17578: Another Perspective On Whistleblowers In Adland.

MediaPost published a perspective on the WPP whistleblower lawsuit that made one significant point:

Don’t rely on agency self-reporting. Demand log-level data for programmatic buys and contractually insist on third-party audits for all barter or non-transparent arrangements. If an agency claims an inventory pool isn’t auditable, treat that as a red flag.

This notion could be directly applied to the history of DEIBA+ in Adland.

That is, White advertising agencies cannot be trusted with self-reporting, as firms often inflated representation figures by counting minority employees like janitorial maintenance, security, and cafeteria workers.

Additionally, White advertising agencies cannot be trusted with self-regulation, as firms routinely engage in performative propaganda, heat shields, and delegating diversity.

Alas, no one ever succeeded in demanding third-party audits—or disputing White advertising agencies’ classic excuses for non-compliance, lack of commitment, and absence of accountability. Forget red flags—White flags are the weapon of choice.

BTW iconic DEIBA+ whistleblowers in Adland were never able to pursue a $100 million lawsuit.

The WPP scenario exposes schemes involving media, which mirrors Adland’s duplicity involving minorities.

The Foster Whistleblower Case: How Holdco Culture Enabled WPP’s $350M Mess

By Maarten Albarda, Featured Contributor

It has been a week of legal fireworks, relevant to day-to-day marketing management. No, I am not (yet) commenting on the federal trial brought by 29 U.S. states accusing Meta of designing manipulative features that addict children and harm teen mental health on Facebook and Instagram. That trial is underway in the U.S. District Court for the Northern District of California in Oakland.

I am talking about Richard Foster’s $100 million wrongful termination and retaliation lawsuit against WPP, playing out in the Supreme Court of the State of New York.

The latest legal filings in this suit against WPP make for grim reading. Internal audit details from Sony allege undisclosed markups, shell brokers used as financial warehouses, and missing rebates disguised as principal media buying in China.

To understand the scope, let’s understand what happened. A 2023 Chinese government probe into GroupM (now WPP Media) executives over kickbacks led to criminal convictions. And now we learn that a Sony investigation alleges that WPP used 47 shell brokers to improperly retain $350 million in client rebates in 2024 alone. GroupM allegedly passed off proprietary media deals to launder those funds into corporate profit while pitching artificial “80% discounts” to clients.

I don’t think you can hold WPP corporate fully responsible for the rogue mechanics of a local scam. The individuals in China clearly acted for their own personal enrichment in a market where opacity is sadly often standard procedure.

Still, WPP corporate does not get off scot-free. It clearly missed the mark in governance. By aggressively pushing principal media trading across its network to juice corporate margins, WPP’s leadership set the tone at the top. They created an environment where local executives were guided into pursuing principal media income to bolster agency performance (and with that, their personal performance score).

If I were a juror on the Foster case, I’d view the Sony findings as a crucial signal. They show WPP built a culture where principal-beneficial buying was incentivized, leaving the back door wide open for local leadership to take it to extreme levels.

Which raises the question every marketer should ask: How many other “Chinas” exist in agency holding company networks? And why did it take a client audit by Sony to expose this?

It’s fair to say (again) that marketers should stop treating principal media as a harmless discount. When your agency buys inventory upfront and resells it to you, they aren’t your fiduciary agent anymore. They’re a vendor selling goods they own. If you don’t know the exact markup, you’re funding their profit margins (and executive bonuses).

To prevent this from happening, you should require explicit opt-outs for proprietary or non-transparent media, unless your C-suite approves a written business case. Demand clear visibility into media flowcharts and mandate proof-of-performance data down to a detailed performance level (and compare/contrast that against “normal” performance for “normal” paid media buys).

Don’t rely on agency self-reporting. Demand log-level data for programmatic buys and contractually insist on third-party audits for all barter or non-transparent arrangements. If an agency claims an inventory pool isn’t auditable, treat that as a red flag.

The agency model is shifting. Agencies need profit, but you need transparency. Set the rules in your contract now, or your media dollars will end up paying someone else’s bonus. 

17528: When It Comes To DEIBA+ Progress, Adland Networks Do Not Work.

 

During a 2009 heat shield event, former Ogilvy North American Chairman John Siefert admitted Adland was “not exactly leading the way” in DEIBA+ progress.

 

Can’t help but think of Siefert’s admission while viewing the image above featuring Ogilvy celebrating its Network of the Year honor at Cannes Lions International Festival of Creativity.

 

It’s sadly safe to say Adland—via White advertising agencies like Ogilvy—is leading the way in systemic racism.

17490: US Navy RFP WTF BS.

 

MediaPost reported the US Navy issued an RFP, launching a mission to identify its next White advertising agency.

 

Given President Donald J. Trump’s administration opposes DEIBA+—and Trump declared, “We ended DEI in America!”—will non-White advertising agencies play any role in the account review?

 

At least non-White advertising agencies might be relieved of facing the indignities associated with Prime Redlining and crumbs.

 

Expect competing White advertising agencies to be MIA on DEIBA+ too.

 

Incumbent VML spent many years churning out performative PR, erecting heat shields, and even gaining certification for DEIBA+ political propaganda. Time to admit it was all White lies.

 

In this scenario, RFP stands for Racism Fortification Proposal.

 

Navy Issues RFP For New Ad Contract

 

By Steve McClellan

 

The US Navy has issued a request for proposal for a new advertising recruitment contract.   

 

The initial contract period is for one year and would start in January of 2027. If all extensions are executed, the contract would expire in July of 2032, according to the RFP.  

 

WPP’s VML is the current incumbent, having won the last contract in 2021 (when the agency was known as VMLY&R). It also won the previous contract in 2015.   

 

The total value of the current contract is estimated at $460 million.   

 

The remit includes creative, media, strategy, research, field marketing and more.   

 

The Navy RFP follows word in March that the US Army is in the early stages of picking an agency for its new recruitment contract. It has issued a request for information in advance of a formal competitive bidding process that could kick off in the spring of 2027 and take effect in 2028.   

 

The army values the current 10-year contract, won by DDB in 2018, at $4 billion. DDB was folded into TBWA as part of the reorganization related to Omnicom’s acquisition of Interpublic. 

 

The Navy RFP was reported on earlier this week by the Ratti Report, an industry newsletter focused on new business leads.

17471: ADCOLOR Progresses While Adland Regresses.

 

Adweek reported ADCOLOR is celebrating its 20th anniversary while Adland is celebrating its never-ending commitment—and renewed dedication—to systemic racism.

 

Adding indifference to insult, Adweek couldn’t even bother to spell the organization’s name right—according to the website, ADCOLOR is all caps.

 

This year, ADCOLOR is revamping its program and pushing its annual awards soiree to 2027. Hard to guess if the changes are intentional or resulting from reduced White advertising agencies’ sponsorship. After all, the anti-DEIBA+ vibe impacting Adland—and corporations in general—diminishes any sense of obligation to support heat shields.

 

Additionally, the ADCOLOR website currently lists IPG/FCB as Community Group Partner. Did the Omnicom acquisition of IPG create redundancies affecting partnerships on a financial level?

 

ADCOLOR Founder Tiffany R. Warren’s mood has shifted from Pollyannaish to hopeful melancholy. Although Warren insists her dream of a more diverse creative field—especially at senior levels—has surpassed her original expectations, which indicates delusional thinking or low expectations. Probably a combination of both.

 

Regarding ADCOLOR Nation, the organization’s Vice President of Partnerships gushed, “This is a true community of people who believe in the mission in a way that they’re not just talking about it, they are acting on it.”

 

Okay, except Adland is acting too—that is, the few remaining DEIBA+ initiatives continue to be performative stunts.

 

Adcolor Marks 20 Years With a New Program for a Changed DEI Landscape

 

Year-round events, a new awards approach, and a 2027 conference are among the evolutions to this year’s program

 

By Hannah Bowler

 

As Adcolor celebrates its 20th anniversary, founder Tiffany R. Warren acknowledges there have been “setbacks” in the fight for representation across the industry. That’s why reaching its two-decade milestone is a moment worth celebrating.

 

The organization focused on diversity, equity, and inclusion (DEI) in advertising has unveiled an expanded slate of programming for 2026 that addresses the shifting landscape and evolving needs of its community. 

 

Since its launch two decades ago, Adcolor has built its community around an annual flagship conference and awards hosted in LA. Now, the organization is shifting to year-long event programming and making changes to its awards and mentorship initiatives.

 

“It can’t just be another year that we celebrate, particularly during these times when we have to remind not only our community, but the world how important and how beautiful it is to build and support a diverse community,” Warren said.

 

The activities will kick off at Adcolor’s annual networking event at Cannes Lions in June, followed by gatherings in New York in August and LA in October. The program will culminate with the Adcolor Awards and conference in LA in early 2027, pushed out from its usual early November date.

 

The format of the annual Adcolor Awards has also been updated. Instead of a traditional nomination process, winners will be selected by a jury of alumni. Warren positioned the shift as both a way to thank the community that has supported it over the past 20 years and to spotlight its own alumni. 

 

The nomination process will return in 2027. 

 

“We’re turning 20, and for a good 19 of the 20 years we have been going, going, going, and I’ve not realized how much of a milestone 20 years is,” Warren said. “We needed to take a step back and look at what we created and celebrate that in the way that it deserves.”

 

There will also be changes to the Adcolor Futures (early career) and Leaders (mid to senior-level career) programs. Instead of running within the main conference, both will have dedicated, immersive programming in LA in 2026. Applications for both are already open.

 

The goal is to create a more focused environment for mentorship, professional development, and community-building among the industry’s next generation of diverse leaders, Warren said.

 

Changing winds

 

When ADCOLOR was established in 2006, DEI conversations were “nascent,” Warren told ADWEEK. “Multiculturalism was growing, but it was still very unique, and you didn’t see it in various places within the industry. It was very much marginalized and siloed,” she said.

 

Reflecting on the current pull back on corporate DEI initiatives, Warren said the past two years have been “tough” but that her “dream” back in 2006 of a more diverse creative industry, particularly at senior level, has surpassed her expectations.

 

She said the current moment makes her “a little sad” because of the “swiftness of the change in temperature” of how people feel about “providing opportunities for underrepresented communities.” While she described her outlook as “melancholy,” she added that she has hope this moment is temporary. 

 

“I hope to look back and say that that was a moment in time and that joy returns again and support returns again,” she said.

 

For Adcolor’s part, Ana Leen, vice president of partnerships, said the community is only growing stronger. 

 

“What we’re seeing with these community groups is there is such a hunger to connect to learn from each other to support each other. The networks that the Adcolor community builds are really strong and supportive,” she said. 

 

People are also becoming more vulnerable, Leen added, pointing to individuals asking for help on LinkedIn amid layoffs and job uncertainty. “We are seeing people very willingly help out a stranger just because they’re part of this community,” she said. 

 

This sense of mutual support will sustain Adcolor through challenging periods, she said. 

 

“This is a true community of people who believe in the mission in a way that they’re not just talking about it, they are acting on it,” Leen added.

17404: On Pioneering & Profiteering.

 

A previous post noted Omnicom Chairman and CEO John Wren’s honorary title is changing from Pioneer of Diversity to Pioneer of Divestiture.

 

The label switch underscores the devolution of Adland and warrants consideration, criticism, and commentary.

 

For starters, Pioneer of Diversity was always a farce representing performative posturing, pseudo philanthropic propaganda, and heat shields of the past.

 

Pioneer of Divestiture symbolizes a different direction.

 

While Pioneer of Diversity feigned interest in people, Pioneer of Divestiture focuses on profit.

 

Pioneer of Divestiture priorities descend in the following order: 1) shareholders who must see quarterly reports; 2) clients who must see quarterly sales, while providing revenue, and; 3) workforce who must see to delivering products with cost-effective efficiency and/or be replaced by AI.

 

In summation, Pioneer of Divestiture is trailblazing toward Adland Armageddon.

17362: 2025 IPA Agency Census Data Exposes Delusional Denial.

 

The 2025 IPA Agency Census yields both obvious and obviously crazy results, demonstrating how data can be craftily interpreted and twisted—especially by those purporting to be data-driven enthusiasts.

 

Granted, IPA focuses on UK Adland; however, White advertising agencies in the UK and US tend to share fundamental characteristics.

 

The official report headline reads:

 

IPA Agency Census 2025 shows workforce declines while diversity improves

 

Wow. That’s a sparkling example of performative PR, warranting a deconstruction of delusional denial.

 

First, the data shows the obvious: jobs in Adland are going down the toilet.

 

Not stated is another obvious point: fewer jobs for White people will lead to waaaay fewer jobs for non-White people in Adland.

 

As for the alleged DEIBA+ improvement, the data analysis reflects a common ploy practiced by White advertising agencies and White media firms.

 

That is, declaring an increase in the historically underrepresented does not equate to fair and equitable representation; rather, it underscores the persistence of underrepresentation.

 

Additionally, keeping the associated numbers unspecific (i.e., no breakdown of racial and ethnic segments) makes the progress fuzzy and misleading. It’s a safe bet White women experienced the greatest benefits.

 

Declines in retention, student recruitment, and apprenticeships—key inspirations for philanthropic propaganda and heat shields—surely adversely impacts DEIBA+ initiatives.

 

Commentary from IPA honchos (included below) qualify as gobbledygook and bullshit.

 

In summation, the 2025 IPA Agency Census shows the only thing bound to significantly increase in Adland is systemic racism.

 

IPA Agency Census 2025 shows workforce declines while diversity improves

 

The IPA Agency Census 2025, published today (11 February 2026), shows that the number of employees in IPA member agencies has fallen year-on-year while progress continues in gender and ethnic representation across the industry.

 

According to the 2025 IPA Agency Census, now in its 66^th year, on 1 September 2025, IPA member agencies employed 24,963 people, representing a 6.8% decrease from 26,787 in 2024. This reduction was driven by a considerable contraction in creative and other non-media agencies, where employment fell by 14.3% from 14,775 to 12,659. By contrast, employment in media agencies increased by 2.4%, rising from 12,012 to 12,304. 

 

Further key 2025 IPA Agency Census findings

 

The decline in employment was more pronounced among part-time employees, men and those aged 25 and under

 

Full-time staff numbers fell by 6.7%, from 25,065 to 23,396, while part-time roles declined by 9% to 1,567.

 

The number of men employed fell by 7.3% y-o-y to 10,820, while the number of women employed decreased by 6.2% to 13,966. In overall percentage terms, men comprised 43.3% of employees and women 55.9%.

 

Numbers of employees aged 25 and under declined by 19.2% from 3,632 to 2,936. This shift contributed to an increase in the average employee age, rising from 35.2 years in 2024 to 35.6 years in 2025.

 

Staff turnover increased across IPA member agencies in the 12 months to 1 September 2025, while staff retention declined.

 

Overall turnover rose to 24.8%, up from 24.1% in 2024, and increased from 21.2% to 24.2% when redundancies were excluded. Turnover in creative and other non-media agencies rose to 27.6%, while turnover in media agencies fell to 21.7%. Overall staff retention declined to 68.6%, down from 74.9% in 2024. Where detailed data was available, resignations accounted for 58.5% of departures, with redundancies responsible for 14.3%.

 

Reflecting the overall reduction in workforce size, reported employee vacancies fell considerably

 

Agencies reported 680 open roles across all levels of seniority, down from 1,149 in 2024, a decrease of 40.8%. Vacancies declined by 47.2% in creative and other non-media agencies and by 34.7% in media agencies.

 

Progress continued in senior gender representation

 

Women now hold more than 40% of C-suite roles for the first time, accounting for 40.8% of senior positions, up from 39.9% in 2024. In creative and other non-media agencies, women’s C-suite representation rose to 39.7%, while in media agencies it increased to 42%.

 

Ethnic diversity across IPA member agencies also improved

 

Among agencies reporting ethnicity data, 25.5% of employees identified as being from a non-white background, up from 23.9% in 2024 and more than four times the level recorded in 2007. Representation was highest at entry level, with 45.5% of trainees and apprentices and 36.8% of juniors and executives from non-white backgrounds. At C-suite level, non-white representation increased to 12.7%, up from 10.5%.

 

Gender and ethnicity pay gaps narrowed slightly but remain substantial

 

Based on those who supplied gender and salary data, women represent 58.2% of employees but receive 52.9% of salaries, resulting in a gender pay gap of 19.5%, down slightly on 19.7% in 2024. The gender pay gap was wider in creative and other non-media agencies at 22.6% than in media agencies at 16.6%. Employees from non-white backgrounds account for 22% of employees and receive 18.5% of salaries, with the ethnicity pay gap falling to 19.4%, down considerably from 31% in 2024. The ethnicity pay gap remains higher in media agencies at 26.3% than in creative and other non-media agencies at 12.3%.

 

Within senior leadership teams, women from a non-white background hold a higher proportion of roles than their male counterparts

 

At the C-suite, women from non-white backgrounds account for 7%, while men from non-white backgrounds account for 6%. Within the highest level of this C-suite category (Chair/CEO/MD), this figure stands at 7% for women from non-white backgrounds and 4% for men from non-white backgrounds.

 

Hybrid working remains the norm across IPA member agencies

 

Some 70.7% operate a three-day office and two-day remote working model, although most agencies mandate at least some office-based working days.

 

Graduate recruitment declined in 2025

 

Just 43.4% of responding agencies reported employing graduate trainees, apprentices or school-leaver apprentices, down from 56% in 2024. At 60.6%, media agencies were considerably more likely to employ graduates and apprentices than creative and other non-media agencies.

 

The Census also highlights continued underuse of Apprenticeship Levy funds

 

It is estimated that over 85% of levy funds paid by submitting agencies remain unused by those agencies. Media agencies spent 20.2% of their levy funds on apprentice training, compared with 9% among creative and other non-media agencies.

 

Artificial intelligence is increasingly shaping agency operations

 

Overall, 88.3% of agencies reported that AI is having a considerable impact on how they work. While 8% of agencies reduced their workforce in the past 12 months as a direct result of AI, 24% expect to do so in the next 12 months, with expectations of workforce reduction higher among creative and other non-media agencies (30%) than among media agencies (10%).

 

Agencies were asked whether they maintained a central record of employees registered as disabled

 

Just over half (52%) of responding agencies reported that they recorded registered disability, while 45% did not. A further 3% did not know. Among the 51 agencies that recorded registered disability, 3% of their employees were identified as being disabled.

 

Commenting on the findings

 

Paul Bainsfair, Director General, IPA:

 

“This year’s Census reflects an industry making important progress on gender and ethnic representation, while facing some hard truths about the shape of its workforce. Headcount is down, churn is up and the steep fall in entry-level roles raises real questions about future capability, particularly as AI reshapes skills and ways of working. Keeping talent pipelines open, including making far better use of apprenticeships and the Apprenticeship Levy, is no longer optional.”

 

“Agencies that continue to invest in early careers, skills development and retention will be best placed to build resilient businesses and a workforce fit for the future.”

 

Paul Bainsfair, Director General, IPA

 

Leila Siddiqi, Director of D&I, IPA:

 

“The 2025 Census shows the real pressures agencies have faced over the past year, with higher turnover and lower retention leaving teams stretched. It’s a reminder of the importance of supporting wellbeing and building trust. At the same time, exceeding 40% women in C-suite roles and the continued progress on entry-level diversity shows what is possible when inclusion is prioritised.

 

“As AI reshapes the industry, agencies must ensure their teams can apply both technical and human skills in ways that protect creativity and foster diverse perspectives.”

 

“Continuing to invest in a diverse mix of trainees, graduates and apprentices is essential to safeguarding the innovation and inclusivity that will shape the future of our industry.”

 

Leila Siddiqi, Director of D&I, IPA

 

Karen Martin, IPA President:

 

“The 2025 IPA Agency Census offers a fascinating snapshot of an industry in the midst of transition. There’s no denying that we’re seeing smaller teams and higher turnover, but that’s not the full story. As agencies, we’re evolving. We’re more diverse and more adaptable. And let’s not forget, while AI is shaking things up, it’s our human creativity that sets us apart. It’s how we not only navigate change but lead it, delivering innovative, unexpected creative solutions that truly add value and problem solving.”

 

“The key? Investing in and prioritising creativity at every level of our business. That’s how we’ll continue to thrive, no matter how fast things evolve.”

 

Karen Martin, IPA President

17329: Delayed WTF 65—On Blackweek Awards.

MultiCultClassics is often occupied with real work. As a result, a handful of events occur without the expected blog commentary. This limited series—Delayed WTF—seeks to make belated amends for the absence of malice.

 

Adweek reported Blackweek partnered with Cannes Lions to launch its first awards program, designed to “celebrate work that moves representation forward, both in the creative itself and the teams behind it.”

 

Blackweek, its founders, and operating crew deserve respect. Full stop.

 

Yet can’t help but feel the awards angle represents a concession of sorts.

 

It’s a common stunt in Adland to generate interest—and income—by introducing trophy contests. Adpeople love shiny hardware more than they love hip hop.

 

Is another non-White awards spectacle necessary? Aren’t matters covered—albeit in segregated, underrepresented style—by ADCOLOR®, ANA Multicultural and Inclusive Marketing Excellence Awards, and 4As MAIP Awards? Not to mention performative PR, pseudo philanthropical propaganda, and heat shields fabricated by prominent White awards sources.

 

Teaming up with Cannes Lions sorta compounds the outrageousness too.

 

Sorry to close on a cynical note, but here it is:

 

In Adland, you can’t beat the system. Or the systemic racism.

 

Blackweek and Cannes Lions Partner on Awards Centering Representation 

 

The awards program will debut at Blackweek 2026.

 

By Alison Weissbrot

 

Blackweek, an industry forum dedicated to advancing business by helping brands, creators, and innovators connect with culture, is launching its first awards program in partnership with Cannes Lions. 

 

Debuting at Blackweek 2026 next October, the awards, which are in the process of being WARC-certified, will celebrate work that moves representation forward, both in the creative itself and the teams behind it. 

 

Blackweek and Cannes plan to announce categories, submission timelines, and an official name for the awards in the coming weeks. Both agency and client teams are eligible to apply. 

 

While some categories will focus directly on representation, others will purely be about the work, Andre Gray, Blackweek founder and chief activation officer, head of culture and entertainment, Havas Lynx.

 

“We want to just be like, ‘This is the best work.’ That’s what we’re geeked about,” he said. 

 

The key difference between these and other industry awards, however, will be the diverse pool of jurors evaluating the work from their different backgrounds and perspectives.

 

“Being in those jury rooms where I have to argue for the cultural relevance, the cultural competency, the nuance—we need something that is going to have that type of integrity,” Gray said. “We’re creating jury rooms where you don’t have to educate.”

 

Cannes Lions will consult closely with Blackweek on the awards, lending its expertise, processes, judging criteria, and other aspects of its blueprint. Both parties are still working out financial and ownership details of the partnership. 

 

“We’re taking the equity, the integrity, and the trust that we have with the Black and Brown community and combining it with the best-in-class awards,” Gray said. “Our strategic partnership and endorsement from Cannes Lions is about soaking up their blueprint, not reinventing the wheel.”

 

In a statement, Simon Cook, CEO of Cannes Lions, added that the organization is “proud to support and endorse the Blackweek Awards, and glad to share our experience in shaping world-class benchmarks that drive economic and societal change.”

 

“The Blackweek Awards are a necessary and powerful evolution in how we celebrate creativity—one that ensures historically marginalized voices are not only heard but celebrated on a global stage,” he continued. 

 

A different starting point

 

The launch of the awards comes on the heels of another successful Blackweek, which drew 2,000 attendees to its annual forum in New York City from Oct. 6-9, which is up from 1,300 attendees at its inaugural event in 2024. According to Gray, Blackweek has grown more than 200% in sponsorship and ticket sales year-over-year. 

 

While Blackweek’s founders didn’t always plan to launch an awards program, the support from Cannes Lions will allow them to provide the rigor needed to create a credible new industry program, Gray said. 

 

“We want to give a Cannes Lions-level experience, but do it with the trust and integrity that we have in our community,” he added. 

 

For Cannes, the awards can help accelerate change more rapidly outside of its jury rooms, which “can only move forward so quickly,” Gray said.

 

“We need to create a different room of people, so that they can also look at work and say, ‘From our vantage point, this is the work that should be heralded.’”

 

Like Blackweek, the awards will focus on quality and start from the perspective of underrepresented groups “and their safety, recognition, and community,” instead of “starting de facto from the winners of history, which are white, male, cis, heterosexual,” Gray said. “When you come from a different place, your solutions are very different.”

 

They also aim to give diverse people recognition that can translate into cultural capital in an industry where there’s pressure to stand out while doing more with less. 

 

“The easiest way to get known for your work is to get recognized for your work,” Gray said. “Awards do so much for people. That’s the work that some young person is going to look at today or in 10 years, and say, ‘I need to be like that.’”

 

CORRECTION 10/15/25 at 10:25 am ET: A previous version of this article stated that Blackweek’s awards are WARC-certified. It has been updated to reflect that the awards are in the process of being WARC-certified.

17311: On Admitting DEIBA+ Blunders.

 

The Harvard Business Review excerpt depicted above emphasizes it’s important to “Admit Your DEI Blunder” to everyone within an organization.

 

Imagine if Adland admitted its DEIBA+ blunders vs dodging accountability via performative PR, heat shields, and assorted propagandistic schemes.

 

White advertising agencies refuse to pay the price of admission.