Just realized another reason for the abject lack of commemorative campaigns celebrating Indigenous Peoples’ Day. Most—if not all—White advertising agencies don’t have an Indigenous ERG; hence, such diversity duties cannot be delegated.
If any White advertising agency does have an Indigenous ERG, well, it’s gotta be one lonely teepee.
What’s most outrageous about the lack of advertisements celebrating Indigenous Peoples’ Day? Shutterstock offered 476 royalty-free images suitable for patronizing propaganda. It appears there were no takers in Adland.
In Adland, Indigenous Peoples’ Day is essentially just another Monday—or the end of a holiday weekend for White advertising agencies acknowledging the occasion.
Yet unlike other special days, there are virtually no commemorative campaigns. No Land O’Lakes limited edition packages. No replica jerseys for the Washington Commanders or Cleveland Guardians. No Patrick DesJarlait tributes. No references to Iron Eyes Cody.
Indigenous people receive less than 0.3% of Adland’s attention today—and every day.
Okay, it’s technically not commemorating Indigenous Peoples’ Day, but Ray Agency in Newfoundland and Labrador explains this Assiniboine College campaign as follows:
‘Be Known’ is the first campaign developed in partnership between Ray and Manitoba’s Assiniboine College. The campaign highlights how the things we do and the choices we make in our lives leave an imprint on our communities and the world we live in.
Our early research and discovery work made it clear that students choose Assiniboine for a wide variety of reasons from small class sizes to focused career-oriented education and direct pathways to employment. But above all, students shared a resounding sense of connection and visibility among their peers, their faculty, and their potential employers at Assiniboine.
It’s this sense of being known and appreciated for who you are that resonates with our target audience. That they can learn and grow in an environment that encourages self-discovery through trial and error and hands-on learning is uncommon in larger, more impersonal post-secondary institutions. It’s not about more “rah rah student empowerment”, but instead a true journey of self-discovery and personal growth along the paths of life that we choose to travel.
The role that Assiniboine College plays in the province of Manitoba, and in the communities it works with, demands that we strive to hear and reflect the Indigenous experience in the work. Reconciliation is part of Assiniboine’s path to follow, and the campaign honours that.
Hmmm. Not sure how the campaign concept reflects the Indigenous experience. “What’s Indigenous about it?”—to use an inquiry common in multicultural marketing.
Can’t help but wonder if any Indigenous people—particularly from the Assiniboine community—were among Ray Agency staffers behind the work.
It also appears the advertisements were created with Canadian crumbs.
There’s much that will not Be Known about the campaign.
Sterling Cooper Draper Pryce announced Dawn Chambers and Shirley formed the White advertising agency’s first Black ERG. The duo’s delegated duties include drafting commemorative memos during Black History Month, Juneteenth, and Kwanzaa.
Hollis the elevator attendant was prohibited from joining, as he serves the building and is not an SCDP employee.
Special Group—a White advertising agency in New Zealand—explains this Pepsi Max campaign as follows:
The ‘Tastes OK’ campaign is the latest iteration of the established Pepsi Max ‘Tastes Better’ brand platform. It highlights a design flaw that's been hiding in plain sight in the name of the brand’s biggest competitor, reminding Australia that food tastes better with Pepsi Max.
The campaign not only leaves a bad taste, it revives old Coca-Cola lines:
• Coca-Cola…Makes Good Things Taste Better (1956)
• Things Go Better With Coca-Cola (1963)
Additionally, given how Coca-Cola is very protective of its copyrighted branding, did the campaign actually run—or is it a scampaign? Can’t imagine The Coca-Cola Company’s legal team would be ok with depicting Diet Coke cans in a Pepsi creative platform.
In short, these advertisements suck to the max.
If LinkedIn Talent Solutions is so amazing, why are countless members adding #OpenToWork frames on their profile pictures? The parody ad below is probably more accurate that the actual ad above.
The Guardian published a perspective on the controversy sparked by a Heinz advertisement featuring arguably racist stereotypes. In short, Heinz took the “pa” out of pasta sauce, which left a bad taste in viewers’ mouths.
When a Heinz advert features racist stereotypes to sell pasta sauce, it’s vital to speak out. So I did
By Nels Abbey
I’m glad that an ad apparently minimising the role of Black fathers has drawn an apology. It’s lazy thinking we just don’t need
It’s Black History Month, one dedicated to reclaiming narratives. It also happens to be a month before the 140th anniversary of the plotting phase of white supremacy’s most enduring set of crimes: the Berlin conference (in which it was decided which European nations, empires or monarchs would get to own which parts of Africa and, effectively, enslave the population). Complementing and continuing the catastrophes that emerged from the industrialised kidnapping and enslavement of Africans in the Americas before it, the Berlin conference unleashed a slew of compounding tragedies, confusions, narratives and stereotypes, which have led us down the years to the stereotype of single parenthood, and notably the “deadbeat father”.
Fast-forward to last Friday. Standing on the Victoria line platform of Vauxhall tube station, I noticed an advert for a new “family size” pasta sauce being flogged by Heinz. It is a wedding shot, in which a joyful-looking dark-skinned Black woman in her wedding dress is clutching a fork of pasta in tomato sauce, seemingly unconcerned that sauce has dripped down her dress. So far, so innocuous. Sat beside her is a man you assume is the groom (who is white) and a rather bewildered-looking older Black woman you could reasonably guess is her mother. On her other side are two older, and also apparently bewildered, white people who would reasonably be assumed to be the parents of the groom. Admittedly I had to look a few times to ensure I wasn’t seeing things. I wasn’t. Where was her father, whom the average person – looking at her – would assume to be Black? Nowhere to be seen. Not at the top table. Not anywhere.
Most might not have noticed. That’s probably how the image – which Heinz, post-social media storm, has apologised for – got that far.
Looking at it on the tube, I reflected on how much the concept of the deadbeat or missing father has cost us. It’s not that it doesn’t happen. Everything’s Gonna Be Alright (Ghetto Bastard), a furious anti-deadbeat father record by rappers Naughty By Nature sprung to mind. It was a song I knew line for line as a 10-year-old former foster child before I met my own biological father.
But that detachment isn’t a given. And it certainly shouldn’t be the basis for an ad executive’s lazy assumption. On Friday night, I tweeted a line from a song by the rapper Nas, Daughters, (“for my brothers with daughters”) – alongside the picture of the Heinz ad, before adding that Black girls, believe it or not, have fathers too. It rightly touched a nerve.
A key legacy of centuries of racist assault on Black people has been Black families struggling to stay together. Yet a statistic is a liar’s best friend, and statistics on single parenthood in Black communities are a bigot’s closest ally. Admittedly, the stats on single parenthood look notably vicious for Black communities. The figure in England and Wales increased from 48.5% in 2011 to 51.0% in 2021.
However, in Black communities, the synonymising of single parenthood with deadbeat fatherhood is an error. As in all communities, it is not uncommon for Black or multi-racial parents to break up or to be unmarried, but it is increasingly unusual for Black fathers not to play a super-active role in the lives of their children. The stereotypes we inherited from yesteryear are yet to be updated and are crowded out by statistics that don’t paint a full picture.
Thanks in large part to intra-communal accountability endeavours for Black fathers on an interpersonal, collective (see organisations such as Dope Black Dads) and cultural level (more musical examples include Parity by AKS), we are living through the aftershock of the era of the deadbeat Black father. So we are left with no choice but to challenge the Heinz advert and that stereotype.
We know that outrage sells. As does subtle racism. And in the main, no publicity – especially for a billion-dollar entity like Heinz – is bad publicity. But I will also say that, compared with other media, advertising has really tried to reflect and represent modern, multicultural and diverse Britain, especially at a time when it is under political and, as we saw in this summer’s riots, literal physical assault.
Advertising in Britain formed a force field against the culture war assaults of the years of Tory rule. And money talks: diversity has proven to be a very good (profitable) marketing and advertising tool. I view the Heinz ad as more cock-up than corporate Klansman conspiracy, and its apology for “unintentional perpetuated negative stereotypes” – assuming it is taking the posters down and doing something positive to challenge those stereotypes – is to be welcomed.
But let this be a lesson. From advertising to TV to reality, what must always be remembered is that Black girls, like Black boys, have fathers too. Keeping Black men off the table does no one any good.
Yesterday—October 9, 2024—was Ageism Awareness Day.
The United Nations commemorates International Day for the Elimination of Racial Discrimination; National Association of Chronic Disease Directors marks National Day of Racial Healing; St. John’s University–School of Law acknowledges Anti-Racism Day; British Columbia salutes Anti-Racism Awareness Week.
Maybe Adland should launch Systemic Racism Awareness Day. Or Cultural Cluelessness Awareness Day—which sounds like an oxymoron.
Campaign Asia spotlighted a study conducted by the Experience Advocacy Taskforce (EAT)—released ahead of Ageism Awareness Day—which focused on the growing concern around ageism in Australia’s advertising industry. “The Silent Exit” examined the exodus of older employees—via reluctant resignation, redundancy, or reduction in force—at White advertising agencies and media enterprises.
Not sure how Adland Down Under compares to Adland in the US and UK, but the wailing and gnashing of dentures appears to be similar.
The suggested “solutions” mirror those concocted to address racial and ethnic inequality in the global industry. Additionally, EAT officials strongly recommend integrating ageism into overall DEIBA+ initiatives and heat shields. As such proposed measures will likely be enthusiastically embraced and executed by Adland elders, expect Old White Guys and Old White Gals to leapfrog people of color in the imperative for diversity, equity, inclusion, etc.
Around the world, it’s the same old story—systemic racism advances with age.
Side Note: The royalty-free stock image illustrating the Campaign Asia content (depicted above) was inverted, resulting in ‘EXIT” appearing backwards. Wonder if the responsible editorial designer was an inexperienced newbie or inattentive veteran.
The silent exit: Why ageism in advertising continues to force out senior talent
As adland grapples with an ageing workforce, a new study by the Experience Advocacy Taskforce reveals the exodus of seasoned professionals, driven by age bias and structural challenges.
By Rahat Kapur
Ahead of Ageism Awareness Day on October 9, a new study by the Experience Advocacy Taskforce (EAT) in partnership with Advertising Industry Careers (AIC) sets out the ongoing challenge of multigenerational workforce management in Australia’s advertising industry.
The report highlights the quiet but significant departure of professionals aged 45-54, pointing to age bias and structural barriers as primary contributors.
Surveying 130 former professionals from full-service agencies, media agencies, creative agencies, and media owners, the report shows that over half (51.54%) of these exits occur in the mid-career age bracket of 45-54. Even more concerning, nearly 70% of those who entered the industry as ‘young guns’—starting their careers between 18 and 24—have left prematurely. These individuals are not retiring but often being squeezed out by an industry increasingly focused on younger talent.
Owen Joyce, chief operations officer of AIC, told Campaign: “Senior people can sometimes dismiss new trends—TikTok is a great example—and this may make them appear set in their ways. There’s a perception that younger people better understand the social platforms because they spend a lot of time on them personally, but the survey respondents indicate this is less than 2%.”
The findings challenge common industry assumptions, particularly the belief that older professionals struggle with digital advancements. Fewer than 2% of respondents cited an inability to adapt to the digital age as their reason for leaving. A far larger group (35.38%) left due to involuntary redundancies, revealing the disproportionate impact of economic pressures on experienced employees. Stress and burnout, typically associated with mid-career exits, accounted for around 10.77% of cases, with a similar percentage moving to client-side roles.
Greg ‘Sparrow’ Graham, founder of the EAT, noted that this exodus, while understated, signals a deeper issue: “The ‘silent exit’ is a wake-up call. To remain competitive, the industry must value the expertise and contributions of seasoned professionals and collectively work together to make age a non-issue for the next generation.”
Beyond redundancies, the report delves into recruitment challenges. Despite 23.08% of those who left senior roles still seeking work in advertising, many face significant barriers, including being ‘ghosted’ by recruiters. One respondent, aged 50-54, shared their frustration: “I applied for 200+ jobs. How many interviews do you think I got? Zero.”
While 70% of respondents expressed a willingness to take roles below their previous level, showing a continued passion for the industry, this raises concerns about the long-term health of the workforce. Joyce observed: “When advertisers turn their budgets back on, everyone will need to grow their teams, and often poaching, above-market salaries, and unsustainable perks result. AIC believes there is merit in looking at ways to manage these inevitable peaks and troughs, so that removing senior people isn’t seen as a quick way to find cost efficiencies.”
The report also highlights the pervasive ‘move up or move out’ mentality within the industry, where seasoned professionals face pressure to continuously advance or risk being pushed out. This mindset, combined with structural ageism, leaves many over 40 feeling undervalued or irrelevant, despite their expertise, leading to an unnecessary loss of talent.
This challenge is not just confined to Australia. Across Asia Pacific, more young people are grappling with whether advertising is the right career path, contributing to the broader problem of managing a multigenerational workforce.
Linda Robson, EAT committee member and founder of The Hummingbirds, who spent 17 years working across Asia, highlighted these regional differences. She told Campaign: “In Australia, we’re seeing a talent drain over 40, but I suspect it may be even younger in some markets. I remember running a treasure hunt activity in Vietnam as part of a training energiser. One of the tasks was ‘find someone over 40’. We had over 70 people in the workshop at the time, and they couldn’t find a single person over 40. For the record, the only person who qualified was me.
“In those 17 years, working across 13 countries, I didn’t go to a single retirement party, and there were plenty of colleagues who left because of involuntary redundancies. So, what does that tell you?”
To address this talent drain, the report suggests businesses must eliminate age bias in hiring, develop creative strategies to retain experienced professionals, and provide tailored support and career pathways for those not seeking to climb the corporate ladder. Prioritising retention of senior talent and integrating ageism into DEI initiatives are essential steps to fostering a sustainable, multigenerational workforce.
“Perhaps this is something that needs more attention from diversity and inclusion teams. It’s also worth professionals themselves understanding when they are at risk and being proactive. Clearly it is imperative we offer greater support and career pathways for our more experienced workforce,” concluded Joyce. “Embracing the expertise of those over 40 is essential to fostering innovation and resilience within our field.”
Source: Campaign Asia
Advertising Age spotlighted an NAACP video seemingly seeking to guilt viewers into making charitable donations by stressing the general US society’s diminishing interest in equality.
“Four years ago, 28 million Americans posted the black square,” states the announcer in reference to a 2020 social media stunt. “If we had $1 for each one, we could make change that lasts. It’s time to come together again. It’s time to keep advancing.”
Okay, except the campaign was crafted by Edelman, a White public relations and advertising conglomerate also lessening its performative PR and heat shields—despite displaying patronizing declarations of DEIBA+ dedication.
Credited as a co-creator is Eleanor, an enterprise claiming to be the first and only Black and woman-owned production company in the US and UK. The “in the US and UK” qualifier probably validates the company’s contention, as there are Black and woman-owned production companies in the US, albeit undoubtedly underrepresented and undercompensated with crumbs.
Not sure why the NAACP didn’t award the assignment to a Black-owned advertising agency.
Indeed, shouldn’t the NAACP go after places like Edelman for their historic failure to advance people of color?
NAACP calls out racial justice supporters who went silent after 2020
Ad from Edelman and Eleanor admonishes those who supported racial justice before going quiet on the subject
By Brandon Doerrer
The National Association for the Advancement of Colored People is calling out supporters of the racial justice movement who have gone silent since 2020.
A new campaign from the NAACP shows a white woman participating in Blackout Tuesday on June 2, 2020, when Instagram users posted pictures of black squares with the hashtag #BlackOutTuesday to protest racism and police brutality after the police killings of George Floyd, Ahmaud Arbery and Breonna Taylor. The woman proceeds to make posts of herself holding protest signs and books on antiracism for the next two months before returning to her normal life.
Flash forward to September 2024 and the woman mutes TV news coverage of ongoing racial injustices.
“Four years ago, 28 million Americans posted the black square,” a voice-over says. “If we had $1 for each one, we could make change that lasts.”
The 60-second spot will appear across streaming video and paid social. The NAACP will also comment on original black square posts from the accounts with the most followers, encouraging celebrities, athletes and influencers who participated in the moment to revive their efforts.
Edelman handled creative efforts while Eleanor led production. Candice Vernon directed the spot.
The ad is intended to reach a new generation of donors and calls out those who temporarily supported the NAACP four years ago. Two in three donors from 2020 have not returned to support the NAACP, according to the organization.
The ad also refers to corporations that have pulled back on DEI pledges, many of which were established following Floyd’s death: “And yet another company disbanded its DEI department,” a newscaster says during the ad.
The growing list of companies rolling back DEI initiatives includes Lowe’s, Ford, Harley-Davidson, Tractor Supply Company, Jack Daniel’s marketer Brown-Forman, John Deere and Molson Coors.
The ad ends with a collection of black squares listing different causes the NAACP is fighting for, from closing the racial wealth gap to improving food systems.
