Showing posts with label bhm 2026. Show all posts
Showing posts with label bhm 2026. Show all posts

Saturday, February 28, 2026

17388: BHM 2026—An Adland Recap.

 

During Black History Month 2026, Adland embraced lots of new and old events that totally trumped BHM interest:

 

Holding Company Restructurings, Redundancies, and RIFs

Super Bowl

Grammys

Winter Olympics

Groundhog Day

Presidents’ Day

Abraham Lincoln’s Birthday

George Washington’s Birthday

Susan B. Anthony’s Birthday

Valentine’s Day

Lunar New Year

Fat Tuesday

Mardi Gras

Ash Wednesday

National Freedom Day

Random Acts of Kindness Day

American Heart Month

National Children’s Dental Month

National Carrot Cake Day

National Pizza Day

National Golden Retriever Day

World Nutella Day

Galentine’s Day

National Love Your Pet Day

Tu Bishvat

Imbolc

Maha Shivaratri

Ramadan

Teen Dating Violence Awareness Month

 

For Adland, Black history is, well, history. Fade to black.

17386: BHM 2026—AbelsonTaylor Group.

For 2026, it’s been disturbing how most White holding companies and White advertising agencies ignored Black History Month.

 

Equally disturbing is seeing campaigns from the few firms acknowledging the annual event.

 

AbelsonTaylor Group—a pharmaceutical marketing firm—proudly recognized Black pioneering figures in health and wellness.

 

Side effects include eye rolls, head shaking, and vomiting.

Friday, February 27, 2026

17384: BHM 2026—Illinois Department Of Public Health.

Illinois Department of Public Health goes straight to the heart of the matter, calling out the disparities and inequities Blacks have historically experienced with healthcare.

 

Maybe the headline should read: When It Comes to US Healthcare, Black History is Unhealthy History.

Thursday, February 26, 2026

17382: BHM 2026—Advertising Age On Diminishing DEIBA+ In Adland.

For Black History Month, Advertising Age is publishing content from Blacks in Adland, covering a variety of topics.

 

The content below features Black agency leaders discussing how DEIBA+ initiatives have diminished in Adland.

 

The opening question reads, “Why did DEI conversations go quiet?”

 

Um, because President Donald J. Trump made like Don Draper and obliterated the conversation.

 

Black agency leaders on DEI’s quiet phase—and why courage still matters

 

By Brian Bonilla

 

It’s no secret that the conversation around diversity, equity and inclusion in the industry has diminished from where it was only a few years ago. Investments in DEI initiatives have declined and representation in Super Bowl advertising, both in front of and behind the camera, continues to be an issue.

 

To understand what this shift means for the industry’s future, I convened five prominent Black agency leaders for a candid discussion about why the push on DEI went quiet—and what brands risk by staying silent. The following is a lightly edited and condensed version of my talk with Asmirh Davis, co-founder and president of Majority; Walter T. Geer III, chief creative officer of innovation, North America at VML; Keith Cartwright, founder and chief creative officer of Cartwright; Taj Reid, global chief creative officer of Burson; and Kaleeta McDade, global chief experience design officer at VML.

 

Why did DEI conversations go quiet?

 

Keith:​ You could even tell last year in Cannes: those conversations aren’t apparent in the work.

 

It’s a great conversation to have because the first question you ask is why. Is it fear? Is it burnout? Is it both? Is there no desire because there wasn’t a financial impact attached to it?

 

Kaleeta:​ I think it’s fear of retribution … When you’re looking at brands, there’s an immense fear of retribution from the government that is financial.

 

You have to look at the fact that people who are in power are also billionaires. So I think people have a healthy fear of litigation, a healthy fear of just anything that the government might do regarding that. But at the same time, I think there’s a groundswell of citizens and Americans who want to see who’s brave.

 

I’ll say Costco has really stepped up, and those who have stepped up have felt the dividends of that. You’ve seen their stock go up, you’ve seen more people sign up. So people have to balance their fear with progress, because right now, if you’re not choosing a side—because there’s no in between—I think you’re going to be stuck in the messy middle.

 

Consumers are watching which brands step up

 

Walter:​ I understand why brands have backed off and ripped everything apart, because it’s a massive financial risk to them. Yet we are in a moment where people are waiting and watching to see what brands do.

 

And we’re also in a moment where people are using their platforms, their voices on social media and their dollars to represent and stand behind the brands that are doing things that benefit them and other communities. There is a line being drawn.

 

I guarantee you, three or four years from now, when this starts to turn around—because the pendulum always swings the other direction—you are going to have a multitude of brands coming back out. Because again, we are seeing the browning of America, and by 2040 the “minority” will be the majority, and brands are going to be going after them. Multicultural is mainstream media. They’re going to want to hop back on that other side, and I think people are going to remember.

 

Keith: As an industry though, we’re stuck, right? Because we’re at the power of these brands making a decision on how they want to move and operate. We can try to convince them, but at the end of the day … they’re saying, “We took that risk four years ago, we took that risk eight years ago, and look where it got us.”

 

That’s fair. But at the same time, we have to have a conversation about what progress looks like in this moment and how we, as an advertising industry, can quantify that progress and demonstrate how it can create commerce if you stay with it, and Costco is a great example.

 

Walter: Costco also has the money to stand up and say it. There are a lot of smaller brands that wish they could do that but can’t play in that space. It would cripple the entire company. So again, to some degree, I get it.

 

Overcoming a fear of backlash

 

Asmirh:​ But do you have an example of where a smaller brand has done that and it’s been detrimental to them?

 

Walter: I don’t. That’s the thing.

 

Asmirh: Right. That’s what I was just thinking about. Where is this imaginary monster that we’re all—

 

Kaleeta:​ I think Bud Light. That was the one time—it wasn’t a small brand—where I remember a transgender woman was featured and they lost billions of dollars. I remember that stream was the moment when I started hearing the fear of being diverse, the fear of showing up differently.

 

When in actuality, what we know that what that was, is you didn’t understand your base … you’re sitting in this very bright spot and going way over here. What is your base? I feel like that’s when it started.

 

Taj: The lazy performative is now really, really in jeopardy. But with the work that we do every day—all of us, just in this conversation—I’m super inspired by the work that we’re designing that speaks to marginalized communities in a way that makes the commerce or the business grow.

 

I feel like it’s more important than ever to have diverse lived experiences in the room, to develop those experiences that lead to conversion in a way that’s long-lasting. Because, like you said, people will remember.

 

Asmirh: Last year was hard for everybody. For us, it was even more of an anomaly because, since the inception of our agency, we were on such a rocket trajectory. So it was more stabilizing for us—a stabilizing year—than anything in terms of serious headwinds.

 

But it was good because it helped us double down on what we were about and what we were building.

 

I’ve seen the impact more so in the industry initiatives that we are a part of … I’m on the board of BLAC [an internship program focused on getting diverse talent onto the industry], and it was a really hard year for us and continues to be as we go into 2026, because our model relied so heavily on brands and agencies getting behind the cause of Black talent and underrepresented talent.

 

No one wants to invest and put their money and resources behind bringing in diverse experiences into their doors and nurturing it. That is where we’re feeling it.

 

Keith:​ The economy froze because there was instability. Obviously, advertising and marketing get hit first.

 

The common way of thinking is when you don’t know what to do, you just stand still. I think now they’ve sort of figured out how they can grow from this administration and what’s going on in the economy, and they’re starting to open back up.

 

I don’t know if it’s going to be as good as it was five years ago, but I think it’s going to get better.

 

Our pipeline’s healthy, but the thing that’s interesting is: healthy pipeline, lower margins. And I think that’s industrywide. There are tons of opportunities. Businesses are up for pitch. But when you look at what the fee is, you start to scratch your head and say, “Wow, it’s starting to become less and less worth it if you can’t figure out a way to make margin on it.”

 

Do we change the conversation, or keep pushing it?

 

Taj:​ I don’t know if it’s changing the conversation as much as keeping that conversation going.

 

It is incredibly fatiguing and frustrating. But at the same time, I think that persistence—and not letting it be muffled out—is so important. Maybe more important than ever now. Because I actually do see people retreating from the conversation and saying, “It’s not safe to even talk about it, so why are we even going there?” I think we need to, if anything, lean into it more, but also start building onto that in ways that can really be impactful.

 

Asmirh: It’s not changing the conversation, but it is changing the narrative of how we enter the conversation. Appealing to people’s morality and their empathy and their hearts to do the right thing—in history has shown that has never worked.

 

Walter: Every brand wants to hit mainstream media, right? Well mainstream media is multicultural. It’s Black and brown people, so if you want to make money you have to think about that.

 

Asmirh: But we traditionally, industrywide, have not led with that piece of it. And that’s why I believe that our business has not been hugely impactful.

 

What needs to change this year

 

Walter: I’m sick of this exhausting shift. It’s really tiring, feeling like you have to come in and beat your head against the same wall every single day. Ideas that are brilliant, that could make a massive impact, are just pushed aside due to fear.

 

I think brands need to be a little bold and step out and do the work. And again, it’s not DEI work; it’s going after your market, going after your audience, expanding on it to some degree.

 

Kaleeta:​ The only thing different I would tell my Black leaders who are running these businesses is: survive the encounter. Whatever you need to do to keep your doors open, survive the encounter. I know it’s an onslaught of things that are happening. The reason they’re not doing extra things is that there’s probably not enough time to do it, because you’re still trying to survive the encounter. Thriving will happen later.

 

I don’t think every year will be a win, but I think this year is about surviving. And I know that’s not as sexy as us saying it’s a year of Black joy or a post-George Floyd glow-up. But it is a year of reconciliation and us understanding who we are. So that’s what I would say to my Black leaders.

Wednesday, February 25, 2026

17380: BHM 2026—Harlem Globetrotters.

The Drum reported on the Harlem Globetrotters scoring its 100th anniversary, coinciding with the Black History Month centennial.

 

How Harlem Globetrotters are tipping off centennial with global licensing push

 

By Margo Waldrop

 

As the exhibition basketball team approach 100, president Keith Dawkins, along with IMG Licensing vice-president Brett Weiss, shares with The Drum how partnerships, retail expansion and new platforms are repositioning the team as a multi-platform global entertainment brand.

 

For decades, the Harlem Globetrotters were shorthand for trick shots, packed arenas and a theme song you could hum on command. As the team heads toward its 100th anniversary this year, leadership is asking a tougher question: what does a century-old brand look like on TikTok, in streetwear drops and in the collectibles aisle?

 

The answer, at least so far, is scale and reach. Since IMG Licensing became the Globetrotters’ global licensing agent in 2024, the focus has moved from memory to momentum. Apparel, headwear, collectibles, toys and lifestyle products are rolling out through collaborations with New Era, Ovo, Actively Black, NBA Lab and Shoe Palace. The centennial campaign began on December 14 with an anniversary game at Madison Square Garden, kicking off a yearlong run of more than 400 events across 25 countries, alongside new content initiatives and expanded retail.

 

The bigger ambition is repositioning the Globetrotters from a touring attraction to a multi-platform global entertainment brand.

 

Letting go of the scrapbook without losing the soul

 

Keith Dawkins, president of the Harlem Globetrotters, says the centennial has not been about discarding the past but broadening the frame.

 

“It hasn’t been about letting go, but about unleashing new thinking,” he says. At their peak in the 70s and 80s, fans knew the stars, saw them on TV, attended live tours and bought the merchandise. Revitalizing the brand meant building “a new ecosystem” for where audiences live now.

 

If the Globetrotters want another 100 years, they cannot rely on the road alone. Dawkins talks about meeting fans across linear and streaming platforms, social and digital channels, gaming, consumer products and live events. “New platforms and new strategic partners, along with a clear vision and great execution, will ignite a bright new future,” he says.

 

Some elements remain untouched. Dawkins calls the team’s identity as “ambassadors of goodwill” non-negotiable. Joy, hope and possibility are the filters every collaboration must pass through. Modern fashion, music and sports partners understand those values and build around them.

 

Success in the centennial year, he adds, will not be measured only in attendance or merchandise sales. It is about showing up “where the audience resides in ways that are fresh and meaningful.” If that works, relevance and audience growth follow.

 

Anchoring the celebration at Madison Square Garden puts the brand exactly where it wants to be. The arena bills itself as the world’s most famous and pairing it with a 100-year milestone amplifies both history and ambition. The Garden hosts artists and athletes who shape what people pay attention to and the Globetrotters want to be in that mix.

 

Modernizing a legacy brand

 

For Brett Weiss, vice-president at IMG Licensing, the first hurdle was perception. “One of the biggest misconceptions was that the Harlem Globetrotters were purely a legacy touring sports property rooted in nostalgia,” he says. “In reality, the brand is a unique platform that sits at the intersection of sport, entertainment, fashion and social impact, with deep multigenerational and global equity.”

 

Weiss describes the 100th anniversary as “the perfect catalyst” to rethink how the brand is perceived. “It allowed us to honor heritage while signaling the future,” he says, pointing to new ownership under Herschend and IMG’s role in steering a global licensing strategy designed to prove the brand’s relevance heading into its next century.

 

In his view, modernization did not mean starting from scratch. “The key was not reinvention, it was reinterpretation,” Weiss says. Rather than dilute that 100-year legacy, IMG spotlighted archival assets, storytelling and iconography while inviting contemporary partners to reinterpret them for today. Product placements in fast-fashion and mall channels, streetwear labels like Ovo and headwear specialists such as New Era helped validate relevance with younger consumers.

 

The test for any collaboration, Weiss adds, is whether it delivers more than a logo hit. “For us, a collaboration must deliver three things: credibility, audience expansion and long-term brand equity. Our best partners tap into 100 years of assets and reinterpret them in ways that feel thoughtful and premium.”

 

Licensing as discovery engine

 

The most significant evolution may be how licensing functions inside the business. Under Herschend’s ownership, the Globetrotters have adopted an always-on entertainment model, expanding far beyond the traditional tour calendar.

 

“Licensing now plays a central role in fan engagement and storytelling, not just revenue generation,” Weiss says. Consumer products sit alongside live events, content, social media and experiential activations as part of one connected ecosystem.

 

He adds that the strategy isn’t limited to venue retail. “We’ve moved beyond arena-only distribution into a coordinated global approach, placing product in thousands of retail doors while integrating licensing into content moments and tour experiences.”

 

For younger audiences, discovery may start with a hoodie, a gaming tie-in or a trading card rather than a ticket. Weiss believes that moving to the entry point is critical. “Discovery will increasingly happen through commerce and collectibles, not just live events,” he says. “Products become discovery moments that extend beyond the core audience.”

 

The centennial may celebrate the past, but the strategy is built for shelf space, screen time and sustained visibility. For the Globetrotters, licensing is the new growth plan.

Tuesday, February 24, 2026

17376: Does DEIBA+ Click With Brand Social Media?

For Black History Month, Advertising Age is publishing content from Blacks in Adland, covering a variety of topics.

 

The content below is titled, “Why instinct and diversity are essential in brand social media success.

 

Okay, except White advertising agencies don’t view diversity as essential. Need proof? Look for BHM social media posts presented by any White advertising agency in February.

 

In Adland, systemic racism is instinctive—and it’s gone viral for decades.

 

Why instinct and diversity are essential in brand social media success

 

By Ryan Bauman

 

I have and will always be a little obsessed with pop culture and social media. It started from a young age. When I got my first iPod Touch, it felt like a whole new world was here just for me. Being able to see what was happening in real life, in the palm of my hand, could never be something I’d forget. Honestly, I still can’t. Growing up, culture always had an impact on how I see the world, especially within social media.

 

I never knew that social media could be something that I could have a career in. Everything, by the grace of God, flowed so easily within the world of social media for me. Seeing what trends were popular and how they made a change in culture, especially Black culture, was something that just clicked. I knew that I wanted to be able to be a representative of my culture, yet also be able to tie to the very captivating world of social media.

 

So, I took a leap of faith. Applying to the BLAC advertising internship program was something I instinctively knew I needed to do at the time. It opened the world of advertising for me, and I didn’t even know it. You can learn so much when taking a look back and seeing how things just work out.

 

I never would have thought that BLAC would have led me to work on one of the most beloved brands in social, Wendy’s. Joining a powerhouse in social media felt daunting at first, but overall exciting. Taking one trend, one post at a time, was my way of seeing a new opportunity with and for the team, every day. Then, it happened.

 

An immense instinct came when the quarter zips trend was just starting to get traction on social media. My art direction partner, Nyah Evans, and I acted fast by putting Wendy’s in a quarter zip. It went viral. From coverage on Complex to even getting a deal made with the creator of the trend, Jason Gyamfi, it blossomed into something more than just a social post.

 

Virality is so important, especially since social media is so saturated with content. It’s even harder now to stand out. We were able to act fast and cater a message to our culture, and let the world take notice. This idea worked because of the natural connection we made to the trend with our authentic representation of what’s trending in Black culture. The fact that it came from a major brand such as Wendy’s speaks volumes to the caliber of diverse voices on the team.

 

Hiring talent that may look, think, or have different upbringings from you leads to diverse, effective, and collaborative work. It stems from that gut feeling, that instinct that will keep informing you one trend, one post, one hire at a time. It leads to creating work that reflects my culture and resonates with many.

 

And that’s the funny thing about instinct. Without it, I wouldn’t have taken a leap of faith. Instinct is not only what makes culture and social media thrive, but it sometimes leads us to places, jobs, and opportunities that we could have never dreamed of, but undoubtedly deserve.

 

Oh, if little Ryan could only see how far she’s come now.

Monday, February 23, 2026

17374: BHM 2026—Advertising Age On DEIBA+ Hiring.

For Black History Month, Advertising Age is publishing content from Blacks in Adland, covering a variety of topics.

 

The content below is titled, “Why agencies need to recommit to diversity hiring.

 

Okay, but is it technically a recommitment if there was no DEIBA+ commitment from the start?

 

The true problem: White advertising agencies are committed to systemic racism, recommitting at every opportunity—ultimately limiting DEIBA+ opportunities.

 

Why agencies need to recommit to diversity hiring

 

By Chris Witherspoon

 

Every February, someone asks me to write something. A reflection. A rally cry. A “here’s how far we’ve come.”

 

And this year? I’m not sure what to say.

 

Black History Month is nearly over. The calendar says celebration. LinkedIn says thought leadership. But if I’m honest, what I feel most right now isn’t inspiration.

 

It’s concern. Because the numbers aren’t moving the way we hoped.

 

According to the U.S. Bureau of Labor Statistics, Black professionals make up roughly 13% of the U.S. workforce, but in advertising, PR, and related industries, that number sits closer to 6%–7%. Leadership representation is even thinner. Progress over the past decade has been incremental at best—flat in some places.

 

Industry reports from the 4As show that diversity hiring gains made in 2020 and 2021 have slowed or reversed as budgets tightened and mergers accelerated.

 

Add to that the political crosswinds around anything labeled DEI. In some boardrooms, the conversation has shifted from “How do we do more?” to “How do we stay out of the headlines?” Scrutiny is louder. Risk tolerance is lower. And inclusion is often the first thing quietly deprioritized.

 

At the grassroots level, we feel it too.

 

The BLAC Internship Program—the nonprofit I chair— exists to open doors for Black and underrepresented talent into marketing and communications careers. This year, we saw a record number of applicants. Interest didn’t cool—it climbed.

 

But agency participation has softened. Not because the talent disappeared, but because priorities have shifted. The result? More students are ready to step in, but fewer seats are available.

 

That gap is hard to ignore.

 

The same pattern is showing up at the 4As MAIP program, long considered the gold-standard pipeline into our industry. When hiring freezes hit, diverse candidates tend to feel it first.

 

To be clear: it’s hard for everyone right now. Mergers. Layoffs. AI disruption. Clients consolidating rosters. Entry-level hiring slowing. I own an agency; I understand the pressure.

 

But here’s what worries me. In moments of economic strain, inclusion gets reframed as optional. A “nice to have.” Something we’ll return to when times improve.

 

History suggests that when momentum pauses, regression follows. That’s the part I don’t want to normalize.

 

So what do I say this February?

 

If applications are down, we recruit harder. If hiring slows, we protect the pipeline. If belief is wavering, we demonstrate commitment.

 

Not performative posts. Not one-month campaigns. Sustained action.

 

Black History Month shouldn’t be the only time we talk about access and representation. It’s simply the reminder that progress isn’t permanent.

 

Maybe that’s the message this year: Not a celebration. A recommitment.

 

Chris Witherspoon is CEO of DNA&Stone and chair of BLAC

Sunday, February 22, 2026

17372: BHM 2026—NADI Marketing.

 

 

NADI Marketing presents “9 Ways to Celebrate Black History Month: Campaigns & Partnerships Ideas for Sustainable Brands”—comprised of 5 BHM Campaign Ideas and 4 Strategic Partnerships for BHM.

 

It’s a cornucopia of competent creative conception for the culturally clueless—likely delivered for crumbs.

Saturday, February 21, 2026

17371: BHM 2026—The UK.

 

In the UK, Black History Month will be celebrated October 1–31, 2026. Yet the official website already features lots of content.

 

The 2026 UK BHM Theme is: “Reclaiming Narratives”—which seeks to highlight untold stories, correct historical inaccuracies, and celebrate the contributions of Black people to British society.

 

According to the website, the festivities will include “Honouring Black Britain 2026”—an “initiative to formally recognise Black individuals whose lives, leadership, and service have made a measurable and meaningful contribution to Britain.”

 

Hey, Black history is British history too.

Friday, February 20, 2026

17370: BHM 2026—Kellogg’s.

It might not be an official BHM 2026 tribute, but MediaPost reported Kellogg’s gave Tony the Tiger a hip-hop reboot.

 

The campaign underscores how White brands, White advertising agencies, and White critters love hip hop.

 

Cultural appropriation is Gr-r-reat!

 

Kellogg’s Gives Tony The Tiger Hip Hop Reboot

 

By Sarah Mahoney

 

In an effort to encourage kids to tap their inner tiger, Kellogg’s is rethinking a classic mascot — and his theme song. The new effort positions the big cat as one of the original “Day Ones,” a long-time friend to teens looking for a mood boost at the breakfast table.

 

Hip-hop artist J.I.D. reimagines Tony’s iconic 1990s jingle, “Hey Tony,” tying it to a limited-edition Kellogg’s Frosted Flakes release. To build cultural buzz, the brand is also introducing Tony the Tiger x J.I.D. “Day Ones” merchandise, along with a special “Day Ones” cereal box featuring J.I.D. on the packaging. A QR code takes people to a full-length version of the track on Spotify.

 

The drop includes a full-length version of the track, with original verses designed to echo Tony’s signature motivational energy — a reflection, the company says, of the confidence and optimism the brand hopes to inspire.

 

“Kellogg’s Frosted Flakes and Tony the Tiger have always stood for encouragement and belief,” said Laura Newman, vice president of brand marketing at WK Kellogg Co., in the release. “Hip-hop is a culture built on that same energy, so teaming up with J.I.D. was a natural connection for us to bring back ‘Hey Tony’ in a way that honors helping to bring out your greatness for a new generation.”

 

The packaging also includes a QR code linking to the track on Spotify. The song is set to debut next week at the brand’s “Day Ones” Bowl Game, a showcase featuring a marching-band-driven pep rally, including a performance by Stephenson High School’s “Sonic Sound” Marching Band from Stone Mountain, Georgia, J.I.D.’s alma mater. Four local teams will compete in a 7-on-7 football playoff for the title.

 

WK Kellogg Co., home to numerous breakfast cereal brands, was acquired last summer by the Ferrero Group for $3.1 billion. The Luxembourg-based company, best known for its extensive candy portfolio, described the acquisition as part of its growth strategy to expand across more consumption occasions “with renowned beloved brands and strong consumer relevance.”