It presents an impressive variety of African comics and their unique perspectives. It features works by 20 artists from African countries, including South Africa, Kenya, Nigeria, Ghana, and Uganda. The focus is on superheroines who fight against problems such as patriarchy, neocolonialism, and homophobia.

Another central theme of the exhibition is the examination of African cultural objects and their history. The artists use comics to transform cultural artifacts and revive their stories. Charity Atukunda, for example, draws inspiration from a Congolese horn to create a narrative that reintegrates the object into the context of life.

The exhibition features comics that deal with historical events, science fiction, and queer themes. Particularly noteworthy is the work of Akosua Hanson, whose series “Moongirls” focuses on queer African heroines fighting for a free Africa. Charity Atukunda is also represented with her science fiction comic “The Strange Tree,” in which nature takes revenge on humans.

The exhibition also addresses the importance of comics in African culture as an important medium for imparting knowledge and finding identity. In her series “Ary,” for example, Dinah Rajemison tells the story of a girl struggling with her identity and the threat of climate change. In African countries, comics offer the opportunity to address complex issues such as identity, culture, and social problems and make them accessible to a wide audience.

The “Sheroes” exhibition thus highlights not only the creative diversity of African comics but also their potential to address and communicate cultural and social issues in a new way. It invites visitors to see the world through the eyes of African artists and opens a dialogue about identity, history, and the power of art.

© Front-Cover Sheroes by Wolfgang Günzel

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Thomas-Alexandre Dumas (also Thomas-Alexandre Davy de la Pailleterie, * 25 March 1762 in Jérémie, Saint-Domingue (today’s Haiti); † 26 February 1806 in Villers-Cotterêts) was a French Général de division. He was the father of Alexandre Dumas the Elder and the grandfather of Alexandre Dumas the Younger. His nickname was the Black Devil, and his name is inscribed in the 23rd column of the Arc de Triomphe in Paris. He took part in Napoleon’s Egyptian campaigns.

General Thomas Alexandre Dumas

The Film

The Producers of French smash hit “The Count of Monte Cristo” and Oscar-nominated “Les Misérables,” Chapter 2 and Srab Films, have set an all-star cast for Ladj Ly‘s next film, “Dumas: Black Devil.” Rising French talent Theo Christine (“Supremes”) will play the title role in the adventure epic film, starring opposite Omar Sy (“Lupin), Vincent Cassel (“Black Swan”), and Francois Civil (“Beating Hearts”).

The buzzy project will be launched by Pathé, Goodfellas, and CAA Media Finance at the upcoming Cannes film market. It’s one of the most anticipated and ambitious French films on track to go into production in 2026. Pathé, which previously handled “The Count of Monte-Cristo” and the two-part saga “The Three Musketeers” (both of which were produced by Chapter 2), will distribute the France on top of partnering with Goodfellas and CAA Media Finance on foreign sales. CAA Media Finance will also represent North America.

“Dumas: Black Devil” will be produced by Dimitri Rassam at Chapter 2, a Mediawan company, and Toufik Ayadi and Christophe Barral at Srab Films, a Fremantle company, in co-production with Lyly Films and Carrousel Studios. Library Pictures International is co-financing.

Penned by Anne Abitbol, Dan Franck (“Carlos”) and Thomas Bidegain, whose recent screenwriting credits include “Emilia Perez,” “Dumas: Black Devil” will tell the unknown true story of Thomas Alexandre Davy de la Pailleterie Dumas, the son of a slave and a French noble man who defied the odds to become the first black general of the French army. He was also the father of Alexandre Dumas, the author of iconic literary works such as “The Count of Monte-Cristo” and “The Three Musketeers.” While he became the highest-ranking Black leader in the French military and served under Napoleon Bonaparte, General Dumas’ role in the French Revolution was underplayed, and Bonaparte even denied him a full pension and the Legion of Honor.

“Dumas: Black Devil” will mark the biggest project to date for Ly, who broke through in 2019 with “Les Misérables,” which won the Jury Prize at Cannes and went on to win four César Awards, as well as earned an Oscar nomination for best international feature. Ly said he was drawn to the project because “General Dumas’ life story is both powerful and deeply inspiring, a tale of courage, injustice, and resilience that deserves to be fully recognized.”

“I’m proud to bring it to the screen with an exceptional cast, whose talent and intensity will capture all the strength and humanity of these historic figures. It’s a project that carries immense emotion and urgency, and I can’t wait for audiences to discover it,” Ly said in a statement.

Dumas’ name on the Arc de Triomphe

A history buff

A history buff, Rassam said, “The revolutionary life of Thomas Alexandre Dumas deserved a treatment as heroic, powerful and moving as what our writers Anne Abitbol, Dan Franck and Thomas Bidegain have penned together under the stewardship of Ladj’s vision.”

“Together with Pathé we feel a great deal of gratitude and responsibility towards the extraordinary work of his son Alexandre Dumas and I can’t think of a better way to honor him than assembling this amazing team,” he said, point out that “Dumas: Black Devil” will bring back the “core of our exceptionally talented technical crew of The Three Musketeers and Monte Cristo, alongside Ladj’s longtime producers Srab, to tell his father’s epic and monumental life story.”

Ayadi and Barral said the project allies “some of the finest talents of their generation to embody these historic and larger-than-life figures.” The duo said the cast will “infuse powerful energy and authenticity into this epic.” The project will also pursue Srab’s “creative journey with Ladj Ly” with the aim to deliver this “long-overlooked story to the widest possible audience.”

Following the huge critical and commercial success of “The Count of Monte Cristo”, which sold nearly 10 million admissions in France and traveled around the world; Pathé Films’ chairman said the company looked forward to “bring to life the story of the man who not only inspired his son Alexandre Dumas’ trailblazing stories, but was also a fearless protector of our democratic values before he was eventually wiped by History because of the color of his skin.”

Safaee said the movie’s “exceptional cast shines a light on the epic, long-forgotten destiny of General Dumas, a true story that left us in awe, and whose universal resonance is amplified by the international renown of these actors.”

Preparation for “Dumas: Black Devil” has already begun for a February 2026 start date.

©Elsa Keslassy International Correspondent
@elsakeslassy

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BADUIZM

Erykah Badu is an American singer-songwriter, record producer, and actress. Her career began after opening a show for D’Angelo in 1994 in Fort Worth. Her first album, Baduizm, was released in February 1997. It spawned three singles: “On & On”, “Next Lifetime” and “Otherside of the Game”. The album was certified triple Platinum by the Recording Industry Association of America (RIAA)

ERYKAH BADU | Soul Train Awards 2018

Soul Train Documentary | https://www.youtube.com/watch?v=qkymY6VVzk8

“Live” | the first live album in 1997

Erykah Badu recorded her first live album, Live, while pregnant with Seven, and the release of the recording coincided with his birth. The album was released on November 18, 1997 and reached number four on the US Billboard 200 and number one on the US Billboard Top R&B/Hip-Hop Albums. The album was certified two times platinum by RIAA for shipments of over two million copies. The album’s lead single, “Tyrone”, was released in October 1997 and became another R&B hit single. “Tyrone”, lyrically, is a song chiding a selfish, cheap, and inattentive boyfriend.

Erykah Badu | Tyrone | Live 1997

Grammy Award for Best Rap Performance in 1999

She also collaborated with the Roots (who had previously handled production duties on a number of tracks on Baduizm) on their breakthrough 1999 release Things Fall Apart. She was featured on the song “You Got Me”, by The Roots and American female rapper Eve. Co-written by Jill Scott, the song peaked at 39 in the US and 31 in the UK. The song went on to win The Roots and Badu a Grammy Award for Best Rap Performance by a Duo or Group in 1999.

Erykah Badu | Honey (Official Video)

Erykah Badu | Window Seat (Official Video)

Erykah Badu | “Tyrone” | North Sea Jazz 2001

Erykah Badu | Back In The Day (Puff) | late-night TV Show

Erykah Badu | at Dave Chappelle’s Block Party | 09/2004

Erykah Badu | performs Green Eyes at AfroPunk 2018

https://afropunk.com/tag/erykah-badu/ Erykah Badu performs Green Eyes at AfroPunk – August 26, 2018

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Pablo Thiam: Of course, thank you very much for inviting me. I am a former professional soccer player who played in the 1st Bundesliga for 14 years. I started my career at 1. FC Köln in the early 1990s and then moved to FC Bayern Munich via VfB Stuttgart. In 2008, I hung up my boots at VfL Wolfsburg, where I held several managerial positions, including head of the youth academy. Most recently, I held the same position at Hertha BSC. I’ve lived in Germany for almost 50 years, having moved with my parents from Africa to Bonn in 1978 when I was four years old. My father was a Guinean diplomat from the capital, Conakry. When my parents moved on, I decided to stay in Germany to finish school and pursue my career as a soccer player.

What was it like for you to grow up in Bonn?

Pablo Thiam: I had a great time. This quiet city is still one of my favorite places in Germany. Being the seat of government, Bonn was special, exciting, and multicultural. I felt safe.

How important was a good education at home for you?

Pablo Thiam: No argument: it was very important! I was lucky that my parents had a good education, and we had certain opportunities thanks to my father’s job. That’s not necessarily a given when you come from a pretty poor country in Africa. Education was a priority and very valuable. I grew up speaking French and graduated from a Belgian high school. My parents also brought one of my cousins to Germany to give him a better perspective by allowing him to study. Many relatives did the same. My parents always said, “If you study or train in Europe, you will have an advantage in Africa. Then you can go back home and help the country and help the people. That was very important to them.

Do you know of any Africans who returned to Africa after their education?

Pablo Thiam: Yes, a lot of them. They showed a lot of commitment when they came back and did a lot for their country and the continent. The fact that I stayed in Germany was a combination of personal and business reasons.

When did playing football become your dream job?

Pablo Thiam: I didn’t realize it until I was 17 or 18. I wasn’t discovered until I was 16. That’s unthinkable nowadays. At that time, I said to myself: “Wow, maybe I can do more.” I may never have been the most talented player, but I always tried to make the best of the situation. That’s how I achieved what many people dream of. I was grateful for that, which in turn helped me understand the bigger picture, the beautiful but often tough business of football. When I joined the club as a six-year-old, I just wanted to play football; I never thought I would become a professional. At home, football was omnipresent. My father played for Guinea’s record champions Hafia FC and knew many African football greats such as Petit Sory. Unfortunately, my father suffered a very serious injury and broke his neck. It was a shock, I have to say: luckily, he survived. But after that, his career was over. At the same time, he was able to take the opportunity to work as a diplomat after his studies.

You have worked with famous coaches and football stars. Is there an encounter that you particularly remember?

Pablo Thiam: Frank Schäfer discovered me back then, brought me to 1. FC Köln always believed in me. I would describe him as a mentor who has become a friend over the years. But I have to say: at every station, I was lucky enough to meet people who stood by my side, inspired me, and supported me. I wanted and still want to learn more, no matter what. I would therefore describe myself as outgoing and open – even if it’s not always easy. This may be due to the mix of African and European culture. Looking back, I can count myself lucky that I met a lot of great people who are still in my life. I have been able to learn a lot from them. It started with my coach when I was young and continued with my consultant, who has since become one of my best friends. We have also become a good team outside of our work as advisors. Of course, there were also encounters and experiences that I remember negatively, but in their way, they also helped me to recognize what I didn’t want.

When did you decide to stop working on the pitch and start working off the pitch?

Pablo Thiam: It was a bit of a process. I could see in the 2007/08 season that I wouldn’t be playing at the highest level for much longer. I asked myself whether I wanted to be a footballer who would continue playing in the 2nd or 3rd division, even though I had always played in the Bundesliga. Some professionals miss the jump and can’t stop – I didn’t want to be like that.

What was the decisive factor?

Pablo Thiam: I knew I didn’t want to be a coach. One or two training sessions a day, games at the weekend, plus a lot of traveling and hotel stays – I didn’t want that treadmill anymore. That’s why I accepted Felix Magath’s offer to assist him at VfL Wolfsburg. At the time, he was coach, general manager, and sporting director all rolled into one. I started as team manager of the Bundesliga team, and after a spell as assistant to the general manager, I was promoted to head of the youth academy. None of this could have been foreseen, but I am glad I made the right decisions at the right time. It soon became clear that I wanted to pass on my experience to the players and, at that time, increasingly to young talent.

What do you think about digitalization?

Pablo Thiam: Progress, new ideas, and generally things that move our society forward are exciting. Digitalization is one of them, as it now affects almost every area of life and ideally provides practical solutions. Processes that bring people together and encourage collaboration. We can see children growing up with new technologies and having completely different opportunities than we did at that age. Digitalization simplifies and speeds up communication and the flow of information. On the other hand, we all must use digital achievements responsibly and learn from them. Keyword: fake news or misuse of data. We need to weigh up the pros and cons, the opportunities and the risks, to find a positive and sensible approach to how digitalization can help society.

Thank you, Pablo, for your time and the interview.

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For almost 60 years, the Orchestra Baobab from West Africa has stood for opening up the music of its homeland to pop from the USA and Europe. For Nubiyan Twist from Leeds, in turn, the sound of this legendary orchestra is one of the cornerstones of their own bridge-building between Afrobeat, hip-hop, funk, and soul. The NUEJAZZ double concert on October 26 in Nuremberg opens a window into the future of contemporary music beyond stylistic boundaries.

Orchestra Baobab

Senegal became independent in 1960. Like many other states in Africa, Senegal had to start from scratch politically, socially, and economically after the withdrawal of the former colonial power, France, and build new structures in order to function and survive as a state. Politically, in particular, the first years were turbulent for the people of Senegal, characterized by the ambivalent attitude of their first Senegalese president, Léopold Sédar Senghor.

On the one hand, Senghor and his “Union Progressiste Sénégalaise” party effectively ruled alone from 1965 onwards. On the other hand, he pursued an almost visionary cultural policy, giving the Senegalese people unrestricted access to music festivals, recording studios, art galleries, and museums.
During these years, Senegal’s capital Dakar, was home to the Miami, a music club where bands performed and people could dance to their sound. As was customary at the time, this club also had its house band.

In 1970, the Miami was renamed Baobab, and the house band found its name: Orchestra Baobab. Even back then, the orchestra was as heterogeneous as its sound was hybrid, with musicians from Senegal, Togo, and other countries in West and Central Africa playing jazz, Latin, Afro-Cuban, and regional music.

The music of the Orchestra Baobab certainly inspired and fascinated its audience. And the longer the orchestra played together, the more it opened up to (Afro)American pop music. It disbanded in 1987, only to celebrate a comeback in 2001 at the instigation of Youssou N’Dour. Since then, Orchestra Baobab has been demonstrating worldwide that its unique blend of styles, for which it has always been renowned, has lost none of its freshness, liveliness, and originality.

Orchestra Baobab | North Sea Jazz 2023

Orchestra Baobab | Pape Ndiaye

Nubiyan Twist

The band Nubiyan Twist formed at Leeds College of Music in 2011. Even back then, nine fellow students from this music college in the northern English city wanted to make music that would ignore stylistic boundaries from the outset and sweep away any aesthetic restrictions. Even today, the nine musicians still want to be open to any genre; their music should stimulate you intellectually and emotionally in equal measure. And even back then, 13 years ago, the result was an urban sound clash of cultures, a breakneck mix of Afrobeat, funk, soul, hip-hop, and dancefloor that turned jazz on its head again.

This Afro-British collective has released three albums which, on the one hand, show what great musicians are gathered under the name Nubiyan Twist and who know how to master any task that comes their way with bravura. On the other hand, Nubiyan Twist is all about celebrating exuberant, pushing grooves, brass themes that flow into sweet melodies, laid-back harmonies and strong vocals. Little has changed on the fourth album, “Find Your Flame”. “Like all our albums, this one is a snapshot of our influences and journeys during production,” says Nubiyan Twist guitarist and bandleader Tom Excell.

“Most importantly, the process we went through together has helped to rekindle the fire of resistance to life’s adversities in each of us.”

Nubiyan Twist | So Mi Stay

Nubiyan Twist | Figure Numatic (live)

NUE JAZZ

In 2013, Nuremberg jazz musicians guitarist Frank Wuppinger and bassist Marco Kühnl envisioned organizing an international jazz festival for their hometown. What started eleven years ago as a local event has since evolved into a success story known as the NUEJAZZ Festival. For the two festival organizers, jazz is not merely a defined style; it is a fluid form of music created in the moment, transcending language, cultural, and social barriers. This approach aims to provide both performers and the audience with a unique and shared concert experience. Their efforts have been validated: this year, the NUEJAZZ Festival was awarded the German Jazz Prize as “Festival of the Year.”

Wuppinger and Kühnl are now so open in their programming that it is easy for them to curate aesthetically diverse bands and projects for each of their festival editions. The jazz of their imagination reaches out to the Afrobeat and Rumba Congolaise of Central and West Africa, integrates pop and rock music from the USA or Europe as a matter of course, and is happy to enter into connections with the club culture of the dancefloor, for example. Once again this year, from October 19 to 30, established jazz greats such as pianist Brad Mehldau and guitarist Kurt Rosenwinkel will meet iconoclastic innovators such as London rapper and keyboardist Alfa Mist and American trumpeter Theo Croker.

A highlight of this year’s edition of NUEJAZZ promises to be the double concert on October 26, when the Pan-West African Orchestra Baobab shares the stage with Nubiyan Twist from Leeds, England.

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In the Blood Official Trailer

In the Blood Official Trailer 02

Darryl Jones started his career gigging around Chicago after college for a few years, which led to him getting a call from Miles Davis, his musical muse that taught him to listen deeply and to let the music be his guide – lessons Jones still carries with him today. After joining Davis at the age of 21, Jones goes on to play with other legends like Herbie Hancock, Sting, Peter Gabriel, and Madonna, eventually finding a home as bassist for the Rolling Stones, all shown in the film via montage. We also hear from other musicians and friends and see archival footage of his tenure with the Stones, as well as musings about Jones and praise for his rock-solid groove. (https://bassmagazine.com/artists/darryl-jones-in-the-blood-documentary-is-released)

Steps Ahead – Tokyo 1986

The Sessions

How I met Miles

After I’d been working around town in the local scene in Chicago I decided I’d like to be getting paid more. I made up my mind I wasn’t going to continue working for the going rate of $50 or $75 that I and a lot of musicians had been willing to work for.

Still living at home, I decided I’d spend my new found free time practicing Chapman Stick instead of taking more low-paying gigs. I was sure if I held out I could get more. That’s what I was doing when my mother called downstairs and asked if I had any gigs coming up that week. When I answered no and gave my reason why my mother suggested I reconsider. She wasn’t exactly suggesting. My mother, having the opinion that anyone living under her roof had to either be working or be in school, insisted I come upstairs and wash the dishes. Immediately.

That’s what I was doing when the phone rang. It was Vince calling. We’d been friends for years and we frequently played together around town. A detail worth noting is Vince is Miles Davis’ nephew. When I heard his voice I remembered that he’d been traveling as Miles’ assistant on a tour of Japan. Of course, I asked him how things were going. He said fine. He then mentioned that he was with Miles in NY and he said, ”Hey Darryl, Miles wants to hear you play over the phone.” I told him that this was not the kind of thing to joke about. That’s when he said, ”I’m serious.” I remember taking a beat and thinking,”Uh oh!” I told him to hold on so I could get my bass. After looking around the house I went back to the phone and said, ”Vince, my bass is in the car. Hold on, I’ll be right back. He said, “No. You hold on.”

The next sound I heard was that raspy voice. It was Miles. He said, ”Darryl, when can you be in New York?” With all the stories about how Miles was enigmatic and cool, I thought I should at least try not to seem too eager. I said, “I could be there in a couple of days.” His response was, ”WHAT’S GONNA TAKE YOU SO LONG!? YOU GONNA WALK!? I guess that woke me from my attempt at trying to seem unaffected. I said, “I’ll be there tomorrow morning. Then I asked if he still wanted to hear me play over the phone and he said, ”Naw, you can play, can’t you?”

Up until that time, I’d always answered that question with, ”I’m learning or I’m getting it together” but I thought this isn’t the time for false modesty. So, for the first time in my life I said, ”Yeah,I can play.” He said, ”Good cause if you can’t, I’m kicking Vince’s ass!”

The first thing I did after I got off the phone was to speak to my father. I said, ”Dad, could I borrow a couple of hundred dollars?” I told him I had to get to New York. I said, ”I have an audition with Miles Davis.” That’s when he looked up from the newspaper he was reading. I was sure he would be impressed, him being a serious Miles fan and a musician himself. He did look surprised but his eyes seemed to say, ”You have an AUDITION with Miles. That’s only a foot in the door. It doesn’t mean you have the job.” Then he nodded his head and said, ”Sure.”

The next morning I flew to NY and checked in to the Howard Johnson’s on 52nd and 8th as per Vince’s instructions. He said to wait for his call. A short time later the phone rang and Vince said, “Meet me at 315 W.71st St. Have a seat in the lobby and wait.” I remember it felt like a covert operation or espionage meeting or something. I jumped in a cab and off I went. A few minutes after I arrived a long gun-metal grey limousine pulled up in front of the building. I saw Vince get out and then Miles. They came into the lobby and Vince introduced us by saying, ”Miles, Darryl. Darryl, Miles.” Then Miles says, ”Vince! He’s a weird-looking dude!” I laughed and said to Miles, ”You know Jaco Pastorius? He said, ”Yeah.” I said, ”He told me I look like you.” Miles said, ”You do! Around the eyes.” We got onto the elevator. I was chewing gum and Miles asked me for a piece. I told him I was chewing my last piece. He said, ”You mean you came all the way to NY and you only brought one piece of gum?” From the beginning he was really charming and funny and warm. I don’t remember being afraid or nervous. Then he said something I will never forget. Before I started playing he said, ”Listen Darryl, if it doesn’t work out it doesn’t mean you can’t play. It just means I’m looking for something else.”

He asked me to play along with a tape he’d brought along. It was a live recording of a recent gig. He told me I didn’t have to play exactly what the bassist is playing. “Just play what feels right to you.” After I’d done that, he asked me to play a slow Bb blues. I began. He stopped me. He said, ”Real slow.” I started again. He stopped me again and said, “I mean real slow.” I played it slowly for a few minutes and he stopped me. At that time, he and Vince stepped into the bedroom. When Vince came out he came over to me and said, ”You got it!” I said, ”Nah, Vince. I want him to tell me.” Miles comes over and jabs me in the shoulder and says, ”You got it!” I called home and told my parents, ”I got it.” That was my beginning with Miles. That’s what happened. (https://darryljones.com)

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What does it mean to grow up beyond the borders of one’s community? NUKWAMI responds to these questions through his artistic journey. Born in Nyanza, Rwanda, he grew up between Africa and Europe, returning back to his native land as an adult. Framed by Rwandan folk art patterns, Nukwami’s colorful, dreamlike paintings reflect his pursuit to reconnect with his Rwandan roots by finding the link to his identity. His works are also a means to break through conventional cultural boundaries. For him, they are a key to exploring an ever-expanding self, and to dreaming of a better tomorrow. The installation design of the 23rd @triennalemilano will be created & designed in the Palazzo dell’Arte by Burkinabé architect Francis Kéré, co-curator of the Triennale, founder of Kéré Architecture & 2022 Pritzker Prize laureate.

NUKWAMI | 23rd Triennale | Milano 2022

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BBC News

Three years later, their first short film became a sensation, drawing the attention of millions of people, including Hollywood Stars.

The BBC’s Damilola Oduolowu met the young film-makers in Nigeria to hear their story.

The Click | short film

TIMOTHEE | THE VFX BREAKDOWN

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afrolifestyle

Hello Marcel! “Zum Goldenen Hirschen” is one of the most successful advertising agencies in Germany and the holding company behind it called “Hirschen Group” has many “high roller” budgets. Do you remember the times when you started in a small office, with this funny name that sounds like an old German pub?

Marcel

Indeed. The weird name was one reason for our later success. Everyone kept it in mind instantly. Which is the first job of an advertising company. And of course, I remember when I started in this tiny office. I think no entrepreneur will ever forget his first steps.

How did you get the idea for the agency name?

The name came out of a crazy creative process. It’s like naming your baby. You have a thousand names on a sheet but there is a problem with every single name. So we took the weirdest name of all. 

Did you have some key perspectives?

We were sure that we needed a spectacular name. As we were young and nobody knew us. The name could be the differentiator. It worked out well.

afrolifestyle

You called the company an “idea agency” that time. How did you convince clients to work with the brand new agency in town?

Marcel

The first steps are the hardest. Nobody knows the new kid on the block. So we had to come up with something new and different. We sent out a syringe full of green water and a real needle – and our name on it. That was it. No explanation, nothing. We sent it to the Chief Marketing Officers of the top 500 companies in Germany. It was 1995. Back then you could do it without setting off an Anti-Terror- System. Although the reactions were mixed. The conservative ones hated it and called the police, the progressive marketers loved it. At the end of the day, MTV became our first client. 

afrolifestyle

Hirschen Group’s track record is remarkable. The company has big clients and many advertising budgets. As one of the managing partners, you were always responsible and certainly you had some ups and downs. 

What were the biggest challenges?

The big crises were the most challenging. I remember the collapse of the Dotcom bubble in June 2000 when we lost half of our clients within six weeks and in 2001 after the 9/11 incident the telephone didn’t ring for three months. The problem for me was never my own fate. I was concerned about the future and how does it affect our people. When you lose half of your clients and you have to fire people. This is a situation I always hated.

afrolifestyle

Even 25 years ago, you favoured home office. In the Hirschen magazine „the truth” (die Wahrheit) you wrote that the result of the task is important, not the hours spent sitting in the agency. 

What was the strategy behind that statement?

The strategy behind this statement is about freedom. I profoundly believe that you must let people organize and decide themselves. And then good things will come out. This was our belief 25 years ago and this is still our credo today.

afrolifestyle

Today, in the age of digitalization what does it take to create a successful advertising campaign?

Marcel

The success behind creating a good advertising campaign today is not to think like an advertiser. Of course, creativity and being different and spectacular still counts. But as the world has changed the people have changed. Your communication spirit is equally important. People don’t want to be “advertised”. They want to communicate with you. They want to feel like a partner and not like the dumb listener of your messages.

What does creativity mean to you?

Creativity is still the core of our industry. It is what makes us different. It is what separates us from a traditional consulting or accounting company. But I think the creativity is even more. That creativity is at the center of every big and striving company’s success. Look at the top 10 most successful companies in the world e.g. Google, Facebook, Amazon, Alibaba, and Tencent. To me, these companies are not mainly digital companies but creative companies. Their innovation speed, their organization, and their culture are often more comparable to an advertising company than to a traditional production company. In our 2019 book “Let’s creativate” we created a special word to describe this phenomenon: Creativation. 

What do you do when you’re not at work?

Chilling. Traveling. Football. Binge watching CNN in election time. Binge watching Netflix in normal times.

afrolifestyle

As an entrepreneur with German-African heritage, what would you like to share with afrolifestyle?

Marcel

Confidence and a you-also-can-make-it spirit is the base. When I grew up in Germany in the 1970s I was one of two black guys in my grade level in school. I often was the only black guy in the train. The most important lesson to me was: don’t let the people reduce you to your race or different look. Always act as it is the most normal thing in the world that you are leading the show. That you are the top manager at the table. That you are the president. 

afrolifestyle

Thank you for your time and for the interview!

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