15726: The Fantastic Four Of Adland…?

Advertising Age published a story spotlighting “4 Black Creatives” who are actively advocating for diversity in Adland. The article title, which appears below, brings up two points worth critiquing and examining:

 

1) While Walter T. Geer III and Derek Walker definitely categorize as creatives, does the designation really apply to Bozoma Saint John and Jerri DeVard, whose careers have mostly been in Chief Marketing Officer roles? Don’t mean to be nit-picky, but get your facts straight, Ad Age editors.

 

2) While all four leaders should be commended for their proactive DE&I dedication, why must diversity be delegated to minorities? Indeed, there are quite a few Madison Avenue minorities publicly fighting for equality. And why not spotlight the minorities who spoke out and got blackballed, blacklisted and blacked out? Sadly, there are far more than 4 such individuals out there.

 

Seems like progress will be actual and authentic when Ad Age publishes articles like this one that are titled, “How 4 White Creatives Are Nurturing The Diversity The Ad Industry Needs.” Unfortunately, at this point, it would be mighty challenging to find even 1 White person to fit the bill.

 

How 4 Black Creatives Are Nurturing The Diversity The Ad Industry Needs

 

From shining a spotlight on young talent to advocating for inclusion, these individuals are leading by example

 

By Karim Mohamed

 

According to a recent Ad Association All-In census, Black talent makes up 3 percent of the advertising industry workforce, and at the C-suite level just 1 percent is composed of Black talent.

 

But do we really need another report to tell us there’s a major diversity problem in the advertising industry? And should we assume from these findings that there is a lack of Black talent?

 

It’s time Adland owned up to the fact that the lack of Black representation is not because of a lack of Black talent. The industry is simply not dedicating the required energy to supporting and activating Black talent in the market.

 

Diversity comes with a lot of discussion and promise—it’s a box-checking panel at industry conferences—but then goes on the back burner behind pressing client needs. Some of the energy dedicated to winning business and creating campaigns needs to be diverted to actively recruiting the diverse talent at all levels of an organization, not just the entry-level jobs.

 

My journey to a career in advertising was full of rejection, unexpected detours and trying to shoehorn my way in the door. It is hard to find the motivation to keep going when faced with obstacles others never encounter. The good news? There are several Black leaders in the industry challenging the status quo and inspiring many to forge ahead and envision themselves in leadership positions.

 

From shining a spotlight on young Black creatives to advocating for diversity and inclusion, these individuals are leading by example, and are the driving force for change that the industry desperately needs:

 

Bozoma Saint John, chief marketing officer, Netflix

 

Bozoma Saint John has a formidable reputation as a trailblazer and industry change agent. As Netflix’s first Black woman in a C-suite role, Saint John has had a career to which any marketer would aspire. At first, Saint John wasn’t familiar with the advertising industry and worked as a temp for Spike Lee’s ad agency, Spike DDB. From there, she started to climb the career ladder.

 

Her experience has led Saint John to be very vocal about the importance of bringing your authentic self. In a Stanford Business article, Saint John said, “I’m very intentional and showing up very Black, very femme all the time, because that’s who I am. And my hope is that in doing so it actually allows other people to show up in the way they are.” Saint John advocates for young professionals to show up with their whole selves and to never speak or dress a certain way that doesn’t reflect their authentic selves.

 

Walter T. Geer III, executive creative director, VMLY&R

 

Walter T. Geer III is always willing to have difficult, public conversations about diversity, equity and inclusion. He often talks about the lack of diversity and how brands fail to accurately execute their diversity messaging. Geer spoke out against LinkedIn and directly reached out to the platform’s CEO after several shared experiences where people complained their posts centered on diversity and anti-racism were removed from the platform without warning. “I would love to have a candid conversation with you about how Black voices on LinkedIn are being blocked by your algorithm," Geer stated in his post. "Not only has this occurred to me numerous times, but I can point to many other individuals who have had the same problems.”

 

Geer continually works to hold brands accountable for their diversity initiatives. Geer also works in partnership with the 4A’s foundation, Dear Black Talent, a strategic platform focused on addressing the diverse talent shortage in advertising and putting Black talent first.

 

Jerri DeVard, founder, Black Executive CMO Alliance

 

Jerri DeVard is nurturing the next wave of upcoming talent. She has created an intimate and trusted space for Black marketing C-suite leaders to share, connect and create. As founder of the Black Executive CMO Alliance, DeVard believes in paying it forward to create opportunity, access and equality for the current and next generations of Black marketing leaders. DeVard created the organization to create, allies, action and accountability—and achieve meaningful corporate diversity.

 

DeVard is a great lesson in doing whatever it takes to get your foot in the door. Your path may not always be what you expect it to be, but that doesn’t mean there isn’t a place for you. DeVard progressed by putting herself in a position where she knew she would be successful and had networks of support to get her to the next level.

 

Derek Walker, founder, Brown & Browner

 

Derek Walker is a fearless leader and advocate who is never afraid to speak out about the ad industry and its lack of diverse talent, specifically Black professionals. Walker’s brutal honesty about diversity led to a regular post that shines a spotlight on talented Black professionals in the industry. “Businesses say that they support diversity and inclusion but the reality of it is their actions don't bear that out,” said Walker. “Some agencies purport to be champions—but have no African Americans or Black staff. Publicly, people know what to say. Privately, they let me know how they really feel about me.”

 

Walker has also called out LinkedIn for removing posts without warning centered on diversity. Walker inspires diverse professionals to remain authentic to themselves.

 

We have a long road ahead, but the time for talk without action is over. There are a host of Black luminaries in the industry lighting the way, and it’s time we listen to them and follow their lead. When you are the only Black face in a crowd, it is all too easy for imposter syndrome to set in, and it’s easy to imagine how many talented individuals have likely left the industry for an easier path. As a young Black person in the ad industry, it's inspiring to discover people that look like me doing amazing things in advertising. They should be celebrated—not just during Black History Month—as they chart a route in which others can see themselves succeeding.

 

The time is now. We must let the courage of those who have traveled the path show us the way to a better future.

15708: BHM 2022—Adweek Profiles In Black Creativity.

Gee, look at all the content of color that Adweek is running during Black History Month, including a feature titled, “Profiles in Black Creativity”—spotlighting creative people of color. Does Derek Walker receive royalty payments for hatching the original idea?

15468: Multicultural Marketing Mumbo Jumbo…

 

Oh boy—it’s not too late to experience Ad Age Next: Multicultural Marketing virtual event happening tomorrow. Hearing whatever the speakers have to say will be worth the price of admission. To be clear, it’s free. It’s a safe bet that attendees won’t miss anything interesting if opting to exit the Zoom extravaganza after Derek Walker speaks.

 

How Your Brand Needs To Rethink Multicultural Marketing

 

Last chance to RSVP for Ad Age Next: Multicultural Marketing event on June 29

 

In the past year, advertising and marketing professionals have re-evaluated their role in the perpetuating the inequities that persist in the U.S. More thought and more effort have been given to changing the diversity of leadership, staff and partners, the way business is conducted and how campaigns are crafted and released. But will the industry be able to sustain the momentum of this moment? And in a more fragmented consumer marketplace, is the so-called “general market” really relevant?

 

Don’t miss the Ad Age Next: Multicultural Marketing virtual event on June 29. Executives from Unilever, Black Enterprise, Mastercard and more will explore what multicultural marketing in a multicultural society looks like and how the industry can take its diversity, equity and inclusion initiatives beyond HR.

 

Access to the livestream is only available for those who RSVP at AdAge.com/NextMulticultural.

 

Among the topics being discussed are:

 

• How to drive systemic change in the media ecosystem

 

• Why economic mobility for communities of color is key to changing the landscape

 

• How equity played a role in Chicago's vaccination marketing efforts

 

• If by undervaluing multicultural agencies the industry is undervaluing the audiences such specialist shops know how to reach

 

• What are the next steps for brands and how will progress be measured?

15299: BHM 2021—Adweek & Advertising Age.

 

Advertising Age is “celebrating” Black History Month with the “Honoring Creative Excellence” series, the first installment edited by Walton Isaacson Co-Founder and CEO Aaron Walton, who discusses the Lexus “Verses & Flow” campaign. Adweek is countering with the “Profiles in Black Creativity” series, partnering with Derek Walker to initially salute Gwen Kelly, who discusses the American Family Insurance “Pullman Porters” campaign. Gee, all the Black History Month coverage looks alike.

 

Profiles in Black Creativity: Gwen Kelly and the Pullman Porters Campaign

 

Multicultural marketing evangelist shares the story of her iconic American Family Insurance ad

 

By Doug Zanger and Derek Walker

 

For the past two years, in celebration of Black History Month, agency owner Derek Walker has highlighted some of the industry’s most prominent and emerging Black talent. This year, Adweek is partnering with Walker on this inspiring and important project.

 

For the first day of Black History Month, we’re celebrating multicultural marketing evangelist Gwen Kelly. She served in executive roles at Walmart and spent several years at agencies like Burrell, Della Femina Travisano & Partners, TracyLocke and Wells Rich Greene.

 

Today, we look at how Kelly approached a 2002 Black History Month campaign for American Family Mutual Insurance as the brand’s multicultural advertising manager.

 

“I could write a book about who Gwen is and what she has done,” Walker said. “Gwen is a marketing and advertising powerhouse who has delivered on both the client and agency side. There is so much knowledge and experience that she has to offer. If you don’t know Gwen, do yourself a favor and get to know her.”

 

In an interview with Walker, Kelly goes into the 2002 Black History Month Pullman Porters Campaign for American Family Insurance (the full case study is embedded at the end of this article). The Pullman porters were men hired to work for the railroads on sleeping cars. The first all-Black union, they were widely credited with contributing to the development of the Black middle class in America.

 

Derek Walker: Why are you so proud of this work?

 

Gwen Kelly: Because of Mr. Dewitt Williams.

 

He was the chairman of the deacon board of the Baptist church I grew up in. Mr. Williams was a Pullman porter. He was a very dignified and stately gentleman—always impeccably dressed. Cleaner than the board of health! And his wife, Mrs. Irene Williams, was always so fashionably dressed. And on the Sundays Mr. Williams was not at church services, I remember the adults saying with such pride, “Oh, Dewitt is on the train today.”

 

Pullman porters were not only leaders in their communities; they were the builders of the Black middle class in their communities as well. American Family Insurance’s Pullman Porter Initiative was an opportunity to celebrate and serve an influential market segment. It supported the corporate brand in a very tangible and culturally relevant and meaningful way by extending it to a rapidly growing consumer segment, the African-American consumer market (ACM).

 

The campaign also exhibited the greatness and influence of the ACM both from the business and cultural lens. Very few clear opportunities like this exist in our chosen field. And the recognition of over 20 awards for this project was indeed humbling as well.

 

Would you change anything about this work? 

 

Quite honestly, no. The client and agency teams were quite intentional in bringing in and connecting the campaign’s various elements. The vision was to look for new ways to expose and engage people in conversations that would lead to new conclusions rather than persuade people of previously foregone ones.

 

For example, holding the screening of the Showtime film 10,000 Black Men Named George as a community event as a centerpiece of the campaign was vital. But it extended exponentially by also tying the movie into an opportunity for those who had family members involved with the union to be entered into a registry housed at the A. Philip Randolph Pullman Porter Museum.

 

And the registry provided opportunities for families to share how the Black middle class was built.

 

How did you get here with this idea? 

 

It was all done to enlist this Fortune 500 company to place perhaps a different spin on the celebration and recognition of Black History Month. Not only does it tells the story of Black Americans, but it served as a uniquely American story as well.

 

Noted jurist and legal scholar Judge R. Eugene Pincham—who had worked his way through college and law school as a dining car waiter—saluted the project. He said, “It is important that America, particularly Black America, be aware of the struggles through which we have come. The National Historic Registry is a way of retaining these memories and making them a part of our heritage. You can’t talk about Black history without talking about the Pullman Porters.”

 

15033: Industry Voices Tweet In Style On Racism.

Adweek spotlighted industry opinions regarding the responses—or lack of responses—from White advertising agencies to the racism-rooted events roiling the nation. Derek Walker tweeted his perspectives in his spirited style. Meanwhile, Cindy Gallop jumped on the bandwagon in her opportunistic style—hey, where was her bravado back in the day when she actually had hiring authority? Cue chirping crickets.

14931: BHM 2020—Derek Walker.

Adweek spotlighted the annual BHM initiative from Derek Walker, who’s out to prove Black talent exists and is available for adland. Of course, Walker’s revolutionary advocacy will be ignored during the remaining 11 months of the year.

For the Second Year, This Agency Owner Highlights Black Talent in Advertising

Derek Walker addresses staff diversity, or lack thereof, during Black History Month

By Mary Emily O’Hara

To many people—and, of course, brands—Black History Month means revisiting the achievements great African-American leaders made in the past. But what about the here and now? And how does the celebration apply to the advertising industry itself, especially as it works towards greater inclusivity?

Derek Walker, founder of South Carolina agency Brown & Browner, got tired of hearing people in the industry wave away critiques about lack of staff diversity by saying they couldn’t find enough talent when it’s usually right under their nose.

“There’s a group of individuals who are already working, sometimes on the fringes, in advertising, who are experienced and can step in and do the job immediately,” said Walker. “And everyone says, ‘but I can’t find them.’”

For the second year in a row, the agency veteran is using the month of February to highlight black advertising professionals. Like an Advent calendar of talent, Walker profiles a different person each day—posting to Twitter and LinkedIn. They are art directors, creative directors, social media strategists, brand strategists and more. Thousands of likes and shares over the two years are adding up.

The professionals Walker profiles each February are already working in the industry. He hopes to not only bring people together through the project but also to influence industry hiring and promotion by pointing to their skills and experience. The project is a way of saying, we exist—and you can’t ignore us.

“It’s so important to highlight the black talent excelling in this industry because it shows young people of color who might be thinking about a future in it that there is space for them,” Oriel Davis-Lyons, creative director, Droga5, told Adweek. “That there is a path to follow and mentors they can reach out to. There’s no ‘old boys club’ for Black people, so we have to work harder to make the connections that can make all the difference in your career.”

The February profiles may seem like a fairly low-key social media project, but the response shows they’re filling a void. Alima Trapp, svp, strategic planning, Doner’s Detroit office, did more than allow Walker post her photo and bio. She got involved, offering to turn the month of profiles into an interactive digital calendar that will be completed after February ends.

Trapp told Adweek that the advertising industry presents stiff obstacles for black professionals. She pointed to several industry-wide problems, including what she sees as “true scarcity”—not only in underrepresentation, but a decline in numbers and diversity in human resources and talent acquisition, as well as a “lack of creativity and innovation in hiring practices and resources.”

The industry seems to fail most is in retention. According to Trapp, part of the problem is “the limited cultural competency and support required to retain diverse talent.” She hopes that what Walker is doing will grow beyond February, escalating conversation, networking building, appreciation and understanding among peers and beyond.

Walker has his own ideas about why retention is a challenge when it comes to racial minorities, women, LGBTQ and disabled professionals and other underrepresented groups. He said it comes down to glass ceilings blocking promotions, and a sort of willful ignorance on the part of leadership.

“There was an agency at an event complaining that they couldn’t find senior-level Black talent they could promote to creative director,” Walker recalled. “At their agency, they had [a Black] acd who was and is creative director-level talent. The individual left that agency as an acd and went to work on the client side as a group creative director without skipping a beat. But they’d been passed over at the previous agency for the last four or five years.”

The same promotion obstacles, Walker says, are often faced by women creatives as well. Walker cited two female creatives who carry the weight of the work at their agencies and want to manage teams of their own but find themselves regularly passed over for creative director roles.

Known for speaking out about diversity issues in advertising, Walker sometimes finds that frustrated young people of color reach out to him for advice. Recently, he said, a young creative reached out to him after being called “arrogant” at work because they had told their boss that they believed a particular job could be improved.

According to Walker, the biggest opportunity to improve diversity in the industry starts with changes to leadership. Too often, the focus is on the minority groups impacted by a lack of diversity instead of putting the onus on CEOs. Hiring a D&I coordinator isn’t enough.

“Those are not C-level positions,” he said. “They report to HR, not to the CEO. They can’t do any hiring and firing. They have less power than anybody else sitting at the table.”

If the power at the top continues to struggle with the idea of hiring and promoting underrepresented groups, Walker suggested tackling diversity the same as any other campaign: targeting CEOs.

“We haven’t dialed into that idea and realized that we should approach this as an advertising problem,” said Walker, “The target market for our message is white men.”

14536: BHM 2019—Derek Walker’s Color Commentary On Talent Of Color.

Adweek reported on the BHM initiative from brown & browner Founder Derek Walker, spotlighting talent of color via his social channels.

Agency Owner Derek Walker Uses Social Media Accounts to Spotlight Talent of Color Each Day of Black History Month

He hopes the list will spark conversation and industry-wide change

By Doug Zanger

Derek Walker, founder of Columbia, S.C. agency brown & browner, is hard to miss. Whether it’s his Twitter, LinkedIn feed or some of his blog posts, Walker has carved out a significant niche as a steadfast voice on issues related to diversity, inclusion and race in advertising. During Black History Month this year, Walker decided to focus on some of advertising’s most overlooked talent, so each day in February, he is highlighting talent of color on his social channels.

“In previous years, I would highlight black inventors, scientists and famous people who weren’t known,” said Walker. “But I thought this year I would introduce talented black industry talent to the world that otherwise would not get the recognition they deserve.”

So far, Walker has featured the Mixed Company podcast team; art directors Khalid Robertson, Edwina Owens Elliott and Castro Desroches; Society Redefined founder Deadra Rahaman; creative director Kevin Miles; professor Douglas Davis and brand powerhouses Gwen Kelly and Aja Smith.

“I’ve watched their careers,” said Walker. “I have 28 [people to highlight], but could almost do 200.”

That idea brings up a critical point to Walker: Why is it that February is the only month when talent of color seemingly gets the spotlight?

“I’m more than happy for someone to borrow this idea,” he said. “Do it once a week, once a month. … There are organizations designed to do this well. There are so many black, brown, Asian and Hispanic creatives who are being overlooked.”

Part of the issue, in Walker’s mind, rests with the substantial number of organizations dedicated to talent yet unable to come together for the greater good.

“I think that someone like the 4As should pull all of us into a room and figure it out,” noted Walker. “There are many programs, all vying for the same amount of space and time on the issue. Why can’t we just drop the barriers?”

Barriers are a consistent theme for Walker, who started his career at Cramer-Krasselt and had stints as a successful copywriter at Falgren, Temerlin McClain, TBWA\Chiat\Day and Berry Brown working on brands such as McDonald’s, Subaru, Morningstar Farms, Nationwide Insurance, Nissan, American Airlines, Master Lock and others before ultimately becoming in-house creative director for RadioShack.

“At one of my last two agencies, I was told that I could never be anything more than an ACD or creative director,” recalled Walker. “The other agency said I wouldn’t even become a CD. The fact was that I was never going to be in upper management because of the color of my skin, and this was despite glowing evaluations.”

Going back even further, Walker was the president of the University of South Carolina ad club and in the top 10 percent of his class, yet while his white classmates ended up getting industry jobs, Walker, after 11 interviews in Atlanta, was unable to find work. After going to portfolio school, Cramer-Krasselt (specifically, Paul Counsell) was his first opportunity.

“[Paul] was the first person to tell me, ‘Don’t you ever stop reminding us that you’re black.’”

Counsell told Walker that he saw the world differently because of Walker’s experiences. Also, in a meeting to discuss client work, Walker found the creative to be offensive, yet tended to keep it to himself.

“[Paul] could see in my face that I was upset,” said Walker. “He said, ‘Tell us what you’re thinking.’ After that, I did, and he said, ‘Don’t ever hold your tongue again or I’ll fire you. Because if we had done this work, it would have gone out in the world and been much worse for the client and us.’”

A couple significant parts of the issue today, as Walker sees it, is that the industry hasn’t looked at inclusion as an advertising assignment and that talent of color have been left behind while others have been elevated.

While Walker stresses the importance of recent movements like #MeToo and Time’s Up, he wants to know: “Where’s the enthusiasm for race?”

“[The public is] all-in for everyone else but race?” he posed. “The thinking is, ‘We’ll leave that alone for a while and get to it when we get to it.’”

Another factor that Walker feels is holding talent of color back are the agencies where they begin their careers.

“If you work at a black agency, as a black person, you might as well count on staying there because general market agencies are slow to hire them away,” said Walker. “There are some brilliant people at the black and Hispanic shops, but the system put in place, with smaller budgets and assignments, aren’t helping. Some of these agencies are more than worthy of pitching an entire account, … so the clients and brands have some blame as well.”

To further highlight talent, Walker has been quietly working on organizing what is called the Creative Kumite, a three-day competition where creative teams of color work on a big-budget brief that will result in real work for a brand. While the goal is to generate output, the bigger mission is for talent to get the exposure needed to take their careers to the next level.

“I’ll use a basketball analogy,” said Walker. “The rule is, if you show up at the court, you have to be able to play. No one cares what you look like, the only question is ‘Can you play?’ And the only way to prove that is to get out on the court. I think we can do this in advertising and those that are recruiting will see that there are plenty of people who can do well. All they have to do is see it for themselves.”

13887: Derek Has Left The Building.

Campaign provided more coverage on the latest 3% Conference soiree claiming to go beyond gender. The trade journal’s headline announced, “Hard-hitting questions about racism and sexual harassment dominate Day Two of the 3% Conference.” Yet the report actually underscored the persistent problem with diversity in the advertising industry: White people remain ignorant and minorities remain ignored.

The ignored were represented by Derek Walker, who delivered a dose of reality to panelists pontificating on patronizing programs to attract minority students and embryos. “We act like people of color don’t know about advertising jobs—we do,” said Walker. “And [agencies] are always hiring, but at the entry level. What are you doing about the senior level? They hire juniors, who come in and don’t see anybody who looks like them. [Without] recruiting senior talent there’s no pathway.” When the panelists presented the standard clichés about a lack of available senior-level minority talent, Walker countered, “Don’t tell Black folks we have to wait. There are hundreds of Black creatives who are already freelancing or on the fringe of advertising who are capable of doing the job. If I told a White woman, ‘Wait ten years until we can grow you,’ she’d be offended. What you wouldn’t do to White women, please don’t do to Black folks.” Too bad Walker doesn’t work for IPG, where he’d be protected against retaliation for his rant. According to Campaign, Walker’s words were followed by the standard chirping of crickets.

The ignorant were represented by Diverted Diversity Diva Cindy Gallop, who declared, “The biggest issue facing our industry today is not diversity. It’s sexual harassment, because it prevents diversity, equality and inclusion from ever happening. I am so tired of how very low the creative bar has been set in our industry by the White, male dominance that has held our industry in a state of stasis while sexual harassment prevents the progression of female leaders.” Yes, the inability of White women to make progress is what’s kept minorities, well, minorities. Heaven forbid Gallop might realize people of color have been facing discrimination on Madison Avenue far longer than White women. After all, the inaccuracy of the 3% Conference’s title—that is, female leadership in creative departments far exceeds 3% now—proves White women have made quite a bit of progress over time. Meanwhile, Black representation has actually declined in recent years. MultiCultClassics members did not attend the girlfriend gala, but it’s a safe bet that Gallop’s birdbrained babbling was followed by thunderous applause.

And the band—and White women’s bandwagon—played on.

Hard-hitting questions about racism and sexual harassment dominate Day Two of the 3% Conference

By Zoë Beery

The gloves came off, as panelists worked to hold the industry accountable for its shortcomings.

After an opening day full of inspiring panels and workshops, the second day of the 3% Conference—thanks to pointed audience questions and a fiery closing keynote—dug into unexpected and uncomfortable conversations about race and gender that tested whether speakers would face issues head on or go the safe route (spoiler: mostly the second one).

The day began with a workshop from comedian-turned-motivational speaker Kyle Cease, who encouraged the audience to identify and then move past the justifications that hold them back from pursuing what he termed their “highest calling”—dreams that go unrealized because of practical concerns like money, family or career status (he did not mention institutionalized oppression as a possible roadblock).

“You’re scared to let go because your mind can only measure what you’ll lose, and it cannot measure what you’ll gain,” he told the crowd. “We’re addicted to being stuck. But if you’re justifying needing to keep something, you don’t need it.”

The day’s first flashpoint appeared during an audience Q&A following the presentation of the inaugural 3% Certified Program, created to recognize agencies that pass a rigorous (and voluntary) audit assessing their commitment to diversity. Out of 40 agencies that underwent the screening, just two—VML and 72andSunny—emerged certified. Representatives from each agency came onstage to talk about the policies that had kept them ahead of the diversity curve, with 3%’s Lisen Stromberg moderating.

At several points in the conversation and the beginning of the question period, agency reps talked about how their firms opened pathways to minority students to learn about and possibly enter the advertising industry, including office visits and entry-level recruiting. Then Derek Walker, longtime independent creative and founder of South Carolina agency brown and browner, took the mic.

“We act like people of color don’t know about advertising jobs—we do,” he told the all-white panel. “And [agencies] are always hiring, but at the entry level. What are you doing about the senior level? They hire juniors, who come in and don’t see anybody who looks like them. [Without] recruiting senior talent there’s no pathway.”

Panelists opined that there simply wasn’t enough talent to go around—hiring away an executive of color from a competing agency doesn’t solve the problem—and that the industry simply needs time to grow creatives of color into executive-level talent.

This was not enough for Walker.

“Don’t tell black folks we have to wait,” he responded. “There are hundreds of black creatives who are already freelancing or on the fringe of advertising who are capable of doing the job. If I told a white woman, ‘Wait ten years until we can grow you,’ she’d be offended. What you wouldn’t do to white women, please don’t do to black folks.”

After a brief silence, Stromberg replied and closed out the discussion: “That is a beautiful invitation for our industry, and I would like to commend your agencies for setting the standard for what could be.”

The challenges continued following an afternoon keynote from Billy Bean, a former Major League Baseball player who came as gay out shortly after his career ended in 1993. Fourteen years later, the league approached him to serve as its first-ever ambassador of inclusion. After a speech sharing his journey from living a heartbreaking double life to becoming an advocate for marginalized people in the sport, he opened the floor to questions.

An audience member brought up the racist anti-Asian gesture Astros batter Yuli Gurriel pulled during the World Series, asking Bean whether he thought the league had handled it in a way that demonstrated a true commitment to respecting diversity (Gurriel was suspended for the first five games of 2018). “I’m Asian-American. How am I supposed to explain that to my kids?” the audience member asked.

Bean struggled to respond, first chalking the incident up to cultural misunderstanding. “Yuli played in Japan, and culturally the way it has been interpreted, he was trying to say that he did not do well in Japan [but] that he ‘finally got the Chinito,’ which is not a slur in Cuban culture. [He’s] someone in their first year in the US, who doesn’t speak English at all.”

He praised the league’s commissioner, Rob Manfred, for grace under pressure, then referenced the players’ union (“It doesn’t matter what someone does—a union can file a grievance to stall the process.”) before concluding, “I was not part of the decision, and have my own personal feelings about it, but [we] wanted to get something tangible for people to put their hands around and know it was not acceptable, and I hope it never happens again.”

It was fitting that such an unexpectedly contentious day ended with a speech from former BBH chair and outspoken diversity advocate Cindy Gallop. While she did not address the largely unanswered questions that preceded her presentation, she dove immediately into a confrontation of her own.

“The biggest issue facing our industry today is not diversity,” she said. “It’s sexual harassment, because it prevents diversity, equality and inclusion from ever happening. I am so tired of how very low the creative bar has been set in our industry by the white, male dominance that has held our industry in a state of stasis while sexual harassment prevents the progression of female leaders.”

She talked at length about #metoo: the power it gave women, but also her concern that anonymous stories won’t change things. “Women empathize, but men don’t give a shit because [they] can’t relate to an anonymous story. We have to attach names and agencies and holding companies and brands to get our industry to take it seriously.”

She brought up an anecdote shared on a panel the previous day by Prettybird’s Kerstin Emhoff. Early in her career, Emhoff went to a cocktail party to meet the client overseeing a project her firm was bidding on. A male colleague introduced Emhoff to the client, who responded, in front of an all-male group of Emhoff’s coworkers, “Oh, that’s funny—I thought the first time I met you, your ankles would be behind your ears.”

“When you say things like that,” Gallop said, “you ensure the men around us will never look at us the same way again, and you destroy our career path.”

She spent the remainder of her speech imploring the audience to leave behind the current advertising paradigm to start “the agency of the future,” grounded from inception in inclusion, transparency and a healthy work-life balance.

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!

13392: Walk The Walk With Walker.

The Drum published a perspective from adman Derek Walker, who has been quite vocal over the years regarding the dearth of diversity and excess of exclusivity in the advertising industry. When White women complain about the White-male-dominated field, they receive praise and support—even from White men! Hell, they nab ADCOLOR® awards too. When minorities voice similar complaints, the response is a little different.

It is not me, it is you: The advertising industry needs to face its diversity problems, and stop blaming others

By Derek Walker

Have you ever watched a person purposely destroy his career and business? No? Well, keep reading. I’m about to torch both in one fell swoop. I’m going to talk racial diversity in the advertising industry.

First, I’m going to share with you actual quotes (as close as I can remember) that have been said to me during my career in advertising:

1. My last interview for a creative director position ended this way: “I don’t want to lie to you, but management didn’t know you were Black, and they are unwilling to pay a Black man this much.” Maybe that explains why despite being on my itinerary, they didn’t meet with me during the two days I was there.

2. Here’s my nomination for the world’s shortest interview: A partner whose name was on the door met me in the lobby, shook my hand, and said: “I’m sorry Derek, but I don’t think our clients are ready for a Black copywriter.” Interview over.

3. From the Group Creative Director on my first day of work. (He didn’t hire me, the partners did): “I told them that I don’t believe a Black man can write copy, and I am going to prove it.”

4. During a glowing evaluation from a Group Creative Director: “You do know if you were white, I’d be working for you. Management has told me that I can give you a raise but as long as you’re Black, you can never be promoted. Dude, I’m sorry.”

5. In a meeting of the new business team, my Executive Vice President thought it important to point this out: “I don’t care how talented you are, how creative or how smart — if you don’t have the look, you will not be allowed in front of the client.” (I was the only Black in the group, and the only person never to present work to a client, despite the majority of the concepts being mine.) By the way, I do own a few custom suits and shirts.

6. My new reality as the owner of a small ad agency in Columbia, South Carolina. I’ve heard a version of this comment at least four times over the past 18 months: “You know what you need to do to grow your shop? Hire a White guy or even better, a pretty blonde White woman, and make him/her the face of your agency, and the business will come. You have the talent and experience. You just need a White face.”

I wish, I really, really wish that my experience were unique, but I’ve heard similar stories of other Black advertising professionals. My experience is more common than it should be.

Now, let’s talk racial diversity in the ad industry.

Hello.

I’m a figment of my own imagination.

According to the advertising industry, I don’t exist.

I’m a unicorn. I’m the Loch Ness Monster.

I’m a qualified, senior Black advertising professional.

My name is Derek L. Walker.

I’m a figment of my own imagination.

According to the advertising industry, I don’t exist.

I’m not alone.

There are Ed Crayton, Hadji Williams, Harry Webber, Paul Hebron, and James Glover — all friends whom I mention here with permission. But there are more, a lot more senior-level, Black creative advertising professionals.

Right now, some folks at the 4A’s (Association of American Advertising Agencies), AAF (American Advertising Federation), and The One Club may be blowing a gasket. Good. They know we exist. Heck, they wheel out the same group of senior Black advertising professionals for every panel or event to push their agenda. Too bad that agenda says, “You don’t exist.”

For years, these organizations have been towing the safe, predictable line: namely that the ad industry’s lack of diversity is due in part to a lack of knowledge on the part of Black people about careers in advertising; that we have not been exposed to advertising as a career choice; and that if we have, our skills are lacking.

Male bovine excrement.

Like a lot of folks, by embracing this course of action, they subconsciously blame Black people for the diversity problem. Oh, the next statement is going to hit a nerve — but please, hear me out.

To focus on programs that bring more Black young people into advertising without looking at retention and advancement rates of Blacks already working in the industry implies the problem is Blacks are both unaware of careers in advertising and unprepared.

Please.

Of course, they mean well, and they aren’t saying this aloud. But their actions scream it. Nearly every program or panel works off this premise. Go to their websites and check out how they approach racial diversity.

It is important to make the distinction between racial diversity and gender diversity. Look at the programs and panels for gender diversity. They do not assume that women are unaware or unprepared for a career in advertising, or that those women working in advertising lack the skills to advance and grow as professional. These initiatives claim the problem is with the advertising industry, not women.

See the difference?

All this talk about how unaware of or unprepared Black people are for an advertising career ignores the fact that there have been Black advertising agencies since the late 1960s. How could we have Black-owned advertising agencies doing work aimed at speaking to Black consumers if we were unaware of career opportunities in advertising? Someone answer me, please. Cue the chirping cricket sounds.

To acknowledge the existence of senior-level Black creative advertising professionals is to admit the ugly truth that the industry’s problem with diversity is the fault of the agencies, and theirs alone.

Oh, we don’t like doing that, finding fault with a person or a party. But here is what folks don’t get: We can’t make advancements until we recognize where advertising is as an industry. Both parties don’t and shouldn’t share the blame; this is an industry problem, and it is time our industry owned up to its issues.

It is time.

The advertising industry has to put on its big boys’ and big girls’ panties and face the glaring truth: that the racial diversity issue has little to do with awareness or availability of qualified talent. And everything to do with prejudice and racism inside advertising.

Yes, I’m calling a lot of people in advertising either prejudiced or racist, but I firmly believe it’s a prejudice issue more than a racist thing. Please, the two terms are not the same. Before you pull out the pitchforks and torches, allow me to explain the difference. No. Let’s allow Merriam-Webster to give the definition of the two words:

Prejudice:

“Preconceived judgment or opinion (2): an adverse opinion or leaning formed without just grounds or before sufficient knowledge

.”

Racism:

“A belief that race is the primary determinant of human traits and capacities and that racial differences produce an inherent superiority of a particular race
.”

It is important to understand the differences and variances between the two words. Having worked in advertising for more than 20 years, I believe most of the issues concerning diversity are tied to a form of prejudice, rather than racism, although there is a bit of that going on as well.

I cringe every time I hear advertising professionals throw out words like “culture” and “fit” when talking about hiring people. Both terms reflect a degree of prejudice. What is it about the person that doesn’t “fit?” What “culture” doesn’t a person have that he/she can’t do the job?

The ambiguity of these words makes their use as a tool for excluding a group of people an act of pure genius. An interviewer can have a feeling that the person will not be a good “fit” or match in the “culture” without having to explain why. It is the perfect cloak for prejudice.

Until advertising acknowledges and moves to deal with this prejudice —instead of promoting and perpetuating the idea that Blacks are either unaware or do not possess the skill set to work in advertising — very little will change. The current course of action is nothing but shifting the blame.

Ah, but here is the catch: Advertising cannot and will not face its racial diversity issues alone. And the industry shouldn’t have to. 

This is partially the fault of clients.

Clients know their agencies. They know the people who work on their accounts. And they are keenly aware that it has been a white men’s club for years. Despite the fact that most clients have had diversity programs in place for decades, which they themselves know has succeeded. All too often, the only people of color in the room during meetings are on the client side. This should make clients uncomfortable, and give them pause.

The issue of racial diversity is so much more than political correctness, it is good business. Having a diverse staff allows an agency to have a wider range of experiences and views to pull from when creating messages to reach an audience that is becoming more diverse every day. Clients are screaming for more effective work. Well, how effective is it to always approach assignments from a singular cultural point of view? It isn’t.

So what can clients do? I’m not talking about a mandate from clients. Simply asking about and encouraging your agency to look into its diversity will have a huge impact.

(Here is a secret your agencies don’t want you to know: They are afraid of you – scared excrement-less (yeah, this isn’t a word but I’m trying to keep it “G-rated”) of you. Shhh. Don’t let them know I said this, but agencies are horrified that you, the client, will ever be upset with them.)

Don’t force them to go it alone. Offer to make your HR and diversity people available to share the understandings and insights they have from years of doing it. Just offering to share information will ignite a fire with your agency because they will know that you have noticed their own lack of diversity. And that you care.

For more than 20 years, I have watched and waited for advertising to mature and develop a conscience on this subject. I’ve seen program after program come and go, and nothing ever changes.

Wait, that is a lie. There has been one change: Today there are fewer Blacks in advertising, at general marketing agencies than when I first entered the business. The lack of diversity has actually grown worse.

Shame on advertising.

“Advertising is afraid of the dark.”

The big advantage of me speaking out is that, since I technically don’t exist, anyone who disagrees can brush off this blog as a figment of his or her imagination, and go on with business as usual.

I’m really not here.

But I can’t wait to exist.