16814: Just Another Mad Men Monday 5.

16813: Delayed WTF 62—Decoding Women For Delinquent Predators.

 

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

 

Muse by Clios spotlighted an International Women’s Day stunt—Decoding Women—designed to address gender abuse and sexual violence by helping predatory French men figure out women.

 

The 2,000-page book featured a single sentence repeated on each page: “If it’s not yes, it’s no!”

 

Quick! Somebody send copies to the skunks at Havas Paris.

 

 

To Combat Gender Abuse, This 2,000-Page Book Helps Men ‘Decode’ Women

 

It repeats a single phrase over and over

 

By David Gianatasio

 

There’s zero need to read between the lines.

 

Consentis, HandsAway and TBWAParis created a 2,000-page book that subverts expectations and crushes cliches to help men gain a clearer understanding of women.

 

“Courting women has always condemned men to hypothesis, trial and error, total doubt and sometimes even regrettable mistakes,” the tome’s synopsis says. “‘Decoding Women’ offers, at last, to lift the veil on feminine complexity by delivering exhaustively and without concession everything you absolutely need to know before embarking on the conquest of women.”

 

Of course, this isn’t about “complexity” or “conquest” at all. Quite the opposite, in fact. The book simply repeats these six words, over and over, page after page after page: “If it’s not yes, it’s no!”

 

A back-cover QR code guides readers to the HandsAway website and other resources.

 

Deployed ahead of International Women’s Day on March 8, the book sells for 1 euro (about $1), with proceeds benefiting the two aforementioned nonprofits in their war against gender abuse and sexual violence.

 

The campaign follows a troubling report from France’s High Council for Equality Between Women and Men. That annual study found that 37 percent of women experienced “situations of non-consent,” while 25 percent of young French men believe it’s sometimes OK to engage in violent behavior to earn respect.

 

Those guys should pick up a copy of “Decoding Women” immediately. And make sure to read every single word. Commit them to memory. Maybe then the message will start to sink in.

16812: Burn, Bolivia, Burn!

 

Ogilvy Bolivia is responsible for this DeepMetrika campaign designed to ignite awareness of fires wreaking havoc on the Bolivian Amazon.

 

Kinda dig the racial and ethnic undertones, as the message seems to argue that burning down European monuments and White civilization would generate far greater concern than the conflagrations in Bolivia.

 

16811: Critiquing Cultural Cluelessness And Ketchup.

 

Adweek published a perspective on the Heinz diversity dunce doubleheader, where pasta sauce combined with ketchup to create cultural cluelessness that resulted in folks throwing rotten tomatoes. The op-ed offered enlightenment and suggestions on “how brands can get it right” to avoid PR disasters.

 

No disrespect to the author, but the exposition regurgitated viewpoints previously expressed, and ideas already proven ineffective. As a public service—and since it’s a slow news day—MultiCultClassics dutifully dissects and debates the piece.

 

The author presented standard cautionary suggestions—which will likely be ignored—including:

 

Stop leaving money on the table and tap into diverse thinking 

 

The problem here is there’s no money on the table to begin with. Most brands are not interested in expanding or even creating diversity budgets for consultants of color. And those that do only cough up crumbs.

 

Check yourself!

 

This recommendation involves integrating “mandatory ‘cultural sensitivity checks’ into every stage of the creative process.” There are numerous problems with this notion. First, White advertising agencies are inherently culturally clueless and culturally insensitive; hence, formalized checks would be baffling at best and useless at least. Second, who would create and moderate the checks? Third, given the industry is streamlining procedures and squeezing scopes, adding to the creative process will meet resistance. Finally, in nearly everything related to diversity, Adland has consistently experienced failure with self-regulation.

 

ERGs have ‘resource’ in the name

 

Delegating diversity expertise to ERGs poses numerous problems too. First, the scheme would only work if White advertising agencies had ERGs covering the main cultures—Black, Latinx, Asian, LGBTQIA+, Neurodiverse, Generational, etc. Second, ERG members have already voiced concerns about being designated cultural experts, especially when the associated tasks aren’t rewarded with additional compensation. Third, being in an ERG does not qualify someone to assess work; e.g., if the Black ERG is comprised of individuals from the accounting department, do you really want them critiquing layouts and storyboards? After all, you wouldn’t ask creatives to balance the books and handle payroll. Finally, utilizing ERGs in this manner feels like the modern equivalent of running concepts past the mailroom attendant, janitorial crew, or cafeteria staff.

 

Keep it real

 

This point disrupts the op-ed format, emphasizing the importance of authenticity and avoiding jumping on cultural bandwagons that lack brand relevance. No duh. The problem is the culturally clueless don’t recognize their cultural cluelessness—and they rarely possess the intelligence, humility, empathy, and accountability to act with social responsibility.

 

Don’t let apologies become your brand story

 

Sorry, but this point feels like self-promotion for the author and her company. Oddly enough, the enterprise is probably often hired specifically to handle damage control.

 

Closing thoughts

 

MultiCultClassics agrees with the foundational concept of the op-ed. However, it seems the author was too polite to openly state the message, so here it is: To avoid cultural cluelessness, dismantle your culturally clueless crew—that is, create a diverse staff, from top to bottom. The solution is not to integrate performative systems, but rather, to eliminate systemic racism.

 

The Cost of Cultural Ignorance: How Brands Can Get It Right

 

Don’t let your brand become synonymous with reactive damage control

 

By Destiny K. Chambers

 

In the unfolding narrative of advertising’s cultural missteps, the recent Heinz ad controversy serves as a poignant reminder of the shadows cast by history. These ads resonate with the undertones of propaganda posters used to dehumanize and mischaracterize. They are relics of a time when images were manipulated to weave false narratives—narratives that continue to shape perceptions today.

 

This issue extends far beyond Heinz. Last year, KFC’s “Sorry, Utensils” campaign in Canada faced similar criticism for its depiction of Black individuals eating chicken, their exaggerated reflections in the unused utensils bordering on caricature. Coupled with the campaign’s slogan “finger lickin’ good,” seen by some as appropriating African American Vernacular English (AAVE), these choices weren’t simply oversights, these choices read as microaggressions that cut deep, reminding Black consumers that their identities are still subject to careless misrepresentation.

 

Consider the haunting imagery of Nazi propaganda, designed to marginalize and vilify, or the grotesque satire of African Americans during the Jim Crow era. These weren’t mere oversights; they were calculated attempts to distort reality, and their legacy persists. I think back to my visceral reaction in 2019 when Gucci released a balaclava eerily reminiscent of blackface minstrel makeup. It was a slap in the face, a stark reminder that even brands with massive resources can fall prey to these blunders. The Heinz ad, featuring a Black man with his mouth covered in red ketchup, evokes similar imagery.

 

 

While these ads may not have intended to cause harm, they inadvertently echo visual tropes from a painful past used to dehumanize and marginalize Black individuals.

In today’s world, brands can’t afford to be tone-deaf. It’s not solely an ethical imperative, but a strategic one. These instances underscore the need for brands to be more mindful of the subtle messages their visuals convey. It’s an opportunity for us to collectively learn and evolve, recognizing that even unintentional missteps can perpetuate harmful stereotypes.

 

To break this cycle, brands must embrace a multifaceted approach. Here’s what brands can do today to be more nuanced in their ideation and planning stages.

 

Stop leaving money on the table and tap into diverse thinking 

 

If your brainstorming sessions look like a casting call for a 1950s sitcom, you’re doing it wrong. Diversity isn’t a trend; it’s the world we live in. At the heart of these recurring marketing blunders is a glaring absence of diverse voices. How does a brand as culturally ubiquitous as Heinz overlook such glaring insensitivities?

 

The answer lies in the homogeneity of those decision-making rooms. Without varied perspectives, ads are released into the world, only to be retracted amid justified public outcry. To effectively engage with multicultural markets, you need the richness of diverse life experiences.

 

Check yourself!

 

Diversity in creative teams is crucial, but it’s not enough. Even with diverse teams, unconscious biases can creep in. Integrate mandatory “cultural sensitivity checks” into every stage of the creative process. This means establishing review systems that rigorously assess whether content aligns with the cultural intricacies it seeks to depict. Disney’s establishment of a cultural consultants team serves as a commendable example.

 

Develop an internal checklist or audit tool, informed by data compiled from the communities your brands seek to engage. This goes beyond simple representation and delves into questions of power dynamics, historical context, and potential exploitation of cultural elements. It provides a structured framework for critical self-reflection, forcing teams to confront uncomfortable questions and justify their creative choices with a deeper understanding of cultural impact.

 

ERGs have ‘resource’ in the name

 

Employee resource groups (ERGs) should be leveraged not merely for cultural events but as integral participants in the creative process. They bring invaluable insight into community representation.

 

Instead of pitching a creative concept to a homogenous team, flip the script. Have members of your company’s ERGs (representing the cultures depicted in the ad) “pitch back” their interpretation of the concept. This provides immediate feedback on potential blind spots and unintended interpretations. It shifts the power dynamic, giving voice to those often spoken for, and forces the creative team to truly listen.

 

Keep it real

 

Authenticity is paramount. Not every brand needs to jump on every cultural bandwagon. Sometimes the most authentic thing you can do is be humble and sit down.

Brands must align their creative endeavors with their core values, ensuring that they contribute meaningfully to cultural dialogues. This involves introspection and a genuine assessment of whether their products truly serve the communities they wish to engage. Consumers, especially Gen Z and millennials, demand authenticity and social responsibility. Before trying to capitalize on the latest social justice movement, ask yourself: Do our core values align with this? Have we earned this community’s trust? Is this genuine or a money grab?

 

Know your lane.

 

Don’t let apologies become your brand story

 

Don’t let your brand become synonymous with reactive damage control; it erodes trust and makes any future attempts at cultural engagement feel performative. Instead, shift your focus to prevention. Before launching anything, dedicate serious time to brainstorming potential interpretations and reactions. Ask the tough questions: What if this image is misinterpreted? What if this language is offensive? What if this concept reinforces a harmful stereotype?

 

Don’t just rely on internal perspectives. Use focus groups, surveys, or online platforms to gauge reactions and identify potential blind spots. Proactive prevention is far more effective (and less damaging) than reactive apologies.

 

Ultimately, brands must learn from historical missteps and cultivate a future where cultural representation is approached with sensitivity and respect. Implementing diverse teams and instituting cultural checkpoints are not merely strategic moves—they are essential steps toward earning the trust and loyalty of diverse communities. It’s about more than just avoiding bad press; it’s about acknowledging the inherent beauty and complexity of our multicultural world and engaging with it in a way that honors its truth.

16810: Musing, Mulling, And Munching On Mickey D’s And More.

 

Muse by Clios interviewed DDB Worldwide Chairman Emeritus Keith Reinhard, who shared his thoughts on the state of creativity, challenges past and present, iconic campaigns, client-agency relationships, and more.

 

Covering his 50+ years in Adland, Reinhard also wondered “if today’s advertising industry might be well advised to embrace or re-embrace generational inclusion along with the commitment to gender and racial diversity.”

 

Not surprisingly, racial and ethnic equality received less attention than the Hamburglar—and the alleged diversity dilemma of ageism against Old White Guys and Old White Gals emerged as an imperative.

 

In Adland, You Deserve A Break Today does not apply to people of color.

 

Keith Reinhard on Creativity, Agency-Client Bonds and the Hamburglar

Looking back, and mulling what’s ahead

 

By Amy Corr

 

Keith Reinhard serves as chairman emeritus of DDB Worldwide. In a career spanning more than half a century, he has worked as a writer, art director and creative group head, and held key roles in agency management.

 

Transcending the Mad Men paradigm, Reinhard has shaped consumer tastes and stoked the engines of media and commerce on a global scale.

 

He’s father to the Hamburglar, and along with his creative team birthed McDonald’s brand-defining “You Deserve a Break Today” campaigns in the 1970s, plus the unforgettable “Two-all-beef-patties-special-sauce-lettuce-cheese-pickles-onions, on a sesame seed bun” mantra woven into copy and jingles. “Just Like a Good Neighbor, State Farm Is There” was his idea, too. Keith also worked on Volkswagen, Polaroid, Amtrak, Xerox, Mars and General Mills, to name just a few. On the business side, Reinhard helped merge Doyle Dane Bernbach and Needham Harper Worldwide into the DDB network, which he led as chairman and CEO for 16 years.

 

We spoke with Reinhard about the challenges plaguing the industry today, the importance of agency-client trust, his favorite campaigns and the return of his beloved Hamburglar.

 

Muse: What’s your take on the state of creativity today and the trust between an agency and client?

 

Keith Reinhard: I’m sure it varies from those clients who see their agencies only as interchangeable suppliers chosen for the lowest price, to clients who value their agencies as trusted partners. It was encouraging to see some examples of the latter on stage at the Clios this year. In the long term, the only clients that will value their agencies as long-term partners are clients who understand the value of long-term brand building. I doubt that such clients represent the majority of advertisers today. In part, that’s because we have failed to make a convincing case for the value of building brand loyalty over time, which has always been a brand’s best defense against price competition.

 

As for the state of creativity in general, the fragmentation of media channels makes it difficult to establish and maintain brand integrity and instead, encourages one-off messages hastily prepared on a low budget, subjected to instant A/B testing, and placed by algorithms as interrupters on every available social media channel. While that seems like a condition more conducive to mindless repetition of breathless product claims than to brand building, there are notable exceptions. One of my favorites is DDB’s award winning apology campaign for Skittles—a prime example of contemporary creativity at its best. The brilliant multi-channel idea is absolutely on-brand and true to Skittles idiosyncratic personality. During a “press conference” on Twitch and TikTok, a Skittles “communications director” apologizes individually to thousands of protesters for replacing the lime-flavored green Skittles with a green apple flavor thirteen years ago. He promises to restore the lime flavor, at least for a while. The social media campaign was augmented by other media including a huge sign in Times Square where Skittles apologized to individual tweets.

 

I’ve also been impressed by Sakara Life, the plant-based food delivery service founded by two young women in 2011 that is now a $150 million powerhouse. They’ve given their brand a clear purpose with a distinctive brand personality that connects with viewers with advice like “make love, not dinner.”

 

I believe the level of creativity will rise in the future as young creators and their clients begin to realize the difference between a click and an emotional connection, the difference between creating a buzz and creating a brand, the difference between a one-off stunt and an enduring brand story and the big difference between big data and a big idea.

 

As for the state of creativity in television, I didn’t see any Super Bowl commercials I wished I had done. But then again, I’m not the target audience. At least the Rabbit Hole commercial for Tubi used storytelling to get my attention, built suspense and then paid off with a promise of free movies. All without borrowing interest from a celebrity. That in itself was refreshing.

 

What were some agency/client trust/bonds you experienced in your career?

 

When Tom Morrill, State Farm’s chief marketing officer in the ’60s and ’70s, was asked if he’d ever consider a new agency, he said he would not. Instead, he said if he needed fresh thinking, he would ask us for new ideas or even new people. But he had no interest in going through a search process or acclimating a new agency to the insurance business that we, his trusted longtime agency partner, knew so well. Tom’s confidence in us laid the groundwork for a relationship that lasted for more than 60 years.

 

To shake things up in the Washington-Baltimore market, Fred Turner, CEO of McDonald’s, once granted us the freedom to try any new idea we wanted if we stayed within the budget and didn’t do anything illegal. Turner startled us by saying, “Don’t bother to show me storyboards. I trust you. Just show me the finished work.” This level of trust motivated us to work even harder to deliver a remarkable product, which we did. Fred liked it and ran it with success.

 

A strong bond of trust with Anheuser-Busch figured importantly in that great client supporting the offbeat, off brand “Wassup” campaign for Budweiser, which August Busch IV said brought more value to the brand than any other single idea in the brewery’s history. It won the Grand Prix in Cannes in 2000.

 

What’s the biggest challenge facing the industry today and how can it be overcome?

 

It might be the lack of time. The time to think, time to shape an idea and let it grow, time to let it work in the marketplace, time to work together, time to care, time to rest and reflect. I have no idea how to overcome our obsession with speed.

 

What was the biggest challenge you faced in your career?

 

By far the biggest challenge I faced was merging two creative agency networks into one in the mid-eighties. I was CEO of Needham Harper Worldwide but my idol was Bill Bernbach, who had revolutionized the industry when he founded Doyle Dane Bernbach in 1949. After Bill died in 1982, my dream was to combine his agency with Needham to establish a new global creative force built on Bill’s legacy. As part of the creation of Omnicom, we found a way to do this but as an observer wrote in the New York Times after our announcement, “Mergers are hell!” I understood what he meant as we started to put the agencies together. Turf battles had to be resolved in major markets, client conflicts had to be dealt with and differing systems had to be integrated. But thanks to the resolve of a top management team that shared a vision, we were able to create a common culture grounded in a shared belief that creativity is the most powerful force in business.

 

What’s something that exists now that you wish existed earlier in your career or you’re happy it didn’t exist earlier on?

 

Google could have helped us earlier. Back then, finding answers to questions took a lot more time.

 

On the other hand, I’m glad we didn’t have the science and technology that today claims to instantly determine an ad’s effectiveness. As Bill Bernbach said: “However much we would like advertising to be a science, the fact is that it is not. It is a subtle, ever-changing art, defying formularization, flowering on freshness and withering on imitation.” Today’s instant A/B testing makes it impossible for a good campaign to “wear in” and would almost certainly have killed Volkswagen’s game changing “Think Small” campaign which, when launched, was met by skepticism from both consumers and dealers.

 

What were some of your favorite campaigns to work on?

 

There are so many—Volkswagen, Polaroid, Amtrak, Xerox, Mars, General Mills. But I’ll highlight three.

 

McDonald’s was a great client. They understood the value of making emotional connections with their customers. In 1971, we created their first national advertising campaign by focusing on the McDonald’s experience instead of just their hamburgers. Our kick-off campaign, “You Deserve a Break Today,” encouraged people to take a little respite from their daily routines and enjoy the food, folks, and fun at McDonald’s. We followed the initial campaign with another customer focused effort, “You, you’re the one,” which also made it into the Madison Avenue Songbook. The Big Mac jingle, “Two all-beef-patties-special-sauce-lettuce- cheese-pickles-onions-on-a-sesame-seed bun,” created by my team in the ’70s, is still remembered today. While I personally gave birth to the Hamburglar, working with the team to create McDonaldland, home of the Grimace and all the other characters, was truly a blast.

 

I also loved working on all the Anheuser-Busch brands starting with “Head for the Mountains” for Busch Beer and then all the work we did for Bud Light and Budweiser. As with McDonald’s, great advertising is only possible when you have great clients. Anheuser-Busch was one of the best. They proved that big time when they bought and supported the aforementioned “Wassup” campaign for Budweiser, a campaign that went viral before we knew what viral even meant and won the Gran Prix at Cannes in 2000.

 

State Farm was one of my favorites. In the ’70s, new research pointed out that State Farm’s most important competitive advantage was the fact that their agents had their offices in neighborhoods where people lived, in contrast to competitor companies who often housed their agents in big buildings in a business district. This insight led to our creating a long running campaign, “Just Like a Good Neighbor, State Farm is There.” We contracted Barry Manilow to write the tune to which we wrote three verses—one for car insurance, one for home insurance and another for life insurance. The jingle is no longer used but I’m pleased that “Jake from State Farm” is still using our tag line.

 

As the person behind the Hamburglar, are you excited to see his resurrection in ad campaigns?

 

As the father of the little burger bandit, I’m pleased to see he’s up to his old tricks and still getting by with a limited vocabulary. Robble.

 

What “Mad Men” experience can you share with us?

 

Things were different back then. In the early ’70s, I was head of the creative department at the Needham agency in Chicago, and I noticed that a young woman had joined us as a trainee in the account executive department. I wasn’t directly involved in her accounts, so I had never met her. But I remember thinking it was good that we were finally going to see at least one woman become an account executive. Then one night when I was working late, this young woman burst into my office and breathlessly asked if she could hide under my desk!  I said “Uh, yeah, I guess so, but why are you hiding?” She named a figure in agency management and said, “I think he’s been drinking, and he’s chasing me down the halls!” This promising young trainee hung out in my office until we could assure her that the halls were clear. She then went on to become the agency’s youngest senior vice president, heading up accounts like General Mills and McDonald’s. A few years later, the amazing Rose-Lee Simons, became my amazing wife.

 

Anything else you’d like to discuss?

 

In a recent meeting, Vincent Gardner, composer and lead trombonist for the Jazz at Lincoln Center Orchestra, was asked by a young musician how to become great. Gardner advised the young man to “seek out the oldest person you can find who’s doing what you want to do. Tapping into that person’s experience will be the very best way you can become great.”

 

Gardner’s counsel made me wonder if today’s advertising industry might be well advised to embrace or re-embrace generational inclusion along with the commitment to gender and racial diversity. As a young copywriter, I learned a lot from mentors who were in their forties and fifties. Yet, as of a few years ago, an IPA Excellence paper stated that staffers over the age of 50 represent only 6 percent of ad land’s workforce. By comparison, 22 percent of professionals in finance were over 50 and a Writer’s Guild survey showed 50 to be the median age of Hollywood screenwriters. When last I checked, consultants range in age from 40 to 60 which may be why they have the kind of access to clients’ C-suites that is often denied to ad agencies. Does it matter that today’s advertising industry, unlike other professions, undervalues experience? I think it might.

16809: There’s A New Clown In Town.

Former President Donald Trump reportedly plans to visit a Mickey D’s in Philadelphia and work the “fry cooker” as a campaign stunt. Well, it’s not the first time Trump has displayed enthusiasm for the Golden Arches—although he hasn’t shown a QSR preference before.

 

16808: Belated Indigenous Peoples’ Day Thought.

 

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.

16807: Happy Belated Indigenous Peoples’ Day.

 

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.

16806: Happy Indigenous Peoples’ Day From 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.