Creative Class // An interview with Author Doug Cameron, Chief Strategist, Creative Director & Founding Partner of Amalgamated
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Creative Class // An interview with Author Doug Cameron, Chief Strategist, Creative Director & Founding Partner of Amalgamated
By Rachel Horlick, Photography by Angie Cope
No one cares about life in the ER anymore. Lobotomies, transplants and malpractice; total snoozefests. Agencies are the new front lines. Creatives are shifting the paradigm completely. Even my spellcheck is catching on. Phrases like “Oh, are you a Creative?” or “My wife is always telling me about the Creatives
in her office but I’ve never actually met one” are becoming more and more popular. Creatives are doing far more than just changing our canon; they’re revolutionizing our consumer culture, stimulating our economy, widening our tolerance, enhancing our visual landscape, infiltrating our subconscious and giving “The Man” a real run for his money. In today’s society, the Creative Class is a force you’d be foolish not to reckon with.
Doug Cameron is a Chief Strategist, Creative Director, Executive & Founding Partner of Amalgamated, an exceptional multi-disciplinary advertising agency responsible for rebranding branding as we know it. He is both a soon-to-be-published author as well as an award-winning Creative. He and his co-author Doug Holt, a marketing professor at Oxford University, have just finished a book called Cultural Strategy (forthcoming from the Oxford University Press). Cameron is also a founding member of The Boerum Hill Chapter of the Robert Burns Society and an absolute badass on the bagpipes.
RH: So, now seems like a time when every business decision is being made extra conservatively, do you think the financial handcuffs placed on companies in today’s economy have the potential to produce an inverse effect, cultivating a need for more risk-taking creative?
DC: Well, economic slowdowns tend to produce big cultural tensions and big cultural tensions tend to produce enormous creative opportunities. Take the recession of the early ‘90s for example. A huge cultural tension emerged when a large segment of the population was pushed into badly-paying, low-status, service industry McJobs. While the media was busy glamorizing the lifestyles of the rich and the famous, millions of Americans were trying to make sense of their new less-than-glamorous situation. There they were without pensions, without job security, forced to wear embarrassing uniforms, supervised so closely that they had no autonomy, paid less than $5 an hour for their efforts, and still told to smile subserviently to everybody who
came in.
RH: McJobs. I like that. How do you suppose the creative portrait is framed by this picture?
DC: The situation created an enormous opportunity for artists to create stories that actually championed this segment in an interesting way, commiserating with these folks, celebrating their point of view. Clever artists advanced a new “slacker” ideology glorifying menial jobs and sitting around on couches, which prescribed a cynical attitude and advocated a general refusal to compete. It may not have been risk-taking, per se, but artists who addressed this tension became iconic overnight.
RH: I think I know where you’re going with this.
DC: Indeed. Mike Judge is a perfect example, with his show Beavis & Butthead. The idea of celebrating two slacker adolescents that did nothing but sit on a couch and make fun of Judas Priest videos was revolutionary at that time. They became icons overnight, acting as a salve of sorts for a whole generation of Americans. Richard Linklater, with his films Slacker and Dazed and Confused, is another good example. So is Kurt Cobain, with his anticorporate slacker anthem, “Smells Like Teen Spirit.” Kevin Smith’s Clerks is another. My colleague Doug Holt writes about all of this in his book How Brands Become Icons.
RH: So whether the creative content is high or low brow, it seems to form in response to the economy?
DC: Right. The opportunity is there, bigger than ever, but it’s sort of a crap shoot as to whether or not a company will organize in a way that is conducive to the innovative creative that is needed. The companies who saw this opportunity in the 90’s recession made hundreds of millions. For instance, Snapple became hugely iconic on the back of its slacker cult classic Snapple Lady campaign, and then sold for $1.7 billion. Mountain Dew created its own slacker campaign with the Dew Dudes, and turned into the soft drink
success story of the decade. Similar opportunities are being created by the current economic slowdown.
The commercial artists who best respond will make hundreds of millions for their companies or their clients.
The only trouble is that most companies aren’t structured in a way that enables this sort of innovative thinking. When the CFO puts the squeeze on the people responsible for managing the creative process, the people managing tend to become even more conservative, worrying more about their own jobs than about the welfare of their companies.
RH: Do you think our financial crisis could signify the dawn of a “creative enlightenment”?
DC: I would hope so. I think that there is a real, growing, tension that is resulting from the ever-increasing wealth divide in this country, the Brazilification of America. The financial crisis is only serving to bring this to light. People are getting a glimpse of what investment bankers earn, of what Bernie Madoff spent, of what Warren Buffett and George Soros have just made as a result of the bank bailout. Nearly 80% of the people in this country have been struggling with longer and longer hours, little job security and less and less vacation at the same pay their parents made in the 1970s. Meanwhile, wealth amongst the top 10-15% has exploded over the past decade, and continues to do so.
RH: (gulp)
DC: American society is so structurally fucked up right now, the most it’s been since the Gilded Age. There is certainly enough material for a creative revolution. I think that there is an enormous demand for pop culture that helps resolve this tension. I don’t know why artists are generally being so timid right now, not engaging any of this stuff, but I’ve got to think that the revolution is going to come, and when it comes it will hit hard, like nobody’s seen for well over a decade. The demand side of things is pushing toward a creative enlightenment, but it’s also worth considering the supply side. Namely, the growing numbers of creative people who are out of work, or at least not working regularly for a single company. I don’t think that people have been taking unemployment rates too seriously to date, but once people start losing their unemployment insurance, they’ll realize that they can’t live off of their parents forever and see just how ridiculously high their rent is – while the government continues to prop it up by bailing out homeowners.
RH: This is definitely going far beyond pop culture.
DC: Absolutely. When people get marginalized, they suddenly have a lot of time to think. And to get angry. And to craft their response. When you’ve got an entire generation of artists in this situation, then I think that you have the conditions for some real creative upheaval. You know, it doesn’t have to be writing a new sitcom about Brooklyn gentrification, but unless creative people start engaging some of the issues that are going on around them, then nobody is going to care.
RH: I agree, the heh-heh Judas Priest thing never really did it for me.
DC: It’s interesting that the past 15 years weren’t marked by a creative enlightenment since they have been marked by an explosion of commercial artists in the economy. There has been a growing demand for designers, photographers, web developers, advertising art directors, copywriters, online journalists, commercial soundtrack composers and so on. It has certainly led to great coffee houses, great parties, and wave after wave of gentrification of neighborhoods. But for whatever reason, I think that this explosion of practitioners has not led to anything that I would describe as a creative renaissance. [Publisher’s Note: 3rd Ward sees examples of creative renaissance everyday within our walls. If you look at the explosive Brooklyn-based music scene receiving international attention right now, one would have to say that statement was not totally accurate.] I knew a lot of people who were extremely talented but so busy doing commercial work that they didn’t have time to truly focus on honing their craft or whatever.
RH: To me, what’s unfortunate is that the growth spurt in all of these disciplines you mentioned, met with the misfortune of our staggering financial crisis, is precisely what society needs to spawn such an enlightenment.
DC: Sure, a lot of these people are either getting laid off, quitting their jobs, or just deciding to go it alone for a little while, in large part to have more time to pursue their creative passion. Maybe it’s that the opportunity cost is low. But from what I see going on, I do think that this could be the dawn of a “creative enlightenment” as you put it.
RH: So, the opportunity cost decreases as the cost of living increases?
DC: It all ties into the elephant in the room, gentrification, which is why I love David Brooks’ writings about BoBos (“bourgeois bohemians”). Brooks’ “latte towns” conjure the same sort of imagery as Richard Florida’s Creative Class cities: pedestrian malls, upscale coffee shops and hybrid cars with polite drivers. But Brooks offers his up as a satire, calling out this group’s attempt to hide its bourgeois side. As he puts it, folks are willing to pay a premium to show how unmaterialistic they are, with their $3,000 salvaged-wood tables,
their $23 artisanal farmer’s cheeses from Whole Foods, their $5 cups of direct-trade coffees and whatnot.
I just worry that people like Richard Florida will be hired out as Gentrification Agents. That governments will enlist them to figure out how to transform working class neighborhoods into creative-class neighborhoods, so Americans will become comfortable with that definition of their social class.
RH: Do you think good design has become the key to satisfying our economy?
DC: Absolutely. If people only bought the products that they needed from a functionality perspective, the American economy would collapse. The environmental outlook would be a lot better, but the economic outlook would be dismal. Like it or not, as a designer, your job is probably about getting people to buy all sorts of stuff that they don’t need. For better or for worse, the American economy is the size it is because people buy a lot of stuff that they don’t need and replace the stuff they have much faster than they need to.
This is what good design seeks to do. It puts products into fashion cycles, makes them seem worth paying more for, makes older products feel obsolete.
It convinced me to buy this Spring 2010 Band of Outsiders shirt that I didn’t need, either. It is in the process of convincing me to replace my old West Elm dining table with a more stylish salvaged-wood design that will suggest to guests that I am unmaterialistic and environmentally concerned. In other words, it is in the process of creating an environmental disaster by convincing people like myself to consume at unsustainable rates. But it is key to satisfying our economy.
When you look at what’s going on in the design world in this context, only recently have most designers recognized design’s role in actually propagating the worst sort of corporate behavior—planned obsolescence. Suddenly designers seem to have woken up to just how central a part they play in pushing the planet toward the brink of disaster. On one hand, you have Philippe Starck renouncing his career, saying that everything he has ever designed has been unnecessary. On the other hand, the entire design discourse has shifted
toward trying to address issues of sustainability. Now there is a real opportunity for designers to think about what they do in a new way; to consciously avoid greenwashing by designing eco-chic products that won’t head straight to the landfill. Their job must go beyond the aesthetic and the material in order to think through ecological challenges in a more holistic way [Publisher’s Note: William McDonough released the publication Cradle to Cradle: Remaking the Way We Make Things in 2002, which is a manifesto to create systems that are not just efficient but essentially waste free]. Things have already shifted from making the prettiest bottle to making a bottle from the most ecological materials. The fun lies in thinking through
the more complex systems that will allow for the bottle to be reused. Because of this, design strikes me as an extraordinarily interesting field right now.
RH: From a problem-solving standpoint, design is especially interesting right now. Today the solution is more significant than simply building a better mousetrap. Would you say that the improvements on the proverbial mousetrap are indicative of a savvier consumer culture?
DC: Basically, as a creative, you have to realize that everything you do helps advance what Guy Debord described as the Society of the Spectacle. You are contributing to life’s being taken over by a massive accumulation of spectacles, to degrading everything that once lived directly, and encouraging people to experience life through representation. You are encouraging people to live in a farcical world of Louis Vuitton models, macho Dodge truck drivers or Nike athletes. An imaginary world in which the right pair of running shoes will help you transcend the awful cards that you’ve been dealt by society. As an advertising creative, what you’re doing is creating a big farce and essentially casting consumers within it.
As a commercial artist, the notion that consumers draw from your crappy work to construct their identities, to express who they are in the world, to re-imagine who they are, etc., is only the start of your worries. Far worse is the notion that what you are doing may actually be replacing religion in our society as a source of spiritual ideals. In our upcoming book, my co-author Doug Holt wrote a passage about how the mass-media and consumer goods have largely superseded more traditional institutions like religion, the state, our schools and the arts as the country’s most important source of cultural expression. I’ve since been thinking that one through on a near-daily basis. People used to turn to the great religions, social activists, and political leaders for their ideological and spiritual needs. Now they increasingly turn to the likes of Nike ads.
RH: If all this power lies in the media’s hands, do you think there’s any promise it will be used for good, rather than evil? I’m not gonna lie, I love my sneakers. Especially the ones Nike let me design all by myself.
DC: I’m not someone who thinks that advertising and the mass-media are inherently evil. I just think that a lot of people don’t realize how much control the media has over our culture. In particular, I don’t think that a
lot of commercial artists realize how much power they have in constructing social and cultural norms. If you work in the mass-media, part of your job, whether you like it or not, is to either uphold or shift the country’s cultural ideals. Everything you do contains ideological content. Nothing that you do is neutral. Your words, your designs, your copy, your casting decisions, your packaging choices, your decisions of which ingredients to highlight in your design all matter. No matter how trivial these decisions may seem, they all have ideological implications.
RH: Implications that influence someone as critically aware as you, even?
DC: Of course, I pretty much discovered the locavore movement through the messaging and label design of my favorite brand of chocolate milk from the Hudson Valley dairy. I became ideologically committed to never owning a car through the marketing efforts of one of my clients, Fat Tire Beer. In my view, each of these brands used the media as a force of good. Of course, to somebody else, an ad that says it’s your patriotic duty to buy a car may be considered a force of good. My main point here is that cultural products, whether advertisements, package designs, TV shows, fashions or new musical tracks, are inherently ideological. The more that creatives understand this, the more attention they can devote to idealizing what they consider to be Good as opposed to what they consider to be Evil. The power is yours, you just have to understand it so that you can use it in a way that benefits society. You can have an enormous social impact through something as trivial as a casting decision. I think that most creative people have their hearts in the right place, so the more that they learn about the awesome cultural power that they hold, the more likely that they will turn the media into a force for social good.
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