• Advertising Is Dead and I Don’t Care

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    Wait — don’t go anywhere just yet. This isn’t going to be yet another article about the death of advertising, which, if you were to believe the pundits (and good lord, why on earth would you do that?) has steadily been dying for the last decade.

    Fast Company published yet another article on the end of advertising, and while it made some good points in addressing technology’s disruptive role in advertising and marketing, it sparked the same debate and vitriol the industry has been spouting in the war to define the future of advertising.

    Personally, I just don’t care about that debate — and I’m in advertising — it’s the wrong conversation. The future of advertising is not talking about the future of advertising. I care less about the endless debate over platforms, mediums, channels or how many degrees of 360 your campaign touches. I care more about simply doing good work that gets results.

    When Steve Jobs passed on the reigns of Apple to Tim Cook, his only advice was to, ‘do what’s right.’

    It’s easy to overcomplicate the business world. We love to feed our egos with buzzwords, weighty PowerPoint decks and general douche-baggery of the latest digital toy.

    But it’s much simpler than we make it out to be.

    :: Know your product.

    :: Know your customers.

    :: Know how to serve them.

    Yes, the technology landscape is charging like a tsunami with little regard for the businesses currently standing in its path. We’ve already seen yesterday’s untouchables fall hard and fast — Kodak, Blockbuster, Borders — each replaced by a company thinking about how to create a better product that understands how to better serve their customers and tells an engaging story that captivates them.

    Instagram, Netflix and Amazon. The list could go on.

    But in the midst of these changes, the foundational question is — do you see a problem, or an opportunity?

    Advertisers should worry less about the supposed death of the sixty-second spot, and focus more on bringing their creativity to help clients identify how their brand doesn’t become the next Blackberry. Smart brands like Nike, Red Bull and Burberry are only going to continue launching world-class digital experiences and services, and agencies have a huge opportunity to identify, shape and build those experiences.

    This is an immense challenge. But it begins with understanding your product, knowing your customers and zealously striving to deliver an experience for them keeps your focus where it should be — just doing what is right.

    Ryan Moede is Director of Client Strategy @14Four focused on building useful digital experiences with ad agencies. Drinker of coffee. And wine. Oh, and good beer, too.

  • Omnicom and Publicis are Merging. Fuck.

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    That news seemed like as good a time as any to return to my column, for the foreseeable future.

    I’m sure you’re all way more informed than I am. No doubt, I am coming very late to this party. But when I heard the news that those two giant ad groups were merging, the only word I could bring forth from my filthy mouth was the four-letter one I so heavily rely upon. Day in. Day out.


    It can mean many things. Just like “fuggedaboutit” in Donnie Brasco (a vastly unappreciated movie) means everything from “Raquel Welch is one great piece of ass” to “a Lincoln is better than a Cadillac,” fuck can mean many things to me.

    And in this case, it means, “well, there goes the fucking industry.”

    The healthy spirit of competition is one of the factors that drives people to do great work. It’s not the only reason, but it’s out there. “Christ, we have to do better work than Dipshit, Dickhead and Douche or we’ll never win this account.”

    It’s also a way to encourage differing perspectives and creative approaches. Some agencies thrive when they're working on certain accounts, like booze or cars. Others, they’re more into health-conscious clients and environmentally friendly products.

    Now, with Omnicom and Publicis merging, there is even less choice out there.

    For the record, Omnicom owns:

    BBDO Worldwide
    DDB Worldwide (including Tribal Worldwide)
    TBWA\ Worldwide (which in turn owns Integer, Being, DAN, Tequila and a bunch more)
    Element 79
    Goodby, Silberstein & Partners
    Martin | Williams
    Merkley & Partners
    Roberts + Langer
    Zimmerman Advertising

    Plus dozens of customer relation management firms, media firms and more.

    They own a fucking lot.

    Now, they’re merging with Publicis. They own over 1,200 agencies around the world including:

    Leo Burnett Worldwide
    Publicis Worldwide
    Saatchi & Saatchi
    Bartle Bogle Hegarty
    Fallon Worldwide
    Burrell Communications Group
    Bromley Communications

    And again, another bunch of agencies too numerous to mention here.

    Anyone scared or dismayed, yet?

    With one group controlling so much of the advertising, marketing and media in the world, where will the diversity come from?

    Where will we see the new ideas? The ones that challenge convention and break with the established order of things?

    Where will real creativity emerge?

    The simple answer is, it won’t. Or at least, it won't have the same chance.

    As the advertising world becomes more and more homogenized, the solutions offered will become just as bland.

    Big companies will not see the need to shop around for the best digital agencies, the best media, the best public relations, and the best advertising shops. Why should they? Now, in the MegaOmniPubliCom Advertising Warehouse, it’s all under one enormous fucking roof.

    It’s like the Costco in Mike Judge’s Idiocracy, where you can buy shit sofas, Starbucks handjobs and law degrees without ever venturing past the broken front door.

    Want media? We got it. Want digital? We got that too. Advertising? No problem. Events? Easy. Want to spend less time assembling a diverse, creative and powerful network of agencies to service your corporation? No problem. Just give the MegaOmniPubliCom Advertising Warehouse your business, and go play 18 rounds of golf. We’ve got your back.

    This is just what the agency world didn’t need. The smaller, more creative shops still managing to scrape a living will be hard-pressed to offer the range of services that the MegaOmniPubliCom Advertising Warehouse can offer. They will have a difficult time matching responsiveness and price, too.

    Just like conglomerates pushed out small businesses in our towns and cities, so too will this massive merger spell the end for the boutique shops who cannot compete with this kind of assault.

    All we need now is for WPP to join the party, and we can pack up everything and go home. A bunch of rich fat cats will get richer, ad agencies will report to the same overpaid bosses, and the chance to do some breakthrough work will dry up faster than Paris Hilton’s pussy at a World of Warcraft convention.

    With all the agencies out there, it may seem like we have a ton of choices. But with so few people actually pulling the strings, all we really have is the illusion of choice.

    The advertising industry will pump out the same controlled messages that the media currently dishes out from just a few outlets.

    And before you know it, we’re all insignificant cogs in one enormous advertising machine. Its only goal…to mass-produce mediocrity and reward those at the top with paychecks they couldn’t spend in ten lifetimes.


    Felix is a site contributor, ranter and curmudgeon for The Denver Egotist. He’s been in the ad game a long time, but he’s still young enough to know he doesn’t know everything. If he uses the f-bomb from time-to-time, forgive him. Sometimes, when you're ranting, no other word will do. In his spare time, he does not torture small animals. He's been known, on occasion, to drink alcohol by the gallon. Do as he says, not as he does.

  • The Vine Test: Pinpoint Website Weaknesses in 6 Seconds or Less

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    When today’s time-pressed and hyperactive visitors arrive at a website, the homepage needs to slap them in the face with what they'll find on that site and who that company is.

    We see a lot of unclear or poorly defined products and services in the B2B space. That's just the nature of the B2B beast. But a website that leaves the viewer as confused about the products you sell just won't do. Market Creation Group recently began a campaign to help companies identify messaging problems that leave websites in the dark.

    Tell me what you do

    “We make it easy to find used cars.”Perfect. Simple and clear: a visitor knows exactly what to expect from this website because it tells you right up front.

    The ability to clearly and concisely say what you do can be a competitive advantage. As a company that focuses solely on B2B technologies, MCG feels the pain of conveying the confounding offerings in your market space.

    But don’t worry, we won’t leave you stranded; MCG has devised a solution for you.

    We call it the Vine Test

    Vine is a Twitter-enabled mobile app that allows you to capture and share 6 second videos. The limited content forces users to be creative and effective with their use of space and time. Vine provides the perfect test for whether a website can clearly express it's message or purpose in the appropriate amount of time. Put your website to the Vine Test in four simple steps.

    Step 1: Download the Vine app

    Step 2: Film your company's homepage for 6 seconds

    Step 3: Post the video to Twitter

    Step 4: Ask social media followers to try to identify what it is your company does.

    Oftentimes a web visitor may already know what it is a company offers, but by exposing those individuals to a 6 second clip and asking them if the messaging comes across will help to override any familiarities or biases.

    Realizing that visitors may not immediately understand the purpose of your website is just the first step though. Next comes the task of fixing the problem. Here are several common issues that will assuredly lead a website to fail a Vine Test.

    1. Over-clutter

    Hey, I know how we'll keep visitors on our site: we'll put so much stuff on our homepage that they'll have no choice but to stay there for a while to read it all! Wrong.

    Today's website viewers are looking for any excuse to move on from where they land. Welcome visitors in with a clean viewing experience centered on a single message. Clarify your website's purpose so the message has a chance to resonate.

    After all, a cluttered homepage might only serve to remind visitors of how much they need to organize their inbox. A cluttered homepage is like a front door with 10 doorknobs: you don’t know what to grab ahold of.

    2. I don't know about you, but this makes sense to me

    You're an expert at what you do. And while you should be proud of that fact, keep in mind: the people who come to your company's website may have a different frame of reference.

    Avoid over-complicated industry phrasing and terminology on the immediate customer facing homepage of your website. Instead, replace the proof of just how adept you are in exchange for a relatable message. Get your visitors comfortable before your whip out the big guns.

    Go forth and perfect your website messaging

    Hubspot says we have between 3 and 5 seconds to capture a website visitor before they move on. They call this "The Blink Test." In those 3 to 5 seconds, you must not only avoid scaring them away, but also tell them exactly what they can expect to find on your site with clear and concise message statement.

    The short window of opportunity to grab a viewer’s attention coincides perfectly with the brevity of the Vine app. The Vine Test is the perfect tool for identifying where your website is missing the mark with it’s messaging. Improve your website's first impression and start attracting more dedicated visitors. Download the Vine app here and put your website to the test.

  • Hacking The Matrix

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    Neo wanted out of the Matrix. So do I.

    After that red pill, Neo knew the Matrix was only a simulation of what life could be, should be. A simulation built by the evil super-computers who had taken over the earth.

    After working in a small, consistent agile team, I know the agency model of assigning work using a matrix view of employees and projects is a simulation of what my work life at an agency could be, should be. A simulation built by some well-meaning business folks back in the 70s.

    People living happily in the Matrix thought Neo was nuts.

    Likewise, it's really, really hard to explain to prospective Aha Method clients and even to my own team exactly why a matrix management style is so painful for me.

    Most of them believe that because agencies deal with an ever shifting volume of work and that the type of work fluctuates just as wildly that then, in order to be successful, "we need to manage in multiple dimensions: horizontally where we align and optimize business processes and projects that serve the customer, and vertically, where we manage the resources that are then deployed to the horizontal arena." (Definition of Matrix Management from a 2012 Human Resources Management Report.)

    But I've had the opportunity to work on brands like Audi and The North Face using an agile management approach. We eventually managed these accounts from the perspective of a small, cross-functional, agile team (not just dev, but everybody) that was built to adeptly handle the fluctuations and the variation in the work.

    Yep, Bree and I have lived in a third dimension if you will...and it was ah-mah-zing.

    But don't take my word for it, Dave Aron, wrote a Harvard Business Review article where he predicts that by 2020, 30% of work will be performed by permanently employed, self-managed clusters.

    While his definition of a Cluster (an external team hired by the company as a unit) is slightly different from the Aha Method definition (a self-organizing internal team of the company), the four main benefits he outlines apply to both:

    • Higher levels of business performance through higher motivation. The cluster model, when executed well, addresses known performance drivers such as purpose, autonomy, and mastery (see Daniel Pink's book Drive for more on these).

    • Higher levels of business performance through a custom work environment. Clusters can create and sustain leading-edge electronic work environments since they are less burdened by bureaucratic decision-making and the need to serve the diverse needs of many types of teams and individuals.

    • Talent management in the right place. The cluster model removes the burden of team and individual performance management from the business — where it typically sits uncomfortably and ineffectually today — to the cluster. The cluster knows its own members, contributions and development needs much better.

    • Higher levels of personal happiness. Clusters are sufficiently small for members to genuinely know and care about each other, and they are stable and autonomous enough for members to support each other's long-term personal development.

    I know most of the agency folks threw their hands up about 6 paragraphs ago, rolled their eyes and muttered something about "well, lucky you miss fancy pants to be on big fat retainers where you can dedicate a team...but few of us are that fortunate." Yes, I first lived in the agile cluster utopia on a retainer. BUT, I've run the numbers with the director of PMO at my current gig and using the right approach we can work the work like we're on a retainer, even if we aren't. It just takes some smart resource forecasting (potentially across multiple accounts), a dedication to incremental growth on existing accounts and a willingness to take a risk.

    I say risk because it will require your internal teams to be willing to try something new. But the truth is, it's actually an investment because, guess what - clients don't want to get stuck in the matrix either. They know when you are simulating talent. Meaning, when you pitched it one way but end up staffing it another due to your best players being drawn and quartered every day in the Matrix.

    There was a great headline in a January issue of AdAge: Kao USA to Agencies: We Want Your 'A-Team' on Our Account. They went on to quote directly from Kao's Request for Proposal:

    "Kao wants to be an important priority for your agency and does not want to get lost or relegated to the 'B' team."

    The headline I hope to read sometime in the near future reads:
    "Kao USA Discovers that 'A-Team' Stood for 'Agile-Team.'"

    Until then. I hope at least a few of you will consider hacking the system along with us.

    This piece is cross-posted from The BRAT Blog from The Aha Method — a company that coaches teams around a better working dynamic.

  • No Rubbernecking. Avoid the Marketing Technology Collision.

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    There is a constant collision happening every day in marketing. It's the collision between marketing and corporate IT.

    And those constant collisions create a bottleneck for innovation, speed to market and adaptive marketing.

    Today's marketing is more than just strategy and creative. It also involves technology and the utilization of technology to deliver a marketing message. It's not just about being innovative, but leveraging innovation as an early adopter or first-mover.

    And that's where the tension happens.

    Think about the tension points: marketing is about agility. IT is about consistency. Marketing is about innovating and taking risks. IT is about stability and mitigating risks. Marketing is about shifting and adapting. IT is about consistency and policy.

    A bigger question to ask is who owns marketing innovation via technology within a company today? If you ask, many will answer the final decision lies within the IT team.

    And that is where the problem lies. Marketing technology decisions should not just be made by IT, as it should be a collaborative business decision that is led and driven by the CMO.

    With growth and progression comes change. And a change in the decision making process is what's needed. Today's innovative marketing campaigns should no longer be limited by current-to-outdated IT policies and procedures. And with today's technology of APIs, web services, SaaS, PaaS, and open-source social, web and ecommerce platforms, they no longer have to be.

    I've worked alongside some amazing IT teams over the years and found the common factor each team had was the ability to adapt their policies and procedures to implement and support new marketing innovations and technologies. Rather than just providing marketing teams and external agency/development partners with a list of functional requirements, they instead partnered with the marketing teams to help provide immediate solutions.

    It's no coincidence these companies have become leaders in the use of marketing technology and have increased market share in their given categories.

    But not all companies have this advantage. And marketers have to understand their culpability by advancing their expertise in understanding technology. Develop a passion for understanding software development. Understand how to lead, drive and push the IT group when it comes to marketing technology and innovation. And understand how technical platform decisions affect not just their marketing business, but their overall business when it comes to omni-channel revenue, ROI and a multi-device consumer experience.

    Marketing technology can no longer be a decision made by a separate team within the organization. Marketing technology now has a direct impact on the success of your marketing programs, your consumer experience, and your brand itself.

    Gene Paek is the principal of Ideate Digital, a digital collaboration service that partners with marketing agencies and companies to lead them in the digital marketing space by unifying strategy, creative and technology together. Connect with him: gpaek@ideatedigital.com or Twitter @gpaek.

  • Dear Jr Creative, Earn Your Place. You’ll Be Better For It.

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    Dear Jr Creative,

    I’m a firm believer in earning your keep, starting from the bottom, doing the less than desirable well, before moving up.

    Prove yourself on what seemingly matters little, and people will notice. I promise.

    At the very least, I promise I’ll notice. Because it’s the unorthodox grind of a route I took.

    I was a rich kid from the suburbs. I was embarrassed by it. I hated it. It was a 90’s thing.

    In High School, and in Gen-X “rebellion” against my white collar family, I worked for the Las Vegas Water District doing underground construction.

    I dug ditches and changed water lines during the Vegas Summer for 8 dollars an hour. Not desirable work. And the guys I worked with could smell the rich kid on me. They busted my balls mercilessly for it.

    I dug the shit out of those ditches. I loved it. I used my hands. I used heavy machinery and pneumatic tools—I drove a dump truck (which is awesome by the way).

    All I wanted was the respect of these old guys changing water lines in the desert. Dudes that worked so fucking hard. For so fucking little. To feed their families; their addictions; their gambling debts.

    Eventually, I’d earned a bit of respect.

    I worked hard…”for a skinny rich kid.”

    One day I mentioned to the crew lead: “Fuck it. I like this. Why not full time?”.

    He pulled the truck over to the shoulder of a mountain road, heading North towards Mt. Charleston, looked deep into my face, “Every single one of us would give the world NOT to be here. Stop your blue collar charade. Go to school like you’re supposed to. Get out of this shit.”

    So I did.

    That was my last of three summers working for the water district.

    I went to school for business. Marketing & Advertising to be exact. Which, aside from teaching me some business basics, really just help develop my aptness for bullshit.

    Luckily for me, somewhere along the line, I learned a real skill and about this thing called the “Internet.” It was a place I could upload the photos I was taking (and developing in a darkroom, btw). I learned some Photoshop and HTML skills because of it. Eventually, I started freelancing: horrible graphic design and web work. Whatever I could get—fucking rave fliers, man. I just wanted to learn. The beer money was the gravy on top.

    My first “real” job out of college was resizing graphics for an eCommerce company. I showed up for the interview on my skateboard, handed the HR lady my resume and said, “I’ll take anything. I know Photoshop. Here’s my book.” I didn’t even know what a “designer” was. But that’s why I was there. And by no means was I a designer; Photoshop monkey…maybe.

    Ninety people had been laid off a month prior to me being brought on. I was the first hire after those layoffs and in the eyes of everybody…I was “that guy…”

    I was at the bottom of the totem pole. Where I belonged.

    The only thing I had going for me was a fear of “sucking.” And for the record, I sucked. (Certainly compared to the kids I see today).

    “…good enough to resize graphics” was what I overheard the Creative Director say, just around the corner.

    So I resized graphics. I resized the shit out of graphics, learning to code HTML along the way. I unlearned what I learned in business school. And learned…business. I developed site and page concepts for fun. Always showing my boss. Wanting critique. Always trying to get better. People noticed. He noticed. I gained more and more responsibility and more importantly, trust. Never begging for more money. Just wanting to do more work, better work.

    To not suck.

    Eventually, I took over as Creative Lead. I redesigned both KBToys.com and eToys.com. Enterprise level eCommerce stuff. Real businesses, making real money. I thought the designs were pretty damn good for the early 00’s. Some of the first .com’s to switch to 1024x768. We won some eCom industry awards. It moved product. I thought I was hot shit.

    I was far from it.

    Fast forward a decade and I’m blown away by the level of talent that’s out there. Kids today come out of school with so much fucking skill it’s crazy. But with all of that skill, in so many, there is equal-to-more parts hubris. An entitled attitude that seems to expect everything for nothing.

    Somewhere, along the lines, we (everyone) got sensitive. We started giving trophies for last place. People forgot how to take criticism. We started (and continue) to want to spare people from the realities of what it really takes. Close counts. Thanks for trying. Better luck next time—even worse—Fail Harder.

    I hate this phrase more than anything.

    “Fail Harder” is a manifesto for the delusional, the lazy—the lotto dreamer.

    Celebrating failure is a cop out. Be pissed that you fucked up—when you lose. And know why.

    Fail “Smarter” maybe. But failing hard is for losers.

    Industry-wise, we covet the idea. Not its realization, it’s viability.

    “I want to be an AD. But I don’t write and I don’t design. I’m an idea guy”

    “No, no, no, i’m a UX guy. I don’t do wires and I don’t do finished design. I just explore interaction concepts.”

    “I want to be a CD. But I don’t like talking with clients.”

    “My new Web 3.0 business concept doesn’t have a revenue model—it’s like Instagram but with animated gifs of kittens.”

    Ideation in a clientless vacuum; devoid the realities of real life (inside an agency or any company for that matter). Feasibility. Budgets. Client bureaucracies. The fact is that big ideas take time to sell. They die. They have to be reborn. And that it’s your role to breath the life back in. But only if you really give a shit.

    The “idea” is the tip of a gigantic, shit stained iceberg of work. And if you aren’t ready for what it takes, or worse, you think “that it’s someone else’s job” to push your idea from ether to reality—reconsider your profession.

    My advice is simple: don’t be the entitled kid. The kid who over indexes in ambition but lacks any real passion—any real drive other than a new title at a new agency.

    Be the kid who wants to learn even when he doesn’t have to—the designer who wants to learn to write, to code, to understand business because it makes the design better.

    Don’t be an industry douche. They call themselves ninjas or gurus…even evangelists. They’re the ones who will tell you, to your face, that they are smarter than the other guy. They’re the ones who have stopped reading by now.

    Don’t be the kid who hops around. Don’t be the kid, who, when given the chance, will opt for the bare minimum. Who scoffs at perspective. The kid who will jeopardize the team to spare his fragile ego. The kid, who, when faced with a situation that gets difficult, says “I’m too good for this kind of work. I deserve better.”

    Nobody deserves shit. Until you do. And even then, never admit it.

    I’m now the old guy. I get it…

    I’m not saying you need to go out and work construction. But it’s good to know where you don’t want to be. And understand why.

    I know I don’t want to resize graphics anymore. Why? Well…because it sucks.

    But I’ll still dig the shit out of a ditch.

    - Dave

    I should note, that my teen “rebellion” against my Father was laughably ironic. My dad was blue collar. A cowboy who changed tires on big rigs before finishing college and becoming who he is today.

    Behind my teen angst, unbeknownst to me all that time, I was trying to be just like him.

    What a silly little rich kid.

    David Snyder is Executive Creative Director at Firstborn. Living in Brooklyn. He likes progressive thought, design and technology. He eats and libates well. This editorial original posted on Medium.

  • Strategizing is for Prom Queens

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    I hear the word “strategy” thrown on just about everything. Like rhinestones on a South-Texas-prom-queen’s dress, “strategy” is too often a cheap and easy bedazzle on everything from PowerPoint slides, to someone’s superfluous commentary in a meeting that is already running too long with too many attendees. Anymore, in my day-to-day, Strategy is quite the loose little buzzword.

    Often, it is a noun, as in “brand strategy” or “I am a strategist." Sometimes it is an adjective, as in “strategic vision” or “strategic insights." Also, as an adverb, such as “strategically developed” or “strategically placed.” And let's not forget it as a verb, as in “strategize” (which for the record, makes me want to punch the speaker in the nose every time I hear it).

    And that isn’t to say that I don’t use the word often myself. But I used to accept the word at what I believed was its face value — a sense of something great and purposeful. A sense that when I heard “strategy” — I knew we were talking about the key to winning whatever was at stake, the secret sauce critical to achieving the mission. I knew we’d be talking about something tangible, and most importantly — something actionable. (Strategy is, by definition, a military term that, in a nutshell, means using your brains and your guts to not only stack the odds in your favor, but empower you to make the right decisions when confronted with any obstacle.)

    Now, given the bedazzling trend, I’ve made it my personal charge to pay much closer attention when the word “strategy” is presented. Analyzing it quietly in my head, from every angle. Challenging my own application of it constantly. Because the real disturbing trend, is not that the word gets overused, but rather that the very concept of strategy has become a crutch. A well disguised excuse NOT to act. An exercise in lengthy requirements-gathering to plan for problems and scenarios that don’t yet exist. A perceived need to create a long list of tasks for what should happen in the future, when instead we should be driving for real feedback via iterative launches in the present. I see terms like “strategic goals” and “strategic vision” plastered across PowerPoint slides, and the actual bullet points associated with most of these goals and visions, amount to little more than minute tactics positioned as passive options to explore. Presented in the context of “we are working on,” or “working toward,” or “think there is great opportunity within this area.”

    And with that lack of conviction, certainty, drive — fucking nothing can be won. It’s all a lot of bling with very little bang.

    So here is what I'm really driving at — let's all of us in the industry be more thoughtful with strategy. That when creating, executing, presenting or thinking about strategy in any context, let’s be critical of ourselves, of our interpretation of strategy and when/how/why it matters or is applied. As an example, do we sometimes create formality where it isn’t warranted — like laboring over a “social media strategy,” when maybe all we really need is to just be social? Or when our strategy feels like it is a moving target, and people struggle with how to articulate it — should we check our premises? Are there assumptions at play that have been driving a weak, obtuse strategy? And if the goals are ill-defined, then no amount of “strategic planning” is going to get us anywhere, even if we wrap that anemic goal in a shiny label called “strategic vision.”

    Diamonds are a girl's best friend for a reason — because they have real value. The real, lasts-for-a-100-years-and-cut-glass kind of value. Fortunately, making sure your strategy has actual value is really pretty simple — just ask yourself, is your strategy something your team can:

    • Articulate without a slide in front of them?
    • Apply in any given situation?
    • Execute against to deliver desired results?
    • Feel empowered and confident in so doing?

    This piece is cross-posted from The BRAT Blog from The Aha Method — a company that coaches teams around a better working dynamic.

  • “No Gays Please, We’re Advertising.”

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    Advertising is a pretty progressive industry. We like to think of ourselves as an enlightened bunch. Some of our best friends are gay. Hell – some people in advertising are actually gay. Seriously. And yet, we all seem reluctant or incapable of portraying same-sex lifestyles in our work.

    There are gay creatives, planners, producers, directors, clients and actors. And yet in adland, it seems gays don’t need mortgages, don’t drive cars, brush their teeth, play bingo or use low-fat spreads as part of a calorie-controlled diet.

    There’s no question we should include ethnic minorities in our advertising. Who would even dream of digging their heels in to preserve an all-Aryan cast? We’ll feature empowered women. Strong-willed kids. And moonwalking Shetlands. But where’s even the token homosexual? They can’t all be at G.A.Y. screaming for a Kylie encore – or in hiding, surreptitiously unpicking the very fabric of our society.

    Did Chitty Chitty Bang Bang’s child-catcher change tack and start prowling the streets playing Barbara Streisand from a float pulled by French bulldogs, loaded with rainbows and glitterballs?

    Dropping the G-Bomb

    Benetton have deliberately courted controversy over the years – some executions playing ‘agent provocateur’ with same-sex relationships as their political football. But why can’t gays feature in ads because they’re normal consumers who just happen not to be heterosexual?

    Look, it wouldn’t take much to stand out a mile in the UK straight-acting ad-scene. Feature gays. Leading normal lives. Arguing over dog food, trying out sofas, comparing their car insurance, living out their later years with a private pension.

    Ikea ran the first gay commercial ever aired on US television in 1994. It ran for a few weeks until there was a bomb threat at one of their stores and was subsequently pulled. Have we moved on since then?

    It must seem alien for gays to see themselves represented in TV shows and films but have their very existence given the cold shoulder when the ad break arrives. The few examples I’ve seen just use homosexuality as the rug-pull, the reveal, the joke. “Oh I get it, she’s actually a lesbian.” Gag, packshot, endline. Cheap.

    JC Penney vs One Million Moms

    JC Penney in the US used Ellen deGeneres to front their campaign which led to a storm of protest spearheaded by a Christian group calling themselves One Million Moms. They wrote, “By jumping on the pro-gay bandwagon, JC Penney is attempting to gain a new target market and in the process will lose customers with traditional values that have been faithful to them over all these years.”

    So far, so predictable. But two silver linings emerged:

    1: One Million turned to be a tiny fraction of that figure.
    2: The backlash spawned its own backlash. The #StandUpForEllen campaign gained 50,000 signatures almost overnight and helped prompt JC Penney to er… ‘come out’ and say Ellen was their perfect brand ambassador.

    In that distant land called real life, gay marriage is here. The Prime Minister – a Tory – is pushing for more rights for gays. And who’s to say he’s wrong?

    Guinness made an infamous commercial portraying a gay couple back in 1995. It was ready to run, word got out, people were up in arms, the world was clearly going to end and the client lost their nerve. And in so doing, they compounded the very problem they set out to address.

    Is it time for another try?

    Papas and Papas

    One recent exception is a Mamas and Papas campaign in the UK for their Urbo buggies, featuring heterosexual mums and dads, single-parents and a genuine gay couple and their little boy, Blu.

    The press release states, “How We Roll celebrates the diversity and individualism that forms the makeup of the modern family, for whom parenting has simply become a positive extension of their current lifestyle.”

    There have been mixed reactions. On Netmums, some are highly supportive – “The world is changing and it’s about time all loving parents are catered for in adverts” – while others chime in with not wanting to have this sort of thing “shoved in my face.” Freud would have a field day.

    Even the gay community was sceptical. Were they being used simply as a PR stunt? Were the ads really running? It seems there are pitfalls and suspicion whatever your intentions.

    Creatives want to create. We want to invent brand new stuff, never before seen. And yet there’s this vast expanse of unexplored territory: overlooked at best, taboo at worst.

    It’s a rich, emotive area, surely. Love against all odds. Unconventional is cool, right? Overcoming prejudice, defying conventions, being true to yourself. You could have this space all to yourself. Column inches galore and plaudits for being progressive and well… real.

    It doesn’t have to be gratuitous. No need to shock. In a way, the most shocking thing is that one of the most enlightened industries in the land is lagging so far behind the real world.

    This post originally appeared on the DLKW Lowe blog

  • The Egotist Interviews: Steve Babcock of EVB

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    EVB has become known for doing some of the best creative work in San Francisco. So when their new executive creative director, Steve Babcock, came over from Crispin Porter + Bogusky but decided to stay and open an outpost in Boulder, we just had to talk to him.


    So why Boulder and not San Francisco?

    To be honest, I’m terrified of large bodies of water. And bridges. And fog. And the prices at Taco Bell (I’ve never seen a Burrito Supreme surpass double digits before).

    Actually, the plan is for it to be more of a Boulder AND San Francisco thing. EVB had been toying around with the idea of a Boulder office for a while. Recently, things just aligned, and we decided it was time. It makes sense because we’re partnered with an amazing brand, WhiteWave, that’s located in the area. In addition to that, Boulder has a really strong pool of talent.

    Not unlike San Francisco, Boulder has a unique culture and a healthy entrepreneurial scene that attracts all walks of brainpower, especially in the tech space. It’s not your typical “advertising city,” and I believe that sense of unfamiliarity can be a great thing. It means there is no playbook – just your gut and a healthy dose of optimism. It’s this doer mentality that I think makes Boulder a great complement to San Francisco.

    Aside from that, I love the idea of being able to offer our people the option and flexibility to live in (or just experience for a season) different locations. Both places have so much to offer. SF and BDR are really the best of both worlds.

    What was the most important thing you learned at Crispin Porter + Bogusky that you’ll bring over to EVB?

    One of the most important things I learned at CPB is the value of cultural tension in the work. Tension is typically a scary word, especially for clients. It’s the hard truth. It’s identifying how culture may not align with a brand’s promise. And, in my opinion, it’s one of the strongest bits of knowledge a creative team can have. Work that is aware of the real tension consistently proves to be more relatable and more honest than work that relies heavily on invented storytelling. Today, there’s just something powerful about a brand that proves it really does understand the culture in which it plays.

    How do you want EVB to evolve? What are your goals as an ECD there?

    First of all, I feel extremely fortunate. EVB is a great agency with a solid foundation. The culture continues to pleasantly surprise me. In an industry that is typical of agenda, it’s a refreshing group of people who genuinely appreciate and enjoy each other and what we do. My hope is that I can simply add to this foundation and create a system designed for growth – not just growth for growth’s sake, but growth that can put us into new spaces and give us new opportunities. I’d like to see more diversity in the types of assignments we get from clients. I think the addition of Boulder will help in this evolution.

    Another goal – the most obvious one – is to continue improving the quality of output. There are so many factors involved in this endeavor, everything from encouraging a creative culture to empowering and trusting talent to identifying tension in the work to creating a system of makers instead of managers. I certainly can’t say I have all the right answers right now. But that’s what goals are for, right?

    What excites you creatively these days?

    I’m a total sucker for remix culture. I love the idea of taking something that already exists and turning it into something new. I like everything from parody and overdub videos to auto tune the news to life hacks and street art. I think the challenge of the limited palette is what makes remix culture so interesting to me: It’s so experimental. And there are no rules. It’s random. It’s clever. It’s oftentimes really intelligent. It’s a frontier of anything goes.

    It’s funny how we can now predict remix culture. We see a blooper on the nightly news, and we know that tomorrow morning we’ll wake up to a bunch of hilarious translations. The Internet rules for this reason alone. It’s like we toss a big glob of clay out to the world and get to see what everyone does with it.

    I’m also very excited about the bridge between digital tools and the real world. It’s such a great time for our industry in terms of technology. The ability to create a digital utility that has a real effect in the physical world is awesome. There’s so much potential in this space.

    Oh, and 3-D printing. Total mind ’splode right there.

    What disappoints you most about advertising?

    The fact that there are still people out there, both in our industry and on the client side, who believe a line exists between mediums like digital and traditional and social. It suggests a resistance to change. Of all the industries out there that should be über-ninjas of change, it should be the marketing industry.

    What are the key traits that make a good creative person?

    Curiosity is a key trait to being a good creative person. It’s the gateway trait – it leads to all the other creative qualities, like optimism, imagination and determination. All of the most talented people I’ve ever worked with have been naturally curious.

    A great idea is moot unless you can get a client to buy it. What are your keys to selling stellar creative to clients?

    I think the key to selling a stellar idea to a client is honestly believing that if they kill it, you can just go back and come up with 10 more. And that there’s a good chance they’ll be even better.

    We are a service industry. Sometimes the clients we serve feel differently than we do about work. The key to making sure good work gets produced doesn’t always lie in our ability to sell it to the client, sometimes it lies in our ability to keep coming up with great work. I’ve found that this mentality alone has been enough to bring down some walls in favor of the original idea.

    If an idea is presented as being so precious that it could never be outdone, it creates a pressured dynamic that freaks most clients out. It’s like, “This is it, and there can never be anything better! And if you don’t approve it, WE’RE ALL GONNA DIE! So, what’s it gonna be?"

    Name a couple of advertising-related things you’d love to see disappear forever.

    Advertising to children. Focus groups.

    What recent idea makes you say, “Damn, I wish I’d done that.”?

    The last Foo Fighters record, “Wasting Light.”

    What are three pieces of advice you’d give any creative?

    1. Be honest.
    2. Have at least one creative outlet in your life that isn’t creative directed.
    3. Learn to love being met with and solving problems (that’s all we really do in this business).

    Bonus: Strive to be the person everyone always wants in the room.

    This piece was originally posted on The San Francisco Egotist.

  • SPONSORED: 5 Reasons Your Creative Brain Craves Attending ADIM13

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    There’s a unique Adobe-sponsored design conference headed for Boulder in just over a week and you’re invited. If you’re a graphic designer, art director, creative director, illustrator or photographer, you already know you’re in competition with a lot of talented others. Your ability to stay a cut above the masses = money in your pocket. ADIM13, a 3-day hands-on workshop led by Adobe Senior Creative Director Russell Brown, will help you sharpen the design skills that will keep you current and competitive. Here are the reasons to come:

    1. It’s the Gift that Keeps on Giving – If your ability to commit is as strong as ‘let’s be friends,’ then paying a registration fee may seem downright terrifying. But what if your ‘friend’ came with some awesome benefits? Including a complimentary 1-year subscription to the Adobe Creative Cloud, a complimentary 1-year subscription to Lynda.com, a bunch of fabulous (free) fonts, and free access to foltolia for a month? We just bet you’d buy roses, and not from the grocery store.

    2. Three Words: Mad. Design. Skills. – The ADIM13 workshop helps proficient designers elevate their artistic abilities via the Adobe Creative Cloud. If you’re a Creative Suite user and you think you know everything there is to know about Photoshop, InDesign, Illustrator, and the rest, prepare to feel like a clown in a ball pit. A really fun ball pit.

    3. You Might End Up on TV… Not in a Bad/Infamous Way, Either – If you’re the Next Big Thing waiting to be discovered, here’s your chance to be part of a workshop that will be featured on TV’s Making Monsters — the popular Travel Channel series. Ed and Marsha Edmunds, creators of Distortions Unlimited fright props and the stars of Making Monsters, will film an episode of the TV show on-site. The Edmunds designed a creepy stage set for ADIM13, which will be unveiled when ADIM starts. We can tell you: it’s ugly.

    4. You’ll get to Mingle with Awesome Designers – When it comes to having a posse of heavy-hitting friends in the design industry, Adobe’s resident Mad Scientist Russell Brown rolls deep. ADIM13 speakers and instructors include James White from Signalnoise Studio, typography and ink master (mistress?) Ina Saltz, InDesign wizard Sandee Cohen, and Lynda.com’s design and photography instructor/expert Mordy Golding.

    5. Because Food, Friends, Fun… and Something for The Trophy Case – Past ADIM attendees rave about ADIM because it’s more than just a classroom experience. In addition to the learning sessions, there’s a seriously fun project to design. Using a Universal Laser and a Roland printer, you’ll create a monster-themed microbrew glass bottle, glass mug and wood carry case, which you’ll take home in completed form. And display. Most meals are included, and we’re not talking about stale bagels and cold coffee, because the venue is the swank St. Julien Hotel in Boulder. You’ll also enjoy opening and closing festivities where monster-themed costumes are not just encouraged but applauded. 2013’s theme, as you may have guessed, is MILE HIGH MONSTERS. So go crazy, but first, register for your place at ADIM13.

    For more info, or to snag one of the remaining golden tickets (and be sure to take advantage of that discount below), visit www.adimconference.com.

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