Les Moonves, the longtime CBS chairman and CEO, is out as the latest #MeToo casualty in the wake of sexual assault and abuse allegations detailed by The New Yorker’s Ronan Farrow. Harvey Weinstein, Matt Lauer, Charlie Rose, Roger Ailes, Bill O’Reilly, Louis C.K., and Kevin Spacey - also gone, but not forgotten. As the list continues to grow, so does the outrage and price of keeping a sexual abuser on the payroll. Just consider the astoundingly low opening receipts of Spacey’s latest film release, Billionaire Boys Club: $126.00. Not $126 million, or thousand, but just 126 dollars. Less than the cost of a new pair of designer jeans. If you wondered how much Spacey (who denies the allegations) would suffer, you can now do the math.
The youngest crop of teenagers - known as Generation Z and born between 1996 and 2010 - represents perhaps one of the most complex and misunderstood customers in advertising history. A highly mobile, social media-fluent, and socially conscious generation of multitaskers, they are expected to account for 40% of all consumers by 2020 with the potential to wield billions in buying power, making them a larger and more diverse cohort than Baby Boomers or Millennials.
Even as ethnic inequality, violence and racism (hello, Roseanne Barr!) continue to roil Ameria, the new National Memorial for Peace and Justice confronts a shameful era in our country’s past and provides a permanent place for reflection about the painful cost of treating people as less than human.
If advertisers understood the importance of social media before, the protest marches and unprecedented string of teacher strikes provide even more confirmation of digital media’s critical role — when used well — in engaging an audience and shaping public discourse from the grassroots up. K-12 education is a particularly tricky industry for advertisers. It’s one of the two largest industries in the US - comparable with healthcare - accounting for 7.2% of the nations GDP and the largest employer in every state, but spends only a fraction on advertising compared to other industries, according to Forbes.
As we bid adieu to 2017, we’re taking a look back at some of the years’ biggest trends in experiential marketing and creative strategy – none of which are expected to disappear anytime soon.
Working together is more powerful than working alone, and that particularly holds true for women who work behind the scenes in critical yet often unrecognized roles in advertising, music, film, live performance, and broadcast media.
That’s just one reason why our team here at Curmudgeon Group recently launched Scope, a wide-ranging conversation focusing on the most visionary and emerging female producers of today. As a women-owned creative agency, we are in the unique position of being able to cultivate a community of veteran producers, creative leaders, and industry newcomers to alter and diversify the landscape, along with shifting attitudes and expectations.
At a time when the Twitter hashtag #metoo has officially become a thing — and hopes for serious change along with it — we thought it was time to ask our own Josie Elizabeth Davis, Curmudgeon Group’s founder and Chief Creative Officer, for her take on being an entrepreneur/woman/risk-taker/go-getter at the frontlines of experiential marketing, creative production, PR and advertising.
In what might be the most significant attempt by a major museum to tackle the subject of gender fluidity in contemporary art, Trigger: Gender as a Tool and a Weapon opened last month on September 27th at the New Museum. The exhibition gives voice to over 40 intergenerational and multi-disciplinary artists investigating “gender’s place in contemporary art and culture at a moment of political upheaval and renewed culture wars.” The collective work explores “gender beyond the binary to usher in more fluid and inclusive expressions of identity.”