Beer today, gone tomorrow: Regarding Julie Dunn's "The Light Stuff," in the January 23 issue:
I just moved to Colorado and have always loved Coors Light. That's why it's so disappointing that I now have to boycott Coors's products (and so do several of my friends) because of their ridiculous advertising campaign. Why do we have to encourage young men to continue their fascination with twins? It's incredibly disgusting. It's great that Coors wanted to target that young age group, but could they use just a slight amount of intelligence or creativity? Not all of us in that age group are mentally challenged or attracted to incest.
This Bud's for you: I can understand Coors taking a new approach and trying to appeal to the 21-27 age group when advertising their beer. However, can they try to appeal to their female audience just a teeny, tiny bit? I don't mind bikinis, and I'm not a femi-nazi in the slightest, but the first time I heard Coors's "Love Songs," my initial reaction was: "Did they just find a drunken freshman frat boy and hire him for their marketing department?"
My roommate and I drink beer at least three nights a week, and women make up more than 50 percent of TV's consumer audience, and we drink beer -- can you believe it? I'll have a Bud Light, please.
Native truths: As a Colorado native living abroad, I have imbibed many a case of Coors Light and defended the product to countless people (e.g., "It does not taste like piss but with less flavor"). This "and twins!" ad campaign, however, has completely turned me off. I hope Coors grabs a large chunk of the young male demographic, because they've definitely lost me for life.
Sadie M. Brillat
via the Internet
Two for the road: Regarding the Twins, "Here's to whacking off alone in your car and going home to drown your sorrows in beer." But they sure are hot!
via the Internet
The unbearable lightness of being Coors: I was incredibly disappointed by Julie Dunn's "The Light Stuff." It was disheartening to see a female journalist ignore the issue of objectification to promote beer. Although this is nothing new, that doesn't mean it isn't as bothersome to women as when we first raised the issue many years ago. Had she interviewed more women, it is possible she would have had a balanced and more complete picture of how twenty-somethings really feel about those ads. What Coors fails to consider is that half of the audience they are targeting are women, and the women that I know not only hate those ads and flip them off when we drive by them on the highway, but have also decided never to drink Coors again.
Hopefully, both Julie and Coors will consider the "invisible" women in the future, because we have a lot to say, and we're not satisfied with being the ignored demographic.
Taste the rookies: I'll say what Julie Dunn didn't quite in "The Light Stuff." Cheers to the shameless bozos at Coors for devising and celebrating a pathetic marketing campaign redeemed only by the poetry it creates: tasteless morons lured by moronically tasteless ads to an utterly tasteless beer.
Critical ass: The grand opening of the new Fresh Art gallery was a long-awaited event for Denver's art community, and it showed, with the 2,000-plus people who showed up to check out the space throughout the night. Crowds spilled into the street as people, packed like sardines, made their way through the crowds. I am glad Michael Paglia reviewed the show ("Moving On Up," January 23), but I could do without his bitchy-queen comments: "At this point, I dismissed once and for all the idea that the show is made up exclusively of newcomers." If it bothered him that not all artists were "truly newcomers" to the Denver scene, then he should write about the ones who are not and stop his whining.
His review of the opening of this new gallery is definitely worth noting, though, as he has a knack for reviewing the same galleries over and over (Rule, Andenken, Edge, Pirate), probably because they are the ones that kiss his ass the most. I am glad people are smart enough to take their critics with a grain of salt and go see for themselves the rich pool of artists in the community.
Making airwaves: Regarding Michael Roberts's "Green-Light Specials," in the January 23 issue: