Rendezvous…

There was a recent and unsettling article in the Wall St. Journal about the clash of the new media technologies ramming into old ad agency cultures.  Being really good with GRPs, TRPs, day-parts, Households using TV, ratings and audience shares doesn’t seem to have the same value it use to.  Doesn’t matter how long you’ve been doing this, if you don’t understand algorithms for automated real-time media bidding, you’re going to be a dinosaur soon.  Point is that new media planning and buying is getting beyond my own ability to understand what’s going on. More and more really good, experienced ad pros are saying, “What the hell is going on?”  How do we plan in this new technology environment?  I’ll leave it to others to ponder.

But ponder this.  These new communications technologies are creating greater separation between clients and their agencies; clients and their customers.  We don’t even need to talk to each other anymore.  It’s email and text.  And now with Skype and iChat, we can avoid each other for years. This isn’t a good thing.

Back in the early 19th century, mountain men and fur trappers came down from the high country to sell their furs to fur traders at annual events they called Rendezvous.  A lot of buying and selling was done, old friends hooked up and they had a pretty good time.  They went to a trade show.  Someone once said that fully half the reason you hire a creative services firm is because you like them. The other half is the stuff you tell your boss to justify the decision.  Face to face, handshake stuff still counts—just like it did back in 1825.  It’s at a trade show where you meet, and where you reconnect.  People will agree to things when they’re sitting down with you at a show, that they often would not have even read about online. Go ahead and learn and use the new technologies, but take the time and expense to recharge key relationships at a show.

Mtn Men

Wanted…

Communications coordinator.
Should be able to write copy for ads and supporting collateral as well as proofread.  Also write press releases and manage press conferences.  Must know full Adobe suite including Photoshop, Illustrator, Acrobat, In Design, etc.  Candidate will be able to do pivot tables in Excel.  In addition to budget development, responsibilities will include concepting, developing and managing web site as well as advancing company’s presence in all social media to include LinkedIn, Face book, Twitter, as well as do video production.  Working knowledge of astrophysics would be a plus.  Should have one to three years experience in marketing communications.

Geez. Come on.  You’re killing me!

We’ve all seen these postings. As an alternative to hiring a full-service, multi-departmental, real ad agency, or even freelancers, a company hires Tiffany with three years experience, not withstanding that it would take one person eighty years to accumulate that much experience. People who are not real good at any one thing typically pretend to be a little good at lots of things.  Great copywriters aren’t often good at art direction.  Good designers don’t usually write press releases.  Those that are social media geeks are never good with clients. Sometimes organizations looking to fill marketing and communications positions don’t have a clue as to what they’re looking for—or even know what they want done.  Ask somebody.

Did I say art directors can’t write?

 

Ron ThomasThis is a true story. It happened to me about 2 years ago. I didn’t know it then, but it has so much more relevancy today.

It was 8 am. I was on my way to my secret, picker’s breakfast. A hidden country place that serves up a platter of grub that stays with you until dark. A place where pickers eat, and their meals are paid for by the farm they work. This story though, isn’t about eating a big breakfast. 

On the back road, I pulled over next to a big wagon filled with just-picked peppers, and another wagon filled with new baskets I thought would make a great sketch study. There was nobody around, just acres and acres of perfect peppers, and the fresh, intense scent literally pulled me deep into the field. I looked around and filled my lungs. I couldn’t believe how great the scented air was. The humidity almost turning the wonderful scent into a taste. I felt so privileged to be standing out here. 

Just then, from out of nowhere, this wonderful old farmer approaches me from behind. I could hear the scuff of his boots in the soil. “What are you doing here?” He asked sternly. Turning around defensively, and with a smile I said, “Hi, I love the smell of peppers…I just had to experience it. Hope you don’t mind. Do you ever get tired of this, of the goodness you’ve made here? The scent is so wonderful!” He stared at me through squinted eyes for what seemed like forever. His gaze went deep into me, I could feel him searching for an understanding. I stared back. “Got a minute?” he said.

We were bouncing along in his old pick-up. Ancient country played on the radio, and I could feel him sizing up me up, sizing up my character. I’m sure the feeling was much like what Dreyfus felt when tying his sheepshank for Quint. I even half expected him to want a look at my hands. “What do you do?” he asked. Oh boy, here we go. He’s never going to understand this. I mean this old guy was tough, and lived a rough life from dawn to dusk. I was about to answer when we slid to a stop in front of this huge corn field. Without a word, he jumped out leaving his door open. Leaving the door open — yeah, this guy could write a book on swag. I followed him into the field. 

Already I loved this guy. It’s early morning and he’s got a year’s worth of crust on his hands and clothes. When he moved, you could see bits of dirt, leaves and dust falling off and building its own environment around him. The deep crevices of his tan face were heavily painted with dirt and dried sweat. I desperately wanted to sketch his portrait. He stopped, then looked at me. I waited. I could see him smelling his field in deep breaths. “You talk about smell…can you smell it?” He said. I took a deep breath. “Oh yeah…wonderful.” I said. “Can’t you smell it!? Can’t you smell what they’ve done?” I took another deep breath, paused and then looked at him confused. “A corn field used to communicate through it’s smell. Every farmer knows that. You could smell how good the field was, when it needed water, when it begged for sun, or even when it was ready…just from the way it smelled. Now corn produces it’s own crap to keep it perfect…and it’s own ugly smell. I never sprayed my crops, never liked it, and my vegetables used to have a look. A look that showed how they struggled for life and how they won. Water is all I have to do now. Can’t you smell it?” I didn’t answer, and he continued as if he sensed his mortality. 
“Yeah, I have grandkids…they don’t want this. They don’t understand it. When I saw you spinning in my peppers I thought you understood.” “I wasn’t spinning…really.” I said quickly. 
But I did understand. I wanted to tell him that’s what made me stop in the first place. We shook hands at the end. I wanted to hug him, to let him know, but his ruggedness would probably get in the way. 

What will we do when all these great old farmers are gone? When their grandsons, never having smelled pure corn, are running farms growing genetic monsters. Gone will be the peppers that used to ripen with love and nature, and prove their struggled journey with imperfect perfection. We will soon lose these heroes of pure farming, and the crops they once grew. Science will kill them all, and turn what farming remains into soulless geneticism.

Old Guard and New Media

Why is it that the people that seem to have the best handle on the new media, are the same ones that have been doing the old media (print/TV/radio/collateral stuff) since we were ordering type from Hal Leader and running it through the waxer. There has to be some value in having gone through all the transitions, typewriter to computer, tissue layouts to adobe illustrator, dial-up to WIFI.

I had an out-of-town client that hired a Director of Social Media.  I’ll call him “J.”  “J” knew every aspect of Twitter, Pintrest, Tumblr, Google Analytics, etc.  He had it all nailed down. He could set ‘em up, connect to the cloud, measure, track and deliver it all in every color and shape.  Even had a really cool car and actually wore sunglasses in the office.  This was the guy they had been waiting for.  They fired “J” five months later.

What “J” couldn’t seem to get a hold of was: message content; identifying the audience; defining needs and hitting the hot buttons.  All the stuff we’ve been doing since Ogilvy. It may take them a little longer, but I’ve noticed that when it actually comes to delivering a tangible result, something you can bill for, experience born of traveling through the transitions, works.  I’m not saying that the new guys can’t get it done. Just don’t turn ‘em loose by themselves.

What should I expect from a trade show exhibit vendor?

I use to think that television was a tough medium to execute–assuming you went to the trouble to do it well. But of all the media I’ve worked with over the last four decades, I think the most problematic has to be trade shows. You can’t get extensions on the dates. After you figure out what you think are all the costs including shipping; somebody hits you in the face with extra drayage because of weight.  Drayage? You love the spot you got at the show but the booth sucks. You have a great booth but you’re stuck in the back corner of the hall near the emergency fire exit. And you should have listened better at the exhibit house when they were explaining how to put together this light weight, easy to assemble, god damn portable unit.

Let’s just start with the unspoken truth that nobody goes to an exhibit house because they want to buy a new trade show exhibit.  They go because they want more business, they want to keep the business they have, they want to solve a problem. If you work in a B2B company having to compete for business, it’s unlikely that you’ve been able to keep up with what’s new in trade shows as a medium with all the new technologies and changes. Oh, and if you think trade shows are not a medium just like print, direct mail, or the Internet, you’re just a gazelle walking through the tall grass in lion country.  There is so much new in trade show technology and trends, that it could take up half your time to stay current and competitive.

Trade shows if done well, are an amazing opportunity. For those several days, that booth is going to be your corporate headquarters where your best people are going to be exposed to your best customers and your best prospects.  The chances for making payroll don’t get any better. You can’t waste the opportunity.

If you’re a really good client side trade show manager–great! You’re all set. But if you think you might need some help or even advice, don’t go out and tell three exhibit houses to give you estimates on something that doesn’t exist.  Get a cousin in the business.  Ask around and find an exhibit house that can truly be considered full service. Don’t ask a tradeshow company that only does or specializes in just portables or just custom and doesn’t have it’s own design group.  They all say they can do everything, but when you walk around with a hammer, everything looks like a nail. And stop thinking of a trade show exhibit as just an appliance you buy at Sears, always looking for a better price, a better deal. The constant urge to get the price as low as possible is going to have you showing up with a knife at a gunfight.

Finding an exhibit house is a lot like hiring an ad agency.  Meet with a few and see how they respond to your questions. Talk to an account/project manager about what your objectives are and importantly, your budget.  Yes–tradeshows and exhibits are expensive, but a good house can save you a ton of money from what you might have spent without the advice.  Some will just show you solutions that are cheaper, but ignore the objectives.  Some will show you amazing glitz and technology and completely ignore your objectives and budget , and simply waste your time.

The smarter you get the easier it gets.

Want to make your agency go nuts?

I use to be a client. I was in middle management and like a lot of the mid-management staff, one of my principle responsibilities was to liaison with the ad agency.  I defined the issues, the objectives, possible solutions and handled the input meetings. I took care of all mar com projects for my group except for final approval of concepts and campaigns.  The group VP took care of approvals. After I would have multiple meetings with the agency, reviewed multiple concepts and spent time and money developing possible solutions, the group VP would come in with new objectives, new questions and new expectations. The fact that we wasted time and money wasn’t the worst part. We effectively drained enthusiasm from the agency and more specifically the creative team. We were no longer getting the agencies best ideas.  That’s what would make the agency go quietly nuts.  Oh, and invariably there was some heat passed around for not being able to read the VP’s mind.

Want to make the agency go berserk?

To make it worse, there was another midlevel manager, smarter than me, that would give input to the agency but always verbally.  When concepts and solutions would come back from the agency that didn’t match what the VP thought he was looking for, the manager would blame the agency for not listening. This is why account people are not allowed to carry guns.  And yes–somebody should have done a better job writing and distributing conference reports.

Moral of the story…

Whoever is charged with the responsibility to interact with the agency, give input, discuss objectives and consider solutions, should also have the authority to approve concepts, campaigns and sign off on costs.  If you don’t trust a subordinate to be fully responsible for the agency, get a different subordinate.  Better yet, work with the agency yourself.  If you’re a C–level executive, you should make the ad agency a close, inner-circle confidant. If you don’t trust your agency that much, get a different agency.  The person that writes and delivers the input, should be the person that approves the work. It’s all about being more competitive and kicking the competition’s ass.

On Getting a Printer

printerThere’s a rule.  You must get three estimates for every printing project.  It’s a rule like you can only have four, or six or five words on a billboard.  And you have to have enough blank space on a business card to fit a quarter.  It’s a rule.

Rules can be helpful…if you don’t know what the hell you’re doing.  Man walks into a printer and says he needs an estimate to print a box of business cards.  As soon as he gets the other two estimates, the man will announce which printer has been blessed to get the project.  Really?  Happens every day.

Just two points to make regarding printers.  If you, or your company, are a regular purchaser of printing, find a printer that you can get to know and trust. Once you’ve done that, a good printer will want to make sure he doesn’t lose your business.  A good printer is more interested in the relationship than in the sale.  And when you’re confronted with a printing deadline crisis, you’ll have a partner that you can go to, and that will have solutions.

If you’re a freelancer, or a small shop, the right printer can provide solutions that you never thought of, giving you a competitive edge you wouldn’t ordinarily have.  The right printer can make earning a living a lot easier.