Droga5 presented its latest patronizing pap for Honey Maid Graham Crackers, this time featuring a Latino family of immigrants to celebrate the 4th of July holiday. The painfully long video closes by stating, “1 in 5 Americans is part of an immigrant family.” Um, Native Americans aside (as well as Blacks brought here via the slave trade), aren’t all Americans essentially tied to immigrants? Most outrageous is the fact that nearly 5 in 5 Droga5 employees are White—and the company’s racial/ethnic diversity is probably less than 1 in 5. Hell, Droga5 is closer to Donald Trump when it comes to immigration. Plus, allowing a White advertising agency to handle a project starring Latino characters means the Latino advertising agencies will receive even fewer Honey Maid crumbs. In short, there’s absolutely nothing wholesome in this scenario.
Tuesday, June 30, 2015
Monday, June 29, 2015
Goodby Silverstein & Partners celebrated the Supreme Court ruling on same-sex marriage in patronizing fashion. If GSP saluted diversity in advertising, the windows would be bright White.
Sunday, June 28, 2015
Campaign published a lengthy piece—“The creative zeitgeist”—that asked an international group of adlanders, “Does creativity mean different things to different countries?” Leave it to UK-based Campaign to pose such a culturally clueless question. Interestingly enough, diversity appeared in the comments via a variety of ways:
• Bartle Bogle Hegarty Deputy Executive Creative Director Caroline Pay said, “But now, I’m happy to report, our mojo is coming back and we are seeing greatness across a more diverse pool of brands, sectors, channels, agencies and talent.” Oh really? Sorry, but BBH is still MIA when it comes to diverse agencies and talent.
• 72andSunny Amsterdam Carlo Cavallone said, “The new shops are bringing diversity both in terms of work and skills. They attract talent that is diverse in origin and approach, and this makes for an ‘anything goes’ variety of creativity. Not just driven by big investments, big bangs and big 90-second films but by a combination of technology, social and business awareness, and use of media.” It would be nice to see if Cavallone’s words are rooted in honesty or in smoking too much weed.
• Droga5 New York Executive Creative Director Kevin Brady said, “For the past two years, I have worked with the graham-cracker brand Honey Maid. We presented an idea that connected the wholesomeness of its product to modern wholesome families of all types, from gay to mixed race, and they immediately said: ‘YES!’ They knew they would get some angry letters but they had a point of view and, most importantly, there was a connection to the product that gave them a right to play in that space.” Cool. Except Droga5 is the exclusive antithesis of “modern wholesome families of all types.”
• BETC Chairman and Founder Rémi Babinet—as to be expected from a French person—said nothing about diversity.
• Razorfish Germany Executive Creative Director Preethi Mariappan—as to be expected from a German person—followed Babinet’s lead.
• Fred & Farid Shanghai Creative Director Feng Huang—as to be expected from a Chinese person—mirrored Babinet and Mariappan.
• TBWA\Angola Creative Director Miguel Ries seemed to hype Black stereotypes, covering the “Blacks-are-inherently-more-creative-by-nature” position—and adding references to barbecues, barbershops, slang, music and “the reality in the streets.”
• BBDO India Chairman Josy Paul, on the other hand, said, “Young Indians are questioning the stereotypes of the past and liberating advertising from the traditional clutches of the perfect model-hero archetype.”
• Elephant Cairo Director Ali Ali continued the stereotypes theme when he said, “Let’s be honest. Great ads aren’t the first thing that comes to mind when you think of the Middle East. Camels, bombs, more camels—we’ve got many stereotypes, and creativity isn’t one of them.”
• Grape Creative Director Vladimir Garev spoke about the “pressing economical crisis” in Russia—although his reduced rubles probably still outshine U.S. multicultural marketers’ crumbs.
• Crispin Porter Brazil Executive Creative Directors Andre Kassu and Marcos Medeiros referred to CPB Hackneyed Honcho Chuck Porter as “our shogun”—which instantly qualified anything they said as sycophantic bullshit.
• McCann Sydney Executive Creative Director Dejan Resic said nothing about diversity, despite hailing from one of the most diverse countries on the planet. Nice.
• JWT Japan Executive Creative Director Go Sohara said some stuff about diversity, but he was actually referring to professional backgrounds: “All kinds of creative people, from architects to artists to TV producers and even restaurant owners, are getting into the creative branding business.” Hey, that’s not quite the kind of diversity JWT claims to be seeking.
Saturday, June 27, 2015
A MultiCultClassics visitor pointed out that The Advertising Club of New York will soon release the results of its diversity survey conducted in conjunction with PwC. As discussed in a previous post, the survey is designed to track, measure and report diversity progress in the advertising industry over the next 10 years. Not sure why anyone thinks the initiative will present accurate or meaningful information, especially considering that companies like Omnicom refuse to disclose EEO-1 data. Maybe it will be another opportunity to promote the plight of White women in the field.
Friday, June 26, 2015
The Atlantic published a piece titled, “‘Dinnertimin’ and ‘No Tipping’: How Advertisers Targeted Black Consumers in the 1970s”—a not-too-polite critique of Black advertising.
Thursday, June 25, 2015
AgencySpy reported on a $20 million sexual harassment suit against DDB New York and Omnicom—and no, it doesn’t involve discrimination against White women. Rather, a male creative director is charging he faced homophobic harassment from the DDB NY Chief Digital Officer. It’s bad enough that Omnicom boasts having a Chief Diversity Officer, is led by Pioneer of Diversity John Wren and essentially bankrolls ADCOLOR®. And it’s even worse that Omnicom shareholders voted against annually disclosing EEO-1 data. But it’s outrageously pathetic how the scenario shows former Advertising Age columnist Bob Garfield was probably right to address a 2008 open letter to Wren, demanding an end to homophobic advertising produced by Omnicom shops.
Adweek reported how Julia Louis-Dreyfus—while plugging her TV show at Cannes—exclaimed she hopes the program’s success can help address gender inequality. “There is a tremendous inequity in Hollywood and in politics, and I would say globally it’s challenging to be a woman and succeed,” said Louis-Dreyfus. “There’s a lot of fun to be made of it, and in so doing maybe you can move the needle a little bit.” Hey, if she wants to work in a field where White women thrive with no problems, she should consider advertising.
Wednesday, June 24, 2015
Advertising Age posted 55 more photos from Cannes, continuing to display the White male and White female dominance in the field. At this point, spotting Black people at the International Festival of Creativity is like Where’s Waldo?
Okay, The Faces of Fashion: Vogue Model was released in 2010, but MultiCultClassics just discovered it. The book features photographs of the world’s most beautiful, iconic women and covers over 90 years of stylish history. However, Iman and Naomi Campbell are the only Black women appearing in the 350+ pages. Why, it’s like a duplicate of Cannes.
Advertising Age presented “Slideshow: On the Ground at Cannes”—and ultimately showed the exclusive soiree’s exclusivity. Besides a couple shots of Pharrell Williams and one Black guy, the 42 photos displayed White men and White women, despite the alleged gender inequality that Cannes has courageously committed to combat. Damn, even the DJ is White.