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Have yourself a merry Jimmy Buffettmas

Pour yourself a drink and forget the presents. December 25 offers plenty of other reasons to celebrate.

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Have yourself a merry Jimmy Buffettmas

If you’re like me, you’ve done the “holiday season” thing every winter for some 30-odd years now. And every year, you heave a big sigh of relief when it’s all over.

Sure the parties are great, the decorations are nice, the Christmas trees are pretty and smell really good. But the sentiment is lost under all the glossy red and green advertising hype, the prefab gift sets and the insipid songs. Admit it: You only buy presents for the people you know will be buying you something.

Isn’t it time to try something new? Loretta Lynn wants us to “put the Christ back in Christmas.” I say let’s give Jesus a break.

December 25 offers plenty of other reasons to celebrate. Book a flight, get out of town and forget about the presents. This year, have a happy alternative Christmas by celebrating some of the other famous people who share the same birthday as Christ.

Humphrey Bogartmas
Brood and chain-smoke all day in your matching trench coat and fedora. Grimace as you mutter machine-gun-fire bons mots. And don’t say, “Play it again, Sam,” because he never did.

Sir Isaac Newtonmas
Prove and reprove the theory that gravity does exist by dropping things on people all day. This is especially fun to do while wearing a big powdered wig and pantaloons.

A Patriotic Christmas
It was on December 25, 1896, that John Philip Sousa finally committed to paper a melody that had been haunting him for several days. That catchy little ditty was none other than the patriodelic “The Stars and Stripes Forever.” In order to celebrate Sousa’s Stars and Stripesmas properly, search bargain bins and garage sales for months or even years in advance to make one single tape of every version of “The Stars and Stripes Forever” that’s ever been recorded. We’re talking Zamfir’s Pan Flute version, the Moog Synthesizer version, the U.S. Navy Marching Band, Nirvana, the Hollywood Strings. Every version. Ideally, Sousa’s Stars and Stripesmas should be celebrated in a patriotic setting: Philadelphia, Arlington Cemetery or in front of the Alamo. One should wear turn-of-the-century garments and ride around on one of those bicycles with the really big front wheel. (Cycling was America’s predominant pastime in 1896.) But if you can’t pull that off, just wear red, white and blue, drink lots of hearty ale and make up your own words to the song you would love to forget.

Larry Csonkamas
Sports enthusiasts already know that December 25 is Larry Csonkamas. Miami, Fla., is the place to celebrate his birthday by playing football the whole day. And it’s Csonkamas, so everyone gets to be No. 39. At the end of the day, throw a big banquet where everyone takes turns giving short Hall of Fame acceptance speeches and recounting fond memories from Super Bowls VI, VII and VIII.

Jimmy Buffettmas
The birth of Jimmy Buffett can be properly celebrated in any suburb that has a Margaritaville restaurant. Declare yourself a “parrothead” (akin to the Grateful Dead’s “deadheads”), don a Hawaiian shirt, imbibe hundreds of margaritas and run around screaming for your “lost shaker of salt.” Warning: After too many margaritas it becomes easy to confuse Jimmy Buffett and Eddie Money. So whatever you do, under no circumstances sing “Two Tickets to Paradise” (that’s Eddie Money).

Cab Callowaymas
On December 25, 1907, Mr. Minnie the Moocher, the original crossover artist (one of the first black band leaders to become popular with white audiences) was born. Celebrate by donning a white tuxedo with tails and taking the A train into Harlem. Tap-dance a lot and wish everyone a hearty “Hi di, hi di, hi di, ho, ho, ho.” Plop the kiddies in front of the TV and pop that old Betty Boop cartoon into the VCR. (Cab provided the music, vocals and inspiration for the dancing skeletons in the haunted “St. James Infirmary” sequence.) Shake your head and remember the good ol’ days.

Twilight Zonemas
On this day in 1924, “Twilight Zone’s” deadpan host and creator, Rod Serling, was born. This holiday allows for some free-form adaptation. Choose your favorite “Twilight Zone” episode and spend the day reenacting pivotal moments from it in the public setting of your choice. Some personal favorites include:

Talking Tinamas: Carry around a baby doll that says “Mommy. Daddy. I’m going to kill you.”

Eye of the Beholdermas: You and your friends wear pig-face masks and walk around shrieking in horror when you encounter “conventionally attractive” people.

Queen of the Nilemas: Adopting the doomed glamour of a fading movie star, try to place a magic scarab on a youthful victim’s chests (so you can suck out the life that’s left in them in order to retain your ageless beauty).

Clara Bartonmas
‘Tis the season to act out all your nurse fantasies.

Barbara Mandrellmas
This Nashville darling deserves some celebrating. A marathon of her 1980s family variety show would be a lovely way to spend some quality time with someone dear, don’t you think?

Dean Martin Death Day
This is the High Holy Day for the swing set. It also falls conveniently close to Frank Sinatramas (December 12). To celebrate properly, don a sharkskin suit or a beaded satin cocktail dress for your “gay apparel” and head to the holy land for high rollers: Las Vegas. (It’s a travesty that the Sands no longer exists, making it impossible to visit the sacred spot in front of the marquee where the Rat Pack was photographed and immortalized into a top-selling postcard.) Dean Martin Death Day celebrants should, upon waking, immediately commence the obligatory 21-martini salute. Around martini No. 10, begin spontaneously bursting into strains of “That’s Amore.” By martini No. 21 everyone will be singing “Volare.” End the night with some drunken off-color slurs, alleged spousal abuse and a retreat into obscurity.

As you can see, the possibilities for a truly enjoyable December 25 are virtually limitless. It’s just not fair that Jesus gets all the glory. Martha Stewart may tell you to deep-fry your turkey this year for something different. I say trash the whole Christmas concept and start from scratch. Celebrate some of the others who have been lost in the shadow of His glory.

After all, it’s Christmas!

Gentry Lane is an American writer living in Paris.

Life's a scream

Advertising legend Jay Chiat talks about his new company, making ads work on the Web and the best commercials he's seen lately.

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It’s the new, new clichi: business big shot leaves corporate post, then resurfaces in a funky warehouse full of 28-year-olds where he runs — Yes! — another new-media start-up company. Ad legend Jay Chiat, 67, who founded the Chiat/Day agency, left advertising three years ago and then, by his account, spent a lot of pleasant time on the golf course; now he’s running an Internet start-up company called Screaming Media.

Chiat, who brought us the Energizer Bunny and the Apple Computer ads that turned Super Bowl Sunday into a showcase for spectacular ads, is often called a visionary. He has a long-standing interest in technology and futuristic ideas; one of his most notorious moves was creating a virtual office — which did away with assigned desks and seating — for his Los Angeles ad team. (The experiment had decidedly mixed results.

Screaming Media is but one of many new-media companies moving into Manhattan’s suddenly hip West Chelsea neighborhood. The 30,000-square-foot office Chiat and Screaming Media took over earlier this week has lots of brightly-colored curved walls, banana-yellow phones, refrigerators full of Lactaid milk and lots and lots of “screamers” in their 20s. (“We’re not called employees here. We’re screamers,” says Chiat’s assistant. )

Chiat talked to Salon Media’s Susan Lehman about Screaming Media, new media, old media and more.

You told the New York Daily News, “The most amazing discovery was fire. The Internet was right up there.” What did you have in mind?

You will agree fire did have some impact; certainly in some of the better restaurants, it does. The Internet is going to have the same level of impact.

What sort of specific impact, do you imagine?

Fire has impacted every part of our lives — without fire, there would be no shopping, right? — that’s how the Internet will intrude on our lives, particularly our kids’ lives. It will affect their education, the way they think about movies, food, the way they shop and the way the stuff they buy is delivered, everything. Fire is not as ubiquitous as the Internet will be.

Why is this company called Screaming Media?

The Interactive Connection — its original name — sounded very generic and boring. We sat around and put up “Yahoo” at the top of the chalkboard and said, “OK, that’s the best name on the Internet. How close can we come?”

Then you have the problem of what’s not taken. This was as close as we could come. We do stream information. We couldn’t get any of the “stream”-dot-coms. Plus our name has a little more action in it.

After you left advertising, you invested in a number of new-media companies. Why did you decide to run this one?

This is the only one that asked me.

What does Screaming Media do?

We filter, syndicate and distribute content to corporate Web sites. We do it on a custom, real-time basis. We build very sophisticated filters. It makes the Web site fresher, more relevant. Anyone who has a Web site up, you’d think they’d have to use our product.

You’ve said you expect Screaming Media’s revenue to jump from $5 million this year to as much as $50 million next year. Will the increase come solely from the syndication and distribution efforts?

Yeah. Our technology is very scalable. Our software can accommodate enormous numbers of clients. It’s a marvelous opportunity. We’ll keep developing products.

How do you make money?

We have a subscriber model. You, as a Web site, will say, I want content; we’ll ask how many stories a day do you think you need to keep your Web site fresh. You’ll say, I need so many stories a day, so many a month; that translates to x amount for a subscription.

What does a subscription cost?

The rough cost for about 250 stories a month is $1,300. It’s a nice business.

How, as they say in your business, do you get “providers” to give up “content”?

We negotiate a contract with a magazine or media empire or whatever it is. We say, “We’ll distribute your content, on an exclusive basis, and for every Web site that uses it, you’ll get paid.” We distribute 20 to 25 percent of all we collect to the content providers.

Your business model isn’t based on an advertising model, though your competitors’ are. Why is that?

There are a couple reasons. One is that that’s the way we started and we thought there would be more value and less confusion if the business model was just based on delivering news that’s of value to Web sites. I think the jury is still out on whether the advertising model is going to last. It’s the case of the medium itself: As rates go down, are banner ads as effective as they were when it was more of a novelty? … I can’t say the advertising model is obsolete yet but it doesn’t make a lot of sense in the long range.

Why do you think no one has figured out a way to make traditional ads work on the Web?

It’s the same problem we originally had with television. We had the new technicians doing it first, you didn’t have the artists. That’s where we are now. We’re just beginning to get the artists. Once they get ahold of it, and grasp it and understand how to use it, it will get better.

I can’t say I’ve really surveyed it; I just haven’t seen anything that’s really provocative or exciting in terms of Web design or Web advertising. There’s some interesting off-line advertising trying to drive you to Web sites.

Why do you think so many of the dot-com ads are incomprehensible? Why would anyone think lack of clarity is a good thing when selling Web-related services?

So many of the dot-com companies are incomprehensible. The company hires an agency, the agency hasn’t the vaguest idea what the Internet is about. You look at an ad, it’s trying to establish brand recognition — it’s got 30 seconds. It’s hard to build a brand, competitively, and tell people what you do as well. Some have worked pretty well. From what I understand monster.com and hotjobs were almost out of business when they ran the Super Bowl ads.

I see that Screaming Media has reserved ad time during the Super Bowl — a showcase since you introduced the Apple ads during the 1984 Super Bowl — for spectacular ads. How will yours stand out?

I don’t know whether we’ll we use the [ad time]. If we can do something [new] we’ll use it; if not we won’t. I didn’t realize what a can of worms I was opening up. If we do this spot, its going to be the most critically viewed spot ever — it will be a nightmare. I’m a little concerned about that taking the eye off the mission of the advertising in terms of the critical fanfare. That doesn’t seem fair, does it? In a couple weeks we’ll see where we are.

As a communicator, is it a problem for you that Web metaphors — “harvesting,” “streaming,” “stickiness” — are obscure and difficult for lay users to comprehend?

Yeah. I think writers are working on that now. One of the guys here came up with this: What we do here is “commercify content.”

I said, “What do we do?”

He said, “We turn content into commerce, that’s commercifying.”

What can you say about Screaming Media’s new deal with Barnesandnoble.com, Moviefone.com and Bigstar.com?

Research we’ve done seems to indicate that people who are on the Net like the idea that they don’t have to leave what they are reading to go buy something. If they are reading a book review and want to get the book, they prefer to just click and buy it right there without having to leave the Web site.

We set up a beta site, a test site, with movie, music and book reviews. If you’re reading them and you want to buy a book or a ticket for a movie that’s reviewed on the site, you can do that without leaving our site.

If we’re right, and you can mix commerce and content in a way that doesn’t offend people, we’ll do it. We’ll attempt to contract with content providers interested in commercial opportunities and we’ll deliver text with commerce in it. Barnesandnoble.com, Moviefon.com and Bigstar.com are our partners in the test.

There’s an assumption that there is an advertising influence on everything that appears on the Web. Do you think that’s right?

No more than television. If you really think about it, when watching television, you have product placement all the time. I was watching the Channel 2 morning show with Bryant Gumbel, there’s a lot of advertising on that show. I mean it’s a nightmare. Watch any talk show, its all a P.R. play. Charlie Rose is the ultimate ad.

Getting back to your role as a visionary. Who on the Web do you think will have the most money at the end of the day? Portals, content providers, e-tailers?

I think the backbone people, the Ciscos, the people who are delivering what you need to make the Net work. I think they’ll probably make the most money. I think the portals have a potential problem because I think that as people become more savvy with the Internet, they kind of realize how many things am I really interested in and why do I need this broader portal and why don’t I just go to financial.com or golf.com or crocheting.com and get what turns me on there? So I think they have to figure out how to get into that. I think the numbers game is going to level off and attrition will set in. That’s my take.

Seen any great ads since you left the advertising business?

I like the Gap ad, the khaki one. I liked that. I kind of like the audaciousness of the gerbil ad. I don’t think I remember who did that — Outpost, right? I don’t even know what Outpost does. So its kind of like, Wow that was great, but they didn’t have the budget to make any great impact, so that one didn’t work. Advertising ought to work by telling you what it is you want to tell, you should understand what you want us to do, what you want us to think, where you want us to shop. Those ads didn’t do that. But the Gap ad did.

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Susan Lehman is a staff writer for Salon Media.

Fathers, sons and football

I spent my NFL career struggling to escape the long arm of my judgmental father -- and the coaches who took his place. Was I fated to subject my sons to the same treatment?

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Fathers, sons and football

In the spring of 1970, as a prospective middle-round NFL draftee, I was haunted by a recurring nightmare. On a practice field somewhere, between two blocking dummies, I faced a monstrous offensive tackle, who sat poised and quivering in his stance. To the tackle’s left, on the far side of one bag, a center hunkered over a football. Behind the center, a quarterback. Behind the quarterback, a running back, whom I was required to bring down after shedding the tackle’s block — a ritual of pain known as the Nutcracker Drill.

I never succeeded. Night after night, my failure unfolded with a sickening regularity. Dead-eyed, an inhuman mass of rippling muscle, with a machine-like mastery of his brutal technique, the tackle, at the snap of the football, would slam his fists into my rib cage. Lifting me up, he would tip me over backwards, pinning me to the turf like a bug as the running back went skittering by.

Squirming helplessly there, I could see my embarrassed teammates turning away. Then a growling, gap-toothed coach would straddle me, leering down in disgust. “Get up! Go again!” he would bellow. I would shake my head no. “Coward!” he would roar. Still, I would refuse. “You are what I loathe,” he would growl. “A loser.” And with that, I would wake up.

While most of the figures in the dream were obscure, the coach was not, for he was none other than Vincent T. Lombardi, then in the final year of his life, now the subject of an eye-opening new biography by David Maraniss, “When Pride Still Mattered: A Life of Vince Lombardi.”

I wanted no part of him. Of all NFL coaches, Lombardi, I knew, was the one coach who could expose me for what I was. A loathsome creature of some indeterminate species. Certainly not a man. Something on the pathetic periphery of masculinity. Without heart. A defeatist. A loser.

It was exactly this kind of fear that always made playing football a mixed experience for me, that drained the joy from a game I should have loved unconditionally. Fear of not pleasing the coach. Of not measuring up. In this violent game, what frightened me was not getting hit but being subjected to the scornful eye of the man above me. It took me years to understand this fear — and by the time I did, I had to wonder if I had subjected my own sons, whom I had vowed never to treat the way I had been treated, to the same thing.

As it happened, I was spared the experience of playing for Lombardi, but not of escaping his legacy of shame. For I was drafted by a team that shared my fear of Lombardi’s scrutiny — that in fact had twice been humiliated by the Lombardi juggernaut — Tom Landry’s Dallas Cowboys. In their first crushing defeat by Lombardi’s Packers, in the 1966 NFL Championship Game, which the Cowboys lost when Packer safety Tom Brown intercepted a pass in the Packer end zone, snuffing a game-winning Cowboy drive as time expired, the Cowboys were deemed too inexperienced, too new to the pressures of championship football to succeed at that level. But after their second numbing defeat, in the legendary “Ice Bowl”Championship Game in 1967, the very character of the club came into question, not only by fans and by sportswriters, but by the Packer players themselves. As Maraniss reports, the Packers were nothing short of disdainful of their Cowboy opponents. “We had their number,” said Packer receiver Max McGee. “Lombardi had the hex on Landry.” Other players observed that Cowboy receiver Bob Hayes unwittingly gave away plays by putting his hands in his pockets for runs, pulling them out for passes. The consensus was that the Cowboys didn’t have the goods.

In an attempt to incorporate the Lombardi mystique, since it was impossible to defeat it, Cowboy General Manager Tex Schramm acquired three of the Packers’ aging veterans. Uncharacteristically, Schramm, in making this move, overrode the strong objections of his coach, who reportedly wanted nothing to do with former Packers. But here they came anyway: linebacker Lee Roy Caffey, offensive tackle Forrest Gregg and cornerback Herb Adderley.

Adderley was the first of the Packer veterans to join the club, and for a time he resided with the more transient players, in a Dallas Holiday Inn. That’s where I got to know him. Because he had gone where I feared to go, into the valley of the shadow of Lombardi, and emerged victorious, like a triumphant knight, Herb from the beginning was someone special to me. He was disarmingly open and friendly — unusual for a veteran of his stature, who normally wouldn’t pass the time of day with an obscure rookie. On more than one occasion, Herb joined me for a meal, and until he arranged for his own transportation, often rode with me to practice.

Of course I asked him about Lombardi. Yes, Lombardi could be brutal, Herb confirmed, but he also felt that characteristic of his coach was in service of something else. He talked about the togetherness of the Packers, the love the players had for one another, the amazing feats they were able to accomplish — all out of a passion that had been inspired by Lombardi. But was it because of Lombardi, or in spite of him, that those feelings arose? I didn’t have the nerve to ask the question, but one thing was certain. If Herb was a product of Lombardi, then Lombardi the man couldn’t be as bleak as I’d imagined.

I was beginning to wonder, though, about Landry. By this time, I had been exposed to him for several months, and it was becoming clear that the two coaches occupied alternative football universes. Squat, blunt, volatile, Lombardi was an earthy Italian who valued simplicity and directness, while Landry was tall and aloof, a born-again Christian who had an almost prissy aversion to anything of the earth. An industrial engineer and World War II bomber pilot, Landry valued intellect over instinct, thought over feeling, science over the chaos of Lombardi’s emotional alchemy. As far as coach Landry was concerned, players were responsible for their own motivation, while his job was to put them in position to make plays. The schemes he devised to accomplish this task were labyrinthine. While Lombardi’s defense might be described as “Tackle the man with the ball,” Landry’s Flex defense required recognition of offensive patterns, internalization of the probable outcomes of those patterns and a corresponding reaction. Locating the football only came after following the branches of his logic tree — a counterintuitive approach that could take years to master.

For a defensive end, for example — which was my position — if you were in the off-set of the Flex, your key was not the immediate threat of the gigantic tackle across from you, who wanted to grind you into hominy grits, but rather the guard positioned next to the tackle, who was hardly a concern. It was the movement of the guard that dictated whether you met the tackle with your outside shoulder or simply caromed off him to slide inside if the guard happened to be pulling — all according to some larger plan that only Landry understood. The advantage of this approach, for me, was that it eliminated those head-to-head encounters with much bigger players that I could never fail to lose, giving me instead a gap to fill on one side of the tackle or the other, a contest I could always hope to win. For this reason, Landry, unlike Lombardi, was not a big proponent of the Nutcracker Drill, since it simply didn’t serve him — which I also found appealing.

But what would happen, I wondered, if a truly great player were inserted into this mechanism, someone hard-wired to his instincts, who hadn’t been trained to ignore them — someone gifted like Herb, a refugee from the instinctive world of Lombardi? What would happen? Herb shrugged off the notion, saying he was just happy to have an opportunity to play football. But as we rode out to practice on those hot, late summer afternoons, sometimes, it seemed, I could smell the smoke.

That was a private thought, of course, one I was reluctant to share with teammates. What I was willing to share with them was my enthusiasm for Herb.
No need, though, as it turned out, because everybody was enthusiastic about him. A consummate professional, sporting a glittering Packer Super Bowl ring, Herb, who is black, was a magnetic figure in the locker room, for both black and white alike. “Peace, love and happiness” was how he concluded nearly every exchange. “Brother A” was what he came to be called. Herb’s soothing presence in the locker room defused racial tensions that had plagued the team for years.

On the field, Herb was equally impressive. Even at the age of 31, the future Hall of Famer moved with the grace of a gazelle. He could hang in the air like Dr. J. His instincts were impeccable. Predictably, however, his technique was in conflict with the technique required of a cornerback to play Landry’s Flex. Instead of reading the on-side tackle and guard for run, as Landry required, Herb was doing what he had done for Lombardi the previous nine years, focusing on the receiver, peripherally picking up the main flow of action, reacting to what he saw. For a time, it didn’t matter. That initial season, as Herb made a mighty contribution to the first-ever Cowboy Super Bowl run, and again, in ’71, as the Cowboys achieved the pinnacle with Herb as co-captain, coach Landry let his consternation slide. The following season, however, as younger players began to develop enough to step in, things changed. Abruptly, for Herb, it got ugly.

In Dallas, watching game films was a three-hour marathon, with all players and staff present, unlike other teams, who split off into position groups to watch films. During these sessions, Landry himself ran the projector, going over the performance of every player on every play. If you’d had a bad game, watching game films could be an excruciating experience. Some players, suspecting they were in for it, took barbiturates to get through the sessions. Their armpit sweat rings would meet across their chests.

“Clueing” was what Tom called Herb’s technique. And in one session during the ’72 season, the refrain rang like a sour mantra: “Herb, you’re clueing again.” Coach Landry had a habit of transposing words, names, numbers, and he was doing that now, substituting “clueing” — a bit of his own terminology — for what he really meant to say, which was that Herb, again, was guessing. In Landry’s system, “guessing,” reacting instinctively, was a cardinal sin. If you followed his keys, took his clues, then your actions were predicated on a set of mathematical probabilities, gleaned from hours of study, rather than on the vagaries of instinct, which lacked accuracy, certainty, conformity with the assembly line performance of the other defensive players. “Guessing,” for Tom, could too easily become an excuse, and there was no room for excuses, either in football or in life.

“Herb, you’re clueing again!” The anger in Tom’s voice, as the meeting progressed, escalated out of all proportion, and finally Herb rose to defend himself. It was an unprecedented moment for the team. No player had ever challenged the coach. Unaccustomed to Tom’s habit of transposition, Herb had no idea what Tom was talking about with his “clueing” criticism. Angry and confused, Herb snapped something back at him, then left the room. The moment was quickly forgotten by the players, but not by the coach. Not long afterwards, during a game with the Giants, Herb was benched after swatting down a potential touchdown pass. Out of position again, he had been reacting instinctively. Despite the positive outcome of the play, it was all Tom could take.

“Herb, you’ve got to play the defense like everybody else!”

“You mean I’m supposed to let a guy run by me and catch a touchdown pass?”

“Yes, if that’s what your keys tell you to do!”

“No. I don’t play that way.”

“Then you won’t play at all.”

The confrontation took place privately at halftime. When we took the field for the second half, Charlie Waters was in Herb’s place. Herb watched the rest of the game from the sidelines.

Over the next few weeks Herb continued to start, but was spelled by Waters, for increasing periods of time. Then, before a game with the Chargers, Herb was summoned to a meeting with Landry. In the meeting Herb was told that his midseason grades were poor, that he had become a detriment to the team for harassing the younger defensive backs during practice.

Herb stared at Landry in disbelief. Maybe he was having problems with coverage, but he hadn’t been harassing his teammates. If anything, he had been a mentor to the younger players, generously offering his help.

Said Landry: “Waters is the starter now. Stay or leave, I don’t care.”

Herb left the meeting without saying a word. He was not about to sacrifice his salary by retiring, so he continued to practice, now relegated to the scout team, but playing hard, covering, knocking down balls. When he was prevented from further participation in practice, even as a member of the scout team — for being a “distraction,” as he was told — Herb, for the rest of the season, watched quietly from the sidelines. At the conclusion of the season, he retired. Again, quietly. With all the dignity he had exhibited as a player.

“Tom Landry had a bitterness in his heart for me,” Herb remarked in a recent conversation. “After all I did for that team, I’ll never understand it.”

“Me either,” I replied. But I wondered if Lombardi’s psychology didn’t hold a clue to the nature of those forces that had been working against Herb — the “how” of them, anyway, if not the “why.”

In one of the most compelling sections of his book, Maraniss examines Lombardi’s contradictory relationship to pain. Evidently unable to tolerate the slightest physical discomfort in himself, Lombardi sought to exorcise that demon from his players, using as his instrument the Nutcracker Drill, over which he presided with glee. “It is characteristic of many leaders,” writes Maraniss, “that they confront their own weaknesses indirectly, by working to eliminate them in others, strengthened in that effort by their intimate knowledge of frailty.”

Perhaps Landry was also one of those leaders. Although he and Lombardi were antithetical personalities, perhaps Landry, too, acted indirectly. For Herb, as he departed, seemed to carry all the residual frustration of Landry’s lifelong competition with Lombardi. That Herb had come to the team over Landry’s objections exacerbated the situation. That Herb had been instrumental in Dallas’ success dumped more salt in Tom’s wound. As the personification of this seeping hole, Herb had to be humiliated, then dispatched. Some leaders, it seems, must purge to be purged.

Maraniss’ insightful analysis forced me to think again about my nightmare. I came to realize that my fear, and submerged anger, was directed not just at any authority figure, but at precisely the kind of authority figure who worked out his own weaknesses on the bodies of others. Seen in this light, my refusal to participate in the drill was no act of cowardice, but rather an act of healthy resistance.

In fact, the Lombardi who haunted my dreams was a stand-in for someone else. After all, I didn’t know Lombardi. Although he had possessed this trait in life, I had no way of knowing that. I had appropriated him to mask a more intimate figure, one who also embodied the trait. A larger force, who, at the time, I was unable to name. Old Dad, it seems, is never far from the scene. And it was Old Dad, not just Landry and what I imagined Lombardi to be, but my own dad, whom I had been carrying around on my back. It was a load far heavier than I should have allowed it to be.

Ironically, my father bore little resemblance to the squat, volatile Lombardi, but on more than one occasion he was confused for Landry on the street. Both men were tall, fair, square-jawed and handsome, with a Christian upbringing and a military bearing. My father became an Air Force general; Landry flew bombers in World War II. Trained as engineers, both men were analytical. Both made a virtue of losing their hair. But if they were physically dissimilar to Lombardi, my father and coach Landry did share one attribute with him: a need to create and mold an image of themselves out of their respective environments.

Perhaps this trait is also characteristic of a certain kind of leader. For Lombardi and Landry, the object of their desire was their football teams. Lombardi was very direct in stating his wishes, as Maraniss reports. And the Cowboys were quintessentially a team concerned with “image” — an image, of course, that was a reflection of their leader, Landry. On the field, a technical failure to conform could lead to a chilling dismissal, as in the case of Herb. Off the field, there were similar consequences. I recall once quoting Nietzsche to a TV sports reporter on the subject of critics. The reporter, Tom Hedrick, wanted to know if the current criticism of the team was harmful to players. Citing my source, I said, “Critics don’t bite for the sake of the sting, Tom. They bite because they need your blood.” He laughed, but the next time I saw him, he told me that a club official had instructed him not to talk to me anymore, but to find somebody else more cooperative. “Nietzsche! That’s not football! People don’t want to hear that crap!”

Because my father wasn’t a coach, this dynamic played out much closer to home. Not surprisingly, it had its origins in his own upbringing. My father’s father was in his mid-50s when my dad was born, in his mid-60s when my dad approached puberty — the time when many boys show their first serious interest in sports. A Yale-educated congregational minister, pursuing, at the age of 64, a Ph.D. at the University of Edinburgh in 1934, my grandfather was simply too preoccupied to spend time with my dad. Filling this paternal void was my grandfather’s young missionary wife, who had her own ideas about what little boys should do and be. The photograph is still haunting: My dad and his brother, Ted, dressed up in satin and lace, two proper Victorians — a pair of Little Lord Fauntleroys. They hated it. They hated the imposition of her ideal as much as they hated my grandfather’s absence. This pathetic state of affairs, they vowed, would not be repeated when they had kids.

And so it wasn’t. From an early age my dad was out in the yard with me, throwing balls. Baseballs. Footballs. Basketballs. It was fun. My brother, Tim, and I often went to a nearby vacant lot to slog through the mud of a crisp November day, hurling each other down, flinging passes through the deepening dusk on a field with no boundaries, in a game with no score. Those afternoons were exhilarating, unforgettable. Primal. Pure. But at some point a line was crossed. I was around 9 or 10, I guess, when my dad started the exercise sessions, in conjunction with our first sojourns into organized sports. Weights. Calisthenics. Regularly, whether my brother and I wanted to or not. The rationale was always present: “My dad never worked with me. Someday you’ll thank me for this.” Nicknames were invented for us. The sports fantasy was spun out, now with a particular emphasis on football, perhaps in reaction to my grandmother’s general aversion to any sort of unrefined masculine expression.

My attitude to football was complicated. I discovered that I had talent, and I enjoyed playing. But also I knew that it was my dad’s fantasy for us that was operative here, not our fantasy for ourselves. On some level, I felt my talent was being exploited, co-opted, by my dad. My own physical gifts, it seemed, no longer belonged to me. My solution was to sabotage that appealing part of myself. Or rather to do it sometimes. Because of course at other times it felt too damn good to succeed! It was a senseless, self-destructive bind, I knew. And I vowed, with as much conviction as my father had vowed it before me, that this pathetic state of affairs would not be repeated with my own children.

As the father of two boys, I was loath, as they grew up, to encourage them to play football. There were just too many coaches out there who were hell-bent on re-creating the world in their image, even if their world consisted of nothing more than a bunch of confused, snot-nosed 6-year-olds, whose deepest desire was simply to squat and dig in the dirt. Living in Texas, however, it was inevitable that my sons would discover the game, and so they did, in middle school, but on their own, without parental prodding.

“Dad, I love to cover kicks,” said my younger son, John, as he prepared for his first college season several years later. That he could speak such a sentence was at first a shock. “John! My God!” He was such a sweet, sensitive child. A moon-child, as I always thought of him, because that was the first word he spoke. Not “Ma-ma,” or “Da-da,” but, pointing to the heavens, his face full of glee: “Moon!” And now he was telling me he loved to cover kicks? But then I realized that John’s utterance meant that he appreciated the game at its purest level. That he knew its joy, as my brother and I had known its joy on that vacant lot so long ago. And it was gratifying to realize that he could still find the essence of a game that had transmogrified into a commercial circus. That he had not been hamstrung, as I had been hamstrung during my own career, by a debilitating, Landry-like self-consciousness. For my elder son, though, the game proved to be harrowing.

Seth is three years older than John, and as he grew up, he discovered soccer, a game he truly loved. “Soccer: the intelligent man’s football” was a sticker on the bumper of his coach’s car, and he often pointed it out as we left the field after a practice. But I got too involved with his participation in the sport. I was around too much. I was much too interested. Around the age of 9 or 10 I noticed in him my own tendency at that age to devalue his ability, to dismiss it as unworthy of pursuit. There was a scene after one game in which I excoriated him for failing to play up to his potential, for failing to focus, to concentrate — to do, in other words, what I had never consistently done myself. I angrily implored him to “be a player.”

Immediately, I realized my mistake and backed off. I decided to let him own his own experience of the sport, without me co-opting it. The strategy paid off, for very quickly Seth blossomed into a more than accomplished halfback. But had I gone too far? Was it already too late? Had I already implanted in him what had been implanted in me — an image of “Dad” he could only hope to resist?

When, in middle school, Seth decided to go out for football, I was supportive, but, because of my own experience, deeply ambivalent about his decision. I kept my concerns to myself, however, until a Thursday afternoon late in September 1989, when the Hillcrest High School freshmen took the field to play the freshmen of neighboring A. Maceo Smith. Smith was a new high school then, with no varsity team, so older players were playing down — juniors on the JV, sophomores with the frosh. But one player in particular appeared to be even more of a ringer than the Dallas Independent School District permitted.

“Boy, look at the size of that fullback,” I remarked to my wife as we sat watching warm-ups. “If he hasn’t voted in a presidential election, I’ll kiss somebody’s butt.”

The player in question was huge, over 6 feet tall, weighing in excess of 225 pounds — a man among boys, as a survey of our team quickly confirmed. Watching him, I got worried. “Somebody’s going to get hurt.”

In my nightmare of Lombardi I was pancaked in a Nutcracker Drill and refused to get up. Ironically, the Nutcracker Drill, though a powerful symbol, was next to worthless as training for a game, because of the unnatural constraints of the dummies and the lack of passing to keep players honest. Rarely, in a game, did such an isolated instance occur, but in this game, toward the end of the first quarter, one did. It was a reenactment of my deepest football fear — but my son lived my nightmare.

A. Maceo Smith had the ball on the Hillcrest 20-yard line. An off-tackle play had been called, and once again the gargantuan fullback accepted the hand-off. But this time he was headed straight for 170-pound Seth, playing left defensive tackle. Seth had shed his block beautifully and was now crouched in the hole, poised for the hit, as the fullback bore down on him.

Physically, Seth was more than outmatched. He was an insect in the path of a bus. Part of me wanted him to turn away, to bail out, fall down — anything to avoid the moment that was coming. But the other part of me demanded that he stand fast.

He didn’t move. He stood his ground. “My God,” I yelped, bolting to my feet, as the concussive BANG! of their collision rang through the empty stadium. Helmets went flying. “What a hit!” I bellowed, grabbing my wife. For an instant, I was as proud of Seth as a football parent could be.

Then my wife said, “He’s not moving.”

I peered at the field. The fullback had gotten groggily to his feet. But Seth was still down, unmoving. He was surrounded by players gesturing frantically for their coach. I ran onto the field.

Seth was numb all over. Taking no chances, the medical staff summoned an ambulance, positioned him on a board and loaded him up. Off we went, Seth a motionless lump, the paramedics checking vitals as we raced to the hospital.

Outside, it was a stunning autumn evening. The sky was big and blue. The first stars glimmered. I felt like I was going to throw up. Well, here you are, I thought. You’re in an ambulance, racing to the hospital, your son numb on a board, groaning. Injured in a fucking football game. And he may never get up.

In the emergency room I watched as doctors carefully removed Seth’s helmet, cut away his uniform, sliced off his shoulder pads. As one physician queried him, peering into his eyes with a penlight, a portable X-ray machine was wheeled into the room. Then a nurse asked me to step out, so that I would not be exposed to the radiation.

Outside, I wandered down the hallway, glancing into the various treatment rooms. A broken arm here, a gashed forehead there. Worried relations paced the floor. In the waiting room, I bought a soft drink, flopped down. Another ambulance was backing up to the door.

After a while the nurse reappeared and motioned me back. By this time, Seth had been moved to a holding room beside the main treatment area. A doctor met us at the door.

“Good news,” he said. “The X-rays were negative.”

“Thank God,” I murmured.

“Seth’s suffered a concussion, and some pinched nerves, and strained muscles in his neck. We’ve given him medication.”

In the holding room, Seth was propped up in a hospital bed, his face flushed, his eyelids fluttering, as he dropped in and out of sleep. I settled down in a chair to wait. An hour later, as feeling returned to his arms and legs, he looked up, smiled.

“Dad, everything’s tingling.”

“Good,” I murmured.

“Does that mean I’m all right?”

I nodded, told him the doctor’s diagnosis. He sighed, reached for a glass of water.

“So what happened?” he asked.

“You mean on the play?”

“Yeah.”

“It was a great hit, Seth,” I said. “That big fullback, head-up in the hole — it was like a cannon going off. One of the biggest hits I’ve ever seen.”

Even as the words came out of my mouth, I regretted that what I was saying could sound like callous enthusiasm.

“Gee, thanks, Dad,” he said, mockingly.

I helped Seth sit up then, grabbed his shoes. Although he was going to be all right, we both felt awful.

“You can quit now,” I wanted to tell him. “As far as I’m concerned, you could never play another down.”

But I couldn’t bring myself to say it. No, it’s his decision, I thought. He’ll do the right thing.

And eventually he did. He quit. He quit not out of fear, or to spite me, but because he wanted to. He made his own decision. To my everlasting gratitude, he shed the spectre of demanding, judgmental, unpleasable coach. Maybe someday I’ll be free of it myself.

Maybe. Someday.

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Pat Toomay is the author of "The Crunch" (W.W. Norton & Co.) and a novel, "On Any Given Sunday" (Donald I. Fine). He played 10 years in the NFL, primarily with Dallas and Oakland.

The ad from hell

Can a company successfully sue an agency for making a commercial that really, really sucks? Stay tuned for a word from our courthouse.

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Last fall, when Just for Feet CEO Harold Ruttenberg learned his company had nailed down a coveted time slot for a third-quarter Super Bowl ad, the sneaker mogul could hardly contain his jubilation. Though a public corporation with over $775 million in annual sales, ranked No. 6 in Fortune magazine’s recent list of “America’s Fastest Growing Companies,” Just for Feet had never before tried its hand at national brand advertising. “We specialize in selling shoes, not commercials,” Ruttenberg says. “We had never before created hoopla.” Now, here was a chance to burnish Just for Feet’s corporate reputation and brand image on a national scale. He says he couldn’t wait to tell viewers about the footwear chain’s friendly atmosphere, its neighborliness, its reputation for social responsibility. “We’re a family type of retailer that caters to a family atmosphere,” he says. “We’ve got shoes we sell. We’ve got a public that we love. It’s a very dynamic atmosphere we have in our stores. Here was an opportunity to tell our story to the largest audience in the world.”

The hoopla, as Ruttenberg would soon learn, didn’t come cheap. Four months later, by the time the spot was beamed out to an estimated 127 million households, Just for Feet had wagered almost $7 million on the game — $1.7 for the media buy, $3 million to hire an ad agency, Saatchi & Saatchi Business Communications of Rochester, N.Y., and an additional $2 million to take out newspaper ads in every market in which it did business, alerting shoppers and franchise owners to Just for Feet’s third-quarter Super Bowl triumph, and reminding them to keep their eyes peeled. Ruttenberg thought the expense was worth it. As he saw it, the ad would bring about a groundswell of public goodwill. “What we were looking to do was to start to build our brand,” he told me. “What we wanted was for people to see this and say, ‘Boy, that was terrific. Now we’re customers of yours. We want to shop with you.’”

Chuck McBride, creative director at Wieden, Kennedy and lead creative on the Nike account, remembers his reaction on the evening of Jan. 31, when he first saw the Just for Feet ad. “The minute I saw it, I immediately went ‘Oh, shit,’ and I went, ‘This can’t go on.’ I just couldn’t believe that they had done this.”

The ad opens with a shot of white men in a military Humvee tracking the footprints of a barefoot black Kenyan runner. The men drive ahead to offer the runner a cup of water laced with a knockout drug. The runner drinks the water, and immediately collapses to the ground, unconscious. While he is passed out, the white men force a pair of Nikes on his feet. When the runner awakens, he sees the sneakers and begins shouting and flailing. “No! No!” he cries. He then scrambles to his feet and runs away, still trying to shake the shoes from his feet.

Chuck McBride wasn’t the only person who hated the ad. “Appallingly insensitive,” declared Stuart Elliott in the New York Times. Writing in Advertising Age, Bob Garfield called the ad “neo-colonialist … culturally imperialist, and probably racist. Have these people lost their minds?” The Des Moines Register, expressing incredulity at the fact that “Just for Feet would spend millions of dollars to come up with something that makes Denny’s and Texaco look like abolitionists,” suggested a name change for the athletic footwear chain: “Just for Racists.” As punishment, the paper suggested in an editorial, “the ad agency who signed off on the commercial should be required to come up with a campaign that shows the worst about their own cultures. Then they should be drenched in a bucket of water, made to fall on their backs, and shackled.”

Harold Ruttenberg had a better idea. On March 15, 1999, Just for Feet sued Saatchi and Saatchi for $10 million, arguing the Super Bowl commercial was so bad it amounted to advertising malpractice. “Saatchi & Saatchi assured Just for Feet that the commercial Saatchi conceived and produced would be well received by the public,” reads the complaint, filed in federal district court in Birmingham, Ala. “Instead, as a direct consequence of Saatchi’s appallingly unacceptable and shockingly unprofessional performance, Just for Feet’s favorable reputation has come under attack, its reputation has suffered, and it has been subjected to the entirely unfounded and unintended public perception that it is a racist or racially insensitive company.” Far from glorifying the company’s role in advancing civilization and promoting social betterment, Just for Feet argues, the ad creates the impression that the footwear retailer is “racist, culturally insensitive and condescending, [and] promotes drugs.” This impression, the company states in its complaint, “is contrary to the deepest held principles of Just for Feet, which has always sought to promote racial harmony, finds racism abhorrent, and condemns drug use.”

Ruttenberg’s consternation is understandable. What’s less understandable is why he let the spot out the door in the first place, given his claim that he knew all along it was odious. “When [Saatchi] first came to Birmingham and showed it to us, we were flabbergasted,” he told me. “We were frankly kind of horrified. But Saatchi & Saatchi assured us this was the best thing they had ever done.” Ruttenberg says he tried hard to swallow his misgivings. “We didn’t want anything controversial,” he says. “We’re a family-oriented company. We make our stores a fun place to shop. What we wanted was a fun sort of ad. Something like that little Mexican dog [referring to a Taco Bell ad featuring a chihuahua]. That would have been fine.”

Ruttenberg is suing Saatchi & Saatchi because he says it badgered him into buying an ad he hated, an ad that ran against his will and over his objections, before a global audience of 127 million viewers. “We spent a fortune of money that’s not even in this lawsuit in preparation for this commercial,” he fumes. “We took out advertisements. We gave away more than $1 million of product. Then the ad runs. And you would would not believe the deluge of comments made about this company. I couldn’t sleep for a solid month. And it’s all because of these guys who said they knew everything.”

The bottom line, he says, is that “We said ‘no.’ They said ‘yes.’ They said they knew better. And we are prepared to swear that under oath.”

Recently, a judge struck down Saatchi’s motion for dismissal, and ordered the suit to go forward. (Just for Feet is also suing Fox, the network that carried the Super Bowl, for running the ad during the often less-viewed fourth quarter instead of the third. On the face of it, this action would seem to be a rerun of the old joke in which one old lady complains about how bad the food is, and her friend chimes in “Yes! And such small portions!” — except for the fact that Just for Feet had invested substantially in promotions geared to viewers watching the third quarter.) As the discovery process gets under way, with lawyers for the footwear chain drawing up witness lists and subpoenas, the lawsuit — which is apparently unprecedented — is being closely watched by advertising executives who say it has the potential to bring about a sea change in the industry. After all, according to its legal complaint, Just for Feet is suing Saatchi not only for exposing the company to charges of racism, but for creating an ad that was “muddled,” “confusing” and “criticized … by the media and the advertising industry.”

Words like these send chills up the spine of agency creatives, who have long been accustomed to cutting themselves a wide berth. “Here at Wieden, we have a saying called ‘The Freedom to Fail,’” says Chuck McBride of Wieden Kennedy. “You want to give everyone the freedom to fail. And I think that’s a good way to think about advertising. It’s hard to come up with something truly great unless it walks that precarious line of, ‘Oh no, is it really horrible?’ I would feel gun-shy if I knew that every time I did something really horrible, I’d end up in court.”

The Just for Feet lawyers respond that the Super Bowl ad was no run-of-the-mill clunker but a shocking political and cultural gaffe that triggered a corporate crisis. “We’re not just talking about a commercial that fell a little flat,” says Robert Trezinsky of the New York law firm Thatcher, Proffit & Wood, who along with the Birmingham firm of Sirote and Permutt is litigating the case for Just for Feet. “We’re talking about exposing a client to some very serious allegations. An agency has a duty to the client to consider these issues.”

Although no court has yet spelled out what constitutes malpractice in advertising, Trezinski says that the intensity of the wrath aroused by the “Kenya” ad makes it the perfect test case. “When you hire an advertising professional, you assume they will have the expertise to actually promote what you are advertising,” he says. “And when they come up with an ad that does not promote, but instead, shocks the conscience, then the standards of that profession have clearly been breached. And we’ll proceed to show that in court.”

Though no one from Saatchi would talk on the record, the essence of its defense can be gleaned from Saatchi’s response to Just for Feet’s complaint. The thrust of Saatchi’s defense appears to be that it can’t be sued for violating professional standards in a field that has none. “The imposition of a punitive damage award in the absence of explicit, particularized guidelines and standards is highly unfair,” Saatchi’s lawyers write. “An award made in the absence of such guidelines and standards may be grossly excessive, disproportionate, arbitrary, and irrational.”

Speaking on the condition of anonymity, a Saatchi & Saatchi employee denied any racist predilections, and insisted the ad had served its purpose. “What we were trying to say subliminally is: here is this athletic shoe retailer, who is either in your community now, or is coming to your community,” the employee says. “And at the core of these people is a passion for feet, a passion for getting the right shoes on the right feet. Even to the point where perhaps they might go too far.” Asked if it was wise to identify that passion with a pack of white commandos who hunt down and drug a barefoot black runner, the employee groaned. “All the way along the line, multi-racial casting was used,” he said. “One of the men in the Humvee is actually an African-American. And we also had a Hispanic woman … The problem is that when [the ad] goes by in 30 seconds, you don’t necessarily notice that there is an African-American.” What of the Hispanic woman? “The Hispanic woman, unfortunately, is exceedingly light-skinned. And it’s exceedingly difficult to tell she’s a woman.”

Of course, one might argue that, considering the hair-trigger racial semiotics involved, even having a multicultural posse hunting down a black man isn’t going to cut it. But the strange case of Just for Feet vs. Saatchi & Saatchi is more than a cautionary parable about identity politics. It also raises the question of what it means to commit advertising malpractice in a medium (and a culture) that increasingly prides itself on pushing the envelope, defying norms and, yes, shocking the conscience — and that often reserves its most glittering laurels for ads that deliver a gratuitous jolt to the viewer.

“We love cheeky humor that walks the fine line of good taste,” says Brian O’Neill, chairman and chief creative officer of Goldberg, Moser, O’Neill in San Francisco. “If it’s strong enough and smart enough and funny enough, there’s no question but that you go with it.” O’Neill was the creator of the recent ads for Kia Motors, in which beloved Uncle Carl, on his deathbed, shares with his teenage nephews a final wish: he wants his ashes to be strewn on top of a mountain, “so that I may join with eternity in a moment of quiet reflection.” Cut to the teens barrelling up the mountain in a Kia. The urn is strapped to the back seat, bouncing violently. Ashes are coming out. When they arrive at the mountaintop, the teens look at the urn, and see that it is empty. “Uncle Carl,” they giggle.

After the ad ran, O’Neill says, the agency braced for a backlash. “We thought we’d get some letters,” he says. “We thought some people might find it to be a little bit upsetting.” O’Neill was nonplussed when the only complaints came from an unexpected quarter. “We really got it from the environmentalists,” he says. “Apparently the kids knocked over too many bushes on the way up the hill.”

“Any time you hunt a human,” says Jim DiPiazza, “there’s going to be a problem.” I had called DiPiazza about the Just for Feet ad because it was DiPiazza, chief copywriter at Foote, Cone & Belding and lead creative on the MTV account, who came up with the new Blaxploitation-themed MTV ads, ads which are politically incorrect in the extreme. Yet DiPiazza says MTV has received no complaints. The network gets away with it, DiPiazza says, because “it’s obvious we’re having fun. And we treated the genre with a lot of respect. You can push the limits a little bit, as long as it’s done with good humor, and it’s coming from a smart place.”

In hindsight, DiPiazza says, it’s easy to see how Saatchi put its foot in its mouth. “You can imagine what happened,” he says. “Someone said, ‘Hey, I’ve got it. We track a Kenyan runner through the desert — and Just for Feet puts shoes on him!’ I mean, on that level, it sounds epic. Where it went from there,” DiPiazza says, “is where the badness happened.”

DiPiazza says he can think of only one successful example of an ad in which a human being is hunted. “It was an ad for Airwalk snow boots. It was these people, flying around in helicopters. And there was this Mutual-of-Omaha voiceover: ‘Today, we’re studying the migrating habits of the Alpine snowboarder.’ You see an aerial shot of a bunch of snowboarders. One of them’s fallen way behind. The men in the helicopter pull out a tranquilizer gun and shoot the stray. Then they land, and they say, ‘Here’s the problem. It’s his snow boots.’ So they put some Airwalk snow boots on him, give him a pat on the ass. And right away, he shoots off, and catches up with the rest of the pack. And they look at each other and say, ‘That’s a great day.’” DiPiazza is growing animated. “You know what?” he says. “You can hunt a person. It’s been done before. It’s funny. They treated it like a joke. The reaction to being shot by the tranquilizer gun was done really well. Saatchi & Saatchi just blew it. They made a mistake at every turn.”

The main problem, says DiPiazza, is that the ad failed to exude the requisite sense of postmodern knowingness. “You’re not sure if they’re being serious, or if they’re actually trying to be offensive, and having fun with it,” he says. “If you’re going to hunt a human, you’ve got to really chase the guy down. I mean, bring in helicopters and commandos, you know? When someone’s pushing the envelope, you need to know they know they’re pushing the envelope.”

There is near-universal agreement that for all its flaws, the “Kenya” ad would have attracted little notice had Just for Feet not opted to broadcast it during the Super Bowl, the most-watched television event in the nation, and lately a showcase for show-stopping creative work. “When you put an ad in the Super Bowl, you really are putting it in an environment where ads are judged from start to finish,” says Jimmy Siegel, executive creative director at BBDO Worldwide. “Everyone’s waiting for your ad to tank. Everyone’s waiting to rip it to shreds … I mean, this isn’t the NFL game of the week. You really are putting yourself out there and saying, ‘OK, look at us. What do you guys think?’”

Siegel, who produced the Visa Check Card spots that aired during the 1997 Super Bowl, says the cutthroat environment can put a premium on edginess. “There’s no glory in it,” says Siegel of doing Super Bowl ads. “You’re so under the microscope, it’s impossible to do things that seep into the culture. The feeling is that you’re just there to do ads that hit people on the chin.”

Holiday Inn certainly accomplished that in 1997, when it hired Fallon McElligot to produce a 30-second Super Bowl ad, the theme of which was supposed to be the hotel chain’s $1 billion renovation. To dramatize this message of rebirth and renewal, the agency produced a spot about a voluptuous transsexual, “Bob Johnson,” who surprises classmates at a 20-year college reunion. The ad was widely derided, and was eventually pulled after just one airing.

“It’s funny,” says Wieden Kennedy’s McBride. “At a certain point, both clients and agencies go mad when they try to do the Super Bowl. They just go into this frenzy, and lose all sense of judgment. Everyone wants to do the thing that gets talked about the next day. Talk about pressure.” McBride sighs. “In a way,” he says, “it’s good that this happened. It’s good that someone finally went too far. Maybe we all needed to be reminded that there are limits; that there are lines you shouldn’t cross. Especially these days.”

But if some were happy to see Saatchi’s overreaching creatives taken down a peg or two, others say the case will send exactly the wrong message. Provocateurs like Brian O’Neill fear clients will use Just for Feet’s comeuppance as an excuse for favoring timid, orthodox work. “We’re always saying to clients, ‘Hey, take a risk, make a leap of faith,’” he says. “The last thing we need is for clients to be wary of the good stuff … This is a lapse of responsibility on the part of an agency that will hurt all agencies in terms of how we’re perceived.” Saatchi’s miscue “gives breakthrough advertising a bad name,” agrees Lee Kovel of Kovel Fuller in Los Angeles. “It says to clients that risky advertising is a major liability, when the fact is that the liability is not the work itself. The liability is not approaching the partnership in the right way.”

In fact, in its legal complaint, Just for Feet makes clear that the company viewed itself not as a partner, but as a tremulous innocent, unsure about how to reach the public, and completely hypnotized by the expertise of Saatchi & Saatchi. In an unusual move, the company confesses to impotence in a central area of business performance: marketing. In this version, “Saatchi did not present the final version of the Kenya commercial to Just for Feet until shortly before the Super Bowl, at which time Just for Feet expressed [its] misgivings and dissatisfaction.” Saatchi, sticking by its guns, then “assured Just for Feet that the commercial would be well-received, based on Saatchi’s expertise and experience with national advertising and marketing.” In retrospect, the company’s confidence was misplaced. “Just for Feet never would have allowed Saatchi’s commercial to be broadcast if it had anticipated such a negative and unintended reaction, instead of the favorable reaction that it was assured of by Saatchi, the advertising and marketing expert in which Just for Feet placed its faith.”

Agency creatives roll their eyes at this sort of calculated naiveti. “They’re saying they’re these little country bumpkins from Birmingham,” says BBDO’s Siegel. “I mean, this is the fastest-growing athletic footwear company in the country. Presumably they have marketing experts, brand managers whose business it is to know what the company should be saying, what the message should be. You can’t just blame it all on Saatchi.” Others also have a hard time swallowing the concept of a litigious footwear tycoon who’s so conflict-averse he can’t say no in a meeting. “Clients kill work every day,” says Jill Schroeder, chairman of the Lodge. “They kill it when it’s in its conceptual stages. They kill it when it’s being produced. They kill it after it’s been produced and is already in the can. They just say they don’t want to run it. No other explanation given. For a client to say he’s so mesmerized by Saatchi that he lost control of his own decision-making process and conceded all decisions to Saatchi is ridiculous.”

Ruttenberg, for his part, admits he’s no country bumpkin, but points out that this was his company’s first foray into the amorphous terrain of “brand advertising.” “We had done newspaper inserts, saying, ‘Nikes on sale this week for $19.99,’” he says. “We had never done anything like this before in our life.” To make matters worse, Ruttenberg says, he was manipulated by Saatchi’s creative team, who demanded total freedom and autonomy, then turned into sniveling children when he had the temerity to criticize their work. “They came in and showed me the half-finished product. They said how much they liked it. I said it was unacceptable.” At that point, Ruttenberg says, the lead creative remarked that he was batting “0 for 1000,” and that he felt “crushed.” Ruttenberg barks a sad little laugh. “He feels crushed? It’s costing me millions of dollars and he feels crushed? I told him to get over it. ‘You’re crushed,’ I told him, ‘and we’re out of pocket.’” In the end, though, Ruttenberg knuckled under.

In his book “Creating the Corporate Soul,” posthumously published this year, Roland Marchand tells the story of the N.W. Ayer & Son Advertising Agency, image-maker for such august corporations as General Electric and AT&T. In the 1930s, Marchand writes, Ayer was frequently mocked for its pretentious and archaic language (“Down the sea of the centuries man sails the ship of his dreams …”), its dignified format and exalted headlines and its sage maxims (the agency’s own motto was “Keep Everlastingly At It”). “You will not find any smelly underwear, bad breath, skin eruptions, discolored teeth, violent coughing, streaming eyes or odoriferous armpits in Ayer copy and art,” wrote a former Ayer employee in 1933. Such ridicule, Marchand notes, did not unsettle Ayer. Did rivals mock N.W. Ayer & Son as too conservative? “Our answer to this,” replied Ayer Sr, “is that we have much to conserve … Great interests are entrusted to us.”

Just for Feet is no AT&T or GE; still, it’s hard not to be moved when Harold Ruttenberg extols the glories of his footwear empire — its half-court basketball hoops and its huge video screens, its reputation for neighborliness — and fumes, “These people had no right to put us at risk.” No one wants to crush the spirits of freewheeling copywriters, let alone rein in their freedom to fail. But among some creatives, the Just for Feet lawsuit has prompted a round of soul-searching about what it means to call oneself a professional, to insist that one’s products and decisions be accorded the respect due to professionals, without any of the consequences that normally accrue to that. “Does Saatchi have a responsibility for talking [Just for Feet] into an ad they weren’t comfortable with? My answer would be yeah,” says Jim DiPiazza. “If you tell someone that everything’s going to be OK, and then all hell breaks loose, then who knows, maybe you do have some liability.” Agrees Brian O’Neill: “My heart goes out to Just for Feet. If an agency goes into its bunker, in isolation creates what it thinks is breakthrough advertising, and then, at the last minute, ramrods it through the client, I think what you end up with is a hit-or-miss proposition. And a client has every right to feel victimized.”

The irony is that if the lawsuit goes forward, Just for Feet may suffer more than its footloose agency. “I have no fucking desire to pitch for Just for Feet,” says one executive at a New York agency. “God knows if we run a print ad that’s supposed to be a bleed, and it isn’t, they’ll turn around and sue us.” On the other hand, says the executive, “No one holds Saatchi too responsible. So they made a bad ad … They’ll still get asked to pitches. The attitude will be, ‘Let’s see what they have to say.’ If they come back with a bunch of men in white hoods burning down houses in an ad for Safeway, well, then you don’t give them the account.” Even if one of the men turns out to be a Hispanic woman.

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Ruth Shalit is an account planner at Mad Dogs & Englishmen, a New York advertising agency. For more columns by Shalit, visit her column archive.

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