Wednesday, August 31, 2016

13326: Saatchi & Saatchi & Diversity.

Advertising Age reported Saatchi & Saatchi New York replaced the White men serving as CEO and Chief Creative Officer with non-Whites—and the CEO replacement is a woman. Gee, was this a final move for diverted diversity and true diversity by soon-to-be-former Saatchi & Saatchi Chairman Kevin Roberts? Or will Cindy Gallop tweet to take credit for the decision? The timing sure works with the General Mills account review featuring diversity requirements for women and people of color.

Brent Smart, Jay Benjamin Leave Saatchi New York; Andrea Diquez Is New CEO

Javier Campopiano Replaces Benjamin as Chief Creative Officer

By Laurel Wentz

Saatchi & Saatchi New York’s CEO Brent Smart and Chief Creative Officer Jay Benjamin are leaving the agency this week, and will be replaced starting Sept. 1 by President Andrea Diquez and Javier Campopiano, currently Miami-based chief creative officer of Latin America and Saatchi’s U.S. Hispanic shop Conill.

The news is being announced at a staff meeting today at 3 p.m. in Saatchi’s New York office.

Mr. Smart took the CEO role less than three years ago, in November 2013, replacing Durk Barnhill, who only held the job for a year. Mr. Smart has been close to the General Mills business—he was worldwide managing director on General Mills before becoming New York CEO—and that creative account, one of Saatchi’s biggest, is currently in review in the U.S. Mr. Benjamin joined Saatchi three years ago from a similar role in the New York office of Publicis Groupe sibling Leo Burnett.

“Jay and I started this journey of reinventing Saatchi New York together as partners, and we’ve decided to finish as partners, as we both leave the agency to pursue other opportunities,” Mr. Smart said in a statement.

Ms. Diquez, who became president of Saatchi New York in October 2015, is a 20-year Saatchi veteran with a background in regional and global account management. A native of Venezuela, she began her career at Saatchi’s U.S. Hispanic shop Conill. She moved to Mexico City in 2011 to become CEO of Saatchi & Saatchi Mexico, returning to New York in 2013 as exec VP-global director to run the Olay business from Procter & Gamble, Saatchi’s biggest global client.

In her new CEO post, she will continue her leadership role on P&G. Her promotion comes almost a month after Saatchi Chairman Kevin Roberts resigned in the wake of controversial comments about gender diversity.

Mr. Campopiano rejoined Saatchi from FCB in 2014 to lead creative in Latin America and the U.S. Hispanic market. During his four years at FCB, Mr. Campopiano was regional executive creative director for Latin America and then chief creative officer of FCB New York. Earlier in his career, he was a creative director at Ogilvy & Mather and J. Walter Thompson in his native Buenos Aires before joining Saatchi in 2007 as creative director in Argentina and regional creative director leading Latin American work for P&G. He is relocating to New York from Miami this week.

13325: General Bullshit From General Mills.

Advertising Age reported the General Mills account review for its U.S. creative and content work isn’t closed after all. Plus, the competition includes diversity requirements, whereby contenders must have creative departments employing at least 50% females and 20% people of color. If the review is truly open, the competing agencies should be required to publicly share the specific inclusion figures. Ad Age identified one competitor as Deutsch, a White advertising agency that deserves to be immediately nixed based on its dearth of diversity and dearth of diversity director. Another contender—Mother—ought to be eliminated just for having produced the infamous Mary J. Blige Burger King bullshit. Oddly enough, incumbent Saatchi & Saatchi won’t participate, despite recently replacing two White male leaders with non-Whites—and one of the replacements is a woman! Finally, Gracie and Raphaëlle should be allowed to make the final selection.

General Mills Opens Up About Its ‘Closed Review’ and Its Five Finalists

Unexpected Shops Are in Contention; Contestants Must Meet Diversity Requirement

By Judann Pollack

General Mills’ U.S. creative review isn’t closed as previously believed—in fact, the marketer is proceeding with some shops not currently on its roster, including Deutsch and Mother.

The other agencies going through to the second round are incumbents 72andsunny, McCann and, rather than Saatchi, a holding company solution from Publicis Groupe.

In another rather unusual twist, General Mills is requiring that participating agencies are staffed with at least 50% women and 20% people of color within the creative department.

In an interview with Ad Age, General Mills Chief Marketing Officer Ann Simonds, who is running the review with Chief Creative Officer Michael Fanuele, described the review as part of a “reengineering, a reassessment of our company and our marketing in particular,” following the company’s adoption of a purpose statement in June 2015 to “serve the world by making food people love.”

The food marketer last year consolidated its media with Mindshare and Ms. Simonds said the current review is intended to insure that “our creative excellence is as robust, modern and relevant” as it can be.

The goal is “one core agency to handle the bulk [of the work] but to supplement with other partners, which might be technology platforms or media partners,” said Mr. Fanuele, or “an anchor agency supplemented with a roster of interesting partners.”

Ms. Simonds said the review was prompted by a desire on General Mills’ part to zero-base its thinking on marketing. “In any relationship, there is an opportunity to rejigger and represent who we are and how we work some of our incumbents moving forward, but going forward with a commitment to reinventing the relationship as we are [doing],” she said. Ms. Simonds said that over time “a laziness can happen” in which companies and agencies can “incrementalize the small decisions” or do the same thing every quarter as opposed to making material differences in marketing. “Over time, things just get bolted in,” she said.

“I do not find joy in change for change’s sake,” noted Ms. Simonds.

When asked whether General Mills was concerned that there may be some complacency on the part of its agencies, Ms. Simonds said, “I would never describe our partners as complacent. But you don’t know what you don’t know and that goes for us and our partners. This is a flashpoint in the history of General Mills to start over again.”

Ms. Simonds and Mr. Fanuele met with the shops in contention for what it called a “creative salon,” a 90-minute meeting which was part chemistry check. The finalists, informed this week, are taking different approaches to the process. When asked why Publicis is offering a holding company solution and McCann is not pitching as IPG, Mr. Fanuele said that could still happen. “The clay is still wet on the proposal,” he said.

“There has been so much talk about agencies being broken and old fashioned, and we as a company remain deep believers in the power of teams with creative thinking to transform a business,” said Mr. Fanuele.

He said that General Mills isn’t necessarily asking for a holding company solution. “This an exercise in finding the right partners, not the right model.”

The next step for shops in the review, conducted by Joanne Davis Consulting, will be workshops over the next five weeks “to get a deeper sense of culture and beliefs for a couple of brands,” said Mr. Fanuele. There will also be a meeting with Mindshare.

He said the company hopes to have a “new partner before we have a new president.”

Ms. Simonds said that while “cost considerations have a role” in the review, they “did not spur it.” The purpose is to make the “right investments and the most important calls,” she said.

As for the diversity requirement, Ms. Simonds said, “we are very excited about that. If you are going to put people you serve first, the most important thing is to live up to it and make it a key criteria.” Mr. Fanuele said the company also made sure to specify that there is diversity not just in the agency but within its creative department. “Agencies are fairly diverse in account and strategic planning, but not with the people who are making the work,” he said.

“It feels like a first” in the industry, Ms. Simonds said. “I think it’s rare and it is important.”

13324: Introducing McBabel.

Adweek and MediaPost also reported on the Mickey D’s and Omnicom McMarriage, which will feature an “Agency of the Future” hand-made for the fast feeder. It’s somewhat ironic that special orders lead to messy customer experiences in McDonald’s restaurants, but the corporation required customized service for its advertising and marketing. Regardless, the PR hype from Omnicom and McDonald’s warrants examination and speculation.

DDB Worldwide President and CEO of North America Wendy Clark gushed the following:

“Exactly 18 weeks ago today, we received a dream brief from one of the most iconic brands in the world … to create ‘the agency of the future.’ The best and the brightest talent across multiple Omnicom agencies came together over the last 4 months to create, operationalize and deliver on that brief. The result is a customized agency built with intelligence at the core, to fuel brilliant creative work, that’s delivered at the speed of the marketplace at an efficient cost. We are thrilled and honored to be selected and excited about immediately creating impact for McDonald’s business.”

McDonald’s USA Chief Marketing Officer Deborah Wahl issued the following gobbledygook:

“Part of building a better McDonald’s means not only making changes to our food and our restaurants, but also how we conduct business, and we’re excited to announce McDonald’s USA has selected Omnicom as our partner to create a new agency which is yet to be named, to build the agency of the future. This new agency will become our partner for all U.S. National Marketing initiatives. In selecting this agency, we will have access to top talent, technology and thinking with digital and data at the core.

They are fast, fluid and flexible and poised to deliver the caliber and volume of storytelling needed to support our business today and into the future. This new model will, over the next few years, create great work at the speed of the marketplace at an efficient cost.

Their creative approach and bold use of channels will elevate our connections with customers in new and innovative ways.”

Okey-doke. This all sounds like a McDonaldland fantasy. Were Ronald McDonald and Mayor McCheese consulted on the grand scheme? The Hamburglar could have offered ideas to enhance speed and cost efficiencies.

Has anyone noticed that “Agency of the Future” is a term typically embraced by professionals who are firmly stuck in the past? From Draftfcb to Enfatico, agencies of the future quickly become history—and never generate sustainable, futuristic innovations. The holding company itself is the root problem. Holding companies are the only enterprises with the resources and scale to fabricate an agency from scratch for a huge client; at the same time, holding companies are comprised of established-yet-outdated firms and executives, so the end product is more of the same. Scooping together distinctive turds ultimately leads to one, big pile of poop. Additionally, integrated marketing—where multiple disciplines and practices work in harmonious collaboration—is still a myth. It becomes a Tower of Babel 2.0, with individuals unable to communicate via a common language—not to mention a common P&L or compensation structure. Hey, here’s a name for the new shop: McBabel.

Wahl babbled about the new agency having “digital and data at the core”—which is a scary thought, as Omnicom does not have strong digital capabilities. Granted, WPP, Publicis Groupe and IPG aren’t much better, but at least they’ve made greater (albeit foolhardy) acquisitions of digital properties over the years.

The big question is, will digital and data be accompanied by diversity? Inventing a new business model without consciously incorporating inclusion is obscene, especially given the history of our industry. Surely the “Agency of the Future”—hatched by the holding company with a Pioneer of Diversity at the helm—will reflect the customers McDonald’s hopes to connect with in newly elevated and innovative ways.

Will McBabel deliver on the dream brief—or will the dream remain deferred, diverted, delegated and denied?

Tuesday, August 30, 2016

13323: Jayanta Jenkins Jumps To Twitter.

Advertising Age reported advertising veteran Jayanta Jenkins is leaving his role of Global Creative Director at Apple/Beats by Dre to assume the position of Global Group Creative Director for Twitter. Great. Black representation in the advertising industry continues to decline. Are there even 140 characters of color left in adland?

Jayanta Jenkins Named to Top Creative Post at Twitter

Making the Move From Beats, Industry Vet Led Celebrated Work for Nike and Gatorade

By Ann-Christine Diaz

Twitter has named ad industry vet Jayanta Jenkins its global group creative director, the company’s highest creative role. Mr. Jenkins most recently served as global creative director of advertising at Apple/Beats by Dre. Throughout his advertising career he has steered celebrated work for Nike, Gatorade and Powerade, among others.

In his new post, Mr. Jenkins will oversee Twitter’s in-house creative team, reporting to VP-Global Brand Strategy Joel Lunenfeld.

Mr. Lunenfeld, CMO Leslie Berland and Mr. Jenkins announced the news on Twitter today, which also happens to be Mr. Jenkins’ birthday.

“It’s an extremely exciting opportunity to go from a successful advertising career into a new type of leadership role,” Mr. Jenkins told Ad Age. “For me, this was exclusively about challenging myself and looking to do something that completely disrupted my approach and what people look at me as having done.” As for what he plans moving forward, at this point, “it’s really undefined,” he said. Appropriately enough to the brand, “I’m a person that lives in the moment,” he added.

He joins Twitter at a point in which its in-house creative practice has become centralized and the brand is making moves to tell its story in a bigger way, via marketing.

About five years ago, the company had formed a brand strategy unit to team up with advertisers and show them creative ways to work with Twitter, according to Mr. Lunenfeld . Under Twitter’s communications team, the brand started to grow out a consumer-focused team on product marketing, as well as one for b-to-b. When Ms. Berland joined as CMO earlier this year, all those teams were centralized into a single group. Since then, the brand has debuted a big new marketing push that aims to educate the public on what Twitter is really about, and on how to use it.

“That was really about step one, which was to take the reasearch that showed very clearly over the years that awareness of our existence is well over 90%, but usage it much smaller,” said Mr. Lunenfeld. “There were misconceptions that Twitter was just another social network, so we really wanted to inform people of what Twitter is about,” he said. “Twitter is where you go to see what’s happening everywhere in the world right now,” Ms. Berland noted in a blog post introducing the first ads.

“There are some really raw tools I’ve played with in other points of my career, but honestly, this place will open up the aperture of what I’ve done,” Mr. Jenkins said.

Mr. Jenkins made the move from agency to client side when he joined Beats in July of last year. He began his career as an art director at the Martin Agency before going on to senior roles at Wieden & Kennedy and TBWA/Chiat/Day.

His oeuvre is defined by culturally charged hits such as Gatorade’s humorous “Sweat It to Get It,” starring Peyton Manning and Cam Newton, and “Win From Within.”

He also worked on Nike’s hilarious sitcom-style “The LeBrons”; the “Chamber of Fear” campaign that gave birth to early viral sensation “Afro Ninja”; “Love Me or Hate Me,” which played on the idea that Kobe Bryant had never earned full acceptance by b-ball fans; and Nike’s Michael Jordan farewell “Goodbye, Mars,” which also paved the way for the new Jordan Brand.

He also helped to lead TBWA/Chiat/Day L.A.’s entertaining content series for Pacific Standard Time, which paired modern-day creative celebrities with more established ones.

While at Beats, he oversaw the brand’s films starring Serena Williams, Draymond Green and Cam Newton.

His appointment sees the arrival of an African-American leader in a chief exec post—a rarity not just in advertising and marketing, but also the tech world. “I feel fortunate to have worked at a lot of great places, from an agency in the south at Martin in Richmond to Wieden and Chiat,” said Mr. Jenkins. “My journey has led me to this moment and I just want to continue on the path of putting out interesting things and things that create inclusion. I want to continue to extend myself and kick ass, to be honest.”

“We’re a platform where inclusion lives,” said Mr. Lunenfeld. “We allow for differences and for everyone to be heard.”

In the coming weeks, Mr. Lunenfeld said Twitter will be debuting plenty of new messaging, both on its own and other platforms. Those will include content around the NFL season as well as messages around the idea of everyday storytelling.

“We’ve just begun to tell our story,” said Mr. Lunenfeld, “We have a lot of work ahead.”

13322: Sorrell’s Sorry Story.

Wanted to elaborate on the Harvard Business Review navel-gazing by WPP Overlord Sir Martin Sorrell, as it serves as a classic case study on corporate cultural cluelessness in the advertising industry.

The title of Sorrell’s self-absorption—WPP’s CEO on Turning a Portfolio of Companies Into a Growth Machine—is extraordinarily accurate and appropriate. That is, WPP is a machine, and machines do not naturally incorporate the emotional components necessary for concepts like diversity. Hell, it could also be argued that Sorrell is closer to being a machine than a man.

The tale opened with Sorrell bowing to bankers over the company’s financial crisis. From the beginning, profit and revenue trumped people and resources. It was all about acquisitions in terms of companies versus communities, real estate versus real people. The glorified accountant devised a solution to create solvency, not serenity.

Give Sorrell credit for his financial success. But recognize that the man built a machine, and the beings within the machine are cogs. For starters, the overall acquisition scheme perpetuated sameness; that is, when you buy one White advertising agency after another, the end result is one White holding company. And when Sorrell discussed talent investment, he was only talking about cog collecting. As such, it made little sense for him to consider the uniqueness of the cogs; rather, it was just necessary to replace and replenish the cogs by acquiring them as efficiently as possible. In short, WPP drew—and continues to draw—from a White supplier program. And if the current cogs keep the machine running, there’s no need to change the system.

Yes, Sorrell announced that he’s also adding White female cogs to the mix, but it’s still a limited and exclusive supply chain. There is no demand to introduce diverse cogs. In fact, the existing machine might reject such an infusion. Ironically, WPP has produced and received praise for notable advertising that is pro-White women.

Compare the faux advocacy to advertising shat out for diversity, and the company’s priorities become clear.

Sorrell has openly acknowledged the dearth of diversity within his machine. Unfortunately, he hasn’t identified a financial or business need to alter the cogs. So, despite the public hand-wringing gestures, there is no imperative to actually act on the matter.

For now, until the bankers—or revenue-providing clients—demand that Sorrell rejigger the cogs, diversity will remain a dream deferred, delegated, diverted and denied. And WPP will fittingly remain an acronym for Wire and Plastic Products.

Addendum: Shortly after this post was written, WPP announced that former JWT Worldwide Chairman and CEO Gustavo Martinez is still working for the enterprise, despite having resigned in response to a court case featuring accusations of sexual harassment, racism and other assorted bad behavior. This disturbing disclosure underscores that WPP is indeed a machine. Even if Martinez is found completely innocent of the charges against him, couldn’t the White holding company have waited for a rendered verdict before seeking to gain revenue by rehiring the defendant? Reinserting a cog accused of harassing women—while jumping on the White women bandwagon—sends contradictory messages. Which is a polite way of saying that Sir Martin Sorrell is a fucking hypocrite.

Monday, August 29, 2016

13321: McAgency Of The Future.

Advertising Age reported Mickey D’s fast-fed its U.S. creative business to Omnicom, and the White holding company has created a “new agency of the future” to exclusively handle the account. The mysteriously wondrous enterprise will be run by Wendy Clark. Looking forward to seeing how the McAgency is staffed, given Clark’s restless commitment to diverted diversity and faux dedication to true diversity, as well as her focus on recruiting and retaining top talent. “Omnicom has built a new agency of the future for us,” gushed McDonald’s U.S. Chief Marketing Officer Deborah Wahl. “This agency of the future really has digital and data at the heart, which allows us to be customer obsessed at a whole new level in everything that we do.” Wow, somebody’s drinking the McKool-Aid. Did Omnicom have to erect an “agency of the future” because its current clan of White advertising agencies is stuck in the past? And will the digital and data include diversity? Finally, it could be bad news for Burrell—the Black advertising agency under the Publicis Groupe umbrella—who has serviced Ronald McDonald and his crew for decades. Will Burrell keep the Golden Arches or get a golden shower?

McDonald’s Picks Omnicom as Winner of U.S. Creative Review

Holding Company Will Set Up Dedicated Agency Led by Wendy Clark

By Jessica Wohl

Did somebody say Omnicom?

After a hard-fought four-month review, McDonald’s has chosen Omnicom Group over Publicis Groupe to handle its U.S. creative account. The Omnicom pitch for the country’s largest fast-feeder was led by DDB North America CEO Wendy Clark, who will have oversight over a new, as yet unnamed agency dedicated exclusively to McDonald’s.

“Omnicom has built a new agency of the future for us,” said McDonald’s U.S. Chief Marketing Officer Deborah Wahl in an interview with Ad Age. “This agency of the future really has digital and data at the heart, which allows us to be customer obsessed at a whole new level in everything that we do.”

Ms. Wahl said that beginning Jan. 1, 2017, McDonald’s work will be handled solely by the new Omnicom operation, which will be based in Chicago. McDonald’s plans to move its headquarters from suburban Oak Brook, Ill., back to Chicago by early 2018. It was not immediately clear who would lead the team itself. Ms. Clark will have oversight of the agency, McDonald’s said.

The decision, which ends one of the most closely watched reviews in recent years, means that Publicis’ Leo Burnett Co., which has worked with McDonald’s for 35 years, will no longer be on the U.S. roster. However, Publicis will still have some business for the fast-feeder outside the country.

“Publicis as a whole has been a great partner and we continue to value the relationship,” Ms. Wahl said.

The review began in late April and included Omnicom Group, Publicis Groupe and WPP, which dropped out of the process this spring.

When WPP dropped out of the race for the McDonald’s account, some suggested it was because the chain was asking the companies to work at cost. “That was not from us at all,” Ms. Wahl said. “It wasn’t about a cost exercise or not paying anything to the agency. The purpose is to look, again, in this new world where the level of storytelling and creative is so exponential, how do you do that in a way that makes sense and that you can afford to do.”

Still, McDonald’s is “adding a pay-for-performance aspect to it,” Ms. Wahl said, based on metrics that will be a mutually agreed upon mix of more classic marketing metrics and brand health, along with items such as restaurant sales and traffic, or the number of visits. She declined to be more specific.

For McDonald’s, a key factor in its choice was this new agency model, which Ms. Wahl said should enable the brand to be faster and more flexible and allow the agency to handle an increasing number of assignments.

“It’s poised to deliver the caliber and certainly the volume of storytelling that’s needed to support our business today which, frankly, has increased exponentially and we think that trend is going to continue,” Ms. Wahl said. She stressed that digital and data will be at the core of the new agency and should help the massive brand personalize its consumer engagement.

McDonald’s was the 28th largest advertiser in the United States in 2015, spending $1.43 billion, according to the Ad Age Datacenter.

The review only covered the U.S. creative account. Omnicom Media Group’s OMD Worldwide, McDonald’s existing media agency, was not involved in the pitch at all in order to keep the process “extremely equitable,” Ms. Wahl said. Neither was DDB’s Alma, which does some of McDonald’s multicultural work.

McDonald’s is the latest big win for Omnicom. Earlier this month, AT&T consolidated its creative, digital and media accounts with the holding company.

The way Ms. Wahl sees it, the dedicated agency model should help eliminate obstacles that can arise when multiple agencies, even agencies within the same holding company, collaborate and have different targets and budgets. “It’s going to be a whole new era of creativity and new models that will be fantastic for the business and the industry overall,” Ms. Wahl said.

Before making its decision, McDonald’s met multiple times with both Omnicom and Publicis. The process included several “chemistry sessions,” as Ms. Wahl described them, including having each holding company choose a location. For that meeting, Omnicom took over a whole floor and showed how it would set up the new agency, giving McDonald’s a sense of how it would look and feel different.

For now, there are no plans to initiate reviews on other aspects of the U.S. business, such as public relations and multicultural work. Also not changing, at least for now, is the “I’m Lovin’ It” tagline, which was not part of the brief or pitch process. “We’ll see where that develops, but for now ‘I’m Lovin’ It’ remains,” Ms. Wahl said.

The agency overhaul comes as McDonald’s makes changes to its food, decor and other aspects of its business and tries to establish deeper connections with its customers through a mobile app and other updates. CEO Steve Easterbrook stepped into his role in March 2015 to help the Golden Arches out of a prolonged sales slump, particularly in its home market. McDonald’s began posting positive sales at longstanding U.S. locations in the third quarter of 2015 after nearly two years of declines.

13320: CARFAX Is So Ghetto.

PR Newswire reported CARFAX hired Campbell Ewald as its new White Agency of Record. “We were very impressed by Campbell Ewald’s work helping other companies better understand the needs of their customers,” gushed CARFAX President Dick Raines. “We’re excited about working with Campbell Ewald to let consumers know about all the new ways we can help with their used cars.” The first campaign will probably hype CARFAX’s new “Summer Ghetto Days” sales promotion.

Campbell Ewald Appointed Agency Of Record For CARFAX

DETROIT/PRNewswire/ -- Marketing communications agency Campbell Ewald today announced that it has been named agency of record for CARFAX, the vehicle history expert for used car buyers, sellers and the automotive industry, following a competitive review.

Campbell Ewald’s scope of work for CARFAX includes brand and product positioning, creative strategy and direction and the creation of a comprehensive Consumer Experience Journey Map.

The news comes after Campbell Ewald was recently selected as the new creative agency for IHOP.

“With automotive shopping being an overwhelming and intimidating process for some consumers, our work will showcase the ease, reliability and range of services available from CARFAX,” said Kevin Wertz, CEO of Campbell Ewald. “With more than a century of experience working with the auto industry, and our proven expertise in the purchase journey of today’s consumers, we know this partnership will be an exciting one for both Campbell Ewald and CARFAX.”

Campbell Ewald will work with CARFAX to evolve the brand by raising awareness as the company continues to expand its portfolio of product offerings. The agency will continue to leverage the brand’s iconic CAR FOX, which was created in 2009.

“We have been working hard to develop new products that help people buy, sell and own their cars with more confidence,” said Dick Raines, president of CARFAX. “We were very impressed by Campbell Ewald’s work helping other companies better understand the needs of their customers. We’re excited about working with Campbell Ewald to let consumers know about all the new ways we can help with their used cars.”

13319: Diverted Diversity Dummies.

Wanted to offer a few additional thoughts regarding the comedic, compact, culturally clueless conflict between diverted diversity champion Cindy Gallop and soon-to-be-former Saatchi & Saatchi Chairman Kevin Roberts. It all started when a Business Insider interviewer commented about the numerous industry leaders jumping on the White women bandwagon—especially the Tweet-happy Gallop—which prompted Roberts to spit out the following remark:

“I think she’s got problems that are of her own making. I think she’s making up a lot of the stuff to create a profile, and to take applause, and to get on a soap[box].”

The two short sentences ignited an online stir, with Gallop fans rallying to position her as a female provocateur, diversity advocate and cyberbully victim. Gallop initially insisted she wouldn’t dignify Roberts’ opinions with a response. But as it’s a woman’s prerogative to change her mind, she quickly countered by declaring Publicis Groupe should have fired Roberts and replaced him with her—at the chairman’s $4,137,786 salary, of course. Publicis Groupe has not yet responded to Gallop’s goofy offer.

It could be argued that the grandstanding Gallop corroborated Roberts’ remark. That is, she shifted the spotlight from the original diverted diversity discussion to herself. Plus, the Business Insider interview acknowledged that Saatchi & Saatchi “does happen to have a lot of female leaders that act as role models to other women in the business”—so it’s quite probable that Roberts has actually done more to accelerate the White women bandwagon than Gallop. Regardless, lost in the childish squabbling was another remark from Roberts that has gone virtually ignored:

This is a diverse world, we are in a world where we need, like we’ve never needed before, integration, collaboration, connectivity, and creativity … this will be reflected in the way the Groupe is.

Okey-doke. Unfortunately, the Groupe doesn’t come close to reflecting the existing diverse world. The Supervisory Board features at least two characters who earned their roles through nepotism. And the Audit Committee, Compensation Committee, Appointment Committee, Strategy & Risk Committee, Management Board, Management Board+, P12 Executive Committee and Strategic Leadership Team are predominately comprised of White people—male and female, in case Gallop didn’t bother to notice. Hence, swapping Roberts for Gallop would only mildly improve the biracial mix of the Groupe.

Gallop also whined, “… [C]ontrary to his remarks directed at me, nobody anywhere is paying me anything to do the work I do in this area.” Um, Roberts never stated Gallop was being paid to create a profile, take applause and get on a soap[box]. Chief Diversity Officers aside, no one should receive money to do the right thing. It ought to be an expected responsibility attached to any $4,137,786 salary—or whatever exorbitant compensation Gallop enjoyed while she was officially toiling in the business yet doing nothing noteworthy to promote inclusion.

In the end, Roberts and Gallop succeeded in perpetuating diverted diversity and squelching true diversity. For that, they should both be banished from adland.

Sunday, August 28, 2016

13318: L’Oréal Makes McCann Look Ugly.

McCann London created a video for L’Oréal True Match boasting the brand “now matches 98% of UK’s skin tones” with 23 varieties of makeup foundation. A quick peek at the McCann team shows the White advertising agency matches slightly more than 1% of UK’s skin tones. That’s True Match Well Told.

Saturday, August 27, 2016

13317: Back To Fool.

This campaign for Classroom Central doesn’t deserve a passing grade. At least the poor kids were able to render signs with strong design skills and flawless grammar. Can’t say the same for the responsible art director, as well as the copywriter who typed, “Kids that can’t afford school supplies can’t afford not to have school supplies.”

Friday, August 26, 2016

13316: Welcome Back, Gustavo.

Campaign reported former JWT Worldwide Chairman and CEO Gustavo Martinez has been working on projects for WPP and is slated to lead a unit dedicated to serving the Nestlé account. While the specifics are speculations, WPP did acknowledge, “Gustavo Martinez and his family have left the United States and moved back to Barcelona. Pending the result of the court case he is working on projects in Spain and Latin America. Erin Johnson continues to be employed at J. Walter Thompson.” Um, didn’t Martinez resign four months ago? Regarding the Nestlé rumor, perhaps someone misheard something Martinez said, as his accent and lack of command of the English language allegedly lead to confusion and misinterpretation. Maybe he was insisting that he loves chocolate people, just as Donald Trump once declared he’s got a great relationship with the Blacks. Look for WPP to also announce the rehiring of Neil French, as well as the recruitment of Jim Palmer and Kevin Roberts. Oh, and Sir Martin Sorrell is a fucking hypocrite.

13315: Happy Diverted Diversity Day.

Happy Women’s Equality Day—aka Diverted Diversity Day in the advertising industry. And before Cindy Gallop or Kat Gordon take credit for the event, here’s some historical data on the special day.

13314: I Have A Dream Job.

Campaign’s campaign for job seekers has gone from diverted diversity to true diversity. Too bad the chances of a Black person landing a job in the advertising industry are as slim as landing a job at, well, Campaign.

Update: A MultiCultClassics visitor noted the banner features a stock photo, as finding a Black person actually working in the field would have been too difficult to accomplish.

13313: Don’t Think Much Of Gallop.

Advertising Age published a painfully lengthy portrait titled, “Cindy Gallop Doesn’t Care What You Think”—which is fine, as most clear-headed citizens don’t care what Cindy Gallop thinks.

Gallop is among the more prominent White women bandwagon enthusiasts. Don’t mean to be a female provocateur basher, but prominence doesn’t translate to credibility, despite the adoration of her +46,000 Twitter followers.

For example, Gallop gulped, “I really want to push back against the narrative that women opt out. No woman has ever said, ‘No, don’t pay me more money.’ No woman has ever said, ‘No, I don’t want to be the one in charge so I get to decide how I experience all of this.’” Um, yes, they have. In fact, plenty of women have declined a higher pay scale or bigger title for reasons covering everything from work-life balance to simply seeking to reduce exposure to the insanity generated by the industry. Sorry, but Gallop sounds like a Boomer dinosaur when spewing such uninformed proclamations. It’s true that no woman has ever said, “Please discriminate against me, subject me to sexism and inappropriate behavior and/or pay me less money than male counterparts for equal work.” Yet many have opted against advancement. Women today have greater choices and lead multi-faceted lives. Plus, the industry today is not nearly as attractive as the post-Golden Age of Advertising that Gallop experienced.

Ad Age wrote, “The push for 50-50 gender balance for employment, at all levels and within all departments, is [Gallop’s] goal.” Why is it that White women (or biracial women, as in Gallop’s case) can get away with demanding percentage increases, while minorities who make such requests are vilified as racial quota revolutionaries and Affirmative Action activists?

Ad Age also wrote, “Ms. Gallop believes once an agency has as many women as men in all roles, the issue of sexual harassment goes away. ‘You instantly manage out all of those issues. Because there isn’t the bro-y atmosphere that encourages men to only see women in two roles: secretary or girlfriend.’” Wow, what bizarro universe is Gallop living in? First, expecting equal gender numbers to eliminate sexual harassment is tantamount to believing a Black U.S. President erases racism. By golly, we’ll soon be dancing in a post-racial and post-sexual harassment society! Second, accusing men of viewing every female associate as a potential administrative assistant or girlfriend is pretty ignorant. In contrast to minorities, White women in our industry are not relegated to the roles of receptionist, cleaning lady, security, mailroom attendant or Chief Diversity Officer.

Plus, why is Gallop suddenly such a fiery change agent? Her professional legacy to date hardly warrants the label of diversity champion; rather, she’s a diverted diversity champion. Did BBH transform into an inclusive Mecca under Gallop’s watch? With all due disrespect, Sir John Hegarty displays the classic symptoms of White privilege and cultural cluelessness. And BBH is a no-show at the parties for progress. It would help Gallop’s cause if a few good adwomen acknowledged her as their inspirational mentor, crediting her with their ascension in adland. Are there any minorities in the field who directly benefited from Gallop’s original or born-again benevolence?

Is Gallop to diversity what Donald Trump is to democracy? On the one hand, rabble-rousers are always welcome to condemn the exclusivity festering on Madison Avenue and beyond. At the same time, is Gallop really the figure everyone wants to lead the charge? And to put it all into perspective, Trump boasts +11.1 million Twitter followers.

In the end, Gallop—like Trump—has not earned this blog’s vote. Which is fine, since Gallop doesn’t care.

Thursday, August 25, 2016

13312: Census Senseless Selection.

Advertising Age reported Y&R was picked to be the lead White advertising agency for the 2020 Census. No word yet on which minority shops might be tapped to receive Census crumbs—despite the original RFP stating that the winning agency must have access to “expertise and experience in communicating with and marketing to historically undercounted populations. These populations include such groups as African Americans/Blacks, Asians, Hispanics, American Indians and Alaska Natives, and Native Hawaiians and Other Pacific Islanders.” Of course, the Census didn’t bother counting how the various groups are underrepresented in the halls of Y&R, and apparently doesn’t care that the agency is owned by a holding company based in the U.K. Only in America.

Y&R Tapped as Lead Agency for 2020 Census

WPP Shop Will Help Census Utilize ‘Emerging Technologies’ to Market Its Efforts

By Maureen Morrison

WPP’s Y&R has won the 2020 Census account after a review, according to people familiar with the matter.

The U.S. Census Bureau in late January issued a final RFP, with a projected completion sometime in August. Representatives for the Census, according to people familiar with the process, reached out this morning to agencies involved to let them know that Y&R won. As many as five agencies were finalists.

More than likely, a host of other agencies will be involved, handling media and multicultural marketing, among other disciplines. According to one person familiar with the review, agencies presented partner agencies and subcontractors in the review, though it was not immediately known what agencies would be working in tandem with Y&R.

Representatives for Y&R and the Census Bureau did not immediately respond to requests for comment.

The bureau, for the next census, is looking to address marketing differently than it did for the 2010 Census, given how dramatically the media landscape has changed since then.

According to the RFP from January: “The communications industry has changed dramatically since the conduct of the 2010 Census, principally due to changes and advances in technology, communications mechanisms, and consumer expectations. The Internet, wireless technologies, and mobile personal devices have opened new communications channels and media that have empowered consumers with increased connectivity to marketers. The Census Bureau fully intends to harness these emerging technologies and channels as part of the 2020 Census Integrated Communications Contract.”

The RFP also said that “the total estimated value for the full lifecycle of this contract” is about $415 million. It wasn’t clear what the fee would be for the lead agency, or other agencies involved.

One of the Census Bureau’s biggest challenges for each census is getting people to respond—especially those in hard-to-count populations. The RFP said that the winning agency will need to have, either from a subcontractor or itself, “expertise and experience in communicating with and marketing to historically undercounted populations. These populations include such groups as African Americans/Blacks, Asians, Hispanics, American Indians and Alaska Natives, and Native Hawaiians and Other Pacific Islanders.”

The RFP goes on to say that “racial and ethnic group is not the sole indicator of hard-to-count and non-respondent populations. They also tend to be characterized by renters, high unemployment, low education, low income, difficulty reading or writing in English, the young and mobile, the older population, and household crowding, among other factors.”

For the 2010 Census, more than a dozen agencies were contracted to handle the work. Interpublic’s FCB, then called DraftFCB, was the lead agency on the campaign, though other IPG shops were involved, including Asian-American shop IW Group and Jack Morton, an experiential agency. GlobalHue also played a role, creating work aimed at African-Americans.