Saturday, March 22, 2014

11801: Managing Microaggressions.

From The New York Times…

Students See Many Slights as Racial ‘Microaggressions’

By Tanzina Vega

CAMBRIDGE, Mass. — A tone-deaf inquiry into an Asian-American’s ethnic origin. Cringe-inducing praise for how articulate a black student is. An unwanted conversation about a Latino’s ability to speak English without an accent.

This is not exactly the language of traditional racism, but in an avalanche of blogs, student discourse, campus theater and academic papers, they all reflect the murky terrain of the social justice word du jour — microaggressions — used to describe the subtle ways that racial, ethnic, gender and other stereotypes can play out painfully in an increasingly diverse culture. What is less clear is how much is truly aggressive and how much is pretty micro — whether the issues raised are a useful way of bringing to light often elusive slights in a world where overt prejudice is seldom tolerated, or a new form of divisive hypersensitivity, in which casual remarks are blown out of proportion.

The word itself is not new — it was first used by Dr. Chester M. Pierce, a professor of education and psychiatry at Harvard University, in the 1970s. Until recently it was considered academic talk for race theorists and sociologists.

The recent surge in popularity for the term can be attributed, in part, to an academic article Derald W. Sue, a psychology professor at Columbia University, published in 2007 in which he broke down microaggressions into microassaults, microinsults and microinvalidations. Dr. Sue, who has literally written the book on the subject, called “Microaggressions in Everyday Life: Race, Gender, and Sexual Orientation,” attributed the increased use of the term to the rapidly changing demographics in which minorities are expected to outnumber whites in the United States by 2042. “As more and more of us are around, we talk to each other and we know we’re not crazy,” Dr. Sue said. Once, he said, minorities kept silent about perceived slights. “I feel like people of color are less inclined to do that now,” he said.

Some say challenges to affirmative action in recent years have worked to stir racial tensions and resentments on college campuses. At least in part as a result of a blog started by two Columbia University students four years ago called The Microaggressions Project, the word made the leap from the academic world to the free-for-all on the web. Vivian Lu, the co-creator of the site, said she has received more than 15,000 submissions since she began the project.

To date, the site has had 2.5 million page views from 40 countries. Ms. Lu attributed the growing popularity of the term to its value in helping to give people a way to name something that may not be so obvious. “It gives people the vocabulary to talk about these everyday incidents that are quite difficult to put your finger on,” she said.

To Serena Rabie, 22, a paralegal who graduated from the University of Michigan in 2013, “This is racism 2.0.” She added: “It comes with undertones, it comes with preconceived notions. You hire the Asian computer programmer because you think he’s going to be a good programmer because he’s Asian.” Drawing attention to microaggressions, whether they are intentional or not, is part of eliminating such stereotypes, Ms. Rabie said.

On the other hand, John McWhorter, a linguistics professor at Columbia University, said many of his students casually use the word when they talk about race, but he cautioned against lumping all types of off-key language together. Assuming a black student was accepted to an elite university purely because of affirmative action? “That’s abuse,” Dr. McWhorter said. “That’s a slur.” Being offended when a white person claims to be colorblind — a claim often derided by minorities who say it willfully ignores the reality of race? Not so fast.

“I think that’s taking it too far,” he said. Whites do not have the same freedom to talk about race that nonwhites do, Dr. McWhorter said. If it is socially unacceptable for whites to consider blacks as “different in any way” then it is unfair to force whites to acknowledge racial differences, he said.

On a Facebook page called “Brown University Micro/Aggressions” a “dark-skinned black person” describes feeling alienated from conversations about racism on campus. A digital photo project run by a Fordham University student about “racial microaggressions” features minority students holding up signs with comments like “You’re really pretty … for a dark-skin girl.” The “St. Olaf Microaggressions” blog includes a letter asking David R. Anderson, the college’s president, to address “all of the incidents and microaggressions that go unreported on a daily basis.”

Even when young people do not use the term overtly, examples of perceived microaggressions abound.

When students at Harvard performed a play this month based on a multimedia project, “I, Too, Am Harvard,” that grew out of interviews with minority students, an entire segment highlighted microaggressions.

In one scene, students recite phrases they have been told, presumably by nonblack students, including “You only got in because you’re black” and “The government feels bad for you.” In another scene, a black student dressed in a tuxedo and a red bow tie describes being at a formal university function and being confused for a waiter.

Tsega Tamene, 20, a history and science major, and a producer for the play, said microaggressions were an everyday part of student life. “It’s almost scary the way that this disguised racism can affect you, hindering your success and the very psyche of going to class,” she said.

Outside of college campuses, microaggressions have been picked apart in popular Web videos including a two-part video poking fun at things white girls say to black girls (“It’s almost like you’re not black”) and another video called “What Kind of Asian Are You?” (“Where are you from? Your English is perfect”).

But the trend has its critics. A skeptical article in the conservative National Review carried the arch headline “You Could Be a Racist and Not Even Know It.”

Harry Stein, a contributing editor to City Journal, said in an email that while most people feel unjustly treated at times, “most such supposed insults are slight or inadvertent, and even most of those that aren’t might be readily shrugged off.” Mr. Stein took issue with the term “microaggressions,” saying that its use “suggests a more serious problem: the impulse to exaggerate the meaning of such encounters in the interest of perpetually seeing oneself as a victim.”

The comments on recent articles about microaggressions have been a mix of empathetic and critical. One commenter on a BuzzFeed article on the “I, Too, Am Harvard” project wrote: “Make up your mind, do you want to be seen the same as everyone because you’re a human being, or do you want to be seen as a ‘colored’ girl, since not being seen as a ‘colored’ person is obviously offensive?” Another wrote, “I don’t get bent out of shape if a white person asks me are you, like, Hindu or something? I just correct them.”

Henry Louis Gates Jr., the Harvard professor and author, said the public airing of racial microaggressions should not be limited to minorities, but should be open to whites as well. “That’s the only way that you can produce a multicultural, ethnically diverse environment,” he said.

“We’re talking about people in close contact who are experiencing the painful intersections of intimacy,” he said. “The next part of that is communication, and this is a new form of communication.”

Thursday, March 20, 2014

11799: The Crazy Ones Timeout.

NCAA March Madness bounced CBS series The Crazy Ones from its regular timeslot. Awesome, baby!

Wednesday, March 19, 2014

Tuesday, March 18, 2014

11797: 4As Transforms To Trash.

A keynote speaker at the 4As Transformation 2014 was Ryan Seacrest. Why?

Monday, March 17, 2014

11796: White Women Whining.

Campaign celebrated International Women’s Day by interviewing White adwomen on the dearth of dames in U.K. advertising agencies.

Women in adland: more to do

International Women’s Day took place last Saturday. Louise Ridley presents highlights from Campaign’s interviews on gender in adland.

Cheryl Giovannoni Chief executive, Ogilvy & Mather

Only 26 per cent of people in leadership roles in advertising are women (IPA Agency Census 2013). Is this enough?

That is a woeful statistic and needs to be addressed urgently. Women are increasingly influential decision-makers across most categories and, if there are not enough women running the organisations responsible for producing communications that appeal to women, then everyone misses out.

Is work/life balance an issue at agencies?

Work/life balance is always a challenge, particularly in the tough, competitive world we live and work in. I try to be 100 per cent in the moment — whether I am working or spending time with my family. It doesn’t always work but, then, having a demanding career is a contract you sign up to. If work/life balance is your main priority, then you should probably not work in an agency. There are lots of rewarding, less demanding jobs that you can do.

Are women portrayed positively in advertising campaigns?

Not always. My biggest issue is the obsession with celebrity and how this is shaping the aspirations of so many young women. The glamorous images thrust upon them feed female insecurities and take up too much media space. Creating more positive role models by focusing on women whose success is based on hard work, talent and achievement will really help.

What are your top three tips for women getting into the advertising business?

Make sure it’s something you feel truly passionate about. If it doesn’t excite you, there really is no point. It will wear you down quickly. Don’t play the politics or rely on anything but talent and huge amounts of effort. There are no shortcuts, and you will be found out really quickly. Work hard to make yourself invaluable. Always try to bring something interesting/insightful/surprising to the table. You will earn a reputation and everyone will want you on their team.

Mel Cruickshank Chief executive, Wunderman

Only 26 per cent of people in leadership roles in advertising are women (IPA Agency Census 2013). Is this enough?

Absolutely not. However, it took the British monarchy more than 300 years to put women at an equal footing when succession laws changed. In comparison, we are doing rather well and our industry does have a very strong female voice.

Is work/life balance an issue at agencies?

Yes, it is tough having it all — particularly as a female. You have to learn to chip away at the hurdles and work through it. Delegation is a big part of it, I guess, as you can’t have your finger in every pie, but having people around whom you trust is really key to making things happen. I hate not being in control but, sometimes, to get that healthy work/life balance, that’s what you need to do.

Are women portrayed positively in advertising campaigns?

I think it’s getting better, but we’re not there yet. I think, as a physical representation, it’s not too terrible in campaigns today. It’s more subliminal in the targeting of those ads, so not obviously discriminating but they can often show the lack of shift.

What are your top three tips for women getting into the advertising business?

It’s never easy to plan these things, but think hard about when you envisage having children. If it’s fairly early on in your career, it could be much harder financially to then come back to work. Ensure you are super-organised. Having a family to look after, ensuring school work is done on time, managing a busy workplace and the added social lifestyle take super organisational skills. Don’t moan, just do. And grasp opportunities not just by asking but by demanding them.

Caitlin Ryan Executive creative director, Karmarama

Only 26 per cent of people in leadership roles in advertising are women (IPA Agency Census 2013). Is this enough?

No. It is up to those of us in leadership positions to make sure the pipeline is full and the blocks to staying in the industry are removed. Having a wife at home was once seen as a prerequisite to a man being promoted. It meant he could focus on the “job at hand”. We need to enable our male and female talent to also focus on family, life, other interests. The hairy unanswered question is: in a service industry like ours, is it possible?

Is work/life balance an issue at agencies?

Yes, but I think it is changing. In most cases, childcare seems to still be the responsibility of the mother. I am constantly picking up on guys when they say they are going home to babysit their kids: "No, you’re not — you are taking your turn to look after your children." Until that mindset changes, it will be difficult for women with children to move up the agency ladder and compete for that next promotion. And it is difficult for men in our industry who want to do their share at home.

Are women portrayed positively in advertising campaigns?

No, not always. Not even most of the time. But the exciting thing is that, when women are portrayed positively in advertising, it cuts through and connects in a way that will surely pave the way for other brands to follow.

What are your top three tips for women getting into the advertising business?

Be interested in people and behaviour, not just ideas. Choose an agency that invests in and promotes women. Don’t be fooled by them telling you they do — look for evidence of it. Don’t hide your skirt under a pair of trousers.

Sue Unerman Chief strategy officer, MediaCom

Only 26 per cent of people in leadership roles in advertising are women (IPA Agency Census 2013). Is this enough?

No, and it isn’t changing fast enough. Gender diversity is good for business. When I started out, there were only a few women bosses, but we were sure that was going to change. It hasn’t changed enough. I have a feeling that it will only improve if businesses focus on changing the situation and work hard to create a culture where it is normal for women to rise through management.

Is work/life balance an issue at agencies?

Work/life balance is an issue if you do not create firm boundaries. This isn’t particularly a gender issue — although, when you have young children and you’re the mum, I think you’re essentially doing two full-time jobs. You can’t do everything; the key is to choose what you can do and do it well.

Are women portrayed positively in advertising campaigns?

Some are and some aren’t. Same as men. I think women are portrayed positively in good advertising campaigns, which doesn’t mean most advertising campaigns.

What are your top three tips for women getting into the advertising business?

If you agree to do something, then deliver it a bit better and a bit earlier than expected. Understand that you must promote your good work as well as do good work. Don’t expect to be managed. Understand that you must manage yourself as well as people up, across and down.

11795: Coloring Books.

From The New York Times…

Where Are the People of Color in Children’s Books?

By Walter Dean Myers

Of 3,200 children’s books published in 2013, just 93 were about black people, according to a study by the Cooperative Children’s Book Center at the University of Wisconsin.

Reading came early to me, but I didn’t think of the words as anything special. I don’t think my stepmom thought of what she was doing as more than spending time with me in our small Harlem apartment. From my comfortable perch on her lap I watched as she moved her finger slowly across the page. She probably read at about the third grade level, but that was good enough for the True Romance magazines she read. I didn’t understand what the stories were about, what “bosom” meant or how someone’s heart could be “broken.” To me it was just the comfort of leaning against Mama and imagining the characters and what they were doing.

Later, when my sisters brought home comic books, I got Mama to read them to me, too. The magazines and comics pushed me along the road of the imaginative process. When I got my first books — “The Little Engine That Could,” “Bible Stories for Every Day,” and “Goldilocks and the Three Bears” — I used them on the same journeys. In the landscape of my mind I labored as hard as I could to get up the hill. I stood on the plain next to David as he fought Goliath, and tasted the porridge with Goldilocks.

As a teenager I romped the forests with Robin Hood, and trembled to the sound of gunfire with Henry in “The Red Badge of Courage.” Later, when Mama’s problems began to overwhelm her, I wrestled with the demons of dealing with one’s mother with Stephen Dedalus in “A Portrait of the Artist as a Young Man.” But by then I was beginning the quest for my own identity. To an extent I found who I was in the books I read. I was a person who felt the drama of great pain and greater joys, whose emotions could soar within the five-act structure of a Shakespearean play, or find quiet comfort in the poems of Gabriela Mistral. Every book was a landscape upon which I was free to wander.

In the dark times, when my uncle was murdered, when my family became dysfunctional with alcohol and grief, or when I realized that our economics would not allow me to go to college, I began to despair. I read voraciously, spending days in Central Park reading when I should have been going to school.

But there was something missing. I needed more than the characters in the Bible to identify with, or even the characters in Arthur Miller’s plays or my beloved Balzac. As I discovered who I was, a black teenager in a white-dominated world, I saw that these characters, these lives, were not mine. I didn’t want to become the “black” representative, or some shining example of diversity. What I wanted, needed really, was to become an integral and valued part of the mosaic that I saw around me.

Books did not become my enemies. They were more like friends with whom I no longer felt comfortable. I stopped reading. I stopped going to school. On my 17th birthday, I joined the Army. In retrospect I see that I had lost the potential person I would become — an odd idea that I could not have articulated at the time, but that seems so clear today.

My post-Army days became dreadful, a drunken stumble through life, with me holding on just enough to survive. Fueled by the shortest and most meaningful conversation I had ever had in a school hallway, with the one English teacher in my high school, Stuyvesant, who knew I was going to drop out, I began to write short columns for a local tabloid, and racy stories for men’s magazines. Seeing my name in print helped. A little.

Then I read a story by James Baldwin: “Sonny’s Blues.” I didn’t love the story, but I was lifted by it, for it took place in Harlem, and it was a story concerned with black people like those I knew. By humanizing the people who were like me, Baldwin’s story also humanized me. The story gave me a permission that I didn’t know I needed, the permission to write about my own landscape, my own map.

During my only meeting with Baldwin, at City College, I blurted out to him what his story had done for me. “I know exactly what you mean,” he said. “I had to leave Harlem and the United States to search for who I was. Isn’t that a shame?”

When I left Baldwin that day I felt elated that I had met a writer I had so admired, and that we had had a shared experience. But later I realized how much more meaningful it would have been to have known Baldwin’s story at 15, or at 14. Perhaps even younger, before I had started my subconscious quest for identity.

TODAY I am a writer, but I also see myself as something of a landscape artist. I paint pictures of scenes for inner-city youth that are familiar, and I people the scenes with brothers and aunts and friends they all have met. Thousands of young people have come to me saying that they love my books for some reason or the other, but I strongly suspect that what they have found in my pages is the same thing I found in “Sonny’s Blues.” They have been struck by the recognition of themselves in the story, a validation of their existence as human beings, an acknowledgment of their value by someone who understands who they are. It is the shock of recognition at its highest level.

I’ve reached an age at which I find myself not only examining and weighing my life’s work, but thinking about how I will pass the baton so that those things I find important will continue. In 1969, when I first entered the world of writing children’s literature, the field was nearly empty. Children of color were not represented, nor were children from the lower economic classes. Today, when about 40 percent of public school students nationwide are black and Latino, the disparity of representation is even more egregious. In the middle of the night I ask myself if anyone really cares.

When I was doing research for my book “Monster,” I approached a white lawyer doing pro bono work in the courts defending poor clients. I said that it must be difficult to get witnesses to court to testify on behalf of an inner-city client, and he replied that getting witnesses was not as difficult as it sometimes appeared on television. “The trouble,” he said, “is to humanize my clients in the eyes of a jury. To make them think of this defendant as a human being and not just one of ‘them.’”

I realized that this was exactly what I wanted to do when I wrote about poor inner-city children — to make them human in the eyes of readers and, especially, in their own eyes. I need to make them feel as if they are part of America’s dream, that all the rhetoric is meant for them, and that they are wanted in this country.

Years ago, I worked in the personnel office for a transformer firm. We needed to hire a chemist, and two candidates stood out, in my mind, for the position. One was a young white man with a degree from St. John’s University and the other an equally qualified black man from Grambling College (now Grambling State University) in Louisiana. I proposed to the department head that we send them both to the lab and let the chief chemist make the final decision. He looked at me as if I had said something so remarkable that he was having a hard time understanding me. “You’re kidding me,” he said. “That black guy’s no chemist.”

I pointed out the degrees on the résumé that suggested otherwise, and the tension between us soared. When I confronted my superior and demanded to know what about the candidate from Grambling made him not a chemist, he grumbled something under his breath, and reluctantly sent both candidates for an interview with the chief chemist.

Simple racism, I thought. On reflection, though, I understood that I was wrong. It was racism, but not simple racism. My white co-worker had simply never encountered a black chemist before. Or a black engineer. Or a black doctor. I realized that we hired people not so much on their résumés, but rather on our preconceived notions of what the successful candidate should be like. And where was my boss going to get the notion that a chemist should be black?

Books transmit values. They explore our common humanity. What is the message when some children are not represented in those books? Where are the future white personnel managers going to get their ideas of people of color? Where are the future white loan officers and future white politicians going to get their knowledge of people of color? Where are black children going to get a sense of who they are and what they can be?

And what are the books that are being published about blacks? Joe Morton, the actor who starred in “The Brother From Another Planet,” has said that all but a few motion pictures being made about blacks are about blacks as victims. In them, we are always struggling to overcome either slavery or racism. Book publishing is little better. Black history is usually depicted as folklore about slavery, and then a fast-forward to the civil rights movement. Then I’m told that black children, and boys in particular, don’t read. Small wonder.

There is work to be done.

Walter Dean Myers is an author of books for children and young adults including “Monster,” and the previous Library of Congress National Ambassador for Young People’s Literature.

Sunday, March 16, 2014

Saturday, March 15, 2014

11793: March Mad Men.

The latest episode of CBS series The Crazy Ones—titled “March Madness”—focused on St. Patrick’s Day, a holiday hated by recovering alcoholic Simon Roberts. This show is so miserable, there ought to be a 12-Step program to help viewers cope after having watched it.

Thursday, March 13, 2014

11791: Blackface Is In Vogue.

From DiversityInc…

Vogue Publishes Blackface Spread

By Chris Hoenig

The fashion industry’s ignorance of the fact that Blackface is offensive continues, with Vogue’s Italian edition publishing a spread featuring a model in Blackface.

The series of photos in Vogue Italia, titled “Abracadabra,” features model Saskia de Brauw in a variety of ethnic costumes and face-paint colors, including orange and black.

The photo spread continues a disturbing trend among fashion magazines, which ignore the offensive nature of Blackface. Vogue has published at least two spreads that feature models with painted faces, including a spread last year in its magazine in the Netherlands and a 2009 shoot in its French edition. Blackface models were also featured in spreads last year in Numero and Metal magazines. Jeanne Deroo, beauty editor at ELLE France, also posted a picture of herself in Blackface to her Instagram account late last year, and later said she didn’t realize her “costume” was offensive.

“I did not realize the seriousness of my act when I went last Saturday night to a private party with the theme ‘Icons,’ and where I chose to embody Solange Knowles, of whom I am a fan,” she said in a translated apology via Twitter. “I am deeply sorry and would like to offer my apologies. I would also like to indicate that this photo published in a private setting has nothing to do with the editing of ELLE magazine, and I regret the harm it has caused the magazine for which I work.”

Such a statement from a fashion-industry exec is rare, and why editors insist on continuing with such an offensive tradition instead of hiring Black models remains a mystery (though the fashion industry doesn’t have the greatest track record when it comes to Black models either, often lightening their skin).

The fashion industry’s ignorance turns a blind eye to the history of Blackface—originally used in theater by white actors to portray and mischaracterize Blacks—and has given many the belief that dressing in such a way is acceptable. Last year alone, multiple colleges faced the fallout from student parties that included offensive Blackface costumes. Actress Julianne Hough also publicly apologized for dressing in Blackface for a Halloween party. A Volkswagen commercial that aired during the 2013 Super Bowl also featured an actor in Blackface.

A YouGov poll released last November shows just how little many Americans know about the offensive nature of Blackface. More than 40 percent of those polled think the practice is acceptable, but the numbers show a clear disconnect between Blacks (68 percent say it’s unacceptable) and whites (32 percent say it’s unacceptable, 46 percent say it’s okay). Blacks (76 percent) and Democrats (58 percent) both think it’s unacceptable to portray any racial or ethnic stereotype in a Halloween costume, while more whites (44 percent versus 35 percent) and Republicans (59 percent versus 31 percent) actually think it’s more acceptable than offensive.

Wednesday, March 12, 2014

11790: Banking On Omnicom.

Adweek reported Wells Fargo shifted its creative business from Omnicom shop DDB to Omnicom shop BBDO. Contenders also included Omnicom shop TBWA\Chiat\Day. A Wells Fargo official gushed, “BBDO is a great fit for where we want to take the brand next.” Guess Goodby Silverstein & Partners and Fathom Communications weren’t available.

BBDO Wins Big Pitch for Wells Fargo

Bank shifts its creative account after 18+ years with DDB

By Andrew McMains

Wells Fargo has found a new lead creative agency.

After more than 18 years with DDB, the bank has hired BBDO in San Francisco to lead its creative business, Wells Fargo confirmed. Account revenue is estimated at $10-12 million.

“BBDO is a great fit for where we want to take the brand next,” said Michael Lacorazza, svp of integrated marketing at the bank. “We aspire for Wells Fargo to be not just a strong brand in the banking category, but to be a brand that people love and respect around the world beyond our category. And it’s not an easy challenge, especially considering the space that the banking brands play in these days (after the financial crisis).”

Given the bank’s goal of distinguishing itself more broadly, BBDO’s experience with brands like AT&T and Starbucks was as relevant as its past work for former client Bank of America. In particular, Lacorazza was impressed with the shop’s ability to distinguish AT&T in a parity category and to understand Starbucks from a “big, 40,000-foot strategic brand level all the way down to, well, how are we going to drive sales?”

Wells Fargo, which is based in San Francisco, spends about $130 million in media annually, according to Nielsen.

The creative search began in October. Wells Fargo marketing executives—including Lacorazza and chief marketing officer Jamie Moldafsky—subsequently met with a half dozen shops months before narrowing the field to four. The other finalists were TBWA\Chiat\Day in Playa del Rey, Calif., Mullen in San Francisco and JWT in New York.

The contenders got two assignments, according to Lacorazza. One assignment revolved around how to evolve the bank’s current “Conversation” campaign and the other sought ideas on where to take the brand if starting from scratch. Beyond strategic thoughts and creative ideas, bank executives wanted to see how the agencies worked, albeit in a compressed period of about 30 days, Lacorazza explained.

Final presentations took place early last month at Wells Fargo.

Media responsibilities were not in play and remain at OMD (traditional) and UM (digital). Other Wells Fargo shops include MRM (digital marketing) and multicultural players Muse, DAE and Acento. Select Resources International in Santa Monica, Calif., managed the search.

Monday, March 10, 2014

11788: Isms On The Crazy Ones.

Only bothered to watch the first ten minutes of the latest episode of CBS series The Crazy Ones. The show continues to reflect the real advertising industry in painfully unfunny ways. Simon Roberts hired the live-in boyfriend of daughter Sydney Roberts. At this agency—like most agencies—nepotism and cronyism are siblings.

11787: FCB Cuts Draft (From Logo).

Adweek reported Draftfcb is moving ahead with its rebranding, reintroducing a stodgy old name with a shitty new logo. FCB features a diagonal cut in the final initial, perhaps to symbolize the regular cuts in staff. Plus, the colored letters represent “the palette of flags in FCB’s 90 operating countries.” Of course, there’s not a Black to be found.

Draftfcb Is Unveiling Its Rebranding

Emphasizes its positioning as an integrated shop

By Noreen O'Leary

This may be the most public course correction in modern agency branding: Draftfcb, formed by the combination of two Interpublic shops in 2006, is unveiling its new identity as FCB (Foote, Cone & Belding). It’s an unexpected reversal from when direct marketer Draft effectively took over FCB in a shift touted as a new behavioral-driven model supplanting the influence of one of the industry’s storied ad agencies.

The change has been rumored since the September arrival of Draftfcb’s new global CEO Carter Murray, who said that after eight years the merged entity, with its single P&L, needs one brand positioning. “We had two very iconic names with different heritages, different pasts,” said Murray. “It didn’t fully reflect our integrated nature.”

Additionally, Murray said the agency has fewer global clients than its peers: “We are intrinsically local, and this celebrates local creativity and local spirit.”

Case in point: New York now becomes FCB Garfinkel, reflecting the January arrival of creative executive Lee Garfinkel as CEO. “When I say I’m putting creativity into the center of this company, I’m not messing around,” New York-based Murray added.

Which leads back to FCB’s 140 year-plus pedigree—a shop once run by Albert Lasker, known as “The Father of Modern Advertising”—that includes branding oranges as Sunkist; asking “Does she or doesn’t she?” for Clairol; and producing groundbreaking Levi’s 501 Blues work. Post-merger, most Foote Cone executives were excluded in top management ranks; “Draft” fronted the logo and “fcb” followed in lowercase type.

“The reason we put my name on the door was we wanted to make it clear this was not direct marketing being subsumed by an agency,” recalled executive chairman Howard Draft. “When I was more active in the agency, it made sense. My brand connotes more direct, digital, retail, but now we’re fully integrated.”

That was the original intent. But in the last few rocky years as Draftfcb lost big accounts like S.C. Johnson, Kraft and MillerCoors, the perception of the agency was that it had swung too far in the direction of Draft’s CRM practice and lost FCB’s creative understanding of consumers and narrative advertising.

The new identity, designed by FCB International CCO Luis Silva Dias, incorporates local elements that visually follow a diagonal cut in FCB’s “B.” Those details may include an operating city or the name of an acquired company because of its local equity or a specific expertise, like FCB Health. In New York, where the agency is predominately a health practice, that distinction differentiates those operations from the agency bearing Garfinkel’s name. While he is the first to become part of an office rebranding, other creative execs may follow. (Those names disappear when the individual exits.)

The logo’s colors represent the palette of flags in FCB’s 90 operating countries and the typeface is Code Pro Light, which Murray describes as a bar code font reflecting Draft’s digital heritage.

11786: Honey Maid Made Controversy.

From USA TODAY…

Diversity reaches new levels in Honey Maid ads

By Bruce Horovitz, USA TODAY

America’s biggest brands are at an advertising crossroads, and the new diversity that their ads project has suddenly emerged as one of society’s most visual — if not incendiary — flash points.

And it’s about to explode.

It began with several recent, high-profile diverse TV spots from two multibillion-dollar brands: a Cheerios spot staring a biracial girl with white mom and black dad; and a Coca-Cola spot featuring minorities singing America the Beautiful in their native languages. Both went viral and left trails of social media venom in their wake.

On Monday, Honey Maid will jump on the diversity bandwagon with a far-reaching campaign by the 90-year-old graham cracker brand that raises the use of diversity in mainstream ads to a whole new level.

In one 30-second Honey Maid ad, viewers will see everything from a same-sex couple bottle-feeding their son to an interracial couple and their three kids holding hands. The ad also features a Hispanic mother and an African-American father with their three mixed-race children. And there’s even a father covered in body tattoos. This is not some shockvertisement for Benetton. It’s an ad for one of America’s oldest and most familiar brands. The people in it are not actors, but real families. The message of the ad: These are wholesome families enjoying wholesome snacks.

It’s a brand new, multicolored, multisexual world of advertising. Major mainstream brands are plowing ahead and all but ignoring the expected social media blow-back, with one eye on demographics and another on survival. “The big brands are coming to the conclusion that diversity in America is inevitable,” says Andrew Erlich, a cross-cultural psychologist, consultant and author. “This horse has left the barn.”

Nor will that horse return any time soon. Some 37% of Americans are minorities and will likely reach the 50% mark by 2044, says demographer Cheryl Russell. Marketers are simply responding to the math, she says. “I call it the one-third rule,” she says. “When you exceed one-third of the population, you have political and economic power that far exceeds that level because you can make coalitions with a majority.”

Advertisers are simply reading the demographic numbers — and reacting. Whatever a traditional family used to be, it is no longer. One in 12 married couples in the U.S. are interracial. American women now make up 40% of primary family breadwinners. And only 62% of children live with their two biological parents.

“As a brand, you don’t really care who buys your product,” says Jo Muse, chairman of Muse Communications, one of the nation’s first multicultural agencies. “You just want them happy — and you want them to know that you see them.”

For the Honey Maid brand, which is owned by Mondelez, maker of Oreos, Ritz and Chips Ahoy, it’s about an almost century-old brand of graham crackers trying to reinvent itself as a product with both cultural and snacking relevance. For a generation of Millennials, who, unlike Boomers, were not raised on graham crackers, it’s an attempt to give the brand some cultural cred.

“This is a recognition that the family dynamic in America is evolving and has evolved,” says Gary Osifchin, senior marketing director of biscuits for U.S. Mondelez. “We’ve evolved, too.”

That evolution began in 2011, when executives took a long, hard look at the brand. A decision was made to move well beyond boxed graham crackers and make the brand far more relevant for snacking. So the brand created Honey Made Grahamfuls — graham cracker sandwiches filled with yummy stuff. That’s also about the time it stopped using high-fructose corn syrup — and began to promote that change.

Then, it brought Teddy Grahams under its label and started making the Teddy Bear-shaped treats with real fruit.

After years of stagnation, sales grew double-digit for the past two years, and now the brand is approaching $500 million in sales and even has eyes on ultimately becoming a $1 billion brand, says Osifchin.

Now, it’s all about appealing to a new generation that looks and acts different. All of this demographic change, the new Honey Maid ad implies, is just as wholesome as the brand itself.

“No matter how things change,” says an off-camera narrator in the ad, created by the agency Droga5, “what makes wholesome never will.” The camera then shows quick images of the gay couple with their infant and the mixed-race family out walking while holding hands. It also shows images of the folks eating Honey Maid crackers. The narrator then continues: “Honey Maid everyday wholesome snacks. For every wholesome family.”

No matter what their skin color or sexual orientation, “these families that we portray all have wonderful parent and child connections,” says Osifchin.

Clearly, mainstream brands are adapting to a new demographic reality. Executives at Coca-Cola declined to comment for this story. But General Mills executives say the reason for the mixed-race casting in their recent ads is simple. “We wanted these Cheerios ads to represent today’s families,” says Camille Gibson, vice president of marketing for Cheerios.

Now, Honey Maid is doing the same. “We want to be a brand that is current,” says Osifchin. “No matter how things out there in the world have changed, the enduring value of wholesome connections between parent and child have endured.”

Sunday, March 09, 2014

11785: From BHM To AHFGFM.

Lowell Thompson announced:

Now that Black History Month is over, it’s time for American History For Grown Folks Month.

Your first assignment? Click on the link below to my new ebook, “RaceMan Answers: America’s Toughest Questions on Race, Inequality & More”

It’s now available on Amazon:

Click here now

11784: McOscar Spot.

Here’s the McDonald’s commercial that led to haters criticizing 365Black.com.

Friday, March 07, 2014

11782: Not Lovin’ 365Black.com.

From Digiday…

The confusing case of McDonald’s 365black.com

By Saya Weissman

During last weekend’s Oscars, McDonald’s aired a commercial featuring a black male professional entering his apartment building with two McDonald’s bags. He ends up giving one to the doorman after chatting to him about what he was studying — turns out he’s an ambitious student too and not just a doorman. That spot then pushes viewers to the website 365black.com.

If you didn’t know it it actually exists and is an official McDonald’s site, you’d probably think a branded site called “365 Black” was some kind of practical joke or satirical spoof — you wouldn’t be alone. But 365black.com does really exist and it really is an official McDonald’s site that’s quietly been around since 2003 as part of its overall “365 Black” initiative. The fast-food chain created the campaign in order to support black culture and community all year round — hence the name — instead of just one month a year during Black History Month in February.

The problem with the TV spot pushing people to 365black.com this Sunday was that clearly most people didn’t know context of the 365 Black initiative. Judging by the chatter on Twitter following the commercial during the Oscars, people — both black and white — were confused, baffled and upset with McDonald’s having a site specifically targeting black people.

For example:

Race is still a delicate issue today, and without previously knowing about the 365 Black initiative and its support of black culture and history, it is understandable that some people who are just seeing an McDonald’s ad with a seemingly random website name slapped on to it might see this as targeted marketing to the black community gone wrong — as those on Twitter expressed. And even before the Twitter reaction this weekend, people have voiced their concerns over the years about the 365 Black campaign being inappropriate, insincere and racist. However, as Jeffrey Bowman, leader of Ogilvy’s cross-cultural marketing practice, sees it, the Twitter audience tends to be younger and reactive so those reactions aren’t surprising to him. Bowman doesn’t see the site or campaign as being racist or separatist at all, but quite the contrary.

“365 black isn’t only for one group, it’s celebrating black history year round,” said Bowman. “That’s a total market approach — it’s for anybody that’s attracted to black culture, that doesn’t just have to be for black people.”

Still, it is hard for some not feel queasy about a site called “365 Black” created by a corporation like McDonald’s, which has been criticized, along with other fast-food brands, for contributing to childhood obesity.

“McDonald’s direct marketing to African Americans has always troubled me, largely because so many African Americans live in urban areas surrounded by fast food restaurants and with limited access to fresh produce and unprocessed food,” said Imani Perry, professor at Princeton University’s Center for African American Studies. “It seemed to add insult to injury to present this business as having any investment or interest in African American history and culture.”

Digiday reached out to McDonald’s to ask the company about the negative reactions on Twitter to the 365black.com site. McDonald’s U.S. marketing director Rob Jackson offered the following statement via email:

It is never our intent to offend anyone. We know that many of our customers enjoy an interaction with our brand that goes beyond mcdonalds.com. That is why we offer people with diverse interests an opportunity to interact with our brand in ways that may be different from how others experience McDonald’s…We respect that there are differing opinions. As a company, we’re proud of our long history of diversity and inclusion as evidenced by McDonald’s restaurant staff, owner/operators, suppliers and corporate employees.

Traditionally, as Bowman explained, brands have only had two business verticals to consider when marketing: the general market and the multicultural market. But today the general population in the U.S. is increasingly multicultural.

“We have to retrain the industry,” said Bowman. “Rather than segment general market from multicultural, we have to think of things cross-culturally, because what that does is it allows you to understand that people are attracted to similar and also dissimilar things, and then you can segment based on cultural nuances.”

As Bowman sees it, McDonald’s made a bold move by airing the ad pushing people the 365black.com during the Oscars, giving the site and the initiative a broader media push. However, not everyone is convinced that the 365 Black campaign is really a modern, cross-cultural marketing strategy.

“I think [McDonald's'] current marketing strategy is old fashioned and will likely evolve to present inclusive rather than targeted imagery,” said Perry. “But either way, the product itself — unhealthy fast food — does particular damage to black communities and should be treated with skepticism no matter how it is presented.”

Thursday, March 06, 2014

11781: MLK Sale.

From USA TODAY…

Bernice King implores brothers to rethink heirloom sale

By WXIA

ATLANTA—Bernice King said Thursday she’ll turn over her father’s personal Bible and Nobel Peace Prize, but continues to urge her brothers not to sell the historical items.

The battle for control of Dr. Martin Luther King Jr.’s family Bible and Nobel prize medallion has created a messy and public rift between the civil rights leader’s three surviving children.

Bernice King says her brothers, Dexter and Martin King, want to sell their father’s items. In a news conference Thursday at Ebenezer Baptist Church, Bernice King called on her brothers to reconsider their decision.

“I appeal to you to reconsider your position and not sell our father’s Bible and Nobel Peace Prize,” Bernice King said. “These two artifacts are too sacred to be sold or be bought under any circumstance.”

King’s estate is run by his two sons, Martin Luther King III and Dexter King. The estate’s lawyers filed court papers Jan. 31 asking a judge to order their sister, the Rev. Bernice King, to surrender the items. A lawyer for the estate said at a court hearing last month that the estate has been in conversations with entities that want to buy or lease them.

Bernice has repeatedly said she opposes any such deal.

“I implore you to consider the magnitude of this moment in history and how you want your individual legacies to be defined,” Bernice said at the news conference, addressing her brothers who weren’t present.

The estate’s lawyers had asked a judge to order Bernice to immediately turn over the items, saying the potential deals to sell or lease them were time-sensitive.

Fulton County Superior Court Judge Robert McBurney declined to do that at a hearing last month, saying it would be more appropriate to maintain the status quo until the ownership dispute is resolved.

He ordered that the items be kept together in a safe deposit box in the name of the estate but that the keys be given to the court.

McBurney set a deadline of Wednesday for the items to be placed in the safe deposit box. Eric Barnum, Bernice’s lawyer, said the parties’ conflicting schedules didn’t allow them to meet that deadline and that the judge agreed to extend it to Monday.

Bernice was joined at the news conference by supporters, including Elizabeth Omilami, the daughter of civil rights leader Hosea Williams, and the Rev. Willie Bolden, who said he participated with King in the Southern Christian Leadership Conference.

Bernice said some people had urged her to refuse to hand over the Bible and Nobel Peace Prize and to go to jail instead. But she said she will comply with the judge’s order.

“It is, deep in my soul, difficult to place what my father described as precious heirlooms under the custody of the government, even if only for a season,” she said. “Yet, I recognize that justice and righteousness are not always aligned, and there is often a disconnect between God’s law and man’s law.”

(Contributing: Associated Press)

11780: Blogging Since 2005.

MultiCultClassics marks 9 years of publishing. Thanks for visiting.

Wednesday, March 05, 2014

11779: RadioShack Shuttered.

From The New York Post…

RadioShack to close nearly 1,100 stores

By James Covert

They’re starting to switch off the lights at RadioShack.

The cash-strapped electronics chain said it’s looking to shutter as many as 1,100 stores, more than a fifth of its locations nationwide, after disclosing a full-year loss that swelled to $400 million.

Fourth-quarter results, which got slammed by a 20-percent revenue drop, “were much worse than we anticipated, and cast serious doubt on RadioShack’s long-term viability in our opinion,” BB&T Capital Markets analyst Anthony Chukumba said.

RadioShack, which lately got attention for Super Bowl ads that featured throwback characters from the ’80s including Hulk Hogan, Mary Lou Retton and sitcom alien ALF, saw its shares slide 17 percent on the news, closing at $2.25.

The stock has been stuck below the $5 range for more than a year and a half as the debt-laden retailer has struggled to right its business.

Industry experts say RadioShack has been hit especially hard by the rise of Web retailers such as Amazon. That’s because the latter are better equipped to carry a wide selection of the gadgets, parts and accessories that had been RadioShack’s bread and butter for decades.

I think that the business is irrelevant,” said David Tawil of Maglan Capital, a New York investment firm. “I don’t see a vision on the future of the business.”

In a Tuesday conference call with analysts, CEO Joe Magnacca made it clear that the company believes that its chain of 5,200 stores is simply too big.

“Within five miles of my home, I have eight RadioShack locations,” said Magnacca, a former Walgreen exec hired last year to help resuscitate the retailer.

Nevertheless, insiders say the company’s plan to close stores has sparked friction with the company’s lenders, which in some cases have taken RadioShack’s leases as collateral.

“After a quarter like this, it’s going to be an uphill battle convincing the banks that exiting stores is a safe bet,” according to one industry source.

On Tuesday’s conference call, RadioShack execs fielded analysts’ questions about the company’s liquidity after it disclosed that some suppliers have demanded letters of credit in exchange for deliveries of fresh merchandise.

For the fourth quarter, RadioShack’s loss widened to $190.4 million — three times the size of its year-earlier loss — as its margins got squeezed by stiff price competition.

Some of the wounds were self-inflicted, execs admitted, as RadioShack discounted some items that were already selling briskly and failed to order adequate stocks of other hot sellers.

Sagging demand for mobile phones has been a nagging problem in recent seasons for electronics retailers industrywide. Still, RadioShack seems to have been hit harder than most, according to Tawil of Maglan Capital.

Tuesday, March 04, 2014

11778: Oscar Race.

From The Los Angeles Times…

Oscars: ‘12 Years a Slave’ puts spotlight on Hollywood’s approach to race

From the ad campaign for the film to a joke by host Ellen DeGeneres, issues of racial sensitivity and righting historical wrongs surround the picture.

By John Horn

Was it ultimately a race about race?

The best picture Oscar is meant to honor the year’s greatest achievement in film, and “12 Years a Slave” had no shortage of supporters before winning the top honor Sunday. But for all the film’s artistry, the undercurrent of many “12 Years a Slave” conversations hinged on race and how Hollywood has for decades given short shrift to one of the most inglorious chapters in the nation’s history.

The film’s distributor anchored its awards campaign around the line “It’s time,” easily interpreted as an attempt to exhort members of the Academy of Motion Picture Arts and Sciences into voting for the movie because it was the right thing to do.

The film’s director, British filmmaker Steve McQueen, said repeatedly during the long awards season that Hollywood appeared more comfortable making Holocaust movies than slavery stories. And in her opening monologue, Oscar host Ellen DeGeneres even joked that if McQueen’s telling of the enslavement of Solomon Northup didn’t take the top Academy Award, voters could be branded as “racists.”

Whether or not Oscar voters were motivated by fear of looking racially insensitive, or to correct a perceived historical wrong, can never be known. But one top Oscar strategist said that Academy Awards voters have a long history of honoring movies that take on the subject of race relations.

“Look at ‘A Soldiers Story,’ ‘In the Heat of the Night,’ ‘Ray,’ ‘Guess Who’s Coming to Dinner’ and ‘Sounder,’” said Tony Angellotti, reeling off the names of films that collectively garnered 30 Oscar nominations with nine wins. “This kind of socially aware vote for a movie that spotlights racism is rooted in the academy’s DNA.”

All the same, two Oscar voters privately admitted that they didn’t see “12 Years a Slave,” thinking it would be upsetting. But they said they voted for it anyway because, given the film’s social relevance, they felt obligated to do so.

In winning the best picture honor, “12 Years a Slave” became the first feature directed by a black man to collect the definitive Academy Award, capping a remarkable year for people of color in Hollywood. The Kenyan actress Lupita Nyong’o from “12 Years a Slave” won for supporting actress, “Gravity” filmmaker Alfonso Cuaron became the first Latino to win the directing Oscar and “20 Feet From Stardom,” a look at African American back-up singers, was named top documentary feature.

Even if they didn’t win any Oscars, 2013’s most acclaimed films included the civil rights tale “Lee Daniels’ The Butler,” the Jackie Robinson story “42” and the South African biography “Mandela: Long Walk to Freedom.”

Though most Oscar ceremonies carry a bit of suspense, the tension inside the Dolby Theatre on Sunday night was palpably different.

Would “Gravity,” an apolitical thriller about a space accident, return to earth with the best picture? Or would Oscar voters endorse “12 Years a Slave,” a film that many feared was so unsettling they put off viewing it until the last moment, if they watched it at all? Or as DeGeneres said in her opening monologue, “Possibility No. 1, ‘12 Years a Slave’ wins best picture. Possibility No. 2, you’re all racists.”

When Will Smith opened the envelope and announced the winner, there was almost an air of relief inside the cavernous theater before the A-listers and others rose as one in applause.

“I think the African American community is glad the film was chosen as best picture because that is a validation of African American history and the pain and suffering within that history, and the survival of that history,” said Brenda Stevenson, who teaches African American history a UCLA. “In that way, it does help to heal.”

Stevenson, who teaches parts of Northup’s memoir in undergraduate and graduate courses, said that “12 Years a Slave’s” win is a milestone in part because the award proves that a story illuminating the horrors of antebellum slavery can “resonate with a large audience.”

Made for $22 million (with rebates reducing its final cost to close to $18 million), the film has grossed more than $50 million in domestic release, and its Oscar glory will undoubtedly boost its box office prospects, even though it’s set to be released on DVD this week. Executives at distributor Fox Searchlight believe the Oscar victories could bring several million dollars more in ticket sales.

Minutes after “12 Years a Slave” collected the best picture statuette, McQueen was asked about the significance of his victory nearly 75 years after “Gone With the Wind,” which had a decidedly more romanticized view of slavery, took the same honor.

“Well, it obviously is a mark of development,” McQueen said backstage. “The background characters are now in the foreground, and their history, and their lives — how they lived — are being recognized in a way more than before. And I think it’s indicative of what’s going on now. I think people are ready for this narrative.”

Hollywood, however, has shown scant interest in making movies about the black experience. It took the producers of “Lee Daniels’ The Butler” two years to raise the funds to make the movie, cobbling together its budget from an array of investors. Producer Thomas Tull spent as much time trying to make “42.” And River Road Entertainment and New Regency Pictures bankrolled the bulk of “12 Years a Slave” after distributor Fox Searchlight initially passed on backing it.

As McQueen sees it, support for movies like his arrives gradually, and he understands why movie studios have been more willing to explore the inhumanity committed by Nazis than past citizens of the United States.

Slavery, the director said a few days before the Oscars, was “horrendous, violent, vicious, nasty” and “it’s understandable that people had difficulty coming to terms with it or visualizing it via cinema. But now I feel people are receptive. People now are wanting to engage in that history in order to go forward more than any other time. Possibly because there’s a black president, possibly because last year when the movie came out was the 50th anniversary of the civil rights march on Washington and the ‘I Have a Dream’ speech.”

As Brad Pitt, one of the winners of the best picture Oscar put it backstage, “At the end of the day we just hope that this film remains a gentle reminder that we’re all equal. We want dignity and opportunity for ourselves and our family, and that another’s freedom is every bit as important as our own. That’s it. That’s everything.”

11777: Deen Says, “Sam I Am.”

From DiversityInc…

Paula Deen Compares Her Struggle to ‘That Black’ Gay Football Player

By Albert Lin

Paula Deen is back … and comparing herself to “that Black football player who recently came out,” Michael Sam.

In a cover-story interview with People magazine, Deen somehow likened the struggles with her public image to Sam, who hopes to get drafted in May and become the first openly gay active NFL player.

“I feel like ‘embattled’ or ‘disgraced’ will always follow my name. It’s like that Black football player who recently came out,” she said, according to TheWrap.com. “He said, ‘I just want to be known as a football player. I don’t want to be known as a gay football player.’ I know exactly what he’s saying.”

Deen’s massive empire—ranging from her own line of kitchenware to a regular TV show on the Food Network—fell apart last year when she admitted during a court deposition to having used the N-word. Her response, including tearful apologies, only made her situation worse.

“When I woke up each morning, it was like my world was crashing down again,” she told People. “I’m fighting to get my name back.”

Food Network cancelled Deen’s contract in light of her revelations, and Caesar’s Entertainment shut down her Paula Deen’s Kitchen restaurants, which had operated in four casinos. Walmart, Target and Kmart stopped selling her line of cookware, and Smithfield Foods ended its endorsement deal with Deen, who reportedly earned $18 million in 2012.

The lawsuit for which Deen was giving a deposition was ultimately settled out of court.

But the cash train to Deen’s pocketbook appears to be back on track. Private equity firm Najafi Companies—which has invested in the Phoenix Suns of the NBA, the Book of the Month Club and airline catalog SkyMall in the past—has committed $75 million to $100 million to get Paula Deen Ventures up and running. The new company is reportedly in talks with a TV network—not Food Network—to get Deen on the air once again.

“We know that the enterprise will be successful and valuable, as Paula and her team continue to bring quality products and experiences to her loyal fan base,” Jahm Najafi, CEO of Najafi Companies, said in a statement.

Steven Nanula, who worked with Deen through her old enterprise’s collapse, will run the new Paula Deen Ventures.

Monday, March 03, 2014

11776: Academy Awards Salute.

Congratulations to Lupita Nyong’o…

…John Ridley…

…Steve McQueen…

…and, of course, Brad Pitt.

11775: Proudly Tuning Out…?

Does this Canadian campaign for Proud FM use White stereotypes to make its liberal point?

From Ads of the World.

Sunday, March 02, 2014

11774: The Crazy Ones Not Kosher.

The latest installment of CBS series The Crazy Ones tapped Jewish culture in typically clueless style. To land a new motel chain account, copywriter Zach agreed to play Bar Mitzvah MC at the special event for the prospective client’s son. Can’t even begin to list all the inappropriate comments. Oy vey, this show so sucks.

11773: Hijacking True Somalia Story.

From USA TODAY…

‘Captain Phillips’ misplaced story line

By Brian Klaas and Jamal Abdulahi

On Oscar night, focus will be on issue of piracy instead of anarchy in Somalia.

Sunday night, Barkhad Abdi, the actor who portrays the pirate leader in Captain Phillips, will exit a limousine onto the red carpet hoping for an Oscar. Two years ago, he was driving limousines in Minneapolis, scratching together a living like more than 100,000 other Somalis in America.

Abdi’s story — on screen and off — symbolizes two trends. Neither is in tonight’s spotlight. First, Somali-Americans like Abdi are building a 21st century American dream despite unimaginable adversity. Second, there’s one small problem with the Hollywood spotlight on Somali piracy: there were no hijackings off the coast of Somalia in 2013. None.

Abdi’s dramatization of Somali piracy in Captain Phillips is electrifying, but it draws attention to the fading story of piracy while obscuring the central plot line: Somalia is a failed state, a forgotten poster-child of human suffering and a geopolitical security risk. We cannot afford to ignore it.

Since 1988, Somalia has suffered a fierce civil war that ruptured into anarchy after Siad Barre’s regime was overthrown in 1991. The 1993 Black Hawk Down incident eliminated the appetite for international intervention. Since, there have been various efforts to strengthen government authority. Despite some progress, the government is weak. Clan-based strongmen still profit from instability.

As Somalia festers, hundreds of thousands of civilians have died from war, famine, and disease. Millions more languish in insecurity and poverty. No surprise, then, that more than 100,000 Somalis have relocated to the United States, with more than 30,000 in Minnesota. They fled war but are creating hope. Blighted areas of Minneapolis have become booming Somali small business hubs. Last November, Abdi Warsame, a Somali-born refugee, was elected to the Minneapolis city council — a historic first.

Captain Phillips is a magnificent film, but it does not tell these stories. Instead, it showcases a symptom of the lawlessness, desperation, and poverty created by Somalia’s decades-long war: piracy.

However, Somalia pirates are a dying breed. The scourge is now largely eradicated from the Horn of Africa, thanks to a multilateral fleet. Protecting ships is easy. Protecting Somalis from anarchy — and protecting the world from the deadly byproducts of that anarchy — is hard. Multilateral engagement, featuring the cooperation and resolve that made anti-piracy measures successful, would be a start.

Last month, the United Nations warned that 850,000 Somalis are on the brink of starvation. Around Mogadishu, hundreds of thousands of internally displaced Somalis live in camps where rape and abuse are common. Beyond humanitarian imperatives, a stable Somalia serves American interests.

In February, al-Shabaab, an al-Qaeda affiliated terrorist group, attacked Mogadishu’s presidential palace and airport, killing dozens. Last October, al-Shabaab violence spilled outside Somalia, into a Nairobi mall, killing 61 civilians.

The risk of spillover from Somalia is real. There have been no successful attempts by Al-Shabaab to strike in the U.S. but they have recruited Americans — including at least 23 from Minnesota. The first American citizen suicide bomber was recruited in Minneapolis and blew himself up in Somalia in 2008.

Somalia is a textbook example of the security challenges that define the 21st century. Terrorism thrives in lawlessness. Chaos in Somalia threatens us. The White House agrees. In January, President Obama ordered a missile strike targeting a senior al-Shabaab militant, a “surgical” attempt to neutralize the threat with minimal risk to Americans.

But Somalia needs more than missiles and drones, and it needs more than a red carpet Oscars spotlight. The international community should take three critical steps.

First, do no harm. The Somali diaspora, in places like Minneapolis, provides roughly $1.3 billion in aid to friends and family in Somalia. Aggressive money laundering investigations have forced some banks to threaten to sever ties with Somali money transfer organizations. This would be a disaster, either severing a money pipeline that prevents Somalia’s total collapse or forcing financial flows into the untraceable darkness of the black market.

Second, authorize larger numbers of peacekeeping troops with a stronger mandate and push the alphabet soup of existing deployments to coordinate more effectively.

Third, Minnesota has half as many people as Somalia but 180 times the government budget. Foreign assistance — with technical expertise, military logistical support, and stable financing — could produce a tipping point.

Sunday night, the spotlight will shine briefly toward Somalia. American foreign policy should hijack that spotlight and use it for a renewed push to shore up American national security by stabilizing Somalia. They should look to the Somali-American diaspora — including success stories like Abdi — for a lesson on how to create a better life from the ashes of war.

Brian Klaas is a Clarendon Scholar and researcher focusing on African politics at the University of Oxford. Jamal Abdulahi is a policy fellow at the University of Minnesota’s Humphrey School of Public Affairs.

Saturday, March 01, 2014

11772: Czech Out This Shit.

Note to Czech Republic Art Directors Club: If you’re going to hype your awards show for art directors, produce a campaign that doesn’t look like it was designed by copywriters.

From Ads of the World.