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Fred Wilson's Fault

a lighthearted offshoot of AdPulp.com

April 22, 2009

do not bend (via oneblackbird)

do not bend (via oneblackbird)

April 18, 2009

Kris Colvin - Are you pouring the right stuff in? :-) …

Kris Colvin - Are you pouring the right stuff in? :-) …

April 7, 2009

Newsville - March 4th « MiRK WORK

Newsville - March 4th « MiRK WORK

April 2, 2009

In France, CEOs Can Become Hostages - WSJ.com

In France, CEOs Can Become Hostages - WSJ.com

March 31, 2009

‘Big Bang’ Pioneers Rethink Banking Overhaul - WSJ.com

‘Big Bang’ Pioneers Rethink Banking Overhaul - WSJ.com

March 28, 2009

gorillavsbear.net

gorillavsbear.net

“William Maynard of Bates advertising said, “Most good copywriters fall into two categories. Poets and killers. Poets see an ad as an end. Killers as a means to an end.” Ogilvy added, “If you are both killer and poet, you get rich.” — Don’t Send Wrong Signal to Customers - DMNews

So true (via Jackie Huba)

So true (via Jackie Huba)

March 23, 2009

And They Say Twitter Can’t Make Money… | Nitrozac and Snaggy | Voices | AllThingsD

And They Say Twitter Can’t Make Money… | Nitrozac and Snaggy | Voices | AllThingsD

March 22, 2009

Tracy Daugherty’s admiring, comprehensive and painstaking biography of Donald Barthelme, “Hiding Man,” emphasize the challenging education he received in taste and theory from his father and then the brilliant education he gave himself in Houston when he was in his 20s. Barthelme was a journalist, a jazz lover, an art lover, a moviegoer, an avid reader, a curator and, with his second wife, a writer and designer of advertisements.

By early 1963 he had enough stories for a first book. He also had an aesthetic vision. In the second issue of Location he took part in a debate about the future of fiction in which Saul Bellow argued that the modern novel was “predominantly realistic” because “realism is based upon our common life.” Barthelme countered that a “mysterious shift … takes place as soon as one says that art is not about something but is something,” when the literary text “becomes an object in the world rather than a commentary upon the world.”