Radio, Newspapers: Back to the Agency Silos?

 via Tales of Future Past - http://davidszondy.com/future/futurepast.htm

At the OMMA (Online Media, Marketing & Advertising) conference, keynote speaker Arianna Huffington takes pains to note the continued viability of newspapers. She gets seven papers delivered daily and reads them all, she declares.

I glance about. It's around 9:30 am. For the first time in a long history of attending morning business meetings, no newspaper is in sight. And most of the attendees are not teens or millenials. But all are in the ad industry.

Huffington is so old-fashioned that's she's also made a commitment to sleep eight hours nightly -- and she  wants to find common cause between right and left political partisans. Not only does she read newspapers, she probably even listens to the radio.

My mind is on that ancient audio medium, because I'm heading next to a big Advertising Week event -- more a rally in fact -- thrown by NYMRAD (New York Market Radio). Radio execs, of course, have little interest in taming rabid partisans (almost entirely right-wing) because that's where the listeners and revenues lie. 

The first speaker is former TV star/liberal turned radio talk show host/conservative Dennis Miller who, unlike Huffington, can't separate his politics from the business pitch. Miller''s there to sell radio as an ad medium, but he can hardly utter a sentence without bashing President Obama, Speaker Pelosi or Secretary Clinton. Yet he insists that he's holding back his worst vitriol in deference to what he terms a Democratic audience.

But if Democrats don't listen to talk radio, and media buyers are Democrats, where does that leave the radio industry? During the event's cocktail party, I strike up a conversation with a typical media buyer.

"Radio's not something we ordinarily think about," she admits. "Who listens to radio in New York?"
So I start thinking. Ad folks obviously watch TV.  Even OMMA has a Time Warner cable exec on one of its panels. Of course, that's because cable has begun including the Internet in its ad sales mix. But so have newspapers and radio.

Weren't "silos" supposed to be a thing of the past at media agencies, and integrated media now all the rage? Yet if buyers are so obsessed with checking out sponsored tweets and testing the latest mobile apps that they can't bother to pick up a Sunday newspaper circular to see how Target garners store traffic, or turn on the radio to hear how Dennis Miller sells sump pumps (the things you learn at industry events!), perhaps online has become the new TV -- the only thing that really matters now in the ad world.

So while Huffington hypes newspapers and Miller talks radio, I...well, I admit it,  I too don't have a newspaper with me during Advertising Week -- I'm getting the news I want via my Blackberry. And I'm not listening to drive-time radio on the way to the conference either -- that's impossible on the subway, for one thing, but I can hear all the tunes I want on my iPad anyway. Who needs radio these days after all? Who needs newspapers?

Oh well, time to stop pontificating and get back to the real world,  I've got online advertising companies to promote. Hmm, let's see. That client's story should be just perfect for Stuart Elliott in the Times. That other client keeps pestering me to get mentioned by Mossberg in the Journal.  And that book about politics and technology?  Well, a radio tour is the only way to go.

Skidoo, Credits? Not So Fast!

Peggy Olson on Mad Men has been pissed because she didn't receive credit for her work on an award-winning Glo-Coat commercial. 

Who can blame her?  Commercials have never included on-air credits for the myriad folks involved in their creation, so awards are really the only way for anyone to receive recognition. Compare commercials to their long-form cousins in moving images -- TV and movies --  whose end credits have always allowed interested viewers to know every single person involved in their production, from the actors and directors down to the lowly gofers and shoe-shiners.

Well in Peggy's time, at least. Nowadays, while a few folks still stay to the bitter end in movie theaters, try viewing the end credits to any movie or show episode on broadcast TV or basic cable (except thankfully on Turner Movie Classics). They're squeezed onto the left side of the screen, squished onto the bottom, and/or fly by so fast that even Howard Stephen Berg probably can't capture more than a word or two.

Of course, networks do this so that viewers have less time to change the channel, keeping them engaged in the current parlance. End credits, it seems, can bore viewers even more than the similarly attention-afflicted commercials -- whose agencies have spent the last few years teaming up with broadcasters on all sorts of creative approaches to keep folks tuned in, such as shorter pods, in-show tie-ins and the like,.

Mad Men is a virtual creative lab in this area. AMC, for instance, runs historical factoids about the show's sponsors before and after their spots. And some Mad Men advertisers have now begun naval-gazing. They've become ad-industry obsessed, incorporating the process (albeit fictional) of creating ad campaigns into the commercials themselves.  

The creative agencies obviously relish the spotlight Mad Men has thrown onto their profession (although they seem reluctant to move the depiction of the ad creation process into the 21st Century). So here's a modest proposal: toot your own horn with credits! 

No, not end credits on the end of a 15-second spot (imagine how fast they'd need to fly by!). Rather, an idea borrowed from MTV, which some 20 years ago took another short-form TV medium, the music video, and slapped director credits onto them.

Wouldn't it be cool to see who directed the current Hotels.com Claymation commercial while it airs instead of via YouTube, where you'll find out it's Rich Webber.  Perhaps he and others could become  ad industry equivalents of Spike Jonze and other music video directors, who by the time they directed their first features were already familiar names to MTV watchers.

And while we're at it, let's give some on-air recognition to Y&R Chicago!  Yes, Don Draper was jealous of Y&R's spacious New York offices earlier this season, but, really (fictionally?), that was 45 years ago. Maybe viewers would get a kick out of seeing that while Sterling Cooper has vanished from the ad game, several of its rivals that Mad Men sometimes mentions are still alive and breathing...and dressed in modern clothes, not as if they're about to attend a John Lindsay fund-raiser.

Unfortunately, for someone in Peggy's position, recognition and credit will always be dependent on the awards process -- and thus with whomever at the agency handles the nomination process. I'd suggest bonding with that person over coffee and a sandwich at Chock Full o' Nuts or the Automat. Or, if credit is so important, moving over to the TV business. In fact, thanks to my presence in 2010, I have evidence that Peggy will soon do exactly that. Her IMDB credits prove it!

Skidoo, Credits? Not So Fast!

Written, produced and directed by Les Luchter