Rdio launched in the US a full year before Spotify, so naturally when Spotify with all it’s marketing dollars and buzz plopped in from overseas I was a bit skeptical. Sure enough, the service wasn’t bad, in fact it was pretty good… but not nearly as good as Rdio. You see, Rdio wasn’t just a music streaming application, it was like my personal music concierge service. It curated music for me based on what my friends and trusted sources were listening to, and delivered it in an easy to use interface. I was swooning from day one. I’d watch in my newsfeed as friends would appear, listening to their music using the popular Spotify service and like a Mac user watching someone on a PC, I’d think… “Why are you using Spotify? Rdio does the same thing…. just so much better.”

Then… last week happened. Spotify Apps.

Spotify Apps came in and shattered my world. Akin to when my parents told me I was Jewish and Santa was never coming again, everything I thought I knew was out the window. You see, Spotify Apps with its wildly open API, allows all the trusted music sources you’ve relied on for the past 5-10 years to curate customized music experiences; essentially building their own little music apps on the back of Spotify’s library and music deliver system.

Spotify is to the music-blogosphere, as steroids are to Barry Bonds career (umm… allegedly), making something good into something great.  Spotify has essentially empowered your favorite sources for music discovery (blogs, magazines etc.) to become a true access point for music consumption.

Reading Pitchfork? Like that song, album? Add it to your favorites. Now you have it on your computer and phone. Spotify Apps have made themselves a blog’s best wingman. You’re going home with that record tonight, because quite frankly… it’s just so easy.

Dear Rdio,

I love you and I know we haven’t been spending that much time together… but there’s someone else….  I’m sorry.

After graduating high school I attended Syracuse University to study the music business. Over the next four years as I maneuvered between internships, booking shows and managing bands, I would watch the very industry I once glorified not merely implode, but leap off a bridge with a rock tied around its foot.

My freshman year of college would usher in massive changes to an industry largely stable for the prior 30 years. The proliferation of high-speed internet would bring about an era of media consumption in extreme volumes. The use of Peer2Peer networks would explode on campuses and record labels would see sales dive for the first time in a decade. The iPod was penetrating the market at unforeseen rates, redefining the music experience, and record labels were settling $75 million price fixing lawsuits while simultaneously vilifying their customers for downloading MP3’s they’d refuse to make legally available. By the end of the academic year, the iTunes Music Store had launched lending false hope that the worst was behind us.

Over the course of the next four years The Facebook appeared, record sales would fall off a cliff, labels would consolidate, and as the industry grew smaller it seemed that the only area of growth was in the sheer volume of music being shared and consumed.

After graduation day, sitting around with my friends peering off into the rubble that was the music business, a major label – the original end goal – was in fact the very last place I wanted to be. The internet had eaten the music business up and spit it out. I quickly realized the future of all media, not just music would be dictated by consumers and their interactions with technology. It’s for this reason I find myself at Glow, where I am able to leverage my understanding of the market place with the designers and developers who are constructing its walls.

Today, the music industry still has yet to recover. Record sales continue to decline, labels continue their layoffs and revenues are lower than ever. Bands have responded by incessant touring, saturating an already crowded market and the digital licensing world is in complete disarray. SoundExchange can’t seem to give away an estimated $9 million dollars in back royalties to musicians (and managers) who probably don’t even know it’s waiting for them. The industry is a hot mess. But the future of the business looks bright and here’s why.

New services, technology and digital platforms are constructing what will be the next iteration of the music business. As the pillars of this new music industry are put to soil, what will rise from the ashes is a robust business rich with content and revenue.

Today we consume all forms of content (video, articles, music and books) in higher volume. Our expectations are such that if we pay for it, we want it accessible whenever and where ever we may be. We want the ability to share it with our friends and experience it in groups. Until recently no legal model existed to support this behavior and arguably the technology wasn’t available. But consumer demand is what drives change.

iTunes addressed the demand for digital content but it did little to address the volume at which we were consuming.

How could I possibly afford to legally pay for the plethora of content I was exposed to online without going broke? Why would I spend that money if I couldn’t have it everywhere? My home, office, car, phone, in the park, on the subway…

Rdio, Spotify and MOG represent what has been the missing link in the digital revolution that devoured the music business. Since the introduction of the iPod nothing has transformed and redefined my music experience in such a pivotal way as Rdio.

I pay a monthly fee in exchange for access to nearly all the music I want, whenever and where ever I want it. It’s easy, organized, clean, headache free and most important… available EVERYWHERE.

In time, adoption of these services will increase, the pennies currently produced for participating artists will turn into dollars, and the $88 million distributed (in Q3) by SoundExchange for digital streams will grow to hundreds of millions.

In the not too distant future consumers will make purchases on Facebook as regularly as they do on Amazon. Managers and artists will begin taking control of their social properties, seeing them not merely as promotional platforms but as new revenue drivers and Donald Passman won’t issue a new edition of his famous book “All You Need to Know About the Music Business”, he’ll need to rewrite it from scratch.

First-Ever Browser-Based HTML5 ad for iPad
Wins MOBI and OMMA Awards

New York – Sept. 27, 2011 – Glow Interactive (www.glowinteractive.com), a leading New York-based interactive marketing, advertising and creative agency, today announced that the first-ever browser-based HTML5 “gamified” ad for the iPad, developed by Glow Interactive for USA Network’s show, WHITE COLLAR, and ran on The New York Times’ HTML5 web page in January in conjunction with the show’s seasonal debut, has been recognized by two distinguished industry awards in less than a week’s time.

Last week, Glow Interactive was the recipient of the 2011 MOBI Award (produced by Digiday and presented at The MOBI Awards Gala on September 21) for the “Best iPad/Tablet Advertising Campaign” for the interactive, rich media mobile advertisement for USA Network’s WHITE COLLAR. Then last night at the OMMA Awards 2011 Ceremony, Glow Interactive was presented as the winner for online advertising creativity in the “Rich Media: Single Execution” category for that same ad execution. The OMMA Awards for Online Advertising Creativity “honor those advertisers that push the potential of online advertising creative.”

“We are so proud of the Glow team and every member involved in creating this ad,” said Mike Molnar, managing partner of Glow Interactive. “This ad and the work put into it is a great testament to what innovative and creative advertising can really do to stretch the boundaries on the latest platforms and take engagement to a whole different level.”

The interactive, rich media advertisement was developed for USA Network’s show, WHITE COLLAR, with two main objectives: 1) raise brand awareness and 2) engage viewers to interact with the in-page game to unlock exclusive content of the show. The results of the campaign proved these objectives successful and served as a first-ever industry catalyst to prove a truly interactive “touch and experience” model designed to encourage engagement through a casual game format can work better than the traditional formats. The campaign boasted a total interaction rate of 6.22%, with nearly 36% of total viewers who watched the videos to completion in one day.

For more information about the campaign’s details, including creative credits, objective, strategy and results, Glow Interactive’s MOBI Award submission can be viewed here: http://www.dm2pro.com/articles/20110825_10. The project can also be viewed at http://www.glowinteractive.com/project/usa_network_white_collar_html5_ad.

Press Contact:
Jamie Larson
Intersect Communications for Glow Interactive
PH: 512-296-9611
jamie@intersectcom.com

New York – May 12, 2011 – Glow Interactive (www.glowinteractive.com), a leading New York-based interactive marketing, advertising and creative agency, today announced that its managing partner, Mike Molnar, has been selected by CableFAX as a recipient of the “Sweet 16 of Cable” award, which honors the top brand and agency advertising executives supporting the cable industry.

Recipients of this award were honored this morning at the CableFAX‘s annual Sales Executive of the Year and Sweet 16 Awards Breakfast at the Grand Hyatt in New York City. For the complete list of “Sweet 16” honorees, visit CableFAX’s award site: http://www.cablefax.com/cfp/events/seoy2011/#0. Nominations for the “Sweet 16” were chosen from a pool of media buyers and brand marketers who fervently support cable and whose brands have profited in the bargain.

“Mike has brought so much to the Glow team,” said Pete Levin, CEO and co-founder of Glow Interactive. “His new business and account efforts – across the board, but especially in cable – have really helped elevate Glow to the status we are at today. He’s a perfect fit for the Sweet 16 honor.”

As managing partner at Glow Interactive, Mike Molnar oversees the daily operations and works to continually develop the evolution of the company. Since joining the company in 2002, Mike has helped his partners Pete Levin and Ted Kacandes ramp up the company to 20+ people and leads new business initiatives and client relations. Mike has worked to launch several high profile, award-winning campaigns for The History Channel, A&E, HBO, Showtime, USA Network, Discovery Channel, Wendy’s, Canon and more. Collectively, the Glow team has won over 15 industry awards including multiple Horizon Interactive Awards, Promax/BDA, Webby’s, OMMA and AdTech honors. Prior to joining Glow, Mike was a publicist for “America’s Most Wanted” – his first foray in dealing with cable programs – as well as a celebrity publicist in NYC.

Good for me, that means when my niece comes to visit in early march, I have a good idea that I’ll be going to see this new children’s flick; it means that if I cared about getting into this new show Faceoff (which I don’t, its just not my kind of show) I could make a note to tune in to the first episode tonight, or set my DVR from my handy dandy fios app; and lastly if I was in the market for a new car (which many would argue I am, but I happen to love my 97 Honda POS) I know that Ford is producing full lines of energy and gas efficient vehicles should I choose to review their vehicles as an option.

How do you measure that?  According to so many, because I noticed these ads, got exactly what I needed from them, but did not offer up a click, it didn’t work.  To me, that’s absurd.  By that line of reasoning, we should dismiss our hardworking creative efforts for the past however many years in print, outdoor and television as nothing more than visual trophies that agencies can toss around for bragging rights. After all, you can’t click on them so they can’t be working.  Client got nothing out of them, right?  Sorry, we know that’s not true.  I mean, how may clicked on that billboard by Newark airport?  How many people tuned in or bought something specifically because of the commercial they saw on TV, exactly how many people?  When you can tell me that I’ll understand why TV still gets the lions share of media dollars.

Bottom line is we attach values to this more “traditional media.”  Aren’t outdoor billboards bought and sold based on volume of traffic relative to view?  Aren’t TV spots bought based on number of perceived viewers watching a show during a given time slot combined with demo?  I’m struggling to find the difference in how we buy or price ads online.  It’s all relative to traffic, period.  The more eyes, the more value and hence the more an ad spot will cost.

Before you get your iPod wires in a crinkle, hold on.  I get it.  We as web creatives, should be striving to get individuals to interact, because this happens to be the one and only medium in which they can.  The onus is on us to create ads that speak to people and resonate with individuals.  And yes to Mr. Wasserman, who wrote an excellent article titled, “The race to build a better banner,” we can certainly all agree that more clicks would be great. I just feel that to be held to click through rates as a core measure of success is asinine in today’s fragmented landscape.  In my opinion, this is all a matter of who you are and what you’re trying to accomplish as an advertiser.

In my opinion, this problem arises from a number of converging issues.  The need for better measurement tactics, the need for better education for our clients, many of whom still don’t understand the space well enough.  In the simplest form, are we always clear with what we ask of a user when we serve an ad? And probably most importantly, how to we reward them for interacting and interrupting their experience?  To me, its a matter of what business you’re in, and what you need to accomplish.  Sweepstakes entries requires clicks.  Finding out about a show or movie premiere does not.

An industry torn: Click Thru vs. Awareness

Lets take an industry very dear to me.  Television.  TV networks eternally struggle with what their digital display media should do: Should it inform and splash tune in messaging around so we know to tune in for the premiere is Friday, Tomorrow and tonight?  Or should it get people to the site.   The problem has waged war internally between site staff and marketing staff for the past 11 years I’ve been managing my clients in the digital space, and there is no foreseeable end in the future.   But remember, I learned all I needed to learn at the moment about Rango, the new movie that’s launching March 4^th, from simply seeing the banner next to content.   So if the goal is to drive tune in, then let’s make that the focus.  If it’s to drive entries, then we want clickthorugh.  If it’s to sample video, then we want interaction rate and engagement time with video views.  Measuring media success with a catch-all stat has never, and will never work for advertisers.

I can go into a slew of items that we’ve come to adopt as “best practices” for online advertising, but what the hell does best practices mean in a world that changes near daily?  The bottom line is that we, as an industry, need to get smarter.  Smarter in how we advertise online, and smarter in how we work to educate our clients on a landscape that shifts like clouds over Kauai.  We all have the opportunity to be pioneers these days, with every single campaign we wage online.  And we need to understand what our successes really are, versus what we’ve wanted them to be for 15 years.  It’s on us, as creatives, to continue not just building what publishers and vendors offer, but what we believe will help our advertisers deliver their message effectively.  We must always consider the audience first and what we want from them.  To do so, we must define our goals clearly at the onset and manage client expectations accordingly.

I think, in general, advertisers know that the Click is not the end all be all.  They understand the benefits, or at least are beginning to understand, the benefits of frequency and intent to tune in, vs click thru translating to tune in.  Yes, there are still many holdovers who are conditioned to stick with this as the party line, but in reality it’s shortsighted and a very lazy way to approach your online Display strategy and measurement.

I don’t feel as though we’re in the dark ages as an industry, as the IAB apparently does.  I feel as though we’re in a renaissance period, and it continues to get better as we press forward and innovate for tablet devices.   The fun is about to start all over again.

After all, in the race to build the better banner, the winner, in the end, should be the user.

When Apple announced that they would be exclusively creating iAds for clients, most industry insiders were skeptical. Turns out they were right, as the result has been delayed ads, delayed campaign rollouts and a slew of dissatisfied customers.

Since this topic seems to be a ‘We told you so” moment, we as an industry should focus on alternative means to delivering a powerful advertising and brand experience through new mobile devices. There is another way advertisers can get quality, rich-media advertising compatible with all popular devices (including iPhones, iPads, Androids and tablets), without Flash and without Apple.

The answer is simple, and yet many have overlooked it as a powerful vehicle for delivering advertisements: the browser. The fact that Apple’s mobile Safari browser has dominated the market should make us all see the magnitude of what this approach could mean billions of impressions, without having to download an app.

Blasphemy, I know, but I’m saying it’s possible to distribute great content outside the world of apps and plug-ins. With that being said, the alternative and logical next step in mobile advertising is to build HTML5 advertisements to run in-browser, not within apps. We’ve seen and heard about the HTML5 video alternative to Flash, but this article is more about how HTML5 will affect advertising and rich-media.

Just like any technology option, the pros and cons of the technology need to be considered when deciding on what to deploy based on the target device, intended audience and environment. At Glow Interactive, we consider ourselves technologists with a creative bent, so we like to embrace all the latest and greatest options and see what we can do with them.

Given our experience in working with HTML5 and other technologies, these are what we at Glow see as the main pros and cons of HTML5:

Pros:

• The technology is built off existing web development standards that have been around for a long time ultimately shortening the time-to-market and need to learn new technology
• An isolated and controlled browser and operating system (OS) environment drastically reduces quality assurance (QA) time and development
• HTML5 offers an alternative to static ads left behind because a user doesn’t have Flash, and with Apple’s devices cant acquire it
• The rich-media ads are cheaper to develop than iAds and don’t require Apple’s involvement or approval process, which could mean the difference to a brand being first or following its competitors
• Fluid, Flash-like experiences can be achieved with ease

Cons:

• Ads would be less immersive, as in-app ads command attention as they are user-initiated with “a lean-forward” approach to consumer advertising
• In-browser ads can be easily overlooked if consumers don’t know what to be looking for
• Purchasing power seamlessly integrated within the advertisement isn’t possible in this configuration
• Although HTML5 is gaining momentum, not all ad-serving platforms and publishers support the delivery of these types of ads (yet)

As mentioned earlier, we developed this list of pros and cons to be fair and open about the possibilities on the table. In order to experience an advertisement built in this environment, just fire up your mobile Safari browser and point it to this advertisement.

This advertisement is a prime example of a rich HTML5 experience replete with videos, animation and content. It takes advantage of touch gestures by allowing users to spin the navigation with their finger, and it functions very much like a Flash banner that you would normally see in a desktop browser. No more static alt-images left behind in an environment that is worthy of attention!

The unit created for the television network Syfy ran exclusively on The New York Times in conjunction with the premiere of Syfy’s smash hit Warehouse 13, the most watched series in channel history was served up by EyeWonder and developed by Glow Interactive.

So the next time you are considering rich mobile advertising, consider an HTML5 banner. We think it provides a solid alternative experience and you won’t be waiting around, watching competitors beat you to the punch.

Using FLEX to develop banners is not a common technique. For some, it may seem a bit gratuitous versus just using flash. Hopefully by the end of this series, I can convert a few people to make a switch. For a lot of designer/developers, FLEX is a foreign tool that is oft left unused, but when it comes to the creation of multiple banners in multiple sizes, in a short timeline, FLEX allows you to build banners faster that run faster and smoother than using Flash IDE. This is not to say that Flash can’t accomplish these things that FLEX can, but this is to say that once you learn how to appropriately include FLEX in your development process, it will save you time and allow you to focus on the parts of the banner that really matter – the creative.

One of the biggest hurdles for flash developers is how to get their banner designs into FLEX. While this article is not about how to use FLEX, I’ll briefly explain the model we use at Glow. We design all of our banners layouts within flash IDE. We usually put everything inside of one movieclip, typically named MCStage and we set the clip for export with a package that matches our banner (i.e. com.client.project.size.MCStage). By giving all your banners the same export clip, you can begin to easily template how graphics are brought into Flex. Within MCStage, you can setup your banner however you would normally setup a banner on the timeline. Then when you’re done, you simply generate a SWC file and save it to a swc library folder inside your flex project.

To begin, lets look at the problems FLEX helps us tackle:

• Easy banner creation, multiple resizing
• Changing constants between multiple files, such as frame-rate and dimensions
• Handling clickTag’s for multiple vendors
• Focus more time on the creative, not the structure

To address a quick criticism for those flash IDE die-hards, I do understand that its super simple to change the dimensions of a banner, frame-rate, or clickTags within flash IDE. The reason that I started using FLEX to develop banners is not because It’s hard to change these items within flash, but because it becomes time consuming to change these things when you’re producing 50+ banners a week across multiple sizes, and need to make changes to hundreds of banners at the same time. While your projects may not always be this large, these principles apply equally to small projects as they do to large projects.

The foundation of any template is an abstract class and/or an interface. This foundation class will provide you with enough functionality to cover any banner creative as well as be customizable enough to grow into any media project imaginable. For my example, I’ve created both an interface (IBanner) and an abstract (AbstractBanner) from which all online media projects I build extend. This file should facilitate all foundation principles of a banner that you would find useful in any online media situation. By examining the interface file, IBanner, you get an idea of what this foundation looks like:

public interface IBanner
{
	function init(event:Event=null):void;
	function onReady():void;
	function start():void;
	function stop():void;
	function reset():void;
	function bannerLoop(event:TimerEvent):void
	}

Any IBanner will accurately handle its own loading, starting, stopping, resetting and looping. Lets take a brief walk through how I implement these functions. To begin, lets look at our constructor:

public function AbstractBanner()
	{
		//initialize any foundation objects here;

		this.bannerState = BannerConstants.STATE_LOADING;
		this.loaderInfo.addEventListener(Event.INIT, this.init);
	}

This function is very simple. The first thing we do is set our bannerState to a loading state, add an event listener to listen for when the file itself is completely loaded. This ensures the banner doesn’t begin before everything is loaded. bannerState is simply a variable you can check against to ensure that nothing is happening when it shouldn’t be. In its most basic form, there are three banner states: Loading, Ready, and Complete.

public function init(event:Event=null):void
	{
		this.stage.frameRate = BannerConstants.FRAME_RATE;
		this.stage.scaleMode = StageScaleMode.NO_SCALE;

		this.loaderInfo.removeEventListener(Event.INIT, this.init);

		this.bannerState = BannerConstants.STATE_READY;
	}

Then, in the init function, we can begin to set up constants that can be shared between projects. These basics listed here are frameRate and scaleMode but can include anything you’d need to be the same across multiple files, such as tune-in text, load locations, security permissions, etc. The last thing we do is set the banner state to Ready which tells our main loop that you can start running. From here, programming your banner is pretty simple. I use onReady to set up any graphics, and then call any number of custom functions to animate the graphics of the banner. At this point, start and stop are not as necessary for standard banners, but they become much more useful when extending this class for rich media.

By having all your banners extend from this template, it allows you to easily set up similar behavior for all your banners. Nothing exemplifies this more than clickTag’s. Our navigateToUrl function looks as follows:

public function navigateToUrl(url:String, description:String=""):void
	{
		var sURL:String;
		if ((sURL = root.loaderInfo.parameters.clickTag))
		{
			navigateToURL(new URLRequest(sURL), "_blank");
		}
		else
		{
			throw new Error("clickTag not found in loaderInfo.parameters, but user did click banner, Actionscript 3.0 Flash Player 9, " + new Date());
		}
	}

This function represents a standard Dart clickTag (because the majority of our banners are served through Dart). When we need to make a clientX version of the banner, all we have to do is make a new abstract that extends this class, customize the navigateToUrl function, and then extend your banner from that.

The last function of importance is bannerLoop. This is the tree from which all the banners’ branches stem. The last point problem I listed above is focusing on creative rather than building banner structures and that is where this function becomes essential. At its essence, our bannerLoop provides a model for building any number of effects, particle generators, syncing banners and much more. The foundation of all of this comes from our updateObjects model. UpdateObjects will be explained in more detail in a future article, but if you look at the function below, you can see how they are implemented:

public function bannerLoop(event:TimerEvent):void
	{
		switch(this.bannerState)
		{
			case BannerConstants.STATE_LOADING:
				//nothing
				break;
			case BannerConstants.STATE_READY:
				if (this.updateObjects.totalUpdateObjects > 0)
				{
					var now:Number = getTimer();
					var dt:Number = now - this.oldTime;
					this.oldTime = now;
					dt = dt < 0 ? 0 : dt;

					this.currentAnimationTime += dt;
				}

				this.updateObjects.update(this.currentAnimationTime);

				if (this.currentAnimationTime > BannerConstants.BANNER_LENGTH)
				{
					this.bannerState = BannerConstants.STATE_END;
				}

				break;
			case BannerConstants.STATE_END:
				//nothing
				break;
		}
	}

Lastly, an ancillary bonus of building a template is to provide functionality that you use during the development of banners for all your banners. One example of this is a function we use in virtually every banner project, hideDisplayObject(… args). This function sets the visibility of any clip you pass to it. I use this all the time to hide stage items after their alpha is tweened to 0.

protected function hideDisplayObject(... args):void
	{
		for each (var target:DisplayObject in args)
		{
			if (target)
			{
				target.visible = false;
			}
		}

	}

You can begin to see how important building a solid foundation for your banners becomes. In future articles we’ll discover how this abstract can be used to build any online media project from simple video players to full page take overs. However, with the ideas outlined here, you have a foundation from which you can quickly build, duplicate, and resize any standard media project. If you have any questions about the ideas outlined here, feel free to leave a comment below.

“If your app uses location-based information primarily to enable mobile advertisers to deliver targeted ads based on a user’s location, your app will be returned to you by the App Store Review Team for modification before it can be posted to the App Store.”

Why does this suck? Because it doesn’t allow developers or advertisers to deliver relevant ads to users depending on where they are. There is a caveat however. If your app is a location-based app, it’s OK to serve geo-targeted ads. If your app is a game, rejected. Apple claims that this is to protect the user experience but really, how would serving location-based ads in a game comprise the user experience?

The real reason, as most see it, is to leverage their recent purchase of the Quattro ad network which will most likely be integrated into the iPhone development SDK.

We can thank Ben Franklin for penning that truism.  However, if Benny were alive today, he might have modified it to read “The only things certain in life are death and taxes and increased interactive marketing budgets.”

Now, we’re NOT a market research firm or think tank – nor do we want to be one.  We’ll gladly leave that to Forrester, Frost & Sullivan and the like.  They’ve put in the hours to forecast global ad spending figures and trends.  Feel free to buy their reports or just peruse some headlines in Ad Age for a few precise stats.

However, we ARE an interactive development agency which has played exclusively in this sand box since before the turn of the century.  And we’ve witnessed first hand the transformational shift away from traditional channels to social and interactive media, which has completely changed the landscape for advertisers, agencies, publishers, and most importantly, consumers.  While we admire the early adopters who continue to press the boundaries of interactive design and technology, we note that even the sleepiest of giants are finally beginning to wake up and smell the Return On Investment.

The fact is saying your brand has a digital strategy and buying some media on staple sites such as Yahoo, AOL and the like isn’t good enough anymore.  I mean, who does anything other than check mail on AOL?  Nope, a media buy alone won’t separate you apart from the pack.  It takes much more in terms of planning and dollars now to be effective.  The companies who are asking the right questions and forcing their clients to think about new and developing channels are the ones who are poised for the most growth and success because it’s that type of thinking that will grab the budgets from hungry advertisers.

The train’s long left the station and ‘old world’ agencies and related thinking are unfortunately still stuck on the platform.