17621: On Creator Presence At Advertising Week New York.

 

Digiday published a lengthy report on Advertising Week New York, spotlighting the increased presence of creators at the exclusive event.

No word if the creator reverence and respect extended to creators of color.

‘We’re all going to live with uncertainty forever’: Advertising Week New York opens amid industry rebuild

By Kimeko McCoy and Seb Joseph

 

Nobody at Advertising Week New York this week will be stuck for conversation, though to be fair you could have said that about any of the last ten. Organizers claim more interest every year, and the trade press, Digiday included, has a habit of calling each one pivotal. What’s different in 2026 is how much of the business is being rebuilt around the people who work in it, with plenty of them turning up unsure where they’ll fit once it’s done.

Ask the execs heading over to Midtown’s The Penn District and the work that keeps coming up is implementation.

“We’ve moved quickly from experimentation to implementation,” said Alistair Hill, CEO & co-founder of brand uplift firm On Device. Roblox’s vp of global partnerships and advertising Stephanie Latham, said last year’s conversations were about how comfortable marketers felt using AI, and that they’ve since struck enterprise agreements with AI partners. Kochava CEO Charles Manning wants to see how far agentic AI has moved from talk to operations. He said CFOs are taking a more active role in discussions about costs, and security teams are paying closer attention to how first-party data could leak into AI models. Hill’s worry is trust, because faster optimization means little if nobody can trust the data and measurement behind it.

Implementation, in other words, comes with a long list of questions nobody has settled yet, and plenty of the execs heading over say they’re going mainly to listen. Channel Factory CRO Nico Greco and Summit House co-founder Steven Cundari both described the week as a chance to team up. “I want to understand where our clients and partners are in their technology journeys,” said Greco of what he wants to get from the meetings he’ll be having throughout the week.

Much of that listening will happen away from the stages. The Trade Desk opens the week this afternoon with drinks at The Perch, the rooftop on top of PENN 2 — a few minutes’ walk from the main venue. Amex Ads has the Riff Raff club in the evening. Ad tech’s card players will be at the Sigma Software invite-only poker night, which is into its fifth year. For anyone who’d rather sit down over lunch, The Landing at PENN 1 has private dining rooms right on the doorstep, and Bar Primi on West 33rd Street takes groups. Speakers and top-tier pass holders get the Chase Media Solutions lounge on the second level. By Tuesday night, some of the crowd will have drifted down to Little Rebel in the East Village for Proeller’s fringe party.

Creators have their own circuit this year. Meta is running a Creator’s Lounge on the second level for creator pass holders and Dhar Mann, Advertising Week’s first chief creator officer, hosts a karaoke night tomorrow and an omakase dinner with Rick Ross on Wednesday. There’ll be plenty of creators to fill them. Ruth Mortimer, global president of Advertising Week, expects around 2,500 creators this year, up from 1,000 creator tickets last time. She and Mann have set a target of $100 million in creator deals coming out of the week over the next 12 months.

It’s a long way from how creators used to land a meeting with a CMO here. “I used to joke, the only CMO meetings we were getting were if they had a 12-year-old daughter who watched our creators,” said Adam Wescott, CEO and co-founder of independent content and media studio Home Game Studios. The welcome is, indeed, warmer than it used to be. Trevant GM Kristina Coughlin said creators have become “a core part, often a leading part” of advertisers’ marketing mix, whereas in previous years they were an extra. Wescott wants to see what comes of it once the week is over. “Creators don’t just want the invite to help promote ticket sales,” he said in an email. “They want real deals to come from it.”

AI and creators come with the territory at an event like Advertising Week. Measurement tends to get less air time, though the arguments over it have been building all year. AI-driven shopping is pulling budget out of search, while creators and social platforms want credit for sales that close somewhere else. Newer sellers like ChatGPT are asking advertisers to spend before they can show what the money did. Kochava’s Manning will be watching how those conversations play out over the next few days: “Our sideline conversations are deliberately focused on deep, structural partnerships rather than transactional pitch meetings. Specifically, our calendar is booked with meetings in three categories: Enterprise Marketers seeking truth and leverage, ecosystem and platform partners that want strategically minded growth and organizations that want true AI-driven transformation in their processes.”

None of this gets settled by Thursday, and Mortimer isn’t pretending otherwise. “We’re all going to live with uncertainty forever,” she said. “So let’s try and find the opportunities together.”

AWNY wants creators in the room. Creators want to know what’s in it for them

At this year’s Advertising Week New York (AWNY), creators aren’t just part of the programming. They’re seemingly part of the draw for the event itself.

AWNY is trying something new this year. The conference brought on creator and entrepreneur Dhar Mann on as its inaugural chief creator officer. With Mann’s appointment comes the $100 Million Creator Challenge, a set of “interactive 30-minute experiences pairing leading talent with major CMOs to create ideas, content, connections and real business outcomes,” per the AWNY site.

There will also be an exclusive happy hour for creators, execs and cultural leaders, a curated dinner and a night out. The pitch to creators is clear: come to Advertising Week and maybe you’ll leave with a CMO-signed contract.

“It’s exciting more advertiser-first events are inviting creators, but what will be most telling is the results post-event,” said Adam Wescott, CEO and fo-counder of Home Game Studios, and Mind Chatter Media. 

It’s true the ad industry is taking creators more seriously. Just look at industry tentpole events, like the Cannes Lions International Festival of Creativity this past summer. Creators all but stormed the French Riviera, looking to strike deals with business leaders. Dinners, key notes and other events that were usually reserved for CMOs were also hosting creators. 

While event organizers roll out the red carpet for creators, the question is whether or not the benefit is mutual. That’s what Wescott has top of mind heading into this year’s AWNY, he said. 

More ad industry events are starting to bring creators in not just as panelists and talent, but potentially to boost reach and promotion for these events themselves, he said. The question is: what’s in it for creators outside of a trip and photo op?

“Creators don’t just want the invite to help promote ticket sales. They want real deals to come from it,” Wescott added. 

What we’ve heard

“For us it was important [Dhar Mann’s involvement] had a business outcome. We’ve hand-picked a group of brands and we’ve asked them to identify what budget they’re spending creators. Then we’re getting them in the room with the creators here. We’re tracking it because we asked the brands up front to confirm what they were planning to spend.”

— Advertising Week global president Ruth Mortimer

Advertising Week New York by the numbers

• About 2,500 creators are expected this year, up from 1,000 creator tickets last year. 

• A $100 million target for creator deals coming out of the week will be tracked over the next 12 months against creator budgets brands confirmed up front.

• Nine stages and 36 day tracks. 

• Advertising Week’s own realtor network, built with the creator platform Breakr, gives it access to around 350,00 creators. 

• Brand marketers are now the largest audience segment, where agencies would have been a decade ago.

On stage

The creator advantage in AI search, 8 a.m. to 10 a.m. (leadership breakfast)
Jenny Penich, CRO at Influencer and Eleanor Hooker, head of community and customer marketing at Profound discuss answer engine optimization, how LLMs rely on human recommendations and why creators could link AI discovery to consumer trust.

Dhar Mann’s opening keynote, 9.30 a.m., Great Minds Stage
This is the headline Monday session. Mann will launch the $100 million creator challenge from the stage, and the event says he’ll reveal a big initiative for 2027 for the first time.

After hours

Amex Ads happy hour, 5:30 p.m. to 7:30 p.m. at The Riff Raff Club (invite only)
Sigma Software AdTech Poker Night at 7pm. This is the fifth anniversary edition and its invite only.

Future is Female Awards at 7 p.m.
The anchor event of Advertising Week’s Future is Female programme, recognises women and allies in the industry. Invite only.

17620: Converse Controversy Continued.

From Adweek…

Former CMO Rodney Rambo Had Nothing To Do With Converse’s Controversial Ad. He Still Got Death Threats.

Doxxed and mislabeled by AI answer engines, Rambo found help from the people in his network

By Christopher Cicchiello

The threats started pouring into former Converse CMO Rodney Rambo’s phone on a Friday morning.  

He had departed the company in January, and had nothing to do with the widely-condemned ad that featured Kpop star Karina in a white skirt, holding a pair of new Chuck 70 X sneakers, and lit in a way that recalled Ku Klux Klan imagery for some social media users. 

But he had seen it the night before, the day it went viral on social media. 

“You should be disgusted that this ad was ever approved,” one user wrote to Rambo on LinkedIn, in one of multiple comments seen by ADWEEK.

(Continued here.) 

17619: WFA, WPP, WTF.

 

More About Advertising spotlighted a World Federation of Advertisers report showing the use of labor-based models has significantly declined over the past 15 years, while outcome-based remuneration continues to dramatically rise.

In short, WPP is not doing anything innovative with payment schemes; rather, the single White operating company has been slow in adapting to industry reality.

The global flaming dumpster is an outdated outhouse.

More clients move to payment by results – WFA

A new report by the World Federation of Advertisers and Agency Mania Solutions reveals that the use of labour-based models has fallen dramatically over the last 15 years dropping from 54% in 2011 to 17% today, with a significant drop from 33% in 2022 when the research was last carried out. Over the last decade and a half, fixed-fee/output models have risen from 20% to 35% and labour-plus-performance models have more than doubled, from 9% to 23%.

Performance-based fees show the strongest momentum, with 58% expecting increased use, followed by value-based models at 43% and fixed-fee or output-based approaches at 36%. By contrast, 42% anticipate further reducing labour-plus-performance arrangements, while commission models also face more contraction than growth.

How Brands Define, Scope and Reward Agency Work also predicts that AI will accelerate this process, given that the technology allows agencies to do more, faster. Brands, however, are still catching up, with only 20% already evolving their commercial models in response to AI, although 61% intend to.

The findings are based on responses of 69 different multinational companies, representing 6 different industry sectors and a collective global marketing spend of $147 billion. Most (71%) respondents were in a global marketing procurement role.

“Clients ultimately care about the quality, impact and performance of the work – not how many people or hours were required to produce it. AI is accelerating this transition by enabling agencies to complete many activities faster, making time an increasingly weak proxy for value,” says Laura Forcetti, Director of Global Marketing, Sourcing and Director Marketing Services, Asia Pacific at WFA. “The growth of hybrid approaches also shows that no single model suits every discipline or assignment. The future of agency compensation is not paying for effort, it is rewarding valuable work, delivered effectively.”

17618: On WPP Leadership—An Oxymoron.

 

MediaPost reported VML Global CEO-WPP Creative CEO Jon Cook is taking a walk toward an undisclosed destination, handing the baton to another VML veteran White man.

So, after orchestrating the epic erasure of iconic White advertising agency brands—and eliminating thousands of jobs—Cook is bailing out of the global flaming dumpster, undoubtedly with a golden parachute.

Cook is scheduled to remain in his leadership roles until March 2027.

In contrast, WPP drones don’t enjoy the privileged luxury of such advance notice—and their exits only include golden showers.

VML Global CEO Jon Cook Set To Depart As Campbell Prepares To Succeed Him

By Steve McClellan

Jon Cook, Global CEO of VML and CEO of WPP Creative, is leaving WPP to pursue the next chapter of his career, the holding company announced this morning. Cook will remain in his leadership roles through March 2027. He was a co-founder of VML in the 1990’s.  

Another VML veteran, Eric Campbell, currently CEO of VML and WPP Creative in North America, has been named to succeed Cook as Global CEO of the agency, while continuing as CEO of WPP Creative North America.

Cook has spent three decades helping guide and shape VML from an emerging digital agency in Kansas City into one of WPP’s largest creative networks. In 2024, he led the effort to combine what was then VMLY&R and Wunderman Thompson, bringing together brand experience, customer experience, commerce, data and enterprise technology across more than 55 markets.  

In February 2026, Cook took on the additional responsibility of CEO of WPP Creative when that unit was created as part of WPP CEO Cindy Rose’s efforts to return the company to growth. WPP Creative includes VML, Ogilvy, Grey, Burson, AKQA, Landor and Design Bridge & Partners.    

Rose stated: “Jon’s contribution to VML, WPP and our entire industry has been extraordinary. He is an exceptional builder – of enduring client partnerships, world-class agencies and a culture built on generosity, optimism and genuine care for people.”    

Added Cook: “This has been one of the hardest decisions I have ever made in my life. But after three decades of pouring everything I have into this agency and all of WPP, it is time to build something new.”    

Campbell has been with VML for more than 25 years and has held central leadership roles, including President of VML, Global President of VMLY&R, Global Chief Client Officer and CEO of VML North America.   

WPP said that further details on the leadership structure at WPP Creative would be announced soon. 

17617: On The White House & White Advertising Agencies, Part 11.

 

More About Advertising reported President Donald J. Trump aired a self-promotional video, prompting accusations that government funds were used to pay for a campaign advertisement.

The White House defended the video with a variety of legal and arguably looney responses.

It appears Trump is like the client—or White advertising agency—who greenlights executions without running concepts through the legal department.

Then again, maybe Trump is campaigning for a White Man Of The Year repeat.

Trump accused of using government funds for campaign advert

By Emma Hall

Only six weeks before the US midterm elections, President Trump has aired an ad providing a highlight reel of his second term and a promise that America will never be a communist country. The soundtrack repeats the words “Love me” over and over.

The controversial bit comes with the text overlay, “Paid for by the US government,” coupled with the timing – six weeks ahead of the critical mid-term elections. The White House denies using government funds to pay for a campaign ad, claiming that the work is a celebration of Trump and acts “as a reminder for Americans to love their country and know why it’s worth defending – at home, at the border, and abroad.”

The sped-up clips apparently include some of Trump’s signature moments like the US military raid on Venezuela, hosting a state dinner for Saudi crown prince Mohammed bin Salman, and accepting the FIFA peace prize, and pardoning a turkey.

The White House claims the ad is not campaigning and that “patriotism isn’t partisan,” but here he is boasting about his second-term achievements including tax cuts, manufacturing growth, and improved law and order. The broadcast version also features Dana White, CEO of the Ultimate Fighting Championship, saying “he is the toughest, most resilient human being I have ever met in my life.”

Albanian-American singer JMSN, who wrote and performed the song “Love me,” says he is “looking at lawyers” due to the unauthorised use of his work.

Further defence from the White House references Obama’s ads to promote Obamacare and Biden’s “We can do this” public health campaign. As Trump’s second term unfolds, it looks increasingly like he’s taking an ongoing trajectory to its logical extreme – and no one can stop him.

17616: NFL Questions DHS X’s & O’s…?

ESPN reported the NFL requested the Department of Homeland Security take down a social media post likening former Philadelphia Eagles star Brian Dawkins’ punishing hits to ICE’s treatment of migrants.

Political organizations skirt around copyright and usage restrictions, leaving cease-and-desist requests and no-affiliation statements among the few viable responses.

Yet the scenario appears as if DHS and ICE are being positioned as proud partners of the NFL—or the NFL is a proud partner of DHS and ICE.

So, a penalty flag is arguably in order—although President Donald J. Trump would undoubtedly challenge the call.

NFL asks DHS to take down Brian Dawkins social media video

By Robert Klemko

The NFL asked the Department of Homeland Security to remove a social media post likening former Philadelphia Eagles star Brian Dawkins’ greatest hits to immigration agents’ treatment of migrants.

DHS published the X post in question Sunday evening in response to another account’s report that a “huge migrant caravan” was approaching the United States’ southern border.

“Our time has come,” the agency wrote, adding a video of Dawkins’ most violent on-field collisions.

Dawkins, in a text, told ESPN he had not given the agency his blessing to post the video but declined to comment further.

“I have very respectfully not given permission,” the Hall of Fame safety wrote.

The NFL said it requested the video’s removal, though it remained up as of noon ET Monday.

In March, the White House posted video interspersing NFL and NCAA football highlight hits with video of airstrikes on Iranian targets, days after U.S. forces destroyed an elementary school in southern Iran, killing more than 100 children, according to Amnesty International. The NFL declined to say whether it had requested the removal of that video.

That video also remains on the social media site.

Dawkins, one of the most physical defensive backs of his era, retired in 2012 and was inducted into the Pro Football Hall of Fame in 2018.

17615: On Escalating The Exclusivity Of Account Reviews In Adland.

 

Advertising Age spotlighted a twist on account assignments, whereby a brand charged its White media agency to conduct a creative review for its first White advertising agency.

Or was it really a twist? It’s not the first time a pitch turned into an exclusive, closed, and clandestine affair—although the scenario offered an uncommon maneuver to maintain the status quo in Adland.

The brand is Humann. Yet the new partnerships appear to favor White humans.

P.S. to Humann: Your self-hype boasts being “The trusted name in cardiovascular health.” Research shows people of color in the US are at increased risk of cardiovascular disease and poor disease outcomes. Did you choose the best media and advertising partners to reach such critical audiences?

How media agency Eden Collective conducted a creative review for one of its clients

By Brian Bonilla

When cardiovascular-health supplement company Humann went looking for its first creative agency of record late last year, it did not hire a consultant or issue a request for proposal. Instead, it took the unusual step of asking its media agency, Eden Collective, to conduct the search.

Launched in 2009, Humann built its business around a supplement called SuperBeets that supports healthy blood pressure. The company has seen strong growth lately, expanding from a limited retail presence to more than 180,000 points of distribution in the past 20 or so months, said CEO and co-founder Joel Kocher. Humann is also diversifying into cardiovascular health more broadly, with cholesterol, blood sugar, omega and CoQ10 products.

“Our aspirations changed. Our ambitions changed. So naturally, the way you run your business has to change along with that,” Kocher said.

Eden was managing Humann’s media when Kocher began reconsidering the company’s in-house creative model. When he laid out his ambitions to Eden CEO and founder Alison Monk over coffee in New York, she was frank: “I don’t think you’re going to get there without an ad agency; a creative agency that can deliver the goods,” she recalled telling Kocher.

Monk initially suggested hiring a search expert. But Kocher persuaded Eden, which it had already entrusted with its strategy and business data, to lead the assignment. (Eden was hired as Humann’s media AOR in February after previously working on a project basis.)

How the process worked

That coffee meeting led to a four-week process that replaced lengthy questionnaires and rounds of pitching with a detailed video briefing and two primary interactions: an initial chemistry meeting designed to become a working session, followed by an in-person presentation by the finalists.

Six independent agencies were initially invited before the field was narrowed to three, with Humann ultimately selecting independent agency WorkInProgress as its creative AOR. Kocher declined to identify the other contenders.

Monk, who felt up to the task because she also spent much of her career on the creative agency side at shops including Grey and Digitas, said the review’s scope was intentionally broad because Humann hadn’t yet determined if it was looking for a long-term creative agency or a shorter-term solution.

“It was an amorphous ask: What do we need?” Monk said. “So we went through a range, and Joel and I sat down and said, ‘OK, let’s look at a couple of folks that skew more project-based, and let’s also look at deeper, more AOR-like partners.’”

The review began in mid-December with a mandate to reach a decision by February, ahead of Humann’s planned retail launch of a broader cardiovascular product suite in April. Monk said Humann’s executives spent “dozens, if not 100 hours” preparing for the process.

Rather than ask agencies to complete what Monk called a “27,000-page RFI,” Eden sent agencies a video featuring Kocher and his executive team, along with supporting materials.

The extensive briefing covered Humann’s history, its origins from research conducted at the University of Texas, its Nobel Prize-winning scientific roots, and information on how nitric oxide—a key ingredient in its products—works. It also detailed the brand’s past creative, evolution from direct-to-consumer to Amazon and retail, recent packaging redesign, consumer research and customer profiles, product expansion, media strategy and competitive landscape.

Agencies had one week to review the material before a two-hour meeting with the company.

“It was a chemistry meeting, but it became a work session because of the information we were given,” said Evan Russack, co-founder and partner at WorkInProgress. “As an agency, we value those moments deeply because they allow us to ask a variety of questions—important backgrounders—but also to determine if this is right for the agency.”

Russack said the video conveyed the leadership team’s personality, passion and communication style while giving agencies unusual access to Humann’s founder and CEO from the outset.

“It was really helpful that a media agency was running the pitch, because we typically have a ton of questions related to media, and we were able to get them all answered,” Russack said.

Each of the three finalists received a $15,000 stipend. WorkInProgress used the money to research consumers’ relationship with the supplement category, then incorporated the findings into its communications strategy and creative, Russack said.

Why WorkInProgress won the pitch

To Monk, WorkInProgress stood out for its “funnel fluency” across different marketing needs. Specifically, she was looking for shops that understood the difference between what she called “salesmanship” versus “showmanship.”

“Brands with high awareness can do more showmanship and only focus on entertainment, because they don’t have to explain who they are and what they do,” Monk said. “We’re talking about a complex product in a quickly commoditized category, with lower-quality value players nipping at their heels.”

The strategic challenge was to make cardiovascular health relevant beyond older consumers or people already managing a medical condition. Humann also sought to differentiate itself in a supplement category where Kocher said few companies have meaningful clinical science. That said, he acknowledged that the company had “over-rotated on science” with previous creative focused on testimonials, especially from doctors and researchers.

All participating agencies argued Humann needed a stronger emotional connection with consumers, Kocher said.

“Our formula was: give me a point of relevancy, give me a benefit—a reason to care. Then give me the science. Then make it credible,” Russack said.

For Kocher, the defining moment came about 10 minutes into the first meeting, when he asked how the agency views the brand. WorkInProgress Creative Director Josh Shelton responded by characterizing Humann’s existing brand personality as “cool Cheerios.” Kocher embraced the comment, which he recognized as “ostensibly an insult,” because it defined the brand as a management tool for an existing condition rather than one relevant to consumers who think proactively about wellness, longevity and performance.

“I thought, ‘Finally, someone had the guts to call it for what it was,’” Kocher said. “For me, that was the defining moment. I’d made up my mind right then. Ten minutes in, it was game over.”

Kocher actually bought a box of Cheerios that he planned to send the agency—but WorkInProgress beat him to it. Two days after the meeting, a package arrived at Humann via FedEx, with Cheerios boxes decorated with what Kocher described as “cool Ray-Ban shades” stickers.

The process also convinced Kocher that Humann needed an AOR rather than a project shop.

The first campaign, backed by an investment “approaching $50 million,” according to Kocher, will break in early October.

Monk said Eden does not intend to turn agency reviews into a business line. Its role grew from its knowledge of Humann and its position as a strategic marketing partner, she said.

Russack had not previously encountered a creative review run by a media agency, but said he wouldn’t be surprised if this becomes more common.

“We’re all looking for really good partners who have subject-matter expertise we don’t possess, and have a working style that matches ours so we can deliver results for brands,” he said.