign, it was anything but a sure thing. Wieden had tapped out the phrase in an effort to patch together a wildly diverse set of commercials that would all be running as a part of the same campaign. Since the voice of the commercials was all over the place, Wieden threw “Just Do It” at the end of them all to offer some cohesion.

In interviews, Wieden even suggested that the phrase was a “placeholder” until they could think of something else. Something in his mind felt that the line could be beat. Of course, the place has been held by “Just Do It” for decades and has since become synonymous with the Nike brand itself.

Over time, the meaning and power of Nike’s tagline has grown exponentially. This is to Nike’s credit, for continuing to serve campaigns that featured the phrase. Each time adding nuance, dimension and power to the simple three word edict.

One of the most crippling briefs I see come up is when a client asks “What’s our ‘Just Do It?’” Or “Think Different” or “We Try Harder.”

Of course, we’re all attracted to the lasting power and inspiration of long-lasting brand lines. We all want to play a role in building a legacy. But this is a paralyzing and unrealistic ask.

It’s not a human request to essentially ask “What is the simple phrase that our brand can run for decades?”

The best we can do, is look at the opportunity on the table and say “What best serves the work and brand?”

What is the most insightful thing we can say right now?

That’s all Dan Wieden was trying to do back in the day. His needs were to find something that spoke with an athletic mindset and unified a diverse body of work. It was a specific brief with an immediate need.

One thing I’ve seen over the course of my career is brands abandoning great lines “just to change things up.” This is the opposite kind of thinking. You don’t have to say something completely different this year than you did the last. The way you say it can change, but it’s okay to have conviction and let your brand tagline run a little more.

If your brand is coming up with a new tagline every fiscal quarter, and yet you still have the desire to build a “Just Do It” level legacy—how does that work?

Building a brand requires you to be comfortable being both consistent and surprising at the same time. This is how you win over time. You keep doing the things that work, and find new ways to stay relevant and engaged with culture in the current moment.

Brands that constantly demand disruption and are prone to chase the latest shiny trend, find themselves in a constant state of identity crisis. Someone needs to talk them down. Someone needs to have the confidence to keep some things the same.

And that’s exactly what a long-running brand tagline projects.

Confidence.

Your audience learns that they can depend on you and know exactly who you are in the little bursts of moments they spend with you during their day. Because you know who you are and can consistently communicate it.

With your brand tagline set, then begins the fun work of varying your tone and voice to add diversity and new layers of meaning to that tagline. Figure out how it works when you have something serious to say. Try it out when you have a lighter message. See how it connects to individual brand ambassadors and their stories. Offer an invitation for your audience to relate to your brand mantra in a personal way.

The more touch points you create, the more emotional resonance you can layer onto your brand tagline.

If you treat your tagline like a flavor of the week, it shows you don’t care or have conviction. It will smack of marketing and ring hollow. Your audience is sophisticated. They make fun of goofy or corporate or AI-generated sounding taglines all the time. If you don’t commit, you will be ridiculed or suffer an even far worse fate—you’ll be forgotten.

So keep your eye out for the next opportunity to commit to a brand line. Sometimes that looks like having the conviction to dust a previous line off and give it another run. Sometimes it’s coming up with a new line. The art of branding comes from the gut and making bold decisions that follow your instincts. So look at everything available to you and figure out the mix of messaging with a brand line that speaks your brand truth—right now.

Don’t get lost in thinking about the future or worrying if your three-word statement sounds “epic” or “Gen Z” enough.

Is it right for the work on the table today?

That’s the only question you have to consider. It’s soul-searching work. That’s the daily job of building a brand. It’s not all lightning in a bottle, dramatic moments of clarity. It’s a run of small decisions that you make from a single perspective.

If you answer the call and execute honestly, you give your brand a shot at building a lasting legacy.

Branding Vs. Brand Guidelines: What's the Real Difference?

Marketing is famously filled with jargon. The problem with jargon is that it quickly becomes meaningless. There are some foundational terms and concepts that are easily conflated and that lose sharpness over time. One fundamental term that I’ve seen have a broad range of interpretations is “branding” itself. Most commonly, I’ve seen people use “branding” to specifically refer to “brand guidelines.” However, in my experience brand guidelines are just a very small subset of what branding is.

Let’s dig in and see what the distinctions are.

What is Branding, Anyway?

First things first, let's define what branding actually is. At its core, branding is all about creating a meaningful, emotional connection between a brand and its audience. It's about making people feel something when they see your logo, hear your name, or encounter your products. Think of it as the heart and soul of your brand – the intangible magic that makes people choose you over the competition.

For example, Nike is a brand that has nailed the art of branding. It's not just about their iconic swoosh; it's about their "Just Do It" ethos. Nike has become synonymous with athletic achievement, determination, and the pursuit of excellence. When you wear Nike gear, you're not just wearing sports apparel; you're embodying a winning mindset.

Another standout example is Coca-Cola. Beyond their sugary beverages, Coca-Cola has created a timeless and universal message of happiness, togetherness, and sharing. Their branding campaigns, like the iconic "Share a Coke" campaign, have touched the hearts of millions worldwide.

Brand Guidelines: The Rulebook

Now, on to brand guidelines. These are like the brand's rulebook. They lay out the dos and don'ts, ensuring that your brand's visuals and voice are consistent across all touchpoints. Brand guidelines are essential to maintaining a cohesive image, but they're not the soul of your brand. They're more like the uniform your brand wears every day.

Let's take Old Spice as an example. Their brand guidelines ensure that no matter where you encounter Old Spice – whether it's in a TV commercial, a print ad, or on social media – you'll recognize that quirky, humorous style. The brand guidelines keep the Old Spice persona intact, but it's the brand itself that makes you smile.

Harley-Davidson is another brand that knows the power of guidelines. Their brand is synonymous with freedom, rebellion, and the open road. While their guidelines ensure consistency in logo usage and typography, it's the brand's strong identity that makes owning a Harley a lifestyle choice. You can intellectually recognize the logo, but it’s the brand that makes you feel something.

Branding = Culture Relevance

So, why is it crucial to distinguish between branding and brand guidelines? Because understanding this difference can take your brand to a whole new level. You see, branding is what makes your brand relevant in culture. It's about tapping into the zeitgeist, reflecting societal values, and creating something that resonates with your audience on a deep, emotional level.

Think about Apple. It's not just a tech company; it's a cultural phenomenon. Apple's branding revolves around innovation, simplicity, and challenging the status quo. They've made owning an Apple product a statement about individuality and creativity. When you see someone with an iPhone, it's not just a phone; it's a symbol of a shared ethos.

Red Bull is another brand that's deeply ingrained in culture. Their branding is all about pushing the boundaries of what's possible. From extreme sports events to content creation, they've made "gives you wings" a lifestyle, not just a slogan.

Emotion = Fans

One of the most powerful and enduring things about branding is that it turns customers into fans. When you create a strong emotional bond with your audience, they become your biggest advocates. They'll wear your merchandise, share your content, and defend your brand in internet debates. That's the power of a brand that connects on a deeper level.

Take Nike again, for instance. Their emotional connection with fans goes beyond sports. When they released the "Dream Crazy" campaign featuring Colin Kaepernick, they tapped into the broader cultural conversation about social justice. This move not only solidified their brand's values but also won them a legion of new fans who admired their bold stance.

Another example of this phenomenon is Disney. Disney's branding is all about nostalgia, magic, and storytelling. They've created a fan culture that spans generations. From Mickey Mouse to the Marvel Cinematic Universe, Disney's branding is a masterclass in creating lifelong fans that keep coming back (and bring their kids with them).

When asked about the role of a brand, Dan Wieden distilled it down to “Move me, Dude!” That sums it up pretty well. If your branding isn’t making someone feel something, it’s time to rethink and find ways that it can.

The Takeaway

So, the next time a team member uses branding interchangeably with brand guidelines, you can offer this distinction. Brand guidelines are essential for maintaining consistency in design and voice, but branding is the heart and soul of your brand. It's about creating an emotional relationship, winning more fans, and becoming culturally relevant. When you get branding right, the guidelines become part of your daily work in delivering the magic of your brand to the world.

The TLDR: Branding is about emotions, connections, and culture. Brand guidelines? They're just the stewards and hosts who make sure the party goes smoothly.

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Andrew “Oyl” Miller is an advertising Creative Director and Copywriter. He spent 15 years working at Wieden+Kennedy on brands like Nike, PlayStation and IKEA. You can check out his work on his website.

How the Nike Brand "Just Does It"

This article originally appeared on my SubStack.

I’ve worked with a lot of brands.

I’ve worked with brands in tech, sports, ice cream, travel, fashion, finance, automobiles, airplanes, food, pets, furniture, entertainment, music, crypto and NFTs. Those are the broad strokes.

And there is one brand I’ve worked with more than any other: Nike.

I grew up in Portland, Oregon and fell hard for the mystique of the Swoosh. I was an athlete (varsity basketball in high school, and baseball all the way through a pro tryout after college) and I loved creativity. Nike delivered creativity to athletes in spades. When my baseball career came to an end, I walked right into the shadow of the Swoosh and set out to figure out what the hell was going on there.

How come I had to buy Air Jordans? Why did Nike commercials rival Hollywood productions? Why did everyone I know have posters of Nike athletes on their bedroom walls? How did this company down the road in Beaverton go from selling shoes out of a van into becoming the coolest brand in the world?

My unbalanced curiosity led me to the halls of Nike’s ad agency Wieden+Kennedy. Since then, I’ve spent nearly two decades working on Nike campaigns. First in Portland, then in Tokyo, and now, as I type from Arizona.

Working with so many talented, passionate and experienced people at both Nike and Wieden+Kennedy over the years has been a particular education. All throughout that time I also worked on other clients, which has shown me Nike’s similarities and differences with other brands.

Almost all clients I’ve worked with have asked me what it’s like to work on Nike. Some clients even set the specific bar of hoping to make the kind of work that Nike does. You can even find clips on YouTube of Steve Jobs praising Nike’s advertising and brand strength. (Jobs used to actively hire former W+K employees with Nike experience to work on Apple’s advertising. A hiring principle that continues to this day.)

So, what is it that makes Nike able to function as such a potent brand? Even as it has expanded into becoming such a multinational corporate juggernaut? How has it retained its brand power? What has Nike and its agency partnerships done to keep its advertising and branding as the bar other brands aspire to?

There is no easy answer. But I can give my observations from my career of working with Nike and comparing it to other brands.

The standard is clear and extremely high. It’s not easy selling an idea to Nike. They’ve been going for decades and have executed a wide diversity of work in that time. When you are trying to come up with ideas for Nike Football or Nike Basketball, nothing you present can resemble anything they have done in the past. Each assignment demands a fresh and specific insight. On some campaigns, I’ve written nearly a hundred scripts, just to sell one. Other brands I’ve worked with have high standards, but clients are rarely deeply versed in the work that came before their time.

Nike is a belief system. Working on Nike can veer into cultish territory. There are beliefs and quotes that come from co-founders Bill Bowerman and Phil Knight. “If you have a body, you’re an athlete.” There are also north stars that have been established in previous ad campaigns. Mantras like “You don’t win silver, you lose gold,” and “There is no finish line.” These beliefs become proof points that you can filter work through. Clients will look to these truths to judge your ideas. You need to understand what Nike believes, not just what you think will be cool. If you can ground your ideas in the brand beliefs and you’ll give your ideas a better chance. Many other brands I work with speak of core beliefs, but it feels more like an intellectual exercise. Some brands are always trying to reinvent what they stand for. Nike knows who they are.

The voice of the athlete is queen. At most brands, the buck stops with some senior client. At Nike, the athletes themselves wield incredible power. I’ve seen situations where a client was tepid on an idea, but once it got the thumbs up from an athlete, it was game over. Once an athlete likes something, it’s sold and you go make it. On other brands, sometimes it’s hard to actually pinpoint the final decision maker. At Nike, there is always the “threat” that an athlete will come in and make the call. This adds tension and focus to the whole development and approval process. Brands who do identify a single decision maker usually make the most singular and impactful work in my experience.

They take it personally. (aka everyone cares) Phil Knight famously doesn’t believe in “testing.” This has created a culture that empowers decision makers. For better and worse, clients at Nike are encouraged to develop their own taste and stand by their decisions. This can lead to very subjective debates. But the end result is that all of the work that gets made has real human spark and emotion behind it. Someone made the decision because they personally liked it. No putting it to a committee vote or anonymous room of people off the street. You can feel the human touch and quirk in the finished product. Some brands I’ve worked with operate as a democracy. They give the power to testers or take a vote and listen to the opinions of even the most disengaged participant. This is the opposite of taking it personally, and leads to watered down, please the masses type of work.

They’re competitive as hell. Nike’s operating system and business engine is competition. Being founded by athletes and coaches, everything is a win or lose proposition. Nike clients want to outshine each other. One hit project can make a career. This creates active excitement and immense pressure. There is a constant push to make the work better and finesse the details. It’s not a matter of making comments just to say something (something I have experienced on other brands that actively makes the work worse.) Nike clients are smart and driven, because they are in the game to win not just build a resume.

Everything comes back to sports. Everyone at Nike can talk sports. Even if a client isn’t an athlete themselves, they find a way to respect and honor sports. I’ve worked with tech brands whose clients didn’t really understand or appreciate the tech. I’ve worked with travel brands whose clients just saw the job as a marketing role. At Nike, everything ties back to a love of sports. Being nimble with references, historical performances, play styles and the latest rising stars will serve you extremely well. This passion permeates all levels of the work. This intensity of passion is hard for other brands to manufacture. At Nike, love of sport runs to its core.

They have a tight strategic playbook. Before a project comes up, the brief and strategy are super clear. Sometimes, as a creative, the strategy portion of the process takes too much time. But the end result is a clear target and set parameters to operate in. From there, judging and debating work becomes almost a legal exercise. Every detail of an idea must be justified back to the core strategy. This can be infuriating when you are in the weeds trying to get a project green lit. But the intention and purpose behind this is to make sure the work stays on target. Of course human opinion does enter the process, but with a defined strategy, arguments on both side need to have logic to them. I’ve never seen anything close to the level of rigor that working on Nike demands at another brand. In my experience, this comes from a lack of strategic clarity. Both strategic business thinking as well as creative strategy.

No one is just taking up space. I once presented a campaign to a blue chip tech company. The presentation was in a classroom setting. I was up front in the “teacher” position. Looking out, were THIRTY CLIENTS sitting in school desks. None of them looked at me. All of them were typing on their laptops. We somehow sold the campaign, but given the odd circumstances, it didn’t “feel like a win.” Contrast that to Nike, where I have routinely presented to one or two clients. Sometimes there are more stakeholders from other functions, but I’ve rarely presented to more than ten clients. This results in intimate presentations that feel more like conversations. Now, when these things go wrong, it can get really uncomfortable. But mostly, it just feels like a partnership. You know the other side is invested and leaning into the work. Reactions are natural and immediate. You know where you stand. And it’s not at the head of a class with rows of disengaged “students.” How that will ever lead to great work, I’ll never know.

Small talk matters. We’ve all been in those awkward pre-meeting moments. We talk about our weekends or what we ate for dinner. No one really cares, but it’s better than sitting in silence. With Nike, it’s all about “did you see the game last night?” and “Do you think LeBron’s gonna break the record?” Even in the idle chit chat, it’s a chance to show your love of sport and credibility knowing what’s going on. The end result: those head nods and approvals later in the meeting are a little easier to come by. I have seen fruitful small talk on other brands. Like the creative director I worked with who seemed to know IKEA’s entire catalogue and store layout even better than the clients. This also led to smooth relations and approvals.

Everything is marketing. (aka your product is marketing) This is a big one. Nearly every other brand I’ve worked on has treated marketing as a kind of add on. The marketing department is called in after a product has been developed and is tasked with selling it to the masses. At Nike, marketing is baked in to the genesis of every product. Even working at an agency, I was sometimes invited to meetings with product developers to brainstorm how the story of that product could come to life. I’ve also seen products at Nike that didn’t crack their' “story” get shelved. Nike demands that each product “says” something. That’s not something that’s added on later. It’s a part of the big bang of each product’s creation. One brand I’ve worked on stands out as coming close, and that is Airbnb. When I worked with them, they were very advanced in also seeing the benefit of a product feature coming with an innate story. Involve your storytellers early, folks. Your business results will thank you.

Everyone wants to be Nike. They’ve cracked the code and have been executing for decades. But it’s not as easy as setting the brief to “Make a Nike style commercial for (Brand X)” Nike is the result of all sorts of beliefs, elements and working styles that come together. It’s not a switch to be flipped. If you want to achieve what Nike has, you have to dig deeper. And maybe you need to ask your brand uncomfortable questions. What do you believe in? Do you care about the work or are you just here for your resume? Does your brand have a north star? Or are you just doing whatever worked at your last job?

Nike is a unique (and actually pretty funky and chaotic “in a good way”) organization. Not every brand will have the intrinsic elements that Nike does. But every brand can aspire to be better. Every brand can commit to being more personal and human. And everyone that works on other brands can apply what works at Nike to what they are doing on a daily basis. The main thing comes down to care and responsibility. If you are willing to let go or roll over when you feel a project going off track, resist. The more you can find a way to do things that you believe in and connect with, the more your brand will benefit. The best brands outside of Nike I have worked with, have had their own versions of what makes Nike successful. The good news is, every brand can get better. Even Nike. Make it your mission to figure out how.

"Artificial Writing"

Artificial Intelligence (AI) is the most provocative technology since the dawn of the internet in the early 1990s.

A firebrand topic, AI has ignited debates across business sectors. It’s earned a place in the headlines of Hollywood’s recent writers’ strike, as fears rise of film and television content created entirely by robots.

So where do I fall on the issue of AI? Do I see doom or do I see boom? Neither. I see the evolution of computers. I see exciting new enhancements and abilities. I see new routes to human efficiency. If Steve Jobs noted the computer was “a bicycle for the mind,” I’ll offer some evolved plagiarism and claim that AI is “a motorcycle for the mind.” In that spirit, I’ve decided to hop on a few artificially intelligent Harleys and take them for a scenic winding drive up the coast, so to speak.

AI is a tool. Like spreadsheets are a tool. Like Photoshop is a tool.

When Photoshop came out, there were traditional art directors and visual types who considered it cheating. Over the years, best practices emerged and it became a vital part of the creative scene. The software itself moved to the background. Imitators popped up. Photoshop is now seen as a tool. It’s the same way I see AI.

If you’ve spent any time playing around with it, maybe you’ve gotten over the parlor trick of it all. Yes, it’s impressive to enter a short prompt and have your screen fill up with an academic sounding 5 paragraph essay in a matter of seconds. Or maybe you want to re-write your New Years family update in the style of Hemingway. Have at it. It’s the writing equivalent of Instagram filters. It’s amusing and changes the surface of what you created, but it still starts with you.

AI needs a lot of hand holding. Especially if you want to deliver something of substance. A lot of these AI fans I see are too easily impressed. With a critical eye, AI’s execution is super pedestrian. They can spit out generic bullet points or cop well-known literary styles. But there is no substance to it.

Sure, it will get better as we collectively thumbs up and thumbs down our results. But I have yet to see any written content that really lights me up. My reactions more range from “meh” to “huh.” Actually, my favorite bits of AI results are the so-called “hallucinations.” Little phrases or strings of sentences that really go off the deep end and relate in no way to what you asked for. Now, that is poetry. But on the whole, AI written content is derivative, shallow and un-engaging. A.K.A. it’s bad writing.

However my review isn’t all bad. (The visual and video side of AI has repeatedly turned my head.) I have found some use cases for this stage of AI. I basically treat it like a creative partner. It’s like being in a writers’ room. You can toss out half thought through ideas or ask for lists of options. Again, there is no genius coming back, but I’ve found it stimulates my thought and keeps the creative wheels turning.

With this in mind, I’ve create a quick breakdown of what AI can and can’t do. I’ll revisit this periodically, but here is the snapshot as of August 2023.

What AI CAN DO

1. Providing options for better decisions: AI can spit out a bunch of choices, fast. When you come to a turning point in a story or piece of writing, you can ask AI for dozens of options for what could happen next. Then it’s volleyed over to you to act as editor and determine what the best option is. It's like having a digital brainstorming partner, offering a range of options from a different perspective that can lead to more creative solutions.

2. Revealing the flip side: AI can quickly spit out very basic or “first thought” ideas. Doing this early on can save you time by showing you what the obvious answers are. So you can avoid them. Maybe the contrarian idea to some of these thoughts can turn into an unexpected way forward. By using AI as a "bad version" generator, it steers us away from obvious solutions and into more creative paths.

3. Laying the foundation: AI can assist in creating broad outlines and structures for various projects. It's like having a virtual architect that helps you build a solid foundation before delving into the details, ensuring a coherent and organized approach. With the thirty thousand foot view in place, it’s up to you and your human ingenuity to add spark and nuance to the work.

4. Enabling new perspectives: AI can help us zoom out and see the bigger picture, offering alternative viewpoints that we might not have considered. This fresh perspective can be invaluable for breaking out of mental ruts and finding innovative solutions.

5. Generating flash lists: AI can quickly compile lists of information, condensing complex data into easily digestible formats. In longer form writing like screenwriting or working on a novel, AI can serve as a shortcut to some of your research. By asking it to recall details from a certain subject or time period, you can then hand select details that will add texture and relevance to your writing. It’s like having a digital assistant that provides rapid summaries, aiding in efficient decision-making.

6. Emulating a blogging voice: AI can mimic the tone and style of a generic blogger, delivering content in a consistent and approachable manner. While it might lack the human touch, it can still provide valuable insights and information. This may prove helpful for a smaller company or an understaffed team that needs to generate a high volume of written content for discoverability.

What AI CAN'T DO (yet)

1. Crafting succinct and witty short copy: While AI can generate text, it often struggles to capture the nuanced brevity and cleverness that human writers can infuse into concise content. The art of crafting a catchy one-liner or punchy tagline still remains firmly in the realm of human creativity.

2. Producing high-quality scripts: Developing a script that resonates emotionally with audiences requires a deep understanding of narrative structure, character development, and emotional resonance. AI's ability to create compelling and captivating scripts, especially for intricate storytelling, is still a work in progress.

3. Conveying a personal essay: Writing a personal essay involves sharing one's unique experiences, emotions, and reflections. AI struggles to replicate the authenticity and vulnerability that come with personal storytelling, as it lacks the human touch needed to truly connect with readers on an emotional level. Perhaps as more personal versions of AI emerge, we will be able to train our own AIs to learn the stories and anecdotes of our individual lives.

4. Capturing human emotions and nuances: AI often finds it challenging to understand and convey the intricate web of human emotions, tone, and context. It struggles to replicate the empathy and intuition required to recognize subtle emotional cues and adapt communication accordingly.

5. Making subjective and intuitive decisions: While AI excels in data analysis, it struggles when it comes to making subjective choices that require intuition, gut feelings, and understanding of individual preferences. The human ability to make intuitive decisions based on non-quantifiable factors remains beyond AI's capabilities. There are so many examples of human creativity where a decision maker either made a mistake or made a wrong choice. This kind of surprise and illogical revelation is still all us.

Artificial Intelligence is undoubtedly a transformative tool that has woven its way into various aspects of our lives. From offering options and perspectives to generating quick summaries and even mimicking certain writing styles, AI is proving to be a versatile partner in our creative endeavors. However, it's important to recognize its limitations. While AI can excel in specific tasks, it still struggles to replicate the finesse of human creativity and emotion. As we continue to explore the dynamic between AI and human creativity, it becomes clear that while AI can enhance our capabilities, it's the unique touch of human ingenuity that sets us apart.

Embracing AI as a co-writer offers us an opportunity to leverage its strengths while cherishing our innate human abilities. The synergy between human creativity and AI assistance can yield remarkable results, allowing us to explore new horizons and streamline certain aspects of our creative process. As we navigate this evolving landscape, it's essential to understand when to harness AI's potential and when to rely on our human touch. By striking this balance, we can forge ahead into a future where technology and creativity merge harmoniously, enriching our work and expanding our creative horizons in ways we never thought possible.

At the end of the day (at least for today) AI is a tool. Where you point it and how you use it requires inspiration and creativity from you. As of today, you won’t be able to inspire greatness with the press of a button. The greatness is still inside of you. AI may be able to help you mine some of that as you work to turn it into gold.

The Work Is Never Done

Growing up, I had a very romantic idea of creative work.

I thought about the things I loved and considered their creation.

I imagined George Lucas etching the script to Star Wars in stone, and then going out and making it.

I pictured Jerry Seinfeld just showing up on set and turning it on once the cameras started rolling.

I assumed that’s how creative genius worked.

Whether it was Shakespeare or The Beatles or any work that has stood the test of time.

You show up, flip the switch and lay down perfection.

Greatness was about catching lightning in a bottle.

One single moment of creative spark that arrives fully formed.

What became concerning was, this wasn’t anything at all like my creative process.

I would meander, make mistakes, start over, doubt myself, pick myself up.

The doubt grew louder and louder.

Maybe I just didn’t have that intangible “it.”

Of course, I was only looking at work on the surface and judging the final product.

I needed to go deeper and see how people made creative work.

This is exactly the crash course I would get at Wieden+Kennedy.

The advertising agency famous for making Nike ads.

Campaigns like Spike & Mike, Lil’ Penny and Hello, World sat on my creative top shelf.

There was something about them that were iconic.

They were examples of creative excellence.

I started out in Wieden’s ad school and could go right to the source.

Susan Hoffman was my first creative director.

She was tough, but she was also inspiring as hell.

What I quickly learned from her is that work gets to a high level by constantly pushing.

The actual creative process is messy, chaotic and impulsive.

The details of a great idea don’t all arrive at the same time.

But what does that mean?

It means that when something bothers you, you do something about it.

Maybe the logo doesn’t sit right.

Maybe the cropping of a photo feels off.

Maybe you just wrote a better headline in your head.

Maybe the VO is missing punch at the end.

It could be anything.

If something is off in your gut, speak up.

Stop the process.

Put how you feel into words.

Even—especially when it’s uncomfortable.

To let things slide that don’t fit your taste is to drop the ball.

When you are a creative, you are a guardian of quality.

Your job is to raise the bar.

Not turn a blind eye.

Susan taught me this lesson over and over again.

One time we were working on a simple brochure.

It was already at the printers and ready to deliver.

But I had worked out a layout and line I liked better.

I showed it to Susan and then she reached out to the producer.

Stop the presses.

The producer was not happy.

The deadline for changes had passed.

But Susan stood firm.

The changes needed to be made.

Unhappily the producer relented.

The job was finished.

The lesson was learned.

Over my career these uncomfortable moments marked the time.

It’s a constant clash of creative vision and the limits of time, space and budget.

But the job is to push.

Maybe especially when it’s not popular.

You don’t have to be a jerk about it.

You can stay diplomatic and professional.

Over the course of a project, there are tons of decisions to be made.

Maybe each one makes the project 1% better or worse.

If you keep on all those details, you can turn an average project around.

I’ve learned more about how my favorite things were made.

It was never, ever a straight line.

George Lucas toiled, restarted and scrapped Star Wars for nearly a decade.

Jerry Seinfeld is a perfectionist workaholic who needs every word to sit perfectly.

The Beatles toiled, experimented, played around and worked hard to put it on record.

The work is never finished.

And every moment and pang in your gut is a chance to step toward your vision.

Ignore these internal calls at your own peril.

It’s true whether you’re working on a social post a sixty second commercial or a feature film.

The work and attention to detail remains the same.

There is always something you can do to make it a little better.

The road to mediocrity is paved in convenience and efficiency.

The road to greatness is long and winding.

Realize this and you’ll be ready when the choices come.

The first step is realizing you have a choice.

Make it better.

Or let it slide and move on without you.

If you do the latter, you’ll build a creative career full of regrets.

My Next Chapter

I spent the last year exploring the branding and storytelling possibilities at the intersection of sports, web3 and NFTs at Dapper Labs. I was the first copywriter hired by Dapper, and helped define the brand positioning and voice for pioneering web3 projects like NBA Top Shot, NFL All Day and UFC Strike.

After 14 years at Wieden + Kennedy in Tokyo, I moved my family to the other side of the world to take on a new challenge in an emerging industry. It was a thrilling, chaotic ride in a startup culture where everyone was driven to do something that's never been done. It always felt like we were a step away from a breakthrough.

While at Dapper, I worked with passionate coworkers as we wrestled with daily challenges amidst industry uncertainty. I was able to write words for Magic Johnson, Patrick Mahomes, Klay Thompson and other sports icons. I'll take the good, the bad and all of the learnings as I move to my next chapter.

From today I'm available for freelance and full-time Creative Director and Copywriter opportunities.

You can email me at oylmiller at gmail dot com.

You can also find me on LinkedIn, Instagram and Twitter.

Thank you, Dan Wieden

“I feel so damn sorry for you,” were the first words Dan Wieden said to me.

I had somehow been invited to interview for the ad school Dan and Jelly Helm had started in the W+K headquarters called 12, and we were told to show up for lunch at this little restaurant in Portland. As soon as I walked in the door, Dan was there and he gave me that first line.

Dan went on, “You’re going to have the hardest year of your life. Susan Hoffman is going to kick your ass. She’s the toughest one we have. She makes us all cry. I can’t imagine what she’s gonna do to you.”

After the exchange, my heart was pounding and I was even more intimidated than when I walked in. I didn’t know what to say. Dan put his hand on my shoulder and added “I’m a little jealous of you too,” with a trickster twinkle in his eye.

That was my intro to Wieden, the man and the agency (and the brilliant Susan Hoffman). Provocative and kind.

The next year was hard as Dan promised, but it was also magical and life-changing. I got to experience the chaos, passion, debates, sky high standards, kindness, all nighters and messy humanity of the place Dan and Dave created. There would be more encounters with Dan like when he would stop by to offer some Jedi wisdom to 12, take us to lunch, share an elevator, randomly walk up and ask “what are you working on?” and that one time we sat in an empty agency and just watched a basketball game together.

The time I was privileged to be around Dan and the 14 years I spent at W+K, taught me the value and depth of his proudest creation: the culture. Yeah, we made some ads, but it’s the late nights, laughs, production grinds, legendary parties, stupid jokes and crazy respect you have for the talented misfits you work with that stay with you forever.

Thank you for everything, Dan.

You continue to move us all, dude.

Branding 3.0

In my career in advertising, I remember encouraging brands to take a look at YouTube when it just launched. They laughed at me. I didn't understand media, they said. It was small time, they chided. TV was king, they assured me. I took my lumps and dug deeper into offering them more "traditional" campaigns.

It didn't take long for the early "virality" of YouTube to spin its way into the consciousness of brand managers. Suddenly I started getting briefs to "make a viral video." Oh, the clients loved this. They'd see a group of no name kids who kicked a football against the cross bar, and suddenly they'd "re-imagine" the idea with famous global football stars. Narrative was dead they said. YouTube was all about the quick, magical stunt. Kobe Bryant jumping over a car. Wayne Rooney hitting targets with the ball. The only goal of YouTube was to game the system and make a video that got passed around.

This is the phase we are at with the emerging web3 and NFT scene. Brand managers are looking for 24-hour derivative turn arounds that result in pfp projects and virtual beer/deodorant/pizza. I get it. It's intoxicating to join the hot, new conversation that your audience is aware of. Just like it was exciting to "make virals" back in the day for YouTube. But savvy brand marketers will realize that behaviors and possibilities are changing radically. It's a fundamental shift. It has implications for your business, not just for making a cheap "WAGMI" joke on a Tuesday afternoon.

Eventually, YouTube didn't go away. It grew into THE platform for digital video. People flocked to YouTube for everything. To learn things. To relive their childhood culture. To laugh. To sing. To feel. YouTube ate all of digital video. It was no longer about being "viral" or trying to capture or fake some unbelievable stunt. YouTube just became a platform to tell stories and give information on. Eventually all the marketing budgets starting pumping into YouTube as the place to get your TV ads seen. Showing up early on YouTube, this didn't come as a surprise. It was easy to see that what YouTube was on launch, wasn't what it was going to always be. It ushered in a new fundamental form of online behavior. Suddenly video was king. And it hasn't gone away since then.

This is where we are at in web3 and NFTs in March, 2022.

Brand managers are looking to make "viral" projects. They are thinking about the next two weeks, and that's it. What they are failing to realize, is that NFTs, and the underlying technology, is doing what YouTube once did to online behavior. NFTs let you own your presence on the web. No more like buttons. No more hearts feeding straight into a marketing algorithm that prints money for their holding companies.

For the first time, users, individuals and people matter.

That's what NFTs represent.

You have to look past the headlines and the easy memes about bad drawings or right-click-and-save crusaders. This is just the first volley. This is "everything has to be a viral video" phase. No. This is just the first chapter. It's the early innovators playing around and casually defining one form or use case. From here, the pie gets bigger. From here, behavior gets normalized. From here, the jargon goes away and "digital ownership" starts to become tangible.

People in charge of brands need to realize that the digital world is evolving. It's not just a passing lightweight meme. The fundamentals are changing. The visionary and the first movers will catch this early, and they will start building out their actual business models to fit into the evolution of our digital lives.

That's exactly what Michael Jordan and his son are doing with HEIR. They have founded a web3 and digital culture company that will bring elite athletes and their fans closer together. This is an actual business. This is not a weekend project. HEIR will use Jordan's legacy as a centerpiece, and then build their business around this generation's co-signed athletes to offer digital products (NFTs), access and physical merchandise. To align with this, they have filed a series of relevant patents to stake their claim to the space strategically. Nike has done the same thing. The smart businesses are not just going for the one-off campaign or cash grab. They are adapting their business to where digital behavior and commerce are leading us.

It's easy to be a hater. It's easy to look at the stupid, amateurish videos that first came out on YouTube and dismiss the entire platform. How is it premium? How can it compete with TV advertising? But for those who look deeper and consider the operation and potential in emerging technologies, they give themselves a chance to see a longer runway. And those who get their first and create a tangible impact early, will be able to define the space and position themselves and their companies as first movers. This in itself is a branding win. The Nike's of the world are consistently early to emerging technology and it has helped them to control and distribute their message, brand and products consistently with where culture is gathering.

If you're spinning your wheels trying to come up with the perfect blockchain pun to post on Twitter, you're probably not gonna make it.

So keep your antenna up as these evolutions in technology speed up. If you pay attention enough, see what is being done, you'll start to see gaps where you can do something differently. That's where the wins for a brand lie. And unlike media only innovations, the emergence of the blockchain brings together media and business possibilities.

If you haven't realized, every brand is a tech brand now. The winners will be the ones who opt in earliest.

Azuki NFT Releases First Fractionalized NFT

We have hit a wall with NFTs. The word is out. You either love or hate them. But whichever side you fall on, you feel like you know what they are about. And it's either for you or not. Of course those who are writing off NFTs already, are sounding a lot like the people who dismissed the Internet as a fad back in the 1990s.

Yet, even as a convert to NFTs and the potential of web3, I can understand where the hate is coming from. It's like when the Internet only had a few web pages and you had to get access by getting "minutes" on a physical CD. The infrastructure of web3 doesn't exist yet. It forces you to use all of your powers of imagination as to what the space could look like once that infrastructure is built out. Leaving value to the power of imagination alone looks an awful lot like speculation.

But I just ask myself a simple question: Will people's lives become more digital in the future? Or will people start abandoning technology. Will the Internet become the fad that it was predicted to be in the 1990s? If you think people's lives will be more digital than they are today, then that is a vote of confidence for web3.

But if web 3.0 is the destination for mainstream adoption, we will start needing more than imagination and speculation to get us there. This means we need innovation. We don't need cryptopunks version 47. We don't need 394 different flavors of monkeys. We need honest innovation that unlocks the next chapters of this story. We need NFT projects that make people go "oh, I never thought of that." We need NFT projects that move the needle and start filling in the wild imagination of early adopters.

This brings me to a new wave of NFT projects that are standing out. Projects like Azuki NFT, an anime inspired PFP project that comes with a blue chip pedigree and an ambitious roadmap to match. Azuki started out as a series of anime inspired characters and a promise for future metaverse integration. Its members have worked for Marvel and Disney before, and what they are looking to accomplish is directly related to that path. Instead of designing characters that raise the stock prices for Disney shareholders, these creators are looking to mint original IP that will fund their own vision that they will be able to control and profit for. No longer putting their hard labor in for the House of Mouse, they are out to make an impact for themselves. This is the promise of web3. Digital ownership that many can participate and profit in.

The Azuki NFTs quickly shot to the top of the NFT rankings and their floor price quickly vaulted out of reach for most. Which makes their recent offering intriguing. They have just "fractionalized" one of their IP's core characters, a bean farmer named Bobu, and offered those fractions at an affordable mint price for new members to join the community. There were 50,000 such fractions minted and they went fast.

Azuki is promising that the Bobu fractional NFTs will be an experiment in project governance. Effectively creating a DAO based around one of the characters in their world. It's like if JK Rowling suddenly decided that Hagrid was going to be owned by the fans and offered shares of ownership in the character. Holders of the fractional Bobu NFT will be able to vote in the community to help decide the direction of the character. The projects roadmap lists ambitions to create animations, games and even films around the Azuki universe, and Bobu's fate will be fan controlled. This is having a stake in the game. And as word of the project moves forward and sales of the fraction continue to rise, they will keep generating more funding that goes towards fulfilling their future ambitions. It's a brilliant marketing move that has brought more attention to the Azuki brand, and has also lived the spirit of web3 by giving those who missed the initial wave an affordable entry point into the project. It's a show of innovation that could be adopted by other out of reach NFT project like Bored Apes, should they look for ways to acquire new members in a future wave of the project.

It's still early innings for these projects, but every time one project decides to try something new, the whole space can learn and benefit from the attempt. And hopefully, we will see more of these properties taking risks and trying to add new innovations to what they are offering. One of these days, someone will add a new use case that will serve as the springboard to mass adoption of web3. We are still playing in tech savvy, early adopter spaces. But with every new attempt, the mainstream gets a little closer. Innovation is the only path toward opening the floodgates. Because everyone who already cares about NFTs is here and content. It's the 99% that need to get excited about this space, and so far, they haven't seen anything that gives them enough FOMO to join. Yet.

Shibuya NFT Creates Web3 Native Film Platform

Hollywood has long been looking for new ways to fund and market films. With the emergence of NFTs and web3, filmmakers and film producers have actively been searching for ways to harness the exponential fund-raising potential that the space has demonstrated. As out-of-nowhere, original IP like Bored Apes have vaulted into the spotlight, Hollywood has been left on the outside looking for where they can plug in their IP.

Yes, we have seen traditional IP money printing NFT launches around the typical tentpoles. Marvel and Star Wars minting one off collections for a limited number of fans. But these moves are a flash in the pan. Web3 has moved on from the quick flip, cash grab days, into having a large concentration of smart and creative people looking how to build out meaningful ecosystems within the space. With web3 native creative projects, it seems like eventually, the next Star Wars or the next Harry Potter could be spun out of passionate creative team delivering surprising characters and worlds to an adoring and high-spending audience that funds higher production ways to bring those creations into the world.

The latest web3 film attempt to step onto the stage is the Shibuya project by crypto-creators @pplpleasr1 and @maciej_kuciara. What they have brought to the table is a stylish website and the opening moments of an original animation that hearkens to the style of Japanese anime powerhouse Studio Ghibli. The website features a stunning and modern version of Tokyo's central hub, Shibuya, rendered in a metaverse friendly style that has all sorts of future leaning implications. The film, is an Alice and Wonderland style animation, which ends with a cliffhanger of Alice standing in front of two doors, left and right.

As you get into the project details, you see that you can mint a "Producer Pass" which acts as a governance token to the project's DAO. With the NFT, you can vote for which door Alice should open. It's like the interactive films that Netflix has been playing around with, only in this case, you vote with buying into the ecosystem. Once the votes have been cast, it will unlock Chapter 2 in the story, upon which a new round of Producer Passes will be minted and the process of deciding the main character's fate will be in the hands of the community again.

The project also has "White Rabbit Tokens" that will be generated based on how early users join the project. The earlier you get in, the more tokens you will accumulate. At the end of the film, the film itself will be fractionalized into an NFT, and all participants will be able to stake an ownership in the final film.

Hopping into the Discord and AMAs you find that there are plans of this being the first film in a web3 film platform, where original stories will be created, and then delivered "direct-to-community." It's like Netflix meets Patreon or other crowdfunding analogies from the web2 era.

Again, reverse engineer your favorite franchise, and you can start to see how a launchpad for characters and stories could escalate. Luke Skywalker could have been introduced this way. George Lucas could have presented the opening atmosphere of Star Wars and allowed fans to buy into it from the get go. Imagine owning an NFT minted in 1977 that represented a share of ownership in the character Darth Vader. The future is impossible to predict, but creative minds are actively looking how to scale their original stories and turbocharge their development and funding via the power of web3.

It's also possible that eventually Hollywood will see the profit potential in fans wanting to have some skin in the game of the franchises they love. What if instead of having an Ironman lunchbox, you could own a part of Ironman, and participate in the success and profits of the character moving forward. Suddenly we aren't talking about fleeting animal illustrations. We are talking about cultural forces opening up and rewarding fans' for their passion and promotion. Think of the money big studios could cut from their marketing budgets, if they just allowed an energized and invested audience to preach the good word and hype up the latest release. We are several steps from this point, but all signs and ingenuity are pointing this way.

Until then, check out the Shibuya project and see if the community will send Alice through the door on the left or right.

Street Fashion in the Metaverse

Street fashion might not sound like a perfect analog for the NFT space, yet early on it's seeming like a match made in metaverse heaven.

Lately, Bobby Hundreds, owner of the street brand, The Hundreds, has become an NFT uber-evangelist on full blast across his social channels and podcasts. He's turned into this inspirational, almost Steve Jobs type figure, who has made it his mission to open up the NFT space and personally onboard as many people as possible.

Last year The Hunrdeds had their own NFT drop called the Adam Bomb Squad, consisting of illustrated bomb characters that have graced the brand's streetwear for decades. The founder of Hundreds ah-ha moment was when he realized they were sitting on this deep legacy of IP and a super passionate community: the two main drivers of a successful NFT project. After a few tests, The Adam Bomb Squad was a success. Selling out its first mint and now experiencing a healthy life cycle on the secondary market. This has only fueled Hundreds enthusiasm and conviction in the space. And like I said, he's bringing as many people with him as possible. Including all of his OG streetwear friends, which means street fashion could really be the next big thing to follow art into the metaverse.

Another early streetwear foray into the metaverse famously came from RTFKT and their fusing of meta-video game, hyper aesthetics to create a line of virtual sneakers and become the first famous metaverse fashion brand. Nike took note and acquired RTFKT just when their heat couldn't get any hotter.

Streetwear circles tend to be tight and insular, so it was no surprise, yet also a pleasant surprise, when RTFKT tapped streetwear legend Jeff Staple to bring his game-changing and iconic Pigeon Dunks into the metaverse. The alchemy of the old and new came together to create an instant classic. What must have first felt like an experimental lark for Staple, turned into his own ah-ha moment in the NFT space as he witnessed the awesome community embrace and power that comes when an authentic creator offers something meaningful and heartfelt in the space.

And so after the hype of the drop settled down, Staple is approaching the metaverse again, this time with his own solo NFT project.

Enter the Stapleverse.

A connected community universe built around Staple's iconic Pigeon brand. Here, hypebeasts will be able to mint "Feed" and later have the option to risk throwing their feed to turn it into either a "Pigeon" or "Poop." It's the kind of risk it all layer that we've seen implemented in a few NFT projects. Like the Bored Apes Serum, which takes away your original Ape forever and gives you a brand new Mutated Ape in return.

The website is slick. The passion and creativity leaps off the screen. The art for the first drop is perfectly executed by illustrator B. Thom Stevenson. This week, Chapter 1 dropped. It presents a series of graphics that represents the highs and lows of living in New York. As the project builds out, Staple envisions adding references to new cities around the world to the Stapleverse.

There is a roadmap for the Stapleverse, and it's already clear that Staple has the passion and energy to keep creating in the space. With a known, authentic creator behind the project, confidence rises that this will not be a rug pull. Staple has already been a part of NFT history and now is looking to build off his legacy in the space.

There is a strong psychological connection between hypebeast street culture and NFT culture. Both worlds center around literal "drops" of their products. In both space, catching wind of early hype is credibility and currency, as well as often the difference between those who ape in early and those who live with FOMO in perpetuity.

For those who need the right Nikes that no one else has, or the t-shirt that only came from one single shop, NFTs area a kindred spirit. For streetwear and NFTs are both markers of status. And as our lives turn increasingly digital, it figures that we will need more than just a follower count to signal our status and what we are into. Found out about Bored Apes before anyone else? Your Twitter profile will be the judge of that. Get in on the first Stapleverse drop? Just flash your wallet. From now on, your cool points will be stored on the blockchain, available for all to see and judge. It's Supreme drops, but for the web3 savvy.

You won't see the long mysterious lines of people with insane kicks in questionable New York or Tokyo alleys. Instead, these early streetwear adopters will be going on whitelist quests inside of Discord servers. All hell bent on finding out first, where the the latest cool is at.

Hipster Velociraptor NFTs

I’ve been studying and playing around with NFTs and web3 for a little while now, and now I’m ready to jump into the space as a creator. I just minted my first batch of Hipster Velociraptor NFTs over on OpenSea. You can check out the collection here.

Hipster Velociraptors are a PFP or “profile picture” project along the lines of Bored Apes and Cryptopunks. The latter have helped accelerate NFTs and crypto-art into the mainstream, as their art has sold for astronomical prices. Hipster Velociraptors are each crafted by hand on the computer. I put together the traits and accessories, and then mint each one into a unique and verifiable NFT.

While I am jumping into a newly established trend, Hipster Velociraptors are an original illustration project that I have been working on for years. I’ve struggled to find the right avenue to put them out into the world. And then I saw the emergence of NFTs and PFP art, and realized right away, that Hipster Velociraptors would work perfectly in that context.

Like all NFT and crypto-art projects recently, I do have a general “roadmap” in mind. While it hasn’t been finalized, some things I am thinking about include web comics, original content series, commissions and limited edition drops to holders. We are all so very early to this space, and the rules and best practices are literally being written every day.

Hipster Velociraptors will be my personal NFT studio to create and experiment with the form. As of this writing I have created and minted 7 unique Hipster Velociraptors. I plan to keep adding to this series. The hope is that over time, more collectors will come to discover the collection, and will be curious to look back and see what the original Hipster Velociraptors look like.

Watch this space for more updates on the project moving forward. If you are reading this, then you too, are very early.

Go pick up a Hipster Velociraptor of your own here!

Nike commercial about gender inequality in Japan receives backlash online

Article re-posted from Japan Today. By Oona McGee, SoraNews24

TOKYO—In recent years, Nike has shown that it likes to move people, both physically with their range of sporting goods and apparel, and emotionally, with their tug-at-the heartstrings advertising.

In Japan, the sporting giant is moving people once again, this time with a new commercial called “New Girl/Play New“, which shines a light on the plight of women across the country. The ad comes with the following thought-provoking statement:

“Growing up a girl in Japan used to mean one thing. Now it can mean everything. So, what do you want to do?”

This is the main theme of the ad, which reminds viewers of some of the traditional expectations and restrictions placed on women in Japan from a young age, while also showcasing some of the nation’s sportswomen and activists who are smashing traditional stereotypes, paving the way for the new girls of the future.

The commercial has English subtitles available, so click the white gear button next to the CC in the bottom right corner to turn them on, and take a look at the ad below.

The clip shows a pregnant mother and her family learning that they’ll soon be welcoming a new girl into their lives. While their instant reaction is joy, they’re suddenly reminded of the downsides of being a girl in Japan, with cut scenes to their future grown-up daughter looking over her shoulder in fear while walking alone at night, and attending a business meeting, where she’s allowed in the room but not allowed to talk. That last scenario is one that recently played out in real-life, when Japan’s ruling party decided to allow five female lawmakers to attend their all-male board meetings…on the proviso that they didn’t talk.

Japan ranked 121 out of of 153 countries on the World Economic Forum’s 2020 Global Gender Gap Index, and the Nike ad reminds us that a report by the World Economic Forum in 2021 showed the average Japanese woman’s income was 43.7 percent lower than the average Japanese man’s income.

However, there is hope that girls really will be able to achieve anything in future, and there are some young sportswomen doing just that right now. Professional football player and female empowerment activist Ami Otaki appears in the ad, showing that women can carve a successful career for themselves by playing a traditionally male sport at a national level.

▼ High-school sumo wrestler Rizumu Kasai is a member of the men’s competitive high school sumo team.

▼ And 16-year-old baseball player Ayuri Shimano has played on all-male teams.

The ad also includes appearances by wrestler Miyu Nakamura and figure skater Marin Honda, along with a scene showing Momoko Nojo, an activist working to eliminate gender discrimination, playing the role of a future Prime Minister.

While the ad ends with a positive sense of hope for the future of women in Japan, it doesn’t shy away from presenting the problems that exist in the country. In fact, a quick look at the comments section under the video shows why ads like this are sorely needed in Japan, as many of the commenters appear to care less about the message of empowering women and more about the fact that Nike has aired Japan’s dirty laundry on a public stage.

“Currently Nike is hot on making hate speech against Japan.”

“This is a commercial that appeals for the elimination of discrimination against women, but it is a commercial that severely discriminates against Japanese people.”

“You should be aware that the real enemies are not men or women, but capitalists who incite discrimination.”

“Is this really made by Japanese people?”

“Sumo is a culture, and putting a woman in it is just a denial of culture, isn’t it?”

Like Nike’s last commercial, which looked at the problem of bullying and racism in Japan, this new commercial has also received more dislikes than likes, with 2,800 dislikes and 1,300 likes as of this writing.

Nike doesn’t seem bothered by the backlash, though, leaving the comments section open for the world to see, as if to further solidify their point that it’s tough to be a woman in Japan. And with female players continuing to be banned on the baseball field during the major high school baseball tournament at Koshien Stadium, and female sumo players banned from stepping into the sacred sumo ring at the majority of sumo stadiums, it’s fair to say Japan still has a long way to go in terms of gender equality. However, the more it’s brought to light, the more will be done about it, and ads like these are a step in the right direction towards improving the future for the new girls of tomorrow.

PODCAST RECO: BONG JOON HO ON THE DIRECTOR'S CUT

Rian Johnson sits down with Korean film director Bong Joon Ho to discuss the full span of his career.

There were two moments from his childhood that really seemed to stick with him and make sense as an origin story for his career in film. Bong was born in the countryside, in a lush, green town on the side of a mountain. When Bong was young, around 7, his father got a job in the city and he found himself uprooted into a concrete jungle. He said everything about the shift of environments was shocking to his system. He found the landscape harsher and colder. He found the people more serious and intense. He didn’t understand at the time why his family had to leave his birthplace and he wrestled to make sense of it in his own mind.

He also talks about how he watched Psycho around the same time, at age nine, and how it was his earliest memory of a film really sticking with him. He couldn’t believe someone could make something like that. He was fascinated by how the story unfolded, all leading up to the shocking twist at the end.

Flash forward to Bong’s filmography and you see these early imprinted themes strung throughout his work. He deals with themes of urban darkness contrasting against the beauty of nature. In his films you can feel that longing to return to the lush greenery of his childhood. Cities are often portrayed as cold and clinical places, full of calculating and equally cold characters.

Bong also speaks about the maturity of the Korean film industry. And how when he started out, there really was no industry and he would need to wear all sorts of hats to get his films going. Now, very quickly, there is an organized and unionized film system in place. He says as more opportunities have come, the Korean film scene has leveled up. He thinks that soon it will be on par with the craft and services you can find in Hollywood. In that sense, his films are much easier to make these days, because there is that shared understanding and experience in film.

He also speaks about the pleasure of being a writer director. He loves to plan out and craft his scripts. He’s working on a followup to Parasite at the moment, as well as another project. Like many creators, he has found the lockdown time to be a fruitful one and he has made good strides to set up his next projects. He also talks about his routine as a writer, and how he needs to work in cafes. He found the words hard to come by in the early days of the lockdown when everything was closed. Now that his favorite cafes are back, he is writing two films simultaneously. Hopefully we won’t have to wait too long to find out what those projects are all about.

Listen to this episode from The Director's Cut - A DGA Podcast on Spotify. Director Bong Joon Ho participates in a conversation with Rian Johnson on Director Bong's beginnings in the industry, how his early life informs his voice, and what guides him in his collaboration with actors.

NAOMI OSAKA NIKE COMMERCIAL

With Naomi Osaka heating up during the Australian Open, I noticed the YouTube algorithm has started to suggest our Nike spot from last year. With her victory over Serena Williams yesterday, I saw a big influx in viewers from a video that was just sitting there. Nice to see it become relevant for a minute again.

PURSUIT OF AIR

Podcast Reco: M. Night Shyamalan on How I Built This

Check out the inspiring interview with M. Night Shyamalan on How I Built This. It’s a great podcast if you’re not familiar. Usually they focus on entrepreneurs and tech founders, but they’re doing a little series from the Sundance Film Festival focusing on storytellers.

I feel like M. Night Shyamalan gets written off too easily. Because of his mega-success with The Sixth Sense, he’s been branded as some kind of one-trick pony. He’s The Plot Twist Guy. Yes, that was a cool and signature moment that left a cultural dent, but as this interview reminds us, creative people are more than just a signature moment.

In this wide-ranging interview, Shyamalan breaks down his creative process. He talks about how he carves two hours out every morning to focus on writing. But he goes easy on himself. He allows himself to stare at the wall. He creates a safe space for himself and doesn’t apply un-needed pressure. His only rule is he can’t be productive in non-writing ways. Either his pencil moves, or he works out thoughts in his head. For two hours. Every morning. It’s a solid practice.

He also talks about his early beginning in film making. He grew up with a Super 8 camera and would essentially make his own versions of his favorite movies. Raiders of the Lost Ark, ET, Star Wars, etc. He says that looking back on those experiments, he realizes he missed the most satisfying part of filmmaking, the creativity. He realized that his imitations kept him busy, but they weren’t fulfilling. It wasn’t until he started trying to tell his own stories that something sparked inside of him. Since then, he’s never looked back.

When asked about Hollywood’s lack of diverse voices in storytelling, Shyamalan said he didn’t wait for a seat at the table, but he brought his own seat and tried to make the table longer. I thought that was a pretty unique and inspiring take. He says that staying true to your unique background is your power. That you have to commit to telling the story that only you could tell. Rather than trying to tell a story that Quentin Tarantino or David Fincher could tell. What can only come from you?

And finally he touched on how he has stayed creative during the pandemic. And how 2020 was actually his busiest and most productive year yet. He didn’t have to worry about traveling to promote his work, and instead he could just work. He could get his two writing hours in every day. It allowed him to write, produce and direct his next film as well as his next television project. It’s a good reminder of how to take the limitations we’re all facing, and using them to carve out a space to connect deeply with what it is that you do. May we all have more of that in 2021 and beyond.

ECHOES AND RINGS

HIS AIRNESS