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A Black Renaissance

2016-02-29T16:29:00.000-05:00

10 reason why we are amidst the next Black Renaissance.
A Renaissance is a time of rebirth. Finding new horizons, new exploration, and a resurgence of the arts. By many indicators, Black Americans are in the throes of a renaissance. Drawing an unconscious inspiration from the 50’s, 60’s and 70’s this is a new age of discovery. A different time in that it is one of internal excavation. Painful soul-dredging that is unearthing new modes of thinking, living and being. African Americans are rallying to the cry of their own souls. This cacophonous cry is one of pain, despair, heartache and awakening. In what has become normative for Black people in America. The pain becomes transmuted. What starts as a wail of injustice. Reverberates as heartfelt art and purposeful releases of an abstracted soul. Some would intonate that we are falling into old slavish reactionary modes. I’m saying vwe are dancing, singing, marching. Writing, thinking and rethinking for the healing and enlivening of our souls. And the soul of the nation.

We’ve been here before. As we’re known for our rhythms. The Fifties, Sixties, Seventies, with each beat we are deepening our progression. “Constant elevation causes expansion,” to quote Rakim. The eighties left us with the sense that we’ve made into polite society. With decent wages and 80’s era Cosbyisms and entrenched American lifestyles. The Nineties brought a deepening of the illusory accomplishments. We embodied American decadence to the fullest. With our conspicuous consumption and rampant materialism. Sofa-sets, clothing fetishes and ever-increasing rim size. We lived out the strengths and ills of Hip Hop culture. We watch others emulate, theorize and dichotomize it to no end.
In what has become normative for Black people in America. The pain becomes transmuted. What starts as a wail of injustice. Reverberates as heartfelt art and purposeful releases of an abstracted soul.

The early 2000s recession gave us a nudge of reality. The 2007–08 was the was the type of alarm that leaves you woke AF. Then we found ourselves disillusioned with our situation and groggy from the dream state. But nonetheless; woke.

At this trough of disillusionment in the most curious of manner, we dance. Still bleeding from the original umbilical rip. We dance. Because we know how to heal from the most violent concussive states. We reestablished our rhythms.

What you see on Twitter, Snapchat, Instagram, and even live-streaming, are all lagging indicators. All movements are spiritual. All art is ethereal. They’ve usually happened in the streets. And you are having a facsimile expressed to you. Black people are harnessing the power of art, media and spirit, tech, and their own voices. To change their world and others for the better. Attempting to reverse trends of widespread public squalor and elitist private opulence. We’re using everything we have as tools of creativity. Leaning towards the universality of everything. It’s Jaden in a dress. It’s FKA Twigs contorted interpretations (yes, we make interpretive dance cool). It’s Kendrick at the 2016 Grammys and Beyoncé at the Super Bowl. These artists who are trying to break our agreement of not televising the revolution. I think Gil Scott-Heron would be pleased.
What you see on Twitter, Snapchat, Instagram, and even live-streaming, are all lagging indicators. All movements are spiritual. All art is ethereal. They’ve usually happened in the streets. And you are having a facsimile expressed to you.

Now we egress the Blackest History Month ever. I see more and more evidence of a new iteration of a conscious movement. People of African descent in America reclaiming in many ways their Africanness. Imploring ourselves for the deliverance of both physical and mental hindrances. Reassuming the economic and political struggles. Here are just a few ways the racist pressures are producing black diamonds.

1. Black Lives Matter.
Because we say they matter. Because we believe they matter. Subsequently, we are willing to act in a plethora of ways to get that message across to the masses. Through sheer force of will and of our own volition. Black people’s lives didn’t matter until we said they did. We have quite rediscovered and reinvented activism, protest, and boycotts. Movements are now redefined in a matter of few short years.

2. Social Saavy
Black Twitter, Podcasting, Vlogging, Snapchat, Periscope, Instagram, Blab, Live Streaming etc. We create and new interest. New movements and new cultures in and around what could be cold and austere platforms. In a word we bring humanism. Social platforms either fit or we make it fit our chosen forms of communications. With wit, charm and verbal tenacity and acuity. It’s in the meme magic, It’s the hashtag wizardry. Social media has been like a new printing press for the Black community. We are reaching out and connecting. Going forward we need our own platforms and are more than capable of creating our own. As Omar Wasow proved with Black Planet. Once the most visited website in the world. More this, please.

3. Celebrations of Self
We have, quite frankly, peeped the game. And we will not create a new game. Instead young people are big upping themselves. Without the approval of past kingmakers. It can be as simple as a selfie. Or as impactful as boycotting the Oscars. What’s important is that we do things, not just for the optics. We are doing things that are affirming and congratulatory. What a time to be alive.

4. The Artist/Talent
D’Angelo. Kendrick Lamar. Kehinde Wiley. Kara Walker. Mickalene Thomas. Hank Willis Thomas. Fahamu Pecou. Misty Copeland. Ava DuVernay. Ryan Coogler. Jessie William. Saul Williams. And so many, many more. These nascent and ancient conjurors are the tips of the spear. They represent and embody the best of the old and the new. They bridged the ages and are future forgers.

5. A new consciousness
A consciousness of plurality and intersectionality. We have begun to accept and express our nuanced understanding. We more often include diverse ways of thinking about things in general. We can love the works of Cosby and hate actions he may have committed. Still enjoy the remix to Ignition and loathe an R. Kelly. Sort of like the ‘hate the sin, love the sinner’ tenants we learned in church, now in praxis. Although this train of thought is far from perfect. It seems like a small thing. But it’s big in the conservative Black community. We are beginning to recognizing and reconciling this cognitive dissonance.

6. Self-acceptance and a deeper self-love.
A broader self-acceptance and a deeper self-love. We are black. We are light and dark. We are straight. We are gay. We are nerds. We are athletic. We are the artist. We are male. We are female. We are breaking. We are healing. We are feminist. We are womanist. We are stagnant. We are an accelerant. We are universal. We are all these things at once. This reevaluation of self-worth is priceless. Moving forward without the internal encumbrance we can literally get out of our own way. As a people, we desperately need to embrace mental health and all it’s positives. Self-acceptance is a start.

7. Tech
Tech pioneering and adoption. Even without broad acceptance to or acknowledgment from the greater tech community. Black people are as present as ever. Our presence at every level will only flourish. From Microsoft Chairman John Thompson, Tristan Walker of Bevel and Jewel Burke are just a few. There are greater numbers forming. The interest and excitement for tech are palpable. Contrary to the poor numbers amongst the big players, Apple, Google, Twitter (of all places), Facebook, etc. we are making strides. Look forward to real revolution as we permeate and enliven this sector.

8. Education
In 2008, 20% of Blacks over 25 had four-year degrees. Showing exponential growth over the 1990 numbers of just over 11%. What’s astounding is the untraditional learning and self-taught. We are finding and exploiting niche opportunities. Self-professed experts in hair care, digital art, tech and many others, are coming online. Homeschooling, knowledge sharing, groups, and forums are creating deep and unquestionable knowledge bases. We’re getting it in.

9. The Natural Hair Movement.
Not a small thing, hair. It’s more than cosmetic. It’s so much deeper than that. Natural Hair Care has left the beauty industry shook. Black people had been poorly represented for years in the Health and Beauty industry. Products for black women, in name alone. Black women demanded more. Then went out and made it happen. Destroying the relaxer industry in the process. Getting the attention of the largest Beauty brands in the world. They built cottage industries around their own hair care needs. Researched and formulated. Studied and perfected. Creating techniques, videos, gadgets and products for themselves. They have created more than a few new multi-million dollar companies. And given rise to online stars that have self-supporting online ‘broadcasting’ networks.

10. New black intelligentsia
Ta-Nehisi Coates. Neil DeGrasse Tyson. Melissa Harris-Perry. Jelani Cobb. Jamilah Lemieux. Salamishah Tillet and more coming online daily. In no way are they here to replace the old guard luminaries. But to build on thinkers of the past. To update and contextualize common or outmoded schema. Their voices united with the common folk. Bloggers with unique POVs and incisive commentary on the smallest of issues. Or the direst of plights. Yes, I’m referencing the ubiquitous think pieces of now. They come hard and plentiful at the drop of a new song or national social unrest. From poets, unlikely preachers and part-time politician. We laugh, loathe and chide them. But we need them. Because at least, we are thinking. And thinking in a the public space. Something we haven’t always done or been able to do.

These are all movements in their own right. And the confluence of these creates what I believe to be a renaissance. Only time will tell if we can carve out a time or era and say this is what it was. We should do our own culture mapping. And define our history, frame our conversations and define our destiny.

Check for us on Instagram

2016-02-01T18:14:00.002-05:00

https://www.instagram.com/kissmyblackads or @kissmyblackads

Black Panther and Some Other Dudes Cover Ent. Weekly.

2015-12-02T14:52:00.001-05:00

So Yoon Lym: braided hairstyles art series

2015-10-04T21:09:00.003-04:00

So Yoon Lym has recreated some incredibly detailed braided hairstyles in a recent monochromatic art series. By studying images of both men’s and women’s hair patterns, she has taken the time to capture the minor complexities of each look, showcasing a painstaking process and incomparable attention to detail in his work. Each print is available for purchase via So Yoon Lym’s website.

An Afro-futurist take on the modern suit

2015-08-12T09:15:00.000-04:00

The story of Ikiré Jones, the brainchild of two first-generation children from Nigeria and Cambodia. A tale of history and rebellion. An Afro-futurist take on the modern suit.

Illustrations by Michael McCabe's

2015-04-13T22:46:00.002-04:00

More here.

Inspiration: Kelela - A Message (Official Video)

2015-04-08T22:40:00.000-04:00

Enjoy.

The Dig: You and I and You

2015-03-15T01:16:00.000-04:00

Terence Nance creates a magical realist film for the NYC group

Film buffs will recall Terence Nance’s debut An Oversimplification of Her Beauty as an uncannily original take on the well-worn fable of the uncertain twentysomething Brooklynite: boy meets girl, boy misunderstands girl and reconstructs his experience into a blend of memoir, experimental film and animation.

“The songs are playing at transcendence and simplicity and unseen forces”

The film subsequently won a prime spot at Sundance and a co-producer in Jay Z, but the self-deprecating Nance refuses to get wrapped up in hype or categorization. After The Dig contributed to the soundtrack of Oversimplification, the director repaid the favor with an impulsive, balletic film for the band’s 2013 EP You & I. “The songs are playing at transcendence and simplicity and unseen forces,” says the Dallas-born wunderkind, who distilled tracks “Cold Afternoon” and "So Alone” into a freewheeling short that could perhaps be described as a Wangechi Mutu portrait brought to life. “I think that those things worked their way from the music to my subconscious, and then into the film.”

Support this awesome Kickstarter: WINONA, INC. - The Web Series

2014-09-09T11:23:00.000-04:00

The Talented Edwina Owens Elliott is doing a KickStarter campaign for her witty sophisticated cartoon Winona, Inc. Check it out, please support.

Study: Multicultural TV audiences want to see more authentically relevant content

2014-06-18T17:15:00.000-04:00

(June 18, 2014) If America's growing ranks of multicultural audiences have a say, mainstream TV programming will become more culturally vibrant, suggests a new study released by Horowitz Associates. Findings from State of Cable & Digital Media: Multicultural Edition 2014 reveals that 71% of African Americans, 65% of Hispanics, and 53% of Asians feel that staying connected to their culture is very important.

The study suggests, however, that these important cultural connections are not delivered by mainstream media: In this annual survey of 2,078 White, Black, Hispanic, and Asian urban TV content viewers, more than four in ten (44%) total respondents -- and a full 57% of multicultural viewers -- feel strongly that mainstream television needs more diversity of cultures and lifestyles.

In today's content-saturated and on-demand media market, understanding what engages multicultural audiences and, concomitantly, the new American general market, is critical for success. Viewing the Viewer, a recent-released Horowitz videography, sheds further light on how to connect with America's diverse audiences, suggesting that it is not just the number of diverse faces on TV, but the quality of the representation that matters.

David, an ethnographic research participant from Los Angeles, explains, "Television is very influential. People see it and take it as truth. If you have people playing a certain role, they get stereotyped." Tanya, another participant from Houston, argues, "It goes back to having the right people in place to write the scripts who know that there are ... cultural differences other than what the media might be portraying."

State of Cable & Digital Media: Multicultural Edition is a syndicated consumer survey covering the media behaviors of multicultural consumers and is conducted among 2,078 heads of household 18+ who are TV content viewers in urban markets. Viewing the Viewer is an ethnographic documentary of alternative platform users. For more information, contact Adriana Waterston at adrianaw@horowitzassociates.com.

R.I.Power Maya Angelou

2014-05-29T15:35:00.004-04:00

Born: April 4, 1928, St. Louis, MO Died: May 28, 2014 (age 86)

cred:

God

Check out/Support: hrdcvr on kickstarter

2014-05-25T10:30:00.000-04:00

‘A new new, for the new everyone,’ is how Danyel Smith describes her venture to create a concept magazine in the form of a book, ‘an extreme print experience.’ A crowd-funded, one-time published product, she wants to ‘reject the niche’ and ‘reject mainstream’ because ‘it’s about the multi-stream.’ Passion dripped from her eyes as she teared up at the notion that ‘everyone is equally interesting. In my opinion, hrdcvr is poised to revolutionize what we have come to know as journalism and what we call print.”

Click here: hrdcvr

//

Upper Deck/Lower Deck by Adrian Franks

2014-03-07T14:37:00.000-05:00

Check out this great T-shirt and poster series by talented designer/artist Adrian Franks. http://www.adrianfranks.bigcartel.com He creates inspiring designs with an eye towards historical reference.

cred:
Adrian Franks
http://www.adrianfranks.bigcartel.com

Havard Business Review: Urban Culture Transcends

2014-02-24T09:00:00.000-05:00

via HBR by Marlene Morris Towns
Anti-American sentiment poses a challenge to companies seeking to export to some regions of the world, most notably parts of Asia and the Middle East. At the same time, segments within those regions keenly identify with U.S. urban youth culture—the world of hip-hop and rap. Research I conducted among Chinese undergraduates suggests that this identification may mitigate hostility toward the United States and increase people’s willingness to buy American brands—good news for companies interested in extending their global reach.

To lay the groundwork for an overseas study, I developed a questionnaire to measure “urban ID” and tested it on 256 undergraduates in Los Angeles and Washington, DC. The students rated themselves on 30 characteristics that are representative of the urban subculture, including individualism, familiarity with hip-hop slang and fashion, trendiness, resourcefulness, adventurousness, and “attitude.” Next they were asked to indicate the degree to which they considered themselves part of that subculture. A high correlation between their answers to the two parts of the exercise confirmed that the questionnaire is an accurate tool for classifying subjects as either “urban identifiers” or “non–urban identifiers.”

The students also answered questions about their consumer habits. Not surprisingly, urban identifiers reported a much greater likelihood than others to get product information from, and have purchase decisions influenced by, informal and nontraditional sources, such as movies, TV shows, music and music videos, and athletes and other celebrities.

To determine whether the dimensions and effects of urban ID carry over to other countries, I administered the questionnaire and the single-item self-assessment to 110 Chinese university students in Hong Kong and asked them about sources of consumer information and influence. Their scores showed that the characteristics of urban ID in Hong Kong track those in the United States quite closely. And like their U.S. counterparts, the Chinese urban identifiers were likelier than the other students to be influenced by nontraditional sources of product information: movies (11% likelier), music and music videos (10%), TV shows (9%), athletes and other celebrities (8%).

I also asked the Chinese students questions about anti-American sentiment and openness to U.S. brands. The urban identifiers were far less likely to report animosity, and, presumably because of this softening effect, urban ID scores turned out to be a significant predictor of willingness to buy U.S. products: The respondents with the highest scores reported 11% less unwillingness than did those with the lowest.

The marketing power of urban subculture associations has been amply demonstrated in the United States: Sprite, Mountain Dew, and other soft drink companies have made numerous commercials featuring rap artists, for example, and the rapper Busta Rhymes’s 2002 hit “Pass the Courvoisier, Part II” caused a double-digit spike in sales of the cognac in the following months. My findings suggest that companies can capitalize on that power in other countries as well, by learning how to pinpoint receptive urban subcultures and then using certain nontraditional marketing vehicles to reach them.

Marlene Morris Towns is a professor of marketing at Georgetown’s McDonough School of Business and the academic director of the Georgetown Institute for Consumer Research.

WORDS BY RAKIM

2014-02-11T09:00:00.000-05:00

Words is a re-introduction, and aural celebration of hip-hop’s most influential MC. Inspired by the vinyls that birthed the art form, the film is a portrait of two sides of an artist (A & B) and the streets and city he inspired. Two of his verses have been remixed … the words will never change.

cred:
directed by: matt bieler
produced by: ben feigin, matthew kemp, rakim allah, matt bieler
music by: chris newlin
additional programming by: dane leon
edited by: matt bieler, aidan haley
photographed by: matt bieler, scott forte
music mixed by: danny cocke
final mix by: tom paolantonio
color timing by: santiago padilla
titles by: mike moss
smoke by: david hernandez
words by: rakim
production company: serial pictures / anonymous content

TIM OKAMURA - THE HAIR RENAISSANCE

2014-01-27T12:00:00.000-05:00

via AfroPunk

There’s something very special about huge, colorful, long, and kinky hair that has the power to turn heads, especially when modeled by someone who owns its power, and even more so when its natural! There’s been a sort of hair renaissance celebrated around the world by Afro men and women alike- proudly embracing their natural wisdom in the form of hair, maintained to show the world.
By Tip Jordan, AFROPUNK Contributor *

Not only has this hair renaissance become evident in our daily lives but its influence is the mirror for many Artists artwork today. Painter, Tim Okamura’s masterpieces have gained great notoriety and approval by many. Besides the fact that Tim’s work is evidence of his appreciation for natural hair, what’s even more wondrous is that his depictions are of the everyday Afro men and women- the simply dressed woman you may see heading to work, or a man who looks like the guy you attend school with, and possibly a girl who you might see walking to a bodega down the street from your house. There’s nothing flashy about his depictions yet, you can’t help but admire the radiant skin complexions, and of course the glorious crowns of curls reaching for the stars, leaving the sweet scent of African Pride in the air!

Moon Dust by Sara Golish

2014-01-27T08:30:00.000-05:00

'Moon Dust' mini series of drawings as my ode to Afrofuturism and natural hair. Sara Golish Charcoal, conté & silver ink on toned paper. 12.5" x 19.5" $500 www.saragolish.com

Why Multicultural Shops Have An Advantage

2014-01-24T17:30:00.000-05:00

From AdAge As U.S. Population Shifts, General-Market Agencies Need to Do Their Homework

The advertising industry still refuses to make good on old and oft promised diversity initiatives. The industry may ignore the lack of diversity and the dearth of women in upper management, but it will truly put itself in peril by ignoring the cultural shift taking place.

America is expected to become a nation where the majority population will be non-white by 2050; but the cultural impact is way ahead of schedule.

No one is better suited than the current-day multicultural shops to tackle the marketing needs of the future. It will require massive rethinking and retooling, but they already understand the code-switching nature of dialing into niche cultures while also communicating to the general culture.

Despite the election of Barack Obama, America has proved to be anything but post-racial. Many factions throughout the states have in some ways dug themselves in deeper to cultural roots.

Still, we've seen advertisers attempt to cross cultural lines and promulgate notions of one-world advertising.

Some cases have been successful. But the cases where agencies haven't done their in-depth homework into cultural sensitivities, the results have been nightmarish.

For example there was the Nivea "Re-civilize Yourself" ad in 2011. The ad portrays a black man tossing a disembodied head that is afro-coiffed and wearing facial hair. To the uninitiated it seems like an innocent concept. But within the African-American culture the afro is such a classic representation of so many different enduring cultural hallmarks it almost defies definition. It denotes black power, freedom of choice, self expression, beauty, defiance and strength -- just to name a few things. For a grooming product to attempt to market itself to an African-American audience in such a manner was unfathomable. There have been many other brands that have made similar gaffes: Summer's Eve's sassy black talking vagina; Pine-Sol's subservient cleaning lady; Popeyes Southern sounding "Chicken Queen" and countless others. I am certain most of them were done innocently enough. And many of you reading this may not even be aware that these efforts rubbed people the wrong way.

But today's social-media landscape lends itself to hearty and mercurial retribution. Two words: Black Twitter.

Multicultural agencies -- or ethnic agencies, if you will -- are rarely caught off guard by their campaigns. They've not only done the cultural research, they've lived the life. Many ethnicities in America live in varying degrees inside and outside of the mainstream. We dwell in the dominant culture for large portions of the day. At other points we switch modes of behavior, verbalization and social norms. To put it simply, we slide between two worlds and understand them both very well.

Conversely, too many "general market" advertisers and agencies don't know what they don't know. This isn't a point of strident ignorance on their part. It's not borne out of maliciousness. But the fact is, since they live their entire lives in the dominant culture, they don't have to know about the other cultures. Until now. This puts general-market shops at a rather large disadvantage and gives an edge to multicultural shops.

There are a number of such shops making inroads into bigger accounts and offering smarter, broader, better fitting marketing. Shops like Walton Isaacson, LatinWorks and GlobalHuealready have a smart mix of employees and have had success in both markets.

I think of them as ultra-cultural marketers. They have the ability to deeply permeate more than one market to great effect.

Of course, general-market shops could hire and foster these particular skill sets; but after decades of promises that still hasn't happened.

At the same time, some multicultural agencies are looking to go general market. The smart ones will prepare themselves as the general market is coming to us.

ABOUT THE AUTHOR
Craig Brimm is a 17-year advertising professional; he blogs at kissmyblackads.blogspot.com

Sapeurs - GUINNESS

2014-01-24T16:56:00.000-05:00

GUINNESS' new ad features the 'society of elegant persons of the Congo' otherwise known as the 'Sapeurs', a group of everyday heroes from Brazzaville, Republic of the Congo. In this ad, GUINNESS follows the Sapeurs whose way of life is a testament to the belief of putting more in, to get more out. Their life is not defined by occupation or wealth, but by respect, a moral code and an inspirational display of flair and creativity. This is demonstrated through their love of stylish dressing; but it is not the fabric or cost of the suit that counts, it is the worth of the man inside it.

Watch the short documentary for more information on the Sapeurs:
http://youtu.be/CScqFDtelrQ

Toyota introduces new ethnic ad agency model

2013-12-19T08:30:00.000-05:00

(December 18, 2013) Toyota Motor Sales today announced that it is revamping it operational structure for working with its African American, Hispanic and Asian American markets. To make sure it continues to address the needs of increasingly diverse marketplace, Toyota said it will adopt a "more cohesive marketing approach to paid, earned and owned media by placing previously separate agencies into a total market model," called Total Toyota or T2 (pronounced T-Squared).

Saatchi & Saatchi Los Angeles -- which is owned by Publicis Groupe and has been Toyota's advertising agency of record for more than 20 years -- will lead the new model. Joining Saatchi are four additional agencies with decades-long Toyota partnerships. Three of the agencies have Publicis ties, including Burrell Communications (African-American), Conill Advertising (Hispanic), and Zenith (broadcast and out-of-home media buying). InterTrend Communications, an independently-owned and operated agency focused on the Asian-American consumer, also joins the model.

While the agencies remain separate and distinct business units, they will collaborate under the T2 umbrella. To complement the agency approach, Toyota's in-house multicultural marketing team will now be integrated across all product marketing teams.

T2 incorporates best practices from other global industries and covers the spectrum of advertising and creative communications. One of T2's main responsibilities will be devising and implementing ideas that make sense in the increasingly diverse total market. This allows Toyota to:

- Unify messaging
- Increase its media impact
- Leverage combined creativity and cultural sensibilities through focused agency teams
- Connect with customers in the right way

"Toyota's new marketing model represents another step in our efforts to meet the changing needs of the US marketplace," said Jack Hollis, Vice President of Marketing, Toyota Motor Sales, U.S.A., Inc. "In the past, our multicultural agencies have operated separately. Bringing the teams together will help Toyota maintain brand leadership and connect with consumers in ways most relevant to them."

In line with Toyota's move towards greater North American autonomy, the new marketing approach reflects the diversity of the US population, unique among the regions in which Toyota operates. Integration of agency marketing efforts has begun and will be operational when Toyota begins its 2015 fiscal year, on April 1, 2014.

Kids // Amusement Park Ent. TV (NSFW)

2013-12-09T08:00:00.000-05:00

P.R.:

What this film is NOT:
• This film is not a plea for "cleaner", censored, or watered down hip-hop.
• It is not a form of condemning rappers. I'm not perfect and neither is anyone else.

What I hope to accomplish:
• The encouragement of more balanced and HONEST music from some of my favorite artists.

What is balanced and honest music?
• Rap about the hoes, but also talk about the emotions that come with objectifying women when you may have a daughter of your own. Or better yet, a mother.
• Rap about the money, but talk about the other side of wealth and the plethora of things it does NOT fix.
• Rap about the violence, but don't forget about the affect it's had on your friends and family in prison or in caskets.

cred:

Directors: Jimmy Rodney Smith II (@hi_im_jimmy) and Jarrel Smith (@therelsmith) (aptv@amusementparkent.com)
Cinematography: Michael Flowers jr. (michaelflowersjr.com) (@MichaelFlowers)
Producer: Deirdre Smith (dee@amusementparkent.com) (@home040613)

Barneys, Macy's and Exclusivity in Marketing

2013-11-12T22:58:00.000-05:00

by David Morse
excerpted from AdAge blog: Barneys, Macy's and Exclusivity in Marketing

For the last several weeks, the issue of the racial profiling of African Americans by major department stores has been front and center, with Barneys at its core and Macy's right behind.

Trayon Christian, a 19-year-old mechanical engineering student, filed a civil rights lawsuit against Barneys. He says he was interrogated by police and released, in April, after purchasing a $349 Ferragamo belt with what the store alleged was a fake credit card. A month earlier, according to Kayla Phillips, a 21-year-old woman from Brooklyn, police swarmed her at a subway station, demanding to see her credit card. She had purchased a $2,500 Celine purse at Barneys. Again, no charges were filed. Her attorney says she has filed a lawsuit against the New York City Police Department and is planning to sue the upscale retailer.

In the case of Macy's, the actor Robert Brown, best known from HBO's "Treme", filed a lawsuit against the department store and the NYPD after he was held in an onsite jail following his purchase of a $1,000 Movado watch. Brown says he was targeted because he is black. In 2005, you may recall, Macy's paid $600,000 to settle a complaint about racial profiling at 29 New York stores. Late last week, another shopper charged that he was questioned in April by plainclothes cops three blocks away from the Macy's flagship store after buying $320 worth of Polo dress shirts and ties.

As these incidents unfold, advertisers are beset by lurking questions. How do we prevent a similar incident from happening to our companies? And if it does, what is the best action to take?

Barneys responded quickly to allegations. In a statement, CEO Mark Lee apologized and said, "no customer should have the unacceptable experience" of being accosted by police after leaving one of his stores. Barneys fired both security guards involved on the grounds of being "disgruntled employees," which their attorneys vehemently denied.

Lee hired Michael Yaki, who serves on the U.S. Commission on Civil Rights, to lead a review of the company's practices and procedures "to ensure that they reflect our continued commitment to fairness and equality." He also met with Al Sharpton and other civil rights leaders at Sharpton's National Action Network in Harlem. Sharpton described the meeting as "candid." His group also met with Macy's executives, Sharpton hinting afterward at a possible boycott: "We are not going through the holiday with people being profiled."

Both stores have a lot to lose. Andrea Hoffman, founder and CEO of Diversity Affluence, a consultancy firm for upscale brands, estimates the African-American luxury purchasing segment to represent about $90 billion. And according to the 2013 African-American 360 study by NewMediaMetrics, African Americans are more brand loyal than other groups. The study showed, for example, that African Americans were nearly twice as likely to be loyal to Macy's as the general population -- 40.1% to 24.1% respectively.

But, as Robin Givhan suggests in The Washington Post, the solution to Barneys problem may not be simple. She writes:

The company has long used exclusivity as part of its marketing strategy -- both by intention and default. And the subtext of exclusivity is that poor people, fat people, unattractive people, brown people are not the presumed clientele ... It's not as simple as filling the sales floor with black clerks, crafting a well-worded anti-discrimination policy or even offering an earnest apology. Sensitivity and suspicion run deep. It is positively existential."

Macy's serves a less exclusive base, but carries plenty of upper-scale fashion merchandise. Given the store's history of racial profiling accusations, it may not be off-base to assume that the problem is embedded in the company's culture. Years after an expensive settlement, the accusations of racial profiling persist. An article in last Thursday's Huffington Post asserts the same about Barneys. According to the piece, an "insider" alleged that "store security keeps a close eye on black shoppers who don't look famous."

Clearly, racial prejudice -- specifically against blacks -- continues to be deeply embedded in our society. A study by professors at Stanford, the University of Chicago and the University of Michigan found that over half of Americans possess explicitly anti-black attitudes. More insidious, a large body of scholarship shows that racism is more often "implicit" or subconscious.

Hoffman, of Diversity Affluence, has suggested that Barneys host an influencer luncheon with people of color to have a "candid dialogue." She also said that its corporate board may need a "proper facelift."

But so might the ad business at large. A study by Richard Lapchick, director of The Institute for Diversity in Sport, found that of the 65 creative and co-creative directors who produced spots for the 2011 Super Bowl, only two were African-American, one was Asian, one was Latino and four were women. However, it's not just creatives. The New York Times noted last year that of the 78,000 Americans working as advertising and promotion managers, only 9.6% were Hispanic, 2.3% were Asian and less than 1% were African-American.

Despite progress toward a more universal society, we are far from there. Clearly, if anything is to be learned from recent events at Barneys and Macy's, it is that racial disparities need to be brought to the center of corporate awareness, and not swept under the rug. If advertisers hope to reach the new America, diversification is a must. It is time for marketers to be part of the solution, rather than complicit in the continued denial of race matters in America.

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Study: African Americans are Biggest Users of Online Job Search

2013-11-07T10:00:00.000-05:00

WASHINGTON, Nov. 6, 2013 /PRNewswire-USNewswire/ -- African Americans are more likely than the public at large to use the Internet to look for a job, and particularly when it comes to using mobile devices and social media for that purpose, according to research unveiled today by the Joint Center for Political and Economic Studies.

The report from the Joint Center, "Broadband and Jobs: African Americans Rely Heavily on Mobile Access and Social Networking in Job Search," was released today at a Washington broadband technology forum organized by the Institute and featuring remarks from Commissioner Mignon Clyburn of the Federal Communications Commission (FCC).

The study, funded by the Joyce Foundation, explores the importance of Internet access to job search among African Americans. It found that African Americans are more likely than other segments of the population to use the Internet to seek and apply for employment, and are also more likely to consider the Internet very important to the success of their job search.

In addition, the report found that confidence in one's own digital skills correlates with a higher likelihood of using the Internet for job search, suggesting that efforts to improve digital literacy would allow more people to take advantage of the dynamic employment tools that the Internet has to offer. This is particularly important given the high and ever-growing proportion of job openings that can be found only through online platforms.

"This study not only underscores the potential of broadband and mobile technologies in driving policy solutions in economically distressed communities, but it also shows the success that African Americans are having in making the most of digital platforms in finding work. It also tells us that ensuring digital literacy and broadband access and adoption in every community is a worthwhile endeavor that will pay off in real terms," said Joint Center President and CEO Ralph B. Everett.

The study's other key findings include:

African Americans rely on social media and on mobile devices for job search at higher rates than the general population;
50% of African American Internet users said the Internet was very important to them in successfully finding a job, significantly higher than the 36% average for the entire sample;
46% of African American Internet users used the Internet at some point when they were last looking for a job, either by online search, emailing potential employers or using social networking sites. This compares to 41% for all respondents;
36% of African Americans said they applied for a job online the last time they were in the job market, compared with 26% for all respondents; and
31% of African Americans said social networking sites are very important to job search, which is seven percentage points greater than the entire sample (24%).

"With so many employers insisting that job seekers apply for jobs online, online access is essential to finding work. Closing broadband adoption gaps becomes more urgent when society expects people to carry out tasks using the Internet," said the study's author, John B. Horrigan, Ph.D., Senior Research Fellow at the Joint Center. "At the same time, stakeholders must close gaps in digital skills among all online users so that the Internet can help people turn opportunities into positive outcomes."

The Joint Center for Political and Economic Studies released its report in conjunction with a technology forum featuring remarks from FCC Commissioner Mignon Clyburn and broadband technology experts, including John Horrigan, Ph.D., Chanelle P. Hardy, Esq., Senior Vice President for Policy & Executive Director of the Washington Bureau, National Urban League; Ramona Carlow, Esq., Vice President of Global Policy, AT&T; Zach Leverenz, Chief Executive Officer, Connect2Compete; and Jason Llorenz, Esq., Director of Innovation Policy, Latino Information Network, Rutgers University.

Copies of the report are available at the Joint Center's website, www.jointcenter.org

The Joint Center for Political and Economic Studies is one of the nation's leading research and public policy institutions and the only one whose work focuses primarily on issues of particular concern to African Americans and other people of color. To learn more, please visit www.jointcenter.org.

CULTURAL TRIP

2013-11-07T09:00:00.000-05:00

“Cultural Trip” is a series by Russian born Fashion designer and Illustrator Magomed ‘MAGO’ Dovjenko. In this series, he portrays a selection of a few of the world’s proveyors of culture in Fashion, Acting, Art and Music. Pharrell, Anna Wintour, Ian Connor, Riccardo Tisci, Kanye West, Leonardo DiCaprio, Frank Ocean, Kendrick Lamar, Karl Lagerfeld, and Marcelo Burlon are just a few of the personalities represented in this trippy series. ”

More here.

Homogeneity Is the Enemy of Creativity

2013-10-18T20:05:00.000-04:00

So why are we so male? And so white?
by Kat Gordon from http://www.commarts.com
I get paid for ideas. You likely do, too. Given that original thinking is our livelihood, you would think we would care just a little about creating atmospheres primed for aha moments. Yet we don’t.

Sure, we have physical environments that scream innovation—with open floor plans, foosball tables and natural light. But the people who inhabit these spaces look eerily similar. As my friend, Scott McAfee, managing partner at Sanders Wingo, says, “We know what advertising creatives look like: white guys with goatees and messenger bags. There have been more dreads and tattoos of late, but you get the idea.”

WHO CARES WHAT CREATIVES LOOK LIKE AS LONG AS THE WORK IS GOOD?
Agreed. Yet research has proven, again and again, that the “good output” of homogenous teams falls short of the great output of diverse ones. A National Academy of Sciences study shows that functionally diverse groups outperform homogeneous groups—even if the homogenous group is comprised of “higher ability” problem solvers. The Federal Glass Ceiling Commission, founded to investigate the presence and effect of diversity in big business, concluded that diversity has a positive impact on the bottom line. Deloitte’s “Women in the Boardroom” research proves that having women on boards leads to healthier stock prices. Countless studies bear out what seems to boil down to this: otherness is good for outcome.

Someone agreeing with me, thinking like me, reinforcing my train of thought—while reassuring at a cocktail party or during pillow talk with a partner—is not the stuff of big ideas. True breakthrough thinking launches with “what if” and “why couldn’t” and “I see it differently.” There should be some tension, struggle and compromise in the birth of a great idea.

Yet look at creative teams within most agencies and you will see primarily male faces—almost all of them white. Look at advertising holding companies and sitting on their boards you will see more white, male faces. Only three percent of creative directors are women, and according to the Madison Avenue Project, less than six percent of advertising managers and professionals are African-American.

WHAT HAPPENS WHEN MARKETERS LOOK NOTHING LIKE THE MARKET?
It ain’t good. While individual contributors may have the necessary skills and talents, having so many of the same types of folks leads to groupthink, and by a group not reflective of the consumer market-place. The lion’s share of spending in this country is controlled by women, regardless of the category (not merely “mops and makeup”). Even if a woman works and earns more than her husband, her consumer influence still trumps his. Even if the purchase ends up on his credit card, she is more likely to be the decision maker, doing the social checking before the purchase. Yet the advertising that is supposed to motivate her springs almost entirely from a male sensibility. No wonder 91 percent of women said that advertisers don’t understand them, when surveyed in a recent Greenfield Online study.

IT’S TIME AD AGENCIES LEARN WHAT THE REPUBLICAN PARTY FAILED TO GRASP.
News flash: America is not overwhelmingly white. Or male. Women make up 52 percent of our citizenry and non-white babies are the majority in births today. We’re a mixed-race society, with new notions of marriage, and with women being the majority of the workforce for the first time in American history. The Republicans learned these new truths the hard way in the last election. Agencies seem to be assuming a similar ostrich position, and the consequences can be equally dire. Doing business the same way that Sterling Cooper did has consequences today. We miss deep connections with consumers. We waste clients’ money. And we fail in a way that should hit every creative hardest: we produce work that we like, that mostly male ad juries like, but which doesn’t appeal to the audience it was intended to motivate. That, my friends, is a failure. To the tune of billions of dollars annually. And it’s preventable.

LEAN IN CLOSE FOR THE ANSWER: DISCOMFORT.
Get uncomfortable. Rethink the Rolodex hire. Take inventory of your people. Take a closer look at your clients’ market. Are they 97 percent white males? Highly unlikely. IDEO knows this. Agencies like Sanders Wingo and Deutsch know this. Even stodgy Morgan Stanley knows this, evidenced by their new “parity portfolio”—an investment vehicle comprised of companies with three-plus women on their boards.

Surprisingly, Apple does not. Nor do most advertising award juries, which are still dominated by white men. It’s time for you—agency person—to learn the new math and secure your survival. I wish you luck. ca