• How To Outrun The Inevitable - Robert Campbell

    February 18th, 2012 / Comments (3)

    There are a lot of agencies out there.

    In China alone, there’s said to be tens of thousands.

    TENS OF THOUSANDS!!!

    However amongst all those – not in China, but generally – there’s a few that have a ‘global’ name.

    Traditionally, they fall into 2 camps:

    Those who are living off their legacy and those creating it.

    Yes, that’s harsh – and there’s a whole host of reasons for it – but that’s pretty much how it feels.

    Of course, these two states are in a constant state of motion … one good campaign can lift an agency from the past to the present and vice versa … however the agencies that tend to have the greatest momentum are the ones that seemingly are continuously creating their legacy rather than riding on their past.

    Now in no way am I suggesting an agency purposefully ‘takes a back seat’ – there are many reasons why that can happen – however the point of this post is that as much as there are many agencies out there who are grabbing a bunch of the headlines right now, there’s 2 that are seemingly always at the forefront of commercial creativity.

    BBH and W+K

    Now without doubt there are some fundamental differences between the 2 companies – some good, some not so good – however the thing I find fascinating are their commonalities, of which a number of them, I believe, have directly enabled them to succeed while others have fallen.

    I should point out that what I’m about to write is my perception.

    The fact is I’ve never worked at BBH and while I know many of the guys there very well – I am still basing my views on observation and here-say.

    And as for W+K. Well while I have had the pleasure of meeting Dan and his senior management team, we’ve not really talked about this sort of thing … most of the time I’m getting bollocked for something.

    But that aside, here are 5 things that have made these agencies so creatively influential for so long.

    1. Consistent Management.

    The guys who run both these agencies have been at these agencies a long time.

    Better yet, they are the people who founded these agencies – so they have a vested interest in maintaining the culture of the place rather than just go after the profit, regardless of the implication.

    That said, they are constantly introducing new people into positions of influence and power.

    Younger people. Talented people.

    People who bring new perspectives and thinking to the table so while the principals of the company will stay the same, the expression of it is at the forefront of the times.

    2. Control, Not Controlled.

    In short, when you own your company rather than a holding company with masses of shareholders, you can control how your company grows and where your company goes.

    Basically, control means you can focus on the longer-term, bigger play rather than purely focusing on hitting the next quarterly target.

    It’s probably the best ad for communism you could have, ha.

    3. A Willingness To Fail.

    Both agencies try stuff.

    Better yet, the want to try stuff.

    There is a reluctance to rest on their laurels.

    This isn’t just because they believe to stick with what you know is the surest way to future failure, but because they are adventurous by nature and they believe great things happen from experimentation, even if on first impressions, the result is not quite what they hoped.

    They also put their money where their mouth is.

    They don’t expect clients to fund their adventures into the unknown, they’ll pay for it … be it in the activities they do or the people they hire.

    For both, failure is NOT trying stuff.

    4. Culture, Not Function

    When I first joined W+K, people talked about it’s unique culture.

    To be honest, I’ve heard this sort of thing before and almost always it’s turned into a crock of shit … because the culture that was there was because of the people in the place rather than the company.

    But in W+K and BBH’s case, I believe it’s true.

    Sure, the people that work there enhance and develop that culture, but there’s a strong philosophical view that permeates every element of both companies.

    It’s not about the press releases or the credentials deck … it’s about their standards … their expectations … their beliefs.

    They actively encourage trying new things … exploring new approaches … not going for the lowest-common-denominator or the category convention … standing up for what they believe in …

    In short, it’s about filling their company with interesting and creative people who share their beliefs [even if they express it in radically different ways], rather than simply those who can perform a specific job function at the lowest price.

    5. Involvement, Not Observation.

    Northern wrote a blog post recently where he said he was convinced the reason older, senior people lose their dynamism and originality is because no one challenges them and they don’t get in enough situations to be told something they don’t know.

    Very true.

    However one thing I really like about W+K is that while the senior guys are ridiculously talented and smart and experienced … they welcome opinion, debate and challenge. From everyone. Literally everyone.

    I remember the first time I met Dan and John and had an ‘out of body experience’ where I saw myself telling, arguably 2 of the most respected ad guys in history a bunch of stuff I think we should be doing.

    OK, so Dan said, “you’re fired” … but he listened and that’s more than many would do.

    The other thing is they are all deeply involved in what’s going on.

    Not in the sense of dictating outcomes or decisions, but being part of the chaos – contributing, listening, exploring.

    Sure that doesn’t happen on every single piece of business on every single campaign, but you’d be amazed how knowledgable about what’s going on. Seriously, you just need 2 minutes in the company of Dan or John or Dave etc and you know that they are absolutely bursting with dynamism and originality, even though by the protocol adopted by many agencies, they should be put out to pasture by now.

    Why are they like this?

    Because they still care. I honestly think it’s that simple.

    They still want to learn. They still want to do stuff. They still want to push boundaries.

    It’s fantastic and I honestly believe that one of the reasons this is the case is because they seek out people they regard as talented and interesting … people who can push them … their colleagues … their clients … and their agency to a different place.

    Not being scared of change or youth or provocation shows people who are very confident with who they are … which for all the ego and posturing that goes on in this industry, is very rare indeed.

    Of course you might think this is all bollocks … and maybe it is, however I can tell you from my time at W+K and my relationship with BBH that I see all this time and time again.

    Sure it’s not always perfect, sure there have been some bad mistakes – but that aside – the fact they have been at the forefront of mass market commercial creativity means they must be doing something right … something few other companies have been able to pull off over 30 odd years which is why I honestly believe these are things we could all benefit from following or learning – whether we work in a company or want to start our own.

    Making money is not hard.

    Being the creative industry darling for a moment in time, is not out of the reach for all.

    However making money while sticking to your principals and being an acknowledged leader in [effective] creativity for 3 decades is, and that’s why W+K and BBH stand out from the crowd.

    While both agencies shun propriety processes in favour of being judged by what they do [rather than what they say they do] … the reality is you can’t ignore how their principals, philosophies and approach have directly contributed and impacted to the work that so many of us [general public, not just adland] hold in the highest esteem.

    Saying “it’s all about the work”, might make a nice headline that people can gravitate to, but a great creative legacy starts way before the brief lands on the table.

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    By Robert Campbell, W+K's Asia Regional Head of Planning. Reposted with permission. Read the original blog post here (and don't miss the delicious comments.)

  • Unwarranted Conjecture: Where's the Hoopla?

    February 13th, 2012 / Comments (13)

    It’s 10 PM. You’re at home on the couch, staring at a brief that’s as inspiring as a sack of dirt clods. You sigh and stare down the white bull that is your blank Word doc. Grasping for a shard of illumination, you pull out Crispin’s retrospective tome, ‘Hoopla’. It reads like a compendium of new millennium advertising. Each page sparkles like a semi-precious gem.

    A garter-clad chicken-man subserviently awaits your every whim (minus dick stuff). A dwarfish British motorcar challenges your preconceptions with iconoclastic urgency and hipster idealism. A mute king sidles up beside you with the gift of flame broil and vague threat.

    This is the stuff, you think. This is the kind of irreverent, post-post-modern advertising that transcends the usual Carl’s Jr.-y dreck. Why regurgitate pop culture when you can create it?

    Suddenly, you’re inspired. You’re in the zone. You’re conceiving new worlds: A Tourettic fan boat captain. A country-clutter cutter. A webisode called “Ginger Beard House.”

    Next level stuff.

    Just then the TV seizures and chirps with cheap synths and fluorescent flashing, snapping you out of your revelry. It’s a spot for Old Navy – a Crispin campaign you’re vaguely aware of, but now regard with laser pen precision. A Kim Kardashian clone vapidly sings about her “Super C-U-T-E” jeans while prancing from one choreographed scene to another, instantly darkening your mood.

    Is there a wink to it? Is it meant to be ironic? No. It’s simply the worst of pop culture distilled down to 30 seconds of bubbly saccharine sludge. Ever a glutton for punishment, you turn to Youtube to dredge up some more Old Navy bile. Bad move.

    This time a group of gal pals are at bowling alley singing “Only in My Jeans” to the tune of Debbie Gibson’s “Only In My Dreams.” Your eyes twitch.

    In the next one, another group of girls sing “I’m Wearing a New Blouse” to the tune of Tiffany’s “I Think We’re Alone Now.” Your serotonin ebbs.

    Next, Bootsy Collins churns out boots in a Funnovations factory, because – as the people of Crispin are fully aware – puns are the pinnacle of comedy.

    And, finally, with the onset of “Don’t Jiggle It When You Wiggle It,” you close your laptop in soul-crushing defeat.

    Contemptuous and a little dumber, you wonder what machinations are responsible for such an abomination? Surely, there must be an explanation. So you hit the bottle and devise a few theories.

    Theory 1: Metal Machine Music

    In 1975, Lou Reed released “Metal Machine Music,” arguably the most unlistenable album since the advent of the phonograph. Devoid of melody and rhythm, it’s comprised entirely of over-modulated guitar feedback – like an autistic Yngwie Malmsteen playing a chainsaw. The justification for the album remains a mystery, but you speculate that it was as a calculated backlash to the sycophantic reverence that was thrust upon the Velvet Underground during the 60s. Such rarified air can contaminate. Whether it’s delusions of grandeur or self-sabotaging hubris, Lou’s story was not unlike Crispin’s – that of a meteoric rise and tragic fall (an arc favored by films featuring blow and/or Marky Mark dong).

    Theory 2: The Mentos Method

    Mentos ads were an ugly anomaly. The weirdly foreign, hobo-cheap ads featured an absurd array of life-altering candy consumption that made us collectively shudder. But like depression-era circus pinheads, a freakish spectacle attracts a crowd. Consider Rick Astley’s ghastly resurgence, or those two girls and that cup, or Carrot Top’s physique (which, incidentally, can be attributed to his Napoleon Complex that was brought on by his roundly ridiculed androgynous-prop-comedy-ginger-clowning).

    But you digress.

    You have a hard time believing that Crispin has succumbed to the Chinese model of churning out cheap plastic crap, but the Schadenfreude side of you kind of hopes so.

    Theory 3: Bogusky’s Exodus

    With a creative vision not seen since Lee Clow (and bangs that could shame Kevin Sorbo), Alex Bogusky wasn’t just Crispin’s creative leader, he was the Adonis of Hawking Wares. The Swayze of karate-guy bouncers (and/or ghost pottery).

    And, lo, like Icarus (another ego-drunk demigod), Alex flew too close to the sun. In a desperate effort to rediscover his life’s purpose, he abandoned his agency and retreated to a cabin in the woods, like a handsome Thoreau or a tenor Bon Iver.

    Resigned to grumpy old men status, Sam Crispin and Chuck Porter fell victim to stereotype. Their fleeting attention spans were focused more on the Floridian shuffleboard/smorgasbord circuit than irreverent computer-y advertising. Sadly, their heir apparent, Andrew Keller, dropped the baton in favor of his crimper. And thus the soul of the Crispin machine was vanquished. Not even Ted McGinley could save this sinking ship.

    Whatever the reason for the agency’s creative demise (or hiccup), one thing is clear: If ‘Hoopla’ is the Gospel According to Crispin, then the latest chapter is the ‘Book of Mormon’ – a preposterous sequel in which Jesus Bootsy appears in America to pander to ignorant savages tweens.

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    Chris Elzinga is a freelance copywriter in San Francisco. He is also the founding father of Prudism and Gimpressionism.

  • Time Out

    February 9th, 2012 / Comments (5)

    Every day we see on the news how our economy, our country, and our species, globally, is slipping.

    We think globally and act locally. We adopt charities in Africa. We occupy Wall Street. We lift up the common man, worry for the middle and lower classes. And above all, we love resenting, and hating, the rich.

    Then we rush together for the Super Bowl to celebrate the most ostentatious display of wealth, insensitivity and celebrity idolatry imaginable.

    To me, the most glaring contradiction is nothing new to sports and media, just more obnoxious in these times -- having a major car manufacturer give a brand new sports car to the multimillionaire who was just crowned a bigger multi-millionaire. While Detroit is running commercials during the same game that acknowledges, in words and pictures, the Super Real World of joblessness, foreclosures and suffering families in fallen cities, they follow up by giving a brand new sports car to the least needy person in the world. And we scream and cheer. (What?) Even Eli didn't care. Did you hear in the audio track, "Oh Eli, wait! You might want the keys!" Guess how many families could use the car Eli already forgot he had?

    But this year's crowning irony were the two words at the end of Madonna's millenia-spanning spend-a-thon of enormous casts of dancers, soldiers, and cheerleaders jumping across moving sets of chariots, grandstands and marching Roman armies, navigating multiple stage transformations and the additional counter-celebrity who joined her. At the end, they present the phrase, "World Peace." (WHAT?)

    If the Super Bowl was just the yearly ritual of rabid football fans who were loyal, captivated students of the games, I would have no problem with deserving football junkies spending whatever they want to express a love of the game, their passion, the moment.

    But it's not a football event, it's a yearly American reaffirmation that no matter what we say in our self-righteous blogs, our political discussions, and twitter feeds to CNN, we really do love our celebrities, we do love that they are rich, we love mega-productions of epic scale, and we all secretly feel that if we raise a beer to the screen and scream that one day a year, even if we don't know a touchdown from a home run, we count too; I am a part of this bombastic show too; I am in the midstream of what matters most today; I'm part of what my world is obsessing about right now. I can always return to my more-aware, more sophisticated, more critical self tomorrow, and remember that I hate suffering, and therefore the evil money empires that enable it.

    But first, I want to find out how they got those monkeys into those suits! That was awesome!

    ---
    Tom Townsend is co-founder and Chief Creative Officer of Rodgers Townsend, a DDB Company located in St. Louis. Previously, he was Senior Vice President/Group Creative Director at DMB&B.

  • Getting the Most Out of Your Internship

    January 31st, 2012 / Comments (4)

    Giving students a jump-start to their career, college programs provide many aspiring creatives an opportunity to get some real-life experience through an ad agency internship. This is when young creatives learn fast that working in the biz is nothing like the textbook or bubble test said. It's actually much more interesting and fun. But knowing what it takes to make the leap from unpaid (or poorly paid) volunteer to a junior level employee who earns a paycheck starts by knowing what to soak up during that two-three month adventure.

    Here are the seven things I think are most important for interns learn:

    1. If You Don't Ask, No One Will Help You. 
    Not the last thing a creative will do, but low on the list is checking on an intern. Many professional creatives are wrapped up in their own world of "make the logo bigger" crises. Don't be afraid to bug someone or ask them to get coffee, lunch or an after-work beer just to talk shop. They'll probably welcome the break. The result is that creative pro will label you as a driven individual. Should a higher-up ask about you, he/she will now have something positive to say. During your chat, put your ideas on the chopping block, ask "why" and milk his or her mind for all it's worth.

    2. Go To Meetings That Have Nothing To Do With You.
    Meetings ... boring, yes. Valuable for an intern, definitely. You'll pick up lingo and understand the DNA of the agency. You'll also discover why certain people are stressed and why so many agency workers drink moderate to heavily. There will be presentation documents, creative briefs, short brainstorms and client feedback. These are all things you'll never see in a classroom setting.

    3. Your A+ Thesis Paper Has Nothing To Do With Creative Copywriting.
    My first creative director told me: "Clients don't pay you to write or for me to design. They pay us for our minds." It's true. Think about it this way: everyone thinks they can write and/or design (until they actually have to). But thinking creatively on a highly strategic level is a skill few possess. It's what separates us from our clients and their brand team - we are their brand's thought leaders. It's not about writing a clever headline with a pretty photo, rather it's about writing a clever headline and designing an ad that meets six brand objectives while still clearly communicating to a human being. Forget writing essays and designing your cousin's band poster, the creative side of the biz is based on intelligently communicating with people in creative ways. Learn that or at least show a spark, and you'll be valuable.

    4. Jump In On A Pitch.
    Many ad students get to participate in the AAF competition through "Campaigns" class. They have four months to come up with a large creative presentation for a national client, where they'll compete against other college student teams. In the agency world, that same process happens in about 10-14 days (sometimes less) instead of 120 days. You're guaranteed to hear the word "RFP" (request for proposal) while interning. When you do, do what you can to get involved. Even if it's just gathering photos, proofing or binding. Pay attention to how the team brainstorms. Study how the copywriter writes up the ideas to be sold. How the art directors design comps to communicate the idea. Figure out why the creative director and account director wanted it in certain order. It may not be a flawless process and final product. But this is your chance to finally see how the sausage is made. "Just Do It" wasn't sold as just a clever line - the agency went through a pitch process, creating a strategic deck book that made the idea of that famous line shine.

    5. Keep Building Your Book, Even If It's Not "Real" Work.
    In some situations, it can be difficult as an intern to truly own a project. If you have that chance, save every PDF and file, and make it the showpiece of your book. Unfortunately for many, you'll dabble here and there, but may feel uncomfortable claiming a finished piece as your own. Don't let that stop you -- now that you understand a brand better than ever, go ahead and design your own campaign. Show what you can do with total creative control. Have a reason for everything you do and say in the campaign. In your upcoming interviews, creative directors are going to be looking to see that you can think and execute creatively and strategically. The ad doesn't have to be printed in Time Magazine. Good creative is good creative.

    6. Be Digital Or Be Left Behind.
    You know the vehicles: Facebook, Twitter, LinkedIn. Now get active and learn everything you can about them. Pay attention to what brands and marketers are doing with them. Connect with others in the industry through it. Know how to talk about social media in simple terms. Need practice? Try explaining Twitter to your grandparents or crazy uncle. While interning, ask if you can participate in speaking for the agency through their social media channels. Contribute to the agency blog. Be seen, be heard and know what you're talking about.

    7. Be A Writer Or Designer. Never Both.
    If you say you can do it all, no one will believe you. If you really can excel at both writing and designing, more power to you. But for most, it's crucial to pick one path and become as great as you can be at it. Creative directors and agency heads want to know that you're "our writer guy" or "our design gal." Don't get me wrong, having cross-over skills is great -- just don't sell yourself as such. At least until you reach the level of Creative Director.

    With the ultimate goal is landing that first job shortly after the internship, remember the process is all about luck, timing, skills, your book, drive, resiliency and intangibles... plus a bunch of other things.

    Good luck and let me know what you think. Like the Dude says, everything in this post is just, like my opinion, man.

    ---

    Eammon is a copywriter who's worked over eleven years in the ad agency business. He's won a few ADDYs, judged a few shows and worked on a variety of national clients. Find out all about him on his LinkedIn profile and feel free to follow him on Twitter.

    Linkedin link:
    http://www.linkedin.com/in/eammonazizi

    Twitter link:
    www.twitter.com/eammon

  • Trends of 2012: Solitude

    January 23rd, 2012 / Comments (3)

    The “always on” culture that has abruptly emerged as the new norm is here to stay for some time. A recent piece from The New York Times demonstratively stated, “Solitude is out of fashion,” elaborating with analysis of the trending open-space work environments and team-based strategies. This contemporary approach is counter to extensive research touting the benefits of privacy in creative thinking. This culture has been fiercely fueled by the (my) millennial generation and has gained significant acceptance by baby boomers. We have grown up in an age of digital collaboration; now we’re applying these same tendencies to the office place despite making ourselves susceptible to real-life distractions.

    We all know the natural, yet rude, tendency to prioritize instant information from our smartphones over the people actually in the room. This was never more evident to me than Christmas this year. I never thought I would see the day my parents were playing Words with Friends before me. I certainly didn’t expect they would become addicted to the game instantaneously. Prior to this, my mom was notorious for leaving her cell phone in the bottom of her purse - for days on end. To her, it was a device to make calls; not for her to be alert for incoming calls. It’s becoming ever-apparent those days are over and never to be seen again. She’s texting, emailing, playing games, reading books, and verifying bets with my father through Google.

    Despite the added convenience at our fingertips, it can become overwhelming – like a menu at The Cheesecake Factory. Thus, people are increasingly more than willing to pay a premium for solitude – the ability to escape the constant draining buzz. Trend Watching explains,

    This isn’t about consumers rejecting everything that brought them to the city, but about a temporary breather. Remember, no trend applies all of the time. People will forever crave the excitement and choice available in cities; yet still want to escape for a moment.

    In 2011 some brands were ahead of the curve in offering a moment of solace to their consumers. These early adopters compete in industries where such services are appreciated due to the high stress in their corresponding environments. Some examples:

    • In July 2011, Telia, a Swedish telecom provider, launched a free app that enabled customers to disable internet for set period of time at home. They also set up internet-free zones in several public locations across Sweden. (Trendwatching.com)

    • In September 2011, at Moscow’s Sheremetyevo International Airport, Sleepbox launched a small self-contained cabin designed to give users a quiet place to get some rest. (Trendwatching.com)

    • From July to September 2011, the Marriott Renaissance Pittsburgh Hotel offered “Zen and the Art of Detox” – a weekend package that obliged visitors to surrender any digital devices when checking-in. Also, rooms were stocked with books instead of televisions. (Trendwatching.com)

    Brands that, by virtue of their product or service, must compete in a mentally fatiguing space, can embrace the opportunity by providing a counter experience like the examples above. However, most brands do not need to provide such overt forms of relief; they can bake it in to the actual product. Pandora Radio is an example of a highly appreciated, passive user interface. Listeners have one less thing to think about as the stream is designed to anticipate their tastes. Pinterest, with an extremely intuitive user experience and strong social integration, provides a similar release. The mindless nature of pinning offers a pleasurable distraction from daily stressors.

    Facebook, in the short term, offers a similar mental release. In fact, thirty-year psychology veteran, Susan Weinschenk, found that the brain releases dopamine upon receiving notifications of Facebook updates or status changes. In contrast, Facebook has become an eclectic badge of social currency - check-in’s, relationships, flattering pictures, and job title changes; thus truly adding up to social noise. As we become desensitized to social updates we look for other sources of immediate reward like Twitter, Reddit, and sites like Wimp and YouTube.

    At the agency I work for, we have a former Buddhist monk who spent six years on a silent sabbatical in Burma. You read that right…he didn’t speak for six years. He trains employees to practice mindfulness and stress-relieving routines they can implement on a daily basis. In one session, he explained that humans are naturally hard-wired to respond in a “fight or flight” manner. This was an essential tool for survival when humans first roamed the earth. Despite our evolution over time, we still react in a similar manner to alerts, texts, emails, calls, green lights, our significant other calling our name, and so on. We’ve been conditioned to believe that an immediate response is expected, and a delayed response has become an indication of a lower priority. In this new social norm we’ve set ourselves up to strive, long-term, toward solitude…or pay a lofty price to have it right here, right now, between our 2:00 and 2:45 meetings. Regardless, this will be something to watch in 2012 – an opportunity to make your brand the hero.

    As an account manager in Boulder, Dorsey has worked on global and national campaigns for brands like Microsoft and Groupon. Read more of his posts where he blogs at And this....

  • Win Tickets to The Fifty

    January 19th, 2012 / Comments (3)

    Step 1. If you’re not already, follow us on Twitter. @AdClubDen and @TheFiveO

    Step 2. Promote The Fifty. Use this link: bit.ly/yU8D7S to our registration site. Include @AdClubDen and our hashtag: #TheFifty, by Wed Jan 25th.

    Every 25th unique twitter account that follows these two steps will win a free ticket to The Fifty. (Up to a $75 value.)

    Example tweets:

    I want to celebrate #TheFifty best ideas of 2011 with @AdClubDen, January 26th 6pm. Get tickets here: bit.ly/yU8D7S

    Are you going to Colorado's best advertising awards show? Join @AdClubDen at #TheFifty. Don’t miss out! bit.ly/yU8D7S

    The best creative minds in Colorado all in one place. @AdClubDen presents #TheFifty. Drink to that: bit.ly/yU8D7S

  • What I Learned This Year 2011 #56: Christina Schroeder

    January 18th, 2012 / Comments (5)

    It’s crazy how much the world has changed in the few short years since we opened shop. We launched on July 1, 2005, about 3 1/2 months before Apple released the iPod Video, and 5 months before YouTube went live. Facebook was gaining traction, but it would be another year and a half before it would roll out to everyone and their mother. Twitter was still a twinkle in Jack Dorsey’s eye, and a Nook still was just a cozy space in a room.

    On day one, I never could have imagined that alongside traditional advertising we would be building iPhone and Android apps (because they didn’t exist), or creating digital books (because they didn’t exist either), and I could only blah-blah-blah about the “someday” when TV and the ads that go along with it would be in your pocket. Yep. It’s a different world.

    And then there’s media. It fractured long ago with the advent of cable networks. Then the Internet took a meat cleaver to it. Today it’s in splinters and shards. Media powerhouses have died and gone (Country Home, Gourmet, and Domino), and new ones have risen in their place (Food Network Magazine, Epicurious, Apartment Therapy). Now If you 1) have an Internet connection; 2) can write your way out of a paper bag; and 3) have a passion for anything, you, too, can be the next big thing. Case in point: Perez Hilton. The rules have totally shifted along with the power. And all of it is creating new complexities and battles for people’s attention.

    If I know one thing for sure it’s that when I wake up to tomorrow, the world is going to be different than when I put my head on the pillow. Whether it’s a new platform, a new device, a new medium, a new application, a new tool—something new will be there to greet me. It might be revolutionary or maybe just evolutionary, but in any case, it’s definitely won’t be business as usual. That’s dead and gone. And that’s a great thing if you’re a creative. Everyday there are new challenges to rise to—new factors in the creative equation. Everyday we have to pull off amazing feats that have never been done before and teach ourselves new tricks along the way. It’s both exciting, and yes, sometimes exhausting, but it’s also invigorating. Creative is better shaken not stirred. I like it like that. And while I may not know what’s coming next, but I know it’s never been a more exciting time to be creative than right now.

    Illustration by Matt Thomas

  • What I Learned This Year 2011 #55: David Slayden

    January 13th, 2012 / Comments (6)

    I am typing this with one hand. My right hand. The fingers of my left hand are peeking out from a navy blue arm sling trimmed with white piping––all of which is supported by a white velcro-covered strap draped over my right shoulder. Sling is an adaptive word. It can be a noun or a verb. In this case, it’s a noun. My damaged left shoulder is unable to support my arm, so the sling is doing the job instead. I am generally displeased, both about the injury and the style choices. I would have preferred an all-black sling but that would have required shopping around and there’s only so much time in a given day, particularly when I already spend more effort than I thought possible on previously simple, unconscious tasks: like putting on socks or threading a belt through the loops on the backside of my jeans.

    I cannot open jars, nor can I drink wine if my wife is traveling because, yes, operating a corkscrew is now beyond my current capabilities. Needless to say, I have switched to screw tops.

    I was skate skiing––the roller ski version––and a moment’s lapse in attention resulted in a full back flip and a hard landing on concrete at the base of a swift descent. My instinctive response was to brace my fall with my left hand, arm stretched out behind me. At impact, it felt like a long steel rod had been shoved through my palm up the length of my arm and into the back of my head. Fractured shoulder. Severed tendon. A three-centimeter tear in the rotator cuff. The surgery lasted over three hours. The PT will take considerably longer.

    At this point, descriptive introductions like this one are invariably the setup for a life lesson learned, an insight gained through searing pain, suffering, and reflection, followed by eventual redemption—especially in a year-end piece that is part of a series titled “”What I Learned This Year.” In short, the standard “moral of the story is....”

    I should have had speed reducers installed on the skis.

    It needs to be said here that speed reducers are not brakes. Rather, they serve to increase or decrease resistance to the wheels, a function which I now understand can be particularly useful downhill on a hard, unforgiving surface.

    I wasn’t exactly disdainful when the salesperson asked me if I wanted the reducers, but the thought bubble floating above my head was: “Why would I want to reduce my speed?” I answered with a simple “No.” I’m now rethinking that response and what engendered it––not because it was necessarily a wrong response but because it was automatic. I didn’t think it through.

    I love to go fast. I’ve always loved to go fast. And as soon as I am released by my doctors to be active again, I will go fast. Again. But I am now exceptionally aware of the shortfall of automatic responses. Mindfulness matters, and not just when big moments happen and big decisions need to be made but also in the small, in-between moments of everyday life. Everything matters. Life is actually lived in the particulars, although summarized in generalities. No matter what, it’s a good idea to pay attention to the details. My parents were strong on values and never passed up an opportunity to point out that actions––any actions––are always followed by consequences good or bad. I saw things differently. Everything is an opportunity for learning.

    From the beginning, BDW has been on a very fast track. We wanted to make an impact and we wanted to do it quickly. When we opened our doors in 2009, our anthem was ”Start here. Change everything.” In truth, we had enough money to last four months.

    We were Boulder Digital Works and deliberately disruptive. Our intent was to create a revolution in learning fueled by digital technologies. Much of what we did was in focus and purpose driven but, looking back, too much of it was automatic. Internally, our mantra was “Speed. Focus. Agility.” but the emphasis was primarily on speed. For the past six months, we’ve been looking back, assessing and also reflecting, gaining focus.

    For reference, here’s a short list of what we’ve done since our inception.

    • Since October 2009, we have had a total of 46 students enroll in our graduate program. That’s an average of 23 students per year.

    • We have created and produced 20 executive workshops in Boulder, New York, Amsterdam, Toronto, Miami and Vancouver for approximately 1,600 people.

    • We have also created and developed interactive projects for Microsoft, Toyota, State of Colorado Office of Economic Development, Suuthe, Justin’s Nut Butters, SpyderLynk, Open Road Media, IXDA and Fearless Cottage.

    • We’ve been covered by The New York Times two times, along with USA Today, MediaPost, Publishers Weekly, Boards, Advertising Age, AdWeek, Marketing Week, Creativity, and, of course, The Denver Egotist.

    We are now two years and two months old, and we celebrated this anniversary quietly by changing our name from Boulder Digital Works to BDW. This decision was less of a change than a simple acceptance that everyone refers to us as BDW anyway. But more significantly the change to BDW is a recognition that we’ve evolved and it’s time to publicly recognize and act on that evolution. Calling yourself digital seemed necessary and appropriate two years ago. Today it feels redundant, a distinction without a difference. Everything’s digital.

    We are no longer the brand new edgy kid in the neighborhood. We are maturing and growing and that is a good thing. We do remain experimental. That won’t change. BDW now is best described as a post digital studio in the ATLAS Institute at the University of Colorado Boulder. We are what happens when a university thinks and acts like a startup, using Agile Methodologies and Lean Startup principles to develop creative uses of technology that bridge physical and digital environments. BDW generates people, projects and solutions for the 21st-century creative industries, and we do all of this in what is best described as a new culture of learning. In April of 2012, we will move to a new and raw location in Boulder where we can design and build immersive experiences that connect life on the screen with life off the screen. We will be welding as well as developing. You’re all invited.

    This is real stuff. Our work is significant and necessary and we intend to last and grow and always be evolving. We’re grateful to TDE for the attention and support they’ve given us and while the better title for this piece is “What we have learned so far,” we’re more than happy to have it appear under their excellent annual series “What I Learned This Year.” So here that is, along with our best wishes to the creative community for a prosperous and happy 2012.

    Musicians play. Everybody else works.

    The future of work really is play.

    People do not like change but they fear uncertainty. Uncertainty is scary.

    The world is in permanent beta.

    Thinking and doing is better than thinking versus doing.

    We are designer-makers not makers OR designers.

    Post-industrial society is becoming increasingly like pre-industrial society.

    Dogs in the workplace are better than cats in the workplace.

    Everyone should have their own garage band.

    What goes around really does come around.

    We are happier when we do less, better than when we do more faster.

    It is much more rewarding to execute an idea and fail than to continue thinking.

    What we do is who we are.

  • What I Learned This Year 2011 #54: John Gilbert

    January 13th, 2012 / Comments (5)

    I learned a lot this year. More so about how to do what we do better and to trust the people around me. I feel lucky to be working and living around the people I do. Here are a few of the year's highlights for me.

    Pivot or move out of the way
    There are times to keep on keeping on and there are times to look at how you do what you do and head the other direction. I did this in a big way with development @LRXD this year and it's turning out great.

    Experiment
    Experimenting with all elements of your work can be therapeutic and lead to better ideas. Don't let experimentation be limited to what you produce. Experiment with how you do what you do.

    Trust your instincts
    There were a few times this year when I didn't go with my gut and things were screwed. There were other times when I just went with my gut and things worked out pretty good.

    Sleep does have some benefits
    I used to go to bed every night around 2 or 3am and get up around 7-ish to start the day. I now get up around 5am and go to bed before midnight. I'm 10x more productive in the mornings.

    Be creative in any way possible. Don't forget why you started doing what you do.
    I started out in computer science, became bored, switched to graphic design and somehow finished school. I have this weird internal fight to code something or design something. This year, I have felt more at home trying to combine them in different ways. It's me getting back to my roots a bit more.

    Learn to code
    I did this a long time ago when in school but it never stops. Recently, I've been learning a new language and it's still a blast.

    A great team is worth a lot in the long run
    You might read this one and think "No shit!" It's important to look for the right people and not just someone who fits the bill. You don't notice you have an amazing team sometimes until it hits you in the face. It hit me in the face this year. I work with great people.

    Worry about the important stuff
    Don't get caught up in the day-to-day when you need to be looking at what's going to happen in the coming months.

    Change can suck
    When things don't go how you think they should, it can be a good thing. Sometimes the unexpected is awesome in the end.

    I can learn from my family.
    My family has a wealth of life to share with me. I have not taken advantage of this in the past. Saying goodnight over FaceTime sucks.

    You miss 100% of the shots you don't take. JFDI

  • What I Learned This Year 2011 #53: Ryan Bramwell

    January 11th, 2012 / Comments (6)

    1) Collaborate. In Denver, we say this a lot and do it less. To be blunt, Denver has been a scene where we all “want” to collaborate and in reality there has been some apprehension in actually “doing” so. This year, however, we have seen an immense change in collaboration. Companies are beginning to work together, using their own strengths and creating better work. What I have experienced (apart from the work), is mainly the increase in inspiration which follows with collaboration. When you work with others outside your day-to-day office paradigm, you open doors to those peoples' experiences.

    2) Simplify. Be nimble. Ask for help when you need it.

    3) Make healthy, creative living a priority: We all live and breath what we do and every once in a while it can become too much. So, take a fucking break, do something different and change something…daily. Make sure the people in your daily lives are healthy and happy and if they are not, change something, communicate and act on your communication.

    4) Don’t do spec work (unless it's worth it)…But really try not to do it. The thought behind asking a firm or person to provide style frames for a project without a pitch fee should not be an acceptable practice. This rarely happens in the network industries of which our company runs as “the agency.” The problem with this is that when designing or creating the spot, brand, promo or commercial, the design/concept/idea is 90% of the project. It is your vision, your unique knowledge and your creative solutions within that 90%. Why would you do that for free? No project is worth that. Asking for even a nominal amount for a pitch fee shows the client that you are serious about the work you do and it will show you that the agency is serious about wanting to work with you. If you are an agency, please think about ending this practice in your pitch processes. Trust me, you will see your potential vendor’s work qualities increase dramatically.

    5) Diversify, yet continue to build on your strengths.

    6) Get away from your computer, pick up a sketchbook and draw something. It will lead you new places.

    7) Denver (and Boulder) is one of the best places in the US to work in our industry. We are (as a community) on a steep climb in continually putting Denver on the creative map in terms of clients, production capabilities and overall work quality. Be part of the growth and don’t despise it.

    8) Casually network with your creative friends both new and old. Come to the next Sauce Society and do so. (Shameless plug, but a very fun one.)

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