Where are the walls?

When I began looking for an internship, I focused on the people not the building. A building is concrete, wood, metal, and other various emotionless materials. People create, decide, feel and interact. However, this week as I begin interning with Brunet-García, I am beginning to realize what kind of a role this building plays in the creativity and decision-making that goes on here.

When I first walked into Brunet-García, I was struck by one question, “Where are the walls?” If you are not familiar with the building, BG is one long, collaborative space with desks and chairs, but only one office and a conference room. I am used to cubicles and doors; I am used to privacy. In my interview, Vanessa and Anna made it very clear that when working here, everyone knows everything about everyone.  It quickly became apparent to me that privacy was not an important aspect of BG – for good reason.

In a place where creativity, innovation and brainstorming are crucial, it is imperative to provide a space that not only enables such thinking but also enhances it. Many design firms are adopting this collaborative layout to foster such thinking. With the elimination of walls and doors, it has never been easier to communicate and collaborate with those you work with.

At Brunet-García, the account team is merely steps from the creative department, making communication easy and fluid, and enhancing workflow. I have only been here for three days, but I am already seeing the success of a collaborative space.  There is no need for everyone to meet in the conference room to discuss a project. They can simply roll their chairs down the room to give input.

The nervousness I felt three days ago has quickly gone out the window, as I recognize that walls, doors and privacy are overrated when it comes to this work. Walls block things, like communication, creativity, and in my case learning. I am excited to be able to learn as much as I can from this agency. I came here to learn about account services. Without walls, I am certain that I will learn so much more. I couldn’t avoid it if I wanted to.

Brunet-García's wonderfully designed workspace.

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Levon and Conga Jerry

Over the past week, the world lost two great musicians. One of them was a legend, the other was a family friend.

Levon Helm, best known as the singer and drummer for The Band, died of throat cancer last week. His body will be bequeathed to the soil he so loved in Woodstock, New York. Helm will lie next to Rick Danko, The Band’s singer and bassist who died in 1999. If you put your ear to that spot where Helm rests, you can probably hear his music. Fitting, because Levon Helm’s music was like putting your ear to the dirt roads, the roots, the rust, the cemeteries and the rolling hills of America. He was one of the last of a dying breed of artists who filtered the pathos and tropes of our collective national conscious into something rhythmic that stirred your soul.

Levon Helm did not deal in artifice or imitation — he was the real deal. His voice wasn’t contrived to entail authenticity, nor did it pay homage to some grand tradition — Helm was the tradition. His music was a vehicle listeners could use to travel the open road of the American experience — with its drunkards, dreamers, derelicts and manifest destiny that we all still hold out hope for.

Four days after Levon Helm passed, I learned my dad’s good friend Jerry Joseph had also succumbed to cancer. You may not know Jerry’s name, but there’s a good chance you’ve heard his music. Conga Jerry, as he was known, slapped skins on albums with the Allman Brothers Band, The Marshall Tucker Band,  Sea Level, Eric Quincy Tate and others who recorded at the legendary Capricorn Studios in Macon, Georgia.

Before I knew Jerry’s music, I knew him as my mom and dad’s fun friend with the big smile. In the late 70s, my parents would drive me out to Jerry’s hilltop cabin that he shared with his girlfriend Theresa in Pine Mountain, Georgia. I was around five or six, but I have vivid memories of the cabin on the hill. It was more like a farm, with cows,  a beautiful pond and a beautiful view of pine mountain. The air was fresh, except for the occasional smell of cow dung and weed.

What I remember most are the musical jam sessions that would break out in the barn/shack that was on the property. Some of Macon, Georgia’s musical royalty would come over and jam with Jerry as families mingled, swam in the pond and picnicked. I can remember getting up close to the musicians and receiving a wry smile as they sipped their beers and played their songs. It was an experience that left an indelible impression on me and taught me everything I’d ever need to know about friends and fellowship.

I never got a chance to reconnect with Jerry. I’ll just remember him as a sweet, affable, bearded guy who was always so kind to me as a little boy. He continued to tour and record over the years, and he and my father stayed in touch. Jerry fought a tough battle with the bottle, one that he was never able to win. It certainly didn’t help with his fight against cancer.

Check out comedian Rob Delaney’s Tumblr page  for a great essay on Levon Helm and why, in this current socio-political climate, his music is more important than ever. Also check out the blog post my dad’s old friend Carlton Higgenbotham wrote about “Conga” Jerry Joseph.

 

 

 

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Geography – Who Needs It?

I probably should not admit to this and definitely should not make it public on the Internet – but I think it does make an interesting comment on our generation, so here goes…

I am not making the assumption that everyone my age is as awful at geography as I am. I am probably much worse than the average, but I do think that people in my generation and generations to follow are pretty clueless about the geography of the world and maybe more importantly, don’t see a problem with that.

Maybe this is the reason the main plot line of AMC’s Hell on Wheels (if any of you actually tried watching the show) seemed pretty uninteresting. A bunch of people fighting over maps? I mean, it makes sense, but maybe we are too far removed from this to actually understand or be interested in this kind of plot line (where are the zombies!?).

It is really hard to imagine a time without iPhones and GPS, even though it was not that long ago. When I was four years old, my mother drove me into NYC for my great uncle’s 90th birthday. We got lost (thanks to my dad’s directions, I’m sure), and after hours of driving around the city, asking police and calling the restaurant from phone booths, we had to give up and drive back upstate. This would never happen today.

Although it makes me appreciate technology, I think it is stunting our society. People take these tools for granted, which means they don’t think they need to learn where England is on a map, or arrive anywhere on time because they can just call at the last minute and reschedule. (Now that the TPC allows phones, we can finally get completely out of the Stone Age!)

Now that it is apparent that I know the map of Westeros (Game of Thrones) better than the map of the world we live in, I have decided I will make a solid commitment to learning geography. I’ll check back in after I can draw a map correctly…

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The Pitch

Last Sunday, right after airing “Mad Men,” AMC previewed “The Pitch,” its new reality show featuring two ad agencies (in this episode they were McKinney from Durham, North Carolina, and WDCW from Los Angeles, California) competing for a new client (Subway).

Jonathan Cude, Partner, Chief Creative Officer, McKinney

As most of us in advertising know, the new business pitch is the way agencies win most of their business and grow. The end prize for the winning agency is to add a new client to its roster and get paid for the work done on spec, since very few clients compensate agencies for work done during the pitch. Agencies incur significant expenses pitching for new business. The losers have to eat the expense.

The worst thing about pitching is that agencies give away for free their highest valued product – their strategic thinking. In order to make up for the financial gamble that participating in a pitch entails, agencies try to make a profit by producing the work. The problem is that production is often a commodity. It reduces the client/agency relationship from a partnership to a more transactional level of buyer and vendor.

In the past, an agency could spread its investment on a pitch over a 10-year, 20-year or even longer client/agency relationship. But today, relationships are shorter (the average CMO tenure is under 2 years, and when a new CMO comes in you often have a change of agencies), and two or three years of working with a client after winning a pitch are often not enough for an agency to recoup its pitch investment.

Agencies historically made the bulk of their money by placing media for their clients, and collecting a commission – usually 15%. Getting paid for strategic thinking didn’t matter as much when it came to agency compensation, it was just “thrown in.” All that mattered was the media buy. That changed in the 1990s when media departments were spun out of the creative agencies. Today, creative agencies are compensated on the basis of billable hours. Implementation has become the norm for how agencies get paid.

Convincing agencies to insist on payment for strategic thinking and not doing “creative on spec” is easier said than done. After all, new business pitches can be the path for agency growth, and principles alone don’t pay the bills. Yet, while getting paid for most pitches is not likely to happen, agencies should become more aware that the current practice of pitching accounts is not always in their self-interest.

The solution is for agencies to become a lot more selective as to which pitches to pursue. Good agencies minimize the risk and the financial burden of pitching by saying “no” more often than they say “yes” when invited to pitch.

By the way, McKinney won the pitch.

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Trayvon Martin, Katy Perry and the Myth of a Post-Racial America

Last weekend a regrettable cover song and a fatal shooting reminded me of why we should never mistake America’s affectation of black culture for affection. A couple of hours before I learned about the shooting death of  Trayvon Martin, I watched a YouTube video of bubblegum pop princess Katy Perry performing Jay-Z and Kanye West’s banger Ni**as in Paris.” The song is a kind of wish fulfillment fantasy –an over-the-top paean to conspicuous consumption and fashion culture narrated by two black protagonists celebrating their status in a city that has historically been a refuge for black Americans–musicians, dancers, writers and artists –seeking to realize their creative talents in exile.

Katy Perry’s live version of the song starts with an admission from Perry that things are about to get “embarrassing,” and indeed they do. From her tilted blue Yankees cap, to her vocal edits (ni**as becomes ninjas, motherf***ers becomes mofos), Perry creates a modern day equivalent to Pat Boone’s cover of “Tutti Frutti,” a song completely stripped of its meaning and  swag.

So, about two hours after watching that video, when I heard about what happened to Trayvon Martin, I thought about Perry rapping  “if you escaped what I escaped, you’d be in Paris getting f***ed up, too.” While Perry didn’t have to “escape” anything to get where she is, all the money, education and proper upbringing in the world can’t help black teenagers like Martin escape perception.

I will not rehash all the details of the case but here are the basics: Trayvon Martin, 17-years old, was shot and killed in Sanford, Florida on February 26th. Trayvon had been on his way back to a family friend’s gated-community home after purchasing Skittles and iced tea from a nearby convenience store. A  911 tape indicates that the admitted shooter, 28-year-old neighborhood watch captain George Zimmerman, pursued the teen in his car because he deemed him “real suspicious.” At some point Zimmerman left his vehicle and a confrontation occurred. Here is a link to an article that gives a much more detailed account of what happened before and after the shooting. Continue reading

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