Wednesday, October 26, 2016

13406: (S)ADCOLOR® Tribute Advertisements.

Adweek published sponsored content for the 2016 ADCOLOR® soiree, including a Special Tribute Gallery featuring advertisements that likely ran in the event’s program guide. As always, advertisements for award shows are anything but award-winning efforts—and most of the ADCOLOR® tributes are downright lazy. Re-posting the shit would be a waste of blog space, but here are three noteworthy messages, coupled with MultiCultClassics versions of what should have been created.

Inspired by this, this, this, etc.

Inspired by this, this, this, this, this, this, etc.

Inspired by the 2006 Draftfcb Cannes Ad.

Tuesday, October 25, 2016

13405: Most Creative Are Mostly White.

Business Insider presented “The 30 most creative people in advertising 2016”—which pretty much looked like the 30 most creative people in advertising 1916 and every year in between. That is, the most creative people in advertising are mostly White men and White women.

Monday, October 24, 2016

13404: Dot Does Diverted Diversity.

Adweek reported on the latest diverted diversity darling—Dot—created by Randi Zuckerberg. The cartoon character inadvertently yet ultimately combines diverted diversity with nepotism.

Randi Zuckerberg Hopes to Battle Inequality in Silicon Valley With Her New Kids Show

Dot will air on NBCU’s Sprout network

By Sami Main

“I’ve spent a decade in Silicon Valley,” said Randi Zuckerberg. “Innovation is everywhere. It’s supposed to be the center of forward thinking. [So] why can I count the number of women executives on one hand? Or people of color?”

At Thursday’s premiere event for Zuckerberg’s new television show Dot, based on her children’s book of the same name, she discussed everything from inequality in the industry to the right way for kids to use new technology.

Press were invited to bring their children to the event. As a result, there were milkshakes dripping and mini burgers in hand as Zuckerberg streamed an episode of the show. Attendees could also don wigs for a GIF photobooth, or pose for a snap on the pink carpet. Coloring books, and tablets loaded with coloring book technology, were also provided for the kids to play with.

Dot, in the book and now as a TV character, is a tech-savvy young girl. She taps and types, shares and swipes, and carries her tablet everywhere. She’s the perfect way to help parents teach their kids about the technology surrounding them today.

“Dot and her group of friends don’t look like your typical cast of characters,” Zuckerberg said. “I wanted them to reflect all levels of diversity.”

“I loved working in Silicon Valley, but at the same time I hated the fact that there were no women in the room,” she said. “We need to start challenging people on the notion of what an entrepreneur in America looks like, and it needs to happen early on.”

Kids today are starting to use technology earlier and earlier in life. And that, Zuckerberg thinks, can create some fear or anxiety for parents.

“No matter what their level of expertise in their job, every parent is an amateur at parenting when they first start,” said Zuckerberg. “Especially with this very digital group.”

Dot will air at 11 a.m. ET Saturdays on Sprout, a network just for children which launched in 2005 and is now owned by NBCUniversal. Zuckerberg considers it another type of startup.

“It felt like we came together at a really critical moment for both of us,” she said. “I needed Sprout as much as they needed me. I knew they’d give this program the love it deserved.”

Zuckerberg wants her sons, Asher and Simi, who are both under six years old, to grow up in a “different world” than what she experienced in Silicon Valley.

“Dot is about finding a balance in a high-tech world through the waters of modern childhood,” said Zuckerberg.

“Dot is inquisitive,” said Amy Friedman, Sprout’s head of development. “We want to give kids the tools and role models that will help them show up in the world.”

Sprout’s motto, after all, is ‘Free to grow.’

“When parents see the Dot logo or book or show, I want them to know that it’s safe and appropriate,” said Zuckerberg. “I’d love to see a Dot iPad, designed specifically for kids, one day. I want parents to know how technology can add to your household. It doesn’t have to detract.”

13403: WPP A-Team.

Advertising Age reported Santo—a WPP agency based in Buenos Aires—hired four Argentines from a competing Saatchi & Saatchi shop. WPP will undoubtedly count the shift as a humongous diversity hire. Or an offset for employing Argentina native Gustavo Martinez. Hey, WPP is “perhaps the most diverse example of diversity of any single organization.”

WPP’s Santo Hires Four Top Argentine Creatives From Del Campo Saatchi

By Laurel Wentz

In an exodus of creative talent from Saatchi & Saatchi, four leading Argentine creatives are moving to Santo, a fast-growing WPP agency that likes to say it works for the world from Buenos Aires, for Coca-Cola and other clients.

Maxi Itzkoff, chief creative officer of Saatchi & Saatchi Europe, is returning to Argentina as a partner and co-chief creative officer at Santo. (His creative partner of nine years, Mariano Serkin, has also left Saatchi but isn’t joining Santo).

Also moving to Santo are the three executive creative directors recruited two years ago to lead creative at Buenos Aires-based Del Campo Saatchi & Saatchi after Mr. Itzkoff and Mr. Serkin moved to Europe: Ariel Serkin (Mariano Serkin’s brother), Rafael Santamarina and Juan Pablo Lufrano. They will all have ECD titles at Santo.

One of their most high-profile accounts at Del Campo Saatchi in Buenos Aires—a local brand called Andes beer that has been a big hit at international award shows for years—is moving with them to Santo.

Santo founder and CEO Maxi Anselmo said the agency has almost doubled in size to about 60 staffers in the past year. Santo has worked for Coca-Cola for years, and in 2015 was one of three WPP shops chosen for a major global campaign. The agency also won Avon’s global account last year (shared with JWT), and re-won Vodafone, an account it handled a few years ago. And this year Santo picked up Sprint social media work in the U.S., and is working with Diesel on an upcoming campaign.

In addition to the Buenos Aires base, Santo has small offices in Miami—to manage Avon, Sprint and Latin American business for Diageo and Sony, as well as some Coca-Cola projects—and in London.

“All Santo offices share all the projects,” said Mr. Anselmo, who is in Chile filming a commercial this week. “An idea can start in Buenos Aires, someone edits it in London, and it is fully complete in Miami.”

He said about 80% of Santo’s work now is international, and about 20% is for local Argentine clients.

Mr. Itzkoff said that the four Saatchi creatives had been planning to leave and open their own agency.

“This all happened at a time of huge growth for Santo, which made it necessary to have a professional team that could handle accounts of this scale and boost the quality of the work produced,” he said. “After several conversations, we decided we could build our project together within Santo, adding creative and strategic talent and becoming a dream team with [partners] Maxi Anselmo, Seba Wilhelm and Pablo Minces.”

Given the growing importance of U.S.-based clients at Santo, Mr. Wilhelm and Mr. Minces, who are head of strategy and co-chief creative officer, are living in Miami.

Mariano Serkin, Mr. Itzkoff’s longtime creative partner, is taking a break to study. He’s at MIT Sloan in Boston now, taking Advanced Certificate for Executives courses, then plans to move on to London Business School followed by some seminars in Chicago, he said. “My personal objectives are to understand the complexity of the digital economy transformation and the design of better strategies in order to guide effective change for brands in the ad industry,” he said.

The four creatives heading to Santo and Mariano Serkin were all close to Pablo Del Campo, who started the Del Campo Saatchi agency in Buenos Aires. He was named Saatchi’s worldwide creative director in 2014 and left the company abruptly in April 2016.

Kate Stanners, Saatchi’s global chief creative officer, said in an email that Ariel Serkin, Rafael Santamarina and Juan Pablo Lufrano have been replaced in the Buenos Aires office by Creative Directors Ramiro Rodriguez Gamallo and Matias Lafalla. The pair worked together previously as creative directors at WPP’s David agency, and did an earlier stint at Del Campo Saatchi as a senior copywriter and senior art director, respectively.

Both Santo and Del Campo Saatchi & Saatchi are past winners of Ad Age’s International Agency of the Year award, in 2010 and 2011 respectively, in recognition of their entrepreneurial spirit, inspired creative, and success in doing international work from Buenos Aires. Along with several other Argentine shops, they made Argentina an international creative hub.

Many of Argentina’s creative leaders started their careers at a legendary Buenos Aires shop called Agulla & Baccetti where, in fact, Messrs. Anselmo and Wilhelm both worked and hired Mr. Itzkoff for his first job, as a junior copywriter.

Sunday, October 23, 2016

13402: U.N. WTF.

Advertising Age reported U.N. staffers took offense to Wonder Woman serving as an ambassador to women, drafting a protest petition that included:

Although the original creators may have intended Wonder Woman to represent a strong and independent ‘warrior’ woman with a feminist message, the reality is that the character’s current iteration is that of a large breasted, white woman of impossible proportions, scantily clad in a shimmery, thigh-baring body suit with an American flag motif and knee high boots—the epitome of a ‘pin-up’ girl.

Yes, how could U.N. officials have selected Wonder Woman over The Pine-Sol® Lady?

U.N. Staffers Petition to Recall Wonder Woman as Ambassador to Women

By Kate Kaye

Actors Gal Gadot and Lynda Carter on Friday made appearances at the Hall of Justice to commemorate the naming of the DC Comics character they’ve both portrayed as the ambassador for the empowerment of women and girls worldwide.

Er … sorry … did I say Hall of Justice? Silly me. I meant the United Nations in Manhattan. You know, the headquarters of the actual real-life institution upholding human rights, international peace and security, economic development and, if choosing a comic book character as an ambassador is any indication, the ultimate destruction of Mr. Mxyzptlk.

Announced last week, the appointment has been received with “Yay Women!” cheers from some, and dumbfounded shock followed by sheer indignation from others. Members of the shock-and-indignation crowd protested at today’s UN ceremony.

It’s possible that the U.N.’s decision wouldn’t have rubbed so many people the wrong way had Aquaman ever been tapped to represent the U.N. Division for Oceans and the Law of the Sea.

Instead there is now a lot of dissent even among U.N. staff. An online petition from “Concerned United Nations Staff Members” calls for the U.N. to reconsider its choice. Despite an embrace of the character as feminist icon at times (heck, she was on the first Ms. magazine cover in ‘72), she is often perceived more as a sex object than a formidable female. As the petition notes:

Although the original creators may have intended Wonder Woman to represent a strong and independent ‘warrior’ woman with a feminist message, the reality is that the character’s current iteration is that of a large breasted, white woman of impossible proportions, scantily clad in a shimmery, thigh-baring body suit with an American flag motif and knee high boots—the epitome of a ‘pin-up’ girl.

Put the sex object stuff aside, and one of the world’s most respected bodies designating a fantastical character with superpowers as a role model for women and girls says to many people, female or male, “Sorry, we just couldn’t find a real woman we thought was worth looking up to.”

The petition’s authors say as much, offering to supply a “list of incredible extraordinary women that would formidably carry out this role” if the Secretary-General were interested.

One has to wonder, why Wonder Woman? If the U.N. really had to go with a fictitious character, why not Barbie? At least she’s had real professions—surgeon (1973), firefighter (1995), even UNICEF Summit diplomat (1990). Well, let’s just hope the U.N. has enough magic lassos to distribute to women and girls in its next aid convoy.

Saturday, October 22, 2016

Friday, October 21, 2016

13400: Adland Remains White Empire.

Campaign reported the following:

Between 2011 and 2015, ad spending for broadcast TV shows with predominantly Black audiences rose by 255%, according to Nielsen’s “Young, Connected and Black” report, which was released today. The primary reason is the explosion in Black-oriented programming on network TV, particularly in the last two years. Shows like “Empire,” “Scandal,” “How to Get Away with Murder” and “Black-ish,” and even one-time events like NBC’s “The Wiz LIVE!” have provided advertisers with unprecedented opportunity to reach Black audiences.

No similar increases were experienced in terms of business for Black advertising agencies or Black representation in the advertising industry. In fact, the declines in such areas were probably recorded at much higher percentages.

Thursday, October 20, 2016

13399: UK BS.

Derek Walker’s perspective published at The Drum inspired a decent number of comments—and two comments warrant further commentary. A couple of folks presumably from the U.K. expressed outrage over the scenarios Walker had shared that featured overt racism. Judit Mora exclaimed, “This has ‘US’ written all over it. It’s bad in the UK but people couldn’t get away with statements like that, that’s for sure!” Jonathan Stevens chipped in, “Always get amazed by how blatantly racist Americans are. Sure, the British try racism out a bit sometimes, but at least here are more subtle about it, knowing they’d be seen as total arseholes if they said the things in that article.” Leave it to Brits to believe cultural inequities are less severe in their adland neighbourhood. Sorry, it just ain’t true, arseholes!