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Welcome to Creativity Lite, our easy-listening, pulp nonfiction, lazy-hazy-crazy days of summer brain-soothin' issue. Perfect reading for that afternoon spent stuck in traffic trying to get to the beach, the mountains, the ballpark, K Mart, wherever. Guaranteed not to tax your intellect, challenge your vocabulary or cause you to otherwise reassess your priorities in life. Nevertheless, you will find herein some simply marvy things-altogether not bad a collection of goodies, given that this issue was put together in the short period of time between our getting back from Cannes and slogging through a work week mercifully truncated by the Fourth of July holiday.

We're chockablock with viewpoints this month, part of a continuing parade of bylined pieces we've been publishing of late. Although BBDO's Audrey De Vries didn't make it to Cannes, she has gone to more than a half dozen awards shows since the start of the year. At some she was a mere spectator, at others a recipient. Lucky for us she's also a critic, and her review of their respective cocktail parties and banquets should entertain anyone who's had to suffer through one. We also have Jim Cameron, partner in Digital Domain and Hollywood's reigning king of effects-laden action pictures ("Terminator 2," "True Lies"), who weighs in with a treatise on the technology of filmmaking and its impact on visual communications, adapted from the speech he gave via satellite at the AICP/MoMA Show in New York in June.

And then there's Marilyn Pocius. When last we heard from her, in our July 1991 issue, she had written about the fear and anxiety that pervades a creative department when people are being laid off. Between the time she submitted the piece and the time it ran, guess what? Right, she got canned. Since then she moved from Chicago to Minneapolis and ended up as CD at Chuck Ruhr Advertising, the same agency that recently filed Chapter 11. Her account of presiding over-and eventually falling victim to-a shift to client clusters, and her version of how it affected the creative department, is a fascinating insight into an agency's internal effort to reorganize itself. Marilyn, by the way, is now freelancing.

When you think of stock photography, what comes to mind? Certainly not an image of a tattooed junkie with a syringe sticking out of his arm, or a gang of kids literally kicking the shit out of someone. Well, these images are part of photographer Robert Yager's work documenting the lives of L.A. street gangs, and they're now available for commercial use via the Tony Stone Images stock photo house. Our report on Yager's work, as well as an artsy spread on the work of young illustrators (from which we selected this month's seasonal cover image), grace this issue, much to our color separator's delight.

Finally, our take on Cannes is included this month, and we can only pray it's

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