As published in MM&M

Testimonials have long been a staple of hospital marketing campaigns. But for its Miracle of Science with Soul campaign City Of Hope leveraged the power of the testimonial into a full omnichannel experience. While complete patient stories lived on the City Of Hope website, a variety of television, radio, outdoor, digital, social and print media featured these City of Hope cancer survivors in a “teaser” campaign and referenced tags or links that directed the target to the site for a complete story.

While seeing the full testimonial, the target learned about City of Hope’s innovation in the cancer field through the eyes of actual cancer survivors – and were given the ability to schedule an appointment and speak to a City of Hope physician.

All told, this approach helped drove outpatient visits up 13% and filled beds to capacity on the main campus, surpassing all prior single-channel acquisition initiatives.

AdForum.com recently interviewed IPNY Founding Partner and Creative Director Jill McClabb

The city inspires me every day. If you’re ever in a rut, hop on a subway where you can explore new places and interact with different people.

Tell us about yourself and your current role: Where are you from? What do you do?

I’m a fifth generation Texan, so moving to New York city for a career in advertising was huge. But it was and still is the place to go if you want to be in this business. I’m a partner at the ad agency IPNY focusing on art direction. We work on complicated categories such as financial services, healthcare (in particular hospital/medical centers) and the nonprofit sectors, delivering communications that are creatively relevant and measurable. My background before being a business owner, ranged from working at a large agency like Ogilvy, to a small boutique shop like Janklow Bender and LGFE. It’s important to work at a range of agencies because larger ones expose you to big brands and worldwide approaches, while smaller ones teach you to be quick on your feet and wear many hats.

How would you describe the culture of New York City?

The culture in New York is all about diversity. Almost any night of the week you can see opera at the Met or find a small intimate jazz club. Not to mention the food! I think New York has the best restuarants in this country, probably the world. There is a good restaurant within any 3 block radius. And no matter what kind of art interests you, it’s here. The amount and quality of museums are astounding.

In what ways does the city or its culture inspire you and your work?

The city inspires me every day. If you’re ever in a rut, hop on a subway where you can explore new places and interact with different people. The city is home to the most fascinating, diverse population you can imagine. I love imagining what everyone’s story is and how accepting most are of each other. Just walking down a street will ignite your sense of design and color and each block is different. And if you want to see the newest trends, stop by the MOMA or the Whitney.

What is the best incentive that NYC offers agencies?

The culture and the diversity of talent. It’s a great proving ground for talent. If you can make it here you can make it anywhere – that is not a cliché.

Could you offer any advice to young talent heading to work in NYC?

Be persistent about getting into a good agency. That first job will determine what path you take as a creative. Always work on your book, sometimes new work can be a great excuse for getting another interview at your favorite agency.

Why should young talents and industry leaders come to NYC? What is the best part of working in NYC?

Everything is here. Even if your stay is only a couple of years, it completes your resume. The best part of working in NYC is that it is never boring. Want to change things up? Move to a different neighborhood.

If you had to choose, what is your favorite hidden-gem in NYC?

My favorite hidden-gem of NYC is the people. They are so interesting and come from all over the world. The diversity and intelligence of the people you meet is life changing.

As published at Manifest

Advertising may seem like a strategy for large businesses with equally large budgets and manpower. However, most small businesses see the merits of advertising, too.

The Manifest recently conducted a survey of 529 small businesses from across the U.S. about their advertising habits and found that nearly all small businesses advertise (87%). The survey analysis featured IPNY’s, named as an advertising agency leader, very own Tim Smith as an expert source on these findings. The results show that advertising is an important strategy for businesses of all sizes.

Small Businesses Advertise on a Variety of Mediums

Small businesses are likely to advertise on multiple mediums, but digital advertising is the most popular. Digital advertising, including social media and online channels such as Google search, is important in reaching customers where they are throughout much of their day – online.

Many people say that businesses should focus their efforts on other social media channels, but that isn’t true – 86% of small businesses that advertise on social media invest in Facebook advertising. That’s 35% more than the second-most-popular channel, YouTube. “People say Facebook is dying, but by and large, it’s the biggest social platform in the world,” Smith said.

Traditional Advertising Still Works for Many Small Businesses

Although small businesses are more likely to advertise on digital mediums, many still value traditional advertising such as TV, print, and radio.

In fact, 57% of small businesses use traditional advertising. Because TV, radio, and print ads have been around for so long, consumers are more likely to trust traditional advertising than digital. Advertising on traditional channels also helps small businesses reach consumers when they’re not on social media or online, such as while on their commute, watching TV, or listening to the radio.

Generational Differences in Advertising Habits

Unsurprisingly, millennials are more likely than older generations to advertise their businesses on digital mediums. “Millennials grew up online,” Smith said. “To even reach them, you have to go online, and millennials understand that.”

What is surprising is the fact that millennials are also more likely to advertise on traditional mediums such as TV and radio.

Older generations have likely already tested out the traditional advertising mediums and figured out what works and what doesn’t – if a business tests out a TV ad and finds it to be unsuccessful, it is unlikely to continue spending money on TV advertising.

Millennials, on the other hand, are more likely to use traditional mediums because their businesses are young, and they therefore do not yet know which advertising mediums will work for their business.

Small Businesses Should Advertise

Advertising isn’t just for large companies. Small businesses can benefit from advertising by reaching the most consumers possible and enticing them to make a purchase. If you don’t advertise, odds are, your competitors are and are reaching more of your target audience than your business.

AdForum.com recently interviewed Andy Semons, Founding and Strategic Planning Partner at IPNY, a brand-led digital and direct advertising agency

“Understanding what people truly think and feel, how they express themselves and how they make choices, is a joyful thing for me.”

Tell us a bit about yourself. What do you do?

Hmmm…. Where to begin? I guess the first thing you should know about me is that I’m the third generation in my family to be in the advertising business. My grandmother was a copywriter at a time that very few women worked, let alone worked in this business. My dad was a media guy and from my earliest years told nothing but agency stories. I was hooked and wanted to be part of the advertising world from a very young age.

On a daily basis my role morphs from being a psychologist, to architect to data geek to management consultant. My psychology background helps in finding meaningful consumer insights that allow us to understand our audiences both rationally and emotionally. I turn those insights into strong creative blueprints and help the creative teams nurture their ideas. And most importantly I design research tracking and optimization programs that make sure our work is doing what it’s intended to do.

That’s what’s expected of a planner. But I also take it a step further and help our clients with real business planning. Anything from marketing plans, staffing plans, procedural governance – whatever they need assistance with.

That’s the day job. By night, I’m a partner and part-owner of IPNY. And like all of my partners, I wear a management hat too. I help define our vision and growth goals, develop new business and sweat the details of ownership right alongside everyone else.

What did you do before your current role and what led you to where you are now?

My background as a strategist is eclectic, to say the least. I’ve been at big brand agencies, digital agencies, direct agencies, PR firms, political think tanks and research firms. Before starting IPNY I was actually working as a management consultant, helping Fortune 500 companies restructure their in-house marketing services department.

Each new job brought its own challenges. Seniority at a big agency meant that I had to manage big departments and a lot of people, leaving little opportunity to do the fun work that made me happy. Starting an agency from scratch gave me the opportunity to get my hands dirty again. All of the partners at IPNY work in a very hands-on way. And we love it.

How would you define the role of a strategist?

A strategist’s job is to provide the team with everything they need to get to great work, plain and simple. Understanding of the marketplace. The competitive framework. The behaviors, thoughts and feelings of the consumer. The roadmap which will lead to brilliant creative and hopefully change the face of the category. And the constant marketplace feedback needed to optimize, measure and plan for the future once a campaign is up and running. Beyond that, a strategist is instrumental in selling both the agency POV and creative work to clients. Good strategists partner well with their creative teams, become a sounding board for the development of creative ideas and help build lasting relationships that can impact client business.

If you had to pick one thing, what would you say you enjoy most about strategy?

Without a doubt, the “aha” moment is when you uncover the big idea that will drive consumer behavior and build a client’s business – this gives me the greatest adrenaline rush. Understanding what people truly think and feel, how they express themselves and how they make choices, is a joyful thing for me. Over the course of my career I’ve uncovered interesting insights that guide human behavior in categories as complex as banking or mundane as packaged goods, but I’ve also gained tremendous understanding of beliefs and behaviors in sensitive areas related to health such as illness, caregiving, and aging, along with why people donate to charities and political campaigns. I’m always amazed by how much there is to still learn in my profession.

What’s the most challenging aspect of the job?

For me it is and has always been time. Strategists kick-start the whole creative process. That means we need to engage first – before anyone else. And given the ever–accelerating pace of client deadlines we have little time to waste. Our insight gathering, observations, primary and secondary research and most importantly our analysis all needs to be done quickly so the creative team can get to work developing their ideas. So, the challenge is to be as inspirational as possible and as do it as quickly as possible.

Has the role of a strategist been evolving within the industry?

Yes it has. Brand agencies always held strategists accountable for big consumer ideas that fueled campaigns and were rooted in consumer beliefs. Strategists were responsible for briefs, insights and research – that was pretty much it.

But over the years as digital and direct planning has come to the forefront, strategists have become responsible for far more than brand ideas.

Customer journeys, which now have become the responsibility of strategists, inform a lot of the process, giving the opportunity to mine insights for more “direct” initiatives such as CRM planning. Planners define personas for digital planning and have taken over the role of channel planning, which can help media departments deliver on the “right target, right message, right channel, right moment” imperative. It’s a much bigger field now than it was when I first started out.

For someone entering the industry that wants to move into the strategy/planning space, what steps should they take?

While there are many aspects of planning or strategy one can be involved in, it all comes down to having a fundamental interest in human behavior. If you’re not interested in how people think, what they say and what they do, then strategy or planning may not be right for you. Also, I can’t stress enough the importance of keeping up with popular culture. And that includes the desire to experience cultures other than your own. One of my favorite questions to ask a job candidate (of any age) is “if you didn’t need to have a job right now and could do anything you want, how would you spend your time?” I look for answers that express interest in travel, exploring foreign culture, art, music or some other kind of scholarly pursuit. My experience tells me that people with broad interests are more likely to be successful planners – it gives them a well of insight and understanding that others don’t have. And that’s what leads to making great work. Beyond that, be persistent. Show your passion, have a point of view and be a good listener.

Do you have a dream account or brand you’d like to work on? Which and Why?

Lately I’ve been thinking it would be fun to work on advocacy issues. Things that affect public welfare like education, health, the environment or even something like gun control. It would be wonderful to have the opportunity to use my marketing skills and expertise to change how people think on grass roots issues. Yeah, I‘d like that a lot…

AdForum.com recently interviewed IPNY Founding Partner and Creative Director Bruce Lee

Bruce Lee opens up about what it’s like to be a copywriter

How did you get your start as a copywriter and what inspired you to pursue it as a career?

Money and stimulation. I was working for American Express as a speechwriter. Despite my three-piece suit I couldn’t raise a family on what I earned. Desperate, I entered a copywriting contest in the New York Post and won a job writing direct mail for Ogilvy & Mather. It paid a better salary, and its lessons in psychology, imagination and the freedom to experiment with ideas and language continues to pay off to this day.

How much has the role changed since you joined the industry? Do you think the craft has suffered because of these changes?

It’s ironic. I joined the ranks of copywriters when advertising used interruption as a way to get your attention. The logic was, If you interrupt a print reader or a TV viewer with your advertisement, you reward them for their time with a bit of entertainment. That’s why so many ads would surprise you, shock you, make you chuckle or give you something to think about. In those days, succinctness and felicity of language were prized; a creative “concept” was the order of the day; and copywriters were industry stars.

Today interruption’s faded. Digital media has given the customer the tools to determine how they’ll spend their time – to read or view anything they’re interested in, even if it’s an advertisement. You’d think more copywriters would say, “Yeah, especially if it’s an advertisement!” and twist their brains to serve up thrilling, impossible-to-ignore vehicles for their brand messages. So where are these? I’ve looked for them and not found that many examples where a human insight intersects with technology to deliver a breathtaking brand experience.

And today’s star copywriters: Where are they? Who are they? The best work is still stuff that could have been done in the 90s. With some exceptions it seems like the need to move people, to find that emotional beauty, is absent from the work. Then again, this is still a new moment in our business, and we may taking the time to find our feet. Recall how many decades it took for TV advertising to get its act together. I’m impatiently hopeful.

What set of skills do you believe it takes for a copywriter to thrive in the current advertising landscape?

I didn’t mean to savage our industry in that last answer, but I am disappointed in so much of the creative I see these days. The skills that will save us are the same ones that go into making a great copywriter. You need to be one part art director – showing is as important as telling – just as a great art director needs to be one part copywriter. You need to be able to express your thoughts in words, but not just any words. Words that are passionate and imaginative because they’re in the service of a bold idea. A great copywriter is a conceptualizer first. And the ability to develop several more bold ideas after you’ve come up with your first one – that’s what separates the great from the someday great.

Where do you seek inspiration that helps you in your craft?

I’m still learning the craft. But when I was starting out I studied the creative annuals. They were an infallible guide to great work. Today there’s Vimeo and YouTube and other services to study contemporary commercials, videos, film, TV. It’s all there for you. I also read a lot of fiction, history and biography. I talk to people. I listen to music. I experience art. I travel. I look around. Creative thinking is a random process and you never know where inspiration will come from. Just stay open and keep feeding your mind and your heart.

What’s the most challenging aspect of the job? What helps keep the work interesting for you?

Not one will admit to this, but many clients are opposed to original ideas. They applaud them once they see them succeed for someone else in the marketplace, but they’re more comfortable with an idea that doesn’t challenge them as much. For me the challenge is to psych out this client, to anticipate what worries them and to deliver an idea that answers every possible objection and is still breakthrough. This challenge keeps the work interesting, as does the opportunity to solve problems in categories I’ve never worked in.

Is there a part of the role that you feel is often misunderstood?

Aside from the annoying word “copywriter,” which sounds like outdated newspaper-ese from “The Front Page”, the hardest part of the copywriter’s job is persuading a customer to try your client’s product or service. And it’s the part that most copywriters run from in favor of getting eyes, clicks, views, impressions. Call it what you will, quick hits are not the same as providing a persuasive argument for why your customer should take a chance on your client. It’s about changing someone’s mind, not just getting them to look up. A copywriter is a strategic thinker and there are building blocks to making a persuasive argument. There’s the need to make people engage, feel, understand, and care, and all this has to be balanced and measured. There’s a difference between someone who writes copy and being a real copywriter.

What advice would you give to young copywriters who’ve just entered the business?

Be of good cheer. Don’t let the negatives get you down. It’s not all victory parties for your work. There will be occasions when you’ll have to get up off the floor and start fresh. Learn to do that with grace. This is still a better job than almost anything else you can do. And most people can’t do it.

AdForum.com recently interviewed IPNY Founding Partner and Creative Director Jill McClabb

“The industry is still a good ol’ boys club but women are beginning to break through the glass ceiling.”

Tell us about your role at IPNY:

As one of the five founding partners at IPNY, I feel very fortunate to be doing what I love everyday. Beyond my overall responsibilities as a Creative Director, I also oversee all of IPNY’s production, including anything from print to video. Building an agency from the ground up is a dream come true, but it means having to wear many different hats.

How did you first get into the industry? What was it like then versus now?

While pursuing a bachelor of fine arts the University of Texas, it became quickly apparent that I could be headed for a life as a starving artist or find another way to use my talent. So I began taking advertising/design/photography classes and discovered that the challenge of these art forms was exhilarating. Upon graduation I moved to New York, because at the time that was the place to be. And I’m still here.

Over the last decade or two the advertising industry has gone through dramatic changes, with digital being the biggest driver. Early in my career, the goal for every art director was a fantastic print campaign, now print is less and less a part of our business. OOH is still thriving as is TV but you have to be on top of digital innovation.

What are some of the challenges that women still face in the industry?

The industry is still a good ol’ boys club but women are beginning to break through the glass ceiling. When I first started in the business, women were not allowed to work on cars or beer accounts. Fortunately that has changed but there are still a lot of barriers to attaining top ECD roles at agencies. Some of it’s driven by clients and some by senior executives at agencies.

Tell us about a project or initiative you are working on. What do you hope to ultimately achieve?

We are working with a very exciting client that is focused on the issues surrounding the First Ammendment. The organization’s goal is to encourage civil discourse, as a way to move conversations away from hate reteroic. Additionally, we are looking to educate and inform citizens about what the first amendment means, so eveyone can live their freedoms more fully. What a grand project to work on! Nice to meld advertising with “for good”.

How does your office culture support women and creativity?

Despite having four other male partners, I can honestly say gender never plays any part in our decision making. We hire people by their talent, not their sex. I actually think advertising has been more welcoming to women than most businesses.

What professional achievement are you most proud of?

Launching The Leukemia & Lymphoma Society brand six years ago. They were an unknown charity at that time. But they did fantastic work in the area of blood cancer, both in terms of funding research and supporting people with the disease. The campaign launched with the line “Someday is Today” which perfectly captured the hope that defines cancer research today.

How do you plan to inspire the next generation of women?

The best way to inspire is to continue to do good work. Women have no where to go but up!

AdForum.com recently interviewed IPNY Founding Partner and Creative Director Jill McClabb as part of the Women in Advertising series

PERSPECTIVES: WOMEN IN ADVERTISING 2018, JILL MCCLABB

“If you’re in a position to hire a woman, hire her. That said, she better be as good as the man that’s competing for the same job. The point of the movement is that we are as good as the men, just give us a chance, not a break.”

Tell us about who you are and what your job title is?

I’m a partner in an agency with four other partners. One of the best parts about my role is that I actually do the work and help clients, including some nonprofits, that I feel passionate about. It is refreshing after spending years at global agencies as a Group Creative Director, where my role was managing the creative process and most of my time was spent in meetings as opposed to creating.

Was there a job you had at one point, outside of advertising, that prepared you most for success later in life?

I can’t think of a specific job, but I think my love of dogs and horses has helped make the most of work life. For one thing, you have to have a life. Working all the time doesn’t give you time for creative inspiration. Walking your dog generates more ideas than staring at four walls in the office. Also, animals teach you to live in the moment, not in the past, allowing time to contemplate what might be.

What do you see as being the biggest change in the advertising industry since women have begun to break the “glass ceiling”?

The biggest change is opportunity. When I started in the business, there were many types of accounts you’d never be put on as a woman, like beer or automobiles.

From Like A Girl to Fearless Girl, a raft of advertising campaigns have set out to empower women. How do you feel about these campaigns? Can they change attitudes within the industry?

Anything that helps empower women is a good thing. I think the “Fearless Girl” campaign was a brilliant idea and was an incredible success for the client. That said, the “Like A Girl” campaign did more to make people see differently in a groundbreaking way, like the first Dove campaign or the Nike women campaign that broke in the 90’s. Little girls have been hearing the “Like A Girl” phrase for a long time and felt deflated. Hopefully these campaigns will make some of them feel differently.

How have the recent #MeToo and #TimesUp movements played out in the advertising sector? Are they making a significant impact?

Of course. The advertising business has been just as abusive to women as Hollywood. I knew many women who were put in horrible situations with no recourse. If they accused their accusers, they would never get a job again. Sleeping with your creative director was one sure fire method to get the plum assignments. In the end the blame should sit with the creative director, not the young woman, who is just starting out and easily influenced by their mentor.

Initiatives such as Free The Bid are trying to create more opportunities for women in advertising. But what could be done at a more grass roots level to attract women in the first place?

Practice what you preach! If you’re in a position to hire a woman, hire her. That said, she better be as good as the man that’s competing for the same job. The point of the movement is that we are as good as the men, just give us a chance, not a break.

Can you reflect on a mentor that helped guide you in your career and tell us what made them special?

I’m very lucky in that my mentor is also my business partner, Bruce Lee. I worked for Bruce at three different agencies: Ammirati & Puris, Wunderman and Ogilvy. Every assignment, no matter the size, he always approached with the highest creative standards. He also treated everyone fairly and gave everyone opportunities. The true test of a creative director is not just the awards they have won, but the number of people who will come back to work for them again.

How do you as a successful woman plan to inspire the next generation of women? In a few words, what advice do you have for women entering the advertising industry?

The best inspiration is doing. My advice for women entering the business is to stay on top of technology and always be learning. It’s important for creative people to understand new stuff as it debuts, learn to use it, figure out how to sell it, etc. Understanding how our world is changing on a human level due to advances in technology is critical for someone in communications. Look at the amazing response to the NRA recently, or the outrage over Facebook’s abuse of people’s information.

As published at The One Club for Creativity, by Brett McKenzie

As part of this year’s Radio Jury for the One Show Pencils, IP Chief Creative Partner Bruce Lee shares his thoughts with The One Club for Creativity on the past and future of our forgotten advertising medium.

Final judging for both the ADC 97th Annual Awards and The One Show 2018 is officially underway! Over the next three weeks, more than 200 esteemed creatives from all corners of the globe and across a multitude of disciplines will be selecting who will take home a coveted Cube or Pencil this May at Creative Week.

In the rush to experiment with the latest new technologies, creatives seem to have turned their attention away from the medium of radio — a shame since it’s one of the most perfect ways for talented copywriters to shine. Regardless, there’s still a home for audio-only advertising in The One Show 2018, and industry veteran and Chief Creative Partner of Interplanetary Bruce Lee is one of the many creatives on this year’s Radio Jury. We spoke with Bruce about his thoughts on the state of the medium.

Radio seems to be the forgotten advertising medium, or at least the medium that has been forgotten how to be done well. Why do you think it’s been so lost in the shuffle? As an industry veteran, whatever happened to “theater of the mind” or “the copywriter’s medium”?

In this country radio is fading because it has ceded control to media conglomerates who save money by cutting live presenters and play music through automated playlists. That’s a great formula for disrespecting and losing your audience, along with your advertisers. Plus, Gen Z has grown up in an on-demand digital environment. They’re all about streaming, which radio has yet to address. Radio as theater of the mind? That’s one of its eternal strengths. We writers just need a medium that takes itself seriously.

How can radio — or some other audio-only format — reassert itself in the advertising mix?

You could work the old radio magic in new digital formats with the right DJs and even commercials. It just needs to be captivating – like radio advertising was back in the day. Nothing so hard about reestablishing audio-only media. Look at the binge-popularity of certain podcasts. It just takes funding and an investment of imagination. Give me quality content I can’t get elsewhere and I’m yours.

As a One Show judge and as a student of the game, where is the best radio creative in the world coming from?

I really can’t answer this question confidently, other than to say that I heard some smart radio from Canada, England, New Zealand and a few other countries — and none from the U.S. So my opinion on worldwide radio is based on the 150+ spots I’ve judged for this Show. Most of those were in English. Surely there is creatively great radio in other languages?

Is there a particular entry among this year’s submissions that stands out to you as being Pencil-worthy?

There were a few contenders. My favorite is by McCann Canada for Prostate Cancer Canada (visit the link above to listen).  It’s very simple: A single announcer, who gives explicit instructions over the air for conducting a rectal exam on yourself, targeted to men who would prefer not having their doctor invade their privacy. Making the point that since the alternative, a do-it-yourself hand job, is a rather uncomfortable experience and you don’t really know what you’re doing, perhaps you’d be better off seeing your doctor after all, as it could save your life. The spot is cringingly funny. The writing is impeccable. The announcer is a master of comic timing. You listen to these precise instructions with mounting incredulity as the spot creates a visual image in your mind that could never play in video media. It’s pure radio.

What advice would you give a fresh new copywriter or creative team who groans when tasked with creating a radio campaign?

What you want for your career is an opportunity to make a demonstrable difference. No one cares about radio – that’s why it’s perfect for someone who wants to do interesting creative. You can do something awesome and not have twelve layers of approvers breathing down your neck. You’ll have a better shot at getting your work produced and winding up in shows like this one – shows that are looking for creativity that reaches beyond the usual. Not that long ago insurance was a creatively dismal category. Today there are several national insurance companies doing outstanding creative work and ambitious CWs and ADs kill to work on it. Radio is like what insurance used to be. Get in while no one still cares.

Judging for both the ADC 97th Annual Awards and The One Show 2018 continue through to early April. All winners will be unveiled during Creative Week, May 7–11

Interplanetary has a number of nonprofit clients on our roster. And every year we run a program to help organizations get ready to maximize the prime, end-of-year giving season (October/November). The 4th Quarterizer gets you organized, streamlines the process with internal groups, creates more emotionally compelling communications that drive better results, ensures consistent branding, and better equips your supporters to advocate for you. A turnkey program with discounted/package rates, The 4th Quarterizer is modular and customizable to your company’s specifications. Read more about it here.

If you’d like to maximize the opportunity your organization faces in the last two to three months of the year (including Giving Tuesday), contact Tom Steadman, Managing Director, at tom@IPNY.com

As published in Forbes.com

We’re talking advertising. And if ever there were a low-interest category in a highly regulated industry, it’s banking, closely followed by investment services.

Who even remembers the last financial-services ad they loved? I do. It was E*Trade: “He’s got money coming out the wazoo.”

But that was a decade ago. And in that same decade another highly regulated financial-services category, insurance, turned itself around by producing compelling, water-cooler advertising. Brands like Geico, State Farm and Allstate are often laugh-out-loud funny. And in our Millennial-seeking marketing environment, humor is proven to relieve the discomfort of being sold to.

If the insurance industry can get their advertising talked about, why can’t banking and investment brands?

They can.