Advertising

LEARNING FROM 2017: DON'T UNDERESTIMATE THE UNDERESTIMATED

"Don’t underestimate me.  I know more than I say, think more than I speak & notice more than you realize.”   (ironically, unattributed)

 

The overlooked, the underestimated, the undervalued and the under-represented put their collective feet down this year and said “enough.”  From #metoo to Yoyoi Kusama, from podcasts to auction houses, the silent majority is silent no more.

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UNDERREPRESENTED NO MORE

In the most well known example, the #metoo movement turned a silent majority into a vocal majority, signaling that women who were once looked over were not going to have their experiences being demeaned overlooked.    Time Magazine named “The Silence Breakers” as the Person of the Year 2017, calling attention to the women who created and fueled accountability via the #metoo social phenomenon.   In a premature counter-movement--not to be out-done in the minority department--Matt Damon weighed in with his experiences as a non-sexual-harassing unicorn.  Perhaps he should have waited a bit with his “whattaboutisms” on white male hardship in the film industry. 

OVERLOOKED NO MORE

Malcolm Gladwell, once described as “detective of fads and emerging subcultures and chronicler of jobs-you-never-knew-existed” released his second year of “Revisionist History”, a podcast dedicated to a re-examination of people, events and things that had been overlooked or otherwise misrepresented.  Gladwell mines for and then amplifies the worth of these hidden gems in our culture; that they are small or obscure lend an air of gravitas and credibility in a world where Khardashian-type spectacles of celebrity have been the norm.  The results?   17,303 reviews where “Revisionist History” averages a 5.0 rating on of 5 point scale.  

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UNDERVALUED  NO MORE

About two years ago, we researched and wrote a piece for our clients on the way in which fitness was moving from a solitary endeavor to a social, entertainment-based activity, and pointed out a number of companies and brands that were well positioned to take advantage of this transformation.  As a part of the background work, we dove into businesses like indoor cycling company Peloton, fitness festivals like Wanderlust and smart fabrics and adaptive clothing from the likes of Under Armour, Lululemon and Nike. 

In the deep dive into analyst reports and commentary, it stood out that the Lululemon company was getting the short end of the stick. The consensus on the message boards was that Lululemon was doomed because men didn’t like yoga.  As the head laundress in our home, I knew from experience that the Lululemon workout gear was high on the usage rotation for my athletically inclined son and his friends. The sweat pants were comfortable, looked presentable enough to wear to class, and the pockets were deep enough for keys and cellphones.  In contrast with the expert analysts on message boards, these young men weren’t put off by the stereotypes of the brand as the go-to-attire for warrior-posing women. 

The bullying approach of the analysts toward Lululemon seemed unjustified.   So, I picked up some stock for my Cultural Foresight portfolio (*) and made 60% on my Lululemon investment in two years.  For perspective, the young darling of these same analysts, athleisure brand Under Armour, has since lost 62% of its value in the same time period. 

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Lululemon Stock (2015-2017) +64%

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Under Armour Stock (2015-2017) -62%

 

(*) This Cultural Foresight portfolio was started in 2014; the funds were my own, but its purpose was to show finance and holding company management at my former agency that understanding and acting upon cultural trends was demonstrably profitable. Thus far, the portfolio is up 64%.  

UNDERESTIMATED NO MORE

The art market ebbs and flows in lockstep with the global economy and with global trends (New York Times, October 12, 2017 “Auction Houses Find New Ways to Survive”).   To help identify those trends, we took a look at what was selling at three auctions in New York City this fall.  

The work of women IS valuable.  At the hammer, women’s work delivered the higher prices.  In the Contemporary Curated Auction, the average piece by a female artist generated $129,530 compared to the $66,265 average for the work by male artists.  In fact, the top three items “at the hammer” were by women:  Joan Mitchell “Parasol”, Helen Frankenthaler “Haze” and Yoyoi Kusama “Beyond My Illusion” (left to right).  Grandma Moses "Sugaring Off" generated the highest price in the American Art Auction.  

This trend continued with the other auctions as well, with work of women artists at the American Art auction generating an average of three times the value of the work by men ($65,331 vs. $20,304 average price at the hammer).  Works by women also outpaced those of the male artists at the Contemporary Evening Auction in November, but by a smaller margin, $4.6 million average vs. $4.4 million average. 

The work of women HAS been underestimated.  While generating slightly higher average prices than the work by male artists, the artwork by female artists in the Contemporary Evening Auction on the block was significantly underestimated vs. the men’s artwork.  In this auction, the women’s work sold for 112% more than the high estimate (on average), whereas the work by male artists only exceeded estimate by 22%.  The trend of underestimating the work of female artists relative to the male artists was also evident in the other two auctions.

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From the social-media fueled #metoo movement to the upper east side Sotheby's gallery, the patterns persist.  Those who have been underestimated, undervalued, under-represented or hidden have awoken.  

THOUGHT STARTERS:

  • A revelatory narrative turns passive listeners into active evangelists.  There is an inspirational middle ground between opaqueness and transparency:  the narrative impact of revelations that are are both involving and informative move people on a journey of enlightenment about your brand or business that helps bond them to your mission, and make them your brand evangelists; 

 

  • Don’t mistake silence for agreement; sometimes silence is an indicator of simmering frustration. More than ever we need to dive deeper than those thin, dime-a-dozen surveys to get real insight.  Ways to get beyond the surface:  a) hire an experienced moderator instead of sending the summer intern into the field; b) go into homes, communities and workspaces to understand how your brand or service fits in the context of people's real lives; or c) use stimulus to draw out how people feel instead of using stimulus to "qualify" an idea.  

 

  • Memories bide their time.  People have long memories; when triggered, they produce a rush of emotion that can fuel action.   The cascading revelations around Bill Cosby and Harvey Weinstein fueled the #metoo movement that is cleaning out unsavory corners of our culture.  On the positive side, every year, the retail businesses do an outstanding job of triggering positive emotions associated with the end-of-the-year holidays.  Here's a favorite from 2017.

Watch the Waitrose Christmas TV advert 'Snowed In'. Find out more | http://www.waitrose.com/christmas Christmas is the perfect time of year to gather round and enjoy delicious food but, most importantly, to spend #ChristmasTogether Twitter | Tweet us @waitrose https://twitter.com/waitrose Facebook | https://www.facebook.com/Waitrose Instagram | https://instagram.com/waitrose/ Pinterest | http://www.pinterest.com/waitrose

 

  • Small is the new big; small but well-defined brands are mighty today and with plenty of upside tomorrow; 
  •  Lastly,  remember "hell hath no fury like a woman scorned."  Matt Damon might have been better received if he had taken the time to reflect upon his own demeaning attitudes and beliefs that were on display in "Project Green Light".  Look to categories and brands that have talked down to women or peddled in stoking their fears.  These businesses, brands and services are vulnerable now. We can either help challenger brands in countering these approaches or we can help existing brand leaders to forge a redemptive path forward.   Both approaches are steps in the right direction.  

 

 

 

 

 

 

 

 

THE COMPETITIVE REVIEW IS DEAD. 

Cultural Relevancy is the new Competitive Advantage. 

Culture is the “way of life especially the general customs and beliefs, of a particular group of people at a particular time”.

                                                                        (Cambridge English Dictionary)

 

We are in a state of flux.  Corporate culture is in flux as long-term planning practices of yore recede into the distance and decision making is increasingly managed in the moment, adapting to quarterly, monthly--even daily—shifts in the market.   Media culture is in flux, transforming via cutting the cable cord in favor of on-demand streaming content, from scheduled press conferences to ad hoc tweeting, and from “fair and unbiased” journalism to “fake” news. Social culture has also been disrupted with language and ideas from the fringes. No longer do leading ideas only trickle down from the elite to the masses and from cities to small communities, but with the democratizing effect of social media, the voices from the rural outposts are marching into the city centers, bringing with them an unpolished veneer and a suspicion of science that is heralded as “authentic”. Ideas from the Outside In.  Always on.   Authenticity over Artifice.

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For marketers, competitive advantage was once gained by outperforming your competitive set.  Superior stain removal.   Faster acting.   Better connections.  This competitive review should be replaced by a cultural review; cultural relevancy is the new competitive advantage.  One's competitive set is no longer defined as those within the same functional category but brands that share cultural DNA. 

The first step is to understand changes happening in culture and decode them. The second step is to act with purpose and intention to establish a cultural advantage for your brand.  

PROGRESS DOES NOT TRAVEL IN A STRAIGHT LINE. 

Progress moves forward as a rowboat does, propelled forward through a series of movements and counter-movements, progressing from shore to shore, from embarkation to destination.  For the best chances of success, it is important to dip the oars on both sides of the boat.  One-sided paddling will only result in traveling in circles.  It's the same with culture.  There is risk in staying inside one's own echo chamber.  

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Many say progress moves like a pendulum swinging.  This observation is most often accompanied by internal frustrations when change is foisted upon you and appears arbitrary.  But it is not arbitrary.  That our world is changing is a fact.  And it is human nature that people will respond to change differently.  There will be people who embrace change and those who reject the change. Together, this embracing and rejecting creates a cultural dialogue that propels us forward. 

MAKING SENSE OF IT REQUIRES A CULTURAL HEDGE FUND

Having a point of view gives your brand or business “roots” (what you stand for) and “shoots” (what you are aiming for).  We identify Movements and their Counter-Movements each with examples, keywords, themes, visuals and some thought starters for brands who seek to position themselves in either cultural stream.  This exercise enables business leaders the scenario planning tools to best understand the opportunities and risks that lay ahead.   It can underscore a decision to change or stay the course, it can provide texture for potential new business streams or innovation paths , and it can hedge against an unforeseen disruptive competitive event by defining and giving name to both a movement and its counter-movement. 

FIVE FORCES SHAPING OUR CULTURE TODAY

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THE SINGULARITY.  

We are experiencing explosive technological growth.  Siri, Alexa, bots and cookies.  Will we embrace AI businesses, services and entertainment and all things virtual?  Or will we turn to authentic analog experiences like summiting Mt. Everest?  

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POPULATION GROWTH.

In 1800, 3% of the world’s population lived in urban areas.  In 1950, 30% of global citizens were urban.  By 2050, 70% of the world’s population will be urban (Fastcodesign.com).  Will we flock to these urban hubs or strike out for the countryside?

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MARKET CONSOLIDATION

It’s a small world, with global monopolies dominating the business news.  Will we accept the popular wisdom that “bigger is better” or seek out instead the little luxuries that ‘come in small packages?” 

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EARTHLY RESOURCES.  

The environment is decaying, with poor air quality in China, devastating Hurricane events in the United State and Caribbean, as well as droughts and forest fires as proof points.  Will we find new ways to unleash the power of earth, wind and fire, or will we conserve, protect and safeguard earth’s precious resources? 

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THE NATION STATE.

The role of the nation state has never been more tenuous, as global media, global corporations and global citizens fly above the fray (the 1%) and influence policy, while the 99% beat back against the current.  In the US, the divide is also driven by patriotic values:  is equality the national driver of policy or is freedom (from policy/to participate) the driver? 

 

 

 

WELCOME TO THE ERA OF CROWD SOURCED CREATIVITY

DO IDEAS BUBBLE UP OR TRICKLE DOWN?

“The sanctity of the ad agency creative department used to be the exclusive domain of very special people. Super creatives dwelled there, using secret handshakes, runic noodling with pencils and cryptic eye movements and gestures to create advertising that was often overtly conceptual. You had to be a genius to understand it.”

(Mike Tittel, ”Redefining the Creative Team” Forbes)

IMAGE SOURCE:  http://multicultclassics.blogspot.com/2016/05/13183-clio-charting-cluelessness.html

IMAGE SOURCE:  http://multicultclassics.blogspot.com/2016/05/13183-clio-charting-cluelessness.html

The declaration above was written in 2011.  The author announced that the period of creative ‘apartheid’ was over, ushered in by the democratizing effect of technology where people were no longer bound by television, print and radio to be passive receptacles of creativity but now with new interconnected technologies they had the potential to be active, engaged, contributors of creativity.  Welcome to the era of crowd-sourced creativity. 

And so, what has happened since this pronouncement?  We're in the middle of it now:  fundamental changes to marketing, media and advertising are happening in real time.   These changes can feel destabilizing, disruptive and destructive, especially for those established entities now being forced to adapt and respond to changes in the marketplace in real time (creative agencies, digital agencies, global marketers).  Or they can be liberating, opportunity-expanding and paradigm shifting business opportunities for those less tied to the processes and rhythms of the past (start-ups, crowd-sourcing platforms, artists).  

For the end users (marketers), however, these changes offer intriguing solutions both for their cost-savings potential and as a means of beta-testing a new communications business model.  Marketers are turning to platforms that crowdsource creativity as alternatives to the creative agency model:  companies like Designhill, 99Designs, CrowdSpring, Tongal and Boom IdeaNet provide design and creative solutions via user-generated, crowd-sourced models.

Where do we go from here?  Is there potential for amplified or expanded creative services building on the user-generated model? What is the quality of the work?  Is this the end of the on-going agency-client partnership?  To explore these questions and to solve a short term business need (e.g. business cards), Sugar Hill Strategy crowd-sourced help in designing a logo to fill the void while our long-time and cherished design guru was vacationing in Tuscany.  A brief was uploaded to the on-line platform, a payment was made and the logo design contest was off and running. 

IN THE BEGINNING:  Where we started.  Sugar Hill Strategy under construction.  

IN THE BEGINNING:  Where we started.  Sugar Hill Strategy under construction.  

OBSERVATIONS:

BUBBLE UP CREATIVITY REFLECTS AND CAPTURES AN AUTHENTIC, POPULIST MOVEMENT AFOOT IN OUR CULTURE TODAY. 

It's long been said that "a good idea can come from anywhere."  Whether it goes anywhere, on the other hand, is up to the discretion of the most senior creative person in the room.  The collective intelligence platforms are inherently more democratic than the ‘trickle down’ approaches employed by fashion, architecture and advertising hierarchies of the past.  Collective intelligence provides strategists, marketers and researchers the opportunity to start broad, to ”cover the waterfront” in their assignments.  The promise is that in opening up a creative assignment, we might uncover the surprising and new at the creative fringes that would have otherwise been invisible, or considered outliers unworthy of inspection.    There are a lot of fish in the ocean, and a cornucopia of possibility was exciting. 

 THERE IS STRENGTH IN DIVERSITY  

There is a competitive advantage in crowd-sourcing proto-types over traditional commissioned design.   By definition, crowd-sourced creative is an amalgamation of diverse perspectives from a diverse population dispersed across diverse geography.  We received 33 designs for review in less than 24 hours, and 141 submissions over the course of our three-day contest.  The majority of the designers hailed from Southeast and South Asia.  There was a wide range of expressions and design capability represented, as well as a variety of ways in which the brief was considered.  Some literally copied the logo examples provided but changed the name.  Others submitted designs that appeared to have no relationship to the brief.  As a user, I reveled in the diversity, even if much of the output was off brief. 

THE BREADTH OF OUTPUT MADE THE PROCESS OF NARROWING DOWN AN ESPECIALLY VALUABLE AND FRUITFUL EXERCISE. 

The top ten logos were selected, and an on-line poll was then conducted asking influencers and/or stakeholders to rate the logo options using a 5-star system.  Additional input was provided with open-ended comments for each option.  There was no clear-cut favorite as different people had very different perspectives. 

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The design my husband chose as his favorite was described as being “appropriate for a fertility clinic” by a trusted ex-colleague.  Another marketing friend submitted her own logo treatment for consideration.

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Some polled liked the approaches that used a vibrant maple leaf in iconography--consistent with the Sugar Hill name--and though memorable, it is an icon of endings vs. beginnings.

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 In the end, the “winner” was chosen because the iconography and approach best reflected the business focus (front end marketing and brand strategy, "the action before the action"), while recognizing the history of Sugar Hill--in both Upper Manhattan and New Hampshire--was rooted in maple syrup production. 

 

Having said that, one influencer had this to say of our final option:   “Just no.”     

 

The feedback served as an aid in decision-making, a way to check strategy through rough execution, and to test in-going assumptions as to what a logo should and could communicate. 

 A CROWD-SOURCED CREATIVE PLATFORM CAN SERVE AS VALUABLE AND STIMULUS-RICH RESEARCH,  AMPLIFYING A STRATEGIC TERRITORY PRIOR TO MAKING A FINAL DECISION ON DIRECTION.

Briefs that are too open-ended tend to result in tears or slammed doors.   Without a brief, your communications and creative resource could wander aimlessly through the idea woods without a compass. The chances of hitting on a creative solution narrow the more open-ended your challenge.  This collaborative creative platform enables you—through prototype designs--to narrow the strategic field and scope of the work through closer-to-final creative stimulus.  It helps you provide clear navigation to future creative teams or partners.

ARMED WITH THIS LEARNING, YOU CAN FOCUS YOUR EFFORTS THEN ON TAKING AN IDEA FROM GOOD TO GREAT.  

Yes, a winner was chosen and business cards were printed up, but my trusted design guru friend is back at her desk and so I’ve used these designs as a brief to her.  I was able to more cogently explain (hopefully!) what I was envisioning and why; this experiment gave me added context for how logos would be used in business cards, social media, presentations, and on premium promotional materials.  

Why then, did I also seek out the services of a more expensive, time-consuming approach?    Trust.  Craft.  Experience.  Ability to anticipate my needs before I do.  Will tell me the truth.  Mostly, its about partnership.  I know this person wants me to succeed.  

IN SHORT:

  • Creative diversity is the big advantage the crowd-sourced creative platforms have;
  • Narrowing, synthesizing and weighing options sharpen your point of view and strategic focus;
  • These platforms might also be repurposed to provide helpful research and strategic refinement in addition to being economical creative and design tools;
  • Research is best used as an aid to judgement vs. an end unto itself
  • Garbage in = Garbage out.  The brief is crucial.  Know what you are trying to accomplish and why;
  • Trust is earned over time and is a powerful motivator.  

 

"BRAND NEW": AN ADVERTISING MEMOIR

Advertising is at an inflection point.  Will history repeat itself?  

There was a time when the best and brightest graduated from the Ivy Leagues with their Bachelor of Arts degrees, put on their grey flannel suits and went to Madison Avenue to fuel the American economy. And fuel it they did, creating new brands, line extensions and flankers, and by experimenting with state-of-the-art technologies like television.   Compton Advertising led their mid-western clients into this emerging media marketplace, and were the first to create serialized daytime content for television which the makers of Ivory Soap and Oxydol would then sponsor, giving birth to the phrase “soap opera”.  Selling advertising time was a mutually beneficial business arrangement for everybody involved—television stations received content to put on the air waves, agencies took a commission from the sales of time blocked for client messaging, and client brands became known, recognized and trusted from coast to coast.   Compton’s menu of offerings put the “full” in “full service offering”:  it had a casting business, a public relations business, a content/television production business,  a media buying business, a media selling business, a research business, a test kitchen, a direct mail business in addition to naming, design, and communications for television, print, radio and outdoor.  Today this business offering is but a fraction of what it once was.  

It was common for employees to start out in the mailroom; at Compton, the mail boy befriended a young art director and the two of them practiced magic tricks together. Years later, this mail boy came up with the idea of laundering a dirty sock-in-a-sock-in-a-pocket and demonstrated how--with Tide--a dirty sock came through the process clean. It was a huge hit and Tide’s use of “torture test” scenarios and superior laundering status was set, and with it this young man’s career.  

Later, when the former mail boy became the Chairman of Compton he made his old friend, the magician art director, partner at an agency subsidiary, one of the first founded and headed by a woman.    It was a creative boutique specializing in sophisticated higher end businesses like Conde Nast (publishing/media), Lee Jofa (textiles) and the Platinum Council (fine metals), with Johnson & Johnson, Shulton, and Kenner Parker rounding out the portfolio.  

This is the agency where I got my start, on a hot June day in the 1980s, one week after graduating from college. In the beginning women wore dresses and men wore suits.   The offices were designed with unsparing attention to detail with furniture by Knoll, chrome finishes, navy blue fabric walls and marble conference tables. Our leaders were not accountants, but a creative team--an art director and copywriter.  

Cadwell Davis Partners 1982.  Herman Davis (with glass raised), and founder Frankie Cadwell to the right.  

Cadwell Davis Partners 1982.  Herman Davis (with glass raised), and founder Frankie Cadwell to the right.  

Herman had a handle bar mustache that would from time to time be dyed magenta on the tips.  He wore a fedora and carried an elegant cane draped over his arm when he was in the streets.  I spent hours by his side in the studio, dizzied by the fumes of spray mount as he orchestrated a print layout.  When I started on Madison Avenue (yes, Madison Avenue!), we would send the copy out to the typesetter in the late afternoon and when it arrived back in the morning--transformed into something we called type--we would gather round the studio.  The production manager would hold the type, the studio manager would hold the spray mount and I would hold the razor blade; we worked silently, maybe a static-y radio in the background.  Herman would lay the type down, look at it, pull the type back up, cut off a dangling word and paste it on the next line, step away, pull the type up again, ask for another piece of type and we would begin anew.  And it was the same on set or in the music studio:  we were all his students and surgical assistants. 

She--Frankie--was an elegant writer, a woman whose copy was like poetry, a purpose behind every word.   Of course she had to be spare and potent because any dangling words could have been cut out with Herman's razor.  Oh the blistering fights they would have over a word!  She had the voice of a crow, cawing from her office "Herman, don't cut my copy!" or "I want a muffin from Viands!"  It didn't matter who you were, if you happened to be walking by you were soon on your way to Viands for her corn muffin.  

She worked standing up.  She would type her own copy using a dark brown ribbon on cream stationary.  "Get this approved!" She would wave the single copy.  A quick stop at the duplicating room--five full time employees and home to the world's worst toupee--and I'd be off to East Hampton to get our client's signature just as he stepped off the tennis court.  I’d have it back in the city that night. 

They didn't love everybody but for some reason--I possessed critical thinking skills (english major), appreciated and understood the art or music being referenced (liberal arts degree), and would track down a client on a tennis court just to get a signature--they liked me.  I wrote copy for Conde Nast magazines, I researched and wrote about the first woman to run for President, Victoria Woodhull, which my immediate supervisor later turned into a passion project and a book. They took me to dinners with company presidents, gave me tickets to openings and art shows.  It turned me into their kind of account person, one who knew, appreciated and would fight for creativity.  An advertising person who knew that it all matters and that taste cannot be acquired but must be earned.

The survivors meet up every year or so, the creative principals long since gone, the doors shuttered after the Saatchi brothers came to town and bought up Compton Advertising along with others, merging, de-merging, purging.  We had all been in the trenches together, had all been sent out for corn muffins from Viands, and now have all seen the business turn upside down.  Collectively, we had gone on to start our own businesses, win Oscars for directing feature films, moved to Vermont, inherited a fortune, and sadly we had buried one of our favorites who died from AIDS.  Friendships flourished in that adversity.  

I was the Agency baby.  I was so so lucky to be one of the last to learn from true artists and talents.   I was even luckier that the lessons stuck and that creative people kept coming into my life, one after the other.  We plotted, planned, created and inspired each other to make each project better than the last. 

This was my first year in advertising.  I was one of the good guys, dressed in white, wine glass in hand.  Everything was new.  It went in a flash.  

Today, it strikes me that the “brand new” advertising business that Compton was a part of in the 1950s and 1960s has come full circle and we are coming upon another “brand new” horizon (didn't someone once say that history repeats itself every seventy years?).  We are on the cusp of a new media and content age, a moment in time when it’s possible to bring all the pieces back together under one “full service” digital roof, with retail thrown in as well.  Compton’s number has long been retired, and many of the venerable old advertising firms give every impression that they are on their last legs.  The agency of the future will likely look a lot like China’s Alibaba or Seattle’s Amazon, a “full service” offering that encompasses content, creativity, research, talent and delivery of products straight to your door.  Everything old is new.  Again.