Dr. Kenya Oduor

I was introduced last year to Dr. Kenya Oduor through a Tech Circus panel we both participated in, and I’m really glad to have her on the show now so she can share her brilliance with you all! She is a human-centered designer, researcher, and strategist, and also runs her own consulting and staffing firm Lean Geeks. Very impressive!

We dove right in and talked about her increased focus at this stage of her career, and from there we discussed how Lean Geeks works and what she want to accomplish with the firm this year. She also spoke about growing up in Queens, studying to become a physical therapist, and then pivoting into human factors and user experience design. According to Kenya, getting comfortable with being uncomfortable is how you grow, and her path to where she is now certainly proves that!

Transcript

Full Transcript

Maurice Cherry:
All right, so tell us who you are and what you do.

Dr. Kenya Oduor:
Hi, Maurice. I am Dr. Kenya Oduor and I am a human-centered strategist researcher and designer.

Maurice Cherry:
What’s on your mind? How’s 2022 been treating you?

Dr. Kenya Oduor:
What’s on my mind. So, I think there’s a lot going on right now in terms of coming out on the other end of COVID and understanding what that means to the work that my team and I do with our clients. And how much of this remote model will change to a more hybrid or in-person model, again. I think in looking at some of the work that we do for our clients, I think there’s a huge opportunity for those conversations to shift to what new expectations do users, customers, clients have around their products and services. So, I’m really curious, not only to see what that means in terms of work opportunities, but also what insights do we gain from the work that we do in that regard.

Dr. Kenya Oduor:
I’m also finding that my career is gravitating towards more focused on me being a Black woman. And 10 years, 15 years ago, I would’ve never imagined that my identity would matter so much to the trajectory of opportunities and the voice that I present out to the world and that thing.

Maurice Cherry:
That’s interesting. Can you talk about that a little bit more?

Dr. Kenya Oduor:
Sure. So, I never forgot who I was, just because in the industry that I’m in, I might be the only or have been the only woman in the room, the only Black person in the room or both. And so, it’s always been a constant reminder for me because at certain points in my career, I didn’t necessarily feel like I was an integral part of the organization, in terms of feeling like I’m a fit within the culture because of my differences, or I didn’t feel like I was necessarily heard as much as some of my peers were. But what I’m finding now is that all of that experience and all of that maybe insecurity, imposter syndrome or angst that I was feeling throughout my career, I feel like that’s all coming to a place where I’m now using it to tell my story.

Dr. Kenya Oduor:
And it’s becoming what I never realized would be a story that a lot of people, Black, white, or otherwise, want to hear in terms of just, we all have our unique differences. And knowing that and embracing those differences and using that to your advantage in terms of, especially in the design room, using that to your advantage in terms of bringing a different perspective.

Maurice Cherry:
I’m curious if that change has happened since the summer of 2020 because I feel like for a lot of Black folks who I’ve had on the show… well, all the Black folks. I’ve only had Black folks on the show. Let me be clear about that. But I think every person I’ve had on has said since that summer, there’s been a shift.

Dr. Kenya Oduor:
Absolutely. I am more comfortable in the skin that I’m in and I am unapologetic about. And I’ve heard that in a lot of circles that I’m in, being unapologetically Black. And just recognizing that if you are uncomfortable with my identity and who I am, then that’s not my problem, that’s yours. I don’t have to work to make you feel more comfortable. I have to be me and recognize that. And especially, as a business owner, I recognize that clients that want to do business with me and my company have to be comfortable with who I am and that sort of thing.

Maurice Cherry:
Speaking of your business, let’s talk about Lean Geeks. This is your design agency. Where did that name come from?

Dr. Kenya Oduor:
So, the name came from, as a researcher by training and coming from the academic world and having a PhD in human subject research and that sort of thing, I recognize that throughout my career, a lot of times I would get the poo-poo to ideas of “let’s go and validate stuff.” I would get a lot of resistance where the immediate response that people would go to is, “It’s going to take too long. It’s going to be too complex. We don’t have time for that. We didn’t bank in that, that time to do those things.” So, I recognize that being able to position research around being lean research and scrappy where necessary is really, really important in terms of getting buy-in.

Dr. Kenya Oduor:
And the geek part comes from just as human factors professionals. I’m not the only one that subscribes to this, but what I found is a lot of my colleagues, we always have swapped stories about whenever we take on a project, we have to go really deep in understanding a new domain or a new type of industry and user within that industry. And so, we almost geek out in the things that we learn about medicine or what we learn about different industries that might be very different than what we would play in otherwise, banking and that kind of thing. So, it’s always interesting to think about all of those different industries and how you have to go deep in order to be effective in creating solutions or redesigns for services in those different fields.

Maurice Cherry:
Now, your agency offers both consulting and staffing services to clients and you have what you call a human-centered approach. Tell me about your process.

Dr. Kenya Oduor:
Absolutely. So, the ideal, let me tell you about the ideal because this is what really excites me. When we have a client come to us and they’re in this phase of discovery where they have certain assumptions or certain hypotheses around what they could do or what their product could do differently. And so, having the opportunity to help define and execute on some research that validates their ideas, we usually provide them with more clarity on essentially what are the requirements for their solution.

Dr. Kenya Oduor:
And so, having the opportunity to do that and informing the experience design and having data to support our design approach is really, really, to me really exciting. Because it’s not one of those things where you or I on the team are going off of what we think is the right experience or approach. We’re using some of our experience to understand what is the best design, but we’re more so using data to validate the person’s ability to get something done. Okay? And in those types of projects, we help our client get to the point of sprint zero or basically giving them the different assets that are necessary to feed development and the engineering effort.

Dr. Kenya Oduor:
And the really ideal experience is when they then allow us to partner with them from a contractor perspective and having maybe an interaction designer or a strategist join their team as a contractor. So then, there’s continuity from the work that we did. So, it’s not as if we’re just throwing research and wire frames over the fence, we’re actually continuing on with their team. And that allows those individuals that did the research to stay connected to the project and help to still continue and inform the direction that things go in. And for me, if every project started and continued in that fashion, my life would be golden at that point. If that was the model that we could always follow.

Maurice Cherry:
To that end, it sounds like the best types of clients then for you to have are ones that possibly would have you all on retainer, because it sounds like the work that you’re doing continues along a timeline. You’re not just going in doing one thing and then that’s the end of the project.

Dr. Kenya Oduor:
I wish that we were on retainer. Typically, it’s the upfront research and the deliverables around requirements, priority, wire frames. All of that stuff is usually time boxed and it’s a fixed cost effort. Over my career, I think, being in a practitioner role and in a leadership role, I’ve gotten really good at being able to estimate how long an effort should take. So, those are usually time-boxed. And then when you talk about the contractors, those are typically your standard contractor on your team. Somebody that’s there six months and then they’re converted to a full timer or they’re on the project for two years as a contractor. So, those are typically, someone who has a badge and a computer from your company and they submit timesheets to our company. And we pay payroll and that sort of thing, benefits and all that sort of thing.

Maurice Cherry:
That sounds that’s where the lean part kicks in, at least in terms of being able to estimate the time pretty, pretty accurately.

Dr. Kenya Oduor:
Absolutely. The one thing that I’ve not necessarily learned, but has become really clear over the last few years, is that in any project recruitment is the longest [inaudible 00:12:55]. That’s going to be the hardest part of a project. And it’s going to take the longest is to recruit panelists to use for interviews, qualitative interviews, or to observe, or to have them do usability testing and that sort of thing. Recruitment is probably the hardest part of what we do.

Maurice Cherry:
What does an average day look for you with Lean Geeks?

Dr. Kenya Oduor:
It typically, like most other people, getting up and checking your emails and “What do I need to do today?” It’s engaging with, I don’t want to say, prospects, because I don’t look at engagement with potential clients. I don’t look at them as prospects. I want to get the opportunity to talk to them. “Let me hear about what’s going on in your organization. What are your biggest struggles? What keeps you up at night?” So, having or scheduling conversations with different people is a lot of what I do.

Dr. Kenya Oduor:
I am focused on business development and closing the sale. So, I’m not so much doing the research work anymore or the design work as per se, but I try to bring in those projects. And I stay involved from the extent of knowing what’s going on, so that might also be a part of my day is checking in with the team to see how are things progressing. “Show me where you are. Maybe I have ideas or questions that help you to expand what you’re thinking is around a particular problem.” So, I also spend a portion of my day doing that.

Dr. Kenya Oduor:
And I’ve had to get comfortable over the last year or more comfortable with marketing. So, just thinking about strategically, what is my brand and what is my voice and what do I want to put out there? And this goes back to my identity, becoming so much more of what I present to the world where historically that wasn’t necessarily something that I put as much importance in or on.

Maurice Cherry:
Now for those out there who may not have heard of human-centered design. Again, we talked about how you have this human-centered approach. Can you talk about what it is and why it’s important?

Dr. Kenya Oduor:
Absolutely. So, human-centered design is essentially, I don’t want to say putting the human first, it’s informing your approach to a solution with information around your user and their motivation, their needs, what are their goals in terms of interacting with your product or service. And most importantly, the most important part is context. And I teach a human computer interaction class and my students are software engineering students. And whenever they ask questions, I always get them to unpack their understanding of the context.

Dr. Kenya Oduor:
Because context really, really impacts our ability to assume what is someone thinking in a particular moment. What are the environmental factors that are outside of their control that they have to consider in using your product? When you think about your product, what features or capabilities need to be in the forefront because of that context? So, that to me is what human-centered design is all about is allowing someone or giving someone the tools that they need to get something done and to consider their motivation and their context in that.

Maurice Cherry:
What would you to really accomplish with your business this year?

Dr. Kenya Oduor:
I really want to get to a place where obviously closing more business. Any business owner wants to continue to grow, so I always want to continue to grow in my business. I want to get connected to more designers and researchers that are in a freelance situation because I’m always looking for talent. And as you know right now, the market is really hot. So, either we’ve lost team members or we’re constantly looking for new ones and I think I do a pretty good job of spotting talent, but in most cases they’re already either fully committed or not available or whatever it might be at that particular time. So, that’s a huge goal of mine in 2022 is to build up our network in that regard and across the country, ideally. I have some little pet projects that I’m working on with colleagues and I would love to see some of those pet projects shape up a little bit more and for us to move from idea to concept.

Maurice Cherry:
Nice. Let’s switch gears here a little bit, because I want to get more into your background and learn more about really how you came about all of this. So, let’s start from the beginning here. Talk to me about where you grew up.

Dr. Kenya Oduor:
I was born in Pittsburgh, Pennsylvania and I was really young before I started school, we moved to Queens, New York. So, I grew up in Queens. Very different from Pittsburgh and it was very different going back and forth during the summers and holidays. And so, I grew up around a lot of people who might have been first generation Americans. And it was to me, I think that is what shapes my belief that culture and context have so much to do as inputs to any solution because I just remember being around people that were so different, but had similar goals.

Dr. Kenya Oduor:
Everybody wanted the best for their children. Everybody wanted to work hard and earn a living and that kind of thing. So, I knew that there was a common thread amongst the culture of the people that I was around. But I knew that, when I went into different people’s homes, the way they did things and the languages and all those sorts of things were different. So, I look back and when I talk to some of my friends growing up, we always talk about how unique our situation was. And we didn’t realize it until now that we’re adults living in different parts of the country.

Maurice Cherry:
It’s so interesting that hindsight, looking back and you don’t think about it at that time when you’re a kid, probably not even when you’re a teenager or a young adult. But I find the older I get, when I look back at how I grew up and how I first got into tech and everything like that. It’s abnormal for the time I think, but I didn’t even think about it because essentially at the time when I was doing this stuff, it just all felt like play. It just felt toys that I was working with, not actual computers. Teaching myself a language, that kind of thing.

Dr. Kenya Oduor:
Yeah. And I think that’s the beauty of, I’m the parent that, “Oh, I want them to do the things they enjoy and double down on the ones that they’re passionate about.” But I always have to tell myself that you have to also remind yourself and your kids that exposure to as many different things as possible really open your eyes to things you didn’t even know existed. And like you were talking about, the things that you did with computers early on, you would’ve never thought about the impact they would have on your career now is just we, as people, have to always look beyond what we’re comfortable with. Look at the beauty of art and how that translates into the beauty of what you can create. And just being able to translate some of what we see and experience into the work that we do.

Maurice Cherry:
Yeah. Did you have a lot of exposure to design or tech as you were growing up?

Dr. Kenya Oduor:
Yeah. So, my parents coming from a small or from small towns in and around Pittsburgh, their intention in moving to New York was to be around culture and that kind of thing. So, my parents used to drag me to the theater when I was younger and I was always, “Ugh, we have to get dressed up and go to the theater.” And I used to go to the Museum of Modern Art or Guggenheim Museum. And I used to always look at it like such a chore, because it was maybe different than what my friends were doing or my friends didn’t go with me.

Dr. Kenya Oduor:
But as an adult now, I’m like, “Oh, my goodness.” I thank them all the time because all of those different experiences and that exposure had so much to do with, my mother used to do art projects and she would get wood and carve it and then do stamping on fabric. And I look at all those experiences and say that creativity and just seeing different types of creativity, they remind you that there’s so much out there that can apply to what we see, what we do, what we experience.

Maurice Cherry:
Now, when it was time for you to go to college, you went to the university of Maryland. Tell me about what your time was like there.

Dr. Kenya Oduor:
Too much fun. That’s why I was on a five-year plan. I knew when I was in high school that I wanted to go away to college. I didn’t want to stay in New York, surprisingly. As much as New York is a wonderful place, it’s exhausting. And I was talking to somebody else from New York the other day and we were saying how until you leave New York, you don’t realize how much life there is outside of New York because it takes so much out of you to do everything.

Dr. Kenya Oduor:
So, I went to Maryland and I struggled with figuring out what do I want to do or what do I want to be? I started out as an engineering major. Then I got interested in psychology and people. And then I thought I wanted to be a physical therapist. So, I ended up having to do an extra year because I thought I was going to be a physical therapist and I had to do additional classes. But my time at Maryland was my awakening to experience Black culture more than when I was just going to see my family. Coming from Queens and then going to Maryland, I felt like my identity as a Black woman, I was able to see other people like myself, that I was actually around all the time and not just family that I’m going to see during a holiday.

Dr. Kenya Oduor:
So, that for me was really interesting and exciting. And I just knew at that point that I wanted… I used to get the itch to say that one day I was going to start a business. What that was going to be, who knows. But I used to say to myself that I wanted to create something one day. So, I enjoyed Maryland, but obviously not enough to stay there because I’m in North Carolina now. But yeah, I enjoyed my time at Maryland.

Maurice Cherry:
One thing that I remember really, again, another hindsight thing that I remember is just how many different types of Black people I met at college. I’m from the country-country. Everybody is they’re Southern. You really don’t see other types of people unless it’s maybe on television or something like that. And I remember being at Morehouse here in Atlanta and meeting Caribbean people for the first time that wasn’t via Caribbean rhythms on BET. Actually meeting people from the Caribbean. Meeting people from other parts of the country and stuff. And realizing how much that really shaped my Black experience, but just the diversity of what is considered the Black experience.

Dr. Kenya Oduor:
It’s true. And so the difference, I think… I have a cousin, actually, a cousin by marriage, who’s from Atlanta, born and raised. And I just found out recently that he did not see non-Black people until he went to college. And that blows my mind because for me, you see Atlanta obviously as a metropolis or a metropolitan area. And I think about the fact that to me, that’s so fascinating in the sense that you had exposure, you had the means and the capability to go to college and in your lived experience, you never saw people that were not Black. That tells me that the upbringing and the community had was one that helped you to get to where you needed to be in order to get to that next level, which I love.

Dr. Kenya Oduor:
And then I think about the flip side of it with my experience in growing up in Queens, I used to almost feel, I was one of the few people that were not white, whose family had several generations that went back in terms of being in the US. So, I almost felt like, I felt like the outsider because I was the one whose family had been slaves. And to have that connection to this country, but to have no one else around you that has that connection to this country, I felt like the outsider.

Maurice Cherry:
Interesting.

Dr. Kenya Oduor:
Yeah, yeah. And I think going to Maryland is where I experienced more of my people who were like me, descendants of slaves. And so, I could relate to them in a different way than I could my people in Queens.

Maurice Cherry:
So, you were enjoying your time at University of Maryland, soaking in that good Black experience. What was your early career like after you graduated? What was next for you?

Dr. Kenya Oduor:
Oh, my gosh. Yeah. So, like I mentioned, I thought I was going to be a physical therapist, so I got a job even before I finished school. I got a job at a nonprofit that worked with special needs children as a physical therapy aide. And the place that I worked was in the hood, in Southeast DC. And I’ll never forget that that was probably my first immersive experience into seeing and experiencing, I’m not going to say we all, but I have the experience of growing up and having family that lives in public housing or we had to eat government cheese and all that stuff.

Dr. Kenya Oduor:
I had had that experience, but this was my first time really experiencing true poverty and seeing children who were probably in a situation that when they left school, they did not get food. They didn’t get their diapers changed. They came to school the next day with the same diaper on. So, that experience really opened my eyes to just the divide that existed in this country and the unfortunate result of real poverty that I’d never experienced, even if I was poor or with poor members. So it really, really became an emotional, not only was it hard to do therapy with special needs children, who born with fetal alcohol syndrome or vitamin K deficiency. Things that you would think are preventable.

Dr. Kenya Oduor:
But it was just the emotional part of just seeing that even when they went home, there was no joy necessarily for some of them. That was hard. That was hard. So, it made me revisit only wanting to be there, but also, did I want to consider a different career?

Maurice Cherry:
Is that when you decided to go back to school after that?

Dr. Kenya Oduor:
Yes. So, I would come home from work in the evenings and it’s just, so when I went to college, the email just came out the last semester before I graduated. So, me working on a computer was word processing and that kind of thing. And so, the internet was just starting to become popular when I would come home, for me, at least. It might have been for other people, but not for me. So, I would come home from work and get on the internet and start to do my search and look at different fields. And then I found Human Factor Psychology that way.

Maurice Cherry:
And what about that appeal to you?

Dr. Kenya Oduor:
Because I don’t know if you remember me mentioning that I started out undergrad as an engineering major, so I was very interested in engineering. I was interested in designing things and creating things that would impact people and their lives. And I loved interacting with people. So, Human Factor Psychology was the intersection of those things.

Maurice Cherry:
And so, you attended North Carolina state studying this. This is where you got your master’s and then eventually, your PhD in Human Factors, Ergonomics/Experimental Psychology.

Dr. Kenya Oduor:
Yes.

Maurice Cherry:
I remember from that time, whenever anyone talked about ergonomics or at least maybe in the context that I heard. It always was about office furniture like an ergonomic mouse, an ergonomic chair, an ergonomic desk. But of course, ergonomics is more than just that. Correct?

Dr. Kenya Oduor:
It is. And it’s funny because when I first came to North Carolina State, I thought that was going to be more of my major and that my minor would involve psychology. But when I got here, I got to know more about the psychology program and I flipped it. And I was like, “No, I really. I enjoy more of the experimental and cognitive psychology and the physical is also a part of your context in your environment.” So, that was to a lesser extent, my areas of interest.

Maurice Cherry:
And now prior to founding Lean Geeks, I know that you worked for a long time at two companies, but you also alluded that you’ve worked for other places as well. But you worked at IBM for seven years, which people know for big tech and you worked at LexisNexis for eight years, which I know is a service that a lot of lawyers use, I believe, for background checks and things like that. But with both of these work experiences, you were focusing on user experience.

Maurice Cherry:
I’m not asking you to necessarily give the years, but I’m curious on during that time, how did you notice user experience in the design community? Was it something that a lot of people were latching onto or how did you see it at that time?

Dr. Kenya Oduor:
So, IBM was my first foray in the whole user experience. True user experience realm in terms of, so I shouldn’t say that. I take that back because the definition of user experience for so many people is something different than what some of us know or understand it to be. When I started out, it was human-centered design and this was in consulting and then IBM. And it started with discovery of who’s your user, what is their context and what is their need or motivation. And so, at that time, I think IBM was one of the companies that was in the forefront in terms of doing the work to constantly iterate and validate on ideas or concepts.

Dr. Kenya Oduor:
And as time went on, what I saw was more of an evolution towards design, more of UX than being termed design or focusing on design less about the validation or the discovery aspect of things. Probably midway in my career is when I started to see people who would talk about stumbling into a career in UX, or they might have been painters or people who did visual arts or, industrial design and that their interests. And of course there were people earlier than that time, but in terms of my experiences in the software world, that’s when I started to see more people coming from the more design community. More of the design community that were playing in the software space. But my early experiences were primarily people who were coming out of the human center design space.

Maurice Cherry:
Interesting. How are those IBM and LexisNexis experiences, how were they from each other?

Dr. Kenya Oduor:
I was just talking to someone earlier today, a student that is considering a transition into UX and I was explaining to her that one environment was very structured and the other was very unstructured. And so, when you talk about structured versus unstructured environments, it’s what rigor do they have in place and how mature are they from a user experience perspective? Do they have the right people in the organization and do they have a design system and that kind of thing, a process? Do they have validation baked into their framework sorts of things?

Dr. Kenya Oduor:
So, one was very different than the other in that regard. And some people thrive better in one versus the other. But I realized in my career, I made an intentional decision to shift from one to the other because I wanted to see and to build up my own toolkit of navigating two different environments. And I think that’s helped me in the consulting world, because I’m able to spot where an organization’s mature is and how to interact with the people in the companies that we work with.

Maurice Cherry:
And so, what was the impetus behind you starting your own company? You’ve put in now 15 years in this industry, working as a user experience professional with human-centered design research. What made you say I’m going to start my own thing now?

Dr. Kenya Oduor:
So, it had been probably more than 15 years at that point that I was saying to myself, I was getting that itch of wanting to spread my wings and go somewhere new. And I explained it or I likened it one day to someone that every day I walked into the office, I felt like I was a caged bird that had to get in the cage. And then every day at the end of the day, I felt like I was stepping out of the cage. And so, I felt like I was being constrained by the four walls of industry. And I didn’t feel like part of that came from presenting ideas that didn’t necessarily align in terms of “it’s not your job” kind of thing or “we’re not there yet,” that kind of thing.

Dr. Kenya Oduor:
So, it got frustrating and I said to myself, “Okay, I’m either going to move on to a new company and take on a similar type of role. My highest level of evangelism and hiring and all that stuff and firing.” And I said, “Well, do I want to do that? And do I want to go through that same climbing the ladder.” And honestly, I didn’t want to and I felt that it had almost been 20 years at that point that I was doing this work. And so, I was like, “You know what? It’s time for me to spread my wings and try something new and take the show on the road.” And I’ve built a pretty good network over those years, so why not tap into that network and see what happens?

Maurice Cherry:
You stepped out on faith and here you are.

Dr. Kenya Oduor:
I stepped out on faith and I have to tell you that statement right there is the only thing that has kept me going is stepping out every day. When you talk about my day-to-day, every day is stepping out on faith and it’s a faith walk and it’s constantly reminding yourself that just because you don’t know something today or it’s an unknown or it’s uncomfortable, you got to get comfortable with being uncomfortable. And always know that you have to do the work to figure stuff out, even if you don’t know it today.

Maurice Cherry:
Yeah. Who are some of the mentors that have helped you to get to this place now in your career?

Dr. Kenya Oduor:
I always had formal mentors when I was at places like IBM. I had people who I leaned on, who were able to help guide me in that way. But as I got further into my career, I found that I didn’t have as many mentors or the people that I sought out as mentors weren’t necessarily either in my discipline or they just didn’t have the bandwidth to take on additional mentors. I started to do a lot in terms of coaching and finding other resources.

Maurice Cherry:
Interesting. I would imagine and I’ve talked about this with other like PhD level people that I’ve had on the show is like it’s lonely at the top. Once you get to that level of education and you get to that point in your career, you look around and it’s just you in a way.

Dr. Kenya Oduor:
Yeah, yeah. And it’s interesting because I would see people and I would see people who were in a position of running their own company or who were in a certain type of leadership role. And I would look at them and say to myself, “I aspire to be there.” And what I found in a lot of cases was that, they were and it was no slight on their part in any way. They would just say, “I don’t have the bandwidth to take on the responsibility of being a mentor.”

Dr. Kenya Oduor:
So, I would get whatever opportunity I could to connect with them and then figure out who do I want to be when I grow up and what does that look like. And, and I think the part that’s most important for anyone that’s exploring that thing is to always, always, always connect with people and ask questions and invest in yourself. That’s something that I’ve recognized I have to do a lot of.

Maurice Cherry:
What do you appreciate the most about your life right now?

Dr. Kenya Oduor:
When you meet people and they’re like, “Oh, I hate my job” or “Oh, I’m so unhappy,” or “My kids are stressing me out,” just have life stressors. What I’m really happy about my life is that I’m fortunate to be in a situation where life is hard. I work really hard, but the joy that my family and my career and my company, the joy that I get from those things mean so much to me. And I feel like I’m so fortunate. Even if things are hard, I’m so fortunate to have the ability to do these things at this point in my life.

Dr. Kenya Oduor:
And to not have the grumbling. Whenever I work with colleagues or whenever I talk to colleagues or I work with a client, it’s so refreshing to know that whatever drama I get pulled into for work projects. As soon as I hang up the phone, leave the meeting or whatever it is, I don’t take any of it home like I used to when I worked in-house.

Maurice Cherry:
What haven’t you done yet that you want to do? It could be in life. It can be through your business. What’s the dream project?

Dr. Kenya Oduor:
So, I definitely want to travel more now, especially after COVID. I want to travel more, but more importantly, I have colleagues that I’m working on side projects with and we’ve been talking about them. And some of them were things are starting to get off the ground, but I would really love to see some of those things come to pass in terms of us being able to realize and to see things happen.

Dr. Kenya Oduor:
I always, I’m very much a visionary. So, I put out there if you have a vision board or they say do visualization of what you want to do or where you want to be. And I see myself creating something that is impactful. So, just doing project work or engaging clients around project work is one facet of my interest. I also have ideas that I feel like I need to bring to life.

Maurice Cherry:
Speaking of, this traveling now, you and I have both spoken on a couple of panels now. Are you starting to see a return to in-person events? Are you getting invited to speak out at any conferences?

Dr. Kenya Oduor:
Yes. I have a speaking engagement next month in the Baltimore area. I have a few, I want to say late summer or early fall. So, I do realize that things are starting to open up. I actually spoke on a panel recently. So, I’m excited to see and to interact with people in-person, because I feel like the connections. And I had a conversation with someone that I met in-person after meeting them over or talking to them over Zoom a number of times. You really don’t get the value of connecting with someone the way that you do when you meet that individual in-person first and then transition to virtual versus the other way around. Because it’s like you make that connection with people face-to-face that you can’t make over a screen. So, I’m looking forward to that again.

Maurice Cherry:
I just got my first in-person conference invite in a while. I just got it a couple of days ago. So, I’m leaking it early by saying it on the podcast, but I’ll be at Design Thinkers in Toronto in October, which is cool. Because I’ve always wanted to visit Toronto and to now go and do my first in-person conference thing really since… gosh, I think the last time I did one was in maybe 2019, I think, probably 2019. Wow.

Dr. Kenya Oduor:
Wow, so it’s time.

Maurice Cherry:
It’s time.

Dr. Kenya Oduor:
[inaudible 00:41:49].

Maurice Cherry:
I’ve done a ton of virtual things, so it’s time to get back on a stage. So, I’m excited about that.

Dr. Kenya Oduor:
I think it’s time, yes. Well, I can tell you that since COVID my whole dress and shoe game is different, so all about-

Maurice Cherry:
Oh, really?

Dr. Kenya Oduor:
I’m all about comfort now. So, I’m like, “If you say I was going to put on heels and all that, forget about it.”

Maurice Cherry:
What advice would you give to anyone that’s been listening to all of this and they want to follow in your footsteps? What would you tell them?

Dr. Kenya Oduor:
So, I would tell them that don’t ever look at any experience that you have as a waste of your time or that it’s in vain. From the time I first moved, when I first moved to North Carolina and I was an administrative assistant in an engineering firm to the jobs that I’ve had that have nothing to do with what I’m doing today, each one of those experiences gave me a perspective on interacting with people. Gave me a perspective on myself, what I’m good at, what I’m not good at, where my strengths are.

Dr. Kenya Oduor:
So, every experience that you have in life and know that they all build upon one another, even if they’re not in the same field. And always walk away from bad experiences with the ability to say, “What did I learn from it?” Especially when you work with people that get on your nerves or you can’t stand, figure out what it is you can learn from that. And getting comfortable with being uncomfortable is another thing.

Dr. Kenya Oduor:
The only way we grow is by going through some change and I found that I can procrastinate on the things I don’t want to be bothered with or do. But when I look back, sometimes I delay the things that really were in my mind overwhelming, but once I got into them, they weren’t. So, don’t put off for tomorrow what you can do today. And know that you don’t know if you can do something unless you try. That’s the way I see it.

Maurice Cherry:
What’s the legacy that you want to leave behind? Where do you see yourself say in the next five years or so? What work do you want to be doing?

Dr. Kenya Oduor:
So, in the next five years or so, I realize in my whole marketing effort that honing in on my brand, my personal brand is something that before I used to, I was always the little young, skinny one in the crew throughout my life. So, I was always quiet and in the background and the observer. So, I never really thought that my brand or who I am or what I have to say was necessarily that impactful or important. But as I get older and I have platforms to do that, I realize, “Wow, I do have things to say that people are listening to.”

Dr. Kenya Oduor:
And so, I think in the next five years, continuing to sharpen my brand and my voice are a big part of my focus and that I want to be able to use my skills around being an idea generator, being a connector, helping people to progress ideas. I like to see others, I thrive by seeing others thrive. So, being able to utilize that capability and everything that I do would be just the most awesome thing ever for me.

Maurice Cherry:
Well, just to wrap things up here, where can our audience find out more information about you and about your work online?

Dr. Kenya Oduor:
That’s a good question. So, definitely connect on LinkedIn, Kenya Oduor, PhD. Last name is O-D-U-O-R. I wish I would have kept my maiden name if I knew my last name was going to be so hard. Check out the web company website leangeeks.net, L-E-A-N-G-E-E-K-S dot-net. And I think LinkedIn is the best place to start because from there, you can get to YouTube video thing. You can get my contact information.

Dr. Kenya Oduor:
And I just like to connect with people and like I said, I’m trying to build up my network of folks, especially like us designers and creators and researchers that look like us are important for me to connect with at this point in my career. Especially those that I don’t know now or yet. Yeah. Keep in touch.

Maurice Cherry:
All right. Sounds good. Well, Dr. Kenya Oduor, I want to thank you so much for coming on the show. One, of course, I think just thank you for telling us about your story. But also about putting forth, this really powerful message about look at your experiences and see what you can gain out of them.

Maurice Cherry:
My mom used to tell me when I was younger, especially early on in my career before I started becoming a designer, sometimes you have to do the things that you don’t want to do, so you can do the things that you want to do or something like that. I might be screwing up that whole thing.

Dr. Kenya Oduor:
Amen. No, but that to me, I get it.

Maurice Cherry:
But it’s true. Sometimes you have to put the time in, you have to see what you can gain from those experiences, and then use those to become a better person. And certainly, I think from what you’ve shown in this interview and then even with what you’re doing through Lean Geeks, you’re definitely making that happen. So, thank you so much for coming on the show. I appreciate it.

Dr. Kenya Oduor:
Thank you so much for having me, Maurice. And continued success to you as well.

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Anthony D. Mays

It’s no secret that the tech industry has weathered the last few years better than a lot of others, and many people are trying to ditch their current jobs and start their careers in tech for big opportunities (and even bigger salaries). But working for companies like Google and Microsoft take more than just talent — it takes the helpful hands and heart of this week’s guest, Anthony D. Mays. As the founder of tech career coaching firm Morgan Latimer Consulting, Anthony uses his 20 years of experience as a software engineer and developer to help his clients to ace tech interviews and get real results.

We start our conversation with a quick check-in, and he talks about starting his firm and finding a good work life balance. He spoke about growing up in Compton and learning BASIC on a VTech PreComputer 1000, studying computer science at UC Irvine, and shared how looking for growth opportunities, and his faith in God, helped him succeed throughout his career. So if you’re looking to work in tech, then Anthony is just the person to make that happen!

Transcript

Full Transcript

Maurice Cherry:
All right. So tell us who you are and what you do.

Anthony D. Mays:
Sure. I’m Anthony D. Mays. I’m a former software engineer at Google, and I am presently founder and career coach at Morgan Latimer Consulting.

Maurice Cherry:
How has 2022 been going so far?

Anthony D. Mays:
It’s been an adventure for sure. I left Google on February 1st of this year and I have dived head first into full-time entrepreneurship. Whatever I thought it was going to be, it seems like it’s just a bit different than that, but it’s been for the good and for the best.

Maurice Cherry:
Oh, wow. Congratulations on making the leap.

Anthony D. Mays:
Yeah, thanks. It’s been quite a ride. And I thought that my time at Google was an adventure and a ride, and it just seems like entrepreneurship has made that escalate. It has escalated that ride even faster. I feel like I don’t have guardrails either, so I’m really holding on to my seat, my family and I.

Maurice Cherry:
Let’s talk about your firm. Again, it’s called Morgan Latimer Consulting. For folks who might be interested, that comes from Garrett A. Morgan and Lewis Latimer. Right?

Anthony D. Mays:
Yes. Yup. Garrett A. Morgan, Lewis Latimer, two of my favorite inventors from Black history. They were innovators during a time when it was neither expected for them to be innovators. They weren’t encouraged to be innovators. No one was willing to carve out room. There was no DEI program. There was only racism, discrimination, slavery, things of that nature. But they weathered all of that in order to innovate in this space. And because of the innovations and their contributions to society, we live in the world that we live in today and benefit from the privileges and technology that we enjoy.

Anthony D. Mays:
And so, with my firm, my aim is to renew, I think, an understanding or to introduce an understanding that Black people being innovators in the tech space isn’t anything new. We’ve been doing it. And similarly, other underrepresented groups, the same can be said for them as well. And I want to help connect that next generation of talent, wherever they come from, no matter who they are, whether you’re underrepresented or well-represented, connect that generation of talent to the companies and organizations that are interested in leveraging and harnessing that talent.

Anthony D. Mays:
So I work directly with candidates, but I also consult for companies and help them to understand their hiring processes, their practices, through the lens of someone who’s come from a different background and provide just that insight and wisdom.

Maurice Cherry:
What inspired you to start your own firm like that?

Anthony D. Mays:
I’ve always been attuned to this idea that entrepreneurship is important, especially in America. And when I was in middle school, I attended a very special charter school that was funded by none other than the National Football League. And as part of that middle school experience, I was exposed to entrepreneurship and this idea that I could go and start a business and begin an enterprise and take the risk and dive in. And so, I felt like that sowed the seeds for me to be thinking about entrepreneurship and independence and just making my own moves.

Anthony D. Mays:
I only kind of realize this now, but my career journey has always been set up for this. I think one of the reasons why I wanted to work at a variety of places, spend time doing professional consulting, and then ultimately get to Google is just to establish the credentials and build a network that would allow me to strike out on my own one day and try to carve a different path towards the success that I was looking for.

Anthony D. Mays:
Yeah. So hindsight 2020, I can see where everything all fit together, but it wasn’t immediately clear even when I got into business, when I got into the working world, that my path might take me to entrepreneurship 20 years later. But I’m glad to be here.

Maurice Cherry:
Yeah. It’s having that kind of social proof, I guess, as you might think about it with working for these other places and then striking out on your own. I think it helps with clients certainly to know that, “Oh, well, you know what you’re talking about in terms of the work that you’re doing.” And there’s some level of vetting in place because you’ve managed to have these other experiences first before starting your own thing.

Anthony D. Mays:
Yeah. That’s absolutely right.

Maurice Cherry:
So one thing that you do with your clients, you sort of help them gain the confidence to work in tech, and these are people that either have an interest in tech or maybe might be early career or mid-career, I’m assuming, and you do a lot of prep with them for coding interviews. Tell me about that process, because I’ve heard that Google specifically, their coding interviews can be pretty unusual.

Anthony D. Mays:
Yeah, absolutely. And I think it’s important to really call out that word, confidence, because I think that my job as a coach or my unique contribution is really helping someone to see themselves in the role based upon their experience and their willingness to put in the work.

Maurice Cherry:
Mm-hmm.

Anthony D. Mays:
And a lot of people can study on their own. There’s tons of resources out there. There’s academies and boot camps and free courses and all that stuff. But there’s this recognition that taking all that stuff in alone may not be enough for some people. And not only that, but there’s these additional challenges and burdens that you may have, especially if you’re from an underrepresented background, where you may not have a network of people who can help you to connect your own life and experience and your own journey to the tech space.

Anthony D. Mays:
And so, what I aim to do is to talk about that and to help people understand how to have the right framework and preparation so that you can begin building that confidence and know that you’re the right person for the job. And that takes a little more effort. That takes me really getting to know my clients. It takes exercising them, paying attention to their problem-solving, making them think through their own problem-solving, arming them with the right frameworks of thinking, so that as you’re tackling different kinds of interviews, you know what you need to do and when you need to do it. And I talk to my clients a lot about building something called muscle memory. It’s the same kind of thing that athletes rely on in professional sports.

Maurice Cherry:
Mm-hmm.

Anthony D. Mays:
People see them playing the game, but they don’t see them spending the hours of doing repetitive motions and different kinds of exercises to get prepared. They’re able to have confidence at game-time playing at the highest level in front of millions of people because they have that muscle memory. And so, part of what I seek to teach to my candidates and help them develop is that muscle memory so that they can go into an interview knowing that they have a great chance and not hindered by doubt and fear and uncertainty and those kinds of things that often stop very talented people from being successful.

Maurice Cherry:
So you’re kind of like part consultant, part psychiatrist in a way, because you’re kind of helping them to build that internal confidence so, like you said, they see themselves in the role, and I think that is super important. I mean, I’ve worked at a couple of tech startups and I’ve been in the position to hire, and one thing that has been a big thing over the past few years has been inclusive language for job listings.

Maurice Cherry:
And it’s now even a thing to put in job listings, particularly for tech and design positions, to say like, “Even if you don’t have all of these requirements, you should apply anyway,” or “If you only have 50%, apply anyway,” which I think is a way to kind of help people to see themselves in the role because, oftentimes, you may look at the job listing and look at all those different bullet points, and instead of seeing where you’re strong, you see where you’re weak, like, “Well, I don’t have this. Well, I don’t have this many years experience,” and then you end up not applying when, in actuality, what you need to have is the confidence to say, “Well, I’m strong in these things, so I’m going to apply just to kind of see what happens.”

Anthony D. Mays:
Right. And I also want to help you look at that same job description and maybe realize that it’s not for you, that this isn’t going to help you achieve your goals. There’s a lot of people who come to me because they want to crack those top tech companies, those FAANG companies, the Googles, the Amazons, the Microsoft, et cetera, et cetera.

Anthony D. Mays:
And sometimes, I’ve got to look at them and say, “Based upon the goals that you just shared with me, you don’t really need to crack a FAANG company. What you actually need is to consider this startup or maybe think about something mid-tier. Maybe not even a tech company. Maybe you just need to get your foot in the door, and instead of looking at a tech company, you need to look at a non-tech company that has an IT department but also has the framework and infrastructure to help you grow and develop the skills.”

Anthony D. Mays:
So depending upon where you are, you may not understand how to correctly map your specific goals to the opportunities that are out there. If you come away from a conversation with me realizing, “I wanted to do this thing, but I realized that that’s actually not the best fit. Maybe I need to think about entrepreneurship,” then I’m like, “All right. Great. Fantastic. I’ve saved you some time. I’ve saved you some trouble.”

Anthony D. Mays:
And I think that, especially as an entrepreneur now, I realize that my own path was about making it to a place like Google and operating at that level. That’s not everybody’s path. Some people don’t need to pursue that journey. That was my journey. That may not be your journey. And there has to be that conversation. There has to be somebody asking those questions, because I think right now, especially in the tech interviewing, tech prep career coaching space, everybody wants to get you to a FAANG company. They’re pointing you in that direction. They’re talking about those salaries and all that stuff. But you’re not really serving candidates well because you’re selling them this dream and this bill of goods that isn’t going to be helpful for them.

Anthony D. Mays:
I care about my clients and the people that I work with because I think that there’s tons of transformative opportunity out there and available, but you need somebody to come alongside with you to educate you on how to best put a plan in place, helps you get to where you’re trying to go.

Maurice Cherry:
I’ve started seeing companies, even the big ones like the Microsofts and stuff, they’re doing outreach on TikTok. I probably spend too much time on TikTok. But there’s a lot of people on TikTok that are really like, “I want to find the high-paying, six-figure tech jobs. How do you find those jobs?” Because there will be people that have those jobs that are on TikTok, and they’re saying, “These are the perks that I get. I get free lunch here. This is my ride to the office.” And they sort of paint this very idealistic picture of what it means to be in tech through these kinds of perks.

Maurice Cherry:
And I’ll never forget… I interviewed Kristy Tillman. She’s been on the show twice, but Kristy now works at Netflix, and I’ll never forget how she told me to look at perks at companies as filters that just because something may look good in that way, it could also be something that’s used to filter people out. So I do see a lot of… I guess you could almost call it propaganda where people are really painting this very idealistic picture of what it looks like to work in tech in these fancy offices, and you get a free MacBook Pro and all this, but not really showing them what it means, not just to work in tech from day to day, but even the process, like you said, to interview to be a part of a company like that, because it might not even be that they need to be there. They probably just need to start out somewhere smaller maybe.

Anthony D. Mays:
Yeah. No, absolutely. And here’s the deal: You want success and you want the paycheck and all that stuff. You get that by being good at what you do. You get that by being excellent at your craft. And that has more to do with you and how you move and how you develop than it does on the place that you work. And certainly, when you’re working at a company, there’s an expectation that they’re going to play some part in your development, in your growth, and in your assessment, and provide useful feedback, and all those things.

Anthony D. Mays:
But ultimately, you’ve got to take your career and your craft and your responsibility and put in the time and work to be effective and to really be thoughtful about how to make the right plan to get you to where you’re trying to go. And so, I think that a lot of people are looking for shortcuts and they’re trying to circumvent the process, and it’s important that I remind people that there aren’t shortcuts to this. It’s just the same hard work. It’s the same hard work that my ancestors poured into being who they were and accomplishing the things that they accomplished, not letting excuses or things of that nature get in the way. And because of that, they were able to do what they were able to do. And they faced a lot of unfairness. They faced a ton of unfairness.

Maurice Cherry:
Yeah.

Anthony D. Mays:
And just like we face, to certain degrees, unfairness in today’s processes, some of that just comes from natural imperfection. We’re not perfect at what we do as companies or as individuals and applicants. So there’s that, but then there’s also these other biases and even discrimination or racism, to some lesser extent, that we’ve got to combat. And I sometimes struggle with the approaches that I take because I’m very focused on the individual regardless of the surrounding circumstances.

Maurice Cherry:
Mm-hmm.

Anthony D. Mays:
But the circumstances, those could use some changing as well, and it’s important. And that’s why I want to tackle this from both sides of the bridge. I want to help clients and candidates to understand what they need to do, but I also want to talk to companies and say, “There are some things that you need to change because the talent is ready. It’s not a pipeline issue. It’s a you issue. You need to change what you’re doing and the pipeline will come. The people will come. You just haven’t built a room for them.”

Maurice Cherry:
Yeah. That’s a really good point, to let the companies know that sometimes, there’s things that they’re doing wrong or things that they may be doing, even just in the language in job listings, the way they’ve talked about perks, et cetera, that might set them up in a bad light. It’s funny, speaking about startups and things like this, startups can be a really good place to cut your teeth on working in tech. But they have their own issues too, particularly depending on the scale of where the company is at, and even with diversity and inclusion.

Maurice Cherry:
At least I’ve started to see, on the startup level, it’s becoming less and less of a factor than it has been at larger companies. I don’t know if that’s just because of time or DEI fatigue or whatever. But I remember in the early 2010s when those reports started coming out about Google and Facebook and such about their single-digit workforce numbers for Black employees and what does that mean, and stuff like that.

Anthony D. Mays:
Right. Right.

Maurice Cherry:
And I feel like those companies have started over the years to improve that, certainly. Startups are under no obligation to do that. I just know from working at a couple of them. They do not care.

Anthony D. Mays:
It really depends because… I agree with you that when it comes to the larger companies, there’s an interest to change, but in many respects, it’s almost too little, too late to make the kind of change that you need to make as quickly as you want to. Right?

Anthony D. Mays:
So for some of these larger companies that have been around for 20 years, 40 years, 50 years, whatever that may be, you’re talking about a deeply ingrained culture. There’s a lot of rot that you have to get rid of first before you can even start talking about doing the right things, very carefully guarding that small little flame, that little spark that turns into a fire that then leads to change. So there’s a lot of momentum that you’ve got to slow down if you’re a big company so that you can begin shifting gears.

Anthony D. Mays:
But when you’re a startup, you are in a better position because you’re new, because you have the opportunity to learn from those mistakes and, from the very beginning, think about the right things to do. My latest client right now, I just signed with Karat as a tech advisor for their Brilliant Black Minds program. And what I love about Karat is that from the beginning, they’ve made this very early commitment to increasing the number of Black engineers in the business and really thinking through how they can play a role in that. You can go visit their website and read the statement and the thinking and the resource that they’ve done.

Anthony D. Mays:
I love that they’re small enough and nimble enough to really tackle this problem at a speed that other companies can’t do. And I think that there are similar startups that have that opportunity. And to your earlier point, there are some startups that really did get this wrong in a big way. Most notably, I remember learning about the mess at Uber, and I know that they went through some strides to turn over a new leaf. And from what I understand, things are better, much better than they were back in those days.

Anthony D. Mays:
But you could see that where… When some of today’s startups started making those mistakes, they got called out on it a whole lot faster. It’s a lot harder for those companies to grow and develop without having that scrutiny, whereas 10 years ago, nobody really cared. 15 years ago, 20 years ago, nobody cared. You could do whatever you wanted.

Maurice Cherry:
Yeah.

Anthony D. Mays:
So I think that for those in the audience or for job seekers or candidates who are looking for companies who may have stronger commitments, who may be making better progress, looking at those smaller firms, those startups, those growth phase companies, that might be the better play if that’s something that you care deeply about.

Maurice Cherry:
Okay. I agree. I agree and I disagree. I mean, I’m disagreeing from my own personal experiences, but I do agree that there are some startups out there that are doing it, particularly because you’re starting to see a lot of POC-owned, Black-owned startups. So of course, they have diversity and inclusion in mind because they started it. So that’s something that’s important to them. So I get where you’re coming from. Absolutely. What is a typical day like for you? I know you just said you kind of struck out on your own, but have you started to achieve a work-life balance with the firm?

Anthony D. Mays:
No, I wish. Every day is different, and that’s been great and it’s been challenging at the same time. I woke up today and I was like, “What am I going to do? I know I got to do a podcast, but other than that, what else am I going to do? Should I go put some meetings on the calendar? Should I work on a thing?” And so, I would like to say that I’m a lot more intentional and wise in terms of how I’m planning my time. But each day has been a little bit different, and I find myself in infrastructure-building mode a lot.

Anthony D. Mays:
So I think as I work through some of these beginning things as a new entrepreneur, I’ll get more of the consistency and the regularity out of my routine. But right now, I’m still, I think, figuring it out. I’m trying to be patient with that as well. I don’t want to rush into completely filling up my schedule with things. I want to make sure that everything that I’m committing to is intentional and thought out and is going to serve, in some way, the mission that I’m pursuing.

Anthony D. Mays:
Yeah. From that perspective, it’s been fun. And the other part of this too is that my wife is the co-owner of Morgan Latimer Consulting. So I’m working here at home and my wife is a key partner with me in this effort, largely working behind the scenes. But I’m also getting the kids involved too and having conversations out loud and in the open as they’re doing school.

Anthony D. Mays:
And so, it’s been interesting to expose the whole family to entrepreneurship and to this lifestyle and to be open and honest with my kids about the challenges and opportunities. And so, I think what happens more than that is, I’ll find a learning opportunity in the middle of the day and put everything on pause and talk to my wife or talk to my kids about what I’m thinking and where things can go and even getting their advice and input, and that’s been a lot of fun.

Maurice Cherry:
A true family business. I like that.

Anthony D. Mays:
Yeah. Absolutely. The only other challenge that I’m contending with right now is just needing to travel a little bit more as things thaw out with regards to the pandemic and travel resumes. Now I’m needing to be in more places crossing the country. And so, I try to look for opportunities to bring my family with me so that they can experience that part of it as well.

Maurice Cherry:
Nice. Speaking about family, let’s switch gears here a little bit. You grew up in Compton. I know that because it’s on the hat that you have in all your photos.

Anthony D. Mays:
Well, I could be faking it. I could be-

Maurice Cherry:
No, I don’t think you’re faking it. I don’t know anyone that would fake and… Well, let me not tell that lie. I do know people that would fake and say they’re from the hood. Let me not say that.

Anthony D. Mays:
Right.

Maurice Cherry:
But you’re from L.A. You live in L.A. Tell me, growing up in Compton, was tech a part of your childhood?

Anthony D. Mays:
Yeah, it was, amazingly enough. And that may come across as unexpected for some of your listeners. But growing up in a poor place, in a place like Compton that was renowned for things like gang violence, drugs, poverty, all that stuff, now, well, it turns out that having rich people in the area means that we receive some investment and support from very notable people. And I think it was Magic Johnson who, in the early ’90s, donated a non-trivial sum of money to my elementary school. As a result, we got a basketball court, but also a computer lab.

Maurice Cherry:
Hmm.

Anthony D. Mays:
And it was in that computer lab when I was in the second grade that I had the opportunity to use a computer for the first time. And it profoundly changed my life because that’s when I realized that computers were cool and this might be something that I want to keep doing, whether I get paid for it or not. And so, I remember asking my parents for a computer and they said no, and I didn’t understand at the time that computers were $5,000 or more to get something decent. But my foster parents, as well as my birth mom, they both bought me toy computers, which were super cool. And when I was about eight years old, I used one of those toy computers to teach myself how to code.

Maurice Cherry:
Mmm.

Anthony D. Mays:
And I remember, at the time, I was being bullied for a variety of reasons. And so, I became somewhat of an introvert out of necessity and would pour focus and time and attention into computers and programming. And I just remember feeling this sense of empowerment and agency and control using computers that I didn’t have in other aspects of my life. I failed to mention this, and it’s pretty much common knowledge now, but I grew up as a foster kid after my first grade teacher or kindergarten teacher had found signs of physical abuse.

Anthony D. Mays:
And so, losing your whole family and being moved out of your home is a very transformative and traumatic experience for someone who’s four years old. And I found that interacting with technology allowed me to reclaim control and power and just to have a space to be me and to be a creative thinker and an innovative thinker. I wasn’t building apps and all this stuff, but it was enough to whet my appetite and get me engaged, and I would just continue to pursue computers throughout middle school and throughout high school where I was fortunate in both cases to meet mentors who saw that early love and decided to invest time into developing my knowledge around technology and the internet.

Maurice Cherry:
Hmm. Something you mentioned there, I think, we have in common in terms of growing up in… I don’t want to say small towns. I don’t know how large Compton is, but certainly growing up in towns with dubious reputations.

Anthony D. Mays:
Yeah.

Maurice Cherry:
I’m from Selma, as most people-

Anthony D. Mays:
Hey.

Maurice Cherry:
… know from the show, from Selma, Alabama. Kind of like the first generation out from Bloody Sunday. And so, now Selma is like a pit stop on every politician’s tour throughout the country. They stop in, they go to Brown Chapel AME, they walk across the bridge, yada yada yada. They do all that stuff. But because of that general perennial attention on the city, you do have people that will come in and there’s like an influx of cash to one of the local schools or… You know what I mean? So we had a computer lab in high school, which is how I learned about the internet. That was my first foray with Netscape Navigator 1.0.

Anthony D. Mays:
Oh, wow. Let’s get it. Yes. Yeah. I’m right there with you, brother. We learned that the same time.

Maurice Cherry:
Yeah. That was in my… I was in, I think, ninth or tenth grade when they installed the computer lab and got to see what the internet was like back then. But even as you mentioned learning and teaching yourself how to code with these toy computers, I’m super curious, what was the computers that you were using?

Anthony D. Mays:
Yeah. So the one that I used specifically to learn coding was called the PreComputer 1000.

Maurice Cherry:
Get out! Oh, I’m sorry. Go ahead.

Anthony D. Mays:
Oh, yeah.

Maurice Cherry:
No, no, no. No, keep going. Sorry. Sorry. I had that same computer. I had that same… The blue one with the handle?

Anthony D. Mays:
That’s the blue one with the handle. Absolutely.

Maurice Cherry:
Okay. Okay. Okay. Okay. Go ahead. Go ahead. Go ahead.

Anthony D. Mays:
So I’ll tell you a funny story real quick. I would talk about that computer when I would go to schools during my time at Google and all this stuff, and I had lost the computer. I didn’t have… I don’t know what happened with it. Things get lost, as they do, over decades. And one day, this Christmas present was sitting on my desk and I opened it up, and it’s a PreComputer 1000. A co-worker had bought me a PreComputer 1000 off of eBay or something because they knew that I had grown up on that computer and they knew-

Maurice Cherry:
Wow.

Anthony D. Mays:
… how passionate I was about sharing technology with the young people. And so, I would take that computer with me on tours and flip the switch where you’d hear the little (singing). And I would take out the big old fat D batteries on the back and say,-

Maurice Cherry:
Oh man.

Anthony D. Mays:
… “This is it.” That’s what I had. And one of the reasons why I’m passionate about supporting underrepresented people in tech specifically is because out of scarcity comes innovation.

Maurice Cherry:
Mm-hmm.

Anthony D. Mays:
Out of scarcity and challenge and struggle comes some of the best ideas and some of the greatest opportunities to do things that haven’t been done before. And for me, growing up under the scarce conditions of the hood and with the family that I often describe as middle-class poor, that led to me doing things like teaching myself how to code and learning about the internet and all these other kinds of things. For an industry that’s looking for talent that knows how to build technology under those kinds of circumstances, what better place to look than the hoods and ghettos of America?

Maurice Cherry:
Yeah.

Anthony D. Mays:
Why spend all of this time going overseas looking for that kind of talent when we have our own neglected neighborhoods in the backyards of America?

Maurice Cherry:
Yeah. Listen, these kids don’t know how good they got it now. When you have to teach-

Anthony D. Mays:
They really don’t.

Maurice Cherry:
… yourself how to code on a one-line dot-matrix screen…

Anthony D. Mays:
That’s right.

Maurice Cherry:
I mean, come on. So my older brother had… And this is when I was younger. I probably might have been about seven or eight or something. He had a… It was also a VTech, but it was a Laser 50.

Anthony D. Mays:
Mmm.

Maurice Cherry:
And so, the Laser 50 is about the size of a standard, regular keyboard that you would get now, but it had a one-line dot-matrix screen at the very top and you would use that to code. And I remember… The Laser 50 was particularly interesting because it had all these peripherals you could get for it. You could get a tiny dot-matrix printer. You could get a tiny-

Anthony D. Mays:
Oh, wow.

Maurice Cherry:
… storage thing. And storage back then were cassettes, because you didn’t have flash drives. You didn’t have…

Anthony D. Mays:
Yup.

Maurice Cherry:
I mean, you had floppy disks, but you certainly didn’t have… But it was a cassette. And so, I would often be mistakenly putting data, like taping over somebody’s radio mix, because it used this…

Anthony D. Mays:
Oh, no. Not the radio mix.

Maurice Cherry:
Trying to explain to someone that like, “Yeah. We use cassettes for music and for data storage.” They’re like, “What? I don’t get that.” But yeah, I had a PreComputer 1000. I think I was in probably fourth or fifth grade. I remember that spiral-bound flip notebook. I taught myself how to type on that thing.

Anthony D. Mays:
There it is.

Maurice Cherry:
I taught myself music on that thing. I’m sure my mom wanted to launch it into space because I was making all kinds of noise on that thing. Yeah. And it’s funny, you mentioned getting one off of eBay. Someone gifted one to you. I got one off eBay also-

Anthony D. Mays:
Hey, there it is.

Maurice Cherry:
… a few years ago. I got a Laser 50 and I got a PreComputer 1000 just to have them as artifacts of like, “This is how I got into technology.”

Anthony D. Mays:
Yeah. And I wish that I had the opportunity to meet the product managers or project managers who worked on that because it would be so great to just give them a personal thank you for thinking about a product like this. Again, to your earlier point, I’m hard on this generation of technologists that are coming up because, as you said, they don’t realize how good they have it. And I do understand that there’s a challenge. There’s so much information that it can be hard to pick through what’s reliable and useful from that, which isn’t.

Anthony D. Mays:
But I had to go to a library that had books that were five, 10 years old out of date, trying to teach myself coding and programming, just kind of growing in that. That was a tough challenge, and that was… It was enough to make me give up programming until I got out of high school when I would go get my first job as a developer.

Anthony D. Mays:
I remember feeling so frustrated because I would pick up these old books and I would try to apply what I was learning, but I didn’t understand it all the way and I didn’t have someone that I could lean on to explain. I remember this one time in middle school where I typed out this whole program. I must have spent a couple hours just typing out this whole program into Notepad on Windows.

Maurice Cherry:
Whoo! That takes me back.

Anthony D. Mays:
Yeah. And so, I saved… I just saved this text document as an exe thinking, “Well, all I have to do is just save it and then change the extension to exe and I should be able to double-click and run it.” And I spent an hour just trying to get that to work and it wouldn’t work, and I was so frustrated because I didn’t understand that you needed a compiler in between that’ll produce the actual program. And so, I remember those kinds of moments.

Anthony D. Mays:
And then I think about the fact that my son can watch a YouTube video now that tells him exactly what tools to install and how to make it all work and have all the sample code and then he could put that up on GitHub and all this other stuff. And so, I reflect on that and I try to… I have to kind of take a step back and just not yell at people, not get gangsta at them.

Maurice Cherry:
Yeah.

Anthony D. Mays:
What do you mean? What are you talking about? You ain’t got no struggle. What are you talking about you can’t do this? What are you talking about you don’t have information?

Maurice Cherry:
Yeah.

Anthony D. Mays:
Get over it.

Maurice Cherry:
Oh man. I remember we… Our public library had one book on BASIC. It was like this green and white book. And I mean, I check that thing out every two weeks till the cover came off, taped the cover back on. And because Selma is like a… It’s a small town. It’s like 20,000 people maybe.

Anthony D. Mays:
Yeah.

Maurice Cherry:
No mall or anything. So the nearest bookstore was 50-plus miles away in Montgomery. So if I was like, “Oh, I want to go get a book,” that’s a whole trip. That’s a field trip, pretty much.

Anthony D. Mays:
Right.

Maurice Cherry:
Oh God, I think I got my first HTML book, I might have been in high school or something, but I remember getting it at the Montgomery Mall because we were at some trip in Montgomery and I got it. But there’s… Also during that time, I spent a lot of time in the computer lab by myself. My mom worked at a college. And so, I had access to Windows computers. And I just spent so much time looking at source code, writing stuff down, trying to figure out how it all worked, because I could only do it at the computer lab. I would do that and then have to go home and write a paper on a typewriter.

Anthony D. Mays:
Yeah. Right. Right. Right.

Maurice Cherry:
Because I could only use the computer either at high school or I could use it at my mom’s work at the college. I didn’t get my own personal computer until I went off to college in ’99. But yeah, kids, they don’t know how good they got it. I’m saying kids in a general pejorative sense, but just like, people that are learning technology now, there’s so much at your fingertips. It’s astonishing.

Anthony D. Mays:
I mean, and that’s the thing is… One of the things I try to impress on this generation is the importance of making things and building things and being public about that.

Maurice Cherry:
Mm-hmm.

Anthony D. Mays:
So as you’re learning and as you’re growing, assemble that gallery, assemble that portfolio, and make it external and use social media to your advantage. These are things I didn’t learn till later on, but it was partly because of those reasons that I was able to even get the attention of a Google in the first place. And I think that… I ponder what my path in tech might have looked like had I had the tools that I had. And another part of this too, because having a son and daughter, my son is 15, my daughter is 12, I look at them and I realize that they just don’t have the same gumption. They don’t have the same motivation that I did, my drive and my wife’s drive.

Anthony D. Mays:
We came from a place where you had to find a pathway to success. You needed the struggle. You needed to overcome a lot and be intentional about figuring out where you wanted to go to avoid all the little traps that come with growing up in the hood. And so, we were sufficiently motivated to take advantage of every possible resource we could find and get our hands on to succeed. My kids benefit from a great deal of privilege. And without much effort at all, they have access to tons of information and tons of resources, but not necessarily having that drive.

Anthony D. Mays:
And I think that there’s time for them to develop that and to grow on that. There’s a sense in which I want them to just enjoy ingesting knowledge and doing it carefully, but just being slow. They don’t need to build an empire now. But I’ve got to push them a little bit to put in the work to really realize what they have so that they are being producers and not just consumers of technology.

Maurice Cherry:
Mmm. I want to go back to… You mentioned, in high school, you had this aptitude for technology after learning about it so much. And then for college, you went to UC Irvine. Tell me about that time. What was it like there?

Anthony D. Mays:
That was an interesting and difficult time for me personally, and I don’t mean difficult just in terms of challenging. Yeah, it was challenging, as education should be, but there was also this aspect where I think I had to deal with difficulty that maybe other people didn’t have to experience. The first thing is that I didn’t see a lot of people who look like me and who came from where I came from in classes with me learning about computer science.

Maurice Cherry:
Mm-hmm.

Anthony D. Mays:
I looked at the population of students that I was surrounded by in the computer science program versus in other places of the university and would sometimes think to myself, “Am I in the wrong major? Is this really a pathway and a world built for me?”

Maurice Cherry:
Mm-hmm.

Anthony D. Mays:
And I had to struggle through that. I didn’t have the best study habits. Well, let me put it another way. I was a lazy bum when it came to school. I think part of it was that I didn’t understand how I learned and how I would best ingest information. And so, that was one thing. But the other part of it was that, in school, I had to conserve energy a lot. I wasn’t one of those kinds of people that could just go to school and focus on my studies. I also had to work. I had to earn income to make sure that… And I had scholarships, but I didn’t have a full ride.

Anthony D. Mays:
And so, there was a lot of context switching between being devoted to school, but then also making sure that I’m taking care of bills and other concerns associated with being an adult on your own. And so, I think in the craziest time of college, I would go to school at UC Irvine. I would drive to downtown L.A., which took about an hour and a half, to go work part-time on my job. And then I would sometimes come back to school, which was another hour, finish off classes, and then drive 30 minutes home. And that was a real grind for, ooh, a couple of years throughout my college education.

Anthony D. Mays:
When I talk about providing the perspective of someone who’s underrepresented, there are a lot of people who want to get into tech who have very challenging life circumstances, where they struggle just to either support themselves or their family or whatever that may be, and they’re trying to get their leg up and study and learn all these things, and it’s a challenge. But by God’s grace, even in college, I had a lot of good support and that I had summer internships through the INROADS program. That was fantastic and really helped to root my education.

Anthony D. Mays:
And then during the year, I had the opportunity to work for City National Bank to work as a developer in real life. And so, in addition to what I was getting in the classroom, I was also, in some respects, playing that out in the working world. And so, it was good to have that reinforcement there. And there were a community of folks that I could lean on and talk to. I think there was a good community of Black folks on campus.

Anthony D. Mays:
I did other strategic things. I took gospel choir three times in college. I don’t even know if I got credit for the last time I took it because I think there was a limit, but I would take gospel choir because I grew up in the church and I grew up as a gospel music musician from the time that I was, I don’t know, nine years old, 10 years old, and I’ve been playing every Sunday at church ever since then. So gospel choir in college was a safe space for me, if I can use that phrase, for me to just be around something familiar and around something that really encouraged and gave me hope. So it was great.

Anthony D. Mays:
And ultimately, I left the University of California, Irvine with a 2.87 GPA on the five-year plan. I had gone to a charter school for high school as well and had great education opportunities. I really should have gotten out of college in three years because I came in with college credits. It took me five. And I reflect on how challenging that was and how that experience impacted how I saw myself as a professional after I graduated, because I didn’t have a lot of confidence when I graduated high school, even though I would go on and get a job and all that stuff. I certainly didn’t see myself as big tech material, as Google material. Just walking across the stage with a diploma was a generational accomplishment, if you know what I mean.

Maurice Cherry:
Yeah.

Anthony D. Mays:
And so, when you’re coming from the perspective of survival, any success is big success. And so, it didn’t take very much for me to feel satisfied and accomplished after graduating college. And I had no idea the amount of headroom I had to work with in my career. If I would’ve known then what I know today, I think that would’ve drastically changed my career trajectory and path. I didn’t have those examples. I didn’t have that network of people that I could look to and say, “Hey, I want to be like this person.” I see that they kind of have a path like mine’s and they’ve had some struggles and they’re able to do what they’re doing. I might be able to do the same thing. Let me apply myself. Let me work even harder. Let me take advantage of these opportunities that I was too scared to take advantage of.

Anthony D. Mays:
And I think that’s why I’m so public about my own journey, my own trials, and really kind of getting in the face of other folks who might be like me or might have come from where I’ve come from to let them know that I am that living example of what they can accomplish if they’re willing to take the risks and to step out on faith, as it were, and really own their journey, their path, their growth, and their development.

Maurice Cherry:
Well, once you graduated from UC Irvine, what was your early career like?

Anthony D. Mays:
Yeah. So I transitioned from being an intern to a full-time employee at City National Bank. The experience was a little jarring in that when you grow up in a computer science education, you kind of expect that you’re going to see theoretical things playing out in the real world. And for the first several years of my career, I really didn’t see that happen, and it’s because I didn’t understand that a computer science education is really designed to position you well for working at a tech company or working at a tech-focused organization. And at the time, I was working for a bank. Banks aren’t tech companies.

Maurice Cherry:
Yeah.

Anthony D. Mays:
They see IT as a cost center. They see IT as a… You want to spend the least amount of money possible to get the bare minimum so that you minimize the cost. And so, they just didn’t care a lot about making things fast or quick or really applying, at that time, good UX principles and stuff like that. And so, it was confusing. I’d say, “Hey, we need to do this and have these kinds of practices,” and it was always seen as a burden and as something that kind of slowed down the process.

Anthony D. Mays:
And so, I was confused by this and eventually began to fit into the more corporate IT way of thinking about software development and all those things. That’s useful. It was useful for where I was moving at the time. I learned how to engage with my craft in that kind of environment and find success, but I became detached from what I was learning in school.

Maurice Cherry:
Mm-hmm.

Anthony D. Mays:
And I didn’t really connect with that again until the Google interview, where I had to dust off the Data Structures and Algorithms book and reacquaint myself with the big O and with some of these other formal concepts that I learned in my computer science education. But the upside of working in the corporate environment that I worked in during those times is that because of what I perceived as chaos and disorganization, I got to learn a crap ton of stuff. It’s kind of like working at a startup that just hasn’t figured it out yet.

Anthony D. Mays:
You do 10,000 things, because there’s nobody else to figure it out. And so, you’re just kind of throwing mud at the wall to see if it sticks. That was kind of my experience early in my career. And so, that made things fun. And I would often say yes to things, even if I didn’t know what it was or how it worked. My boss says, “Okay. Who wants to tackle this thing?” “Yeah, I’ll tackle it. I don’t know what this is, but if you give me time, I’ll figure it out.” And I’ve just began to develop and grow that muscle of figuring things out, going from knowing nothing to knowing something to then being effective. Repeating that process over and over again really helped me to develop good, solid problem-solving skills that I would take later into my career.

Maurice Cherry:
And you were at City National Bank for a long time, like almost nine years.

Anthony D. Mays:
Yeah.

Maurice Cherry:
And even after that, you worked at a couple of other places for a pretty long time. You worked at Slalom Consulting. You worked at Junction eCommerce On Demand. When you look back at these experiences collectively, what do you remember?

Anthony D. Mays:
I definitely remember leaving City National Bank and making that decision. What caused me to leave… For me, money isn’t everything. And what’s more important to me, or at least what was more important to me at the time, was growth opportunity and learning. I felt like I needed to learn and grow or at least get paid really good money to stay in my seat. And at the time, I felt like I wasn’t really growing in the way that I wanted to grow and stepping into opportunities that I wanted to step into.

Anthony D. Mays:
And part of that was because I was working for a bank in 2008 in the middle of something called a financial crisis and a Great Recession. So I was not in the best industry for that kind of stuff anyway. And so, I decided to leave at the time to pursue growth in my development. And so, I remember going from this non-technical company to a tech company in JunctionEOD and all of a sudden connecting with some of these things that I talked about learning in my computer science education.

Anthony D. Mays:
I was like, “Oh, okay. That’s where this really applies.” And so, I got to learn a lot of cool stuff and to do some things that would set me up again for success later on. Got to work with a… I’d worked in a large company with thousands of employees, and then ended up working in this department where there were just five of us. And so, it felt very much like a startup or a startup in growth phase. It was interesting to work with… to have a technical manager and someone who was a manager, who was also an engineer. My previous manager wasn’t an engineer. I have experience coding before, but really didn’t dabble in the technical.

Anthony D. Mays:
So to go from that to someone who is technical and having those discussions, I just found that to be cool. And I really learned a lot from my boss at the time, Mike, who was just a great engineer, double-majored in physics and math, I think it was, or actually had a master’s degree in physics and math. So just really a smart guy. I just remember growing and develop… Honestly, Mike, if you’re listening, sorry, wasn’t necessarily the best manager at the time. And so, I perceived that I needed to get myself into a position where I could find even more growth and learning.

Anthony D. Mays:
But again, a lot of what motivated me to move from one place to the other was the learning and the growth, not necessarily the money. Now, as I move from one company to the next, I found myself getting $15,000 raises each time, so that was nice. But it wasn’t something I was looking for.

Maurice Cherry:
Mm-hmm.

Anthony D. Mays:
I felt like it was just necessary for me to keep growing and keep getting better. And if I didn’t feel like that was happening, then I wanted to move. And so, by the time I got to Slalom Consulting, I had the opportunity to work with consultants in past jobs and past roles, and I really loved looking at consultants and watching them work and seeing the kinds of opportunities they got to dive into. And so, when I had the chance to become a consultant, I really enjoyed that, and working on a variety of customer projects in a variety of different contexts and seeing how the same skills I’ve been using for over a decade at that point could be used in a variety of different contexts. And that was very helpful. Very, very helpful.

Anthony D. Mays:
And again, I love this idea of being hired to be an expert in something that I didn’t know or understand yet, being entrusted to just kind of dive in and start solving problems using brand new tools and processes, and I really enjoyed that. And I enjoy Slalom as a company. I think Slalom continues to be a great company and I hear nothing but good things, still, from folks who have worked there in the past and have gone on to other things. I might still actually be at Slalom today if it hadn’t been for Google knocking on the door.

Maurice Cherry:
Well, let’s talk about Google. I mean, I’m sure that folks that are listening have heard about how tough it is to break into Google, their interview process, et cetera. Tell me about what your Google experience was like.

Anthony D. Mays:
Yeah. So I connected with Google as a young man in college, my first and second year of college actually. So Google Search showed up on the scene, and you probably remember Infoseek and AltaVista and Ask Jeeves and those earlier search engines.

Maurice Cherry:
Yeah.

Anthony D. Mays:
And I remember Google Search coming on the scene and just changing the game. All of a sudden, I felt like I had this world of information at my fingertips where I could find exactly what I was looking for with just a few keystrokes. Then I remember Gmail, this free mail service. And people take advantage of, then neglect to appreciate free email. You had Gmail, which is free email service. I could put attachments in and schoolwork there and use it, and it was amazing.

Anthony D. Mays:
And I thought Google as a company name was a weird name. The first thing I said was, “Look at this Yahoo clone. Google. Who do they think they are?”

Maurice Cherry:
Yeah.

Anthony D. Mays:
But they were interesting and innovative, and they were dabbling in a bunch of these different spaces even in the early days. And then they went public and made millions of dollars for folks who had joined the company early and been part of that process. I was attracted to Google as a company and to Google technology. And even today, post-Google career, I still love Google products and services. And I forgot to turn off the device, and so there might be something that… The Assistant might chirp in and interrupt me at any time now. I’ve always loved the technologies and things they built and their ambition as well.

Maurice Cherry:
Yeah.

Anthony D. Mays:
And so, even though I love the company, I never saw myself being worthy of being employed there, being considered amongst the ranks of software engineers there. And so, when I encountered a recruiter in college, I think it was my third year of college, they gave me an application, asked me to fill it out for an internship. I walked away some steps and threw the application in the trash, because I knew-

Maurice Cherry:
Whoa.

Anthony D. Mays:
… that they weren’t going to hire a Black dude from the hood. I just knew that. They weren’t going to hire a Black man from the hood who’s a former physical, sexual abuse victim. I’m like, “No.” So that was my early interaction with Google. And then some years later, 11 years into my career, a recruiter reached out to me over LinkedIn and said, “Hey, I think that there’s a place and a role for you at the company. You should consider applying.” And it felt different because the recruiter used my full name. They singled me out on LinkedIn.

Maurice Cherry:
Yeah.

Anthony D. Mays:
And I had 11 years of career experience under my belt at that point. And so, I felt emboldened to go through the interview process. Yeah. I didn’t have a friend, cousin, uncle, brother, whatever, that had worked anywhere near a big tech company. And so, I had to do what any self-respecting engineer would do in my position. I googled it. “How do you succeed at this interview process?” And I came across some good information but I also came across some bad information. I didn’t know how to disambiguate the two. And so, I ended up studying brain teasers for two weeks and went into this interview process and not a single brain teaser was asked.

Maurice Cherry:
Mm-hmm.

Anthony D. Mays:
And I fought as hard as I could with the information that I had and worked very hard. It wasn’t an issue of work ethic. It was an issue of information and not being connected to the right network. And ultimately, I was saddened to hear from the recruiter that they weren’t going to move forward. And I remember reflecting on that “no” and thinking that I had let down myself, my family, my community, my church, all Black people everywhere, because when-

Maurice Cherry:
Oh, wow.

Anthony D. Mays:
Yeah. I mean, when I’m coming into the space as an underrepresented person, I know that the people that I’m talking to, I might be one of the very few Black folks that they ever talked to, one of the very few people from Compton. Maybe the only person from Compton that they’ll ever meet, and that they’re forming ideas about who I am and about what I represent. And so, I was aware of that burden and I was deeply impacted by that.

Anthony D. Mays:
So when recruiters would reach out the next year and the year after that, I think three times total, after I had failed the interview, I was very confused. I was like, “Y’all know I’m a Black man, right?” Right? Everybody says they’re going to call you back if a position is available. No one ever does. And these recruiters called me back, I think, three times. And my last recruiter understood that I was very hesitant to reengage with the process.

Maurice Cherry:
Mm-hmm.

Anthony D. Mays:
It kind of babied me, kind of coddled me in the conversation. And I kind of walked away from that thinking, “She thinks I’m a punk.” She’s calling me a… That’s really what’s going on here. She’s calling me a punk. I can’t go out like that.

Maurice Cherry:
Mm-hmm.

Anthony D. Mays:
And so, after talking to my wife and getting her support, I realized that I wanted to try again. And so, I picked up Cracking the Coding Interview by Gayle Laakmann McDowell, bought a whiteboard and some markers, really committed myself to studying the right information this time. And as a result of a month and a half of studying for, I don’t know, three or four hours a day, except for Sundays because I’m closed on Sundays, I was able to go through the interview process and get the job.

Anthony D. Mays:
And you would think that after that, everything is happily ever after, like, “Yay, you did it. You accomplished this amazing feat. Now you can rest and ride off into the sunset.” Well, as soon as I got to Google, I felt uncomfortable. And it wasn’t because of anything specific that people were doing. It’s that I just… I couldn’t sit in my seat. I was unnerved and restless. I would sit in this cafe surrounded by free food, free snacks, free beverages, by games and pool tables and really smart people, and my attention would be directed to the basketball court on the first floor as I’m watching these dudes duke it out on the basketball court.

Anthony D. Mays:
And I’m like, I understand that part. I understand basketball. I understand that struggle. I understand that life. I don’t understand this. I don’t understand tech, this new privilege. And there’s this culture shock. I’m forced to dress different than I had ever dressed before. I start off my career in a bank, suit and tie, and everybody’s now wearing jeans and a T-shirt. The whole thing is jarring. My bosses… My co-workers are telling me that I’m doing a good job, and I don’t believe them because I know I’m the diversity hire. Right?

Anthony D. Mays:
You ain’t got to lie to kick it. I’m the diversity hire. You hired me because you don’t have that many Black folks and you just want to make sure that your numbers look good. So I knew all those things, even though it wasn’t necessarily true. And it wasn’t until 2014 when Google released their diversity numbers that I realized what I was dealing with. It wasn’t just impostor syndrome. It was this awareness that I’m this underrepresented person put in this culture that wasn’t built for me.

Anthony D. Mays:
And I felt like, at the time when Google released their numbers, if they were making a commitment to bring visibility and light to this problem, I needed to take a role in helping to solve that problem and using every means at my disposal to bring positive change to the industry using my own experience and journey. And so, I started to write about my journey and experience and share interview tips and talk about things that I did well and things I didn’t do well. I tried to be very public about the failure that I had during the first interview and the successes during the second one, and just be open and honest about the struggles and all that. And as I did that, people would reward me with recognition and with support and encouragement.

Anthony D. Mays:
And I thank God that, at Google, I had the opportunity to start off as an engineer, just heads down writing code, but then eventually become this DEI advocate, this speaker, this consultant within the company, and even outside the company, talking about this experience in recruiting and what it means to be an underrepresented person in tech. And so, I really enjoyed the fact that not only did my boss support me in that work, but my boss’s boss and my boss’s boss’s boss, they all said, “Listen, you do your thing. Keep speaking, keep writing, keep supporting, keep providing value to the tech community, and we’ll make sure that your performance reviews reflect those contributions positively.”

Anthony D. Mays:
I felt like it was a unique time, a unique team, and a great time for me to be involved in the work and growing. And I credit the influence and the things that make me who I am today in part to Google and the people that I had the opportunity to work with. So I think because of that, I know that a lot of people are doing the work. I don’t know that many companies are doing it better than Google is at least in some respects.

Maurice Cherry:
I mean, it sounds like you really found yourself there, not only as a professional but, in a way, almost as a person. You had these early times of impostor syndrome and self-doubt, and you were able to overcome that through your time there.

Anthony D. Mays:
Yeah, absolutely. I mean, there was so much self-discovery for me, partly because of all the bags that I brought through in my life and the time that I was a kid. I mean, I really had to confront my whole life in that whole journey when I got to Google. And I don’t know why it was that it took me getting to Google to do that, but I really went through a crisis when I got to Google.

Anthony D. Mays:
There’s this thing called survivor’s guilt where, when you feel like you’ve survived trauma, you feel guilty and ask questions like, “Why is it that I wasn’t shot and killed when I was 19 like some of my early friends had been? Why is it that I wasn’t being funeralized? Why is it that even though I saw other people who were working harder than me and who I thought were smarter than me, why did I make it to this level and they didn’t?” And I really had to grapple with that. And it took me to some very dark places personally.

Anthony D. Mays:
My wife, my family can tell you that I really found it difficult to bear with that stress. And I told my boss, I said, “Listen, have you ever managed someone who’s a physical and sexual abuse survivor to the best of your knowledge?” Said, “No.” I said, “Well, have you ever managed someone who’s a foster kid from the hood?” “No.” I said, “Okay. So we’re both new at this. We’re both going to figure this out. But my commitment to you is that I’m going to work as hard as I possibly can to contribute to this team, to do excellent work, and to pay attention to my craft. That’s my commitment to you, and we’ll figure the rest out.” And I believe that my manager was very great and understanding in coming alongside with me for that journey and just being open and honest. So I appreciate that to this day.

Maurice Cherry:
Where do you see diversity in tech now, from your perspective?

Anthony D. Mays:
Yeah. It’s still… I feel like it’s still burgeoning. We’re still in the early stages in many respects. I can remember when… Even just a few years ago, we were still struggling to figure out terminology, and that’s one of the frustrating things about working in DEI, is it seems like the glossary’s changing every single year. New words to use, new things to add to the language.

Maurice Cherry:
BIPOC.

Anthony D. Mays:
Yeah, exactly. I think, a month ago, I was like, “What’s that?” And I had to ask somebody, “What’s a URM stand for?” because I forgot what it was. Even when I joined Google, I was just like, “Do I call myself Black or African American?”

Maurice Cherry:
Yeah.

Anthony D. Mays:
I was asking myself that. And so, there’s still a lot of newness in this space. And part of… I think there’s also a conflict between the academic understanding of DEI and things like critical race theory and all that stuff, thought leaders who are on that level. But then you have people who are just trying… who are experiencing what it’s like being in the workplace rubbing up against people that you may not understand, who have experiences that you may not be familiar with and just trying to figure it out on an emotional level.

Anthony D. Mays:
I think those two perspectives sometimes come into conflict and companies are trying to figure out what to do in the middle of all of that. A decade ago, maybe even five years ago, you wouldn’t hear about love being talked about in the workplace, unless you’re talking about workplace romances. But there’s this notion that tech companies are trying to figure out how to love their employees, which is really weird even when I say that now. But I’ve had to expose more of my life in big tech in the past several years than I ever had to before, and that’s because tech, I think pre-2013, 2014, was very much color-blind. We don’t see race, we don’t see gender, all those other kinds of things.

Anthony D. Mays:
There was this big emphasis on an extreme side of the spectrum where you just pretended to ignore these differentiations between people of different backgrounds and whatnot, then tried to typecast everybody as this one thing. And that was harmful, I think. I don’t think that was helpful. To a certain extent, you want to make sure that you have a culture where everybody feels like they’re working on the same mission and going in the same direction. I don’t want to negate that, but there’s also disservice when you are pretending to be color-blind.

Anthony D. Mays:
Last time I checked, color blindness is considered a disorder or a disability or whatever the right word is for that. It’s not something helpful. And so, I think we’re starting to open our eyes and see color for the first time and see some of these other things for the first time and are still figuring it out. And like I said, there’s a lot of things that are happening both at the big tech company and at the small tech company level to correct and chart a new path forward. But it’s messy work.

Anthony D. Mays:
And even that, it’s refreshing to be able to admit that nowadays because back in the days, DEI was a bunch of people who look different, holding hands, singing Kumbaya, sitting in the middle of a park, high-fiving each other. That was kind of the ideal some years ago, and I think we’re realizing that that’s not what the work looks like. The work is grimy, it’s messy, it’s hard, it’s difficult. There’s a lot of disagreement. There’s agreeing to disagree.

Anthony D. Mays:
But at the end of the day, the hope is that all of these different perspectives will inform a culture that fosters innovation and creativity and new ways of thinking about old problems. And so, there’s clearly business opportunity here. I think the research bears that out, and I think companies are understanding that there’s a lot of money to be made by having these discussions and thinking through these things. And that’s not bad.

Maurice Cherry:
What’s something that perhaps not many people understand about you? I mean, I feel like you’ve put so much of your life story out there, not just with the work that you do, but also at the places where you’ve worked.

Anthony D. Mays:
Yeah.

Maurice Cherry:
What’s something you think people still don’t get about you?

Anthony D. Mays:
My faith, absolutely.

Maurice Cherry:
Mmm.

Anthony D. Mays:
Hands down. It’s the fact that I think about all the things that I think about from the lens of someone who’s a Christian and is saturated in the Christian Bible and in the scriptures. I’ve told people countless times, “If you ever want to figure me out, go read that Bible, then you’ll have me dead to rights.” That’s it. I mean, I do what I do because my hero, my Savior, Christ Jesus, was someone who gave himself up for the world. That style of servant leadership, that sacrificing for other people is very core to what I do.

Anthony D. Mays:
Also, just in terms of my work ethic and how I engage, I want to make sure that I’m a good reflection of Christ. I want to make sure that I’m moving in wisdom. Proverbs, I grew up on the Book of Proverbs when I was growing up and learning about everything from how to manage money wisely, to how to have conversations with people that are going to be positive and good, to how to win friends, and how to avoid the traps of street life.

Anthony D. Mays:
A lot of that I learned from the Bible, from Proverbs, and from looking at these exemplary figures, these historical figures, who have to overcome a variety of different circumstances and challenges and trials with their faith rested on God. And that’s how I move today. So much of what I do is also gospel-focused too. I think one of the things that helps me to be a DEI practitioner, talking about diversity, equity, and inclusion, is my faith. Seeing people as made in the image of God.

Anthony D. Mays:
For me, it’s not about just helping Black people or just helping brown people or just helping women, whatever that is. It’s about helping anybody in the space that wants to be successful. And then there’s this other aspect of like, “I know how evil I am in my own heart because the Bible teaches me that.” And so, I can have a conversation with someone who maybe is an overt racist and talk about their viewpoints and talk about why I might disagree with them and call them to have hope in Christ and to see that their thinking is evil.

Anthony D. Mays:
But I also know that I’m a bad dude. I have done things over my own career and over my own life that I’m certainly not proud of because they were wrong, and that means that I can have compassion towards other people who I disagree with and have those calm conversations. One of the things that I tell people all the time is, “You can ask me about anything with regards to race, gender, my life, whatever. I don’t care. My promise is that I’m not going to get angry with you. You’re going to get nothing from me but love and compassion as we talk through very difficult things,” because that’s the way my Savior moves. That drives so much of what I do and how I think about the things that I think about.

Anthony D. Mays:
I’m glad that I’m able to reflect the goodness of God, reflect the grace of Christ in what I do. And hopefully, people see that. Hopefully, people perceive that. And hopefully, people are curious about what drives me to do the things that I do with the level of excellence that I try to pour into those things.

Maurice Cherry:
What are you excited about at the moment?

Anthony D. Mays:
So I’m very excited about the work that I’m doing with my client, Karat, as the newly signed technical advisor, senior advisor, with the Brilliant Black Minds program. I love the Brilliant Black Minds program because what they’re attempting to do is provide free interview practice to HBCU students. If you know anything about interview prep in these days and times, it can be very expensive. There are some companies and organizations out there that are just charging obscene amounts of money to provide candidates… to kind of prey on the hopes and dreams of candidates who are looking to crack FAANG companies.

Anthony D. Mays:
But Karat wants to provide free interviews to Black HBCU students and to help them level up in their careers. And I love that because I remember how difficult it was for me to connect to good and reliable resources, and I think this is such a wonderful opportunity for our students to finally get feedback and support that they may have been lacking before. And so, I’m really excited about that program. I’m really excited to see it grow and expand.

Anthony D. Mays:
I think that this is one of those things that if we get this right, it will really take off and be a substantive force in the industry. So that’s what I’m excited about, and I’m really excited to continue to partner with them to grow and expand the impact of that program so that, though we may be focused on supporting Black engineers today, that this is something that will be opened up for everybody in the near future. Yeah. That’s what I’m looking forward to.

Maurice Cherry:
When you look back at your career and you even look now to where you’re at with your firm and with your family and everything, what does success look like for you now?

Anthony D. Mays:
For me, the measure of success has remained constant. It’s how well do I reflect Christ in my life, is really what it comes down to. And I think that being able to continue to support for my family and take care of their needs while also providing transformative impact on the industry in which I’ve grown up and become accustomed and have grown in, that’s key for me. And so, I want to continue to amplify and multiply the impact that I’ve had in tech to help more people get in and succeed.

Anthony D. Mays:
My hope is that, by doing that, I can leave a good example and legacy for the generation that’s following after me, because I’m not just an observer of Black history. I’m a participant in it. And I’m continuing that legacy so that future generations will benefit.

Maurice Cherry:
Where do you see yourself in the next five years? What do you want the next chapter in the Anthony D. Mays story to look like?

Anthony D. Mays:
Yeah. That’s a really tough question. That’s been on my to-do list to answer that one. I haven’t quite gotten around to it in the two months that I’ve been a full-time entrepreneur. But I think just real quickly, I hope that in five years, I’ll be reading a news article about how my efforts has transformationally changed the tech interviewing landscape, that I want to be able to, in five years, read that article, that I want it to be said that, through the work that I did, I was able to help this industry almost leapfrog in terms of how we deal with and grow and develop underrepresented talent in the business. So that hopefully will be my contribution, but we’ll see.

Maurice Cherry:
Well, just to wrap things up here, where can our audience find out more information about you, about your work, about your firm? Where can they find that online?

Anthony D. Mays:
Yeah, absolutely. So I’ll make it easy for all of your listeners. Anthony D. Mays, D as in diversity. Anthony D. Mays, M-A-Y-S, on all the things, Twitter, Instagram, LinkedIn. Feel free to connect with me. I’m also at anthonydmays.com and that’s a great place to find articles that I’ve written about tech interviewing, working in tech, being underrepresented.

Anthony D. Mays:
If you want to book me for speaking, I’m also there. Yeah. You can also connect with Morgan Latimer Consulting right through that page. So it’s all there. Just visit anthonydmays.com and connect with me. I’d love to chat with you and figure out how I might be able to help you in your journey and your career.

Maurice Cherry:
Sounds good. Well, Anthony D. Mays, I want to thank you so much for coming on the show. I mean, I had a sense, from doing my research, how the interview would go in terms of your story and what you’ve put out there. But I guess I didn’t realize how similar in a way we were in terms of how we got into technology, growing up in, like I said, these dubious towns and things.

Maurice Cherry:
I hope that people will listen to this interview and not only, I think, seek out your services, but see just where and how far passion can take you. It was very clear to me from listening to your story that you have this passion for technology that would not quit, and to the point where it not only got you to working at one of the top tech companies in the world, but that it also, in a way, started a journey of self-introspection to get you to where you are today to be just a stronger and better person. So thank you so much for coming on the show, man. I really appreciate it.

Anthony D. Mays:
Well, thank you so much, Maurice. This has been quite a pleasure.

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Ayrรฏd Chandler

We’re off to the Caribbean this week to talk with the incredibly talented Ayrïd Chandler. Ayrïd is the head of her own studio, Ayrïd by Design, where she offers graphic design services with a focus on brand and identity design. She also teaches at the University of the West Indies in St. Augustine, where she’s helping to educate and inspire Trinidad and Tobago’s next generation of designers.

Ayrïd starts off talking about her goals for the year, and from there we get into the differences between being a designer in Trinidad vs. being a designer in America. She also spoke about what draws her to brand and identity design, and talked about entering Savannah College of Art and Design, moving back home, and how she’s making a name for herself there. Ayrïd’s path really shows us that as Black designers, we share a similar sense of community no matter where we are, so you’re never alone. Huge thanks to Rebecca Brooker of Queer Design Club for the introduction!

Transcript

Full Transcript

Maurice Cherry:
All right. So tell us who you are and what you do.

Ayrรฏd Chandler:
My name is Ayrรฏd Chandler. I am technically an officially a graphic designer. I run my own business firm studio, one-woman show called Ayrรฏd by Design here in Trinidad and Tobago. I primarily work on branding identity projects. Apart from that, I am a part-time lecturer for design at the University of West Indies St. Augustine, which is here in Trinidad. There might be other things I’m [inaudible 00:03:15] that I do, but we can get to that.

Maurice Cherry:
Okay. How has the year been treating you so far?

Ayrรฏd Chandler:
Whew, it’s been interesting. I feel like 2022 has started kind of with a bang in a different way. I mean, things are changing with the pandemic, but then World War III question mark. I feel like a lot of stuff is just happening globally. I don’t know about you, but as a creative, all of those things kind of impacts me a little bit. I feel like because of the weight or the toll that can take on mentally consuming all of the information all the time. It kind of puts it own on things.

Ayrรฏd Chandler:
But apart from those obvious things, the year started actually with me doing a lot more than I planned on doing. I ended up being a creative director at the local agency here, working on ruling out some digital products. And then that got pause due to pause and investments. There was a lot of shifting happening, where I went from working on external products to focusing more on Ayrรฏd by Design, instead of juggling the two. Feel like that was a mouthful of your very simple question, but that’s all the year has been going for me.

Maurice Cherry:
Yeah. It’s interesting about as you kind of alluded to about World War III and I promise for folks listening, this is not a political podcast, but I’ve been kind of keeping my eye, just I watch the news every now and then just to kind of get a sense of what’s happening. I mean, as we’re recording, this conflict has been going on now for roughly about six or seven weeks.

Ayrรฏd Chandler:
Yeah.

Maurice Cherry:
It doesn’t show any sign of abatements. It’s tough to kind of see, of course, all the devastation that’s happening and the general pleas from the President Zelensky. Yet, I know people that are actively traveling to that part of the world without a care in the world, and I don’t get it. I don’t get it. I’m like, look, I know you’re a few countries away and maybe that distance means something, but like, I don’t know if my American self wants to be in a war torn part of the world right now, but that’s just me.

Ayrรฏd Chandler:
Yeah, no, I mean, I have friends and family in Europe and London and Germany and life is normal. Life is like every day, no big deal. Then I have a friend who is actually Russian, but she lives on this part of the world and she’s just like painting a picture for me of what that means and life, I mean, the war is really from what I understand only happening in, I mean, certain parts, right?

Maurice Cherry:
Yeah.

Ayrรฏd Chandler:
It’s not even affecting the country as a whole. It’s like say, and there’s a war in the US, but it’s really just happening in Washington. The rest of the US won’t really be in war. You know what I mean?

Maurice Cherry:
Yeah. Yeah.

Ayrรฏd Chandler:
I think it’s a very similar kind of situation where we just think, well, the whole of this thing is being affected when it’s really just a portion. But I think it’s just the fact that we are getting all of the imagery, we’re getting all of the information live. Like it’s not like before in the previous war, there was no social media. There was no, you know what I mean? It took a while to get news update. We’re getting everything instantly. I think that is what’s making this so different, at least for me. I mean, I haven’t existed in a war before, overtime.

Maurice Cherry:
Yeah.

Ayrรฏd Chandler:
It’s just new.

Maurice Cherry:
It’s also different to be completely honest that it’s happening to Europeans.

Ayrรฏd Chandler:
Yeah.

Maurice Cherry:
When this is what’s happening to Syrians and Palestinians, and there were news about these sorts of things happening, there certainly wasn’t this level of focus on it.

Ayrรฏd Chandler:
Nope.

Maurice Cherry:
Yeah.

Ayrรฏd Chandler:
Yeah.

Maurice Cherry:
Geopolitics aside, is there anything in particular that you want to achieve this year?

Ayrรฏd Chandler:
Yes, I do, actually. I would like to achieve financial independence and stability. That is the main goal for me this year. And what I mean by that is actually having the profit that the business makes then stuck up to a point where the business kind of can run on its own and it’s more sustainable. Right now, I think we’re still very much in those early stages of, I won’t say paycheck to paycheck, but month to month, certain projects will definitely make a difference, that kind of thing. And so, being able to kind of get that stability within a personal business that one might have, they had a day job, I think that’s kind of the goal that I’m aspiring to for this. Yeah.

Maurice Cherry:
Let’s talk more about your firm Ayrรฏd by Design, what made you want to start your own firm?

Ayrรฏd Chandler:
I came back home in 2012 after I graduated from college. I haven’t realized that I’m one of those people that didn’t go the traditional route of started off with a day job and then decided to leave and do my own thing. I kind of always worked on my own. I went straight from college, well, not straight, like mainly from college to freelance to registering my business. Honestly, I was freelancing for six years and I discovered all of the different things of how business worked in Trinidad and basically, my banker was like, “You’re commingling your funds, right?” I was like, what does that mean? She was like, “Well, you’re passing business funds into your personal bank account.” I was like, what do you mean business funds like money that I’m earning? She was like, “Yeah, you’re supposed to have a business account for those things.” I was like, oh, I did not learn this from school. I never heard this before.

Maurice Cherry:
Yeah.

Ayrรฏd Chandler:
I don’t know anything. And so, that kind of took me down a trajectory of the researching things and finding things out and talking to different people and that kind of thing. And also, it came at a point in my life when I really wanted to ground myself a bit and set roots on structure and stability. It was a kind of a natural make sense progression of, okay, no, you need to make things official. You need to go and register your business name. You need to be a legal, registered entity. You open your business banking accounts. I got an accountant. Like I did all of the things correct to make sure that I was set up properly and that led to so many different opportunities, which was great, so yeah.

Maurice Cherry:
I mean, it’s interesting, you mentioned that about it, not you being taught in school. I know that there are some schools that do have some kind of entrepreneurial program, but even for folks that want to just strike out on their own like, I know so many people have done over the past year or so because of the great resignation, like that kind of information isn’t super, I don’t want to say it’s not super available, but it’s certainly not something that is I think talked about a lot.

Maurice Cherry:
I mean, when I started my first business, I had the same issue. I was co-mingling personal funds and business funds before kind of getting my taxes back and getting audited and then realizing, you know what? I should probably separate these funds, which makes more sense. It just makes more sense.

Ayrรฏd Chandler:
Yeah.

Maurice Cherry:
But that’s a lesson I had to learn the hard way.

Ayrรฏd Chandler:
For sure. For sure. Also, to your points of like information being readily available, I mean, I’ve a 100% agree from being in the US system, at least for my college and my education, that information is way more readily available for you guys. But in the Caribbean, information is still kind of pretty hard to get in terms of the structures of things. And so, you have to do a way more research. You have to actually speak to another human being. It’s not as easy as go look it up somewhere because our websites are still… We’re very much kind of a little bit behind. I’d say we are a decade behind in terms of that sort of thing.

Maurice Cherry:
Yeah, but decade is a lot though, I mean.

Ayrรฏd Chandler:
Yeah, I mean.

Maurice Cherry:
I’m glad that you mentioned that it is different like that in other countries, because certainly I think what’s shown here in the US is about sort of being a digital nomad and you can work from anywhere if you work remotely and this kind of thing, and I mean there’s limitations.

Ayrรฏd Chandler:
It was blessing for us…

Maurice Cherry:
What did you say?

Ayrรฏd Chandler:
… in a weird way. The pandemic was a blessing for us in a weird way because it forced us to get things like online banking, which we did not have before.

Maurice Cherry:
Really?

Ayrรฏd Chandler:
Yeah. Things like apps on being able to pay someone who banks somewhere else in Trinidad was a challenge, which set up a challenge usually for business. At least to me as someone who, I mean, I learned banking with like Chase and Wells Fargo when I was in college. I was accustomed, getting paid by the company that I worked on in Atlanta taking out my iPad at the time, scanning it on the app and having the money in my account. Then I came back to Trinidad and someone would pay me with a check and I’d have to go sign in a bank line, deposits that check and then wait four to five business days to access the check. It’s very different realities and that affects business as well.

Maurice Cherry:
Walk me through like a typical day for you.

Ayrรฏd Chandler:
Sure. I always like to say no day is typical and every day is very different, but to paint a kind of a picture. I would start the day, usually catching up on emails. I have an assistant who I work with and she helps me establish what my to-do list is and what are the priorities in terms of clients, et cetera. I usually would have a meeting or two and these will all be online. It’s usually me chat, checking in with a new client, having a conversation about what their project is like, that kind of thing. Then it’s usually like four hours, especially if I’m working on a new branding project of just computer one on one time with zero disturbances. Well, I try for it to be with zero disturbances, but I have a dog that likes a lot of attention.

Ayrรฏd Chandler:
I usually just go into this whole work where the world does not exist and I’m in my creation mode. Then after that, it’s kind of, I do whatever I want in terms of relaxation, et cetera, and prep for the next day. The reason why I say it’s like there’s no typical for me is because that might be like a Monday, whereas if you were to ask me about a Wednesday, what tomorrow, it starts with me teaching my students, because I teach on Wednesdays from 9:00 to 12:00. And so, a Wednesday would start with me teaching and then most likely doing, having no other meetings for the day, just to kind of clear my head and focusing on getting tasks off my to-do list kind of knocked off. But I would say like if it was to broaden it a bit and talk about a week and a general week, it would be typically a little bit of teaching, many meetings, lots of discussion with my assistant as well as someone that I recently started working with who was kind of helping me structure systems and processes within my business.

Ayrรฏd Chandler:
Like set it up for a more sustainable model. A lot of just talking things through, talking steps through, talking like, okay, what is the process from the time I engage with a client to the final stage where they receive the final artwork, like what are the steps? When do they fill out the creative brief form? When do we meet? When do they make their first payments? When do they make their second payments? So stuff like that is kind of, what’s been happening a lot lately. Of course, well, the actual design work within those probable period.

Maurice Cherry:
What are the best types of clients for you to work with? Do you kind of work along clients in the particular industry?

Ayrรฏd Chandler:
No, I would say I work across multiple industries, both within the creative sector as well as corporate, as well as I think anything in between, best clients would be a paying client.

Maurice Cherry:
Hello?

Ayrรฏd Chandler:
Those are always great. No, but the ideal client for me is someone who’s a little bit open and clients who trust me, I think is what I am leaning towards noting is so important in the creative process. I work a lot with, I mean, well, as an identity designer, someone who’s there at the beginning kind of creating the logo for your new business, your new baby, your new idea, your new project or whatever. That’s kind of, I would say like 75% of the work that I do. I’m there at the beginning, right? I’m there with this person and they’re like, well, this is this thing that I’ve always wanted to do. And finally, getting started and I want to open a bakery or I want to create a new product. Those are kind of the SME as we call them that come to me and who I work with. And so, those are, I would guess the ideals right now, because they’re fun to work with.

Maurice Cherry:
What is it about identity design in particular that appeals to you?

Ayrรฏd Chandler:
That’s an excellent question and I’m now like I have my hands down and I’m thinking deeply to answer your question. I think I’m good at it and I know that sounds kind of weird and conceited a little bit. I don’t mean it in that way. It’s just that it feels kind of second nature to me. It feels like the thing that I am meant to be doing and I’m able to do well. Even when I was studying design in college, like that was the thing, that was the part that made my brain tingle.

Ayrรฏd Chandler:
I guess when we did a different courses, maybe someone more into web, their brain might have tingled when we were doing that. But for me, being able to tell someone’s story visually is really, really appealing to me. And so getting into this, the background of why you’re doing this and how you want your customers to feel and what is the best way to put all of those things together to kind of become the new face or look of your business, your project, your company, whatever. It just it’s really exciting for me. Like I love it, so yeah.

Maurice Cherry:
When a company or an individual contacts you about a new project, like talk to me about that, what does your process look like?

Ayrรฏd Chandler:
Sure. It’s changed recently, so I now know it officially. Usually, an email comes in and it will go straight to my assistant and she would kind of be their first point of contact. They’d be like, hey, I’m interested in finding out more about blah, blah, blah, blah, blah. Most of the times, people want a quote. That’s usually where the first thing they want to know is like, if they can afford you or how much it’s going to cost and that kind of thing, at least here. What I do is we send a form that I’ve created that helps get information from the client to create a creative brief, because the typical client wouldn’t know what a creative brief is outside of certain industries. It’s just not common knowledge.

Maurice Cherry:
Yeah.

Ayrรฏd Chandler:
I created this form that allows them to answer certain questions that ultimately creates a creative brief for me. But it also does things like ask, what’s your budget, et cetera, et cetera. What are the actual deliverables that you’re looking for? It kind of lays all of that out for me. Then from that point, we send a quote and it includes things like the timeline, how long the project will take, and it also lays out the kind of rules of engagement. Like, when you’d get your first invoice, when you’d get your second invoice, who has ownership, who’s rights and credits, all of those things are kind of I include my, what you would call like a contract within the quote process. From there, the client either says yes or no, and usually it’s yes, thankfully.

Ayrรฏd Chandler:
Sometimes, we need to meet and chat a little bit more about the project, sometimes we don’t. There’s some clients who I literally have never had a meeting with because they’ll just so very clear and they’re answering the form as well in their emails. And they’re like, “yeah, no, I don’t need to meet you, it’s fine.” But most of the times, there are instances where we’ll meet and just talk about a project a little bit so I can get a better sense of what it is that they’re looking for.

Ayrรฏd Chandler:
Then, I begin and head to phase one, which is usually sending, creating a document to send options for them, whether it’s one option based on their budget is on what they sent, whether it’s two options, whether it’s three options and I go through this process of research based on the industry. The great thing about what I do is that I get to learn about all of these different fields and lives and businesses that I would never have otherwise been exposed to. One day, I’m looking up all of the information about NFTs, the next day, I’m looking up real estate and how that works in Trinidad.

Ayrรฏd Chandler:
I just go like a deep dive into whatever the industry is so that I can understand it. I can see trends. The great thing about this, that I get to go this deep dive into different industries, what people are doing, and so I research the trends within the industry. I research things like what colors do people use? What are the font styles? I’m really good at observing patterns for some reason. I feel like that’s like little secret thing that I have. And maybe not, maybe that’s what all designers do and I just am giving myself more importance than necessary. I tend to like just pay attention to all the trends, pay attention to all the details and then go back to the original notes that the clients gave me of what they want, what they want to achieve and marry it all together to achieve this perfect for them outcome.

Ayrรฏd Chandler:
I send that off, then comes the pain taken part of waiting for client feedback, which I think is always like, it’s like the best and worst part of the project for me, at least because it can go either way. It can go, I hate this and you’ve not understood anything that I said, or it can go, oh, I love this, and this is what we want to move forward with. From that point on, it’s just back and forth with the client, whether it’s edits, whether it’s tweaks, changes, colors, fonts, et cetera. Then we get to the end when they finally made their final decision, I package all the wonderful files for them and I hand it off and I say, here’s your child. Goodbye, good luck. That’s kind of how I do it.

Maurice Cherry:
I mean, your process sounds pretty thorough from start to finish.

Ayrรฏd Chandler:
Yeah. I try to get as much information from clients as possible because that ideally is what helps me create. I think I’ve kind of figured out a way to eliminate as much as possible that back and forth period. Whereas in the early, when I first began, the back and forth was long and tedious and I didn’t ask as many question upfront as I do now. I wasn’t really designing for them. I wasn’t solving their problem. I was designing for the thing in general. I was designing for like, say someone wanted a logo for real estate. I was designing a generic real estate something. I wasn’t designing real estate but based off of what they wanted to achieve.

Ayrรฏd Chandler:
And so, I think when I finally figured out that I needed to be more in tune with the clients as well and asking them the right questions so that they would know, like not necessarily asking them what they want, because that’s not really what I want them to tell me, but more so what are their goals? What do they want to achieve? Why are they doing this? All of those questions help me then make sure that they have what it is that they need. I have noticed in the past couple of projects that I’ve wrapped up, that the back and forth period is way shorter as a result of that because of those questions upfront.

Maurice Cherry:
Yeah. It’s usually really good to get as many qualifying questions as you can, because one thing it does also like you’ll quickly find out whether or not this is a project you even want to do. If it’s something you want to take on, if this is a client you even want to work with and certainly like, as you do more projects and as you mature in your business, you get a lot quicker at getting to the root of it.

Ayrรฏd Chandler:
Yeah.

Maurice Cherry:
That’s good that you kind of have that thorough process.

Ayrรฏd Chandler:
Yeah.

Maurice Cherry:
You’re originally from Trinidad and Tobago, tell me about what it was like growing up there?

Ayrรฏd Chandler:
It’s been amazing. I enjoy being part of the Caribbean and I think growing up here was fun, I guess, would be the word I would choose. I am a carnival baby and what that means is that a huge part of Trinidad’s culture. And I say part of, or not the only thing that is Trinidad, because we have so much more to offer, but a huge part of it is our annual, I guess, street parade is what would be the best way to describe it. But it’s really a season that kind of begins right after Christmas, straight until the February or March, depending on the year, because it usually lines up with whenever Ash Wednesday is. It’s usually Monday and Tuesday before, so similar to Rio, I think also similar to New Orleans, all of our carnivals kind of line up around the same time, but I grew up playing kiddies carnival, which happened before the main Monday on Tuesday parade, trust that ability to express this freedom and creativity and this open way always really, really fascinated me.

Ayrรฏd Chandler:
And so, when I say I’m a carnival baby it’s because like from the time I was five years old, I was engrossed in this culture and I was playing these things. We say playing carnival, we say playing mask, that’s kind of how we refer to it. It was great. Like I was ready like the first time my mom told me, like the first time she took me, she was like, testing me out to see if it was something I’d be interested in. When I realized that it was only one day, because I thought I was going back like the next day, like how you go back to school every day.

Ayrรฏd Chandler:
And she was like, no, you have to wait until next day. And I was like, what? No, tomorrow. So yeah, I would say growing up is very unique. I would say, I mean, I don’t know how many foodies there are out there listening, but if you’re a foodie, Trinidad is definitely a place to enjoy all of the flavors. I mean, moving to Atlanta directly from Trinidad for college was an awakening because I didn’t realize how much I loved our food until I left Trinidad, so that’s always really interesting. Yeah.

Maurice Cherry:
You didn’t run into any good like Trini spots here in Atlanta?

Ayrรฏd Chandler:
Yes, it took me a while, because I mean this was 2008 to 2012 was when I was there. I didn’t have as much information and that first year was just me getting used to the fact that I am no longer home and dealing with the culture shock, which I didn’t think I would have. Because I was like, well its people where speaking English, there’s no language barrier, but learning, appreciate you or appreciate it, it meant thank you. That was like [inaudible 00:27:43] I guess. I was like, what do you say? Appreciate it, man. I’m like, what? There was a lot of back and forth with that in that first year for sure. And getting used to cafeteria food was also very interesting, lots of tilapia. It was weird time. It was very weird time, but I know I did eventually find some Trini spots there and I also started cooking for everyone and so it worked out, eventually.

Maurice Cherry:
Oh nice.

Ayrรฏd Chandler:
But yeah.

Maurice Cherry:
Yeah. Atlanta has a pretty big like overall Caribbean population, especially for students. I went to Morehouse. In the whole AUC area, especially when I first got to Morehouse, that was first time encountering anyone from the Caribbean outside of a bad impression that I might have saw in a movie or a television show.

Ayrรฏd Chandler:
[Inaudible 00:28:34].

Maurice Cherry:
I’m from Alabama originally so it’s just like one state over.

Ayrรฏd Chandler:
Okay.

Maurice Cherry:
But I remember getting to Morehouse and meeting Jamaicans and Trinidadians and Saint Lucians and at first thinking like everyone just sounded the same because I could kind of understand it, but I couldn’t understand it. But then also learning just the differences in everyone’s culture and the food, that’s where I introduced to roti and doubles and everything. Yeah, I know what you mean by the culture shock. I think Atlanta, I think for a lot of people when they first come to Atlanta from anywhere, it’s a bit of a culture shock.

Ayrรฏd Chandler:
Yeah, for sure. Also, I mean, I don’t want to sound like a little bit of an alcoholic or anything, but we drink at 18 in Trinidad, when you guys drink at 21.

Maurice Cherry:
Legally.

Ayrรฏd Chandler:
Legally, but like going to the club for me and being told that this was before you all changed the law. This was back when like at midnight on Sunday, the bar closed because y’all didn’t serve on [inaudible 00:29:42]…

Maurice Cherry:
Yeah.

Ayrรฏd Chandler:
… on Sundays. That was huge for me. And not realizing that I couldn’t like walk along the street and drink a beer because that’s just a thing that we do here, Savannah was kind of like a safe haven for me because you can kind of do a lot down by the river.

Maurice Cherry:
Yeah.

Ayrรฏd Chandler:
And so, I was always kind of running away to Savannah just to get a bit of what I learned for you a little bit just like a little bit of home, but yeah, all of those things that you like you don’t think about that are things until you experience it and you’re like, oh, this is something that I have never experienced before. Interesting.

Maurice Cherry:
Yeah.

Ayrรฏd Chandler:
Yeah.

Maurice Cherry:
Now, now your dad worked in advertising, was that kind of your first introduction to the world of design in a way?

Ayrรฏd Chandler:
I feel like it could be, possibly. I grew up watching commercials and critiquing them with my dad. That’s just kind of a thing that happened in the household and never did I put the two and two together and be like, oh this is a Korean, this is a thing that I would then be doing in the future. It was never that direct or that straightforward. I would be… And my dad works at [inaudible 00:30:51] in Trinidad for many years and after school, that’s just where I ended up. And we would be the office until eight, nine every night because advertising, at least here, I know globally, it’s intense but here is many late hours and long hours of just making sure that clients are happy. I don’t know that I ever made the connection with this is like a profession or a thing that I can do or wanted to do.

Ayrรฏd Chandler:
I knew like very early on that I wasn’t never going to work in advertising because of the demand and the hours that it puts on someone. I think everyone was really surprised when I was like, oh yeah, I want to do graphic design because it was not a, well, I’m following in my dad’s footsteps or I’ve been exposed to this thing, to this long and this is what makes sense. After did languages in school afternoon, even do art and well, what we call secondary school that you guys would call high school. It really wasn’t like a very clear cut sort of thing that happened at all.

Ayrรฏd Chandler:
It kind of became a, well, what do you enjoy doing and what are you doing naturally? I was a person that was like creating event programs in school for our masses. I went to like Catholic girl school and we’d always have weekly masses and I was doing the program for those kind of things. I was there and illustrate [inaudible 00:32:13] in on my dad’s computer, that kind of stuff. It came that way, as opposed to like me watching this person that I’ve lived with my entire life kind of doing this thing and following him, if that makes sense.

Maurice Cherry:
No, that makes sense. I mean like, I mean, I grew up, my mom was a biologist and I never wanted to really go into science I think because I was always around it, and I was not to say that I didn’t have a passion for it or a proclivity for it. It’s just because it’s around, it doesn’t necessarily mean, oh, this is the thing that I want to do. Like, she was like super surprised when she saw that I was really into writing. Then when I went to college that I majored in math. She’s like, what? She didn’t really understand where that was all coming from because she thought I would either do… She thought I would either do biology or like pre-med or something like that, and I had no interest in it whatsoever.

Ayrรฏd Chandler:
Good.

Maurice Cherry:
Yeah. What was it like SCAD for you? I mean, you mentioned that first year kind of being a bit of a culture shock, but how was it overall?

Ayrรฏd Chandler:
It was great. I mean, I was finally happy to be doing something that I enjoyed in a school structure because prior to school, like just to be completely transparent here. When I graduated from secondary school, high school, I had a 1.96 GPA.

Maurice Cherry:
Oh wow.

Ayrรฏd Chandler:
I got into SCAD with a 1.96 GPA, let’s just put that there.

Maurice Cherry:
Okay.

Ayrรฏd Chandler:
This system here just didn’t appeal to me at all. Like I was doing it because I had to and not because of… And I wasn’t interested, I wasn’t engaged, it wasn’t anything like that. When I got to SCAD, it was like, oh my gosh. Like all of a sudden, I’m getting to do subjects, I’m choosing. All of a sudden, I’m getting to participate in this thing that I have actively decided like I’m interested in. It was the first time of me enjoying an academic setting at all, and it was great. I think we had some really great professors in the graphic design field. They made a huge difference for sure. Definitely, finding community and bonding with different people in different walks of life, from different parts of the world was really fun as well.

Ayrรฏd Chandler:
I was also really active in student life. So I was like an RA. I was the youngest RA at the time because usually you’re only allowed to be an RA once you get into your second year. But by the end of my first year, I was an RA and then I became CA and I also was one of the loud ones who probably administration did not like, but I got the food to improve in the cafeteria. Well, what we call the hub in Atlanta and I met with like the manager of the food, situation was like, how can we improve this? And can we change up the menus? Can the recipes can change? Like you’ve been cooking the same thing for the past two years, what’s going on? And so yeah, there was like a huge shift that happened literally my final quarter was when the results started to show. The food that they serve now is amazing in comparison to what we got. I still take small credits every now and then I’m like, you’re welcome guys, you’re welcome.

Maurice Cherry:
You paved the way.

Ayrรฏd Chandler:
But yeah, no, it was great. It was really, really nice to just be in a setting that foster learning a thing that you already figured out that, that’s what you want to learn. You know what I mean? Like it was fun.

Maurice Cherry:
Yeah. After you graduated, like tell me about what your early career was like? Because I’m kind of curious about this period right after you graduated and you were in Atlanta before moving back to Trinidad, because you kind of alluded to that a bit earlier.

Ayrรฏd Chandler:
Sure. [inaudible 00:36:16], well, for graphic design, we used to have this event called Out to Launch and basically it’s a reverse kind of portfolio review session where we set up booths. We, being the students, set up kind of a little booth about ourselves and our work. And then SCAD invites perspective employers and businesses and companies within our field to come and meet us. And so, we kind of sell ourselves at this kind of trade show kind of set up. It’s called Out to Launch and it’s for the graphic designers. It was meant to then introduce us to folks who we would then get jobs with after graduating. It’s in that final quarter and everyone, the pressure was on from that point in terms of, we were very much an interview stage and I was calling everyone and having interviews with folks, et cetera.

Ayrรฏd Chandler:
I had the option for OPT for a year, which allows non US citizens to stay and work in the US for up to a year after they graduate, legally. I guess the hopes is that a company loves you so much that they would then sponsor you so that you can get a work visa and stay on permanently. I interview with many folks and for some reason did not get through with many opportunities. Eventually, I connected with a company called Atleisure. I don’t think they exist anymore, but at the time, they were an outdoor furniture design company. They were based near Grant Park area, and they were looking for an in-house graphic designer to work with them, for things like instruction manuals and labels for their product. When I say outdoor furniture company, I’m talking things like patio furniture, umbrellas, that sort of thing.

Ayrรฏd Chandler:
That was my first job. For three months, I was there, it was an internship. I was the in-house graphic designer. They would provide things to like Target and QVC. Those were like where they were selling these things. They had the furniture designers in-house who were creating their designs and then sending it off to China. Then I was like on the phone with China folks to get the instruction manuals and then design it with the established brand that they had. I had to tweak the brand a little bit because the brand was really rough when I joined. I was like, no guys, this is nuts, and I tried to tweak it a little bit, but there was only so much I could do because it was already registered and that kind of thing.

Ayrรฏd Chandler:
It was a really, really interesting time. I mean, looking back now, I see how that job helps me for a lot of the things that I’ve since done in a lot of the projects that I’ve since worked on. In the moment though, I will admit that I was very sad because in comparison, I had classmates who were interning at Nike and who interning at Apple and who were interning at Coca-Cola. Then there’s me like just interning at this furniture design company. I’m like, what gives guys?

Ayrรฏd Chandler:
There was definitely that internal sort of am I good enough? What’s going on? What am I doing with my life kind of thing. But I also was that person who even when I left to go to college, knew that I didn’t want to stay and work in the US. I knew I eventually wanted to come back home. I think maybe that’s what folks saw as well in my interviewing process, even though I wouldn’t have said that out right. I think maybe seeing that I was not as dedicated or connected to staying in the US, so work permanently because they would’ve been looking for folks who they could then hone and then have a staff afterwards, so maybe that was a thing.

Maurice Cherry:
Yeah. I wonder for young designers particularly here in Atlanta and this is something that I have, I’ve discussed it with business folks here with studio owners and things like that. For design graduates that are just coming out of school right now, Atlanta is a tough city to break into for your design career just overall for a number of reasons. One is, I mean, I would say the business culture here particularly, but it’s not like New York. It’s not like Silicon Valley. It’s not a city where you can sort of start out at maybe a more design forward or design focused company in that way. Like even some of the big names, like Twitter or Square or things like that. They may have offices here, but then they don’t really have a design department. They’ve got sales here or engineering or something like that. It can be tough to get in on the start like on the ground floor and then agencies are hard because agencies want you to have agency experience and you can’t get agency experience without working at an agency.

Ayrรฏd Chandler:
For sure.

Maurice Cherry:
It’s like that kind of rough go of getting in and so I know a lot of folks, particularly at… It depends on the school like I worked at AT&T for two years, this was way back in like 2006, from 2006 to 2008.

Ayrรฏd Chandler:
Right.

Maurice Cherry:
I worked at AT&T and there was a direct pipeline from the Art Institute of Atlanta directly to AT&T like a direct pipeline. People graduated from there, they got referred by someone that they knew and so they start in house at somewhere. Then from there, they would either go on to the CDC or they’d go on to Northrop Grumman and they’d live just kind of this mid tier designer life so to speak, nothing fancy, nothing great, but it’s a paycheck, that kind of thing.

Ayrรฏd Chandler:
Right.

Maurice Cherry:
I think the design community in Atlanta and I’m firing shots here. It’s just not that… I think for a designer just starting out, if they really want to sort of make an impact, it’s really hard to find a company here where you can do exciting work. If you end up at a good studio or something, maybe.

Ayrรฏd Chandler:
Yeah.

Maurice Cherry:
But it’s tough. And so, I know that a lot of graduates end up leaving, you left, but a lot of graduates end up leaving to go somewhere to a more exciting locale with better prospects.

Ayrรฏd Chandler:
For sure.

Maurice Cherry:
Better career prospects in general, not just entry level stuff.

Ayrรฏd Chandler:
Yeah. Most of my class left, I would say.

Maurice Cherry:
Yeah.

Ayrรฏd Chandler:
I would say when they like maybe two or three folks stayed in Atlanta and they got through it like Coca-Cola. For the most part, people yeah, for sure. I think New York and LA was where folks ended up. That’s a huge relation to SCAD and just kind of the grip that they do and making sure that you get an opportunity somewhere…

Maurice Cherry:
Right.

Ayrรฏd Chandler:
… once you’ve graduated.

Maurice Cherry:
Because the school itself is a, I mean, it looks great on the resume anywhere you go, they say, oh, you went to Savannah College of Art and Design. That’s going to at least get you an interview, so that’s great. But here in the city, it’s tough. And I mean, I’ve heard this from art students that went to art school. I’ve heard this particularly from HBCU students. I’ve even heard this from people that have went to Georgia Tech or Emory or Georgia State. It’s just, it’s Atlanta is a tough design city in that aspect. I will argue it until the cows come home. It’s just tough. I mean, I had to start my own business to really further my career in design.

Ayrรฏd Chandler:
Oh wow.

Maurice Cherry:
I graduated in ’03 with a math degree. Of course, I didn’t want to go into teaching so I did customer service jobs. That …

Ayrรฏd Chandler:
Right.

Maurice Cherry:
… sold tickets at the symphony. I was a telemarketer for Atlanta Opera. Like I did boring stuff. Then I got my first design gig, believe it or not from answering a classified ad in the back of Creative Loafing.

Ayrรฏd Chandler:
Oh, okay.

Maurice Cherry:
I answered it on a whim. That was my first design gig for the… It was for the state of Georgia. I did that for about a year and a half. Then from there, I went to AT&T, quit AT&T and then started my own studio. The reason I quit AT&T is because I could see my career hitting a glass ceiling already and I had only been a working designer for roughly about three or four years. I’m like, I’m not going to get any further here. I was registered at A Queens and I was like putting my resume out there and no one wanted to even interview me.

Maurice Cherry:
I’m just like, I was going to move. I was trying very hard in like the last, like 2008 or so, I was trying very hard to move to New York. I had friends that were up there that were like, well, we know a broker, we can connect you with because I’m like, I’m not going to further my design career staying in this city.

Ayrรฏd Chandler:
Right.

Maurice Cherry:
It didn’t change until I broke out and started my own thing, which is very similar to what you did. You left, you started your own studio.

Ayrรฏd Chandler:
Yeah. How does one with a math degree then do design? Walk me through that.

Maurice Cherry:
I tell people that math really teaches you how to think and so what helped me, particularly when I started my studio with being a math major, and this is going to probably sound a bit weird, but you write a lot of proofs in math. Math is all about proving things once you get like past a certain level, like you leave the numbers behind. It’s all letters and symbols moving forward. And so, you’re proving things like why is zero less than one? Why does one plus one equal two? And you would think like, oh, because it does. But then you have to prove it through all these weird theories and all this kind of stuff. Going through all those logical steps taught me how to put together a brief for a client, taught me how to put together a proposal, taught me to look at a problem and find more than one solution.

Maurice Cherry:
Like being able to abstract that out into a way that made sense is how I’ve done that. I would say everything from that has been just honestly just self-taught. I read a lot of books. I watch a lot of courses. Oh my God, when I worked at AT&T, for example, there was a Barnes and Noble that was nearby my apartment and I would go to that Barnes and Noble on a Saturday and get some of those Photoshop’s tips and tricks books. And I have my little point and shoot digital camera and just sit and just take picture.

Maurice Cherry:
Because I’m like, I don’t have $40 to buy this book so I’m just going to take pictures and I’m going to go back home and I’m going to look at the pictures and try to recreate it in my cracked version of Photoshop that I downloaded from some sketchy place that hopefully won’t give my computer a virus and just did a lot of practicing. There was a time where I went through and tried to figure out what every tool in Photoshop did, every single one.

Ayrรฏd Chandler:
Wow.

Maurice Cherry:
I’m like, I’m going to figure out what each one of these things does. And then that helped me out once I actually got into a production environment, because then I knew these kind of things that Photoshop could do, that other people didn’t because they only knew maybe layers or something like that. And I’m like, oh, well actually you can make an art board and do this, this, this and this. And folks were like, how do you know that? That kind of thing.

Ayrรฏd Chandler:
Yeah.

Maurice Cherry:
It was a lot. I taught myself a lot about design. I’ve not taken a single formal design course.

Ayrรฏd Chandler:
I always envy folks who can be self-taught. I’ve tried to like try to learn things on my own and my brain, I don’t know what it is. I’m one of those people that needs to be in this formal setting and someone else is showing me the ropes in order to learn. I hate that about myself, honestly, because I’m so envious of folks who can just have that self discipline to learn a thing. I find it so fascinating and amazing, and I envy you right now, just a little bit.

Maurice Cherry:
Well, I’ll tell you, it doesn’t help when you have to go and apply for a job because you can put all that self taught knowledge on there and the first thing they’re going to look at and see is like, oh, you sold tickets at the symphony?

Ayrรฏd Chandler:
Yeah. That’s what I did.

Maurice Cherry:
Or they see that A, you don’t have the education and B, you don’t have the work experience. Whether I knew it or not, it didn’t matter once it got into that sort of setting like. Certainly, for my first design job, I really had to prove myself by creating a portfolio overnight for the job that I ended up getting. Then even for AT&T, I remember they gave me a take home test. They were like, we want you to make a three page website and there’s two types of businesses you can choose from, a bridal boutique or a motocross event. I said, you know what? I’m going to take the bridal boutique, the person, the interviewer was a woman. She’s like, what? You don’t want the motocross. I’m like, well, first of all, I’m feeling some sexism here, but I’m going to take the bridal boutique and I’m going to work with that and I made a little bridal boutique shop and they were impressed and I got the job.

Ayrรฏd Chandler:
I just feel like that’s the easier option as well.

Maurice Cherry:
Yeah.

Ayrรฏd Chandler:
Like motocross, what do you even do with that?

Maurice Cherry:
I don’t know, dirt background.

Ayrรฏd Chandler:
I’m not [inaudible 00:49:39].

Maurice Cherry:
Right. Tire treads, rough stencil type. I don’t know.

Ayrรฏd Chandler:
I just feel like bridal boutique is a better way to show off your design skill.

Maurice Cherry:
But I have to do, but yeah, I did a lot of, oh my God, just so much playing around in Photoshop, just trying to figure out what stuff did, but eventually once I had design experience under my belt, when I started my studio, for example.

Ayrรฏd Chandler:
Yeah.

Maurice Cherry:
That was when I said my design career took off because clients don’t care where you went to school.

Ayrรฏd Chandler:
No.

Maurice Cherry:
They don’t care where you went to school. They just to know if you can do the job that they’re paying you for. And so, I did that for roughly nine years and then I closed my studio down and got back into the working world. But it is what it is.

Ayrรฏd Chandler:
What made you close? Sorry, I feel like I’m interviewing you now.

Maurice Cherry:
No, no, it’s fine. It’s fine. The market changed. I mean, when I started, I started my studio in like 2009, late 2008, early 2009. And back then, WordPress was really started to take off and so I had gotten good at making WordPress themes.

Ayrรฏd Chandler:
Okay.

Maurice Cherry:
That was something that really kind of let my career take off. I had gotten together with someone who was running for mayor for Atlanta. And wait, you were probably here during that time. What years were you in Atlanta?

Ayrรฏd Chandler:
I was there 2008 to 2012.

Maurice Cherry:
Okay. Lisa Borders had run for mayor in 2009 and I was on her campaign. I was her director of new media.

Ayrรฏd Chandler:
Okay.

Maurice Cherry:
I made her website, her Twitter profile, her MySpace page to…

Ayrรฏd Chandler:
Oh wow.

Maurice Cherry:
[inaudible 00:51:16] how long ago that was, and she didn’t win. She came in third place. But one, that experience really like connected me to so many other people, influential business people and donors and things like that. By the time the campaign disbanded, I had a Rolodex full of leads that I could then call on and be like, “Yeah, I can do this job. I can do that job. I can do that job.” But I’d say by the time 2017 really rolled around, the market had changed. WordPress was still a big thing but then you started having the rise of a lot of site builders. You had Wix, you had Squarespace, and then for clients, it suddenly didn’t make sense to have a $5,000 bespoke website from WordPress when they could just pay Squarespace $8 a month and throw something together themselves. It became harder and harder of a sell to make that happen.

Ayrรฏd Chandler:
Yeah.

Maurice Cherry:
Eventually I just kind of wound it down and got back into the working world.

Ayrรฏd Chandler:
Interesting. Interesting. Thank you for entertaining my question.

Maurice Cherry:
No, no problem. I mean, the thing is when you’re working for yourself, you always kind of have to keep an eye on just what’s happening in the environment like.

Ayrรฏd Chandler:
For sure.

Maurice Cherry:
I picked up different services. I stopped doing different services for a while, I’d say, right around the mid 2010s, I started doing diversity consulting. I had no business doing diversity consulting. What they saw was like a black person in design and this was around, I guess, maybe year two or three of doing Revision Path. And they saw me doing this podcast and companies were like, “Yeah, we’ll write you a check to come and tell us what we need to do to bring in more black people. I got to do work for Netflix and I did work for Vox Media. Now, I would say in hindsight, that was purely situational.

Ayrรฏd Chandler:
Yeah.

Maurice Cherry:
Not to say, I didn’t know what I was doing, but I didn’t know what I was doing. In hindsight, I would say that, because the money is spent now, but in hindsight I was like, “Yeah, you know what you need to do, change that job listing language.” And they’re like, “Yeah, yeah, that’s a good idea.” And I’m like, I don’t know what I’m doing here.

Ayrรฏd Chandler:
It did. You definitely did, because that sounds like good advice.

Maurice Cherry:
But it helped though. It helped though.

Ayrรฏd Chandler:
I think it’s obvious for us, but it’s not obvious necessarily. Like if you don’t live it and if that’s not, like if you’re not aware of the mistake you’re making, it’s very easy for us to… It’s your design training, right?

Maurice Cherry:
Yeah.

Ayrรฏd Chandler:
It’s very easy for you to… It’s your math training. You’re seeing what the problem is and you’re calling it out.

Maurice Cherry:
Right.

Ayrรฏd Chandler:
It’s very simple.

Maurice Cherry:
Yeah, there’s one company. I can say the company it’s Vox Media, but I remember I was doing consulting for their product team and they were saying that, well, we don’t know, like we’re trying to get a sense of how many people of color on our team and we just don’t know how to find that out. I was like, “Well, did you do a survey? Did you count?” They were like, “No, we haven’t.” I’m like, “Oh my God, how do you not count?” That’s like the… But they didn’t know that so they put out a survey and they got numbers behind it because this was at a time when a lot of tech companies were starting to first report, like the percentage of black people as part of their creative workforce.

Ayrรฏd Chandler:
Yeah.

Maurice Cherry:
And so, they’re like, well, we want to try to get behind it and figure out the number and see what we can do to improve it and everything. I was like, “You should do a survey.” That’s a great idea. Here’s $5,000. That’s a great idea. Okay. Look, I’ll take it. If that’s all you need to hear, pay me 5,000 more, I’ll tell you something else. But in hindsight, I would say very situational that it sort of occurred in that way, but in general, yeah. I just wound it down because the market itself was changing. It was harder to do the kind of business that I had did before. And while I was changing, my business was changing with the times, also the podcast was taken off.

Ayrรฏd Chandler:
Yeah.

Maurice Cherry:
There was a point where the pod… I was bringing in more money with the podcast than I was with the studio and I really had to look and be like, well, what am I doing here? I could just focus on the show.

Ayrรฏd Chandler:
Yeah.

Maurice Cherry:
And not have to chase down checks from clients.

Ayrรฏd Chandler:
That’s amazing. Congrats.

Maurice Cherry:
Yeah. I mean, it’s something where every year you kind of just have to like take stock and see what you’re doing, see what you can change and improve.

Ayrรฏd Chandler:
For sure.

Maurice Cherry:
If you can go where the market goes.

Ayrรฏd Chandler:
For sure. I feel like, so my thing is like, I’m always, like I have a foot in terms of observation of the market in the US. Then I have the very real reality check of the market in Trinidad, which is completely different. I think this year as well, I’ve been trying to stop comparing the two. I’ve been trying to stop kind of beating myself up a little bit about, well, if you’d stayed in America, maybe you would’ve had this much and blah, blah, blah. And kind of just dealing with the reality of what it is to run a design firm in Trinidad. It’s definitely a challenge for sure, a 100%. No one’s going to pay me 5,000 US to tell them the things that I tell them all the time. That’s just not the reality of our situation here. It’s kind of sad on one end.

Ayrรฏd Chandler:
It’s kind of like, oh, I wish you people would just get with the program. Then on the other end, it’s like a nice challenge because it’s like, you get to be at this start of hopefully something different, something new, helping make a difference, helping improve a culture of what design could be in Trinidad. I mean, when I graduated from college, when I came back in 2012, at the end of 2012, there were no graphic designer jobs, like people don’t know what graphic design was. That wasn’t a thing. And the fact that now, like when I look through job listings, there’s graphic design of those, there’s graphic design of that, et cetera. To me, like that shows like, okay, in 10 years there’s been change. At least, I can say things are improving. You know what I mean?

Maurice Cherry:
Yeah. Yeah.

Ayrรฏd Chandler:
Now, we just need to get them to pay graphic designers what we’re actually worth and stop trying to get a graphic designer, who’s also an animator and a copywriter all in one, which is a huge thing here, locally. No, we want one person to do all the things and pay them a quarter of the price. That’s like the realities and I guess it answers one of your first questions as well of like, how come I would’ve started my own thing is because you could make more money doing your own thing than you could working somewhere, which is wild. That’s wild to me. Like the fact that there’s more stability as a designer, like freelancing and working on your own and trying to figure things out than having that stability of well a paycheck.

Maurice Cherry:
Yeah. I mean, that’s absolutely how it was when I started my studio, I felt like I could make more money, but also, like I said, I had just hit a plateau in my career. I don’t know where I would be now if I would’ve stayed at AT&T and didn’t break out and do my own thing. Because aside from just the freedom of entrepreneurship, it gave me a lot of confidence just in my skills overall, because…

Ayrรฏd Chandler:
For sure.

Maurice Cherry:
… at AT&T and T I was like part of a team. The way that they had a structure was they really pitted you against your coworkers. Like it was really more of a competition than a team kind of thing.

Ayrรฏd Chandler:
That’s terrible.

Maurice Cherry:
Once I left, I really felt like I’ve got a couple years of design knowledge under my bill. I know what I’m doing. I didn’t know what I was doing, but I could at least figure it out and come to terms with the kind of work I want to do and the kind of teams I want to be on and stuff like that. Because I was calling the shots myself, it made just a lot easier in terms of me being more confident, because at the end of the day, you know this, you have to hunt what you kill, I guess is how you put it. Like, no one’s going to be responsible for bringing the work in, but you.

Ayrรฏd Chandler:
Oh, yeah.

Maurice Cherry:
Unless you happen to have a salesperson, but other than that, you have to be the one that’s the face of the company, especially if your name is part of the company, like you got to be out there…

Ayrรฏd Chandler:
Yeah.

Maurice Cherry:
… selling it all the time.

Ayrรฏd Chandler:
For sure. Definitely. I definitely learned that very quickly. It kind of happened naturally though, similar to how you kind of leap off points would’ve been working with that mayor. Well, going up the mayor person, I guess my equivalent project would’ve been working with our local film festival. That was one of the first design jobs that I got. And back when I moved back home, it was really just an internship, but I got to work alongside an art director, Melanie Atro, who is pretty awesome.

Ayrรฏd Chandler:
It was a really strong brand that it was already created. Every year, we just kind of roll out all of the different elements for the festival, whether that’s signage, whether it’s the poster, but what that allowed me to do similarly to you was network in a country when networking is not as… It doesn’t happen as organically, or as officially as when I was in Atlanta, I’m going to AIG, AIG buzz events and that sort of thing, like that was what I was accustomed to. I was like, oh, I’m going to go to this networking event and meet these people and talk and blah, blah, blah.

Ayrรฏd Chandler:
And then I got back to Trinidad and I’m like, where are the networking? And everybody’s looking at me like, what are you talking about? All of a sudden, I’m in this festival with all of these different creatives, doing all of these different things and I’m meeting this sponsor. I’m meeting banks and all of these different folks who are part of this community that I would have been completely removed from for four years while I was in college.

Ayrรฏd Chandler:
And that definitely led to all of the connections, like some of the friendships that I even have to this day are from that moment and that time. Definitely, would not change it. I don’t know where I would be now, similarly to what you’re saying, I don’t know where I would be now if I was still working on Atleisure, for example, or right after Atleisure, when I came back home, I would say, my equivalent of your AT&T job might have been like this bank take that I took where they advertised it as a desktop publisher.

Ayrรฏd Chandler:
And this is a time when I have my graphic design degree and I’m not seeing any jobs with graphic design on it. I find this thing, I’m like, what is a desktop publisher? I’ll look it up. It was like, it said something like someone that designs long documents or brochures and annual reports and that side of things. I was like, oh, okay, well, I can do that for a bank.

Ayrรฏd Chandler:
Day one, I had no computer. Day two, they gave me no… Like I was sitting at the desk, no desktop on it for me to do any desktop publishing. It turns out they just wanted someone to design PowerPoint presentations for their managers to do a transitionary, blah, blah, blah so I didn’t last, I didn’t last a month, I don’t think. I was like, no, this is [inaudible 01:02:31] I didn’t have to open PowerPoint any time in my four years at SCAD. And right after that was when I found out about the festival looking for a graphic design intern, I was like, oh my gosh, someone wants a graphic design or specifically in Trinidad right now on that, and the rest was history. Yeah.

Maurice Cherry:
Now, aside from your design firm, you’re also a writer, talk to me about that.

Ayrรฏd Chandler:
I was [inaudible 01:02:59] an aspiring writer. I’m not a writer. I won’t put myself just yet, but what I do is in my downtime or my free time, I go to a lot of writing workshops because like I told you, I’m not a self-taught person. We have this other festival here called Bocas Lit Fest, which is our literary festival. They put on different events and workshops all the time and I’ve been to a couple of them. I mean, I’ve been writing since I was a teenager. I’m like one of those people, I was always writing cheesy poems. I kind of over the years, just put a little bit more energy towards writing every now and then but this year, I put the most energy, I would say towards it, because I entered emerging writer’s thing. I entered Bocas Emerging Writers like competition, scenario, fellowship, sorry is the term.

Ayrรฏd Chandler:
I was actually shortlisted in [inaudible 01:04:01] and I was like, okay, you really need to start putting a little bit more energy into this writing thing and stop seeing you’re an aspiring writer and just be the writer that you want to be kind of thing. But yeah, really, I use writing as way to get out of my head a little bit. I find as a designer and as someone that works primarily alone and not necessarily on a bigger team, that it’s a lot of thoughts just floating around in there always, like the brain is constantly flowing and writing allows me to take all of those thoughts and kind of put it somewhere, which I really, really enjoy. So yeah, and I write about me or about experiences that I’ve experienced. Yeah, I like it.

Maurice Cherry:
Do you think you’ll ever kind of branch out and write about design?

Ayrรฏd Chandler:
I would love to. So I have a blog. I do write about design on there, sometimes, but usually it’s in a critiquing manner or it’s in a, this is how, this could have been better. It’s more like me critiquing the design society in Trinidad rather than me writing about design formats or structures kind of thing.

Maurice Cherry:
Okay.

Ayrรฏd Chandler:
But I see myself doing both because it’s something I’ve been wanting to do simply because we don’t have it, one. Actually, technically I did write about design. I actually co-wrote a book called How to Get Paid for designers here locally in Trinidad and like talking about what the pricing is like and how to get those things done? Why you should I have a contract, stuff like that, but I guess that’s more business of design than design specifically.

Ayrรฏd Chandler:
But I also had this feature on my social media page on Instagram called Just A Tip, and I used to give design tips on Tuesdays and I wanted to turn that into something that I do on my blog or maybe a newsletter that continues and it’s a little bit more direct in terms of suggestions and that sort of thing. There’s room for it to answer your question, yes.

Maurice Cherry:
You could be the voice of Trinidad design.

Ayrรฏd Chandler:
Some people would say that I kind of am and I run away from that a lot. Like that terrifies me the idea of being the person for anything that’s… I feel very badly about speaking on behalf of other people. I just want… Let me, I’m speaking for me, myself, Ayrรฏd Chandler. I’m not speaking for Trinidad or Trinidad graphic designers or anything like that. That’s a lot of responsibility.

Maurice Cherry:
Yeah. Well, I mean, I think a lot of writers are like that. They have their own quirks and stuff, but I think as long as you’re talking about your work and your process and even just writing about yourself, like you mentioned, that’s a good thing. Writing is one of those things it’s called a practice for a reason. You kind of have to keep doing it.

Ayrรฏd Chandler:
Yep.

Maurice Cherry:
Aside from writing, you also teach, you’re doing a lot.

Ayrรฏd Chandler:
I do.

Maurice Cherry:
You’re running your business, you’re writing, tell me about your teaching at University of West Indies St. Augustine.

Ayrรฏd Chandler:
A couple years ago, I was hanging, I was on a rooftop event and met a fellow designer who was one of the folks that I first worked with here and kind of guided me and did local design scene. And he was like, I just started teaching and they’re looking for more lecturers, are you interested? And I was like, I don’t know. I was like, I’ve never given teaching a thought, like I am I qualified? They’re like, “Yeah, you just need to be a practice and designer and blah, blah, blah, blah, blah.” And I was like, “Hey, sure, let me try.” And literally within 15 minutes, he had messaged the person and the person messaged me and I had a meeting the next day to talk about lecturing to university and my mind was blown and they were like, “Oh yes, we were looking at your work and we think that you’d be great for this blah, blah, blah.” I was like, okay.

Ayrรฏd Chandler:
Before you knew it, I was teaching year two students about design basics and going from practicing design and to applying all of the things that I tried to search up all of my SCAD syllabi to get some kind of inspiration. Then before you knew it, I was putting together my own syllabus and the rest is what it is. And so, I started, this year was my third year teaching this course. I’m a part-time lecturer. It’s only during the first half of the, well, first quarter, third of the year, I guess, for the second semester that starts in January. And yeah, I get to talk about design and teach design and kind of help shape what other folks are doing that process and cut in conjunction with working with interns at my business, kind of inspired me to then start teaching courses as part of my business.

Ayrรฏd Chandler:
Because I realized one that I actually really liked teaching, which really, really surprised me more than anything else. I was really, really shocked and I’m not sure why I was that shocked. I guess I just never thought of myself as someone who would have the patience to teach, because I feel like it’s very much like a devotion on one of those things where it requires you to remove yourself from yourself a little bit and kind of very much make sure that what you’re seeing is resonating with someone and helping them. Teaching is basically helping another person. And I guess design is also helping another person and they’re both kind of the service industry thing.

Ayrรฏd Chandler:
And so maybe it does make sense that I enjoyed doing both, but I also noticed, and working with the interns that I worked with, they were coming from another local school and a lot of things were like lacking. They didn’t know some basic design things that I felt like they should know. We also have a huge self sort community in Trinidad. And so I thought, okay, cool, let me put together some design foundation basics, at least, that folks can reference. I’m talking about things like knowing the difference in a JPEG and a PNG and a PDF, like basic. And that also really went really well and so I’m actually preparing now to do the next, which would be my third offering of courses so far, but yeah.

Maurice Cherry:
I mean, you’re writing, you’re teaching, you’re running your own business. Like what’s the best thing about all this work that you’re doing?

Ayrรฏd Chandler:
What do you mean the best thing?

Maurice Cherry:
Well, I mean I could ask what’s the worst thing. I mean, I would imagine that you have some enjoyment out of this, Ayrรฏd?

Ayrรฏd Chandler:
Yeah, yeah. For sure. For sure. Honestly, I am one of those people that likes connecting with other human beings. I never thought I would’ve like, if you asked me this 10 years ago, that would not have been what I said. I very much am one of those people that enjoyed my alone time. I’m an only child. I like doing stuff on my own, solo traveler here, like all of that stuff. But I quickly realized over the past couple of years that I enjoy connections, I enjoy connecting with other human beings. I enjoy that experience. All of the things that I’m doing, I’ve realized that is the one common sort of thing that’s happening. I am able to step out of myself a little bit, step out of my world and connect with someone else in their world. That’s great. Like I enjoy that so much and it kind of makes life a little bit easier to live, at least, for me.

Maurice Cherry:
Do you feel creatively satisfied?

Ayrรฏd Chandler:
For sure. Like right in this very moment in time, I would say I need a little bit more and I think maybe that’s what writing does for me in terms of satisfying that creativity. I think, yes. Sorry, I feel like I am creatively satisfied, especially when I wrap up a branding project and the client is happy with it. I was like, I know I did the right thing and I know I hit the mark on what it is that they were looking for and also, what it is that they needed?

Ayrรฏd Chandler:
When they say things like, oh my gosh, I wasn’t expecting this, or like I get a lot of those kinds of reactions, which is pretty wild and fun and interesting. I think that does kind of satisfy that creativity, but I am also at that point where I’m at that 10 year mark. Because I moved here 10 years since I graduated from SCAD. I am feeling that itch of like, what now? What more? Where else? What can I do differently? Like what is the next step for me? You know what I mean? Like where do I go now? Do I pivot as we’ve been talking about so much on these past two years? Do I learn a new skill? What’s the next step in terms of that creativity and that flow and what I want?

Maurice Cherry:
Yeah. Where do you see yourself for the next five years? What do you want this next chapter of your life to be?

Ayrรฏd Chandler:
I definitely want to teach more. I would love to be able to get to a place where I can go from being a part-time lecturer to maybe a full-time lecturer. I think that would be really awesome. I kind of really see myself becoming, I want to step more into that brand identity designer shoe out of that whole graphic designer shoe, where I still kind of float around, meaning I still do anything under the hat of graphic design.

Ayrรฏd Chandler:
Even though, I focus a lot on branding, I kind of want to like be like, I am a brand identity designer and I am the person that you come to for that specifically and that alone. I kind of I want to eliminate as much options and kind of zone in and be more specific and intentional with what I’m doing. In five years, I’d like to be able to impart that knowledge more, more talking workshop opportunities. Hey, if I can give a TEDx talk in five years, that would be awesome. You know?

Maurice Cherry:
Yeah.

Ayrรฏd Chandler:
That’s kind of where I see things.

Maurice Cherry:
Well, just to wrap things up here, where can our audience find out more information about you, about your firm, about your work? Where can they find that online?

Ayrรฏd Chandler:
Ooh, I make it very, very easy. So I have my website. I technically have two, but for my business Ayrรฏd by Design, A-Y-R-I-D bydesign.com. That’s my website. I’m also the same thing Ayrรฏd by Design on Instagram, I have a very kind of unique name. I think I’m the only Ayrรฏd Chandler of there. So from a time you type that in, I think most of my stuff comes up, but those two places are kind of where you can start. Yeah.

Maurice Cherry:
Sounds good. Well, Ayrรฏd Chandler, I want to thank you so, so much for coming on the show. Thank you really for just sharing, not just your story, but also I think giving us kind of a behind the scenes of what it’s like to run a business, particularly running it from another country and showing people out there, as you said, kind of right before we started recording, you said you wanted to let folks know that they’re not alone and that there’s a sense of community. And so, I hope that people will listen to this and they’ll sort of get exactly what you’re talking about. Like a lot of the experiences you shared are universal experiences to a lot of designers, to a lot of entrepreneurs. And so, even as you do your work with writing and teaching and everything, you’re not alone out there.

Ayrรฏd Chandler:
Yeah.

Maurice Cherry:
Thank you so much for coming on the show. I appreciate it.

Ayrรฏd Chandler:
Thank you for having me. I enjoyed this.

Monique Jenkins

It takes a lot of hard work and determination to be a successful entrepreneur, and sometimes, you can lose yourself in your path to success. But not Monique Jenkins! As the CEO of J.kins Creative, Monique bolsters the successes of Black and brown entrepreneurs by creating holistic brand identities with thought leaders who deserve to leave their mark upon the world. And she does it be being the best person for the job — herself!

Monique talked to me about what she started her own company, and talked about the varied processes she has to ensure clients receive top-class design work. She also spoke about growing up in Baltimore, how she juggles her studio with a full-time job (and a baby on the way!), and gave some insight on the type of legacy she wants to leave in the world. According to Monique, being an authentic version of yourself is a guarantee for living your best life!

Transcript

Full Transcript

Maurice Cherry:
All right. So tell us who you are and what you do.

Monique Jenkins:
My name is Monique Jenkins and I am the CEO of a design agency called J.kins Creative, also a mentor and teacher at Towson University. And I run a non-for-profit called Ladies, Wine and Design Baltimore, which focuses on creating spaces for women and non-binary creatives and industry.

Maurice Cherry:
Nice. How has this year been going for you so far?

Monique Jenkins:
So far so good. Actually, it feels like we’ve lived the whole year in this first quarter going into the second quarter. I’m ready for 2023 already. The year didn’t start the greatest because I caught COVID in Jamaica. That’s when we initially talked, but it’s been getting better since then.

Maurice Cherry:
Is there anything in particular that you want to sort of accomplish this year?

Monique Jenkins:
I think my ideas of what was going to happen this year have kind of pivoted. I have since found out that I’m going to be a mama, so that’s-

Maurice Cherry:
Oh, congratulations.

Monique Jenkins:
Yeah. That’s going to be my major 2022 thing as far as personal life is concerned. But in my business, one of the things that I want to get better at doing is managing life and work. I am constantly doing speaking engagements and mentoring and doing all these other things. And the tone of this year for me was really putting down some of the extracurricular activities that I was doing and really honing in on my business. Because I would like within the next two to three years to kind of take that into a more full-time stance. So that’s really my focus for the year is gaining clients, understanding marketing better, understanding kind of the ebbs and flows of a couple of different things within my business and really honing on the type of clients I want to work with.

Maurice Cherry:
Yeah. Let’s talk about your design studio, J.kins Creative. What was the impetus for you to start your own studio?

Monique Jenkins:
I have worked for a wide range of companies from smaller kind of startup companies and to larger fortune 500 companies. And I think in all of those respective statuses, it kind of taught me that people who look like us weren’t always represented regardless of which of those organizations I was working in. But then more specifically I had read so many articles about black women in particular starting their own businesses. And I was like, oh, I see all these wonderful women starting these great things, but I don’t see that the marketing and the branding is there for those companies. Or we don’t get to that point until we have probably launched this business two or three years down the line. And it’s important to me to help foster the information that I’ve learned in these respective environments in order to grow, to help people grow and sustain their business and figure out what their respective visions are and how that translates into a larger and more holistic idea of who their business is.

Maurice Cherry:
Walk me through just like a typical day. How do you sort of start out the day with J.kins Creative?

Monique Jenkins:
In a typical day, I am probably using the morning to reach out to existing clients. So if there’s something that I was supposed to finish up the previous day, I usually email them early and send over files for them to review or ask questions about things that seem a little sketchy or that we can’t exactly pinpoint right this second. As I’m moving throughout the day, I’m continuing to maintain those emails or phone calls from clients. Having kickoff meetings with potential new clients who are going to becoming on board. Asking them questions about what type of metrics and goals they want to hit for this project. Because generally when people start a design project, I like for them to start it from the process of like, what do you want to achieve by this? Design is pretty, but it’s also supposed to be functional in some capacity. So trying to understand their motivations for their business and get a little attune with what they’re doing is important to me.

Monique Jenkins:
And then after initial kickoff calls, we generally send out contracts and then we walk through those with our clients. If we’ve already done a kickoff call and we’ve already sent contracts before we kind of walk through that. And then the latter half of the day is used for actually getting work done. So designing respective assets for those clients and really just trying to putting those to the grind. And then usually by the end of the day, I connect with our front end developer who we’re just walking through what she’s done for the day and checking over websites and assets and things like that before we give those to our client.

Maurice Cherry:
So it sounds like you’ve kind of got the day pretty well structured out.

Monique Jenkins:
Yeah. Some days are easier than others. I mean, in design, nothing is certain. Some days it’s more client calls and that’s going to be the base of my day. Some days I don’t have any client calls and I can really dig in to the design work. Some days it’s more about trying to gain a better relationship with the engineer and dig into the code and understand why something isn’t working or interaction patterns aren’t working the way that we need them to. So, every day is a little bit different but every day is fun in some respects.

Maurice Cherry:
Yeah. What are the best types of clients for you to work with?

Monique Jenkins:
I would say clients who are a little bit more established in their business are better to work with because they kind of know that you’re the expert in the situation. I would say that any client that I have probably worked with who spent under 5,000 is someone who’s much more hands on. I think when you get to a specific level, you understand what your skillset is and you trust professionals to kind of do their work. So I love working with clients who are super enthusiastic about their business. I love working with people who have a strong vision for what they want and have metrics and goals that align to those visions. If someone comes to me and they aren’t sure about their budget, or they’re not sure about how this business is going to track or it’s relatively new, like everything is new. So they’re not really sure how this is all going to come together. People who have a sound idea of what their business is and what they’re trying to accomplish are incredibly fun to work with.

Maurice Cherry:
I remember back from when I had my studio, it was always the cheapest clients that were the worst one to work with just in terms of, they’re always on your back, they’re always asking about something. That’s not to say, well, maybe there is a correlation between low budget jobs and the amount of client and action that you get. But even as you said, with the higher price or the high ticket clients, sometimes they like to be hands on, maybe just in a different sort of way. But the interaction is different because like you said, they trust you as the expert. I’ve often found that if the client is trying to nickel and dime you, they don’t trust that you know what you’re doing. They don’t trust why it costs what it costs, et cetera. And with a more established business, they’ve hopefully already done this before and they know what the value is.

Monique Jenkins:
Yeah. The way that my business coach likes to explain it to me when she’s like, this is how you want to set up your price points. She’s like, “If you are going to do the work, then you’re going to charge a relatively okay price point.” So say a project is going to be $50,000. If they’re going to co-designed with you, that costs more money because it takes you more time. You’re doing more iterations. If they want to do a majority of the work, then you charge them the most amount of money because what you’re doing is acting as a production artist and that’s not a favorable place to be.

Monique Jenkins:
So I always tell client like, “We can have as many conversations as you want. I build into my contracts now that like three iterations and then we start to charge you after that.” It’s just about trying to understand where a person is in their business and what they believe about their business. And I find that people who have a little bit of a lower budget, not that they can’t be fun to work with. It’s just that they’re just a little bit more nitpicky. And I will say, I agree. Clients who have a higher budget are nitpicky, but it’s just in a different way. And I think that they trust you a little bit more. They probably have experiences working with other agencies and they know that you can bear fruit for them.

Maurice Cherry:
Yeah, that’s true. So when a company or an individual contacts you about a new project, like talk to me about that. What does that process look like in terms of onboarding, working with them throughout the project? Walk me through something like that.

Monique Jenkins:
Generally, what I ask people to do is to go to my website and fill out the new project form. It tells me some basic information about them, about like their name, address, or not address, email phone number, gives me a website URL if they have one existing, what type of project that says what the budget they have in mind is and what their deadline is. And then after I have that initial project form, I send them a project brief and that gets more into the specifics about metrics. So what exactly are you trying to accomplish? What are you trying to do? What are your intentions? It just starts to, and I make our clients make smart goals. It just makes sure that they understand what the accomplishment is of this thing. We are not building designs because they’re pretty, we are building something that’s going to be functional for you.

Monique Jenkins:
So what’s the task that you want to do. Do you want more engagement on your site? Do you want more unique visitors? Do you want to promote a specific campaign or book or something? When I find that I make people start to think about why people are actually coming into their site we can help to define what should be the main CTA versus what are secondary actions that you want someone to commit. And once we go through that project brief and kind of distill that information down together, I tell them a bit more about myself, my background, help to bring in some of those validation points that clients want to know about you. I learn more about them. Hearing someone else’s story is crazy, interesting. Understanding why they started their business or what they’re trying to accomplish is super fun.

Monique Jenkins:
And then after we have that call, I send them over a contract, an invoice listed out with all of the things that they’re telling me they want to accomplish in the timeline that they’re saying they want to accomplish these things. So then we run through all of that information together. They understand what’s a part of the project. What’s not a part of the project. If we break timeline or add additional assets, what the price point is for those things. And then once they sign the contract, submit the deposit, we go off to the races.

Monique Jenkins:
So initial phone call, just like a kickoff call with the client. Give me whatever existing assets you have. Let’s talk about creative concepts. Let’s get all of those things nailed down and then we start getting the work on our end. I also might ask them depending on how clear they are with visual assets to create a Pinterest board of some websites that they love, that they want to incorporate into their own respective business as they see as a potential path to visually or stylistically how they want their website or assets to look. And then we use that as a starting post.

Maurice Cherry:
And just to be clear earlier, when you said smart goals, you mean the acronym SMART like specific, measurable, actionable, realistic, time-bound.

Monique Jenkins:
Yes.

Maurice Cherry:
Got you. Okay. Just wanted to be clear about that. I know that when people probably heard that they’re thinking, yeah, I want my goals to be smart. But that it’s more than just that. It’s like a framework that you have to follow.

Monique Jenkins:
Yes. So specific might be like what needs to be accomplished? Who is responsible for it? What steps or actions need to be taken? Measurable kind of self explanatory, what is this going to accomplish? What are the numbers around it? Specific, like 15% of people that’s what I want to drive toward this specific thing. Achievable is like, it’s a reality check. Is this achievable in the timeline that you’re providing? Relevant is like, how does this compare in the bigger picture of things? And then time-bound is like, this is how much time that we have to actually complete these things. So whenever we create smart goals, I just think that it helps people to really hone in on what they’re asking me to do and to be incredibly realistic about what’s going to happen.

Maurice Cherry:
Got you. So let’s kind of switch gears here a little bit, so people can kind of learn more about the dynamic woman behind J.kins Creative. Tell me more about you. Tell me about where you grew up.

Monique Jenkins:
I am from Bridgeport, Connecticut originally. I moved to Maryland when I was 15. That sounds right. Yes. I couldn’t remember because I had just gotten into high school and my parents were like, “Come on girl, we’re moving to another state.” But originally from Connecticut. I went to a predominantly Hispanic speaking school for almost the entirety of my adolescences. And then when I came to Maryland, that was the first time I think I went to an all African American school. I had seen that many African American people in one place that’s different in Connecticut than it is here. So yeah, I will say when I was little in Connecticut, I had no idea I wanted to be a designer. I did not figure that out until I got well into college. So I always thought that I was going to be a lawyer because I’m so good at arguing with other people.

Maurice Cherry:
Let’s talk about college. You mentioned that really knowing about kind of wanted to study design until you got there. You went to the Towson University and you still studied communications. Tell me about that experience.

Monique Jenkins:
Yeah. I had multiple majors and minors when I was at Towson University. I really did not… I had known for almost the majority of my life I was like a lawyer. I’m so competitive. I love arguing. I love to bring up points. I like to fact check those points. This is going to be it. And then when I got to college, I was like, well lawyers have… It’s a long time. I don’t know if that’s exactly the right path. I don’t know if I want to stay here that long. And I had really liked marketing too. This was at the time that Facebook was coming out so you were able to create your own visual graphics. And there was a lot of coding and stuff involved and different applications and social media applications that were coming out.

Monique Jenkins:
The computer was really big and I just assumed marketing and advertising was the way that I wanted to go. And I really did love marketing and advertising, but I think I love the visual components more than I liked all of the numbers behind it. So while I was in the middle of getting my communications degree, I was like, this is cool. I like this. I think I could do this forever, but I think I would like to take a more visual approach to marketing and advertising. I don’t know if I want to be in that world specifically, but I think that I want to be on the edge of it or work with those type of people. So I got my undergrad in Mass Communications with a concentration in advertisement, in marketing. And then I swapped over to the university of Baltimore a couple years later and got a degree in Graphic Design.

Maurice Cherry:
Now I want to kind of talk about that, because there’s a little bit of time that sort of happened between you leaving Towson University and then going to University of Baltimore. What was your early career after Towson? What was going on during that time?

Monique Jenkins:
I don’t remember exactly how this happened, but when I was at Towson, I got an opportunity to become an insurance agent. So I got my property and casualty license and I was working for Liberty Mutual as an intern, reaching out to customers who had inquired about auto insurance policies. And I hated it. I really didn’t, it wasn’t my thing. I did not like calling people and trying to force them into something that they didn’t want. I just liked cold calling people and being like, “Hey, have you thought about your auto insurance?” And people be like, “I’m at work girl. I don’t have time to talk to you about this.” So it really wasn’t my thing. But I worked for the insurance company and there were aspects of it that I loved.

Monique Jenkins:
But it was a really great experience because all of the agents who worked in our office wildly had what I would consider incredible degrees. One of them was a microbiologist, the other one had gotten a law degree, but ultimately they all decided, I want to do that and had gotten into insurance for one purpose or another. They liked the flexibility of the schedule and they had other outside ventures. So the microbiologist was also a real estate agent. We had a bunch of properties and that had me thinking like, I don’t want to waste this degree that I just got. Going into a field, that’s completely irrelevant. Let me figure this out. So after I kind of did insurance for a little bit, I transitioned over to finding a position that actually utilized my degree, which is, I was a publisher intern at AOL for about a year and a half or two years where I got to work with sales professionals, which was familiar because of the experience I had at Liberty Mutual and focused on advertising campaigns and online banners.

Monique Jenkins:
And it was my responsibility to put all of our bull websites for our advertisers into tiers. So different tiers of websites get different type of ads. So if you are… What’s a website that would be a D-tier. Any type of a TMZ, they’re probably a perfect example. TMZ would be a tier-D website. So you probably wouldn’t put Disney ads on that type of site. And then Disney is a tier A website. You probably could put a majority of the ads that you want to run on a type of site like that. So it was my responsibility to classify all of our new clients into respective tiers and then give them off to their marketing agents so that they could work more specifically with them. That was fun and I liked the coworkers. But again, I was just like, I like the looking at the websites. I like dissecting the websites. I like looking at the banner campaigns. I’ve been starting to develop a relationship with the designers who worked there.

Monique Jenkins:
So I was like, I missed something. I didn’t get what I needed to get in college and I need to go back to get the thing that I actually want. I think I had found out about the University of Baltimore’s program at the time and I was like, okay, I’m going to go back. I’m going to go back and get a Master’s degree in Design because I really like that. And I feel like that’s where my soul was telling me that I want to be. And again, I’ve been designing flyers and stuff for the church that I went to and birthday cards for friends and baby announcements and stuff like that.

Monique Jenkins:
And I was like, I think this is it. I just need a more formal education. I am certainly one of those people who’s like, I can’t watch YouTube videos to get it. I’m not that person. I need the structure of a classroom and a teacher being like, you have homework in order to pick up these concepts. And the weight is heavier for me. When I paid $5,000 to take a class, I’m like, girl, you going to class and you going to read this book and [inaudible 00:21:01] this stuff. When it’s a free video on YouTube, I’m like, I could watch five minutes of this and then I could go watch TV for three hours and then. So I needed the structure of that environment and the University of Baltimore at the time felt like the best fit for me.

Maurice Cherry:
Yeah. It’s interesting when you know that you’re paying for it, that you’ll sort of put more value in it because you’ve got skin in the game, essentially in that way.

Monique Jenkins:
That is exactly what I needed. I needed skin in the game in order to be like, okay, you have to take this seriously because college is not cheap. You spend a lot of money on this class and you will not be taking this class again because there were other people who were… It’s whatever. I don’t care if I have to take this again. I’m like I spend $5,000 on this class, so I’m not going to be taking it again. I got to pay another $5,000 for another class. You think I can take this class twice, no. I have to keep going. So once I had a little bit of skin in the game, then I was like, okay, Monique, you can sit down and you can focus so you can concentrate under this environment.

Maurice Cherry:
I think you also touched on something interesting there that you kind of had to get out there in the working world a little bit and discover through that, something that you didn’t want to do to bring you closer to the thing that you wanted to do.

Monique Jenkins:
Yeah. I don’t think that… I think that sometimes we’re sold this idea that after college it’s a clear path to working in the industry, but it’s hard. At Towson University hadn’t done any internships that were specific to my field and I think that should be a requirement for college. If you were spending all this time and money on a degree, you should at least have to take two or three internships specifically in the field that you want to work in. Because it’ll help you to be like, you know what? This is not truly what I wanted, once I got into the environment. But once I started working at AOL, I was like, this is fun, this is wonderful. It’s a great company. There are great coworkers. There are fun things in the office like skateboards and there are free snacks, but I’m like, something is still missing. I’m still not getting exactly what I need. So I need to think about this and change paths a little bit. So that’s what worked for me at least.

Maurice Cherry:
Now what were those kind of early days of Jenkins creatives like for you because you’re running your studio, but you were also working full time at a few companies, right?

Monique Jenkins:
Yeah. I remember feeling like I don’t even know what, I don’t even know. I didn’t even know the right questions to ask. I didn’t know the right people to talk to. I’m much more into networking now and facilitating relationships with other people. But at the time I was very much an introvert and I was like, I don’t want to talk to nobody. I don’t want nobody to talk to me. I just want to figure this out on my own. And I think that’s a very hard stance to have. So it was lonely and I wasn’t exactly sure what I should be doing. I was taking maybe some classes on how to run a business. But I never really felt like any of the curriculum that I was participating in, gave me a full grasp of what was necessary in order to run a business and time gave me that. It let me know what worked and what didn’t work, where I should invest my resources, where I shouldn’t.

Monique Jenkins:
But also in addition to time, physically meeting people out in the world and understanding how they ran their businesses and understanding what worked or didn’t work for them or avenues that I could potentially go down our path, that was what was most helpful for me. Because I feel like all of the people that I worked with since the time of Liberty Mutual had some type of outside or source of revenue or income and had always put it in my head that, you can’t just have a nine to five, you got to be able to do something else beyond that. What happens if you get fired tomorrow? Can you still pay your bills? Where are your additional revenue streams? And that really stuck with me about being like, okay, you work for a company who sometimes has to make a hard decision and they’re not going to say, Monique has to pay her grant. So we shouldn’t let her go. They’re going to make the decision that’s best for their organization and you have to have something to fall back on. You can’t just be out there with nothing to do. And that started to help me be like, okay, I need to figure out how this businesses run.

Monique Jenkins:
So in the beginning it was a mess. I’m not going to lie. There was no website, there was nothing. It was just me randomly reaching out to people or meeting people. I have 17 different business cards. I would be redesigning those things on the weekly basis. I’d be like, this isn’t good enough. No one’s[inaudible 00:25:32]. Aside from me like this and all of that stuff it just didn’t work in the way that I thought it was supposed to work. So it was a little bit of ebb and flow. Some things were useful and helpful for me, some things not so much. But just understanding how larger organizations worked, helped me to hone in on how I wanted to run my business and what was acceptable and not acceptable for the type of clients I work with or the type of environment I wanted to work in.

Maurice Cherry:
Yeah. I feel like with studios like that, especially when you’re just starting it off by yourself, you really have to try to… You’re kind of doing a lot of trial and error to figure things out on your own. And for you, it was good that you also had a full-time job kind of to back things up while you were figuring out the ins and outs of the studio. So that’s a good thing.

Monique Jenkins:
Yeah. A funny story is that I made an Instagram called Trial and Error where I would… I was testing out different design methodology and things like that. And it was a way to hold myself accountable and be like, you should be designing something, you should be building your skillset. And I think I did that for a couple months and then I was like, Monique, this is so much work. But it was really just a place where I could be like, if I put my designs out there in the world, people will see them. They’ll be interested and they’ll potentially come to you as clients. That did not happen. I don’t think I got one client from that venture, but it helped me to be like, okay, how do you build your skillset to get you to a place where you can make all of these very beautiful and extravagant thing.

Maurice Cherry:
When you look back at your work years, prior to starting your studio, what lessons do you take from that time?

Monique Jenkins:
I think the biggest lesson that I probably could take from that is that people are so kind in so many ways… When I look back at my career, I think about all of the awesome women specifically, black women and more specifically, who just had my back. Who just took me aside and gave me knowledge and information that I just did not have and could not fathom in a lot of different respects. And even when I was going to make very wild errors or I was acting emotional in the things that I was going to be doing, black women saved me every single time. They helped me to steer my direction and navigate and make better decisions because I was working at a check burning company and I dislike these I was like, this is ridiculous. I don’t want to do this. And I wrote what is the nastiest probably resignation letter that anybody has ever read. This is stupid. Y’all are stupid. It just wasn’t kind.

Monique Jenkins:
I was friends with the HR, director and she was like, show me your resignation letter. And we looked at it together and she ripped it up right in front of me. She was like, “You will not be giving this to anybody.” And I was like, “What?” She was like, “When you work for a company, you don’t want to burn bridges. These people that you think are not confident or don’t know how to do their jobs, you will face these people again in other environments. So you don’t do that. You don’t burn bridges in that way. You can respectfully say that you did not have a good time here or you can keep your mouth shut. And you could say this was a great learning experience, which it was, it taught you that you did not want to work with these type of people and you take that on.”

Monique Jenkins:
And 10 years later I got an opportunity to work with one of the same people that I worked with in that organization, loved her. She was great. Once we worked one on one, but working as the low person on the totem pole in that context, when I was really young, I was like, these people are… I don’t like this. This ain’t going to work for me. But her pulling me aside and having that conversation about not burning bridges was incredibly a shaping moment. And every single organization that I have worked out since I have been able to find that person who is more knowledgeable than me, who can help me navigate spaces in ways that I did not think about or think about things in ways that I just don’t inherently have in me.

Monique Jenkins:
So those people incredibly wonderful. They help shape me. And then I guess the other thing that I’ve taken away from a lot of the organizations is the structure that I like and don’t like working in, is super important. So, some of the bigger companies that I worked for I really felt like a number. I was like, these people don’t know me. They don’t really know anything about me. And I started to find my sweet spot and being like, I don’t know if I want to work for a fortune 500 company. Maybe I want to work for smaller companies or a mid-tier company where there feels to be a little bit more of a, and I use this loosely, family structure around who you are with. Because I always think it’s a red flag when someone’s like, “We’re family.” I’m like, “No we not, we’re coworkers y’all.”

Maurice Cherry:
Same. A 100% same.

Monique Jenkins:
I’m like, we’re not we just like each other outside of work. That’s different. I have to stick with my family forever sometimes. But it really helped me to figure out like, I don’t like being one of 75 designers on a team. I want to be in a smaller team where I actually get to know these people and understand their perspectives or know the other team members that I’m working with outside of the core team. And well I have never go back to working with a fortune 500 company. It depends on the salary offer. But for, right this second, like I think the sweet spot is really a smaller company where you get to know actual people and then they get to, they open up and they share things with you that I don’t think they necessarily share in a larger structure with more people working at an organization. I find that people more reserved in that setting.

Maurice Cherry:
Yeah. I’ve worked in startups for the past, I’d say roughly the past five years. And I don’t know if anyone from my current job is listening to this so I won’t say what I feel about startups. But I think it’s important, like you say, to have those different work experiences to know what you like, what you don’t like, because once you start getting out there and I’d say, this is probably the case, even for starting your own studio and finding clients and stuff.

Monique Jenkins:
Yeah.

Maurice Cherry:
At the beginning, you’ll kind of just take any work. Any work that’s coming in the door, as long as it’s paying, but then eventually you learn what are the best types of clients for you to work with? What are the best kind of jobs? What’s the client match for that will allow you to do your best work? That takes trial and error.

Monique Jenkins:
Exactly. I always tell people that I’m mentoring specifically, because I’m been mentoring with Thinkful for new UX and UI designers that are coming out of their program. And I always tell them, “It depends on what you want to gain. So, if you’re going to work for a startup, generally, you’re the only designer there. You’re going to do everything. You are going to have to do research on your own time. You’re going to be digging into a bunch of different worlds. You’re going to be learning a bunch of different things.”

Monique Jenkins:
If you are like, I want the guardrails of working with other people in a structured environment that has a design system that is already established work for a bigger company, get that under your feet. You’re never going to put a million dollar campaign or something out the door without any oversight. There will be guardrails there to help to protect you. And then once you understand what the structure is like, then you can transition to a mid-year company or to a startup and feel more confident. But originally coming out of college, it was probably helpful to me to work in an environment that had very rivet you know what I mean?

Maurice Cherry:
Yeah.

Monique Jenkins:
Yeah, so, because there was a design guide and I could look at that for reference when I building something and feel more confident about the thing that I was going to produce or that I was showing and at a manager. I could go to that person and be like, “Hey, what do you think about this?” The first startup that I worked at, there was no design director. I was the only person. I was on the marketing team and they are wonderful, but they’re not designers. So they couldn’t really give me feedback. They were more so telling me, I like this or I don’t like this.

Maurice Cherry:
Yeah.

Monique Jenkins:
But that’s not logical. They’re telling me what their preferences are, not who our core customer is and how this design can relate to them.

Maurice Cherry:
Well said a 100%. Are there certain types of projects that you want to do in the future?

Monique Jenkins:
Yes. Recently in my business have been picking up a lot of clients in the solar energy space, which is super interesting. So I like that client. I like helping, or I like thinking that my work is going to help in a bigger way or have a bigger impact than outside of a redesign. This is for someone actually coming to gain knowledge. And I also think it’s a environment that I don’t think as a black person that I read enough about or know enough about, like be informational. So I like the solar energy clients. I like startups specifically. I want to help craft and create brands from the beginning and help them to discover who they are and create an entire branded existence for an organization. That seems like a super fun and challenging thing for me. I like the challenges is what it is.

Maurice Cherry:
Speaking of challenges, in a way you’ve kind of come full circle. You mentioned attending Towson University several years ago. Now you’re a teacher at Towson University. Talk to me about that.

Monique Jenkins:
That actually happened because when I was at the University of Baltimore, I graduated with a master’s degree and I went back to college, again, for a third time to get a certificate in User Experience and Interaction Design. And I got that and I was like, you know what, as I think back across the entirety of my experience in college, I don’t think I’ve ever had a black professor. I was like, I don’t remember that ever being a part of my college curriculum. And I talked to a couple friends too, and I was like, “Have you ever had a black professor? I’ve never. Have you?” And they were like, “Now that I think about it, I don’t think I had.” After I went to college for the third time, I was considering going back again to get a doctorate. And I can’t remember what podcast I was listening to, but I was listening to a podcast and they were talking about validation as a black woman in spaces.

Monique Jenkins:
And I had reached out to the University of Baltimore and I had talked to the recruiting counselor there and she reached back out and she was like, “Hey, we’re having open house or something and I want to make sure you can make it.” And I just got real honest with her in a way that I don’t think that I am with some people sometimes. I think I’m better at it now, but at the time I really wasn’t. And I sent her an email that said like, “In all honesty, as a black woman, I think I’ve used my education as validation that my opinion belongs in the room and it validates that I’m worth listening to, to those people. And I’m trying to redevelop how I see myself and how other people should see me in the spaces that I’m in. I don’t think I need the validation of another degree in order to get that. So I don’t think I’m going to go on and get my doctorate right now. I think I’m just going to focus on me.”

Monique Jenkins:
And this was at the time that I was just starting with Ladies, Wine & Design, Baltimore. I had just off boarded from AIGA, Baltimore. And I was just like, I don’t want to do that. But I also was like, I don’t want another person to go through their college experience and not have a minority be a part of that. Not have a person who looks like me or not see another woman who looks like me go through their education experience and not experience that with some of the joy that it is to have a professor who is African American in our space. So I want to teach. I want to show people that it’s possible. I want people to see me and be like, “Oh, I can do that one day.” And understand the path of what it takes to get there. And that’s how I started teaching. Is that I thought about my own college curriculum and what would’ve made that situation better for me and I was like, I’m going to go and teach.

Maurice Cherry:
What do your students teach you?

Monique Jenkins:
So much. All the new latest TikTok trends. I’ll tell you that. I cannot get away. I’m like, “Y’all, I don’t get it. I’m a mom now. I don’t understand how you’re supposed to use this thing.” I think what they teach me is that failure is okay. I took college incredibly seriously. When we were talking earlier, college was very much a job. I came from a family who financially could not afford for me to go to college. I took out a lot of student loans to get this degree. So college was always very heavy for me. And it was always like, you need to be doing your best self and you need to be doing your best self because your family is counting on you. You don’t have the option of being lazy. You don’t have the option of not doing your best. You have to put everything in this because it’s a lot of money to waste.

Monique Jenkins:
So when I see them and they’re interacting with me and they’re interacting with the work that I’m giving them, it’s okay for me to be able to tell them like, “Hey, this is not make or break. This is okay If you’re not going to do your best on this one project or that you’re having a hard in life, sympathizing.” And I think they helped to bring back some of that humanity to me in some respects where I’m like, it’s okay to be like, I don’t get this or this isn’t exactly where I know I want to be. Or I don’t really understand these things that are concepts that you’re explaining. They just help to ground me in a way that I don’t think that I was ever grounded when I was in college. They give me a little bit of… And they’re super honest too when they don’t like stuff.

Monique Jenkins:
They provide a little bit of lightness to the world and they see things in a… They’re growing up in such a different time than what I think I grew up in, which is weird because I don’t feel like I’m that old, but apparently I’m getting there. They have such a different perspective on life. I always say, “You guys are considering and are interacting with concepts and things that I don’t think I ever thought of in the entirety of the time that I was in college. And you’re introduced to things in such a early way that I don’t think that I ever explored when I was your age.”

Monique Jenkins:
So they helped to shape a large part of my world. Also, they helped me to realize what’s important and what’s not important in some respects. They give me lots of love and lightness and sometimes drive me crazy. I try to not be the Monique who’s a production person who’s just working all the time, but I’m also like, you don’t have time to be messing up. You’re in college. So they help to ground me in a way that I don’t think that I was at their age.

Maurice Cherry:
Have you had any peers or mentors that have kind of helped you out along your design journey? I feel like you alluded to one of them earlier. But I’m curious, who’s helped you to get to where you are today?

Monique Jenkins:
As I said, so many women whose names that I will not remember, probably have no idea that they had such an influence on me. More recently though, for Ladies, Wine and Design, my co-host or co-partner in that venture is Davia Lilly. And she has helped me to work smarter and not harder and to explore concepts that I just have never explored in design. She is a huge part of helping me to be the best Monique that I can be. I also recently hired two different business coaches, who I’ve worked with recently, Jessica Langley and Michelle Gomez, who both have been incredibly influential in helping me realize my potential and all of the amazing things that I can do. Dan Brown, who’s an information architect and principal designer at his company called EightShapes, who has a user experience consultancy has been incredibly helpful. They all have been helpful in so many different ways in helping me to shape who I am, where I’m going, how I want to run my business or how I don’t. Yeah. They are amazing people, every single one of them and teach me amazing things every day.

Maurice Cherry:
Is this how you kind of imagined your life would look like when you were a kid?

Monique Jenkins:
Absolutely not. It is not. I was one of those kids who journaled. So I have a journal with all of the stuff that I wanted to accomplish. I remember being when I turn 18 and go to college, I want to go to NYU and I want to live in New York. And I was just imagining a Sex in the City lifestyle where everything was fabulous or moving out to LA. And I never wanted to be an actor or an actress. That is not my God-given gift. But being in those environments with those type of people. And I think I’ve accomplished all of the things that young Monique thought that she was going to accomplish. I purchased a house. I finally got my puppy. I’m about to start a family with my husband. And I just didn’t think it was going to happen in this way. And I’m still working towards the dream of being in New York or Los Angeles.

Monique Jenkins:
I don’t know if those are dreams anymore because I’ve been to LA and I was like, “This is congested y’all.” I’ve been to New York and also been like, “This is all right, but I don’t know about this for a full-time basis.” I could get a summer home there or something. But it all worked out the way that I wanted it to. When I was young, I thought more materialistic. I wanted things. Now that I’m older, I’m like, I’m happy with my life. I’m happy with my spouse, with my family, with the interactions that we have with each other. I’m happy that I can pick up the phone right now and call my mama and be like, “Hey girl, we just got a contract for a $100,000,” and have her pray for me and love on me and have such good spirits. That’s the more important thing.

Monique Jenkins:
I think when I was younger, I was like, I’m going to move away from my family. I’m never going to talk to them. What do I need to talk to them for? But as I’ve gotten older, I’ve appreciated where I am now and appreciate all the things that I want to do. And every single time a major life event happens, I go back to my diary from 12 years old and I’d be like, let me add something to this because I wasn’t fully thinking about these things. But by and large, I’ve gotten to check off a lot of the things that I thought that I was going to do when I was younger. And that is good for my soul because I’m like, at least you weren’t dreaming. At least you can reference back to the dreams you had. You can check these things off, you were able to accomplish them.

Maurice Cherry:
I think that’s been one of the great things for me about sort of getting older and then being able to kind of look back at the life that you’ve worked hard to create. Looking back at what you’ve built and kind of being content with it. And that’s not to say that you’re settling for it, because I’m sure you have other goals and aspirations that you want to do. And I’ll ask you about that. But also looking and seeing where you are right now and being like, I did pretty good. That’s a blessing to get to that point.

Monique Jenkins:
Pair it with some pivotal moments. I think the first $100,000 job that I got was like, oh, that’s crazy. Nobody in your family has ever even thought of making this much money. And now that I reflect on that, I’m like, “Girl, you better get to two million dollar, three million dollar. You can get some more money than that.” But as a kid, that number seemed so big. That just felt like an incredible task. As an adult, I’m like, well girl, a bread be costing like five dollars. But as a child, it’s weird to get to this point. And it’s weird for your family members.

Monique Jenkins:
I will say by and large out of my siblings and my cousins and all that stuff, my mom was like,” Monique’s going to be the one. It’s just in her personality.” She even says, “When you were a baby, you didn’t even want nobody to hold your bottle. You was like, I could do this myself. I don’t need you for that.” And I’ve carried that theme through. She was like, “You have always been so self reliant. And so you set your own accomplishments.” She was like, “You put yourself on punishment when you were 10 years old because you got a B on a paper and you felt embarrassed” She was like, “It was so crazy. You took your TV out of your room and everything.”

Monique Jenkins:
And I was like, “Because I knew that I just had so much more in me and I wasn’t giving it my all.” And I feel like I do that now. I’m incredibly hard on myself, but I think that the good thing about living in the space that we are now is that I can see other black women who are like I was too. And I had to learn to balance. Being productive with sustaining a life and having a happy balance between those two. So its nice to look back and be like, all right. I know you wanted to be a lawyer who was also a doctor who was also a mechanic who was also this, but you got to this place and you are still happy. You don’t have to be productive 365 days a year. You can take some days to just chill and eat Oreos on the couch, watching Netflix and you’re okay.

Maurice Cherry:
Yeah. It’s really something, like you said, to get to that point and realize, there’s more to life than just work. That whole thing about striking a work life balance, especially when you’re an entrepreneur is super tough. I know when I started out with my studio initially, I was working or I would tell people the joke about entrepreneurs can work half days, any 12 hours you want because I would just keep working because no one was there to stop me. There was nothing to stop me. I just keep going. And eventually you learn, if you don’t take the break, your body will take it for you.

Monique Jenkins:
Exactly.

Maurice Cherry:
And so eventually like I learned to of not put so much of that value on to know when to take breaks and all that sort of stuff. But being able to look back on the work that you’ve done and feel satisfied and grateful, it’s such a great place to be as an entrepreneur. Where do you see yourself in the next five years? What do you want your next chapter to be?

Monique Jenkins:
I have no idea now. I was not intending to be a mom this year. So I feel like my next four or five years will be incredibly important for the development of my child. And I’m super interested in making a bunch of Instagram videos that other moms can relate to. I think that’s where my heart is right this second. Obviously, my business is incredibly important to me because I think there is a purpose behind it. The intention behind my business is personal to me because I’m one of the women who my businesses services in some respects. So I want to grow my business over the course of the next three years. I would love to get it to a place where it’s same things or has the ability to pay my mortgage for my household and all that jazz because I think it’s important. But also I don’t want to be a mom who can’t spend all the time that they can with their children. I’m sure there will become a point in that child’s life where I’ll be like, “A break is good. You going to daycare soon or something.”

Monique Jenkins:
But I think out of the gate, at least the first four or five years of your kid’s life, is incredibly important to me to be present and to be there for all of those little moments and to understand how’re they are growing up and what their personality is and their expression. So dually for me, it’s crafting a business that sustains itself outside of me physically having to watch over it, hiring more employees who can service the business and letting go of the reigns in some respects, because when you’re a business owner you want to be a part of everything.

Monique Jenkins:
And I will say that because I said, when you have a lower budget, you want to be a part of everything. I’m the same way you all. I’m just there. And it’s okay to release the reigns to another person and trust them with some aspects of what you are building because they do have your back and they are building towards the same goals and things that you want to build towards. So building my business is equal to helping facilitate a relationship with my child and obviously a relationship with my husband. My whole purpose for my business is to help my family. It’s incredibly important for me to build a life where I can assist in whatever ways are helpful to the people and members of my family who have served me and continue to do so.

Maurice Cherry:
Well, just to kind to wrap things up here, where can our audience find out more information about you and about your work and everything online?

Monique Jenkins:
You can go to my website, jkinscreative.com. That is also the handle for my Facebook and Instagram, is J.Kins Creative. I’m also going to be a keynote speaker on April 30th at AIGA Baltimore’s Ink & Pixels event. So I’ll be talking about being prepared to get your dream job or leave your dream job depending on what you want to do. So those are the places where I’m going to be most present over the course of the next couple months.

Maurice Cherry:
Sounds good. Well, Monique Jenkins, I want to thank you so much for coming on the show. I have to say, your passion for your business and your enthusiasm for the work that you do just really, really shines through. And I’m so grateful that we’re able to connect. Again, congratulations on the baby. I’m really excited to see what you do in the future. So thank you so much for coming on the show. I appreciate it.

Monique Jenkins:
Thank you for having me. I’m also excited to see what I’m going to do in the future. In this future, I’m going to go get something to eat, because that’s the top priority on my mind right this second. But after that, I’m going to take over the world. I’m super excited to see all of my dreams realized and expectations grow over…what is this next phase of my life?

Liz Montague

If you’ve been a regular reader of The New Yorker magazine, then you may already be familiar with this week’s guest, Liz Montague. (But if you’re not, then this conversation is a perfect introduction!) Liz is the first Black woman to have a cartoon featured in The New Yorker, and now she’s an author with her first book set to hit bookstores everywhere in the Fall. Everything’s coming up Liz!

Our conversation begin with a quick life update, and from there Liz talked about starting her comic “Liz at Large” as a college student. She also talked about how she began contributing to The New Yorker, and spoke about representation, how that’s reflected in her work, and her future books (plural!) that are on the way. Liz is proof that self-determination and hard work definitely pay off in the future!

Transcript

Full Transcript

Maurice Cherry:
All right, so tell us who you are and what you do.

Liz Montague:
Hi, my name is Liz Montague, and I’m an author, illustrator and cartoonist.

Maurice Cherry:
Now, before we get more into learning about your work and about your journey as an author/illustrator/cartoonist, tell me, how has this year been going for you so far?

Liz Montague:
This has actually been a really good year. I mean, I think personally, it’s been really good year. I just got married. I just bought a house.

Maurice Cherry:
Congratulations.

Liz Montague:
Thank you. In a personal and material way, I guess it’s been super good. I mean, professionally it’s been really good, too. It’s been my first year working on book projects, which is very new for me, having come from the news media world. It was a very tumultuous past few years for everybody, and being on the news side of that was really exhausting. So I think this has been a really calm year, I’d say

Maurice Cherry:
Nice. I mean, I guess as calm as getting married and also moving into a new house. I’d imagine there’s probably been some stress around that, even just with the pandemic and everything.

Liz Montague:
I mean, it’s less stressful than covering the Trump presidency and 2020, COVID, all of that and trying to do it in record time with deadlines and everything. That was way more stressful than this, 100%.

Maurice Cherry:
Fair. I get that, totally. I totally do. What lessons did you learn over this past year? How would you say you’ve grown and improved?

Liz Montague:
I would say that I prioritized just my mental health. I feel like everyone’s saying that and that people say it so much, it starts to not mean anything. This is the first year I really started saying no to things. And that’s been kind of scary, but empowering, but also terrifying. I don’t know. I’m still learning.

Maurice Cherry:
Well, I mean, I think that’s something that a lot of people are still learning, is to say no. I think the pandemic, of course, forced everyone to not just slow down, but in many cases to just stop.

Maurice Cherry:
And now that we’re at this point, though we’re not completely out of the pandemic, we’re at this point where restrictions are being lifted and rates have gone down to a point where we now have to try to come out of this period with some new normal. And what this time has forced everyone to do is just sort of reevaluate their commitment to work, their commitment to being busy and all that sort of stuff.

Liz Montague:
Yeah. And the pandemic and the pause that it caused happened at such a weird time in my life where I was 24, and I’d already been working at The New Yorker for two years and had been doing this work for about two years. And now where we’re at now, I’m 26 and I’m trying to really figure out, “Holy crap, what do I want to be when I grow up?” And I didn’t expect that question to scare me so much. It’s terrifying.

Maurice Cherry:
Well, I mean, in your 20s, it is a scary thing. Especially, God, I’m thinking even now with everything that’s happening right now, it can be hard to think about, “What does a future look like?” I totally understand that.

Liz Montague:
Yeah. Thoughts around that right now is just like, “Okay, so I’m done, what do I want to keep doing? What new things do I want to do? What do I want to try? Is there still time to try things and be bad at them and new at them? Or am I at a point where I’m just supposed to try things and automatically be good, because that’s what people might expect?”

Maurice Cherry:
I’ll say with you being in your 20s, you totally have the time to try and fail at stuff. The 20s are for that, the 20s are your time to do that. Your 30s are sort of your time to sort of refine the process. And then hopefully by your 40s, you have it figured out. I’m saying this now because I just turned 41 recently. But you hope to have it figured out by that point.

Liz Montague:
[crosstalk 00:06:02].

Maurice Cherry:
But I can definitely say in hindsight, in your 20s, that’s the time to… I don’t want to say make those mistakes, but that’s the time where you can sort of have those errors and it doesn’t affect you long-term into the future, that kind of thing.

Liz Montague:
Everything feels like you’re one wrong move away from crumbling it all. But I know that that’s not actually true. Even if it feels like it’s true.

Maurice Cherry:
Let’s go ahead and jump into Liz at Large. For those listening who for some reason have never heard of Liz at Large, can you give an introduction?

Liz Montague:
Liz at Large is a single panel cartoon series that I actually started my sophomore year of college. I was just trying to sort out my own mind to myself. And I just kind of started drawing these cartoons where my dog, my childhood dog, to me would give me advice.

Liz Montague:
And it just started as a super casual thing that I would post on Instagram. And my teammates, because I was on the track and field team in college, would be like, “Oh my God, I love that cartoon. Where’s the next one?” And they would really kind of just hold me accountable to just keep doing it. And I just really just stuck with it.

Liz Montague:
And then eventually after I was out of college, I was working as a graphic designer. I was already working for The New Yorker at the time. I was able to make it into a single panel cartoon into the Washington City Paper, which was a lot of fun.

Liz Montague:
But then it’s a different ballgame once you have deadlines and you need to worry about, “Well, how is this going to print?” And the kind of evergreen nature that it needed to be, because when the deadline is versus when it would print was two weeks apart. So it’s really kind of grown and shifted with me, which is kind of cool to have that to look back on and know where I was mentally when I made it. So yeah.

Maurice Cherry:
Yeah. I was going to ask, have there been new changes and things that you have introduced to the comic as your life has gone on?

Liz Montague:
Stylistically it’s changed a bit, where I think it got a little bit more fluid as time went on. When I look at the old versions of it and old cartoons of it, it feels very rigid, like I was really afraid of messing up. And then as time went on, I think it got a little bit looser. I think I was willing to kind of play around with environments more.

Liz Montague:
And then it changed even more once it was in the Washington City Paper, because then it’s like, “Okay, there’s a deadline. Okay, there’s an audience that’s actually going to see this.” As opposed to, the internet is kind of a black hole. You’re kind of, sort of thinking of an audience, but you’re not really thinking about, “Oh wow, someone’s going to tangibly hold this in their hand.” And that tangibility kind of made me a bit more nervous.

Liz Montague:
And then I think that the content of it kind of had to zoom out a lot more. Again, because there was that two week period versus when it was due and when it would print. For a daily, local newspaper, you don’t know what could be going on in the world at that time. And then what ended up going on in the world at that time was the Trump presidency and eventually COVID, and we were in the middle of Washington DC. So it was big news there.

Maurice Cherry:
Yeah. I was going to say, I’m thinking during that time, I can imagine everything during that time was about voting, the presidency. Yeah, I could see in DC how that would be really… Well, I’m curious. Knowing that stuff was going on as you were doing the comic, did you sort of feel a need to speak to the times in that sort of way?

Liz Montague:
I mean, it was almost impossible for me to be super responsive in the way that I would be for a New Yorker daily cartoon or something just because I knew, like, “Okay, by the time that this is actually printed a week or two from now, there could be a whole new thing. There could be a whole new something else going on.” I actually ended up zooming in to my own life and making it hyperspecific to whatever I needed to hear, and then just hoping that it would work out for whenever it was printed.

Maurice Cherry:
I think that’s probably a really good strategy too, I mean, to just make it more focused on you. I mean, it is called Liz at Large, it’s not World at Large.

Liz Montague:
Exactly.

Maurice Cherry:
So it makes sense to focus it on you and your life as opposed to trying to make it some sort of regular bulletin about what’s happening in the world.

Liz Montague:
[inaudible 00:10:09] sure, and there was already enough of that. And I was like, “You know what? This isn’t for that. So I’m going to just do it.”

Maurice Cherry:
Yeah. To that ends, what was the feeling that you wanted to really capture with Liz at Large?

Liz Montague:
When I first started, it was really just for fun. Just to see what my friends would say, what I would say. But I think as I continued doing it, I realized that the power that emotional literacy could have of just taking a second to stop and think, and think about how you feel. Think about what you need to hear, what I needed to hear and taking the time to write that down, and that could actually have a profound effect on your life.

Liz Montague:
And I think that that kind of really became a big why for me, as far as just emotional literacy matters, the way that especially in… It’s always weird to speak on the Black community, but it’s like how in the Black community, emotional literacy talking about your feelings, addressing your feelings is kind of just an issue that really needs to be sorted out. And how it could just make everything so much better if we just stopped and felt and processed. And I don’t know, just the impact that it have. I hope that made sense.

Maurice Cherry:
Yeah. No, it made sense. I think if that’s something people can grasp from the comic, particularly from a single panel comic, I think that’s really powerful. To that end, there’s so much about Black people that’s reflected through not just the media, but through different types of media, through cartoons, through movies, et cetera. And so if you’re able to not only make it hyperspecific to your life, but then also try to make it unique to the quote/unquote “Black experience,” which is such a varied, vast concept, it’s impossible to do that.

Liz Montague:
I worked in nonprofit at the time. I was a graphic designer at a nonprofit when I lived in DC. And I remember I read research on the racial empathy gap. And about how there’s research on it, about how for whatever reason… I mean, not for whatever reason, we know what the reasons are. But white on audiences have a really hard time connecting with people of different skin tones, especially darker skin tones.

Liz Montague:
Because at the time I was working for a nonprofit that was mainly geared toward and focused on brown people, Middle Eastern people. So it was just wild to realize that this is empirically researched information and that the impact of it is everywhere where it is. Well, why are there so many white leads in these cartoon shows? Why are there so many white leads in these regular movies and books, et cetera? And the idea that it’s harder for white audiences to connect with, I don’t know, different skin tones, different genders.

Liz Montague:
I mean, I think that’s more on the forefront now with people talking about the recent movie Turning Red and about how people felt like they couldn’t… Not people. There was one white man in particular who did an interview who said that he couldn’t connect with it. And it was just, “I can’t connect with this, da, da, da, da, da.”

Liz Montague:
And it was because it was about a girl going through puberty who didn’t look like him. And it’s like, “Okay, but we all watched A Bug’s Life and Ratatouille, and I’m not a rat and I was able to connect with Ratatouille, but.” I just totally went on a whole tangent there, I’m sorry.

Maurice Cherry:
Right. No, I’m glad you mentioned the Turning Red thing, because I was thinking about that as you were saying that, that sort of empathy gap. Because as people of color, we are forced to kind of make that gap when we see so much media that doesn’t involve us.

Maurice Cherry:
And so when you have this one thing, particularly an animated thing geared towards children and then some grown-ass white man is like, “Well, this doesn’t represent me.” Well, it probably doesn’t because it’s not geared towards you. It’s not about you. But look how many other things out there in the world are geared towards you and about you. Do you know what I mean? It’s so weird.

Liz Montague:
Yeah. Yep. It’s the weirdest thing, but there’s literal evidence on it. And how much can a single panel, or even whatever other cartoons in the world, how much impact can they really have? I don’t know. But I was like, “Maybe if I put these universal feelings with a darker-skinned Black girl, maybe this could help someone close that gap.” Not that it’s Black people’s job to teach anybody how to feel, but I think that that was part of the intent.

Maurice Cherry:
Yeah. Walk me a bit through the process of creating the comic. You mentioned having to sort of have it in by these specific deadlines. Does that mean that you sort of batch a bunch of comics together? How does that work?

Liz Montague:
Oh my God. It was the jankiest process ever. I was still figuring things out and working my full-time graphic design job and a million other things. And it was due every Thursday, and it would print two Thursdays after it was due. And I would have to get done the… There would have to be the social media size and then the regular size for when it would print.

Liz Montague:
And I would only submit one each week and I would sit there for, I kid you not, hours and stare at the wall and be like, “Oh my God, I have no idea what to say right now, and I have a deadline, and the editor’s texting me.” It was a mess. It was a hot mess really, but we made it through.

Maurice Cherry:
And you said that there was also kind of the added thing of seeing it in the paper. I’m sure at that point, you’re gaining a whole new audience outside of your friends on Instagram. How did people react to it when they saw this in the paper? Did you get a boost in clients or anything? How did that happen? What happened?

Liz Montague:
Honestly, I don’t really know. I guess I got wider reach, for sure. I think that tangible media, things that you can hold, just ends up in different people’s hands in a way that… There’s a lot of digital noise and people scroll and don’t always really stop and look. And I think that it being something tangible in people’s hands enabled them to stop and look more.

Liz Montague:
But I do know that after, once it was in the Washington City Paper, I ended up getting reached out to by a random blog. And they were like, “Oh, can we interview you or whatever?” And I was like, “Yeah, sure.” And then I did that interview, and then through that, that’s how the editor from Random House founded me, and that’s how I got my first book deal. So you never know what can lead to what. So the two things are probably distantly connected.

Maurice Cherry:
Let’s kind of switch gears here a little bit. I want to kind of dig a bit more into your origin story. Now you mentioned living in DC, is that where you’re from originally?

Liz Montague:
No, I’m from South Jersey.

Maurice Cherry:
Okay. All right. So being from South Jersey and growing up there, were you exposed to a lot of drawing and art as a kid?

Liz Montague:
I mean, yeah, I think I was. I think I have a very artsy family. Both my parents went to Pratt. My mom’s an architect, my dad’s an engineer. So I have two older sisters and we were all very exposed to that. And it was super encouraged. And my parents had a lot of friends who had been artists or were artists.

Liz Montague:
But it was always, “Oh yeah, Charlie can be artist, his parents just gave him a brownstone.” It was very clear who could be kind of what you think about when you think of a traditional quote/unquote “studio artist.” And that there was definitely a wealth gap in between that, versus who needed to have a more desk job type artist thing. Architecture, engineering, graphic design, which is what I ended up going into. You know what I mean?

Maurice Cherry:
Yeah. So I guess knowing that growing up, you were drawing and kind of having this interest in it… And you said both of your parents went to Pratt, but you didn’t go to Pratt. You went to the University of Richmond.

Liz Montague:
Yeah. Well, so my mom’s from the south side of Chicago, my dad’s from Brooklyn and he grew up in the projects. So they didn’t have traditional four-year college experiences. My dad went to junior college first and then went to Pratt on a basketball scholarship. My mom started out at Hampton and then eventually made her way to New York and finished her degree over a decade.

Liz Montague:
So for me, they were just kind of like, “Well, you run track and your older sister ran track and she got a scholarship, so you’re going to get a scholarship too.” And I was just kind of like, “Okay.” And University of Richmond just happened to be where I got my athletic scholarship. And that’s why I went there. I had fun.

Maurice Cherry:
No, I was going to say, there’s actually a pretty strong Hampton University to pipeline.

Liz Montague:
There is?

Maurice Cherry:
I want to say I probably had about… I know I’ve had at least three guests on the show where that’s been the case. Yeah, it’s a pretty strong pipeline. I don’t know if a lot of people know that, that it’s from HBCU to design school in that way. Tell me about your time at University of Richmond. How was that experience?

Liz Montague:
I flipped around majors a lot. I went into college knowing that I liked to draw, but not really… Even with parents who went to Pratt and were in the arts, I had no intention whatsoever of even studying art, minoring it, anything. I was like, “I’m going to get a business degree.”

Liz Montague:
And that totally didn’t work out. I hated it so much. I tried to do computer science, anthropology, English, and none of it worked. And then it was towards the end of my sophomore year and my academic advisor was like, “Listen, you need to pick a major or you might not graduate on time.” And my scholarship was for four years and I was determined to graduate in four years. And then I was like, “Okay, just put down studio art.” And that’s how it happened. I know it’s not the best story, but it’s the truth, so.

Maurice Cherry:
How was the program there?

Liz Montague:
It was really intimate, which I think I needed, especially at that time. There were more faculty than students in the major. It’s a very, very small school. I think University of Richmond has 3000 students, which was smaller than my high school. I went to a really huge rural New Jersey high school that had thousands of kids.

Liz Montague:
And our senior year, my senior year, there were five majors, we were all women, and we had six professors. So we were outnumbered by our professors. It just allowed you to have a really one-on-one experience. There was room to just try things and figure things out, and we were given a lot of freedom, which I really appreciated. It helped to really just kind of be self-motivated and not rely on, “Okay, well here’s a syllabus. Do this, this and this.” You’re really able to kind of carve your own path, if that makes sense.

Maurice Cherry:
No, it does. I was going to say, I imagine that’s really super empowering. To have not only that kind of intimate class kind of setting and makeup, but then your being able to kind of work closer with your professors, with people like that. Because I’ve had folks on the show before that have went to larger schools or went to art schools and stuff, and that kind of one-to-one kind of relationship is tough to get.

Liz Montague:
Yeah. And I knew that it was definitely like I kind of lucked out.

Maurice Cherry:
Now, something pretty cool happened. Now you’ve kind of alluded to it a bit earlier in the interview, but something pretty cool happened around your senior year with The New Yorker magazine. Tell me about that.

Liz Montague:
Yeah. I was a super brand new 22, felt very old and mature. I had just heard back a graphic design job, was super pumped, I was like, “I’m moving to DC. I’m about to be such a grownup.” And then was at the office for something, I don’t even know what, and was supposed to be working, fully supposed to be not on my phone, but I was.

Liz Montague:
And I was on Instagram, scrolling through, and on my explore page or something, The New Yorker cartoons page came up and I was just scrolling through it. And I was like, “Oh, wow. All of these cartoons are white. Every single character in these are white, it’s all kind of the same perspective over and over again. I wonder if they know?”

Liz Montague:
At the time, my headspace was in brand new, about to start at a nonprofit job in DC where I’ve just been trained on all of these unknown biases that people have and corporate structures and yada, yada, yada. So in my mind I was like, “Oh, they just must not know that they’re using all white characters. Let me just tell them, they have no idea.” And so I just hit the email button and was like, “Hey guys, don’t know if you’re aware, but all of your cartoons are white. You guys should do something about that. Best of luck.”

Liz Montague:
And that was really it. And I did not expect to hear anything back. And then I got an email back and they were like, “Oh…” It was Emma Allen, who’s the editor there. She was like, “Oh yeah, we’re aware, da, da, da, da. Is there anyone that you would recommend?” And I was like, “Oh yeah, me. Yeah, I draw cartoons.” Literally, I had no idea what I was getting myself into, at all.

Maurice Cherry:
But I mean, you shot, though.

Liz Montague:
I saw an opportunity and I took it. I saw a window and I ran through that thing.

Maurice Cherry:
Look, one of my favorite sayings is fortune favors the bold. And I mean, you saw an opportunity, you went for it. And so after you did that, after you pitched yourself and said that, did they reach out to you and say, “Let’s see what you got?” What happened?

Liz Montague:
Basically. It was like, “Okay, well send us something.” And then I think I that night was trying to cobble together some sketches. And it was 50 sketches before I got one yes. Once I got one, I was like, “Okay, so this is what they’re looking for.” And then you get two, and then three, and then four. And then you’re able to start contributing regularly.

Liz Montague:
But there was definitely a very steep learning curve. Because I remember when I first told my dad, “Oh, I’m going to have a cartoon in The New Yorker.” He was like, “What’s The New Yorker?” That was not-

Maurice Cherry:
Oh.

Liz Montague:
And he’s from New York, but he’s not from that New York. So it’s just like my frame of reference for The New Yorker was their Instagram account. I had no frame of reference for a physical magazine for The New Yorker brand.

Liz Montague:
But I think that was kind of a really big advantage, to come from the outside. Because I think that a common problem that they have, or a common thing that happens with people who submit is that they’re trying to emulate The New Yorker voice. But I had no idea that there was a New Yorker voice, so.

Maurice Cherry:
Yeah. I mean, and also when I think… I mean I’m in Atlanta, so I don’t know… I mean, I know of The New Yorker, but when I think of that magazine just in my mind’s eye, I’m thinking it’s a maybe more upper middle class audience, white audience that mostly would be paying attention to or reading The New Yorker.

Maurice Cherry:
But then it’s also online and I look at a ton of stuff from The New Yorker online, so. Even in it’s just design stylings, I feel like that’s who it’s trying to sort of cater itself towards. So when you said you have to try to find what that voice was, was it about trying to tailor yourself to that audience, or more so tailoring yourself to what just the editor wanted at The New Yorker?

Liz Montague:
I mean, I think probably a little of both, because this was my first professional art job ever. Kind of straight into the fire, so to speak, where I didn’t have any concept of, “Oh, this is the deadline and if it’s not in by the deadline, it’s not going to print.” And of, “Oh, these are finals and you’re going to keep doing it until it’s right.”

Liz Montague:
And of atmosphere and what skin tones can print and what skin tones can’t print. And will it smudge into the black lines so then you won’t be able to read facial expressions?There’s such a learning curve there in general, and then on top of that… And I talked really openly with my editor, Emma, about that at the time, about, “Well, Black humor isn’t going to be funny to people who read The New Yorkers.”

Liz Montague:
And I remember I said that to her point blank, via email. I talked to her about that, where it was just, what I might find culturally funny might not be able to be in this magazine because of the voice and the audience that you’re targeting. So where does that leave me if what, because of cultural things, because of societal things, I find funny but can’t be published here, what am I… Am I supposed to, I don’t know, put myself in the shoes of if I were middle class and white?” So that was a huge barrier, but I figured it out. I mean, I got some zingers in there. I definitely got some zingers in there.

Maurice Cherry:
I would imagine once people discovered that you were the first Black woman cartoonist in The New Yorker, that probably also expanded who read The New Yorker.

Liz Montague:
I mean, I would get DMs like that where it’s like, “Oh, I read The New Yorker now because of you.” And I’m like, “Oh God, $12 a magazine? Please, spare yourself.” But I mean, I don’t know. It’s such a weird, hard conversation to have, because it’s-

Maurice Cherry:
I’m curious, let’s dig into that a little bit. What makes it weird?

Liz Montague:
I think because it can be hard for institutions to own that conversation, and then it’s kind of deflected into, “Oh, well maybe there was somebody else, and what about this? And well, we don’t really know people’s racial identity and what…”

Liz Montague:
And then it’s interesting how with these conversations about first and what’s overdue, whatever, it’s like a lot of times the conversation ends up on the individuals rather than the institutions where it’s like, “So why didn’t you guys hire anybody in the last 100 years?” You know? And it’s like, “Am I at 22,” or at the time at 22, “equipped to have that conversation? Equipped to really navigate the waters of this and navigate other people’s identities, navigate the commodification of my own identity? Am I really?”

Liz Montague:
It’s a minefield, and I think that especially right now, where we’re at as a society, it’s just whatever you share is then up for sale and you have to be willing to be not just branded, but then speak on behalf of that entire community, and then have it challenged.

Liz Montague:
And then especially for The New Yorker audience, which was used to a very specific kind of perspective and thing, and then to have me not offer that very specific thing, people didn’t take it very well sometimes. I got some wild emails. Yeah, I think that there’s one cartoon I have where it’s the girl’s hair bit off someone’s hand. They don’t sell it on the Condรฉ Nast store. It’s the only cartoon of mine that they don’t sell on the Condรฉ Nast store.

Maurice Cherry:
Oh.

Liz Montague:
It’s just weird. Did I answer that well?

Maurice Cherry:
No, I think you did. Because as you sort of said that, what sort of becomes apparent to me and hopefully to the listener is there’s this layer of activism that ends up getting added to your work that you not only didn’t ask for or volunteer for, but you didn’t include in the original work.

Liz Montague:
Yeah. [crosstalk 00:29:05].

Maurice Cherry:
No, but I mean your cartoons, like you said, they’re about kind of slice of life sorts of things. You didn’t intend to layer some deep social message or anything into it, but that’s how people are perceiving it based on your identity.

Liz Montague:
Yeah. I don’t know. It’s like everybody who’s from a marginalized group is forced into the role of activist. And it’s like, especially having lived in DC, I’m first generation suburban, nobody else in my family grew up in the suburbs. The people are fighting a good fight, but that’s such a thing to just put on somebody, you know what I mean?

Maurice Cherry:
Yeah.

Liz Montague:
It’s just a hard thing to navigate because then it’s like you don’t get a rest ever. And I think that that’s kind of what I realized, especially towards the end of 2020, with everything going on with the police and with George Floyd and everything, where I was just like, “Man, I’m tired.” I was just so tired and drained.

Liz Montague:
And that was the last cartoon I did for The New Yorker where it was, I think the text was, “Oh, my white friends think racism is new.” Or something like that. It just makes you tired.

Maurice Cherry:
Yeah. I know the feeling. I totally know that feeling. Prior to doing this podcast, when I was… when did I start the Black Weblog Awards? I think it was 24? 23 or 24. I started this event online called the Black Weblog Awards. And this was back in 2004 or 2005, really kind of pre-social media. Definitely pre-Twitter, but pre-social media. Facebook, I think, was just starting to transition out of being only for college students and opening it up to everyone in the world, essentially.

Maurice Cherry:
And what I wanted to do, because I was an active blogger at the time myself, what I wanted to do was make this event that would celebrate Black bloggers that I knew of that were doing great things. Because I saw that there were other blog awards out there. There were two that were both called The Weblog Awards, although one kind of shortened their name to The Bloggies or whatever.

Maurice Cherry:
And what I saw with the winners is like, “Well, all the winners are white.” And I know that there’s people of color that are out here blogging, particularly Black people. And what got me was one of the awards had a category that was Best African or Middle Eastern Blog, and all of the nominees were white and the winner was white. And I’m like, “You mean to tell me out of the entire huge continent of Africa and the probably similarly huge section of the Middle East, only white people? I find that’s very hard to believe.”

Maurice Cherry:
And so I started the Black Weblog Awards sort of in opposition, but also to celebrate the community that I knew about that I was kind of a part of. And when I sort of talked about that layer of activism that gets added onto there, just calling it the Black Weblog Awards invited so much criticism and unnecessary hate. And this is, again, this is pre-Obama. So this is this at a time in the world, it’s post-9/11, pre-Obama, where Black and brown people really not really favored that well in terms of the media and such.

Maurice Cherry:
But I did that for seven years, ended up selling it to a friend of mine. And I mean, even as the years went on with it, it was amazing how the reception to the event changed as society changed. So around 2007, 2008, Obama’s running for president and such. Comments I kept getting back about the Black Weblog Awards is, “Well, I mean, we’re post-racial now. Why does it have to be the Black Weblog Awards? Why can’t it just be the Weblog Awards?” And I’m like, “Well, two of those already exist. And I’m only doing this for Black people. So it is the Black Weblog Awards.”

Maurice Cherry:
But as society changed and the way that people perceived the work that I did changed, I even experienced that with Revision Path when in 2015, I did a talk at South by Southwest in Austin called Where Are the Black Designers? And I was about two years into doing Revision Path, managed to land at South by Southwest with a speaker proposal, did a speech to a room of maybe about… the room sat close to 500 people. There may have been 15 or 20 people in there.

Liz Montague:
Whoa. Intimidating.

Maurice Cherry:
Nobody was there. People were charging their phones, people were asleep in the back, nobody was really paying attention, and I gave this talk. And there were a handful of folks there, “Good job,” that sort of thing.

Maurice Cherry:
When I tell you that presentation didn’t pick up traction until five years later during the summer of unrest, when we heard about what happened with George Floyd and the Minneapolis Police Department, then it started to pick up steam. And people were like, “Oh, well this is so great. This is so wonderful. We’re trying to center Black voices. We want to know about this presentation.”

Maurice Cherry:
And in my mind, I’m like, “This is five years old, but the way that people are perceiving it now has changed because the culture has changed.” Like I said, there is this layer of activism that gets added to the work that I didn’t necessarily put it there, but you’re attaching it onto it based on your societal values or what’s happening in the world and how you think you should feel about it because it exists.

Liz Montague:
You just said a word. You just said a word.

Maurice Cherry:
But it’s a lot. And I mean, I can imagine. I mean, I was going to ask this question a little bit later, but that whole thing about representation, we’ve seen this influx of Black artistic talent with cartoons and animation and fine art and such.

Maurice Cherry:
One, you see all these new Black shows and stuff. A lot of those Black shows also have fine art and they’re from Black fine artists. Now you never hear about those artists, that’s a whole other conversation. But it’s so interesting how all of these things and all these shows and movies and such, and they’re in these different genres, but they all kind of have this layer/burden of having to represent for the community. Do you feel like you have to do that through your work now?

Liz Montague:
When I first started, I definitely did. I definitely felt a lot of pressure. I mean, especially based on where I’m from. So I’m from rural South Jersey. There was a soybean farm behind my childhood house. So very, very rural, very white.

Liz Montague:
And I just remember what we would be told as the few Black people in town was, “Every white person’s opinion of a Black person is going to be formed based on how you act. So you better act right. Or else you’re damning every other Black person they’re going to meet.”

Liz Montague:
And so that was kind of the framework that I had. And I think that I just kept feeling like, “I don’t want to mess this up for anybody else.” In the cartooning world, at The New Yorker, I don’t know, in the spaces that I felt that I was at, I just didn’t want to mess it up for anyone else. So I wanted to make sure that I was saying yes to everything and super amenable and like, “Oh, no worries, it’s fine. It’s okay if you don’t have the budget for it.” Just very overly accommodating.

Liz Montague:
And then I just got sick of it and was just like, “You know what? This isn’t sustainable. It’s just not sustainable.” But I think that also as I got older, just maturity-wise, I just realized the only person I can control is me. I can’t control how I’m interpreted. I can’t control another person’s actions to a fictional future person who may or may not exist. I need to just live as a single human being in this moment and not as every possible iteration of Black person that this person could interact with. I think I was doing that for a while.

Maurice Cherry:
Well I mean also, I think whenever you’re doing work that has such a large kind of public footprint, and I feel like actors probably do this a lot. You learn eventually what strategies you have to kind of, I guess cope is the best way to put it. But you don’t read the comments, you don’t read the reviews, you just do the work and just keep moving on.

Liz Montague:
I don’t know. I think I didn’t want to not be what everyone expected me to be and then miss out on opportunities, too. Because especially early 2020 when the pandemic was starting, it was like all this stuff came out of nowhere.

Liz Montague:
And I felt really conflicted about it because I was like, “God, am I [inaudible 00:38:00] off of all of this terrible stuff happening to the Black community? Am I benefiting off of the George Floyd shootings? All of the shootings that happen to Black people that aren’t talked about, and just this collective white guilt that’s happening right now?”

Liz Montague:
Where all of a sudden, I’m getting to do stuff for Food Network and the Obama Foundation. I worked on a Biden presidential commercial. I did a Google Doodle. I don’t know. My mom was just kind of like, “Oh, just take it. Just take it and just be happy.” And I was like, “You don’t understand. What are the ethics behind this?”

Maurice Cherry:
Yeah. Yeah. I mean, your mom’s right, just take it.

Liz Montague:
[crosstalk 00:38:40] take it.

Maurice Cherry:
If the opportunity comes, just take it. I mean, there are a lot of us that did have a bit of a come up during that time. And I think that’s kind of a bit of the secret shame around it. I guess you could call it shame, I don’t know.

Maurice Cherry:
But the fact that now people are paying attention to the work that we do, but that it had to come at a time of such civil unrest, at the death of an innocent person. That it had to come to that in order for us to be recognized. And there are some people I’ve talked to about it and they’ve said to me, “Is this what it’s like for white people all the time?”

Liz Montague:
Is it?

Maurice Cherry:
And I’m like, “I don’t know. Is it? I mean, that would be interesting if that’s the case. But it is this sort of weird tension, like you’re being recognized because… You know the hard work that you’ve done to get to this point. And yes, you’re being recognized, but the fact that you’re being recognized because of all this injustice and inequity and other things that are happening in the world, it’s sort of…

Maurice Cherry:
I don’t know. It is a very weird feeling, but at the end of the day, take the work. Take the work, get the check. There’s no ethical consumption under capitalism, blah, blah, blah, blah, blah. Take the work. So your mom’s right in that aspect, absolutely.

Maurice Cherry:
But I get where you’re coming from too, because I had an influx of speaking gigs and a whole bunch of stuff like that. Because I got fired from my job, they cut my whole department right before the summer of 2020. And so for all of this to happen, it’s like, “Oh, well at least I’ll be able to eat for a few more months.”

Maurice Cherry:
But it does sort of come with this psychic weight of, “Yeah, but all this other horrible stuff in the world had to happen. And it was during a global pandemic, but I’ll take it.” One thing Black folks are going to do, it’s make a way out of no way, so. Just take it.

Liz Montague:
Yeah, that’s for sure. That’s for sure.

Maurice Cherry:
Yeah. So now you’re a full-time cartoonist, you mentioned working at this nonprofit for a while after you graduated. What do your work days look like now?

Liz Montague:
Right now I just finished my first book, my graphic novel, Maybe An Artist. It’s available for pre-order. That’s with Penguin Random House. So that’s just finished, and that was taking up literally all of my time up until a month ago, maybe. And now I’m working on a picture book, also for Random House. And I also have a three book deal with Scholastic for a three book Y-series.

Liz Montague:
So my days are pretty much split between those two projects, with the series grouped together. I’m one of those crazy people who wake up really early and run. I don’t know, I like being out in the sun. So my days just start with me waking up, going for a run, I usually do some kind of HIIT class or something. My husband makes me a coffee, I try not to check my phone or my email because if I do, I’ll get sucked in and then I’ll just be on my phone and suddenly it’s three o’clock.

Liz Montague:
I actually try to get done all… I do a to-do list of everything that needs to get done. Look at chapter one, or finish sketches, the ending or beginning of whatever. So I’ll do those early in the morning when I can rely on my focus, because as soon as it’s lunchtime, all bets are off. I pretty much do that until lunch, and then in the late afternoon do emails, and then whatever else is left on the to-do list. That’s pretty much my day. I usually have the same day every day.

Maurice Cherry:
Wow. Are you still doing the Liz at Large comic?

Liz Montague:
I haven’t posted any of them. I still do them sometimes for myself. I don’t know, the cartooning world, there’s just so much going on. And it’s very rare that I even watch the news these days to even… I think that the thing with cartooning, or at least for me back when I was doing it more than I am now, it’s very reactive.

Liz Montague:
And it’s usually very reactive to news specifically, where it’s like I’m looking at the news, I’m looking at social events, I’m looking at what’s going on and then I’m reacting to it. But these days, it’s like I don’t really give my myself things to react to anymore. Because I feel like I learned the hard way in 2020 and early 2021 that there can be a breaking point to that.

Maurice Cherry:
Hmm. How do you kind of keep motivated and inspired with the work that you’re doing?

Liz Montague:
I think that right now, I kind of just want to see, “Okay, let’s see how far I could go.” That’s definitely part of it, of just like, “Okay, let’s see when the wheels fall off. How long can I really pull this off for?” That’s definitely a part of it.

Liz Montague:
And the other part of it, I think, does go back to even why I started Liz at Large. This idea of emotional literacy and of just seeing Black characters and of providing Black characters in general, and being able to provide Black characters as a Black woman. Because you wouldn’t believe, I mean, I’m sure you would believe the amount of Black characters and characters of color in general that are not made by people of color.

Liz Montague:
And to be able to… I mean, authentic is such a weird word. But to be able to provide a… to be able to showcase an experience that I’ve actually lived, I think, is something really powerful. And something that I’m really proud to be able to do. But I don’t know, it’s also that whole idea of, “If not me, who?” That’s a trap, that’s a total trap. So I think my why is day to day. It’s day to day.

Maurice Cherry:
Look, at this stage, I think we’re all kind of taking it day by day. So I completely understand that.

Liz Montague:
I wish I had some big, “Well, you know…” A reason or something. But I think I’m just figuring this out.

Maurice Cherry:
And at this stage of your life, that’s the time to do it. That’s the time to just try to figure it out, you know? I know that you and I have sort of talked about this prior to the interview about what you want sort of people to take away from it. But don’t be so hard on yourself. Take it day by day, as things happen.

Maurice Cherry:
I think certainly, with what you’ve just described already, you are at a great place in life right now. Great. Great. So take it day by day-

Liz Montague:
I can appreciate that.

Maurice Cherry:
… and kind of just go through the days and your feelings and work as it happens. Because I’m telling you, I’m telling you, there’s a lot of people at your age that would love to have that kind of just opportunity and work lined up. I mean, a three book deal? A three book deal. That’s major. That’s major.

Liz Montague:
No. It’s just like-

Maurice Cherry:
A three book deal, on top of a book you’re already working on, on top of a book that’s about to come out. Come on now.

Liz Montague:
It’s so weird though, because I feel like day to day is also so solitary. I don’t have coworkers, I don’t know people. I mean, it’s hard because the only people… So I’m comparing. You shouldn’t be comparing yourself to, you shouldn’t be, but everybody does it. And it’s like you end up comparing yourself to your wildest ideals and your biggest insecurities of just like, “Well, you should be doing more. Well, what about this? Well, what about Instagram?”

Liz Montague:
And then that’s a whole other can of worms, because it’s like the social presence, the social media presence part of it. Because I feel like there’s a huge pressure, especially nowadays, to have this very big social media presence to… I don’t know, exist on all platforms, be approachable at all times, be connecting at all times.

Liz Montague:
And I remember I texted my agent Wendy and was like, “Listen, man. I can’t do TikTok. I can’t do it, please.” Yeah. And she was like, “Of course not. You don’t have to.” But it’s crazy though, because these days in meetings and for negotiations, they’ll ask you your followers. And it’s just like, “What? What?” I don’t know. It’s to think about the longevity, the sustainability of this, of such a fast paced world where we’re consuming so much so quickly, you know?

Maurice Cherry:
Mm-hmm (affirmative). I’ll tell you though, the way to not burn out from that is to focus on the audience and the community that you have. The thing with a lot of social media, and I know this from one, just from being old and being around on the internet forever.

Maurice Cherry:
But there’s so much about modern social media that is about trying to attract an audience that you don’t have. And I think what can end up happening with that is you end up exhausting all of these efforts and jumping through all these hoops to try to impress people that don’t know you, don’t know your work, et cetera.

Maurice Cherry:
The reality is if the work is good, the people that already support you will kind of do some of that legwork for you. They’ll tell people, they’ll tell friends, they’ll mention you in rooms that you’re not in. So you don’t have to be on all the things all the time. I think probably for a visual media or a visual artist like you are, being an illustrator and a cartoonist, being on Instagram does make sense because it is a visual medium. TikTok is the Wild Wild West.

Liz Montague:
It really is. It really is.

Maurice Cherry:
And I mean, aside from just the ever-changing and shifting algorithm of the platform, it’s also super toxic. And I know art, I’ve seen artists on TikTok that I’ve had on the show. So I know that it is helpful to kind of get the word out to people. But then it also exposes you to so many just idiots that don’t get it. And they spend their free time trying to instill the seeds of doubt into you so you don’t do the work that people love you for. You know what I mean?

Liz Montague:
Yep.

Maurice Cherry:
So you don’t have to be on all the things, because you spread yourself too thin. Focus on the audience that you have and on the platforms that you feel you can at least control and have some semblance of yourself on there, where you don’t have to change who you are or what you do to kind of get your work out there.

Liz Montague:
So that’s been the hardest part lately, is just being like, “Okay, who I am right now, right this moment, not me 10 years from now or me three years ago, who I am right now is capable of doing this work and is enough.” I feel like everyone’s kind of dealing with that. I feel like now we’re in a stable enough place as a country and as… well, I mean as stable as America ever is, for people to reflect on, “In the thick of it for two years, and what happened to me during those two years? What did I lose? What did I gain? Am I proud of what came out on the other side of it?”

Maurice Cherry:
Yeah.

Liz Montague:
I think a lot of people are dealing with that. I think I’m especially dealing with that as just, I don’t know, especially… 30 is looking pretty close coming from this side of 25. 30’s looking pretty close. And I’m just like, “Jesus,” trying to figure it out. We don’t need to figure it all out, that’s not real, social media and everything else, but.

Maurice Cherry:
Yeah. I mean give yourself some grace, certainly. And realize that, I mean, like I said before, where you’re at right now at your age is great. But I mean, and whatever way you feel is I think the best way that doesn’t take too much out of your regular process. But even just documenting where you’re at in some way I think is helpful for other people so they know that… Again, like you said, we’re all kind of figuring it out. But I think particularly for Black creatives, there’s this strong propaganda to hustle hard and “They sleep, we grind.”

Liz Montague:
Oh, for sure. For sure.

Maurice Cherry:
And that is not sustainable at all. I get these naps in everyday. Please believe it.

Liz Montague:
Exactly. [crosstalk 00:50:53], oh my gosh.

Maurice Cherry:
I work smart, but I’m sleeping over here, a lot. So once you sort of find what that balance is, I think even just documenting it… Even if it’s just for yourself, not even for the public. But just so you know, “This is how I felt as I was going through this time in life, as I was trying to figure these things out,” I think is super helpful.

Liz Montague:
I mean I feel even just talking about as Black creatives or Black artists or whatever, what’s attainable, I didn’t really think that it was possible to be your own boss for real. Or have stability. Does that make sense? Where it’s like-

Maurice Cherry:
No, that makes sense.

Liz Montague:
And I think that it shocked me more than anyone, that, “Holy crap, I’m a homeowner. When did that happen? How did that happen?”

Liz Montague:
… wild that we don’t even realize what we’ve written off for ourselves because of whatever paths we choose or wherever we find ourselves. And I think that especially for myself, there was a lot that I didn’t think was achievable. And it’s like, “Oh, wow. Actually, this is.”

Liz Montague:
And I think that a lot more Black artists especially need to realize that. Because I think that especially the eat, sleep, grind culture, as someone who lived it, that burned me out so quick. I was like, “I’m never going to draw again. I hate this.” It took a year to come out of that.

Maurice Cherry:
Now even with these books that you are working on and everything, do you have a dream project that you’d love to do one day?

Liz Montague:
You know what, speaking into existence now, I would love to work with Disney. Hit me up, I’m a huge Princess and the Frog fan. Beyond that, I don’t really know. I think I’d like to teach somewhere down the line, or even now. I used to teach really fun community art classes when I was in DC, but then the pandemic kind of put an end to that.

Liz Montague:
I think I’d like to teach. Who knows? I swear, every other week I’m talking myself out of going to medical school or something, or becoming a pastry chef. It could be anything at this point. I would definitely love to do something centered around Black mental health, for sure. And diving into that and different ways of just connecting.

Liz Montague:
Because I know that people love to say, “Hold space,” and whatever that means. But I think that beyond just face-to-face talk therapy, which in a perfect world would be accessible to everyone and they would be able to have Black therapists who could understand where they’re coming from, we need to deal with the world that we’re in right now. Where there need to be more accessible ways of connecting beyond just this one way that is very not accessible for most people. And I feel like there’s some kind of world where there’s an art-based solution to that. Or at least in the world that I want to exist in.

Maurice Cherry:
Where do you see yourself in the next five years? What do you want this next chapter of your story to be?

Liz Montague:
I hope in the next five years, or not “I hope,” I know. In the next five years, I’m going to be spearheading a lot more projects. I feel like up until this point, I really just… people have approached me and I’ve said yes.

Liz Montague:
Whereas especially with the series at Scholastic, that was the first thing that I pitched myself, I came up with myself and that was fully my idea that I’m going to be taking to fruition. So more of that, more of me getting to execute my ideas instead of executing other people’s ideas. I hope a lot more of that.

Maurice Cherry:
Well just to wrap things up here, Liz, where can our audience find out more information about you and about your work and everything online?

Liz Montague:
My website is lizatlarge.org. I’m on Instagram, @lizatlarge. I’m also on Twitter, but I don’t really tweet that much. It’s also @lizatlarge.

Maurice Cherry:
Liz Montague, I want to thank you so much for coming on the show. I mean, as I was doing my research for this interview and everything, I was like, “I think I’m becoming a fan of you and the work that you’re doing.” I mean, even the fact that you’ve managed to accomplish this much at a young age is phenomenal. And I’m really excited to kind of see where you go from here.

Maurice Cherry:
I mean, I think it’s one thing to have these accolades about first Black women cartoonist in The New Yorker and then to have all this success. But being able to sustain that as you go forward in your career is going to be super important. And I hope that this interview kind of has given you something to think about. But then also I’m excited to kind of come back to this in a few years after we see you really blow up huge and do big things. So thank you so much for coming on the show. I appreciate it.

Liz Montague:
Thank you so much for having me and reaching out to me and just having this space in general. This is actually so awesome. Really. I really enjoyed this.