As the advertising and media landscape continues to grapple with glaring gaps in women’s leadership, Black At is making a sweeping move to shift the industry from ongoing conversation toward concrete, actionable equity. Fresh off its induction into the Unstereotype Alliance, a global coalition convened by UN Women to eliminate harmful stereotypes in advertising, Black At has officially introduced “Through Her Lens.” This ambitious global initiative is designed to elevate and advance women across an expansive 38 subsectors of the creative economy, directly tying its mission to the United Nations Sustainable Development Goal 5 for gender equality.

The multi-city platform is built to tackle entrenched structural inequalities head-on, aiming to drive measurable global growth rather than just industry awareness. Kicking off its rollout on March 30 in Lagos, Nigeria, to deliberately coincide with Women’s Month, the initiative will embark on a highly visible year-long tour. The program will convene private sector brands, NGOs, financial institutions, and creative leaders in major industry hubs, including Cape Town, São Paulo, Cannes during the Cannes Lions International Festival of Creativity, and New York during the 2026 UN General Assembly.

What makes “Through Her Lens” particularly notable in an industry often scrutinized for performative diversity pushes is its unvarnished focus on the underlying architecture of the creative business. Elspeth I’Anson, interim head of the Unstereotype Alliance, starkly defined the current landscape, noting that the scarcity of women in senior creative and decision-making roles is fundamentally a structural issue, not a talent deficit.

“We must create working environments that enable women to participate fully, rise and flourish, while urgently closing the gender pay gaps that persist,” I’Anson stated, pointing to UN Women data proving that companies with gender-equal leadership out-earn their peers and unlock new market growth.

To execute this vision, Black At is deploying a “whole-system approach.” This strategy moves beyond traditional representation advocacy and creative mentorship to tackle a notoriously difficult hurdle: capital. Through Her Lens will integrate financial access and structured funding pathways directly into its programming. Underscoring this financial imperative, Mrs. Uche Nwuka, general manager of the large enterprise directorate at the Bank of Industry, noted that her institution is deliberately providing funding opportunities, advisory support and strategic partnerships to fuel sustainable projects for women in the sector.

Brand leaders are already voicing support for the initiative’s blend of creative and commercial focus. Sarah Agha, marketing director at Nigerian Breweries Plc, emphasized that winning in today’s market demands “bold stories,” forged from a combination of “art, science and courage.”

Ultimately, the initiative is about cementing authority and redesigning the corporate ladder. As Black At CEO Peter Ukhurebor noted, the industry’s focus must transcend borders to build real infrastructure. “Through Her Lens is about building frameworks that ensure women are not just included, but empowered to lead,” Ukhurebor said. By bridging local creative ecosystems with global opportunities, Black At aims to double down on its mission to forge equitable, long-term economic access for Black professionals and women worldwide.

Let’s go way back: What was one of your very first jobs, and what’s a lesson from it that you still use today? McDonald’s. “Fear isn’t a stop sign. It’s a direction—step into it.”

If your career was a book, what would the title of the current chapter be? Finding Forever.

What’s a piece of unconventional wisdom or a personal philosophy that’s been your secret weapon in this industry? Channel [your] inner childhood.

You’ve done so much cool work. What’s one project that really sticks with you, and what made it a game-changer for you? I had a project that I was working on that was the genesis of my creative works. It was a cartoon project where I had five characters who utilized their creativity to solve problems. It was a bet from my ex—to create something new after a failed business attempt. It was about looking at what the market was doing at the time, the challenge of delivering something different, and sharing it with people.

We all hit creative walls. What’s a time you were really stuck, and how did you finally find your way through? What I find most useful in dealing with creative walls is just having patience with results and persistence with actions. Inspiration can come from anywhere. Take advantage of times when you can operate in flow. I’m currently working on a platform to support food trucks and local tourism while working a day job. There were times when I considered building these platforms as one unit and times when I felt it should be separated. This was my creative wall. I did my due diligence on other platforms. Sketching experiences. Then taking into consideration my users. This led to the decision to build separate platforms.

What’s the one part of your job that, if you could, you’d do all day long? Discovering problems, designing solutions.

Beyond the work itself, what’s a value or a cultural ideal you want to see more of in the industry? I want to see more curiosity paired with humility in the industry. We often reward confidence and speed, but real progress comes from teams willing to admit what they don’t know and learn their way forward. When people are encouraged to question assumptions and think in systems—not silos—we build products that are more thoughtful, inclusive, and durable. That shift matters because technology doesn’t just scale solutions; it scales values.

Where in the world do you feel most inspired, and why? In my home office. I have children art, my favorite books, and toys, perfect for maintaining the inner child.

Name three books you’d recommend to anyone, anytime. In my home office. “Startup of You” by Reid Hoffman; “Almanack of Naval Ravikant” by Eric Jorgenson; and “Beginning of Infinity” by David Duetsch.

Connect with Jerome Patrick on LinkedIn.

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Television networks like Urban One recently announced their newest initative REPRESENT: The Next 100 Years of Black History Month, a new, unified initiative to connect culture, community, and brands through one powerful storytelling framework.

When it comes to honoring a century of Black History Month. Urban One’s approach aims to reconstruct how audiences view the season that honors the past and present achievements of African Americans. By launching a single, cross-platform theme, Urban One is offering brands a clear and authentic way to engage Black audiences with consistency, purpose, and scale.

“Black History Month has reached a powerful 100-year milestone,” said Cathy Hughes, founder and chairwoman of Urban One. “REPRESENT is not simply a campaign; it is a movement. It honors where we’ve been, celebrates where we are, and points boldly toward where we are going.”

For advertisers, the value lives in alignment. Instead of fragmented sponsorships or one-off placements, REPRESENT gives brands a unified space to show up across platforms with a single, culturally resonant message.

According to Jeff Meza, EVP and head of branded entertainment and integrated marketing at Urban One, the unified theme simplifies how brands participate. REPRESENT, he explained, creates “a clear, consistent way to show up across Urban One with purpose and impact,” while supporting storytelling that looks toward the future.

At its core, REPRESENT treats Black history as living history as opposed as something frozen in time. The campaign honors trailblazers who shaped history while lifting up voices defining today and tomorrow. Through original content, music, editorial features, and community-driven programming, Urban One’s platforms work together to reflect the full spectrum of the Black experience.

A major focus of this year’s initiative is Gen Z and recognizing the generation’s creativity and cultural influence. The multimedia company is highlighting how history is preserved, shared, and reimagined by younger voices. Popular digital series Black Joy Blazers returns to spotlight individuals who embody resilience, joy, and empowerment. Meanwhile, Black History Hidden Gems dives into stories of often-overlooked figures whose contributions deserve greater recognition.

Additionally, REPRESENT will take over the small screen with BHM-themed content spots and special programming. This includes brand new episodes of the critically acclaimed docuseries Uncensored featuring Anthony Anderson and Blair Underwood that will air alongside a special presentation of Luther: Never Too Much. Radio listeners can expect on-air vignettes, community-centered conversations, and discussions with both cultural leaders and emerging creators.

While media-based companies focus on narrative or platform-based content, retailers such as Walmart and Target are creating synergy with Black-owned brands and creatives. In conjunction with February, both stores will stock limited edition merchandise and apparel.

Also, returning for its sixth year is the HBCU Design Challenge. In a mission to “nurture emerging talent, Target issued an open call to students attending historical black colleges and universities to submit work that showcases their culture and creativity for a chance to have their designs produced, distributed and sold by the merchandiser.

The collaboration comes from the Racial Equity Action and Change, or REACH, initiative that aimed to invest 2 billion dollars into Black businesses by 2025. This includes integrating more than 500 Black-owned products into their inventory. As of 2022, there are more than 100 products sold by the retailer.

“At Target, our partnerships with Black designers and founders are about more than product — they’re about amplifying voices, investing in creativity and building opportunities that last,” the retailer said on its corporate website.

Not very far behind, Walmart will release their annual apparel line, which will consist of t-shirts, baseball jerseys and hoodies that feature various historical Black figures such as civil rights leaders Martin Luther King Jr. and Malcolm X, poet Maya Angelou and boxing legend Muhammad Ali.

Last year, the retail giant partnered with African American designer Anwar Carrots to debut Homegrown, his line of affordable streetwear. The collection, which was inspired by Carrots’ personal family, quickly sold out at the 8,000 participating locations.

Let’s go way back: What was one of your very first jobs, and what’s a lesson from it that you still use today? My first real jobs were back-to-back summer gigs in high school: 11th grade, Roy Rogers and 12th grade, Pottery Barn.

At Roy Rogers, I was as entry-level as it gets — clearing trays, wiping tables, restocking cups and boxes. You had to earn your way up to the register. When I finally did, my friends would come in and wait in line just so I could serve them, in a truly terrible uniform I’d rather forget.

It was exhausting, chaotic, and incredibly revealing. You saw the worst of people (e.g., impatient, messy, rude) and the best too. Regulars who learned your name. People who asked how your day was going. A few who even tried to leave tips. One older woman came in almost daily and ordered her own unofficial creation: vanilla soft-serve with chocolate sauce on the bottom and strawberry syrup on top. Not on the menu. My trainer showed me how to make it and encouraged me to always do it when time allowed. So I did.

That job taught me something I still carry: even in fast, high-pressure environments where timing is everything, you can still slow down for a moment and see the person in front of you. And sometimes, letting someone have their small joy makes both your days better.

The next summer at Pottery Barn, the lesson was different but just as lasting. The work was arranging merch, cleaning, restocking, keeping the store looking right and staying poised to help. I learned that what customers experience as “effortless” is anything but. Beautiful spaces require care, consistency, and people who respect the details no one notices until they’re wrong.

Between those two jobs, I learned how much humanity and intention matter, whether you’re serving ice cream or building brands.

If your career was a book, what would the title of the current chapter be? I’d call it “Seasoned, Not Settled” because this chapter is about evolution, earned confidence, and moving with intention.

What’s a piece of unconventional wisdom or a personal philosophy that’s been your secret weapon in this industry? To focus on being trusted vs. popular. That usually means knowing when to say “no” or “not that way.”

You’ve done so much cool work. What’s one project that really sticks with you, and what made it a game-changer for you? When I was a junior professional working in Philadelphia, we took on a pro bono client called the Reject Film Festival. This was many moons ago, long before film festivals were so accessible. Back then, festivals were heavily gatekept by the film elite. Reject was created by two local filmmakers who were frustrated by the system. It was a festival for films that had been rejected elsewhere but the real innovation was the intent. Filmmakers didn’t just get screened; they got feedback. Notes. Context. A way forward. It was truly in service of the artist. I was a senior account exec — maybe an account supervisor — at what was then the largest agency in Philly, and I convinced leadership to take the festival on as a full pro bono account. We threw everything at it: advertising, PR, partnerships, sponsorship outreach. I led a volunteer, cross-disciplinary team and, in many cases, learned while doing. Because it was pro bono, I was given real autonomy and also guidance from generous senior leaders and peers. That combination was formative. I got an early, hands-on education in what it actually takes to run an integrated campaign from strategy and creative to messaging, publicity, and client service.

The work resonated. The festival was a hit and the campaign won multiple awards. Media from around the world covered it, including the BBC which was a surreal and proud moment for me. We brought on John Waters as a lead spokesperson and judge and did a media tour with him that was so sharp and irreverent -- the coverage was bananas! That project changed me. It showed me that even without decades of experience, I had the vision, conviction, and the ability to bring people together, including junior teammates, peers, clients, partners and senior leaders alike. I learned how to guide for performance, but also how to follow people who were truly great. It was my first real taste of what integrated work could do, not just for a brand or a client, but for culture. And I still think about it fondly.

We all hit creative walls. What’s a time you were really stuck, and how did you finally find your way through? I was brought in as a new leader on a major financial services account. We were launching a national campaign spotlighting its small business offering and running a campaign featuring participating businesses, local entrepreneurs, real stories, real impact. It was everything I cared about. Purpose-driven. Culture-forward. Right in my wheelhouse.

And I froze.

It wasn’t writer’s block so much as confidence block. I wanted to get it so right that I completely got in my own head. I’d sit staring at a blinking cursor, start writing, delete everything, start again, hate it, delete it again. I had psyched myself out. Perfection paralysis, in its purest form. The copy was due Monday. By Sunday morning, I was at brunch in New York with a close friend, pretending everything was fine. He called me on it, “You’re at brunch. This isn’t done. What’s really going on?” When I told him I was stuck and thinking about asking for more time, he shut that down immediately. Instead, he dragged me to Soho House (this was back in the day when there was only one in New York and it was open 24/7) and basically refused to let me leave until it was done. We sat there late into the night. I dictated. He prompted. We talked it through. There may have been wine involved. But somewhere between midnight and 2 a.m., the work finally unlocked. That campaign went on to run for years. To this day, my friend and I still use its name as shorthand when one of us is stuck; it’s our code for get out of your own way.

What I learned is simple but lasting: sometimes being “stuck” isn’t about talent or ideas; it’s about pressure. And one of the smartest things you can do is let someone you trust pull you through it. Not gently. Decisively.

What’s the one part of your job that, if you could, you’d do all day long? Ideation. I love where culture, creativity, and strategy meet. The part where nothing exists yet and then it does.

Beyond the work itself, what’s a value or a cultural ideal you want to see more of in the industry? Curiosity about people who don’t look, live, or think like you—and the humility to learn from them.

Where in the world do you feel most inspired, and why? The beach, always. Sun, sand, water, and that steady ocean breeze immediately shifts my nervous system. I feel clearer, lighter, more open. It’s a peaceful soundtrack that lets ideas surface without forcing them. If I had to name one of my faves, it’s Macaroni Beach (Mustique).

Name three books you’d recommend to anyone, anytime. “The Bluest Eye,” by Toni Morrison; “Wuthering Heights,” by Emily Brontë; and “Creative Quest,” by Questlove.

Connect with Cheryl Overton on LinkedIn.

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This year we’ve lacked a Titanic, a Hot In Herre, a Charlie Bit Me. Save for sports or politics, we’re in a drought when it comes to cohesive cultural and media moments, perhaps since the full scale assault that was Barbie. Discourse from YouTube to the New York Times is hailing 2025 as the death of monoculture - that is, the end of universal, unifying media events that lead the pop culture zeitgeist.

Here’s the case they’re making - the media landscape is so fractured that it’s impossible to have universally shared moments. First, TikTok’s algorithm-focused feed brought on a full dispersion of the internet - no one sees the same version of their FYP. Other platforms took note, implementing similar tactics. With competitors like Instagram notably nixing the chronological timeline, fewer and fewer people see the same thing at the same time.

Secondly, the splintering of long form content across streaming platforms, YouTube and podcasts as attention mediums have furthered a fractured media landscape. While the huge selection of early 2000s cable channels allowed for widened content across lifestyles and interests (I was an HGTV kid myself); these new platforms allow for the same with the additions of on-demand viewing, creator led content and algorithm-driven recommendations. This has created content cohorts or media bubbles, with less overlap than in the past.

TVREV’s Alon Wolk writes about the concept of ‘feudal media’ to encapsulate this moment:

“One of the most significant changes of the 2020s has been the rise of “feudal media”—self-contained bubbles of more personalized media: podcasts, substacks, TikTok channels and the like, each attended to by passionate fan bases who are largely unaware of much of what is going on outside of their particular universe.”

Though none of this is necessarily new for diverse audiences — Black, LGBTQ+, Asian, Hispanic, and beyond have always lived outside of mass culture’s center.

Growth in cable offerings gave us our first view of a young, pre-Broadway domination Cole Escola. Logo’s Jeffery and Cole Casserole brought niche queer humour to a purposefully queer audience. In the 2010s Black humourists originated trends that travelled across the social landscape like #BeyonceAlwaysOnBeat and #ThisCouldBeUsButYouPlaying, becoming months-long dialogues between creators adding their own takes. And of course, we know the huge numbers Latin artists have done in the U.S. for several decades.

The mass media landscape of the past century recalls James Baldwin’s rumination on America’s racial and societal divide: “And furthermore, you give me a terrifying advantage. You never had to look at me. I had to look at you. I know more about you than you know about me.”

So, while we grapple with what the death of monoculture means for mainstream media, what does it mean for minority-focused media and their audiences? While the buying power for diverse audiences continues to increase, investment continues to lag.

We’re seeing multicultural media brands like Revry and Revolt TV’s new parent company, Offscript tap into our fractured media ecosystem, tailoring cohort-specific offerings that harness both content and creator. During Advertising Week New York, Damian Pellicone, CEO and co-founder of Revery, the global streaming network that launched in 2016 focused on queer content and creators, stressed the importance of contextualizing audiences—making the case for brand investment. Buying power for the LGBTQ+ community alone topped $1.4 Trillion in recent years. Not only that - the group’s household income is also double that of the national average, with LGBTQ+ consumers said to be both brand loyal and early adopters in trends and tech.

Offscript is focusing on creators with proven ability to hold both long and short form attention—from YouTube and streaming to Instagram and TikTok—to create fully vertically aligned ecosystems. This strategy offers consumers a one stop shop into a specific hip-hop culture focused media bubble for brands.

Both Offscript and Revry are engineering around the idea of feudal media, building cross-platform ecosystems that help brands better adapt to the death of monoculture. It’s a bet on where many predict media is going; advertisers, marketers and communicators will need to recognize the bubbles their audience fall into and treat them as essential, not niche.

That may look like organizing strategic work around distinct cultural ecosystems rather than chasing one broad audience. Instead of thinking in traditional “channel” terms, brands should break their budgets and strategies down by media bubble. This also has staffing implications: organizations need strategists with intimate understanding of specific cultural bubbles — not just broad demographics.

As monoculture fades, the challenge for brands isn’t just to find their audience, it’s in understanding the media bubbles they engage with. Success will depend on mastering the nuances of smaller, self-contained cultural worlds and earning their trust. This isn’t just a minority-audience challenge, it’s a universal shift.

Every audience is now a subculture, every “mainstream” an illusion of overlap. The brands that organize around these ecosystems (e.g., strategists fluent in their language, creators embedded in their networks, and campaigns designed to move organically between platforms) won’t just survive the death of monoculture; they’ll define what comes next.

Stefan Embry is a contributor to and consultant at Marcom Company, the publisher of this publication.

Let’s go way back: What was one of your very first jobs, and what’s a lesson from it that you still use today? Starting out as a junior copywriter at a small, local agency, the biggest lesson I learned was that being visible is half the battle. My ECD there once told me that he didn’t know what I did besides “drink coffee and laugh.” I thought it was a bad joke. He later promoted my intern to copywriter ahead of me. I learned then and there that I might not be able to control leadership’s motivations, but I could definitely make myself impossible to overlook.

If your career was a book, what would the title of the current chapter be? Sowing Season

What’s a piece of unconventional wisdom or a personal philosophy that’s been your secret weapon in this industry? Leap and the net will appear.

You’ve done so much cool work. What’s one project that really sticks with you, and what made it a game-changer for you? I am so proud of my work writing and building a Stubb’s BBQ Sauce Alexa skill. At the time, Alexa skills were still an untapped technology among most brands. It felt like a privilege to be among the early creatives to utilize it, and to ultimately create one of the world’s first and only audio/digital interactions with a Black mainstream brand owner.

We all hit creative walls. What’s a time you were really stuck, and how did you finally find your way through? My secret to working around creative walls is to go back to the product. So often, we’re too close to the brief, the client, or the office politics, and the product gets lost. I like to step away from the screen and back into the product experience. Drink the beer. Use the cookware. Watch the program. Stop being the creative for a minute, and be your audience.

What’s the one part of your job that, if you could, you’d do all day long? I like building decks more than any copywriter should.

Beyond the work itself, what’s a value or a cultural ideal you want to see more of in the industry? There’s enough work for everybody to get their hands dirty. No more favorite sons.

Where in the world do you feel most inspired, and why? On a road trip. There’s nothing but possibility ahead and I’m the master and commander.

Name three books you’d recommend to anyone, anytime. “Black Futures,” “Their Eyes Were Watching God,” and “The Picture of Dorian Grey.”

Connect with Joy Barnett on LinkedIn.

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The collective, which began in 2020 out of frustration over the “racist and sexist attacks” against Black women potential vice presidential candidates, had a regular meeting planned. However, the announcement that President Joe Biden would not seek reelection, combined with Congresswoman Joyce Batty’s public claim that 30,000 Black women would join the WWBB call, immediately shattered the organization’s existing infrastructure.

The technical crisis was immediate: the standard WWBB Zoom account held only a thousand people, and the founder couldn’t even log in. A rapid switch to a 3,000-person webinar instantly filled, confirming that “hundreds of thousands of people... had felt the need to be in community that night.”

The decisive intervention came from a black woman named Artis Hampshire-Cowan, who, without being asked, called the Zoom COO, who was on vacation. Her message was succinct: “I’m on the Zoom and we need to open it up.” In real-time, Zoom engineers executed the expansion, raising the meeting’s capacity from 3,000 to an extraordinary 44,000 attendees by 10:30 p.m. Simultaneously, thousands more connected via Clubhouse and other digital spaces.

The impact was a massive “power shifting moment.” Thanks to Star Jones securing a link, the collective raised $1.5 million in 100 minutes. Eaddy reflected on the intensity, describing the moment she ended the call at 1:00 a.m. as disbanding “this long hug and embrace a powerful spiritual moment of black women saying we are here. We will not be ignored.”

The scale of this community engagement had profound corporate consequences. Eaddy revealed that as a direct result of the Black women’s participation, “Zoom changed their entire platform to be able to hold one million people on a single call.” The success, Eaddy argued, was not achieved through superficial metrics but through purpose, proving that innovation alone doesn’t create change—intentionality does. The event inspired a cascade effect, with Black men hosting their own call the next day, drawing 55,000 attendees.

In a move that signals a significant reorientation toward cultural relevance in collegiate athletics, the Atlantic Coast Conference (ACC) has named Marques Zak as its first chief marketing and brand officer. The creation of this executive role, which places Zak directly on Commissioner Jim Phillips’ executive team, recognizes that the future of major college conferences hinges less on tradition alone and more on sophisticated, high-level brand infrastructure.

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Zak, who currently serves as an advisor to Pulse: Fitness Collective, has been tasked with setting and executing the ACC’s entire marketing and brand strategy. His mandate covers all digital, social and live experiences, aimed at strengthening visibility and fan engagement across the Conference’s 18 member institutions. These institutions include prominent names such as Duke University, Florida State University, and University of North Carolina at Chapel Hill. More precisely, his work centers on “celebrating student-athletes, elevating storytelling, and positioning the ACC as a leader in the evolving landscape of college athletics.”

Commissioner Phillips underscored the strategic nature of the new marketing and brand leader, calling Zak a “proven marketing innovator whose leadership has consistently brought brands closer to their audiences in authentic and impactful ways.” He added that Zak’s “vision and experience will be invaluable as we continue to elevate the ACC brand, celebrate our student-athletes, and deepen engagement across our 18 member institutions.”

Zak joins the ACC after four years at American Express, where he served as the head of multicultural marketing. It was there where he launched the company’s first enterprise-wide multicultural marketing strategy, earning recognition for building campaigns that deepened relevance with Gen Z and millennial audiences. That work, which led to his induction into the 2024 AAF Advertising Hall of Achievement, reflects the kind of cultural fluency necessary for college sports to engage the next generation of viewers.

Zak’s background also includes nearly a decade at PepsiCo, where he held senior leadership roles, including guiding brand strategy and execution for a Frito-Lay North America business unit valued at $1.2 billion. He began his career as a strategy consultant at Deloitte, specializing in M&A strategy and integration.

In a LinkedIn post, reflecting on the journey that has taken him from “consulting boardrooms to PepsiCo’s retail aisles, to global stages with American Express,” Zak noted that each stop has built upon the next, preparing him to “help shape the brand of one of the most storied conferences in college athletics.”

For Zak, who is a Phi Beta Kappa graduate of Morehouse College and a former captain of the Maroon Tigers track and field team, the appointment is about more than personal achievement. It signifies a larger industry shift.

“This moment is about more than just me,” Zak stated, detailing the commitment the conference is making to storytelling: “It’s about the commitment the ACC is making to storytelling, culture, and brand at the highest level,” signaling the future of college athletics: “engaging fans in fresh ways, celebrating student-athletes, and building on a proud tradition of excellence.” He expressed his honor in joining the team as the ACC’s first chief marketing and brand officer.

His hire signals that major athletic conferences now view culturally-fluent marketing as essential infrastructure for long-term sustainability and growth. Zak, no doubt, brings the specialized expertise needed to ensure the ACC can move at the pace of culture.

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Let’s go way back: What was one of your very first jobs, and what’s a lesson from it that you still use today? My first job in entertainment was as a sound technician for Six Flags AstroWorld. There I learned to trust my gut. No matter how things shift or unfold, I have what it takes to handle it.

If your career was a book, what would the title of the current chapter be? Confessions of a Phoenix.

What’s a piece of unconventional wisdom or a personal philosophy that’s been your secret weapon in this industry? You can’t change people. You can only change yourself.

You’ve done so much cool work. What’s one project that really sticks with you, and what made it a game-changer for you? I produced a narrative-driven event experience in Denver a few years back. The idea was to create an environment where guests could feel what it’s like to encounter Bigfoot for real and in a way that felt authentic. This was a season in my creative career when I began exploring how to play with audience perception, finding ways to engage them both actively and passively. I knew I was onto something when I observed groups of rowdy teenagers brought to silence during the sightings.

We all hit creative walls. What’s a time you were really stuck, and how did you finally find your way through? In my life, creative blocks often came from comfort. When I didn’t tap into a deeper perspective, a reason beyond making the art for commercial purposes, my imagination lacked the nourishment it needed to truly thrive. It was in those moments that I broke form, stepping beyond my comfort zone to discover new ways of experiencing the world.

What’s the one part of your job that, if you could, you’d do all day long? Daydream.

Beyond the work itself, what’s a value or a cultural ideal you want to see more of in the industry? Relevance and resonance as a North Star.

Where in the world do you feel most inspired, and why? I feel most inspired in nature and art museums, where anything, even the unimaginable, can create beauty.

Name three books you’d recommend to anyone, anytime. “The Happiness of Burnout by Finn Janning,” “Dreams of Wakanda,” and “The Empty Space by Peter Brook.”

Connect with Justin Stucey on LinkedIn.

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Blackweek, now in its second year, welcomed writer and producer Mara Brock Akil to its annual forum and festival at Spring Studios in New York City. The weeklong conference featured special appearances by industry giants such as journalists Don Lemon and Joy Anne Reid, Bishop T.D. Jakes, longtime SNL cast member Kenan Thompson and actress-writer Lena Waithe and many more.

The television veteran, best known for creating hit shows like “Girlfriends,” “The Game,” “Being Mary Jane” and “Love Is,” sat down with award-winning author and activist Jodie Patterson for a powerful discussion about her creative journey as a showrunner and approach to creating diverse African American characters.

When asked if she always set out to tell Black stories, the trailblazer explained that at the heart of human nature, everyone wants to be seen and represented in some form or fashion. On the surface, the conversation served as a celebration of the filmmaker’s work while also exploring the importance of cultural visibility. On a deeper level, the TV giant uses her platform to “capitalize” on the stories the country doesn’t see.

“That’s what I’ve been doing,” Brock Akil said. “You [America] don’t value it, but I do and the audience I rock with values it.”

With most of Mara Brock Akil’s catalogue streaming on platforms like Netflix and BET Plus, fans showcased their support through social media, but her impact far extends the fan experience. If you take a look at the credits of shows like “Girlfriends,” you will find familiar names Prentice Penny and Kenya Barris, who would later go on to create HBO’s “Insecure” and ABC’s “Black-ish” and its subsequent spinoffs, respectively.

While Brock Akil spoke about her pantheon of work, she dedicated space to talk about “Forever,” Netflix’s new teen drama, where she currently serves as showrunner.

Based on the 1975 Judy Blume novel of the same name, the streamer stars Lovie Simone (”Greenleaf,” “The Craft Legacy”) and newcomer Michael Cooper Jr. (”Infraction,” “The Inhabitant”) as teens Keisha and Justin navigating relationships, sexuality and adolescence in a pre-pandemic Los Angeles. The series, now set in 2018, most notably reimagined the two leads as African Americans.

Reimagining literary characters as people of color isn’t new. Most recently, actress Leah Jefferies made headlines when she was cast as Annabeth Chase in the small screen adaptation of “Percy Jackson & the Olympians” on Disney+. The same can be said for its 2010 cinematic predecessor that featured comedian-actor Brandon T. Jackson as Grover the Satyr.

The trailblazer recounted a time where her career matched her “ability to run a show.” Citing shows like “Sex and the City” that opened the dialogue for taboo conversations, Brock Akil lamented that while the tables were turning, there was still a lack of visible diversity. For her, the race-swap isn’t as nuanced people might think.

“We want the same things,” Brock Akil said. “But the details in our approach is what makes it the mirror and the witnessing and the ability to sort of be seen.”

It’s a full circle moment for Brock Akil who cited Blume’s writing style as a blueprint that shaped her writing voice. “Forever,” which premiered earlier this year, has been highly praised for its positive yet realistic depiction of African American families. A week after its release, the series was renewed for a second season. Creating a world devoid of what Patterson called “trauma porn” was intentional for the showrunner.

Comparing the show’s leads to “two little Nemo fishes” swimming through the ocean, Brock Akil pointed out that while her characters are prone to danger and harm, there is beauty in survival.

“What’s so beautiful about us, is that despite the conditions in which we live, most Black people are not only surviving but they’re making progress,” Brock Akil said. “They’re finding love. They’re making family dinners. They are getting to the vineyard. We are doing those things, but what’s mirrored back to us ... is that we are being raped. We are being murdered. We are being politically violated. We are being lied to by this, that and the third. But we are swimming in this ocean and we are making it.

“Forever” is currently streaming on Netflix.

Urban One, the largest Black-owned media company in the U.S., is making a direct appeal to advertisers who have pulled back on diversity-focused initiatives: ignoring Black consumers is a costly mistake.

The company has released a new study arguing that brands failing to authentically engage with Black culture are missing out on major growth opportunities. The research, titled “Influence to Impact: Black Culture’s Role in Brand Growth,” aims to provide a data-backed counter-narrative to the recent rollback of DEI efforts in corporate America, which has led to boycotts and declining brand trust for some companies.

The central thesis from Urban One is that investing in Black culture isn’t just a social good; it’s profitable. The study, conducted with Tapestry and Screen Engine/ASI, surveyed more than 3,700 U.S. consumers and found that 79% of them believe Black Americans are influential, with majorities recognizing that impact across music, fashion, sports, and beauty.

The data suggests this influence has broad commercial implications. One in two consumers say they trust brands more when Black consumers are consistently and authentically represented. This effect is even more pronounced among younger demographics, who hold the keys to future market share. More than 80% of Gen Z and Millennials report that they personally benefit when Black culture is well-represented.

“Cultural ROI is the vehicle for us...to help educate the industry and brand partners alike on the importance that intentions must be rooted in strategy,” said Jeff Meza, Urban One’s EVP who oversees branded entertainment and integrated marketing. He argued that modern marketing plans must be “inclusive and representative of authentic experiences” to succeed in what he called the “new economy.”

Urban One is pitching its findings as a blueprint for what it calls “Cultural ROI,” a competitive advantage for brands that engage properly. The study’s key takeaways are:

• Black culture sets trends that become global phenomena, and brands that ignore the source miss out.

• Authentic engagement drives loyalty and growth, while “performative efforts quickly fade.”

• Representation builds trust, especially with Gen Z and Millennials who reward diverse brands with their spending power.

The media conglomerate, which reaches 93 million consumers monthly through assets like TV One and The Rickey Smiley Morning Show, is positioning itself as the essential partner for brands looking to connect with this audience.

Audrey Cochran, Urban One’s VP for television and digital research, forewarns, saying the study “underscores the value of authentically connecting with this segment—and the business risks of failing to do so”. In short, Urban One is telling the advertising world that the path to growth runs directly through the consumers it knows best.

Pictured above: Ten35 CEO Ahmad Islam attends Brand Jordan event with his sons. Photo provided courtesy of Ahmad Islam.

Islam has been in the agency world for more than two decades and the recognition of Ten35 on Black At forecast is a meaningful milestone. “Creativity and Black voices are more important than ever,” he said. “To be acknowledged for our contributions, after 22 years in this business, means a lot. It shows that we’re still doing work that resonates.”

Over the years, Ten35 has consistently delivered campaigns that merge strategy, technology and cultural insights to create powerful brand experiences. This ability to stay ahead of the curve is what keeps them relevant in an industry that constantly evolves.

One of Ten35’s recent projects, the 40th-anniversary campaign for the Jordan 1, is a prime example of their approach to creative leadership. The campaign, which launched in Chicago before expanding globally, was a full-circle moment for Islam, whose personal history with the Jordan 1 dates back to its original release.

“When that shoe first dropped, my dad told me he wasn’t buying that ugly thing,” he laughed. “So I went out and made my own money—cutting grass, delivering newspapers—and bought them myself. That gave me my first taste of entrepreneurship.”

Decades later, Islam found himself leading the creative vision for the Jordan 1’s global anniversary launch, bringing the brand’s legacy to life through immersive experiences and cutting-edge technology. “We blended digital and physical experiences, using AR to enhance storytelling and amplify the campaign’s reach beyond those who attended in person.”

One of the campaign’s highlights was the transformation of a Chicago retailer, Succezz, into an immersive Brand Jordan experience. “Succezz has a unique aesthetic, but it’s not necessarily aligned with the Jordan brand,” Islam explained. “Instead of an expensive, time-consuming build out, we used AR, image projection, and digital tools to completely transform the space in a matter of days.”

The result was so seamless that even regular shoppers didn’t recognize the store. “People who had been there just weeks before couldn’t believe it was the same space,” he said. “That’s the power of technology—it allows us to create immersive, sensory-rich brand experiences in ways that weren’t possible before.”

Despite economic and political uncertainty, Islam is energized by the direction creativity is headed. “Creativity is becoming more inclusive, with more voices and perspectives being heard,” he said. “We’re moving away from passive consumption—where brands simply talk at audiences—to a world of active co-creation.”

Reflecting on his early career at Leo Burnett, Islam noted how the industry has evolved. “Back then, we made 30-second TV spots, put them out, and hoped people bought the product. Now, audiences don’t just watch—they participate, remix content, and build communities around brands. Creativity has been democratized.”

This shift presents both opportunities and challenges for brands. “You can’t control the narrative like you used to. But that’s exciting because it forces brands to be more authentic and engage meaningfully.”

Before COVID, Ten35’s business was heavily rooted in live experiential marketing. But the pandemic forced a shift toward digital, leading to a hybrid approach that merges live events with digital amplification.

“Now, every experience we create has to work beyond the physical space. It’s not just about the 500 people in attendance—it’s about creating content that reaches millions digitally,” Islam said. “That’s where technology helps us scale while still delivering personalized, impactful experiences.”

But beyond technology, Islam believes in the power of purpose-driven marketing. “There was a moment after George Floyd’s murder when brands rushed into purpose-driven work, often without strategy or strong creative execution. Now, the pendulum has swung the other way, and some brands hesitate to engage in meaningful work for fear of backlash.”

He argues that purpose and profit aren’t mutually exclusive. “People engage with brands that stand for something. If done right—with sincerity and authenticity—purpose-driven initiatives can drive both business impact and social impact.”

AI is a hot topic in the creative industry, and Islam sees it as an invaluable tool—when used correctly. “Clients are trying to figure it out. Many see AI as a way to create efficiency, but they don’t always understand its full potential,” he said.

Islam has been working with AI for years and views it as a creative collaborator. “AI helps break through limitations, unlock new ideas and accelerate the creative process. But the human element is irreplaceable. AI doesn’t bring the emotion, the insight, or the authenticity that make creative work resonate.”

He also sees a clear divide in AI adoption. “AI is making smart creatives even better—and making lazy people worse. The human touch is what makes creative work meaningful.”

At Ten35, AI is fully integrated into the workflow. “I require my team to be proficient in AI-powered tools. We use a suite of tools across different disciplines, but the key is knowing how to use them effectively while maintaining authenticity.”

The start of 2025 has been challenging, but Islam embraces the uncertainty. “The political climate and economic volatility have made this one of the toughest years in the industry but that just makes it more exciting,” he said. “A lot of brands are afraid—afraid to take a stand, afraid to be bold. But times like these separate the leaders from the followers.”

For Islam, the goal isn’t just to survive 2025—it’s to thrive. “I want to look back at the end of this year and say, ‘Despite the challenges, we made an impact.’ Whether it’s in the market, in our communities, or for our clients, we’re focused on driving meaningful change.”

With Ten35 at the helm of culture-driven creativity, it’s clear that the agency isn’t just reacting to change—it’s leading the way.

At the heart of this transformation, Black leaders are not only reshaping creative campaigns but also driving growth and fostering inclusive storytelling across the globe. Through their roles at top agencies and brands, they are pioneering culture-shifting media and setting new standards for the industry. Moreover, their influence extends far beyond individual campaigns, as they help shape the future of creativity on a global scale.

Peter Ukhurebor, CEO of Black At, spoke to Brand&Culture about the challenges Black creatives continue to face, even as the industry makes strides towards inclusion. He emphasized that today, the challenges Black creatives face at every level. “We have to work twice as hard, and we are scrutinized more,” Ukhurebor said. “There has to be accountability, to agree that their work is good.”

Ukhurebor was quick to highlight the immense talent and expertise within the Black creative community. “These sets of people are amazing at what they do,” he said, referencing the 17 executives featured in the Creative Industry 2025 Forecast. For this reason, he believes brands and agencies have a critical opportunity to go beyond only hiring diverse talent. Instead, they must center Black creatives in leadership roles where they can truly drive change and innovation. Ukhurebor hopes the report serves as a reminder to the industry that Black executives and creatives are leaders with extraordinary skills and an undeniable impact on the industry.

The Creative Industry 2025 Forecast highlights four key trends shaping the future of the industry: culturally driven storytelling, redefined leadership, purpose-led creativity, and talent empowerment. In particular, Black executives and creatives are leading the shift toward more authentic and culturally resonant brand narratives, while simultaneously stepping into leadership roles that influence global creative strategies. Their work focuses on meaningful impact, community engagement, and purpose-driven campaigns. Additionally, these leaders are committed to mentoring and empowering the next generation of Black creatives. As a result, the industry is continuing to embrace diverse perspectives at every level.

In the report from Black At, it features profiles across multiple countries. Here are the 17 U.S. executives and creatives included in the Creative Industry 2025 Forecast:

Brand

• Kimberly Paige, chief marketing officer, Black Entertainment Television (BET)/Paramount

• Richard McLeod, chief marketing officer, Merrell

• Malcolm Ellis, head of diverse investments, Diageo

• Reggie Saunders, vice president, entertainment marketing, Nike (Jordan)

• Tyrona (Ty) Heath, director, The B2B Institute, LinkedIn

• Alex Frias, executive vice president, Steve Madden

• Damon Jones, chief communications officer, Procter & Gamble

• David Mesfin, creative director, Innocean

• Larry Gordon, group creative director, Laundry Service

• Abdul Karim Abdullah, CEO, Afrochella Festival

• Tim Austin, creative director, Draftline

• Breanna Arthur King, manager, brand moments, YouTube at Google

Agency

• Kaleeta McDade, global chief experience design officer, VML

• Walter Geer, chief creative officer, innovation North America, VML and co-founder of Blackweek

• Andre Gray, chief creative officer, Havas and co-founder of Blackweek

• Juan Woodberry, North America creative & entertainment lead, Ogilvy

• Melody Henderson, group creative director, VaynerMedia

As the industry evolves, the Creative Industry 2025 Forecast highlights the growing influence of Black people in shaping creativity and innovation. The report underscores their contributions to redefining leadership, driving culturally resonant storytelling, and fostering inclusive talent development, positioning them as key figures in the future of the creative industry.

Ukhurebor says the organization hopes to honor all of the featured people in their forecast at a gala later this year.

"I am grateful," AAMA President Michelle Ngome tells Brand&Culture, "In February, we hit the five-year mark. Looking back on my plans, this is when I was going to establish the conference, and here we are in year three. I couldn't have imagined anything better."

Under the theme "Plot Twist: The Art of Being a Disruptive Storyteller," the summit will delve into cutting-edge marketing strategies infused with elements of Afro-futurism. This theme underscores the summit's commitment to exploring new narrative frontiers. It encourages marketers to think outside the box with Katie Casey, the marcoms innovation program manager at HP, who will kick off the event with her keynote address, "Marketing Unscripted: AI and the Narrative 2.0 Era." Long's extensive experience in marketing innovation at HP makes her a fitting choice to set the tone for the summit.

Katie Casey's journey in the design and technology industries shows an unwavering passion for innovation and a profound global impact. At a young age, Casey co-founded a concert promotions company and design agency, empowering touring musicians in the college market. Her ventures caught the attention of prominent record labels and led to a successful acquisition by Live Nation. Driven by relentless curiosity, Casey touts her contribution to creating hands-free QR code-driven payment systems with Exxon Mobil, revolutionizing mobile payment interactions worldwide. She redefined commercial signage installation at LSI Industries through inventive remote 3D planning, optimizing efficiency for global scaling in North America, Mexico, Canada, and France. Now, as a marcoms innovation program manager at HP, Long continues to push boundaries with generative AI Prompts, transforming HP’s global marketing communication processes and content generation.

The AAMA-produced summit will also feature a stellar lineup of speakers from top brands. In addition to Katie Casey's keynote, HP's Ashley Bunkley, executive communications manager, will moderate the panel "Cut Through The Noise: Clarity in Messaging." Alexandria Williams, director of marketing, sponsorships & merchandise for the Dallas Mavericks, is to lead a session titled "Talk to Me Nice: How to Convey Your Message to Various Audiences," discussing effective communication strategies in marketing. Melody Price, community manager at LinkedIn, moderates the "Archetypes: Disrupt. Connect. Win" panel, exploring brand archetypes and their role in connecting with audiences authentically. Kaylyn Hill, customer content producer at Amazon, will participate in the "Breaking the 4th Wall" lunch session, sharing insights on creating compelling customer content and the role of storytelling in brand strategy.

Beyond the main stage presentations, the summit will feature interactive workshops and breakout sessions on various topics, including analytics, brand storytelling, corporate versus creator dynamics, and video marketing. Notable speakers include Chris Cheetham-West, Google analytics expert, and JP Hightek, global branding & media expert. Networking remains a cornerstone of the summit, with numerous opportunities for attendees to connect, build relationships, and explore potential collaborations. From the welcome reception on June 5th at Late August to the various networking breaks throughout the event, participants can expect ample chances to engage with peers and industry leaders.

The Marketing for the Culture Summit is designed for marketing professionals at all levels, corporate marketing teams, business owners, entrepreneurs, creatives, and anyone interested in learning more about marketing to diverse audiences. The event is supported by notable sponsors such as HP, Content Marketing Institute, Onward Search, and Black Girl Sunscreen, reflecting its growing significance in the marketing community.

Beyond the main stage presentations, the summit will feature interactive workshops and breakout sessions on various topics. These include analytics, brand storytelling, corporate versus creator dynamics, and video marketing. Notable speakers include Chris Cheetham-West, Google Analytics Expert, and JP Hightek, Global Branding & Media Expert. Networking remains a cornerstone of the summit, with numerous opportunities for attendees to connect, build relationships, and explore potential collaborations. From the Welcome Reception on June 5th at Late August to the various networking breaks throughout the event, participants can expect ample chances to engage with peers and industry leaders.

The Marketing for the Culture Summit is designed for marketing professionals at all levels, corporate marketing teams, business owners, entrepreneurs, creatives, and anyone interested in learning more about marketing to diverse audiences. The event receives support from notable sponsors such as HP, Content Marketing Institute, Onward Search, and Black Girl Sunscreen, reflecting its growing significance in the marketing community.

"I believe we have hit our stride and attendees know they will receive quality programming and have a good time with us," Ngome says. "The Marketing for the Culture Summit is becoming the central hub for AAMA's growth with attendees, members, and partners. I truly believe we're on the verge of becoming the go-to marketing event for marketers, creatives, and entrepreneurs."

Throughout January, digital billboards nationwide will showcase influential figures from the inaugural 'Game Changers' group, unveiled by BBBSA last October. This group, consisting of prominent Black men, aims to bridge the representational gap in mentorship. Currently, more than 30,000 kids are on the BBBS waitlist for a mentor, with a majority being boys of color. The 'Game Changers' leverage their voices to challenge the mentorship narrative, share inspiring journeys, and encourage more volunteers, particularly Black men, to participate. Future 'Game Changers' groups will represent leaders from various backgrounds, reflecting the diverse stories of young people nationwide in need of positive mentorship.

Dan Levi, executive vice president & CMO of Clear Channel Outdoor, expressed pride in the partnership, emphasizing the urgency of mentorship, particularly for young people in disadvantaged communities. "National Mentoring Month allows us the opportunity to use the power of out of home to educate populations nationwide on the urgency of us coming together to help increase the number of mentors to make sure young adults have dependable people to look up to and follow in their footsteps," Levi said.

Artis Stevens, president and CEO of BBBSA, highlighted the collaboration's significance, sharing, "Through Clear Channel Outdoor's expansive network of digital platforms, the 'Game Changers' billboard series ignites a national conversation about the necessity and transformative power of mentorship in reaching the young people who need it the most."

The campaign, produced and marketed by Hero Media, a 100% Black-owned media and technology company, aims to engage communities nationwide and inspire positive actions in support of mentorship. Clear Channel Outdoor's digital platforms provide a dynamic avenue for a national discourse on the crucial role of mentorship in empowering and transforming the lives of young people.

The distinguished founders include Monique Nelson, executive chairman of UNIWORLD Group (UWG); Walter T. Geer III, chief creative officer, Innovation North America at VML; Andre Gray, chief creative officer at Annex 88 (Havas); Adan Romero, chief creative officer at FKA Publicis; Dabo Ché, founder of CHÉ Creative; Gabrielle Shirdan, founder and CEO of Kitchen Table; and Joe Anthony, founder and CEO of Hero Collective and Hero Media.

Anthony emphasized the urgency of instigating real change in the industry, stating, "Blackweek was born with the sole purpose of disrupting the conversation around diversity and inclusion, in industries where we make significant investments but have very little ownership."

Despite post-2020 promises and commitments, the advertising industry still grapples with a lack of diversity in executive leadership, ownership, and equity. Shockingly, only 7 percent of the advertising industry is Black, and less than 2 percent of U.S. media budgets are allocated to Black-owned media. These statistics underscore the need for concrete action, prompting the founders to launch Blackweek to initiate tangible change in DEI efforts.

Walter T. Geer III, Blackweek co-founder and chief creative officer, innovation for North America at VML, pointed out the current limitations of DEI initiatives, stating, "It’s no secret that the current state of DE&I isn’t working. Until brands and agencies see DE&I as a business driver vs. a CSR campaign, we will never reap the benefits of what it’s supposed to deliver."

Blackweek is poised to be more than a typical industry event. Instead, it will focus on substantive conversations, challenging the status quo, and driving actionable change. Monique Nelson, Chairman of UWG, emphasized, "This event will not be about pageantries or giving people awards; it will be about having the hard conversations and getting to the heart of where progress truly lies for people of color in industries critical to our future."

The conference, produced and marketed by Hero Media, a 100 percent Black-owned media and technology company, will be hosted at Spring Studios in lower Manhattan. Blackweek's agenda will feature keynotes and discussions from diverse leaders in marketing, media, tech, entertainment, health care, and private equity. The programming will revolve around empowering diverse professionals to take control of their equity in industries vital to their future, with themes such as "AI and the Future of Diversity," "Leveling the Venture Capital Playing Field," and "Black Media as Mainstream Media."

As Blackweek gears up to engage and drive action, it marks a crucial step toward addressing the industry's longstanding challenges in DEI and fostering real, lasting change.

In an industry-first collaboration, the broadcast ads were co-written by Keegan-Michael Key, his partner Elle Key, and McKinney, Choice's creative agency of record. The campaign, which began today, will run through the end of the year, presenting humorous and relatable scenarios to illustrate how Choice Hotels caters to the diverse needs of travelers.

Noha Abdalla, Chief Marketing Officer for Choice Hotels, emphasized the universality of the need for the right hotel in the right location, stating, "While guests travel for many different reasons, from family vacations and romantic getaways to business trips, what's universal is the need to find a hotel that provides the right amenities at the right price in the right location."

Keegan-Michael Key, embodying Choice's "Any You" character, expressed excitement about the campaign, saying, "Choice has a hotel for all versions of you — whether that's business you, family road trip you, or weekend getaway with friends you."

This campaign marks a milestone for Choice Hotels as it is the first since the integration of Radisson Hotels Americas brands into its reservation system and the migration of Radisson Rewards Americas members to the Choice Privileges rewards program. It specifically targets value-conscious families, young professionals, and business travelers.

Choice Hotels collaborated with Havas for the media buy, ensuring a comprehensive reach across various platforms, including broadcast, cable, and streaming TV, as well as SiriusXM, Spotify, and popular social and digital platforms such as Facebook, Instagram, Snapchat, TikTok, and Keegan-Michael Key's own social media handles.

The campaign showcases four Choice Hotels brands — Radisson, Cambria Hotels, Comfort, and Quality Inn. Radisson and Cambria, the two upscale brands featured, highlight their full-service experience, inviting spaces, and amenities tailored for business travel. Comfort hotels, following a $2.5 billion transformation, offer a consistent and welcoming experience with complimentary hot breakfast. Quality Inn provides a comfortable and affordable stay, allowing guests to focus on creating memorable experiences.

Lewis, renowned for her impactful leadership in HR roles, most recently served as the chief people officer at Mother Industries in the US, where she spearheaded end-to-end people and talent functions. Her expertise includes recruitment, career progression, performance management, cultural initiatives, and HR operations. Lewis has a proven track record, having held similar roles at J.P. Morgan Chase and Ernst & Young.Roisin Rooney, DDB Worldwide's chief people officer, expressed confidence in Lewis's ability to propel North America's people and culture efforts to the next level. "Micheline will positively fuel North America's people and culture efforts and take them to the next level," said Rooney. "She is a brilliant HR leader who will continuously promote diversity of thought and embody DDB's proprietary Four Freedoms across all DDB and adam&eveDDB US offices."Rooney and Lewis will co-partner in leading DDB's regional Equality in Advertising Council (EAC), emphasizing DDB's commitment to fostering an equitable advertising industry.Micheline Grace Lewis, DDB North America's chief people officer, shared her enthusiasm for creating transformative employee experiences and a profoundly strong culture. "With empathy and DDB's Four Freedoms at the forefront, I am enthusiastic to evolve and improve the DDB employee experience to ensure all teams are equitable and have the resources to help them succeed," Lewis stated. "I am all about empowering and inspiring everyone at every level to be inclusive, cultural change-makers."Lewis will collaborate closely with key leaders in DDB's network, including adam&eveDDB NY's CEO Caroline Winterton, DDB Chicago's CEO Emma Montgomery, and leaders from DDB's Rodgers Townsend and DDB San Francisco offices, as well as the global leadership team. Her base of operations will be at DDB's corporate headquarters in New York City.

"My Joy" isn't just an ad campaign; it's an anthem of joy told through the lenses of rising creators. Frito-Lay, a snack industry behemoth, is taking a bold leap by putting these creators front and center, giving them the stage to share stories of genuine joy and creativity.

The campaign, orchestrated by the talented Argentinian filmmaker Robert Llauro, introduces us to five extraordinary Joy Creators. From Color Me Courtney's bold fashion influence to DJ Lex's musical journey that thrived during the depths of the COVID-19 pandemic, the campaign weaves a rich tapestry of creativity and cultural diversity.

Forsyth Fire Escape, the Chinese-Thai-Dominican fusion duo famed for their scallion pancake burritos, brings a flavorful twist to the narrative. Pro hooper and former Harlem Globetrotter Briana Green and Colombian tattoo artist Michelle Santana complete this ensemble, showcasing the diverse talents that "My Joy" aims to spotlight.

Diversity in Marketing: A Non-Negotiable Priority

Frito-Lay's commitment to elevating diverse representation in marketing is not just a talking point; it's a strategic imperative. The company acknowledges the positive impact it has on society, particularly among key demographics like Gen-Z, Black, Hispanic/Latino, and Asian consumers.

"My Joy" aligns seamlessly with Frito-Lay's overarching five-year mission to invest in, represent, and amplify diverse creative voices, both in front of and behind the camera. By joining forces with Obsidianworks and director Robert Llauro, Frito-Lay is on a mission to foster a culture where joy knows no bounds, and diversity rightfully claims the spotlight.

As previously reported by Variety, "actor and producer Michael B. Jordan has already proven to be a social change agent through the work of his Outlier Society production banner, as well as his partnership with Color of Change to launch the #ChangeHollywood initiative." When Jordan launched his Black-owned and led marketing agency, he promised to bridge the gap between companies and consumers to drive authentic representation. And it seems to be working.

Limitless Joy, Limitless Inspiration

For director Robert Llauro, the driving force behind "My Joy," bringing this campaign to life was not just a creative endeavor but a deeply inspiring one. "It's important for me to show other creators that joy has no limits, no matter what your background is. I'm happy to partner with Frito-Lay to carry that message through the Joy Creators' stories," says Llauro.

Tina Mahal, senior vice president of marketing at Frito-Lay, echoes this sentiment. "Our purpose at Frito-Lay is to create more smiles with every bite, so being able to show what My Joy means from different perspectives while amplifying diverse voices is at the heart of everything we do," says Mahal. Collaborating with Obsidianworks and director Robert Llauro, Frito-Lay aims to spotlight Joy Creators who leverage their talents to spread joy in their communities.

Diving into the Joyful Narratives

The Joy Creators featured in the campaign offer a glimpse into their worlds, sharing what "My Joy" means to them. Color Me Courtney champions confidence and positivity through vibrant fashion, while DJ Lex transforms her love for music into a platform for influence and entertainment. Forsyth Fire Escape brings communities together through unique culinary experiences, and Briana Green and Michelle Santana showcase their prowess in sports and tattoo artistry, respectively.

Omnicom Media Group achieved this milestone based on its Q1-Q3 performance, showcasing an upward trajectory in billings that positions the company as a standout player in the industry. While the media landscape has encountered various uncertainties and disruptions, Omnicom Media Group's ability to navigate and thrive is evident in its impressive billings’ growth.

These results are a testament to three advantages that OMG has in today's challenging marketplace, says CEO Florian Adamski. "Our first-in-class Agency as a Platform offer to clients that enables both the deep specialization and deep integration brands need to turn marketing complexity into marketing effectiveness; our next-in-class Omni open marketing orchestration system that enables the flexibility and modularity of the Agency as a Platform philosophy; and our best-in-class talent that unlock the power of the platform to deliver business growth for our clients around the world."

The COMvergence Q1-Q3 Media New Business Barometer for November 2023 reports the wins/loss ratio of Global Media Groups. As Omnicom Media Group shows a +13% increase and Publicis Media a close second with +11%, others brought in less than half. Mediabrands at +6% and GroupM at 3% while Havas Media Network and Dentsu suffer losses of -1% and -11% respectively.

One of the key factors contributing to Omnicom Media Group's success is its strategic approach to media management. The company has consistently demonstrated adaptability and innovation in navigating the evolving media landscape. This includes leveraging emerging technologies, understanding evolving consumer behaviors, and crafting targeted campaigns that resonate in a rapidly changing digital environment.

In contrast to the positive trajectory of Omnicom Media Group, in a press release, alludes to the challenges faced by other global media management groups. The lag experienced by these competitors underscores the significance of Omnicom Media Group's accomplishment, portraying the company as a beacon of success in a challenging environment.

Industry analysts may find Omnicom Media Group's performance particularly noteworthy, considering the dynamic nature of the media landscape and the need for agility in responding to emerging trends. The company's ability to not only navigate challenges but to thrive and lead in incremental billings growth reflects its strategic prowess and operational excellence.

Significant leadership change at OMG agency PHD

In a strategic move to further strengthen its leadership team, Omnicom Media Group this past summer appointed Michael Solomon as the chief executive officer of PHD USA, a significant subsidiary within the Omnicom Media Group portfolio. This decision aligns with the company's commitment to fostering talent and leveraging experienced professionals to drive innovation and growth. Solomon brings a wealth of expertise to his new role, having previously served in key leadership positions within the industry.

In response to his appointment, Michael Solomon expressed his enthusiasm for the opportunity, stating, "I am thrilled to join PHD USA and contribute to the continued success of Omnicom Media Group. The media landscape is evolving rapidly, and PHD is well-positioned to lead the way in delivering innovative solutions to clients. I look forward to collaborating with the talented team at PHD and leveraging our collective strengths to drive excellence in media strategies."

Solomon's appointment as CEO of PHD USA adds another layer to Omnicom Media Group's narrative of success, emphasizing not only the company's commitment to growth but also its dedication to securing top-tier talent to navigate the complexities of the evolving media landscape. As the industry continues to face challenges and opportunities, the strategic leadership appointments within Omnicom Media Group underscore the company's forward-thinking approach and its intent to maintain a leadership position in the global media management arena.