I built this website. From scratch. Including the servers.
Hey Rodolfo, thanks for the input. I know many great Brazilian creatives working outside of Brazil now, and my knowledge of how the big letter agencies function inside of Brazil is hearsay that I got from them, and I didn't mean to make it sound like this is always happening at every agency. There are also a lot of agencies outside of Brazil who operate with legendary "award wings" that basically make ghost ads that can bring the metal. *sigh*
Thanks for listening!
It has now officially been decades since I read this book, which was around the time that I posted this article. I did see a lot of her work in ad school, and her a lot of legendary stories about pitches and campaigns, but reading all of these stories in her own words was even better.
For blogs on the topic of IP and copyright in creative businesses, try keeping up with Likeliehood of confusion, and Musictech.solutions, also the trichordistis also interesting but from a musician/artist standpoint and not a legal blog. As for this specific case, I'm afraid I do not know a better resource than the one you mentioned. It can still be read via the waybackmachine.org FYI
A really really belated reply: I don't know to be honest. I had never seen anything "framed" in real life like that when we pitched the idea to Sonox. One could argue that National Geographic campaigns over the years "framed" things in a similar fashion, but this was in print. And it didn't have the added element of a rebus that could only be read if you stood at the right spot in front of the frame to see what was being framed. But having paired up badlanders for years, I also know that one should never say never.
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