Lawrence Humphrey

December is a good time to take stock and think about how to approach the new year ahead. And for this week’s guest, Lawrence Humphrey, this year was about striking out on his own and starting Pearl, a peer-based leadership consulting platform where he serves as CEO.

We began by talking about the origin story of Pearl, and Lawrence walked me through the platform and spoke on how collaboration is a big part of how he makes everything work. He also shared how he started out as an engineer, talked about how his tenure at IBM inspired him to found Tech Can [Do] Better, and gave recognition to those who have helped him achieve the success he has today. According to Lawrence, the best outcomes are a result of bringing diverse people together — a great message that we can all take to heart!

Transcript

Full Transcript

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

Lawrence Humphrey:
Hi, yeah, so I’m Lawrence Humphrey. I’m founder, CEO of Pearl, and I as a very new startup, very stereotypically, I do everything from setting the strategy, building the team, to executing against the strategy, executing it against myself, to taken out the trash and cleaning up the floor, so to speak. So very much the stereotypical start-up journey right now. But yeah, I do it all. It’s been really exciting. As a nosy person, I love being able to stick my nose in everything.

Maurice Cherry:
How has 2022 been going so far? I feel like the second half of this year has been plagued by news about tech layoffs and things like that. How have you been holding up?

Lawrence Humphrey:
Yeah, this has been a very, let’s say, uncomfortable year, but not, obviously there are the greater, as you mentioned, societal forces making people uncomfortable, the job uncertainty. I am one of the people that quit my job this year to go full-time with Pearl. So my discomfort is more for from, and I get discomfort and excitement for having taken that leap. And I mean this is my first rodeo, so to speak. So I’m excited, and it’s very much, and I don’t have kids, but I have so much optimism for this kid and I’d want to make sure I raise them in order to be, I want it to be successful. So that’s been a super fulfilling journey and definitely a venture into uncharted territory for me.

Maurice Cherry:
Yeah, anytime you step out there and do your own thing for the first time, it is equal parts like exhilarating and terrifying. You have so much freedom, but you also really want to make sure that it actually succeeds.

Lawrence Humphrey:
And I’ve been telling people that both the highs and lows are much more, they have a higher magnitude. I feel the highs more. I mean, because they’re my doing, this is because of direct output from my input, which the same could be said for the lows. So I’m getting used to the swings and trying to approach them with more equanimity, so not get necessarily as whipped around by them.

Maurice Cherry:
Yeah, going into next year into 2023, do you have any kind of big resolutions or goals that you want to accomplish?

Lawrence Humphrey:
I mean, the big one and very practically is to be working on Pearl and that’s like the low-hanging fruit. Ideally, and I haven’t quantified this yet, I haven’t actually run the projections, but I would like for there to be a healthy amount of organic collaboration instead of me, let’s say heavy handedly really, really guiding people’s hand using the platform. Ideally we would have some early evangelists and the early adopters, just really giving us good data, using it, driving value from it. Beyond that, I mean I’m very shortsighted right now with just making sure that the business is set up for success long term and doing what, and I haven’t done my 2023 strategic planning yet. That’s going to be the next few weeks.

Maurice Cherry:
Well, let’s talk more about Pearl, which I see here is described as “a platform that makes finding actionable hiring solutions from vetted and diverse leaders easy.” Tell me more about it.

Lawrence Humphrey:
So this is born from, and it’s kind of without getting into the full origin story, maybe we’ll get there. The observations that I’ve seen, are we have no shortage of collaboration tools, a lot of which come to mind, let’s say the Slacks, the Teams, even HBR articles to get thought leadership.

But there is a shortage of solutions that A, get us out of our own echo chambers into finding, I mean really practically, let’s say what do women think about hiring? Where are women hiring, et cetera. And also the follow-up to that is a lot of it is quote unquote like thought leadership and not the boots on the ground practical work, the practical instructions and recipes that these users or these leaders have used in order to drive results.

And I see these both working together in this very pernicious cycle of we continue to reinvent the wheel, we’re slower in terms of delivering outcomes, we deliver worse outcomes. People feel like worse leaders because they’re not getting connected to the work that in most cases already exist from the leaders that have done it. So that’s the opportunity that I see with Pearl. And we’re starting with a problem that all leaders have or will face hiring. So this is where we’re at the first step of our journey in proving out our value prop. So without getting into the origin story, that’s what Pearl is here to solve.

Maurice Cherry:
No, look, get into the origin story. Where did the ideas sort of come from?

Lawrence Humphrey:
So for that, it starts two years ago and the name of that org was Tech Can [Do] Better. And the week after George Floyd was murdered, I was still working at IBM and I noticed how my company at the time and the tech industry, and not just the tech industry, but that’s just where I live and breathe. They threw their hands up and they were bemused about what could be done to drive racial equity and what ways are we perpetuating it, how could this happen? And I got really frustrated at the confusion and how frantic the industry was knowing that I’d been on the inside with some of my coworkers, predominantly other black tech employees, advocating for what racial equity looked like within our company. And it felt like at the time we just got pats on the head. And Tech Can [Do] Better was my response to basically remove any obstacle that a tech company could have, like I don’t know what to do, where to go.

And I co-authored essentially a white paper with other black and brown folks from across the industry to outline very actionable steps about how to drive racial equity, whether you were an executive middle manager, independent contributor, anywhere in between, this is how you can get started with racial equity. And I think we hosted a dozen community calls, had people representing 50 companies from across the industry to help get each other unstuck. And that was when I realized that there was a demand and let’s say an overlooked opportunity and unsolved pain point for having very actionable perspective from black and brown perspectives, but even more broadly, it just exposed a lot of collaboration hiccups and we weren’t making it easy to get the answers we need. So it started there. And the other half of the story, I’ve been a leader with Pearl for almost two years, or a little over two years now.

And I find myself reinventing the wheel every day. And I mean hiring is just one of them. And I wrote the white paper for what diverse hiring looks like, and I assembled all of these diverse hiring sources and I still have trouble doing it. So even for me, very selfishly, I’m creating this tool to hopefully mitigate reinventing the wheel over and over again for all of these what I perceive to be mostly solved problems. I have to imagine hiring in any capacity is roughly 80% solved. And it’s just a matter of getting that answer and putting my own little Lawrence Humphrey customization on it, or Maurice, you customize it that last 20%, but I’ve been doing a lot of starting from 20% and then building out 80%, which is an abject waste of time.

Maurice Cherry:
I see. I mean it’s interesting because you know mentioned that this sort of came out from the summer of 2020 and a lot of companies certainly had those pledges to quote unquote “do better” in whatever way that meant for them in terms of diversity and inclusion. And it feels like now two plus years out from it that some of those promises have kind of started to wane a little bit. Is Pearl kind of a way to hold companies like this accountable?

Lawrence Humphrey:
I will agree that I’ve seen the demand and let’s say the attention wane, and I wouldn’t say Pearl is a way to hold them accountable. I think Tech Can [Do] Better was more that than Pearl is. One of my philosophies is I think that as a designer, my design background here is if users will do whatever is easiest in most cases or whatever the system sets them up to do, and Pearl is an aim to make doing the right thing easier, I’d venture to say in my learnings with Tech Can [Do] Better, there are no shortage of people who want to be practicing racial equity at work, showing up in a more human way, building diverse teams, fostering inclusive collaboration.

It’s just that they don’t have the tools, and let’s say the literal practical tools like the software and let’s say the soft skills tools to actually do those things. So Pearl is trying to make doing the right thing easier and less about accountability, pointing fingers, et cetera, et cetera. It’s assuming positive intent, and connecting people that want to be doing the right thing but not, might not know where to start.

Maurice Cherry:
I’m looking at the website now. I see you’ve got a great diverse team of advisors behind you. What does a regular day look like for you working on Pearl?

Lawrence Humphrey:
Being so early, and I’m sure it changes at some point, but every day looks really different and to the extent that I have any sort of consistency in my routine, it’s more location based. I love going to coffee shops, so I’ll go in the AM to the coffee shop to do my heads down, deep thinking work where I will do everything from craft social media, marketing outreach, to working on the product itself, to planning out what features need to be added, prioritizing from feedback that I heard in user interviews, what releases need to happen and when. And then in the afternoon, usually I have my calls either with my team, with potential customer discovery interviews, with my advisors, and that’s usually when I do my more, let’s say, not heads down work, but by and large the shape of each day from the outside might look similar. But what I’m doing is very different day to day. I mean, I can’t say I take many podcast calls right now, so already [inaudible 00:14:09] quite the variety that I’m getting right now.

Maurice Cherry:
Well, you got to get the word out about what you’re doing, so you have to do a little bit of press here and there.

Lawrence Humphrey:
Yeah, no, I 100% agree. And I had a release last Monday where I opened up Pearl to close family friends, I mean the social media, the people within my first, second degree connections. And I was joking that I feel like I need to go on tour now. I dropped my little EP and I’m shopping it around and seeing how it lands, getting people to listen to it, getting them to download my mix tape and all that.

Maurice Cherry:
So let’s say that I’m a company or I’m a leader of a company that’s interested in Pearl, what does the onboarding process look like?

Lawrence Humphrey:
Yeah, so right now, and I guess it’s worth backing up and just talking through Pearl is a B2B and B2C, you can think of a GitHub or even a FigMore or Slack or something like that. So there are two avenues for which you can get engaged and I know you were talking about that B2B version. For that you can reach out to us and pilot with us and you can do that from our website. But the onboarding looks like an opening call where we can do some intros. I can tell you, I mean maybe if you are listening to this, I won’t have to tell you as much about Pearl, but we do some discovery to hear which pain points are you most struggling with. The few use cases that I identified are basically we’re helpful in smoothing out the transition between either people joining or leaving your team.

So let’s say you are getting rid of some folks, which is timely, whether they’re either leaving or they got laid off, that work doesn’t just evaporate, it usually gets reallocated somewhere between the team. And it’s about helping them codify that work such that whomever is picking it up, it minimizes the time between zero to 60 and getting up to speed.

And then whenever they backfill that person, minimizing the friction of getting them caught up to speed. So that’s one use case. We’re also useful in kicking off projects that have multiple stakeholders either within or outside the company that require frequent and high-touch collaboration. So a couple of use cases that we talk out on that call and then fleshing out what success looks like at the end of a two to four-week sprint, it’s very much responding in the in-person just live in the meeting for where we can add the most value. Like I said, it’s more important to me to add value and see how folks are using Pearl, and it’s about figuring out where that sweet spot is between what problems they’re having and what I see Pearl being poised to solve.

Maurice Cherry:
What would you say is the most challenging parts about what you do?

Lawrence Humphrey:
Oh, boy. I think that this might be, I’m just going to think out loud here and I might have to, I might discover the answer, so just more talking it out.

Maurice Cherry:
Okay.

Lawrence Humphrey:
Because this is my first rodeo, I feel like I have a strong intuitive sense for what I feel like needs to be done at any given time. At the same time, I’m grappling with the fact that practically and in reality, because I’ve not done this, I cannot fully trust my intuition for what should be done. And for that I have advisors and knowing when to pull them in, and I usually bounce ideas off of them, but it is just truly the, I’m meandering, like I said, into this uncharted territory with very little visibility of what’s in front of me. And it’s just navigating the ambiguity in a way that it makes me feel like I can confidently chart the course and bring other people in.

Luckily, I’ve had great advisors and because I don’t have a team of 100, I don’t really have to justify my decisions to many people. But sometimes it’s just like the day-to-day, I have no clue if this is going to work and I just try something, and if it doesn’t work, and I don’t mean no one likes failing, but it’s just I’m getting used to things not going according to plan more so than they do go according to plan. The self-management, I don’t know if that’s the right way to say it, but just that keeping my own, keeping the wind in my own sails. I don’t know if that’s the way to say it now, I’ll probably think of a more eloquent way to say it as soon as we [inaudible 00:18:45]

Maurice Cherry:
But to keep that but to keep that motivation going essentially, right?

Lawrence Humphrey:
Yeah, and just like it is the age old, all right, “I tried six things, none of them went according to plan,” and you know have that day you get off a call where it’s like, “That did not go like I wanted it to go,” and at the same time tomorrow I’m going to get up and do it all over again. You got to keep pushing through. But yeah, that motivation’s huge.

Maurice Cherry:
Yeah, I don’t know, as you were describing that, it sort of reminded me of that old Donald Rumsfeld quote about how there’s “known knowns” and there’s “unknown unknowns.” And it sounds like certainly I think with venturing into a start-up of something like this where you’re trying to, you don’t know what you don’t know, so even as you’re trying to build this product and build this company, there are other things down the line that you may encounter that you don’t really have an idea of. But that’s why you’ve got advisors to hopefully kind of help you out and to give you that foresight.

Lawrence Humphrey:
Exactly, and I mean it’s not an unknown phenomenon. There is, it always doesn’t work right before it does. And that’s what keeping me going. And I read another quote and I think it was, and this might be exposing one of my little guilty pleasures here, but there is this book called “Tiny Beautiful Things.” Cheryl Strayed, is this amazing writer, and I think she said in one of her books that “You just have to show up and do the work.” Like miners don’t show up and self-doubt like, “Oh I’m not a great miner, I don’t think that I’m not good at this. What should I do about it?” They just show up and dig, and I just tell myself literally I have it written down. It’s like, “show up and dig.”

Maurice Cherry:
I like that.

Lawrence Humphrey:
It doesn’t really matter how you feel about it. Just do the work.

Maurice Cherry:
Yeah, ultimately what would you see as success with Pearl? Let’s say it’s, I don’t know, a couple of years down the line, what do you see as being Pearl’s biggest success?

Lawrence Humphrey:
A few years out, I would like to have the most actionable stop for workplace or leadership questions period, or challenges period. And those two pain points that I mentioned at the start, I do think they’re inextricably linked. So very practically, I am a pretty early mid-career professional black leader in a SaaS-based business, SaaS-based startup.

Disproportionately the solutions that you could find on the internet that you could talk to mentors about, all of its skews towards a couple of the majority demographics. So most leaders are white, most leaders are male, most companies are enterprises. These aren’t as helpful for me with all of those attributes that I mentioned. So if I could create a platform that allows you to find the most actionable solutions by the people who have done the work and are living it, I would consider that a huge win. And speeding up time and quality of outcomes or time to task, time to delivery, quality of outcomes, but also making leaders feel like, okay, I’m not the only one struggling with this.

There, I can find my little pocket of other similar leaders, and also burst, look outside of my bubble to see, “Okay, for this challenge I want to know how women are solving it.” I mean there are just some challenges that certain demographics are more poised at addressing than others.

I mean, rewind to 2020, I don’t want necessarily to know how let’s say white folks are solving racial equity in their workplace. I think that most people were looking for what are black and brown folks’ solutions to hiring, to doing or to measuring impact of my product those sorts of things similar to the Me-Too era, men didn’t have as much of a place in that. That was a woman’s conversation. So if I can do that, that’s a huge win.

Maurice Cherry:
Now, we’ve talked a lot about your work, of course we’ve learned more about Pearl, but I want to learn more about you, about Lawrence. Tell me about where you grew up?

Lawrence Humphrey:
So I grew up and Nashville, Tennessee. And it’s funny because I’m living in two of the trendiest places in the US right now, but back when I was growing up in Nashville, I was both underaged and it was underdeveloped. So I didn’t really experience the cool Nashville that a lot of people experience today. But I moved around a lot growing up, landed in Nashville in third grade and was there through graduation, and I was pretty into STEM but didn’t really know. And I think that this is a through line of my story, I didn’t really know what I wanted to do for a long time. I had a vague idea of I wanted to create something that impacts a lot of people. And at the time it was the scientist of the time, Nicola Tesla and Leonardo DaVinci and Newton and all these people that create things that change the world.

And then as I went through high school, I had a vague idea of what computer science was because I watched “The Social Network” all the time and I was like, this seems dope. Just being able to create stuff from your dorm room that scales, it impacts just millions, tens, hundreds of millions of people. This is awesome. And it just all started as a series of guesses. And I had a friend that we would just dream up these big ideas and he was more the design business guy. I was the tech person. And it wasn’t until, I mean honestly late college that I realized that okay, entrepreneurship, it is possible even though the path to do that was unclear. But yeah, I think that if I had to reflect on my story, I didn’t really feel like I had a lot of clear direction for what was possible.

Maurice Cherry:
But you had that interest I guess from early on, like you said, right?

Lawrence Humphrey:
Oh yeah, I had the interest and a lot of it was gained through just guessing. And I guess media, as weird as that is, just like movies. I thought hackers were cool, I thought computer people were cool, people that built, like people in the STEM, I mean STEM always seemed like magic to me. So I was like, “This is dope.” I don’t know, I mean this might not be cool, like conventionally the cool thing to do, but it always felt really just impactful and magical.

Maurice Cherry:
No, I think that’s really interesting. You know, mentioned the movie, “The Social Network,” that was, let’s see, that came out in 2010?

Lawrence Humphrey:
Like 2010, yeah,.

Maurice Cherry:
2010? So that means you were probably in elementary and middle school in the early to mid-2000s, I’m guessing?

Lawrence Humphrey:
So let me walk it back. I was definitely in high school when The Social Network came out because I was [inaudible 00:25:55]

Maurice Cherry:
Okay, you were in high school then. Okay.

Lawrence Humphrey:
Yeah, I was doing my, I think my AP Bio homework. I had “The Social Network,” on my laptop and I would just play that movie over and over again, like that one and “Inception,” I watched those movies over and over again playing them while I was doing my homework.

Maurice Cherry:
I think it’s interesting that you mentioned that media was also kind of a thing that motivated you about this, because when I think about a lot of the media that sort of depicted tech during that time, I can go back probably as far as say like 1999 with “The Matrix” and then “Matrix Revolution,” or I forget what the others were.

Lawrence Humphrey:
Those movies were huge.

Maurice Cherry:
Yeah.

Lawrence Humphrey:
I remember even then, that was one of the movies I was watching a ton at the time.

Maurice Cherry:
But also the world wide web really started to, I don’t want to say mature during that time, but I graduated college in 2003 and I just remember that time from 2003 three to 2010 how there were new innovations in tech and design. It felt like every week there was something new. So progress was being made in such a quick pace that whether you were in it as an actual practitioner or even on the outside of it being the beneficiary of this technology, things were just moving at such a rapid pace. I mean, you think about print magazines, print magazines from 2000 to 2010 took such a sharp decline because of the rise of desktop publishing. And people could write blogs, they could make websites, they could use content management systems. So why would they have a print magazine?

Lawrence Humphrey:
Exactly. And I feel like the people, and obviously, I was mean, I don’t want to say obviously, but I was pretty young at the time, and I feel like there were beneficiaries of people who just got to create and go very hands on, and they rode that wave of let’s say digital literacy, and just that scrappy entrepreneurship and the Wild West of the worldwide web that was a mouthful.

But there are people that just made a lot of money and influence and clout and learned a ton, and that compounds. And I still think that there is a lot of opportunity in tech, which is why I’m so passionate about scaling my knowledge, and especially for black and brown people, underserved people, underrepresented folks, of raising our technical literacy because, I mean this, any sort of privilege it all compounds. So yeah, I just think that that was always so cool.

And I kind of keep going back to magic, like “Matrix” was literally just people defying physics and cracking the code. And “Social Network” just felt larger than life of how this, these gawky kids created this social network that literally changed the world of tech and connected everyone everywhere all at once. It was crazy. And I think that that’s something that I’m really passionate about, is just scaling that knowledge, like I said, because it’s magic and it’s making a lot of people a lot of money and changing the landscape in ways that are for better and worse for some people.

Maurice Cherry:
Yeah, and I think what it also did is it, I would say not just for black and brown people, but if we look at black and brown folks specifically, also really kind of helped change the mindset of us from being consumers to creators. Because now the tools, whether it’s the personal computer, or whether it’s even just learning the languages themselves, had become so easy to access that you could do these things now that you were seeing other folks do, and there weren’t any sort of real gatekeepers to get a lot of these things done.

I’m thinking back, you mentioned 2010, CNN had this, they used to do this series on CNN called “Black in America,” and they would do “Black in America Two,” Black in America Three,” Black in America, Four.” And they would be focused on different things. And they had one that was “Black in America, Four” that focused on the rise of black folks trying to get into Silicon Valley. They called it the “New Promised Land,” and…

Lawrence Humphrey:
Is that like the “If you build it, they’ll come,” mentality?

Maurice Cherry:
Yeah, yeah. And it was so…

Lawrence Humphrey:
[inaudible 00:30:11] age.

Maurice Cherry:
It was so interesting because I was watching that and not only were these people on there that were my age, Angela Benton and Wayne Sutton, et cetera, but I personally knew these people. I had met them, I had sat down and had dinner with them, and it’s like now they’re trying to accomplish these big huge, monumental goals, now. It’s really hard to capture that feeling or to recapture that feeling I think now maybe, but certainly back then it could have been very easy to really get swept up in the feeling that you could do this too, because you also just saw people that looked like you that were doing it Exactly.

And the tools were available, the opportunity was there. It was just a perfect storm.

Lawrence Humphrey:
And I feel I very much subscribed to that last point you’re on, you can’t be what you can’t see. And I think especially when I was getting started, I kind of always consider myself a little out of the loop, but I struggle to find just role models that really fit tightly to my trajectory, let’s say.

I’ve always been a little too counterculture for my own good. So it’s never been sufficient for me to just necessarily cut and paste someone else’s trajectory. But even still like, okay, I want to find someone who is threading the needle between being conventionally successful in business and obviously meeting the needs of the business, while also taking this social responsibility lens, who is also a young black leader who also, it’s all of these Venn diagrams that I’ve just struggled to find, and which is why I try to be, and I definitely jump at the opportunity to be something of a role model if I can, through mentorship, through podcasts like these, just to be the person that I wish I had.

Maurice Cherry:
Yeah. Now you mentioned going to college, you went to the University of Illinois Urbana-Champaign. What was your time like there?

Lawrence Humphrey:
I think that it was, if I had to summarize it still me getting closer to what I felt like my fit was, maybe it is for a lot of people and for some people it clicks more than others. But I started in engineering, so my undergrad was in computer science and I realized pretty quickly that I didn’t feel like I fit there. Cultural reasons, and I mean demographic, I was one of the few black kids in my class, and in some cases one of the only black students in hundred-plus lecture halls, which exacerbated things a little bit.
But even just the culture of it, in my opinion, the egomania of some of engineers, this wasn’t for me. And also it just didn’t feel very tactile. I didn’t feel, it all felt kind of abstract from time to time. But through that, met a lot of designers which began, light bulbs started firing, and so what that world looked like, found web development, which was the sweet spot of, okay, I can be an engineer that can think more about the user, what their needs are, what can add value for them.

And it was honestly through that web development, I rode that out for a while, and found the world of design through an internship at IBM, which you know in my opinion completely, I think everyone has like landmark milestones in their life. And interning at IBM was absolutely one of them, of “This is what design looks like at scale,” this is how these multidisciplinary teams collaborate.

It was so eye-opening, and I love the work that was being done there, and I guess I won’t say moreover, but equally loved the people from very junior to senior designers, Just all incredibly talented people, and with just huge hearts, great character. And that was around my senior year of college that I did that internship. And it was then that I was like, “Okay,” I felt like it started to click, that was the first time in my four or whatever years there that I felt like, “Okay,” this is the click that I was looking for. And I guess the three years before that where, I mean obviously I did projects here, I did a class there, but it was a lot of meandering, let’s say in hindsight until I found that click.

Maurice Cherry:
So after you graduated, you’d mentioned this sort of IBM internship and you stayed there for a long time. You were there for almost six years, starting off as an intern and then working your way up to becoming a strategist. When you look back at that time, what do you remember? Are there any sort of specific takeaways?

Lawrence Humphrey:
So it can kind of be broken down into a couple chapters. So there was my early career internship, then we went through another onboarding, let’s say experience, they call them “boot camps.” That’s the one phase where it’s like starry-eyed early career, Lawrence, “the world is my oyster,” the same traps that all of these early 20 somethings succumb to. And then I was on a team for around three years. It was basically IBM design for AI, which is the intersection of design AI and basically consulting and facilitation.

But in essence we were creating technical, so how can non-technical teams get started with AI and create compelling, honest in the sense that this is what the technology can actually do implementation with AI. And amazing experience, and maybe one of the best ways that I could have started my career, on that team in terms of the work that I was doing.

And my boss at the time, extremely encouraging and just gave me a long leash. So I mean there was that chapter, and the next chapter was my tenure on the transformation team, which worked on enterprise wide transformation efforts predominantly in hybrid cloud AI and culture.

So the net of it was, I was doing a lot more consultative work, even on my AI team, the IBM design for AI. And that was when I realized that I just loved sitting in the middle and working in cross-disciplinary teams or multi-disciplinary teams, having high visibility projects, working with a lot of different stakeholders with big personalities. Basically translating the technical needs into layman speak into the needs of the business. And the kind of glib and story that I tell about it is I started in engineering, and then realized that designers tell engineers what to do. So I went into design and then in, or designers get told what to do by PMs and the business people. So I went into that lane. So I don’t know what you can make of that story, but that was how I decided to hop through those roles

Maurice Cherry:
From designer to engineer, I feel like that’s a journey of itself.

Lawrence Humphrey:
Engineer to designer.

Maurice Cherry:
Yeah. Oh, engineer to designer.

Lawrence Humphrey:
Yeah. And even now I feel like both are pretty misunderstood titles. I would say design a little more so than engineering, but a lot of times people think, oh, shapes, colors, make things pop as a designer, which I am not that kind of designer. It was, I mentioned my first boss, and I just think that that was a great place for me to start because he built my, I mean both, he was a design executive, so he practically sharpened my skills as a designer, but really just gave me the confidence to go into rooms with very senior people and feel like my perspective had a place there.

So when I think about leadership, and I’m really passionate about leadership, there was a lot to be learned from the myriad of actual leaders, like reporting chain leaders, and just some of my mentors and peers. Everyone was just so generous with their perspective. There was a lot to learn in how to lead teams.

Maurice Cherry:
And now when you started the organization, Tech Can [Do] Better, were you still at IBM or is this after you left?

Lawrence Humphrey:
It was at IBM. So fun fact, and I recommend this to anyone that can pull this off, I ended up taking two leaves of absence to work on, the first one was Tech Can [Do] Better and work on that full time for three months. And the second one, I took a four-month leave of absence to work on what was Pearl, and I mean we reorged right in the middle of my leave of absence, but to work on that full time. And that second leave of absence was earlier this year when we got accepted into a start-up accelerator.

Maurice Cherry:
Oh wow. So IBM was pretty, it sounds like they were pretty supportive of what you were trying to do?

Lawrence Humphrey:
Oh, yeah. And I mean even more specifically, my managers at the time, my leadership, and I mean if you know me, I don’t, for better or for worse, I think that I’m pretty obvious with what my intentions are and what my feelings are about, I think. It’s no secret how passionate I was about this, and how much Tech Can [Do] Better and Pearl meant to me, and I explained it to my managers that I felt like this was a once in a lifetime opportunity for Tech Can [Do] Better.

It was maybe a month or a couple months, I’m losing track of the time after the George Floyd incident and I was like, “Okay, the attention’s waning. I only have so much time before people move on and focus on the next thing. I need to focus on this in order to capitalize in this window.” And I mean they were receptive to that. And then the second one was, like I mentioned, I got accepted to a startup accelerator and I was like, this is a once in a lifetime thing. And I mean I was like, “I need to focus on this or I won’t be able to forgive myself.” So they were supportive of that. So to their credit, IBM and especially my leaders at the time, I give them nothing but my gratitude for that.

Maurice Cherry:
Shout out to IBM.

Lawrence Humphrey:
I know, big shout out. And it’s so easy to just be greedy with talent like that. And I realized that I think I took two leaves of absence, maybe less than a year and a half or something apart I think. So that was, they didn’t have to do that, shout out to them.

Maurice Cherry:
How has both Tech Can [Do] Better and Pearl kind of been received by the tech community? Have you gotten any sort of valuable feedback to go into either the organization or to the product?

Lawrence Humphrey:
Oh, definitely. I mean, I kind of joked that I accidentally ended up in this leadership role, because when I was starting way back, 2020, when I was starting Tech Can [Do] Better, I would’ve never predicted that I would be on here right now still talking about it by any means, I mean you always hope so.

But that was unprecedented for me. I’d never done anything of that scale. And I put out a proposal, I mean I asked some of my usual suspects and some of my closest friends and confidants at the time, “Hey, I’m doing this thing, do you want in? I really could appreciate your help.” They helped out. I kept asking more people for help. Other people were asking if I needed help, and I was like, “Yes.” Months later I ended up in Fast Company not knowing how I had got here in the first place.

And it was just overwhelmingly positive and people saying they spun up Tech Can [Do] Better chapters of their company, they gave the proposal to their executive leadership. I mean, it was incredibly surreal for me. I mean, like I said, everything was so novel, and I keep going back to, I have to imagine a lot of that came from just how actionable it was. I get personally really frustrated with all of the noise and just the content generation machine valuing quantity over quality.

And I like to think that a differentiator can just be okay, this is something that takes us beyond that 20%. If I hear another takeaway that’s like “Make sure to talk to your team,” or like, “Listen, or do your education, it’s all well intentioned, but it’s just so ambiguous and doesn’t help people get started,” that I have to imagine with Tech Can [Do] Better it was a breath of fresh air because we were going one level deeper, if not like two levels deeper, which informed Pearl.

I mean Pearl is the tech solution that is Tech Can [Do] Better at scale. So driving actionable change from diverse leaders, helping each other get unstuck and unblocked. I mean, it’s the product that allows that matchmaking to happen. So it is those learnings that I brought even into this new org. But yeah, it’s a lot of great feedback that, I mean a lot of this has just been listening and responding and reflecting, and doing my best to take in what the signal is, and what can make the product better and more valuable.

Maurice Cherry:
In recent years, what would you say has been the biggest lesson that you’ve learned about yourself?

Lawrence Humphrey:
Oh man, I was not expecting that question, but I will say, and I think that just off the cuff there is a very thin line between what is a strength and what is a weakness and vice versa. I think that that’s the high level what I’ve learned about myself. And even more practically, and I have friends and advisors call me out about this all the time. I am a very big picture thinker and great, a lot of times people love visionary thinkers, big picture thinkers.

But I am slow and I struggle to get into the details and make it very, very real, and make it maybe in another way like very small so that you can touch it. For me, it has to exist in this universal principles, the big picture, this applies to everyone sort of thing. That’s like one example, of my what I think is a strength becoming a weakness.

I have other ones too, but it really is such a thin line. And also it’s just reinforcing to me that in order to change anything, any external thing, it really does start with you. I mean, right now I’m leading the org. I’m the first full-time hire, let’s say, I jumped full-time. But I have to manage my own morale, my own boundaries, my own timeline, my own organization.

And that predicts how well I can manage all of those other things for a team of people or one other person. And let’s say if I don’t take the five minutes before the call to get my talking points, it tends to not go well when I bring in whomever I want to bring in. So everything just starts with me. And obviously, I can only control me, but I’m just front and center every single day, for how my own actions manifest and shape the outcomes.

Maurice Cherry:
Who are some of the people that have really helped you get to this point in your career? I mean, no person is an island of course, but I’m curious who your support system has been throughout all this?

Lawrence Humphrey:
It is kind of chapter dependent, early career, the people that got me at IBM, Adam Cutler, Greg Story, Phil Gilbert, a huge, Devin O’Brien. I mean really, either they got me to go into IBM or just really hands-on mentorship, far more than they needed to be for an intern at the time. Huge people. Then just naming names like Brad Neal, one of my co-founders of Tech Can [Do] Better. I mean, honestly, a big brother, if there is one.

He is just such a role model in composure and equanimity. And he and I chat pretty regularly and I always love his perspective. Moses Harris, Jill Soley, one of my advisors, Suresh, Fallon, Wayne, so my advisors now. I mean by and large, I need perspective, and I don’t do well just working by myself. So even if I’m not day-to-day working with someone, I’m always bouncing ideas off of people.

I mean, it might be a little trite or corny to say it, but my mom is such a reliable just, I mean she is my bedrock. I go to her for both practical and emotional support. So I mean, she is just the absolute best. So I mean her as well. I mean, of all the people who are the most reliable through lines, I mean she’s it. I love her to death.

Maurice Cherry:
If there’s someone out there that’s listening that kind of wants to follow in your footsteps, what advice would you give them?

Lawrence Humphrey:
I would say, and I was reflecting on this recently, that it’s not too early to start. I know a lot of people say it’s not too late to start, but I would say it’s not ever too early to start. I do think that, I know that a lot of people would say, I’m young, but I still spent time feeling like I needed permission to do things or I needed the credentials or credibility or I needed something.

I was missing something in order to just do that thing, and I regret it. And I wish that I just had… I heard it best once, “the confidence to be imperfect and the courage to be imperfect.” And I just think that life is short. You just got to do it. Don’t be afraid to ask for help. Don’t be afraid of failing or looking bad. Honestly, you are, by doing your own thing and following your path, you’re doing what a lot of people don’t, and I won’t say can’t do, but are slow to do it. And just following that fire that exists inside of you and just staying true to whatever that is. So it’ll be really fulfilling, and it’ll be a hell of a rollercoaster, but I think that that’s what makes life worthwhile. If you’re 80 years old and looking back at your time here that you’re going to be happy you did that stuff.

Maurice Cherry:
Is there anything that you haven’t done yet that you want to do professionally?

Lawrence Humphrey:
I mean, get Tech-, I mean now Pearl to a place where it is I mean, it’s a mainstay, it’s a household name. I mean, that’s the obvious one. I just feel like there’s a lot of impact I haven’t yet made that is just ripe for the taking. I have also, I mean on a side note, and this could be a subject of a whole other thing, I have gotten really obsessed with writing comedy, and that is basically filming a show, that is a whole other thing, we don’t have to get into it here, but I’ve always…

Maurice Cherry:
No, let’s get into it. Let’s get into it!

Lawrence Humphrey:
I love the idea of, I mean, just writing a show or a movie or shorts and filming it, and specifically some sort of a comedy. Maybe like Atlanta Meets Nathan For You or something like that, I love stuff like that. But I honestly have no shortage of projects. But that’s been one of the ones that I haven’t been able to shake.

Maurice Cherry:
I mean, the comedy writing sounds, I like that idea. Would it be something like, I don’t know for some reason when you said that, “Abbott Elementary” immediately came to mind, but would it be some kind of workplace comedy, something like that?

Lawrence Humphrey:
I’m honestly scared. I have a show that, I mean, I might actually film and every time, I’ve shopped it to a dozen or so people and they’re like, “Dude, why aren’t you making this?” I’m honestly scared to give away my game right now. But I have a show, that let’s say is the style of the show will be more like mockumentary, let’s say. So it wouldn’t be a necessarily workplace, but I have maybe the whole first season stubbed out. Definitely, I’ve talked about it with a friend just shooting the pilot, because I even think I have the pilot mostly stubbed out. It’s just a matter of doing it. I don’t know, I just I’ve always wanted to try my hand at it. I mean, I know I’m being very vague, but…

Maurice Cherry:
No, no, no, I get it. You don’t want someone listening to poach your idea. I totally get that.

Lawrence Humphrey:
I feel like I could be over-hyping it. I could be delusional, but this is such a good idea. Maybe someone’s already done it, but I need to release the pilot before I’m just out here talking about it.

Maurice Cherry:
Look, that could be a good side project. You could work on that in your downtime.

Lawrence Humphrey:
Yeah, I mean, maybe these holidays when things slow down a little bit, I can get out there and just shoot a crappy pilot.

Maurice Cherry:
There you go.

Lawrence Humphrey:
But no, I think that that’s one of the ones, but I think that realistically, I just want to see Pearl succeed, obviously. And there are some quantitative milestones that I would love to hit. And there are some kind of qualitative things, I guess side missions, if you will, that are in support of that goal. Some of those goals that I would like to hit, I want to create a successful company, IPOs, exits or exits.

Obviously this is a long journey. I want to have a tool that is used by let’s say tens, hundreds, millions of people, that adds value, that changes the landscape, that spawns competitors, let’s say collaborative companies that do similar things. I just think that the land of the better collaborative software that focuses in on identity and personal context, because this matters, is pretty underexplored. And I say it’s to all of our detriment, and I’m going to see it through given this everything that I have. So to the extent that I have a life’s purpose, I feel like that’s my calling in addition to shooting the other show that I mentioned, but.

Maurice Cherry:
Right. Well, this is kind of a good, I guess follow-up to that then, where do you see yourself in the next five years? What do you want your legacy to be?

Lawrence Humphrey:
I see those as two different questions, but five years, I would hope to have a team and wherever Pearl evolves from this, because obviously it will evolve. I’ll use Pearl as a shorthand for the mission that I’m on now. I want to have a strong leadership team, and I mean just both be practically doing good work, but even, I’ll say equally importantly, to the work that we’re doing, the value that we’re driving through our business, be role modeling a way of better leadership.

So I started Pearl because I felt like it would be more impactful to demonstrate through our actions, all of the recommendations and that we were espousing through Tech Can [Do] Better, than it was just to say them and recommend them. So I want the team to just be a team of all-stars who are just devoted to demonstrating a higher degree of leadership and holding ourselves the industry to a higher standard and five years.

I want that to be even stronger than I’m doing it today with an awesome just all-star group of people, many of whom I’ve already collaborated with and potentially some who might be listening to this, hopefully we all find each other.
My legacy, I mean, as that’s a huge question. I do hope that in line with what I was mentioning before, I very much believe in the idea of leaving things better than we found it. And what that looks like for me is I feel like I owe so much to my ancestors, mostly black ancestors, very directly in my lineage. And let’s say my cousins, aunts, the folks around me who sacrificed a lot to get me here to where I am right now.

And I want to contribute to that chain of progress of making it easier for black and brown folks younger than me who follow me. Making it easier for them to have the opportunities to create widescale change and showing them that it’s possible, showing them that you don’t have to conform to someone else’s trajectory to do that.

You have the freedom to do it the way that is right for you, basically widening what is possible for people to be conventionally successful and what that actually means. And hopefully never sacrificing, I won’t say hopefully, hopefully this is conveyed through my actions, threading that needle between doing what’s right for the business and what is just societally responsible, whatever that looks like.

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

Lawrence Humphrey:
Yeah, so best starting place for that is our website. So pearl.us.com, and you can find all of our links there to our LinkedIn, to our Instagram, to our app itself. Everything is, that’s the best place to start for my work. If you want to follow me similarly, you can follow me at lawrencehumphrey.com, so L-A-W-R-E-N-C-E.com. Hopefully, I think this will probably, be shared out in the description, but that also has all of my links and basically anywhere websites are found, you can find those links and find everything else.

Maurice Cherry:
Sounds good. Well, Lawrence Humphrey, I want to thank you so much for coming on the show. I think first of all, just thank you for sharing your story of really kind of building a company. I think it’s something that we see a lot. I think we have seen a lot over the years, just what does it look like to really step out and try to do your own thing, but I think it’s really important to also kind of build in public in a way.

And based off what you’ve kind of been saying, how IBM kind of allows you the time to do this, and now you’re building it out in public with advisors and such, I think that’s really important for people to see that they can achieve their own dreams in this way. And of course, what you’re doing is not only just helping you out as a founder, but also helping out the industry as a whole and hopefully helping generations of people to come, so.

Lawrence Humphrey:
Exactly, and that’s important to me for exactly the reasons I said before. I want to be really honest about this story too, that it’s fulfilling, that it’s hard. The self-doubt is to come and it’s just that more important to just keep doing it anyway. I have to imagine something. Only good things can come if you just keep doing the work and surrounding yourself with good people.

Maurice Cherry:
Exactly. Lawrence, thank you so much for coming on the show, man. I appreciate it.

Lawrence Humphrey:
Maurice, thank you for hosting. This was a pleasure.

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Kevin Hawkins

The good thing about design is that if you have access to the right opportunities, your talent can really take you places. Take this week’s guest, Kevin Hawkins, for example. While he cut his teeth in the Washington DC design scene, for the past few years he’s been working in Europe, including his current role as global UX director for Glovo in Barcelona, Spain.

Our conversation started off with learning more about Glovo, and Kevin shared some of the rewarding bits and some of the challenges of his work. He also spoke about how his parents inspired him to be an entrepreneur, designing in DC and San Francisco, and how a trip to The Netherlands influenced his decision to work in Europe. Kevin’s story is a great example that when you take a chance on yourself, you will never lose!

Transcript

Full Transcript

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

Kevin Hawkins:
Hello, I am Kevin Hawkins. I am the global UX director at Glovo in Barcelona, Spain. I manage a team of designers, researchers, operation specialists, content writers, and it’s about a 90-person team working on global food, grocery and everything delivery, in about 25 countries.

Maurice Cherry:
And I should also mention that you also live in Spain. You’re not just working remotely because of the pandemic.

Kevin Hawkins:
Correct, yes. I’ve lived in Barcelona now for just over six months. I moved for this job, and it’s been going really well.

Maurice Cherry:
Oh, nice. How’s Barcelona?

Kevin Hawkins:
Super hot. The heat wave has been roasting Barcelona, but it’s also the time of year where they have neighborhood festivals. So it’s been super nice to get to know the city and see it come alive, but also see all the tourists sweat in the sun.

Maurice Cherry:
So aside from this move, how’s the year been going in general?

Kevin Hawkins:
The year’s been going really well. A lot of unexpected changes. I was previously living in Amsterdam, so it’s been a lot of big changes; another move for me, a new job, a new house, a new language. So it’s been a year of change.

Maurice Cherry:
Let’s talk about the work that you’re doing at Glovo, where you mentioned you’re their global UX director. Talk to me about Glovo.

Kevin Hawkins:
Yeah, so Glovo, if people don’t know, it’s really big in Europe, Northern Africa and Western Asia. We don’t have a presence in North America, but we used to have a presence in South America. It is essentially if you were to combine DoorDash plus Uber Eats plus a little bit of FedEx. We are a delivery logistics company that started out doing food. We do groceries, we do appliances. We’ve started doing COVID tests. Essentially if you want anything in the city, we deliver it, we schedule it, we get it to your door. And we operate in 25 countries and just recently merged with a big group. So now we have about, let’s say, total, a couple billion orders a year that we handle as part of Delivery Hero.

Maurice Cherry:
Wow. How has business been going during the pandemic? I’d imagine probably pretty well.

Kevin Hawkins:
Yeah. This is one of the kind of outlier industries that did really, really well. As everyone started ordering from home, we ramped up. We were one of the first in Europe to start scheduling at-home COVID tests, because we could deliver you the test, but we can also deliver you the test with a nurse or someone to actually administer the test. So it was a really good time for us to launch new features. I only joined in February, so I came in on the high wave of all this growth, really trying to use that extra momentum and the profit margin that came with it to really invest in big things to keep that momentum going as people go back into the world and things open back up.

Maurice Cherry:
Tell me more about the team that you’re overseeing.

Kevin Hawkins:
The team is my favorite part of this job and favorite part about the entire company, honestly. So Barcelona is the capital of Catalonia, which if you know anything about Spain, the different groups and factions, they fought for a while. There’s distinct cultures, so it’s different than Madrid, it’s different than Valencia or other areas of Spain. Very humble, very sweet, very down to earth people. The founders are both from this region, and it’s very much seen in the culture of the company. And so I really love the people. The roles that end up reporting into me are typically design and research, but also design ops, research ops, localization and internationalization teams that handle our translations and cultural differences, as well as the content writers and little bit of program management.

Maurice Cherry:
What does a sort of typical day look like for you?

Kevin Hawkins:
There is no typical day, I will tell you. So I am the highest ranked design person at Glovo. I report directly in to the chief product officer. So my typical day is a mixture of diversity and inclusion and hiring practices, meetings, making sure that research plans are adapted to different countries, dialects and languages. I have one-on-ones with five different heads of UX. Generally, I’m talking to a software account manager about renewals or new feature development, planning a research trip, or as part of my work with an employee resource group, we are planning an event or sharing new guidelines or new fact sheets to inspire the company to be more inclusive.

Maurice Cherry:
I was just about to ask you about that. You head up this ERG called Colours at Glovo. Tell me about that.

Kevin Hawkins:
Yeah, Colours of Glovo is a really fun part of the work I do. So the employee resource group is dedicated to diversity and inclusion as well as cultural differences related to ethnicity, race, and a lot of the nuances that happens within countries or within cultures. So generally speaking, we have ERGs dedicated to Pride and women’s inclusion and disabilities, but our ERG tackles all of the gray areas, the really specific things regarding operating as a company that has a bunch of gig workers. How do you handle the issues felt by the couriers, who are often immigrants? How to be adapt the product to be mindful of cultural differences and sensitivities in Western Asia and the Middle East and Northern Africa and Islamic countries? How do we modify for language, a number of things, delivery to women in homes where a man can’t enter the home? The number of things that comes through the ERG is super fascinating, and we help the company navigate these kind of differences and choices.

Maurice Cherry:
Do you think Glovo will take off in the US? Is that a plan, to expand into this market?

Kevin Hawkins:
As someone who was born in America, I definitely think about this a lot. I don’t think we will. We have a really successful strategy, which is based on being number one or number two in all the markets we operate in. Given the intense competition of Uber and DoorDash and everyone in the US, I think it would take a very dedicated expensive effort to come in and be number one or number two very quickly. So I don’t see it happening in the near future. But now that we are part of Delivery Hero group, we are in the top three delivery companies globally.

Maurice Cherry:
Yeah, I would imagine if Glovo were to expand into the US, you’d have to contend with Amazon. And they’re just everywhere, I mean, ubiquitous. I’m surprised, I know they used to do food delivery. It’s funny, they used to have Amazon restaurants or something, but I guess they just decided to give that up. And now they just do, of course, package deliveries, they do grocery deliveries, et cetera. But for what you’re mentioning with Glovo, it sounds like this FedEx, Door Dash, Uber Eats kind of hybrid sort of probably covers some gaps that maybe something like an Amazon wouldn’t cover.

Kevin Hawkins:
Yeah, we have a couple of things people don’t expect. There’s a really famous feature from the very beginning of the history of Glovo called Anything Picture, or in Spanish, [Spanish 00:09:21], which is you actually describe what you want to receive and the courier will go out and get it. And that means you could say, “Hey, I need two pillow cases and a pillow from Zara home.” Zara Home isn’t a partner of Glovo, but this courier has a credit card and can go into the store, buy it, expense it to you and bring it to your house within 25 minutes.

Maurice Cherry:
Wow, that’s pretty good. That’s pretty good. That reminds me of … Oh my God, I’m trying to think of … Do you remember Webvan?

Kevin Hawkins:
Yes.

Maurice Cherry:
Oh my god, it reminds me a little bit of Webvan, from back in the day. I don’t know if they were that exacting, but I like that feature. That sounds really cool.

Kevin Hawkins:
Yeah, there were a couple concierge apps that came out back around then. It was like Cleveroad, and there’s some older ones that are no longer existent, because the margins were terrible. And trying to accommodate random requests at random times always became very challenging. But it’s cool because we still have that part of the app, because it’s the oldest feature, people love it. And when it works really well, I mean, it’s a moment of absolute customer delight.

Maurice Cherry:
Yeah. We have a place here in Atlanta called Zifty. And Zifty has been around probably since, oh my God, maybe 2003 or something like that. They’re like the pre-Uber Eats or pre-DoorDash or something. If you wanted to get something from a local restaurant, depending on where your zip code was, they could get it for you. But also, they had a little grocery store. So if you needed to get toiletries or aspirin or whatever, you could get that along with your food, and they’d sort of bring it all together. I think they might have taken a bit of a stumble during the pandemic.
Well, one, services Uber Eats and such came about, so now you didn’t have to use Zifty. You could use any of these other services, which were cheaper. But the thing with Zifty is they were really good about trying to make sure that all the drivers were paid a livable wage, all that sort of stuff. They weren’t trying to undercut your own tips or anything like that, as maybe a similar type service might do; not naming any names, but you know what I mean. They might not try to undercut them on that sort of stuff. I don’t know how well they’re faring during the pandemic, because they stopped doing the grocery stuff, because I think just the possibility of transmission of COVID. And so now it’s just restaurants. But they’ve expanded into a mobile app.
I’m curious to see how they weather it through, because they’ll be coming up on 20 years next year. And it’s amazing how they’ve managed to weather the storm as society has changed. Because I think in the beginning people were like, “Wait a minute, the only thing I really would order delivery would be pizza or maybe Chinese food.” And now you can get pho, you can get sushi, you can get pillows, like you mentioned. You can get anything now via delivery.

Kevin Hawkins:
Yes, exactly. The thing that we saw really spike during COVID was what we call quick commerce. So it was these brands like Gorillas or Getir, in some cases even grocery stores, directly offering what was 10-minute delivery for things. And this is what led to the same rat race that Amazon triggered when they launched one-day delivery. All the retailers have tried to scramble to get three day, two day, one day, same day, few hour delivery, sparked by this kind of, “Oh, that’s possible.” So then people find use cases they didn’t normally have.
In our space, it was quite literally the grocery store companies and these quick commerce companies pushing food, because food was always, “We get it to you.” You have companies that have couriers like us, and then you have some restaurants that have their own drivers, like notoriously Domino’s. And we merged them together.
But then you had products that were committing to $10 or a 10-minute guarantee and you get your money back, which is significant pressure on the logistics company, because you don’t have staff. People are volunteering. They get online when they want to get online. It can rain. You might be in a hilly city like San Francisco. The number of variables were endless, let alone things being out of stock. So we had to contend with this really, really heated race. Getir raised a billion dollars almost in funding, which is an unheard of number for a company that just started. So it was a really fun time for the industry.

Maurice Cherry:
It also sounds like, I think you mentioned this earlier, but you are also delivering COVID tests too. I don’t know of any other services really doing that.

Kevin Hawkins:
Yeah, I think it took a long time, but I think Uber eventually decided to start letting you schedule COVID tests with CVS, and then perfectly scheduling to pick up and drop off. But that was the closest I’ve seen on the large scale. We were actually delivering tests and then also delivering practitioners who could administer the tests, because it was just a perfect remedy. We started doing supply-based delivery. So if you were ordering an appliance, we’d have an installer; you’re buying a TV, we have an installer. Imagine everything from Best Buy, they have that service called Geek Squad where they come and install things. It’s just timing and scheduling of a person to arrive with goods. So we were like, “We sell goods, we deliver them on time, why couldn’t we deliver a person with them?”

Maurice Cherry:
Nice. So it’s sort of also like a TaskRabbit in there too.

Kevin Hawkins:
Yeah, a little bit, as long as we could estimate the cost before, because TaskRabbit, there could be overage. We didn’t really get into that. We have a single transaction, single promise, single sale. It was applicable to many, many things.

Maurice Cherry:
Yeah. Now you mentioned the team being the best part about what you do. What would you say is the most difficult part?

Kevin Hawkins:
I mean, it’s also the size, the scale. The differences within the markets that we operate in is probably the difficult part. Whenever you come up with what you think is a simple solution or that makes sense, it is never going to apply equally in Portugal as it will in Kurdistan. It never really makes sense the same in rural Nigeria or rural Kenya as it does in downtown Barcelona or in a very dense three-city country like Poland. When you have urban sprawl, when you have a six-language barrier, when the couriers or the partners speak completely different languages than the average customer, these complications, these nuances, these details makes the work for the team really complicated and also makes funding and prioritizing research … I would say fun, some would say complex.

Maurice Cherry:
Yeah. Now, you’ve served at a number of different companies. You’ve even worked internationally before, which we’ll get into a little bit later. I want to take things back to the beginning and sort of talk about your origin story. Tell me about where you grew up.

Kevin Hawkins:
Yeah, I don’t get to talk about this too much, but I’m originally from the Washington, D.C area. So my first home was in the city, and then we moved back and forth between Rockville, Maryland, Silver Spring, Maryland, and back into the capital. And I spent pretty much all my time in D.C., with a lot of travel with my dad, who is from the military, and then my mom’s family, which is African, from Liberia. So we spent time flying back between the two continents, but also just around the US at different military basis.

Maurice Cherry:
Oh, nice. First generation. I like that.

Kevin Hawkins:
Yeah, exactly.

Maurice Cherry:
Did you have a lot of exposure to art and design and stuff growing up?

Kevin Hawkins:
Yeah, so my mom was a nurse and then broke away from the family expectations going into medical because she wasn’t happy, and became a fashion designer. And that was a big inspiration for my ability to problem-solve and really understanding when people say they want certain things but what they really want is something else, which is of course a big skill for designers. And then my dad was in the military but then left and became a labor rights attorney, and was really working with a lot of politics and advisory, and also had his own business. And so I was always surrounded by creative thinking, problem solving, a lot of politics, a lot of public relations. And it always made me think about, what if I did something similar to this? And I ended up helping them build their websites and their marketing collateral. And that’s really how I got started.

Maurice Cherry:
When did you of know that this was something you really wanted to study and go into, as a kid?

Kevin Hawkins:
So, that happened really early. I think it was probably as early as 10. So when I was super young, this is like seven or eight, if you went to school in the States especially, you know had to get a book cover and you had to get a binder cover sometimes, because you had even and odd days in middle school. And all your textbooks were either rented or they were really expensive, so you wanted to cover them to protect them, maybe sell them back later on in the year.
And my mom and I came up with the scheme of making the coolest covers. And so we had a little business called Cover Me Cool. And I essentially would be the model at school, and people would ask questions, and then you would sell them. And that got really big, and we ended up going to a trade show. We talked to me to Mead and Five Star, we got a patent attorney involved. It was my first [inaudible 00:18:29] really getting involved in business. So by 10, I had sold a company and had understood a bit of the politics of trademark law and copyright law, and decided I wanted to be more on the creative side of business. But definitely my teeth wet, and was really excited to do more independent design work.

Maurice Cherry:
So you had your own business and sold it by the time you were 10?

Kevin Hawkins:
Yeah, I would say sold is a nicer version of this. Ultimately, we couldn’t afford to scale and license NFL prints and everything. And someone [inaudible 00:19:06] buy from us. And we said, “Obviously, that sounds great.” So we sold. Sometimes I think about what would happen if I hadn’t, but I think ultimately, it was a great learning lesson.

Maurice Cherry:
Yeah. I mean, look, an exit is an exit. And the fact that you were able to sell off the business and still keep going, that’s a great thing. I say this of course as you are a child, but that’s great that you are able to have that experience really early on that way. So given that, did that sort of put in your mind, this is something that you really wanted to do as a business, was design?

Kevin Hawkins:
Yes. I still wasn’t sure what discipline within design, so this is when I started looking at school differently. I used to be very anti-school. I was very good at primary school. I really hated tests, so I didn’t really the process of going to college. But then I was like, “Maybe I can be excited by the idea of web design,” and what they were calling new media back then, because I was like, “Oh, this is not traditional. This is not just marketing collateral. This could be service design. This is marketing automation. This is branding.” It always had a bit more to do with the business than just the service provided. And I liked that, and that’s how I got started.

Maurice Cherry:
And now speaking of school, you did end up going to the Art Institutes for a while. You studied web design and interactive media. What was that time like?

Kevin Hawkins:
It was really intense. So my family, I’m the child of divorced parents, and so money wasn’t always consistent. So me having these jobs where I was doing websites and making templates on WordPress and stuff like ThemeForest and all this was a great revenue source for my mom and our household. And so when I went to school, I had a job already, and I was still working full-time doing marketing and creative service stuff for nonprofits in Washington, D.C. And I was like, “Oh, okay. So I really like my job, but I should go get certified and get a degree and get some kind of accreditation for it.” Ultimately, I ended up learning more from my job than I did from school, and that’s ultimately why I ended up leaving school.

Maurice Cherry:
I feel like that’s a lot of the case when it comes to design, I think particularly design … And I’m just sort trying to place this in terms of timeframe. If you did this anywhere in the early 2000s, I feel like that was totally okay, because a lot of schools didn’t really have curriculum that spoke to web design, visual design. Maybe they had advertising or communication design, or you went to a for-profit school like the Art Institutes and you learned stuff there. But a lot of what you learned, because of how the industry was moving, was just being hands-on. You learned through working.

Kevin Hawkins:
Yeah, certainly. I learned a lot more always from learning from people I looked up to, people who wrote books or spoke or were generous with their time, or just people at the workplace who were willing to teach me or delegated work they didn’t want to do. Whatever way it came to me, I was able to take these opportunities and find a way to make myself passionate about it.

Maurice Cherry:
And now after you left the Art Institutes, you worked at a lot of different places. And I won’t go into all of them, but I’ll list off just a few of the more prominent places where you’ve worked, which is Chase. You’ve worked at Capital One, Gap, the Brookings Institution, PwC, EY, many others. When you sort look back at that time, because you were sort of contracting from place to place, talk to me about who that Kevin Hawkins was. Who was he? What was he thinking? What was he trying to accomplish back then?

Kevin Hawkins:
I never intended to go to any of these companies and leave. I think that’s one of the things that millennials get blamed for, the whole job hopping fad. I ultimately always wanted to stay, but I just had a lot of, let’s say, self worth from my mom and the way she raised me. And whenever I dealt with workplace discrimination, ageism, racism, any of these things in the workplace, I always said it would be better for myself and my career for me to be happy at work than to … I never saw going through discrimination and oppression as earning my dues. So I found new places or I worked on startups or I made enough money making websites for people to give me a month or two to find a new job.

Maurice Cherry:
That’s a powerful statement there, and I think it’s something that … I don’t know, it’s interesting, when you think about people in their early careers, is that whole pay your dues sort of bit. I get that. Look, I got a Black mama too. And she certainly was like, “Sometimes there’s things that you have to do that you don’t want to do to get where you have to be.” And I understand that to a fault. I get that there may be some things where you just have to learn it, this is how you learn it. But if it’s like you’ve said what you’re putting up with these pervasive isms at work, racism, sexism, et cetera, why stay? You’re not winning any awards by staying, you know what I mean?

Kevin Hawkins:
No, exactly. And that wasn’t always the reason why I left. Sometimes new opportunities come, sometimes you start to stagnate or you stop learning. I always say either you’re there to learn or to earn, and sometimes there’s other motivations like a passion or a mission that aligns with you. But when you’re not learning, when you realize the industry is getting bigger, it’s getting very profitable, the work is extremely valuable, it’s being tied to massive growth and revenue, you also want to start earning more. And because I came in without a degree, I was originally second-guessing myself. So my whole tactic was I’m always more valuable in the interview phase than I am two years into a company. So if I want to make up for the money than I’m not earning by not having that degree, it makes more sense for me to take opportunities when people present them to me, than to trudge through the interview process and promotion panels, with the people I’ve been working with for two and a half, three years.

Maurice Cherry:
Okay, you just raised something interesting there I want to touch on. So you did go to the Art Institute, you got an associate’s degree, right?

Kevin Hawkins:
Yeah.

Maurice Cherry:
So even though you had that degree from an institution that someone could look at and say, “Oh, you must be a designer,” did that still not help you throughout your career to have that as sort of a … I almost want to say a status symbol of sorts?

Kevin Hawkins:
No, honestly it wasn’t looked at the same way. The Art Institute doesn’t have the prestige of a Corcoran or a SCAD or a RISD. In addition, I got into web design and I was doing a lot of user experience, information architecture, HCI work. So they didn’t see it as directly relevant. I got a two-year degree but I didn’t take the final exam and do the official ceremony. So I always had to send in transcripts versus the official diploma letter that comes from the university office. And I didn’t really care. I was really happy that I made that choice to leave, and the work spoke for itself, more often than not. But then there would be companies, especially as I got higher up in D.C. or in New York that just would look at nothing else. And California and Europe started getting more and more attractive.

Maurice Cherry:
Interesting. I’m just curious about that, because for example, I don’t have a design degree. I did go to college, got a degree in math, and then started out as a designer, even though I just picked up design in my spare time. And even now at this stage in my career, I’m at least 20 years out from my first design position, me not having a design degree I think is still looked at some places as like, “Oh, well, you’re not really a designer,” despite the fact that I’ve run my own studio, have all this design experience in other companies. They’re like, “Yeah, but you don’t have the degree.” And I feel like companies sometimes still place way too much emphasis on that.

Kevin Hawkins:
Certainly. I mean, I can tell you the number of jobs where I actually got to the final round … I even have jobs where I was given the offer, and then it was rescinded because they hadn’t checked which degree I had.

Maurice Cherry:
Oh, man.

Kevin Hawkins:
And I thought that was insane. Some of these companies had public stances on articles and in Forbes, “We don’t look at degrees anymore. Degrees are not a requirement for most of our jobs.” But the second design started getting a seat at the table, design was informing P&L, it was informing business strategy partnerships, they started really looking at designers, especially when you go into UX, as part of the business organization. Sometimes you reported in to COOs or CMOs. And they ultimately saw it as flywheel effect, that you invest in UX, you get customers happy, they buy more, you have more customers, which is great. But at the same time, we’re still always interviewed based on portfolios, you’re based on references, you’re based on the work you’ve done in your past. So why is the degree so important, when you spend 80% of the interview looking at work done?

Maurice Cherry:
Right. No, that’s true. That’s very true. I remember vividly when I got … it wasn’t my first design job, but I was working at AT&T as a senior designer. And it was one of the campuses here in Atlanta. And pretty much everyone else on the design team not only had a design degree from the Art Institutes, but they kind of all went to the same classes and stuff together. It was very much a pipeline from this school to this company, which I think may be why some companies look at that, and think, “Oh, well, if you’ve come from this school and you have this degree, then you can automatically meet maybe this baseline level of work.”
But when I tell you I was designing circles around those jokers at AT&T … and a lot of them paid me dust because I didn’t have a design degree … and these would be other Black designers too, wouldn’t even talk to me. And so when it was time for me to leave, I was like, “I’m out, I’m out. I’m gone. Peace.”

Kevin Hawkins:
Exactly.

Maurice Cherry:
And so I 100% understand the want to get at a company and you want to be there, and it just doesn’t work out. And it’s not anything that has to do with you. It’s company culture stuff, it’s all kind of other stuff. And it’s like if you don’t feel happy here, why stay?

Kevin Hawkins:
Exactly, exactly.

Maurice Cherry:
And what I noticed from just doing research, you also had your own things that you were doing throughout this time. So you weren’t relying just on working at these companies to, I guess, fulfill this creative want that you had. You founded other companies, Pipevine, QReview, BravoScore. Talk to me about those. It sounds like you were pretty busy.

Kevin Hawkins:
Yeah, I’ve always had this, and I think it’s probably from watching my parents be in jobs they weren’t super happy about and then watching them start their businesses parallel to their work, so I always thought, “Oh, that’s a thing you can do.” It isn’t like you have some contract where you are enslaved to one employer and you need to tell the employer you’re going to leave before you do work for a new employer. I always saw that small businesses are often started alongside full-time jobs.
And I said, “I do like what I do for a living, and ultimately, I see myself advising business. I see myself advising product directors and program managers. And this is what they use to determine budgets and this is what they use to determine expansions and launch strategy. I can do that. Why shouldn’t I launch something as a UX designer with the background that has worked also in research? I can validate a problem. I can talk about size of the market. I can talk about who is addressable within the first version of the product that we release. I could do a pitch. I can definitely do this.”
And I started looking of course more and more at San Francisco and startup companies and how they got their start. And you’re like, “Cool.” Designers, I personally think … this is even before Brian Chesky and Airbnb … because designers, I think, are better startup CEOs. They pitch things, and you want to listen; they’re beautiful, if they do their job with communications design very well.
And I said, “Let’s start some companies.” And I had no idea where to look. And I ultimately looked to people who were already that passionate founder visionary type, and they didn’t know how to build great user experience. They didn’t know how to collect email and newsletters and do a landing page and build up momentum before it launched. And I partnered with them as their technical co-founder because I knew enough code, enough front end, enough design to be dangerous. And they were the business, finance people.

Maurice Cherry:
So you really got your own business education in a way, too, by running these businesses and working with them.

Kevin Hawkins:
Yeah, certainly.

Maurice Cherry:
I like that. I definitely can empathize with that. I’ve always had my own thing on the side, wherever it is I was working. And I’ll tell you what’s interesting, some of these new startups, and I know this just from working in startups in the past five years … And I don’t know if a lot of them have them, but the ones that I worked in always had a clause that you had to disclose anything else that you were doing outside of work that might … I don’t know if it might conflict or whatever, but they just wanted to know that, “Well, what else are you working on that’s not the 9:00 to 5:00 job?”
And sometimes I would answer and sometimes I wouldn’t, because it’s really none of their business, because none of the places I worked for had any sort of relation to what I was doing, which was this podcast. But I find it interesting now that companies are like, “Yeah, what else are you doing to try to, I guess, I don’t know, capitalize on your time?” I know there’s this whole thing now about quiet quitting. And I hate that term so bad because it’s really just about setting boundaries at work. It’s not, whatever, I don’t know, 19th century Industrial Revolution thing you might be thinking about with quiet quitting. I just hear that just, I hate that term.

Kevin Hawkins:
It does hurt me, honestly. It’s like, okay, either it’s disengagement or it’s just the phase before someone gets fed up. But it’s not disingenuous to be tired of bad conditions or being undervalued or underpaid or outgrowing opportunity. If you feel like life is taking you a different direction than your current employer, there is always going to be the phase before you quit. And that isn’t called quiet quitting, in my opinion. That’s just called really assessing your worth, your value, and your future.

Maurice Cherry:
I might get in trouble by saying this. Part of me feels like that the media is a little bit complicit in this, because I really am only hearing this from Business Insider, Wall Street Journal, stuff like that, that are talking about quiet quitting. But I feel like it’s also retaliation to a lot of workers, at least here in the States, now realizing the power that they have with unionizing. And so they’re cutting down on this whole quiet quitting thing, because I mean, at least in some of the places I worked, that quiet quitting, I’m using air quotes here, were the seeds to start unionizing. That was the fertile ground for people to start thinking about, how can we campaign for having better work conditions, et cetera? And they talked to a union rep, and now we got a union. Like I worked at Glitch, and we unionized, shortly before they laid most of us off, but we did at least have that happen. And I want to say that the fertile ground for that was a lot of people just being sort of fed up with how certain conditions were.

Kevin Hawkins:
Yeah. And honestly, businesses will always have, let’s say, a fiduciary interest in not wanting people to unionize, because it’s easier to manipulate and get what you want as a business, for your shareholders, or even for yourself, when you are dealing with individuals. It’s also why the whole idea of people knowing what everyone makes is dangerous to businesses, because then you know if you’re getting paid less, and you know if they value that same work at a higher value. Some of these things are solved in some places in Europe, and it’s still the same battle. I have to deal with lots of cultural differences, and this is one of them. A lot of the teams and companies I work with and some of my peers in Spain and Portugal deal with this, which is, I think it’s quite positive, but it is tricky, that our employees talk to each other about how much they make. If we do a market adjustment and someone was adjusted more than someone else, it definitely comes up much quicker than you think it will.

Maurice Cherry:
Yeah. So you were running these businesses, you were working at these different places. It sounds like you were doing a lot here in the States, between all of that stuff. But eventually you ended up moving, you moved to Amsterdam. What was behind the decision to do that?

Kevin Hawkins:
Yeah. So I moved to San Francisco for four and a half years, and I was really happy out there, but I really couldn’t see myself building life in terms of buying a house, starting a family, with just the cost, the income disparity, the homelessness crisis, and really just it’s quite out of touch, if you stay in certain bubbles. And I always had a really good balance. My family is quite mixed, African, Filipino, American. I see different classes within America and other countries on a regular basis. And so to juxtapose the comments and things you would hear in Silicon Valley with the reality of most of the world became a bit frustrating. And I said, “Am I really doing myself a service, spending all of my money, all of my energy just trying to survive in this city, or maybe I go back to D.C., or maybe I finally go and try out Europe?”

Maurice Cherry:
And Europe ended up winning.

Kevin Hawkins:
Europe ended up winning; winning at a very interesting time, who got elected-

Maurice Cherry:
Yeah, that’s true. That’s true. Yeah.

Kevin Hawkins:
… safety of Black people in America. I mean, a number of things, right? And so I was really happy to be able to go and visit. And then once I was able to secure a job that was able to sponsor me and keep me there, it was a big sigh of relief that I exhaled, because it was just such a significant upgrade on my quality of life.

Maurice Cherry:
Yeah. So you ended up working in Amsterdam, you were working at booking.com. And then now you’re here in Barcelona working at Glovo. I’m just curious, I mean, this is from the dumb American perspective, so forgive me here, but is it easy moving between countries like that in Europe?

Kevin Hawkins:
No.

Maurice Cherry:
Oh, okay.

Kevin Hawkins:
No. I really wish it was simpler. Honestly, the visas don’t transfer between countries. So we were just talking about the whole degree thing. And I won’t talk too badly about my new home country, but I had a high qualified migrant visa in the Netherlands because I worked in tech, and they wanted more tech workers. And I made good money and I brought lots of job opportunities and revenue by having a high-funded, well-run company be headquartered in your country. But that same visa wouldn’t transfer to Spain, so I had to requalify, do background checks in America and in the Netherlands, do fingerprinting, do a degree certificate, all these things all over again, as if I hadn’t just lived four years in Netherlands and bought a house. I considered myself European at that point, but that’s not how it works.

Maurice Cherry:
Wow. And you’ve been now in Barcelona you said for about six months?

Kevin Hawkins:
Yep, about six months.

Maurice Cherry:
What is the design scene like there? Have you sought it out or have you found it there?

Kevin Hawkins:
So there are probably around like 2,500 startups. Glovo isn’t definitely in that top group of the biggest. We’re a unicorn. But the design scene isn’t as large, of course, as a London, which is massive, or as an Amsterdam, which is definitely a tech hub, but it’s very warm, I would say. The UX community in Barcelona has big players like HP and Amazon who are directly our neighbors. As Glovo, we’re in a neighborhood called Poblenou, which is the tech hub. But then you also just have to factor in the culture.
There’s a lot of illustration and animation in the UX and design community within Barcelona, just because of the culture is so rich in architecture and detail and craft. The community is very warm because the city is very warm, and people are generally happier, in my opinion. And they have beach meetups, and there’s a thriving tech scene that’s definitely growing. And it’s really fun to be there at the moment where it’s blossoming. It’s definitely going to surpass, in my opinion, some of the bigger cities. The only key difference is that pay in the south is lower than in northern Europe, which models very similarly to pay in the South of the US versus New York, for example.

Maurice Cherry:
Interesting. How would you compare the design community to, say, the one in Amsterdam or in D.C.? Was that something that you thought about as you went to these different places?

Kevin Hawkins:
Yeah, certainly. I think that I always think about diversity of groups and communities. And D.C.’s definitely a melting pot. Amsterdam’s a melting pot. Barcelona is one of the largest cities in a region of Spain, and therefore it’s not Madrid, it’s not the capital. The tech that’s there isn’t one industry, like the military or government or FinTech. And so it’s a lot of people from completely different backgrounds, a lot of immigrants from other Spanish-speaking countries or from Latin America or Hispanic America, like Brazil and Argentina. And so, there is this really interesting new kind of perspective that you get. A lot of the competition or comps we talk about at work like Roppy and companies that don’t even operate on the continent, because of the backgrounds people have and the different kind of work they’ve been doing. And it’s really cool. I still do all of my work in English. And I’m still able to navigate the community, and the community’s very open and friendly to expats. They often speak three languages. And it’s a very vibrant, different community, but I really enjoy it.

Maurice Cherry:
That’s good to hear that they’re friendly to expats. I had always been curious about that sort of thing. I mean, I’ve been considering … at this stage where I’m at right now, as we’re recording this, I am currently, we’ll say, between opportunities at the moment. And look, I’ve been in the US for a long time. I’m from here, whatever. But I also know that the skills that I have, I’ll look for the types of positions that I do, and most of them are in Europe. None of them are in the US. And I’ve thought about possibly maybe doing it, like, oh, just visiting or something. Part of me is like, maybe I’m a little too old to do that. Also, I’m close to my family that’s close to where I live here, and I don’t want to put an ocean between us. But it really sort of sounds like you’ve found a way for yourself throughout your entire career. You didn’t have one set path that you really were trying to follow. You just of went where your passions led you.

Kevin Hawkins:
Yeah, I think the only thing that’s been consistent has been I wanted to be a C-suite executive. I think that’s something that my family makes fun of me for, from being a kid. I used to be called the governor. I probably am still called the governor [inaudible 00:42:23] family because I always projected these long-term visions, five-year plans, “We’re going to do this.” I was always rallying people towards a mission or a goal. And so I’ve always known I wanted to be in a leadership position, but as I got into design, I didn’t really see one. So I was always trying to navigate my way into learning new skills, because I wasn’t in the business area, I wasn’t in operations, I wasn’t in marketing, I wasn’t in the area that had C-suite positions.
And I said to myself, “If I’m ever going to get there, it has to be the story of the receptionist who learns all the skills by being around all the people in the business and eventually become COO and then CEO.” So I told myself, “I’m in design, there’s no direct ladder to that role, so I’m going to have to get close to the marketers and close to the engineers and close to sales and close to legal, and really understand the in and out of every business I worked for.”

Maurice Cherry:
And now you’re in the C-suite now. Would you say that’s sort where you’re at now with Glovo?

Kevin Hawkins:
Almost, yeah. I mean, no one else above me does design work. I report to the chief product officer, but I am solely responsible for all the budget for design research, content. It’s about a 90-person team and growing. And so it does feel like I’m almost there. I think the one thing that would get me there would be a VP of experience position or, very few companies have these, but a chief design officer.

Maurice Cherry:
How have you worked to stay your authentic self throughout your career?

Kevin Hawkins:
It actually is easier to answer than I thought it would be. It has been teaching. So I never did it with the intention of keeping myself grounded, but I always felt and was making time to mentor people into the industry. I have some close friends now who came from program manager jobs at NASA or were teachers or bankers, and now they’re in UX or in different areas of tech. And I always found it really, I don’t know, just thrilling to show them how transferable their skills were or show them that you have a passion to make apps, and yes, app companies and companies in general fail at the 90% mark, but these are the skills you need to be able to validate your assumptions and listen to customer feedback and iterate quickly and fail fast, and get them into positions where they either were launching their own companies or working in UX or in different tech roles. And that is what led me to eventually teach a class on data visualization at Georgetown University and then start teaching in general UX courses, design thinking courses, sort of about six years of me teaching now.

Maurice Cherry:
Oh, nice. So you’re teaching. Is that something you’re also doing now in Barcelona, or are you’re just working at Glovo?

Kevin Hawkins:
I am just working at Glovo. I was working with a bootcamp in Amsterdam called Growth Tribe, but now that I’m in Barcelona, I’m looking for new opportunities, mostly by partnering with the department with local universities, Ironhack in Barcelona, building an apprenticeship program, which I feel like is really missing in the industry; when we talk about not enough junior positions, at the very least, people should be teaching and bringing in people who are early career programs and apprenticeship programs to build that pipeline for juniors.

Maurice Cherry:
Yeah, I find a lot of companies now don’t really want to talk to people. When it comes to positions and stuff, they’ll make sure that the, I don’t know, applicant tracking system does all the work. They don’t really want to talk to you or interview or get to know you unless you pass through those hurdles and stuff. But that apprenticeship part certainly is something that’s missing. I feel like that’s something that has been identified throughout the years, and a lot of companies just haven’t tried to make that a part of what they do. I mean, they still have take-home tests within interview processes, so I feel like having an apprenticeship, it might be a little bit too much for them to handle at the moment, but I would like to see more of that kind of stuff too.

Kevin Hawkins:
Yeah, I think there’s always a scapegoat, whether it be time or team maturity. But having an intern, having an apprentice, having a really early junior requires that same level of consistency with how the department or organization is run, with also there being clear career paths. But then in addition, having someone actually be responsible and given credit for molding the mind and techniques of a new person in the industry. And I think because of the number of operational admin and HR-related aspects of this that are not in place at most companies or are always in some state of shift, they always want to say, “Oh, we just won’t do it,” but then at the same time will complain about why it’s so expensive to only hire seniors or why the [inaudible 00:47:06] maturity isn’t great when none of your team has any experience mentoring people.

Maurice Cherry:
I know I certainly hear it from … I’ve heard of that, companies I’ve worked for, where they’re like, “Oh, we can’t find any good candidates,” or they’ll put out a listing and get 300 resumes and then not look at any of them. I don’t know. Hiring in itself is broken. And I may be speaking from a bit of a jaded place at the moment, because I’m looking for work. But that’s something I’ve noticed though throughout my career at places I’ve worked, where designers, it really is that thing about you have to know someone. It’s really hard to just come in right off the ground floor to get into some companies. But that’s pretty sad.

Kevin Hawkins:
Yeah, I would agree. Design is becoming like real estate. Everyone has to get some comfortable shoes and go door-knocking and cold-,calling and there’s tons of doors being slammed and phone calls being hung up on. And especially with any kind of recession, it gets really tricky. The majority of my career, I would say, post- the engineering marketing design stuff I was doing, was in 2008, 2009. And obviously, it was the worst time. But I came in super humble, obviously didn’t need a ton of money. In terms of what people were expecting for the top of the band for certain positions, I was undercutting them, because I was there to learn. At the same time, I also was keeping all of my expenses super, super low. That is impossible anymore. The market is insane. The cost of inflation has gone up just for living in places. And we’ve all talked about this ad nauseum at this point, about whether people should be paid living wages or not, which is an obvious answer.
And design has, and tech in general has been such a savior for some people because it has been rapidly growing in income, and people are making great salaries and new positions are being formed in leadership, and there’s career paths. But then when it doesn’t have respect at companies, you can look at Fannie Mae for example, you see whole divisions being cut or companies no longer investing in UX. And it really shows you that we have to, not just because we find it interesting, you have to develop these other skills, you have to develop these networks. And that awkward phone call or email or walking up to a random person at a conference feels like a luxury we can ignore for a lot of the time. But when it comes down to it, those are the people and the connections that have saved me most at times when I didn’t have a job or went to a new country or got laid off or in one instance got fired.

Maurice Cherry:
What’s the best piece of advice that you’d give to someone that they’re hearing your story and they want to follow in your footsteps? What would you tell them?

Kevin Hawkins:
I would say, and this is going to be a quote, because I love quotes … I want to get this quote correct. “So it is literally true that you can succeed best and quickest by helping others to succeed,” which is a quote by Napoleon Hill. And it’s just me being generous with my time. It’s me taking random phone calls for Brazilian graphic design students at 12:00 PM when it’s their 5:00 PM, so that they can ask questions, how to go from graphic design into UX. It’s me going to a Lesbians Who Tech drink in D.C. randomly to see if anybody’s there because they’re looking for a technical co-founder or they don’t know how to do something. It’s just me volunteering at design critiques or UX speed dating, where you’re giving people advice quickly or you’re answering questions in a Q&A.
I think these things are the things that we can always make time for. Ultimately in the moments when I didn’t have a job, I did more of them, because they build connections and there is a bit of a bias or an interest for me to make connections. At the same time, it’s what keeps me motivated and inspired and keeps my spirits high in the lowest moments, is the people who I’ve helped or the people who use me as a reference or call me when something has shattered their world. But for me, it’s something I’ve done 10, 15, 20 times, and can easily walk them through how to navigate it.

Maurice Cherry:
Do you feel satisfied creatively?

Kevin Hawkins:
In my current role, yes. I think I haven’t been for a little bit of time. I’ve been a director now for three years. I was a director at a small company and then I was in management but not a director at Booking. And at Booking, I was extremely, extremely happy. And then the recession hit, and that was ultimately why everything fell apart and I left. And I was looking for about a year and a half, almost two years for another place where I could see myself being home. And Glovo definitely is that. But the director role is less about designing mock-ups. It’s more about designing career paths, designing a culture, designing product marketing and employer brand.
I’m building the team I wish I was on, I’m building the kind of company culture, onboarding practices, promotion processes that I wish I had in my career. And then I’m also building myself up to hopefully be an inspiring speaker and leader and even better teacher. And I look up to people like Bozoma Saint John, who was the former CMO of Netflix, and in that kind of realm, always looking to share more knowledge, invite more people into the room at a seat at the table, and just constantly question the norms we see.

Maurice Cherry:
I would say you’d make a great public speaker. Have you been looking into doing some more of that?

Kevin Hawkins:
Yes, every chance I can get.

Maurice Cherry:
Okay. Where do you see yourself in the next, let’s say, five years or so? What do you want the next chapter of the Kevin Hawkins story to look like?

Kevin Hawkins:
This has gotten trickier ever since I moved to Europe, because I think the answer used to always be some version of fame or being CXO, chief experience officer, at a thing or a really notable household name globally. But now it really has to do with about being … like I’d rather be really, really important at a small company for people who really need our services than to be just another person in a role at a very large company with customers who don’t really feel any passion towards our product.

Maurice Cherry:
And just to sort of wrap things up here, where can our audience find out more information about you, about your work and everything? Where can they find that online?

Kevin Hawkins:
Yeah, so I’m most active for work things on Twitter, which is @KevinHawkinsDC. And then on Instagram, @KevinHawkinsDesign. Same thing on LinkedIn, Kevin Hawkins Design. I’m often posting about work we’re doing, public events. I do quite a bit of public speaking both in the US and in Europe, so I have several talks coming up this fall, but I’m mostly sharing work-related things, things tied to my business, and how I’m developing myself and my team on Twitter and LinkedIn.

Maurice Cherry:
All right, sounds good. Well, Kevin Hawkins, I want to thank you so much for coming on the show. Sort of like I alluded to earlier in the interview, I can really tell that you’re someone that has continually throughout your career, throughout your life probably, really taken a chance on yourself. You know the skills that you’re able to bring to the table, you know what you’re able to do. And instead of waiting for an opportunity to come to you, whether it’s starting your own business or moving to another country, you are taking the chance on yourself to further your own career and further where you are in life. And I think that’s something that’s super inspiring for anyone right now to really hear. So thank you so much for coming on the show. I appreciate it.

Kevin Hawkins:
I really appreciate the time. I really love the show. Big fan. I think that everyone should reach out to whoever they want to talk to and learn from. And like you said, take a chance on yourself. And you’d be surprised, the odds are in your favor.

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Rebecca Brooker

We’re closing out Pride Month with the second part of my conversation with Rebecca Brooker! (If you missed the first part, check it out here.)

We talked about Rebecca’s relocation to Argentina (after a stint back in Trinidad), and how she’s adjusted and found community in Buenos Aires. Rebecca also went in depth about Queer Design Club, the Queer Design Count, and the upcoming Queer Design Summit taking place on July 7.

Rebecca is proof that building community and staying true to yourself is a surefire way for personal and professional success!

Transcript

Full Transcript

Maurice Cherry:
Now for this week’s interview. This is part two of my conversation with designer, art director and community builder, Rebecca Brooker. Let’s start the show.

Maurice Cherry:
Wow. That’s a lot. I mean, from –

Rebecca Brooker:
It’s a long story.

Maurice Cherry:
I mean, it’s a long story, but I mean, there’s goodness. I mean, having to leave the country like that that quickly because the employer forgot to notify you and now you have to move back home, but then now you might be moving to another country, to Argentina. Oh my God. I guess I’m curious. Once you got to Argentina, what was that like?

Rebecca Brooker:
Yeah, I mean, I’d never been to South America at all before, so this was a completely new experience for me. I had studied a little bit of Spanish in Trinidad, but never used it in practicality. And so I was nervous. I ended up meeting two of my bosses, my would be bosses from that team in New York and they were telling me, “Eh, it’s a cool place. It’s beautiful. It doesn’t snow. You have so much fun. It’s a great nightlife, very young culture. The agency is growing.” So I was like, “All right, this is a totally new opportunity. What else am I going to do with my life?” I felt so beat down having to return to Trinidad and not know should I think about opening my own agency here? Should I think about getting a job at somewhere here?

Rebecca Brooker:
And then this job kind of just fell into my lap and I was like, “All right, we’re going to go on another adventure. We’re going to see what’s in store.” When I moved to Argentina, I was just in shock. I was like in a good way too, in a good way. I was in shock in a way that I was so open to every new experience, Maurice. I really had to put myself in a mindset that I’m moving to this place. I just lost a whole life behind me in the states. All my friends back there, my partners back there, all my coworkers, everybody. But I have to look ahead and I have to be open to whatever comes next, and I think that’s just the mindset that I had to keep going with.

Rebecca Brooker:
And for the first time in my life, it was like I was living in a studio alone. I would go out to eat at a restaurant and I’d sit alone. And I spent just so much time in the beginning of my move by myself, just having not made any friends yet outside of the people that I work with in this office. I think that was a turning point in my life where it was the first time I really had to do that in an environment where, it was different when I moved to St. John’s because I moved into the dorms and I was immediately put into a group of people that I could be friends with. And now I’m 20… God. How old was I? 24, moving to Argentina, by myself, don’t have anybody there. You go to a restaurant, you order for one, you take a book, you read something. And if I heard people speak in English, I would literally turn around and be like, “Did you just speak English?” Like “Where are you from?”

Rebecca Brooker:
And that was really how I started to make my friends. I would just be this like curious, observant person. If I heard people speak in English, I’d be like, “Tell me about you. What are you doing here?” And that was how I started to find my community. I ended up finding an English speaking gym. It’s run by an English guy and he wanted to create a community for English speakers to come together and train. And so I met these people and that put me into a new circle of English speaking people in Buenos Aires that led me to my own network now. In addition to this, the agency I was working at, I had a… I wouldn’t say I had problems at the beginning, but I had anxiety because I was one of the only native English speakers, right.

Rebecca Brooker:
Everybody at the agency could speak English, but we were usually trained to speak English for professional use. So in a meeting example, like we would send our clients communications in English, but everybody in the office would talk to each other in Spanish. So, they would say something and someone would be raising an issue and everyone’s talking in Spanish meetings in Spanish and I was just lost. I could not pick up anything that they would say. And especially also because Argentine Spanish, it has a little different of a dialect than Mexican Spanish or Spain Spanish. So I couldn’t even make out what they were singing. And so many times in my first year, I wouldn’t get the joke. People would be laughing. I’d be like, “I didn’t get it.” And it just made me feel othered. But when I started to learn Spanish and my coworkers, bless them, they made a concerted effort to keep me looped in.

Rebecca Brooker:
We would have a meeting in Spanish and then I had a coworker who would come over and say, “Okay, I’ll stay with you and explain everything we just said in English.” And I’m like, “Thank you, thank you so much.” And it was just a lot of awkward moments like that until I got better and I learned, and now I’d say I’m not fluid, but I could understand a lot. I can respond. So it was definitely a moment of growth in my life, I think. A moment of solitude, a moment of acceptance that sometimes things happen and you just have to go with it.

Maurice Cherry:
Yeah. Wow. I mean, I can’t help, but think now, also in the midst of all of this happening, you also co-founded Queer Design Club, which is also about helping to bring together a community while you were also, like in your own life, trying to find community. Talk to me about Queer Design Club.

Rebecca Brooker:
Yeah. I think Queer Design Club on introspection is a manifestation of me looking for a lot of things in my life. And you just named it where I felt motivated on one hand to make this community because I was in a real moment of my life of solitude, where I had my online friends. I had people that I could reach out to from New York, but I spent the majority of my nights, I’d go to the office and I’d come home and I’d be by myself. And I was just like, “There must be something I could be doing with my time right now, right. There must be something I could be doing.” And at the same time I was looking to connect with other queer African designers, right. Because I think the other side of my life, not to go back too far to the Trinidad thing, but not having that community in Trinidad, not necessarily having that community at St. John’s either, it kind of left me wondering, where are my queer friends?

Rebecca Brooker:
I don’t have enough queer friends. And I actually want to meet queer friends that I have something in common with. So maybe queer designers. And I started to Google and I started to look for spaces online for queer designers. Was there a community? Was there a place? And there was nothing I could find. I found Out In Tech, I found Lesbians Who Tech, but when I joined those communities, they felt huge, right. They felt like there were tens of thousands of people in there. And I don’t know who would be my friend. So that was really what drove me to have this initial idea of like, “Why don’t I start a queer community online?” And I’d started putting together some ideas, just very loosely. And one day I went on Twitter and I saw a different person had created a handle for LGBTQ People in Design, or something. And I was like, “What? That’s my idea.”

Rebecca Brooker:
I wasn’t really like that. I was like, “This is cool. Someone else is also thinking about this. I’m going to message them and let them know that I have the same idea.” And that’s how I met John, John Voss. And we began chatting. I shared my deck of ideas with him. He shared his idea with me and we came together to form QDC. And at the time John and I were not friends, we were just two strangers that met on Twitter. We began co-working. He’s in San Francisco, I’m in VA and working towards let’s make a Slack, let’s make a directory. And let’s see if other queer people will join. And we didn’t know who would join.

Rebecca Brooker:
I had a handful of friends that I knew were LGBTQ. He had a handful of friends. We knew some people on Twitter, but everybody felt really disparate and disconnected. So when we formed the community, it was really just a place for us to have a clubhouse to hang out in and talk about the experience of like, “Oh, I’m the only queer person on my team and I don’t know how to bring my partner to the work event,” or “I don’t identify as CIS and my boss keeps misgendering me.” We saw people having these experiences and we wanted to bring them together to talk about them some more. So that’s kind of how we founded QDC. And I think over the years, one of the things that I’ve really ,really noticed about the community is just that, this was not something that just John and I were looking for.

Rebecca Brooker:
This is something that many, many people needed maybe much more than I did. And the growth that we’ve had over the years, the constant commitment from our members to keeping the space fresh, giving each other advice, helping each other, just general resource sharing and like this communal online living, I think has really just changed my perception of what QDC is or what it should be. What started as just a side hobby for John and I has turned into a lifeline for some people. And I think that was when it was a turning point for me that I was like, “Oh shit, we did something. We got to do right by our people. Now that we’ve gathered them all here in this community, there’s thousands of them. They’re looking at us and I’m like, what are we going to do?”

Rebecca Brooker:
So I think that was the real question that we had is like, “Okay, now that we formed this community, what value are we going to bring to their lives?” And one of the early questions, well, we were like, “Okay, there’s all these people in our Slack.” We actually don’t know anything about them because when we let people join the Slack, we just ask them their name and their email. We don’t know anything about where they are, who they are, what titles do they have, how much money do they make? Who is our community, really? We know the people exist. We know that. We have proof of concept, but who are they in their identity? Right. And if we’re going to position ourselves to serve a community of people, we have to first find out who these people are and what are their needs. So that was the things that John and I were mulling over and so we decided to formulate the Queer Design Count.

Rebecca Brooker:
So the Queer Design Count is the only survey in the design industry that is specifically for LGBTQ people in design. And the reason we did that was because when we were looking for data about our own people, we couldn’t find any. There was no data out there about the community. The AIGA Design Census asked one question and it’s, “Are you LGBTQ?” And from that data, you can make a few inferences with the percentages, but there just wasn’t anything deeper than that one question, that one check box. So we decided to formulate our own survey. And in the first year at 2019, which was also our first year as a community, we ended up with close to 1,500 responses. And John and his loving partner, Lori, who is a data analyst, thank God, lovingly went through these thousands of responses and wrote the first iteration of the Queer Design Count, where we made a lot of interesting insights about the community.

Rebecca Brooker:
I think one of the things, the differences about our survey was while… It was both qualitative and quantitative. We got some hard facts, we got some data, but we also had opportunities for people to write in their own responses about why they felt certain things or why they chose a certain answer. And some of the written testimonials are just so powerful. I think that that was one of the things that really showed us the need for this space within the community and how we had a lot of work to do if we were going to plan to change anything in the design industry, it was not a singular problem. It was not any one person’s problem. It was a structural problem that LGBTQ persons were making less than non-LGBTQ people. They were leaving the industry much faster and much younger. So they were not making it to seniority levels.

Rebecca Brooker:
And they were experiencing more bias on a daily basis than other groups out there, especially when it comes to having an intersectional identity, right? So Black queer trans people were most likely to be discriminated against, left out and having to point out design decisions that went against their existence. A really great example of this is like when you are a product designer and your team may be designing some forms and they put options on a form for male female, there’s no inclusive lens. There’s no inclusive perspective to this that would include a trans person. Now a queer person working on that team has to point out and say, “Hey, this is not inclusive towards people who identify as LGBTQ. We need to change this form.” And I think there are a lot of instances of that nature that happen prevalently on a daily basis throughout the design industry, where people get misgendered, people get mislabeled and we can preach about it as much as we want.

Rebecca Brooker:
It all ladders back up to like, we need more diverse teams to bring lived experiences and unique perspectives to the work. And that is part of why we believe LGBTQ designers have a great opportunity to become champions in the workplace and they’re not currently given that opportunity.

Maurice Cherry:
That is fantastic. I mean, I think even just the fact that this Design Count that you’re doing is, in one way building, I don’t want to say it’s building on research that others have done, but it’s like you saw what AIGA was doing in terms of their sense of saying, you’re like, “Yeah, this isn’t enough. We need to do something that’s more for our community that we’re building here.” And so you did this Queer Design Count, and I guess what are some of the lessons you learned while building this?I mean, I know you mentioned that this community came about because you discovered that other folks wanted this community too. But even in building the Count and looking at the results from it, what are some of the findings or some of the things that you just learned throughout this process?

Rebecca Brooker:
Yeah, that’s a great question. I mean, I think that one of the major things that I learned is that even within the queer community there’s discrimination. White gay men still make more money than people who identify as lesbian, right? So even within the queer community, we still have hierarchies of the patriarchy and gender wage gap and things that are prevalent outside of the LGBTQ community. They’re also happening within the LGBTQ community. So that was something that was a little bit surprising to us. But probably shouldn’t be because it exists on all levels, regardless of your identity. I think one of the other things that we found was just that people were so eager to participate in this Count because there was no other place that they could share this information. So I think this was especially true in 2021 when we did the second iteration of the Count in a pandemic world when we released it and we actually added a special section of the Count that year for COVID because we wanted to understand what the pandemic has changed about our data, right.

Rebecca Brooker:
So a great example of this is, we found that in 2021, 41% of transgender designers lost employment due to COVID-19, in comparison to 29% of CIS designers. So this is a huge gap, right? 41 versus 29. And on first glance, we didn’t know what that stat is really telling us, right. On one hand, is it telling us that trans designers got fired more than CIS designers because that could be one way to read it. The other way to read it could be, did trans designers due to the pandemic gain more autonomy in being able to work for themselves? Did they participate in quote unquote “the great resignation” and walk into this power of being able to work for themselves and make their own decisions? Maybe they did, maybe they didn’t. But this was where now we would look at some of the responses and testimonials that we got as an answer to that question to try to make a better analysis, right.

Rebecca Brooker:
And one of the things that we found is that when we look at these testimonials, people are pouring their heart out to us. It was the first time that people wrote paragraphs of what they were going through. And I think for a lot of queer people, this survey was relieving and like an outlet, almost like therapy, because they didn’t have another place to talk about getting fired from their job. They didn’t have another place to talk about losing all of their clients and having to move back in with their homophobic parents. This was kind of a space. And I think this is important and why we do this work is because we want to create a space for queer people to feel seen and heard and understood. And we want to be able to take those findings and use that as a benchmark in the industry to say, “Hey, every single year you all corporate companies are talking about supporting LGBTQ people, right?

Rebecca Brooker:
You put up all these Pride parades, you put up all these Pride flags, rainbow your logos and when we survey the people that you say you’re impacting, the stats aren’t changing, LGBTQ designers are still making less than non-LGBTQ designers. We want to be able to use this survey as a biannual post check on the industry to really understand if we’re meeting our goals of improving and bettering ourselves as a space. And like I said, I don’t think it’s anybody’s one problem to fix. But as a design industry, we have to come together to hold hands, not just with Queer Design Club, but with all these different communities and movements that are advocating for their own rights, right? Where are the Black designers, [inaudible 00:24:19] design.

Rebecca Brooker:
All of these different, if you want to call them, affinity groups, are all going after the same thing. And it’s changing the industry to be better for those who have been constantly seen as other. And we want to flip that narrative together, not just for LGBTQ people, but for people who really live at these intersections because our data and our research has showed us that people who have multiple marginalized identities are the most likely to be left out and left behind. So how can we gather together and all do this work together of changing the design industry for something that is substantial and not feel like we all have to target it in our silos. So that’s something that we recognize we need to do. We’re here to research and champion LGBTQ rights, but that is one part of someone’s identity, not everything. So we have to find ways to be intersectional. We have to find ways to continue to work together and elevate people who don’t have that voice right now, or are given that space to use their voice.

Maurice Cherry:
And I mean, I think it’s also worth just putting this in a greater context, like you’re also pulling this information together at a time where at least here in the United States, the rights of LGBTQ people are being stripped away through legislation, et cetera. So to really have this quantitative information, that’s not just… Because I think sometimes what can happen, and this certainly is the case, I think, with what I’ve done with Revision Path and talk with Black designers is that, a lot of the anecdotal evidence just gets swept under the rug as like individual experiences. And it can be hard to really put, I don’t know, I guess confirmation to what’s happening without numbers, without some concrete statistics to say, “This is happening. Here’s the study that shows that.”

Rebecca Brooker:
Exactly, exactly. And I mean, one of our goals, I think now in 2023, we’ll be going into our third year of the Queer Design Count, one of our goals is to make this an industry benchmark, like I said, biannually. So we want to do exactly what you said is align ourselves as the knowledge resource of that information and for people to know that we are here to understand research and advocate for the rights of LGBTQ people in design, because like you said, our rights are under attack federally on a high level, but also it trickles down into your every day, right? When you can’t be yourself outside in the world, how can you be yourself at work? How can you bring your best self to your job every day when your life is under attack? That’s not even just a queer thing.

Maurice Cherry:
That’s true. That’s true. And now this year, actually next month, since this’ll be airing in June, you’re going to be continuing this with hosting the Inaugural Queer Design Summit. This is happening on July 7th.

Rebecca Brooker:
Absolutely.

Maurice Cherry:
Yeah. Talk to me about that.

Rebecca Brooker:
Yeah. Well, like I said, so this is our second year doing the Count and the first year we had a great response. The second year we wanted to go a little bit bigger. So we were really thinking about, how can we get this information on a larger stage? How can we have this information reach the people who may have the ability to change it? And in my opinion, that’s recruiters, corporations, people who do the hiring, people who do the firing, all of the people who have the power to be able to change the experiences that queer people have in design. Even queer people, because you’ll be surprised that when you’re dealing with your own shit, when you’re an executive leader and you’re not out, and you’re struggling to come to terms with your own identity, that trickles down to the rest of the queer people in your company who don’t feel like they have a safe working environment.

Rebecca Brooker:
It’s all of these things that we want to be able to reach. And we decided to do the summit as a way to bring this data to a bigger stage. And we wanted to, for the first time, really hear from other LGBTQ voices, other LGBTQ designers, and have them discuss some of the statistics that we found in the report and shed their own experiences on that. So we’re going to have a few panels that are based on sections from the report. So one of the panels that we’re going to have is about trans perspective in design. We basically found that trans respondents were consistently overrepresented in facing discrimination in the workplace. So we want to be able to talk through what are some solutions we can put forward to change this in the future? So the goal of all the panels is to really talk about some of the statistics, but also just share your experience as an LGBTQ person and have that feel, seen and heard.

Rebecca Brooker:
So we’re really excited about the speakers. I’m not going to drop some names yet, although they’re probably going to be out by the time this is confirmed this goes live, but I’m super excited. And I think it’s really the first time that we’re putting on an event for the community where they can see all of themselves reflected because all of our community participated in the survey and even people that were outside of the Queer Design Club community, people who aren’t members, per se. So we’re excited to bring it to a wider audience. We’re excited to bring it to a wider stage. And part of my secondary goal of the summit is to really align the organization as a research focused and mission based organization that is doing this work, not just today, not just tomorrow, but we’re going to be doing this work for our people for a while.

Rebecca Brooker:
And we want to be able to find a like-minded organization that will help us do that work. So we’re not professional researchers. I do this because I’m passionate about our community. I’m passionate about finding out who they are. I’m passionate about making sure that we have these data points to leverage when people talk about improving conditions for LGBTQ people, but I’m not a researcher. So maybe there’s a better way we could be doing this. Maybe there is a smarter way we could be doing this. So I think as we grow the study, we want to be able to align ourselves with a research based organization that can also help us and guide us to making this study even more sound than it is right now. And I think that would be our ultimate goal is to have this study be something that’s continued, something that is super serious and ask the right questions, a lot of questions, and helps people really understand the problems that we have in the industry.

Maurice Cherry:
Well, I know that we have a lot of companies and a lot of people that work at big companies that listen to this. So my hope is that once this interview comes out, people get a chance to hear it, that you’ll start to get some interest around that because I think what you’re doing is super important from a research perspective, but also just from a general community and society perspective, not just even the design community, LGBT community as well, to be able to not only put the statistics behind the incidents and things that are happening, but to really quantify it and then keep the work going to sustain the work. So people know that this is something that is like an industry benchmark to understand what the queer experience and design is and how, I guess people in general can bring more visibility and representation is super important. So I’m excited for the summit. I’m excited to see where Queer Design Club goes in the future. I feel like you’ve really tapped into something here.

Rebecca Brooker:
Thank you. Thank you, Maurice. I just want to say thank you to you. I know you’ve been a sounding board for us over the past couple years as well, just like in running a community and this being my first time being a community leader. It takes a village, it really takes a village.

Maurice Cherry:
It really does. Yeah. Now, even aside from all this, you’re working at Ghost Note, you’re doing the Queer Design Club with the Queen Design Count, with the Queer Design Summit. You also have your own freelance practice called Planthouse Studio. Tell me about that.

Rebecca Brooker:
Yeah. As if I wasn’t already doing too much. No. I think one of my goals for myself just personally has always been to run my own design studio and I just feel like there’s a level of freedom that I get to have when people want to work with me. I am my own boss. I love to take the projects that I want to work on. Say ‘no’ to the projects that I don’t want to work on. And just generally be able to design things with no constraints of, what do other people think? So I was always a freelancer on the side of any full-time job. It started really after college because I was working at BAM and it was a nonprofit. So I was making some money, but I thought, “Okay, I could make a couple logos on the side and make a couple hundred bucks more.”

Rebecca Brooker:
And it started just doing that for some extra cash. And over the past five years, it’s really grown into just a consistent stream of people mentioning me, sharing my name, sharing my portfolio and getting people wanting to work with me. So it wasn’t until about three or four years ago now that my partner, LG and I had come together and decided we kind of wanted to formalize this business. And my partner at the time, LG was figuring out how they would plug into the business. I was doing all the design and they were handling all of the client management and it’s just grown over the years. So at the beginning of the pandemic, we saw an uptick in people wanting to work with us. And we had a really janky website at the time and nothing was super professional, but we saw this uptake in work.

Rebecca Brooker:
A friend of mine, who I was working at the agency was leaving at the time. And he said, “If you want a freelancer I’ll work with your studio.” And I said, “All right, sure.” So now we have another person working with us and I was able to give him some direction and do less more creative direct and he was producing the work. LG was managing the clients. So we started there and then more requests came and another friend of mine was like, “I’m looking for a job.” I was like, “Do you want to freelance with our studio?” She was like, “Yeah.” So then we had two designers working with us and now it’s become a full-time gig for everybody, right? So LG’s running it full-time. Our two designers are still working with us full-time and my goal has shifted to learning how to run a business and then wanting to do it for Planthouse on my own.

Rebecca Brooker:
So my short term goal is, like I said in the beginning, this is a hustle year for me, where I’m working at Ghost Note, one, to work on some of the awesome projects and the clients that they have. But two is to really also understand how to run a business. And that’s one of the things that I feel really grateful to Ghost Note for is like from the time I joined, I was very upfront about like, “Listen in five years, I’m going to be running my own agency. So I’m here to learn the business facts of what you all are doing. I admire your work. You all are about six years ahead of where I feel like I am. How can I absorb my time at this agency to really learn how to run an agency?” And at the same time, LG and our other two designers are working on client stuff in the background and I’m moonlighting and taking the knowledge I learn at Ghost Note, bringing it home and saying, “We have this process that we implemented at work. I think we should try it in the studio. It could really help.”

Rebecca Brooker:
So, I felt like I had to put in the time and learning how to run a business before jumping into running a business for the first time, right, because like, and I think that’s a thing that at times it’s tiring, at times it’s rough. But I feel like if I stay on track, hopefully in 2023, I can leave my full-time job and just pursue Planthouse if the clients keep coming and going the way they’ve been. We feel very grateful and lucky that people want to work with us. And I feel really grateful and lucky that people want to keep giving us great opportunities to grow. I think we’ve had a few contracts this year where they were bigger shoes than we were prepared to fill, but we stepped into them and I think we’ve grown into them a lot.

Rebecca Brooker:
So it’s given me a lot of confidence to say, “Okay, I’m doing Planthouse part-time right now and it’s doing really well. If I do this full-time we could be doing excellently. I just need to harness the knowledge of how to run this business full-time, because it’s not just full time by myself, right? It’s full-time with three other people as well that we’re sustaining. So I’m in my hustle year. I’m doing three jobs. However, I do feel like it’s really important right now for me to be a sponge and really learn how to do it right so that when I step into it, I can make, hopefully, a little bit less of the mistakes and go into it with some kind of knowledge.

Rebecca Brooker:
So that’s part of one of the things I love about Ghost Note is they’re very supportive of my own hustle. They’re very open and transparent about the workings of the company and how to write an extra W, how to make sure things stay on track. And I feel like I’m really learning the business angle of it alongside the art director part of it and making the fun stuff. I’m doing both things. So I’m excited for that.

Maurice Cherry:
That’s good. I mean, I think it’s good that Ghost Note is transparent in that way to let you all know this is how the business is. This is how it works. So it’s not just of course showing up and doing your job, but also you’re kind of gaining this almost secondary education in a way.

Rebecca Brooker:
Yeah. And that’s something that I think doesn’t really exist in our design industry right now is like, there’s no course to go learn how to run your own studio. There’s no course to say, how to found your own agency. It’s all about you got to fumble your way into figuring it out. And that’s what Ghost Note told me as well. They were like, “We’ve been doing this for eight years and we’re just now figuring it out.” And I’m like, “Okay, so what can I learn that you can impart that knowledge on me and I can maybe not take years to figure it out?” And I really love that about just a community culture is that resource sharing is so important because I would love to help any other person who’s thinking about founding their own business, their own agency. We don’t have the resources out there. So we need to be in community with each other more and figure that out.

Maurice Cherry:
Yeah. Now it takes a village to do all this, as you said. Who’s your village? Who have been the mentors and the peers who have really helped you get to where you are now?

Rebecca Brooker:
I have a list of them. One, I would say is one of the first people that I met in the design industry was a designer working at [inaudible 00:39:35] at the time. Their name is Kyle Richardson and they are an incredible designer and a friend of mine still and just someone who brought their authentic self to work. And me being a young, bright eyed, bushy-tailed intern, I was like, “Oh, you’re my role model. I like what you’re doing. All of your work is fire. Your personality is so dope. I want to be like you.” And it was really the first person who showed me that I could show up to work and be myself, be a little crazy, be a little funky, be funny with your coworkers. And Kyle always just gave me a sense of ease and the ability to just be you.

Rebecca Brooker:
Another one of my mentors, I would say is someone that has always helped me open doors. And this is a person named Liz, Liz Oh who used to be the head of design at Compass is now the head of design of Grammarly and Liz has always been someone who will give me an opportunity that I can grow into. And I think it’s really people like that who are in positions of power, who can see potential in you and open a door that will change your life. And Liz has done that for me a few different times. And I think that’s important to acknowledge people who are willing to take a chance on you.

Rebecca Brooker:
Another one of mine, a close friend of mine, Amélie Lamont. I love Amélie. She’s someone that has helped me navigate just the space of being a community leader and running a community and like navigating the world out there. And with someone who I really met online and we connected in real life for the first time at XO XO conference, where they invited me to be part of the POC House and I was just honored to be included in a space that like, there were so many amazing creatives and thinkers and people who were just so themselves. And I think that’s something that I’m really drawn to. I’m really drawn to people who can be unapologetically themselves, recognize that, and use that as their superpower and use that as the thing that can open doors for other people. So those are my three mentors.

Rebecca Brooker:
I can probably name a million more, but I can’t remember at the moment. But I guess something that I try to do is I try to learn a little bit from everybody. It may not be in a technical way of like, “This person taught me design,” or “this person taught me this,” but it’s more in a, what is it about you that makes you you? Is it your ability to show up and be yourself? Is it your ability to stand up for what you believe in? Is it your ability to take no shit and let people know that? I try to really learn some of these qualities from all of the people that I think are doing it right. And like I said earlier, I just want to be a sponge and learn about what I should be doing in my future what I think is right. So that’s how I approach the people that I look up to.

Maurice Cherry:
Nice. We had probably on the show… Oh, that was a while ago. I think she was episode 148 or 149, something like that. It was in the 140s. I remember that. You mentioned XOXO. Was that in 2018?

Rebecca Brooker:
It must have been 2019, the year before the pandemic. 2019. Yeah.

Maurice Cherry:
Year before. Okay.

Rebecca Brooker:
In 2019.

Maurice Cherry:
I went to XO XO in 2018 and I remember, Amélie and Kat doing the POCs [inaudible 00:43:05].

Rebecca Brooker:
Yes. Also another person that I love and is an icon and a role model for me. Kat’s a person who champions game developers of color and has been running that conference in that community for a long time. Just amazing people, amazing people that are out there, like showing up as themselves and making dope shit.

Maurice Cherry:
Yeah. She’s great. I love Kat. We kind of just talk over email, I guess maybe about a couple of weeks ago or something, because she’s about to make a big move. I’m sure it’ll probably be announced by the time this interview comes out, but she’s making big moves now because she just left Asana and is about to announce where she’s going next. So I’m excited to see.

Rebecca Brooker:
I could believe that.

Maurice Cherry:
What does success look like for you now?

Rebecca Brooker:
I think success looks like being able to feel confident in the things I want to pursue. I feel like I always have this yearning to be super secure before I make a big move, which is probably why I’m still at Ghost Note and not doing my full-time thing yet. But I think success looks like having the confidence to do that, make those decisions and live the life that I want to live, find balance between my work and my personal life and my free time and feel satisfied and nourished by the work that I am doing at work. So I think that is what success looks like for me.

Maurice Cherry:
Where do you see yourself in the next five years? I know you’ve given some sort of benchmarks for where you want Queer Design Club to go and I guess even with where you want Planthouse to go. But if you could forecast five years from now, it’s 2027, what’s Rebecca Brooker doing?

Rebecca Brooker:
Well, hopefully Rebecca Brooker is no longer the only person running Queer Design Club because then that wouldn’t be nice. But I think Rebecca Brooker will still be a fierce advocate and speaker or someone who is called upon to help champion LGBTQ rights. I want to be known for helping people show up as themselves, even helping myself show up as myself and I want to still be in the creative seat making amazing things that have impacts and that have the ability to change lives and change perceptions and make the world a tiny bit of a better place. So I hope in five years from now I’m doing that.

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

Rebecca Brooker:
So you can find me at rebeccabrooker.com. You can also find me on Twitter @Becky Brooker or on Instagram @Becca Brooker. And you can find Queer Design Club at Queer Design Club on all channels. And I’m an open book. So anybody who ever wants to reach out, feel free to email me. I would be happy to connect with anyone who wants to talk.

Maurice Cherry:
Sounds good. Well, Rebecca Brooker, I want to thank you so much for coming on the show. I had a feeling that we were going to have a really deep, wide ranging conversation. I’m so glad that we were able to touch on. I mean, just so many different things, talking about representation, entrepreneurship, building community. I feel like you’ve done so much already. You’ve already had this very prolific career and I just want to see where you go from here. I hope that people are listening really support the work that you’re doing and really can help put some real velocity behind the plans that you have, because I feel like we’re going to be talking about the work that you’re doing years and years from now. And I’m just so glad to have had you on the show to really just explain like this is who I am. This is where I came from and this is the work that I’m trying to do. So thank you so much for coming on the show. I appreciate it.

Rebecca Brooker:
Thank you for having me, Maurice. It’s been an amazing conversation. It’s been an amazing time. Thank you for creating this space so that we could continue to have these conversations with myself and other people who are doing good work.

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Rebecca Brooker

Sometimes, the conversation is so good and so wide-ranging that I can’t contain it in just one episode. For the first time in over five years, we have a two-part episode on Revision Path, and it’s with the one and only Rebecca Brooker. She is perhaps most well known as the co-founder of Queer Design Club, but Rebecca is also an art director at Ghost Note Agency and founder of her own freelance practice Planthouse Studio.

In the first part of this interview, Rebecca talked about her “year of hustle”, including her work at Ghost Note Agency and the rewards and challenges that come with that. She also talked about growing up in Trinidad, LGBT representation in the Caribbean, and moving to NYC to attend college and study design.

Tune in next week for Part 2 of our conversation!

Transcript

Full Transcript

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

Rebecca Brooker:
Hi, Maurice, I’m Rebecca. I am a queer graphic designer and art director from Trinidad and Tobago, and I’m currently living in Buenos Aires, Argentina.

Maurice Cherry:
I have been trying to get someone in South America on the show for years. You are the first Black designer in South America that I’ve had on the show, so I’m really excited about that.

Rebecca Brooker:
Yeah. Thank you. I’m excited. It’s actually kind of funny, because I feel like you don’t see that many Black designers in South America, in Argentina, at least. Maybe in some of the more Northern territories, maybe, but in Argentina, I feel like you rarely get to meet other Black designers. I’m not even from here, so even doubly so.

Maurice Cherry:
How has 2022 been going for you so far?

Rebecca Brooker:
It’s been going well for me. It’s definitely been a year of hustle. I have been grinding, working towards a few dreams, and really, just trying to figure out where I want to set myself up for the next couple years. I have a few really good gigs going on and trying to figure out, is this a hustle year and heads down and just do some work, and then next year can be a relaxing year? But 2022 has been very positive so far.

Maurice Cherry:
Are you seeing any big changes this year from last year?

Rebecca Brooker:
Yeah. I think one of the biggest changes is just my personal confidence and value, really. I feel like for the past few years and throughout the pandemic, I was really trying to figure out where I wanted to spend my time, spend my energy. Is it in my organization? Is it in my job? Is it in something else? So, I would say that the biggest shift has just been in that decision-making of what I want to do and how I’m going to move forward with the things on my plate.

Maurice Cherry:
Now, I definitely want to talk about Queer Design Club, which I think most people that are listening to this know you from, but before that, I want to ask you about your current gig. Right now, you’re the art director at Ghost Note Agency. Can you tell me about that?

Rebecca Brooker:
Yeah. So, Ghost Note is a Black-owned agency based in Washington, DC. I met them about a year ago because their creative director, Veronica Corzo-Duchardt, is actually in Queer Design Club. So, at the time I was working at a different agency, and Veronica had posted in our job postings channel and had said, “Oh, this amazing, Black-owned agency that I’m running the creative team at is looking for a senior designer to join the team.” I thought to myself, “Oh damn, that sounds like a cool opportunity.” I looked at their work and I was like, Oh, this is sick.” And so, I messaged Veronica being like, “Hey.” Veronica and I had probably had a digital coffee once before and we were acquaintances, but I messaged them just being like, “Hey, would love to learn more about Ghost Note,” and they were like, “Let’s hop in on informational with some of the team.” When I went into that first interview with them, it was just amazing, the energy in the room, the vibe, just it felt different to any of the other agencies I was working at.

Rebecca Brooker:
I had been, at the time, working at Media.Monks, which is a huge agency that was just a very different culture. So, it wasn’t until I had that first interview at Ghost Note that the potential of going to a different agency entered my mind, and I was like, “Oh wow. This is a really different vibe, it’s a lot cozier. They seem to be growing rapidly. For the first time, it’s a place that I feel like, really, you could bring your culture to.” The reason I said what I said in the beginning about Black designers being in Argentina is because when I moved to Argentina, I felt like the work environment that I was in was very homogenous. The majority of people in Argentina are white, and I wasn’t working with other… Probably just a handful of other people of color in an agency of 100s. So, I was finding it really hard to find diversity and find any semblance of culture, and along comes Ghost Note, which was just the complete opposite. They were all about the culture, which I thought was great.

Rebecca Brooker:
I did an in an initial interview with them for that role, the senior designer. Veronica said to me privately after, they said, “I think you were great, but you should be applying for an art director role. We’re going to open one up, if you’re interested.” I said, “What? I didn’t even start working and y’all going to give me a raise? Damn, okay.” So, I had a second interview and I met more of the team, I met the partners, I met the people who working there at the time, and everyone was just very chill. The day after the interview, Veronica phoned me and said, “I just want to let you know you got the job.” I was just like… This happened over three days, Maurice, it was so fast.

Maurice Cherry:
Wow.

Rebecca Brooker:
My jaw was on the floor, because I wasn’t even really thinking about leaving my job, but now I was really thinking about it, because I was like, “Oh, the opportunity is in front of me. Okay, okay.” So, that was how Ghost Note came around, and I’ve been there for the past year. They’ve gone through incredible growth themselves. The partners are three Black friends that they have been friends since childhood, they have baby pictures together.

Maurice Cherry:
Oh wow.

Rebecca Brooker:
So, they grew up together in DC and all went on to three different life paths, and then later in life reunited to start this agency. They’ve been around for almost 10 years now doing this work. So, it feels really great for the agency to be in a spot where they can really see their growth, we’re getting a lot of bigger clients. Most recently, they actually announced a strategic partnership with Godfrey Dadich Partners, which is… I don’t know if you know that agency, but they have aligned with that and entered the kyu Collective of companies, which I think really turned a new chapter for the agency, as well, just in the potential that we have to create outstanding work. So, it’s been really great to work with people that are like me and people that… Our entire creative team is queer-led, which I think is amazing, we’re majority people of color on staff. It’s just been a total 180 of what I was used to, so I’ve been really enjoying my experience there.

Maurice Cherry:
I like that you refer to it as cozy. You often don’t hear that word when people talk about their work experience.

Rebecca Brooker:
Yeah. I always stray away from using the term like, “Oh my coworkers are my family,” because I don’t like to think that way, but this is one of the first jobs that I would say where I feel really close and a real bond of friendship, more than any other place that I’ve worked, with the team that we have now. I think it’s because we all are striving towards this goal of… We want to work at Ghost Note because we believe we have a unique voice and a voice that not a lot of agencies get to have. So, I feel like we all are bonding by this experience of like, “What is the Ghost Note lens? What is the Ghost Note angle?” They’re hiring Ghost Note because we have a different perspective and we can talk about topics and things that other people can’t.

Rebecca Brooker:
I think that just brings a level of genuineness and authenticity to the people that work there. I feel like we’re trying to build a culture that’s really rooted in our humanity and not necessarily just in, can we make cool stuff? Can we get the biggest clients? We want to do that stuff, too, but it’s really more about bringing our humanness to the work.

Maurice Cherry:
Yeah. It’s a superpower, really, to be able to bring that perspective to the work.

Rebecca Brooker:
Yeah. I definitely see it. I think that we’re smart in the way that they don’t necessarily bill themselves as a social justice agency. It’s not about that at all, but it’s really about using our collective voice and this unique voice that we’ve crafted to be able to create impactful work that benefits other people. For example, one of the recent projects, actually, my first project at Ghost Note, was actually rebranding the Smithsonian’s Anacostia Community Museum in Washington, DC. I don’t know if you’ve ever been there, but ACM is actually the United States’ first community museum. It was the first one that was ever established, and it’s one of the only museums I think, if not the only, to be founded in a historically Black neighborhood of Anacostia, Washington, DC.

Maurice Cherry:
Oh wow.

Rebecca Brooker:
So, when I was first put on this project, I had never heard of ACM. You hear about all the other museums in the Smithsonian’s collection, but never ACM. It was a really unique challenge, because it’s not in Washington, DC itself. It’s not on Capitol Hill on the museum route with the rest of the Smithsonian museums. It’s out of the way, and it’s a different type of work that they’re showing, they’re always showing community-based work. So, a lot of the pieces that we got to interact with were actual historical documents from the community of Anacostia. So, the first baseball that was thrown on their community pitch, photos from families that lived there. ACM has been around and was founded by John Kinard, who had a very unique vision for the town of Anacostia. It was just such a unique project to be able to really meld all of that history and all of that deeply rooted culture of Black history, too, and work on that with a Black team.

Rebecca Brooker:
The strategist that I worked with, Georgie Arimah, who also works at Ghost Note, both of us really had to put heads down and say, “How can we really bring the story and the history and all of these years of deep-rooted community value into the work? How do we turn that into brand equity for ACM?” That felt like a really unique project that I don’t know if I would be able to do with everybody, so I really appreciated just having people who understood. Georgie, actually, at the same time, was moving to Anacostia, so it felt really personal for her. I think that it was just that Ghost Note gets unique opportunities like that because we have that unique skill, superpower, as you put it, to create impact where not every agency could.

Maurice Cherry:
Right. I think it’s also about the fact that the culture really makes the work personal to the people that are working on it in a way that it probably wouldn’t with any other type of agency, so that’s amazing. I did hear about the investment recently from Godfrey Dadich, I’ve heard about them. So, I have a, I guess it’s a funny story, I don’t know. I ran across them… How many years ago was this? This was back when I was working at Glitch, so this was back in 2019. Yeah, this was 2019. We were looking at studios because we were building this lifestyle vertical website or whatever, and I remember I had reached out to them. I reached out to a few places, like them, Pentagram, Ali, a couple of others, just to get quotes and just see what might be available. I remember they had hit me back because they were like, “Oh my God, Jabari’s chair, we’ve heard of you from Revision Path.”

Maurice Cherry:
I was like, “Okay. Yeah, yeah, yeah. That’s great.” But I’m really interested in like this quote, and they mentioned that they had recently done, I think, creative work for Abstract, which is the series on Netflix where they do-

Rebecca Brooker:
Design.

Maurice Cherry:
… it’s documentary episodes of designers. Yeah, yeah, yeah. It was so funny, because this was before the second season came out, and the person there was like, “We’re about to have the second season come out,” and she was like, “And you’ll be surprised about this, we’re featuring two Black designers this season.” I’m like-

Rebecca Brooker:
Oh wow.

Maurice Cherry:
… “Wow. That’s amazing.” Telling me? I don’t know, I thought that was a weird thing to relate to me, like I would be impressed by that. But I’m like, “Wow. You talked to two Black designers, really? That’s great.”

Rebecca Brooker:
Yeah. So, I also hadn’t really known a ton about Godfrey Dadich before the investment. I had heard their name in passing, maybe seen a few things that they produced here or there. I think Abstract is one of the more notable things that they are produced for. But that’s such a wild thing to say, I can’t believe that.

Maurice Cherry:
Yeah. So, with the agency joining the kyu Collective, has that impacted your day-to-day work in any sort of way?

Rebecca Brooker:
Not yet, I think that it’s still… So, they only made the announcement of the investment and the joining a couple months ago, I think in April, early April. So, it hasn’t affected my day-to-day yet. We actually are still, I think, figuring out how best we integrate. But Q recently, actually this week, held this internal collective conference that brought all of their agencies together, so I attended a couple sessions and got to meet a couple people from other agencies, SYPartners, ATÖLYE. It was an interesting experience. In one of the main sessions that I went to, they had over 300 people joining, so it was definitely a big work group. I think we’re still new to the Collective and trying to figure out what are some of the best ways that we could work collaboratively or side-by-side, or really partner with some of the other minds in the kyu Collective. I think that there’s a lot of great companies and probably a lot of really smart people working at those companies. So, I’m excited to see what happens, it’s definitely an unknown path right now, I would say.

Maurice Cherry:
Yeah. So, what does a regular day look like for you when work comes in? You come in on projects as the art director? Talk to me about that.

Rebecca Brooker:
I feel like this is really beneficial information because before I started as an art director, I thought I knew what an art director did, but I feel like we don’t have enough resources out there to tell people exactly what the job is about, so I think this is a great convo. But basically, my day-to-day really looks like, I’m probably on about two to three projects at the same time, it depends on how heavy those projects are. My role right now is half executional and half managerial, so I’m usually talking to clients, making decisions, but also working with the designers, our senior designers and our mid-level designers, to produce work for our campaigns. So, for example, we are, right now, working on a couple campaigns for Nike Chicago, and I am leading the art direction, so I will put together the look, the feel, talk with the client and understand, from the brief, what they’re trying to convey, what assets do we have to work with? Is it a new design system that we need to make? Is it something that we’re picking up from?

Rebecca Brooker:
I, basically, get the work to a place where it is ready and executional for some of the other designers to take it into production. So, a really great example of this is on this Nike project that we’re working on, we’re going to be producing some reels and stuff for the Nike social handle on Instagram. Part of what I’m proposing to Nike is that we’re going to create a GIPHY sticker pack on Instagram, so people can go search Nike Chicago, and they get the stickers on GIPHY and they put them on their stories or whatever. I will probably put together a deck, along with some of my other ideas, pull some references of what those stickers will look like. My job is to really sell that idea to the client before it gets produced, so that the client buys into it. I prep it for the team, we’ll probably have a kickoff and say, “Okay. The client loves this idea of the stickers. Let’s put these into production.”

Rebecca Brooker:
Maybe our senior designer, who is also an amazing illustrator, he’ll help us draw out some shapes, he’ll help us draw out some stuff, maybe we pass it to a different designer who’s going to add some typography to it. It really depends on the project, but my role is usually a little bit higher level, a hybrid of client management and coming up with the overall look and feel of the work before handing it off to some of our other team members to bring it to life.

Maurice Cherry:
What would you say is probably the most challenging part about what you do?

Rebecca Brooker:
That’s a great question. I think one of the most challenging parts is really finding new inspiration all the time. I feel like sometimes when I’m working on multiple projects at the same time, sometimes my ideas tend to blend together, so all three of those projects may end up looking similar. So, I feel like finding inspiration and ways to keep things really distinct and unique in their look and feel of each campaign or each identity is a challenge, because you constantly have to be looking at inspiration, not just on the internet, but, really, all around you and in your world, right?

Maurice Cherry:
Yeah.

Rebecca Brooker:
I’m constantly thinking about how can I take some of the things I see in my everyday, whether it’s some graffiti on the street, whether it’s an old street sign, how can I take things that I see in real life and bring them into my project, so I’m not just lost in this world of Pinterest and Arena and Behance and looking at what’s already out there. I think trying to keep your work original when you’re working at speed and scale is really difficult, sometimes. It’s easy to lean on the internet to just see what else is out there, but I feel sometimes, it could make the work all feel really homogenous.

Maurice Cherry:
Yeah.

Rebecca Brooker:
So, staying inspired, it’s always a challenge.

Maurice Cherry:
That’s so interesting you mentioned that, I was just talking about that a little bit with… At where I work now, we have a creative director, and one of the projects that we have worked on for the past few months is creating a print magazine. So, we’re creating a print magazine from scratch for the company, coming up with the name, the brand, talking to printers. I joked, “I feel like Khadijah James in the first season of Living Single trying to put flavor together,” wrangling contributors and stuff like that. It’s a quarterly magazine, so we have a little bit of breathing room in terms of going from issue to issue. But right now, our first issue came out a couple of months ago, we’re currently in design on the second issue, and we’re starting planning on the third issue.

Rebecca Brooker:
Third issue, that’s great.

Maurice Cherry:
I’ve already mapped out themes for the next six issues. So, up until issue 6, I’ve mapped out themes for that. Even looking at that, we’re looking at these covers and thinking, “Well, do we want this to tell a story?” Because even as we look at the themes itself, so far, the themes are usually around propulsion. The first cover has a jet on it, the second cover, when people see it, it has a city rising up through the clouds. So, everything that we’re doing here is not only about propulsion in some way, but also could tie into a theme of discovery or exploration, which ties into the theme of what we’re trying to do with the tool. Even as we look at that, because the company is named Orbit, so there’s a lot of space imagery and terminology and things that we can pull from, this next issue that we’re doing is all about Web3, which is a bit of a departure, just in terms of it’s a very new topic. Well, I’d say it’s a very buzzy topic.

Maurice Cherry:
I don’t know if it’s necessarily super new, but it’s a pretty buzzy topic, because it’s all wrapped up in the metaverse and Dows and cryptocurrency and blockchain and all that stuff. It can be confusing to just think, “Well, how do we depict something like that?” It’s funny you say looking at inspiration, because we just did a working session recently and we’re looking at creative inspiration and we’re like, “We see this octahedron symbol everywhere, and I want to use that in some kind of way.” I’m like, “Eh, I don’t know. I don’t think we should use that because it’s used everywhere.” It turns out that it’s actually the logo for Ethereum, which is why it’s used so many places, because the person who came up with Web3 is also the founder of Ethereum, so it’s a branding thing, for them, at least.

Maurice Cherry:
But the theme that I think we’re going to settle on, we may change this by the time it actually goes to print, is actually going to be a retrospective from the 1920s to the 2020s in the theme of the movie Metropolis. It’s going to be about the… I forget what the name of the Android is in Metropolis, it’s the Metalnmensch or something like that.

Rebecca Brooker:
Oh, I don’t know.

Maurice Cherry:
So, it’s going to be like a human, but we’re going to have… Well, we’re taking inspiration from that and we’re also taking inspiration from RoboCop, so-

Rebecca Brooker:
Wow. Very different.

Maurice Cherry:
… so it’s going to have a helmet that’s a Oculus helmet, it’s going to have a shoulder plate that’s blockchain, it’s going to have another shoulder plate that’s… So, we’re thinking the person is whomever is on the internet, because Web3 is also very user-centered, and so we’re thinking of all these different aspects of what make up Web3 coming onto a person as an Android thing. It’s interesting, because when we were trying to think of inspiration, a lot of what we saw just all looked the same like, “Oh everything’s purple and blue and there’s the Ethereum logo.” We want to do something different from that, that stands out a bit. Trying to find an inspiration is tough.

Rebecca Brooker:
It’s tough. The thing I’ve been struggling with lately is when you work at an agency sometimes, and this is maybe what I miss about working in-house sometimes, but when you work at an agency, I feel like the speed at which you have to produce ideas, sometimes it’s exhausting. Every month is a different campaign, maybe two campaigns, and you’re constantly churning out ideas. And then what happens when you can’t be creative on demand? What happens in that moment when everyone’s like, “This is your sixth campaign this year, and sorry, but this idea sucks”? You’re like, “Yeah, I’m tired and burnt out.” So, I think that’s something that we’re also just trying to, as an agency, as a world, I guess, I don’t know if this is in other agencies, as well, but I think we’re just trying to find balance sometimes, where we have some downtime to rest and recuperate and generate some new creative ideas. And then other times, we’re working really hard and producing at volume. I think it’s a balance of both things, and part of why I feel like we’re in this moment of the Great Burnout where every…

Rebecca Brooker:
Burnout is a buzzword, and everyone is burning out, everyone is over Zoom, over being on the computer eight hours a day. I think people are right now just looking for some sense of balance in their life, and I think for designers, that can be draining when you have to wake up and produce a new idea every day. So, that’s something I’ve been noodling on for the past couple of months, is just how do we continue to have jobs that require us to exert creative energy, while still being able to find a refill and recuperation for that same creative energy? Is there answer, is there a solution? I don’t know. I feel like we’re all equal [inaudible 00:28:37] capitalism.

Maurice Cherry:
Yeah. Look, it’s hard to pour from an empty cup, especially with everything else that’s going on in the world, political issues, we’ve had an ongoing global health crisis for the past two, almost three years. So many things have taken a toll just on people’s psyche that it’s tough to always try to come up with stuff, whether you’re in a highly creative role, I think, or not. But certainly with what you’re saying, as an art director, it probably is super tough to always have to pour from the well of imagination when the well is running dry.

Rebecca Brooker:
Yeah, yeah. I think that’s not just art directors. I feel like, even as a creative strategist yourself, you probably could relate to that at some level, where just idea generators, I guess, have to constantly be figuring out a way to continue generating ideas or having thoughts about these things. I think it touches everyone on some level. I don’t think it makes my job any different from a creative director’s job or a creative strategist’s job. But I think, generally, it’s a tough world out there to be creative right now, in the midst of everything.

Maurice Cherry:
Absolutely. Well, let’s switch gears here a little bit and talk more about your origin story. I know you were born in Trinidad and Tobago, tell me what it was like growing up there.

Rebecca Brooker:
Yeah. So, I was born in Trinidad, in San Fernando, to be exact. I lived in Trinidad until I was about 18, before I went to college at St. John’s University in New York. I love Trinidad, I love my home. It’s my people, I will always care for them and always support my people. But I think really early on, when I began exploring my sexuality and just my awakening reality that maybe I’m not like my friends, maybe I’m not straight and I don’t know what that means. I think something that still hurts me to this day is just that there is not a lot of LGBTQ representation in the Caribbean. There’s a culture of homophobia, and there’s a culture of very religious-based homophobia, as well, that I think really scarred me. I came out when I was 16 to my parents, and my parents sent me to talk with a nun.

Maurice Cherry:
Wow.

Rebecca Brooker:
At the time, I didn’t have the words to describe that. I guess, in 2022, we would probably describe that as conversion therapy, to some extent. But I remember having this conversation with this nun and going for a couple sessions. One of the things this nun said to me was, “You are feeling this way,” this way being gay, “Because you’re a child of divorce.” That stuck with me all my life, and it always made me feel like as much as you are Trini, this place is maybe not for you. So, it wasn’t until I left Trinidad and went to New York that I felt this ability to own that part of my identity, really, in a culture and a way that didn’t feel harmful, it didn’t feel unsafe. So, growing up in Trinidad as a queer teen was tough for me. I felt like I had to fit in a lot. I felt like I had to wear dresses and wear heels and flat iron my hair and do my nails and my makeup. It all felt like I was just doing this to be friends with my friends.

Rebecca Brooker:
I think now, years later, I don’t feel like any relationship to that part of my identity anymore, this part of myself that needs to present in a more feminine way or be more ladylike to be loved by my people. I think it’s taken me living outside of Trinidad for 10 years to really come to terms with that acceptance that this is a place that made me feel a little bit small in who I could be. So, that is always something that has stuck with me. I would love to return home one day and really find a way or find resources to change that mentality. I have a lot of friends in Trinidad who are doing work to create a space for LGBTQ people, and I want to be able to contribute to that work in the future, because I do think it’s important for people to feel safe when they’re growing up and feel like they can explore who they are and be themselves and not feel like, whether they’re religious or not, that they’re going to get judged. So, that was one of the major reasons that I wanted to leave home.

Maurice Cherry:
I think it’s really important, this point you mentioned about you had to leave in order to see the rest of the world and experience who you are outside of the confines of being in, not just, I would say, a small town, but also just a very closed-minded environment, overall.

Rebecca Brooker:
Yeah. It’s not just a Trinidad problem either, it’s really a Caribbean culture problem, I would say. I know other Caribbean countries also have large percentage of homophobia, Jamaica is rampant with homophobia. You hear it in dance hall, you hear it in the music, you hear it in all different places. It’s almost casual to be homophobic, people joke about it, right?

Maurice Cherry:
Yeah.

Rebecca Brooker:
So, I think that it’s a huge culture shift that we have to make as a society and as a people to be more accepting. It’s funny, because there are a lot of cultural ties to Trinidad that are inherently queer, it’s so funny how we’re selective in the way that we see it. I feel like there are just a lot of different spaces where it’s more okay, then it’s not okay, and then it’s okay in the way that we want you to be. So, it just feels like a culture that is accepting when it’s entertainment, but not when it’s your real life. You could go up on that stage and you could cross dress, you could sing about, you could do what you want, we’ll laugh, we’ll dance. Okay, great. You’re a great performer. But if you went on that stage and actually brought your partner, no.

Rebecca Brooker:
So, I feel like it’s very much a culture of where you have to present a certain way, you have to act a certain way, you keep your business private. That’s how you survive, and that’s tough. I don’t think any LGBTQ identifying people, anybody who feels like they can’t be who they are, should not have to live that way.

Maurice Cherry:
Wow. So much of that, as you mentioned, just reminds me of… I grew up in a small town, I grew up in Selma, Alabama. To that point that you mentioned about how queer people are celebrated when there’s a certain presentational aspect to it, in a way. I remember, in high school, we had gay men in high school and one of them was our head majorette, ironically. One was, he was, I think, in the class above me, he and his sister… Well, sorry, me and his sister were in the same class and he was a class above me, but he also wore a lot of women’s clothes to school. I can’t presume to know what their individual experiences might have been like outside of school, but I know when they were at school, they were always celebrated because of that. It almost in a way felt mocking, I don’t know, but-

Rebecca Brooker:
Mm-hmm. Yes.

Maurice Cherry:
For example, the guy who was the head majorette had his own suit made and everything that was just like the suit that the girls had. At least from what I could tell, nobody said anything, but then I wasn’t close to that person, so I don’t know what other sorts of discrimination or things they might have received. But to be in that small town and to try to express yourself in that way, I can’t imagine how just stifling and confining that can be, and you have to break out, eventually

Rebecca Brooker:
You have to, you have to. I think that was one of, like I said, one of the things that I’m so grateful for is the opportunity to break out. I have so many friends in Trinidad who do identify as LGBTQ, but don’t have, one, the privilege or, two, the resources to get out of that situation, too. I think that’s an important thing to acknowledge here, is that I feel like I got to embrace and explore that part of my identity because I was given this opportunity to leave the country, and travel the world, and find myself, and not feel unsafe with presenting the way I want to present. But there’s so many people in Trinidad who don’t have that same opportunity. I have a really dear friend of mine who I grew up with, know their family, they are super religious. For years, this person has been telling me, secretly, “I’m queer, I’m actually trans, and I want to identify this way, but I live at home and I can’t do that. I can’t dress the way I want to. When my parents go out, I try on different clothes.”

Rebecca Brooker:
It just reinforces this culture that not everybody has that opportunity, so that is part of why I feel really moved to find ways that I can contribute or ways that I can change the narrative about what queer Caribbean culture is, because it’s important that we redefine the context of what queer Caribbean culture is. It’s always been so tied to God and like, “You’re going down the wrong path and God doesn’t like that. Why do you want to change your body when God gave you this beautiful hair and this beautiful, feminine body? Why do you want to identify as a man?” It’s never come from a perspective of this is not a choice that I’m making. My identity is not a choice. I’m not choosing to wake up today and say, “I’ve decided I like girls,” or, “I’ve decided I like boys.” It’s something that you come to that discovery, it really is. It’s there all along, whether you choose to acknowledge it or not, it’s who we are, it’s something that we’re born with.

Rebecca Brooker:
So, I feel that in the Caribbean, there’s always been a sense of homophobia is equivalent with the devil is equivalent with breaking the law of God. It’s never been looked at from a perspective of this is a biological thing that is present in all living beings, to some extent.

Maurice Cherry:
Yeah.

Rebecca Brooker:
So, I feel like it’s just a huge culture shift that we still have to make. Like I said, I think that’s something that we have to accept and work on as a community, not just the queer people, but we need allies and we need people coming together to be able to advocate for those rights.

Maurice Cherry:
Let’s talk about St. John’s University. You mentioned moving away from Trinidad, going to St. John’s in New York City, and you studied graphic design there. Tell me what your time was like there, because I would imagine from the environment that you just described, going to New York City was a complete culture shock.

Rebecca Brooker:
Exactly. Yeah, it was. So, context. People are probably like, “If she’s so against religion, why did she go to a Catholic university?” Well, I can tell you a couple things about that. So, I went to Catholic school all my life, actually, from primary school to secondary school. When I was applying to universities, I had actually, coincidentally, visited St. John’s a couple years before at a conference that I was attending in the States. This wasn’t my first time in New York, either, my grandmother at the time was living in New York, so I was always traveling between Trinidad and New York to visit and was fairly familiar with the city. But when I was applying to universities, I applied to St. John’s just because it was one of the only US college campuses that I’d ever visited. I was like, “All right. I kind of know that place, let me just apply and see what happens.”

Rebecca Brooker:
The other schools I applied to were SCAD and other design schools, because I was like, “I need to go study design and I want to go do it at SCAD. I don’t know what St John’s program is about. They have a graphic design program, but whatever, that’s a throwaway option.” St John’s, coincidentally, came back with almost a full tuition scholarship. On top of that, they were like, “Oh, you’re a Catholic? We’re going to give you an extra scholarship for being Catholic.” I was like, “Damn. For the first time, it came in handy,” I was like, “Okay.” So, that was how I ended up making the decision, because while I did get into SCAD, it was four times the price, my parents were paying this out of pocket. Just the opportunity to go to St. John’s almost for free versus pay money that we definitely didn’t have to go to SCAD and possibly take out loans, it didn’t make sense in that way. So, reluctantly, I chose St. John’s, not knowing.

Rebecca Brooker:
I was like, “Okay, I’m going to have to put my best foot forward, because I don’t know what type of design program they have.” I’ve never heard anybody say, “I got a graphic design degree at St. John’s.” They’re known for law, they’re known for all different other things. So, I was a little bit skeptical, but like I said, it was a new opportunity. In Trinidad, we didn’t have a ton of tertiary education to pursue design. We had a field of art that you could study, but there wasn’t a huge design industry, and there still isn’t a huge design industry in Trinidad to have made it worth staying there. So, I knew that if I wanted to study design, I had to leave. This is sexuality aside, I was just thinking about career-wise, how was I going to pursue design? I had really even gotten into design in high school because I had a cracked version of Photoshop on my computer, and just started making posters. In high school, they asked me, “Oh, do you want to make our school yearbook?” I was like, “Yeah.” Maurice, I designed an entire yearbook in Photoshop.

Maurice Cherry:
Wow.

Rebecca Brooker:
They sent it to the printer and the printer was like, “We cannot print this file. You need to use InDesign,” and I was like, “I don’t know what that is. I’m a graphic designer, I use Photoshop.” The school ended up having to pay the printer to redesign the thing I had designed in a principle way. But I was so convinced, I was like, “This is amazing, I’m a designer. I’m going to do this for the rest of my life.” That was really where my inspiration started, just playing on Photoshop making posters, doing design tutorials from the internet, and teaching myself how to design. So, fast forward, I get into St John’s, start there. I’m honestly really surprised by the design program, I had no expectations. It was a small program, there was no more than 20 of us in my classes, but some of the professors changed just what I thought I knew about graphic design. I knew nothing about graphic design.

Rebecca Brooker:
Here I was, making my yearbook in Photoshop, and you get into your first graphic design class, and I realized, I was like, “Oh wow, I am starting from scratch. I know nothing.” That was an amazing feeling, to be able to go to school and have just the time and the ability to just play and do what you want and learn so much, different techniques, learned from other people in class who were making cool stuff. It was just an eye-opening experience for me. I feel like that was when I really fell in love with design, was when I started really learning it and learning the concepts, learning how to not just make something, but how to really bring an idea to life. To think about a concept and to then bring that to life through design blew my mind, it blew my mind in 2015 when I started school. That was my experience, St John’s was four years, and I came out of it with a ton of connections.

Rebecca Brooker:
My professors were working in the design industry in New York. We were always going to visit different studios and museums and galleries in the city. So, I felt like being in New York really helped me to make the industry connections and the network that I didn’t know I was going to have.

Maurice Cherry:
Yeah. You were there at the right time. In college, not just being a fish out of water coming from another country to the States, but then also relearning what you knew about design, what you thought you knew about design in this program. College is always touted as a time where it’s really transformative, but for you, it really sounds like it was a good starting point for you to build the career that you have now.

Rebecca Brooker:
Definitely, definitely. I think that was part of… Something that always drove me in college, was I think I knew that I didn’t have another option. My backup plan was going back to Trinidad and really figuring out how would I be a designer in Trinidad when I don’t know anything about design, I don’t have any industry contacts, I don’t even know where to begin to do my own design thing, even as a freelancer? So, I feel like it was really a transformational moment for me, where I had to push myself to be some level of successful so that I could stand on my own two feet and I could make this career that I doubted myself, I didn’t even know if I could do. I think that determination, that drive, really, is what gave me the confidence, Maurice, to just ask people anything.

Rebecca Brooker:
I feel like it comes across as outgoing, but I was always just so curious to, “Why did you do that? Why did you make that decision? How did you meet that person? How can I meet that person? What do they do? How do you know them? Is there an idea here?” So, I was just constantly hungry, and I think that hunger is really what led me to getting my first job at BAM as an intern.

Maurice Cherry:
Yeah. I see that after you graduated, you worked as a curatorial assistant at a couple of art galleries and such.

Rebecca Brooker:
Yeah. So, at the time, I had an on campus job at St. John’s in the student art gallery. I took that job because it was a unique opportunity, not just to learn about the art, but one of the early assignments that I would do was design some of the vinyl and design some of the material for an exhibition. So, that was a lot of like, “Okay, we’re going to do an exhibition, let me design the wall text, let me design the logo, let me put together the postcards, the flyers, put these around the campus.” So, I took that job because I wanted some hands-on practice of making stuff that wasn’t just for my classes. I started at the art gallery at St. John’s and I met a contact there, someone who came in once, and this guy was a friend of the curator at the time. He said, “Oh, I have an art gallery in Bushwick,” and I said, “Wow, do you need an intern?” He said, “Yeah, why not?” So, I got this internship at Outlet Gallery in Bushwick and, really, I became the curatorial assistant.

Rebecca Brooker:
It started just like, “Watch the gallery, talk about the work if someone comes in. We have a new show coming up, can you design the poster? Can you design the catalog?” So, I was getting a little bit of design experience, but I was also really, at this time, really into the art, and just learning a lot about art. I felt like there was a lot of similarities between the art world and the design world, just in the way that you present ideas on a page. So, I spent a lot of time in my senior year of college really going to a lot of galleries and really immersing myself and learning a lot about the art world. At one point, had another doubting moment where I was like, “Damn, do I want to become a curator? I don’t know,” and thought about that for a little bit. But art has always had a special place in my heart. I get a lot of inspiration looking at art and finding ways to translate that into design.

Rebecca Brooker:
I think that the two have a lot of overlap and it was something that I just really enjoyed looking at, generally. So, I did the curatorial assistant gig for a couple years, both at the St John’s gallery and the internship in Bushwick, and then I got this internship at the Brooklyn Academy of Music, which was the perfect melting of the two worlds. Now, I was working at BAM and I was actually designing the programming for some of the opera shows, some of the festivals, and the programming that they would have at their venues. That was definitely the first job that I was working on a team with, and I was starting to learn the dynamic of being a designer in the design world, and working with a creative director, working with other designers on the team. I was the intern and just learning even the process of working in a studio, they’re like, “Oh, we have all these softwares, and I’m going to assign you a ticket, and we’re going to change the status.”

Rebecca Brooker:
For the first time, I was like, “Oh my God, you don’t just want to email me the file that you need? Damn, okay.” So, that was really my first experience, as well, with formalized design in a professional sense, outside of the classroom. That was an incredible learning experience for me, just being able to work with some of the best creatives. I think BAM was a great exercise in finding ways to be creative in a design system. They have a very tight design system that they use, and it was the first time I had to learn a design system, it was the first time I had to understand how to be creative within these constraints of the same logo, the same type base, the same everything. I felt like that just unlocked a whole new world for me. So, I worked there. Unfortunately, at this time, I was starting to think about my post-student visa status, and I had to get a job that would sponsor me a work visa.

Rebecca Brooker:
So, after talking to my boss at BAM, he said, “We’re a nonprofit, I don’t think we’re going to be able to sponsor your work visa. I have a friend who runs a team at this company called Compass, and they’re hiring a lot of designers. They’re growing really fast. Why don’t I send your portfolio?” So, I said, “Sounds good, do it,” and he sent it over. The guy from Compass called me and he said, “I’d love to bring you in for an interview.” I met with them, the recruiter that I met there was actually Trini, and she was like, “Oh no, this is a great place to work.” I was like, “Okay, okay, okay. I’m going to work there.” Surprisingly, they gave me an offer. So, I worked at Compass and things were going really well. That was a huge switch, because I was at a nonprofit where budgets were tight, and then I went into this new startup tech company, beautiful building on 5th Avenue, overlooking the city. It was just a different world. I was, again, a fish out of water.

Rebecca Brooker:
I was just not sure what to do and going along with it, but it was a great paying job, it was a bunch of new contacts, and the design work was pretty cool. So, I worked at Compass for a year and they agreed to do my work visa, we got that in place and started moving. In about July of 2018, I hadn’t heard back about my work visa status. A friend of mine at Compass, actually, who we applied at the same time, she had come over to my desk and was like, “Oh, I got my acceptance of my H-1B, did you get yours?” I was like, “No, didn’t get mine at all yet.” She said, “Oh, I’m sure it’s going to come. I’m sure it’s going to come.” So, I emailed my manager, I emailed the lawyers that are handling the case, and I don’t hear back for about two weeks. They come back and they say, “Unfortunately, your application wasn’t picked in the H-1B lottery, and you have three weeks to leave the country.”

Maurice Cherry:
Whoa.

Rebecca Brooker:
I said, “Wait a minute, but usually when you get the denial, you have 60 days to leave the country. Why is it three weeks?” They said, “Oh, I’m sorry. We forgot to inform you earlier-

Maurice Cherry:
Oh God.

Rebecca Brooker:
… that your application had been denied.” So, there was all this time that was just lost between the time of the notice and the time I was notified that I could have been preparing to leave the country. By the time I got the news, they were like, “You basically have three weeks left. You have to leave by the end of August.”

Maurice Cherry:
Wow.

Rebecca Brooker:
I was like, “Oh my God.” That was my whole life turned upside down, Maurice. The next day, Compass was like, “You’re no longer employed here because now that we found out your H-1B is denied, you have to stop working.”

Maurice Cherry:
Damn.

Rebecca Brooker:
I had just signed a new lease a couple months ago with my partner and another roommate, so I was like, “I’m on the hook for at least another eight months on this lease,” just a lot of big life changes. I was like, “Okay. So, I have to go back to Trinidad. What am I going to do? I have $4,000, $5,000 saved in total. I don’t know what that’s going to get me in this next life, but we’re going to find out.” So, I left the States, I went back home to Trinidad. My parents at the time were actually on vacation in Europe. It must have been two or three weeks, maybe a month after I got back to Trinidad, my old boss at Compass called me and he said, “Hey, I want to let you know, we’re about to sign a deal with this agency in Buenos Aires. They need a designer who knows our brand to go down there and help them build a team of 15 production designers.” I was like, “Okay. So, you’re saying I should go do the job?”

Rebecca Brooker:
They were like, “Yeah. We put your name in to go do that, and they’re going to call you.” I was like, “All right.” [inaudible 00:55:14] are done, just a really lucky break and a real opportunity, where my boss from Compass, shout out Jeff Lai, he threw my name in the hat. I was still just one year working there, there were people working at the company years who could have probably done that job, but he took a chance on me, proposing me for that gig, and I ended up getting the job. So, that was the thing that moved me to Argentina at the end of 2018, was this new opportunity with Media.Monks to help them build a team of designers for Compass in Buenos Aires, and help lead that team to understand the brand.

Queer Design Summit 2022

Queer Design Summit - July 7, 2022, 10am PST

The Queer Design Club is hosting their inaugural #QDCSummit on July 7! 🌈✨ Join the queer design community online to discuss two years of rich data. The goal of the Summit is to bring the community together and use it as a breakthrough for the industry as to why events like the Summit and groups like Queer Design Club are important. Be a part of it!

Tickets are available at QueerDesign.club/Summit

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Kevin Carroll

Can you believe we’re almost a quarter of the way through 2022 already? I think now might be a perfect time for a creative tune-up, and this week’s guest is a true instigator of inspiration — Kevin Carroll. As a founder, author, and public speaker, Kevin’s words and his work have influenced hundreds of thousands of people all over the world to tap into their creativity and accomplish epic tasks.

Our conversation touches on a number of topics, including success, longevity, curiosity, and perseverance. Kevin talked about growing up in Philly, being a linguistics expert in the Air Force, his time at Nike, and talks about how you can find your own “red rubber ball.” Kevin’s words were just what I needed to hear right now, and I hope they will encourage you as well. Trust me, you’ll want to listen to this episode multiple times!

Transcript

Full Transcript

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

Kevin Carroll:
Kevin Carroll, author, speaker, instigator of inspiration. I get an opportunity to spend time with co-conspirators and storytelling, creativity, innovation, human performance, and advancing the human condition in a good and positive way. So I get a chance to do that on a regular.

Maurice Cherry:
That sounds like a dream job.

Kevin Carroll:
I don’t know if it’s necessarily, you know, it’s so funny, one of the things that I tell folks is I don’t really have a job per se. I’m kind of like Tommy from Martin Lawrence’s show. So my friends always say, what do you do, what do you do? Because like you’re always here and there and there. And so, I think I just have discovered that folks see a talent or a gift or skill that I might have that would lend itself to a project or an idea or something that they’re trying to advance.

Kevin Carroll:
I don’t really see myself as having a job in a traditional sense, a J-O-B. I really do think that I have this career portfolio, I actually was reading an article about that, why you should build a career portfolio, not a career path. And so I think I have a series of experiences. So I have more of a portfolio than a career path.

Maurice Cherry:
How has 2022 been going for you so far?

Kevin Carroll:
Surprise and delight and expect the unexpected, that’s what’s been happening so far this year already. I’ve been really blessed and count my blessings. We’ve stayed healthy this entire time. I think that’s allowed me to double down on optimism and positivity and to put out in the world some good energy. And that good energy is being reciprocated and reflected back. It’s been really wonderful some of the different projects that I’ve been invited to be a part of, find opportunities, to do a little bit of travel already.

Kevin Carroll:
So, some really fun locations. I was at the University of Oklahoma recently where I did some work with students on campus, but also student athletes on the campus there, and also in the community of Norman, Oklahoma. So that was really exciting. And then I literally just got back from an event where I spoke to 5,000 people, a live event, and that’s the first time a large group like that has been together was in DC.

Kevin Carroll:
And I was telling a friend that I got a chance to see the African American Museum, the National African American Museum of Art. I had not seen it like sitting on the, as you drive by it. Most of the buildings, if you’ve ever been in DC, Maurice, I don’t know if you spent much time there, most of the buildings are white. And here’s this building that’s this beautiful bronze brown, and it just stands out, and it feels so warm and inviting. And so, I got to see that yesterday, actually, I got there on Sunday and we were driving through and it was a sunny and it just stood out, and I was so inspired to see that.

Kevin Carroll:
That event with 5,000 people was actually in DC. So, I think that was a great sign for me to realize that wonderful things are coming this year and that’s a great source of inspiration to see a building like that and to think about all the voices and actions and impact that black and brown folks have been making, and I want to join forces with that. So that’s my goal, is to keep advancing that kind of intention that you would find in a building like that.

Maurice Cherry:
Nice. It’s definitely great to come across that sort of realization like that, especially during Black History Month.

Kevin Carroll:
Yeah. Right? It fell right on the last two days of Black History Month, so it was great timing to see that building. It wasn’t something that I was unaware of, I was paying attention to that. I also talked about the importance of being where your feet are and being present. I think that’s what a lot of folks don’t do a great job of is being present, so that’s something that’s really been helpful for me is being present.

Maurice Cherry:
I guess given that, what do you want to achieve this year? Did that kind of put like an idea in your head about what you want to do?

Kevin Carroll:
I don’t ever really have like a I want to grow my business X percent or I want to, I don’t have those kinds of metric measurable per se. My whole thing is just at the end of the year, can I reflect back and see that I advanced the human condition in a positive way, and I had in some way that really will reverberate. That’s a thing that I always look at is like, what were some of the moments, what were some of the things? And so, I just want to continue to do that.

Kevin Carroll:
A big thing for me is I’m chasing significance, not success. That’s what I’m chasing> success is attainable and you can have a measure of success at any age, quite frankly, but significance takes time, and that’s the long game, and that’s the collective measure of all the impact that you’ve had. And so, that’s what I’m pursuing. This year is just another part of that mosaic, of that journey and chase to significance.

Maurice Cherry:
You’re doing so many things, as you mentioned, at the top of the show. You’re an author, you’re a speaker, you’re an instigator of inspiration. And I’m curious, what does an average day look like for you?

Kevin Carroll:
Probably not an average day. It can vary. There’s always some structure to what I’m trying to accomplish each day, and I do like to make sure that I feel inspired at some point. I’m always looking for opportunities to connect with folks. I have a very curious spirit about me. I think a typical or average day can be captured in this quote by Albert Einstein, “I have no special talents, I’m only passionately curious.” So I like to be passionately curious each day.

Kevin Carroll:
And so, whatever that unfolds or brings my way, that’s what I’m about. So it could be doing three virtual keynotes because we can do that now. [inaudible 00:08:20] necessarily got to get on a plane, to working on a collaboration with a sports program or sports team or university, or doing some reverse mentoring with my godson, where he actually teaches me art or Legos or something, and I’m learning from him, and he’s nine years old and he’s brilliant. I enjoy doing that. I just think that every day that’s my end goal is, was I passionately curious today or not?

Maurice Cherry:
Yeah, I definitely think that the way that these past few years have been, in many ways, it’s opened up a lot of different avenues for people to try different things, to just pursue different types of work and stuff like that. I like that idea of just being curious and kind of seeing where things go. For me, at least I can’t say it for the listener maybe, but for myself, that feels super aspirational to be able to have that kind of freedom to do that. You’ve been doing it since 2004. What’s been the key to your longevity with this?

Kevin Carroll:
I think it’s relationship building. And my attitude is, if you shine, I shine, and I don’t want to be transactional with you, I want to be transformational with you. And so, that means we’re building something, we’re building something. And you’re in the business of seeing what you can get from me and you want to be transactional. We probably won’t build together. But if you’re about building a relationship and connecting on a deeper level that I can help you shine and in turn, it’s going to reflect back and maybe not right away, it could be five, 10 years from then. But that’s all good, and that’s all love, and that’s the way that I’ve looked at it.

Kevin Carroll:
So relationships have been really, really key and critical, because what I’ve discovered, and I think it’s one of those really wonderful, unexpected things, is I’ve been meeting people. When you think about all the public speaking that I’ve done, I’ve done public speaking since early 90s, I’ve been doing that. “Formally,” I’ve been doing it since 2002, but I’ve been meeting young people, meeting individuals where they are for decades.

Kevin Carroll:
Those individuals have grown up and guess who they remember put them on back in the day? Me. So now they’re in positions of influence and decision makers, and I get these notes on LinkedIn, Twitter, DMs on Instagram, hey, you might not remember me, KC, but you spoke at my school. My mom got you to sign this book. I happened to be at this conference. And now I’m with this company, this business, I’m doing this, I’ve started mine. And I thought of you when this idea came up, when this project came up, when this conference came up, and I immediately put your name for it. That’s what’s been happening for 18 years.

Kevin Carroll:
And it’s been gaining more momentum, which has been really magical when you think about it. But I didn’t plan it that way. It’s just been organic the way it’s all played out. My wife always points out, she said, “You put all those seeds out there not knowing that they would grow into oaks.”

Maurice Cherry:
Just to kind of, I guess, peel the curtain back a little bit, you asked me before we started recording, what’s your end game with this, this of course being Revision Path and this podcast. And the way that you just expressed that I think maybe ties into what I guess I could see the end goal of Revision Path being, in that there’s all these stories about black designers and developers and creatives and such that people can learn about. And to me, my hope is that this helps inform as many people as possible, we’re out here, we’re a creative force, we’re doing this work, in terms of planting those seeds as you mentioned.

Kevin Carroll:
You know what else, you’re creating a time capsule, you’re creating a time capsule that’s going to be a way finder for the next generation. So you need to realize that. I know we talked about you creating some kind of other creative effort off of this. You know exactly what I just said, I know you wrote it down.

Maurice Cherry:
I did.

Kevin Carroll:
I know you did, because look, we did our little prep call, convo before this, our warmup, and this just came to me. This is a time capsule. And imagine if you’re a young person trying to find your way and we can only envision ourselves in a position if we see ourselves there, well, they get to hear ourselves, they get to hear these voices. So you’re creating this audio time capsule. Come on, man. That’s fire. That’s fire. I’m telling you, first one’s free, Maurice, first one’s free right there. There you go. Receive that bro. Receive that.

Maurice Cherry:
Before striking out on your own and doing your own thing, I think people probably know you well from your work that you’ve done at Nike because it sounds like it was a very, very unique experience for you. Talk to me about that.

Kevin Carroll:
Yeah, you had a couple other guests on here that are Nike alums, Jeff Henderson and Kevin Bethune, those are two of my partners in crime and positivity. So they’re good brothers and we’ve done some fun projects together. My time at Nike, I always reference it in this way that Nike let me fly my freak flag. Nike let me really stretch my wings creatively and to discover things about myself that I didn’t know or that were lying dormant because of other experiences, and I didn’t get encouraged to express it. And Nike gave me permission.

Kevin Carroll:
And in doing so, unlocked a lot of my creative energy and my creative confidence. And so, I think that’s been something I’ll always be grateful for at Nike. I think I reciprocated with creating a more sense of belonging and connection there at Nike and Nike at large, at the other locations around world. And so yeah, I got an opportunity to do lots of different projects and work in lots of different areas from footwear design to special projects with Tinker Hatfield and his group to being a director of internal communications, working there.

Kevin Carroll:
So Nike really gave me an opportunity to tap into a lot of my gifts and talents, and they saw value in allowing someone to have all these experiences. And remember I said, I don’t think I have a career path, I have a career portfolio. Nike was a place that let me put more arrows in my quiver of that portfolio, if you will, of that career experiences. And so, yeah, I’ve always felt that Nike was this amazing living lab for me that I got a chance to do and try lots of different things and discover a lot of things about myself.

Maurice Cherry:
I remember listening to an interview where you were talking about how Phil Knight, who is the, I think he still is or maybe he was, the CEO of Nike, but he kind of referred to you as the mayor of Nike.

Kevin Carroll:
Yeah. Yeah. He’s retired now but he was the co-founder, CEO and chairman at the time when I was there, 97 to 2004. He caught wind of some of the creative capers I was doing on campus and the impact I was having. And so, he asked me to have a regular meeting with him monthly and to discuss with me the people and the culture and how things were going there. He kind of coined that term for me, said, I might be CEO and chairman here, but you’re the mayor here and you know this place.

Kevin Carroll:
So, I would give him information and share how people were feeling, what was going on, and being that bridge for him, being an executive, you’re not necessarily privy to that. So I was giving him that insight and visibility to how the people were feeling, what was going on, and opportunities for him to continue to further advance the culture in a positive way.

Maurice Cherry:
I want to switch gears here a little bit. As I mentioned to you before I listened to some interviews and things, you really talk a lot about how like your personal story can be a catalyst for someone else to kind of chase their dreams. So I want to dive a little bit into your personal story. Tell me about what it was like growing up in Philly.

Kevin Carroll:
Listen, Philly’s grimy. I love Philly that way. And we take a lot of pride in that with our city and everything. My childhood was challenging because of circumstances that we were navigating as kids, me and my two brothers. And so, addiction and abandonment, upheaval and uncertainty, dysfunction and disappointment were the norm because my parents were addicts and my grandparents rescued us.

Kevin Carroll:
The thing that I think my grandparents, maybe not necessarily realizing it but because of their age, we had a lot of freedom as kids to make a lot of decisions that probably shouldn’t be making when you’re a kid, but we out of necessity and just they couldn’t keep up with us that way. So, we had a lot of freedom. And so, I discovered a playground in my neighborhood first that was kind of the epicenter of our neighborhood, but it was this place where I felt I belonged first.

Kevin Carroll:
And so sports was a big thing in our neighborhood and I realized that very quickly. And so I dove head long into sports and played every sport you could imagine, whatever the season I was playing it. But it was never for trophies or first place or medals, it was always for belonging. I loved being part of a team and connecting and being a part of that.

Kevin Carroll:
That was I think an unlock for me was being part of a team and finding a place to belong. And it was a positive way for me to channel a lot of the questions I was having as a kid because of the decisions my parents made. And so, sports really was a great outlet and a great coping tool for me to manage that. And then public library was another great place, I loved learning and reading. So I went to the public library a lot.

Kevin Carroll:
And then my best friend’s mom became my mom in many ways, Ms. Lane. And so she poured into me as much wisdom as possible every day. I had a key to their house since I was nine, still have that key to their house. Ms. Lane was the cheat code, if you will, for me. She gave me all of the different ways to unlock possibilities and potential. I always say it was just two words that she would speak to me, why not. And she would always answer any of my, like Ms. Lane, Ms. Lane, I got this idea. She’d always say, well, why not? But then she’d always follow up with, don’t talk about it, be about it. Lots of talkers and very few doers, which one are you? So I learned about action And accountability from her.

Kevin Carroll:
But also someone who was unconditional in their love and just hoped for me to be successful. And Ms. Lane was the person who poured that significance idea into me, that you are going to be successful because you’ve got intellect and smarts, but I want you to chase something bigger and grander, I want you to chase significance. So that’s where that all stems from.

Kevin Carroll:
So that childhood started off difficult, but I found a way to rise above it and didn’t do it alone. I think that was one of the key things for me was when I talk about relationships earlier, that’s where I learned relationships and the importance of them. And it served me well all the way through me being on my own now for 18 years. Relationships stem all the way back to my childhood.

Maurice Cherry:
It takes a village. Like you said, you were staying with your grandparents and then you had Ms. Lane, you had your sports teams that you were a part of. So you had all of these different influences as you were growing up.

Kevin Carroll:
And these crazy people at the playground, because playgrounds, they got some colorful folks that are up there. I tell people, I’m a mosaic of many people, drug dealers, abusers, and war veterans, and ain’t quite right folks in the head folks. Just all kinds of people were there, other kids’ parents, food service workers, custodians, they all poured into me. And my brothers. I know that I’m a mosaic of many people.

Maurice Cherry:
So, after you graduated high school, you went on to college, and then after college you went into the military, you went into the air force. What was behind that decision?

Kevin Carroll:
I became a young dad. So, I didn’t even finish college, I was in my junior year, became a young father, I was 20 years old. And I came home and my grandfather said, “So what are you going to do about this?” He said, “You need to do the right thing.” And he said, “You need to not repeat history and be an absent father.” And so that was a loud message from my grandfather. And so these are his sensibilities.

Kevin Carroll:
So I made a decision to join the air force, not go back to college. I figured I could finish it while I’m in the air force, but I wanted to provide for my family. So I went in the military, my uncle was in the air force, so that’s why I chose the air force. I told people, they said, why’d you pick the air force? I said, my uncle always was smiling, so I figured he must be enjoying it. So, that’s why I picked the air force over any other branch. And joined the air force.

Kevin Carroll:
That was first time I ever been on an airplane was going to Lackland Air Force Base in San Antonio, Texas. And landed in Texas and had no idea that I would end up really enjoying the air force and learning so much about myself and discovering I had other gifts and talents that had not been discovered yet. I had a language ability in the military discovered that and ended up becoming a language translator in the military and working with a top seeker clearance and doing all this clandestine work, blah, blah, blah, blah, blah, kind of crazy stuff. So I speak a bunch of languages, and did that in the military.

Kevin Carroll:
And once again, more relationships, I’m still connected to a lot of people that I met when I was in the air force from 1980 to 1990. So 10 years I was in there, I’m still connected to a lot of those people too. So, we go back to that, what’s that through line for me is relationships and the importance of it and not being transactional with people being transformational.

Maurice Cherry:
I don’t want to gloss over the language part because I think that’s something which is super interesting because when you were in school, you had started to learn Spanish, but you dropped out, is that right?

Kevin Carroll:
Yeah, I dropped Spanish actually. It was five minutes. It was an amazing five minutes, Maurice. I thought it was a silly class, so I walked out of class, but the funny thing is I never forgot that five minutes. [Spanish 00:23:32], literally that stuck. I was a bit of a knucklehead and young, and I didn’t realize I had a gift then. And the military, they test you and it’s smart, they test you in everything just in case you have a talent that hasn’t been discovered. And lo and behold, I passed this language test in the military in basic training. And that’s how I got uncovered.

Kevin Carroll:
And so, I end up learning Serbian and Croatian Czech and German and become fluent in those and do that work in the military. But yeah, that’s how it ended up happening. But I can always reflect back to the fact that I actually always had it in me, I was just a bit of a hard head back in the day. So yeah, had I hung in there, I’d have Spanish in my repertoire. I’m sure if I put some time to it, I can learn that too.

Maurice Cherry:
I think if you know German, German’s a romantic language. I think Spanish might be not a total one to one, but I feel like you probably could pick up Spanish pretty well if you know German.

Kevin Carroll:
They’re in that family. Germanic is a little harsher than Spanish. Germans, you wouldn’t necessarily equate that like romance language, it’s a little harsh, a little strong. What I’ve discovered is once you learn a language, you are what I say language curious, if you will. So you’re just open to hearing what people are saying and how they’re using their words and what does that word mean. I use Google Translate all the time. I really am fascinated with what was that language and what was that I heard.

Kevin Carroll:
I think that’s the thing that really helps you. And a lot of folks that are American aren’t learning other languages. And I think that’s a big misstep here in the US, because you go to other countries and people are fluent in other languages because they’re just open to that, and they’re also raised that way. So I just think it’s so important. You’re not going to learn a language only taking the class twice a week for 50 minutes though. It’s not going to happen. That ain’t working.

Kevin Carroll:
Oh yeah, I took Spanish in high school. Yeah, how often did you yeah, oh, twice a week for 50 minutes, I said, how much do you remember nothing? Nothing. Yeah, because you got to be immersed in it. So I think that’s the other thing too is you have to be curious about it and want to keep learning.

Maurice Cherry:
French was my language. My mom had, French is her first language. But she also studied French and stuff in school and everything. And so I remember being a kid, she’s a retired biologist, but she had all her college level French books at home. So, I started learning French in second grade, and then basically learned it from second grade all the way up until I graduated college.

Kevin Carroll:
You were around it all the time.

Maurice Cherry:
Yeah. That’s true.

Kevin Carroll:
Practice it. See that’s the problem is that if you don’t have a way of actually exercising and using the muscle and using the words to gain confidence, that’s why people fall off from their language learning. So you had a built in tutor, you had something there, you were immersed in it, you probably had either magazines or periodicals or different things you could read in French, all that stuff that immerses you, that’s what happened in language school in the military, it’s like you are fully immersed. I can sing Roll out the Barrels in Czech and all these other things.

Kevin Carroll:
We’d get dressed in cultural clothing and different things, so you really understood what it was you were learning. So full immersion is the key. That definitely had the right kind of environment to get really fluent in that language.

Maurice Cherry:
It’s so interesting when you kind of say it that way, especially about the Spanish part, because when I got to middle school, seventh grade, I wanted to take Spanish so bad. It was the first language elective that had filled up super quickly, because I was like, I didn’t want to take French because I already knew French, and I felt it wouldn’t have been fair for me to take French when I already knew it. Everyone else was learning it and I would be like, yeah, yeah, yeah, [French 00:27:51], whatever. I would already know it. I was doing good in French, I ended up taking French, but I did want to take Spanish.

Maurice Cherry:
I can kind of understand a bit of Spanish now, but I mean, even with French, I can listen to French music, I can read French books. I can understand it. It does, like you say, knowing another language does kind of make you language curious and opens you up to just more culture I think.

Kevin Carroll:
More culture, which is never a bad thing. The world is flat now, we have access to everything from everywhere. You do yourself at a disservice if you’re not curious around these opportunities and things to broaden your viewpoint and outlook on everything. I’m so glad that you have languages in your life. Maybe that’ll be the takeaway from our conversation is get some language in your life. Foreign language, not just English language, foreign language.

Maurice Cherry:
You had 10 years in the air force. After you left there, what was your next step? What were you thinking about doing?

Kevin Carroll:
I got my degree while I was in the service. Got a certification as an athletic trainer, I was actually working some NFL summer training camps when I was in the military, did armed forces sports program. I was actually the only certified athletic trainer in any branch of the service, so I got a chance to travel in support of armed forces of sports program around the world while I was still in the service. So I decided I was going to do athletic training when I got out of the service.

Kevin Carroll:
So I left after 10 years, moved back to Philadelphia, actually was a single dad then, so raising my boys. And started working in high school as an athletic trainer and a health teacher. Then I got a job at college level as an athletic trainer. And then I ended up in the NBA as only the first black trainer in the history of the NBA for the Philadelphia 76ers, and the third in the history of the NBA. In 1995. And did that for two years.

Kevin Carroll:
That was the springboard. And my languages were the springboard to me actually getting noticed by Nike. So when I was with the 76ers, I actually got encouraged to use Serbian in the middle of a game to insult a player from the former Yugoslavia, [inaudible 00:30:19]. My coach told me to start saying something about his family when he’d run by because he wouldn’t expect it from our bench and distract him a little bit to save a time out. Literally that’s what my coach asked me to do.

Kevin Carroll:
So I start cussing at this dude every time he runs by and he’s seven feet tall. So I’m mumbling, whispering stuff every time he goes by our bench, and he can’t figure out where it’s coming from. So when he turns in the middle of the game and says, who’s insulting my family in Serbian over here, and the coach points at me goes that little guy right there. And Vlad is like, there’s no way. And I [Serbian 00:30:54], and he’s like what? And after the game, he came and approached me, and you’re going to love this because you’re based in Atlanta, he asked me to join the Yugoslavian National Basketball team for the 96 Olympic games in Atlanta.

Maurice Cherry:
Wow.

Kevin Carroll:
And so, I joined them as the sports medicine liaison and their translator.

Maurice Cherry:
Wow.

Kevin Carroll:
Black dude from Philly working with the Yugoslavian national basketball team. I got this crazy old school Polaroid picture of all of us. I’m the only raisin in the milk, I’m the only raisin in the milk. So it’s this really great candid picture of all us from a Polaroid from that moment when we were doing the pre-Olympic tour. That’s how folks at Nike actually found out about me.

Maurice Cherry:
Wow. Languages really did unlock something for you. I mean, of course you kind of had the interest in sports, so, being an athletic trainer I’m sure it kind of was almost like a fulfillment of a wish that you kind of had as a kid, I would imagine.

Kevin Carroll:
Well, it’s so funny, I thought I was going to be in the NBA as all kids play sports, I’m going to be in the league one day, as a player I’m thinking. I didn’t think that my intellect and my ability to learn and then the understanding of games and then learning the science behind injuries and all that would actually propel me to that position.

Kevin Carroll:
So when I actually got to the NBA, I paused and really thought about like, whoa, I never thought it would be like this, but I made it to the league. How about that? And then of course, them haters from back in the day that told me it wasn’t going to happen, as soon as I got that gig, guess who was calling for tickets, Maurice? Yo Kev, hook us up with some tickets. Nah, remember that thing you said back in the day. I remember. I kept the receipts. No tickets for you, no tickets for you, no tickets for you. So yes. But I ended up getting to the NBA, which was a roundabout crazy way, unexpected way, but yeah, made it to the league.

Maurice Cherry:
Wow, man. Then like you said, that sort of opened you up to end up doing work for Nike and you started your own business. You’ve lived like four lives. With all these different careers and the way that they’ve all intersected, that’s fascinating.

Kevin Carroll:
It doesn’t make sense now when I say that it’s not a path, it’s a portfolio.

Maurice Cherry:
When did you decide to start writing?

Kevin Carroll:
So, Ms. Lane, my best friend’s mom who’s like my mom, she was the one who kept bugging me. When I got to Nike, she kept saying, when are you going to write a book? When are you going to write a book? And I would always push back, Ms. Lane, [inaudible 00:33:37] for? And she was persistent. I want to say for at least five years, she kept bugging me, bugging me, bugging me about it.

Kevin Carroll:
And then finally I said, “Ms. Lane, who’s going to read it?” And she said, “Well, there’s another you out there that needs to know it’s possible. That’s who you should write it for.” Bet. That was the moment I went, okay, bet, I’ll do it. But then I went, I don’t want it to be like a regular book so I’m going to use all this creative energy I’ve learned at Nike and all these things, I’m going to create this proposal that’s going to be so amazing that they’re just going to clamor for this book.

Kevin Carroll:
And I put together this proposal that was unique and different, crickets. Nobody wanted do it. Rejection. In fact, one publisher said it was over-designed and too creative. And actually told me to dumb down my idea, and maybe they’ll consider doing my book. And then I made a decision I’m going to self-publish it.

Kevin Carroll:
So I started the process of self-publishing it in 2003. We got it done by 2004. And it took off, we sold 11,000 copies in nine months. I didn’t realize that was determined to be a successful book because in the industry, if you sell more than 8,000, which is basically getting beyond your friends and family, that’s a successful book. We had done that with just word of mouth, no back table sales. I wasn’t pitching it on stage or anything.

Kevin Carroll:
And someone at ESPN happened to get a copy of my book and they were starting a books division. And I got a call out of the blue from ESPN, they wanted to sign me to a book deal. And I was still at Nike when all that happened. And so, I signed a book deal with ESPN and Disney while I’m at Nike, and that really starts this great opportunity to write more books and everything.

Kevin Carroll:
But Ms. Lane was the person behind the decision to write a book, well, the indecision, but lovingly shoved me towards my destiny kind of moment and stuff. But I’d always loved books. The public library was always a really special place for me as a kid, so I’d always loved books. And I’m always surrounded by books. But I never envisioned myself being an author. That was never anything I imagined or thought of even in my quiet time. Now that I’ve done four books, I’m quite proud of them.

Maurice Cherry:
I love that you self-published first, and then the success from that is what sort of ended up having publishers kind of coming to you for are doing more books. I love that part.

Kevin Carroll:
Yeah. And I think that sometimes you have to know what you’re writing it for, what’s the end game, let’s go back to that, right? What’s the end game. And when she basically said, well, there’s another you out there that needs to know it’s possible, oh, okay, bet, I’m going to do it then.

Kevin Carroll:
So until you kind of have that in mind who you are doing it for, and then we just talked about this time capsule, I know for you you can see someone opening up this time capsule, if you will, figuratively and literally, with all of these gifts and they’re unearthing these voices and these stories. That’s the spark for you then, that’s catalytic. And so, she was that catalyst for me to share a story. Then I made kind of that like, well, I’m not going to do a regular book. Having that attitude.

Kevin Carroll:
That decision actually was so interesting with the book it won over 23 design awards, my book did. Working with a great design team and then working with a great print team that did the self-published piece, and ESPN didn’t change anything in the design when they signed me to the book deal, they just put their logo on it and that was it. And so, that book’s been in print with them since 2005 and still in print, and I think there’s over 400,000 in print now.

Maurice Cherry:
Katalytic with a K.

Kevin Carroll:
Yes. Yes.

Maurice Cherry:
Now the metaphor of the red rubber ball comes up a lot in your books. Of course people can sort of check out the books and know what that’s about because you literally have one book called what is your red rubber ball. How would you suggest that listeners out there find their own red rubber ball?

Kevin Carroll:
So, it’s a metaphor, the red rubber ball, it’s literal for me because of sports and play, and the playground being the first place that I felt a sense of belonging and connection. But for most people, it’s more about the metaphor. What are you chasing? What gets you out of bed in the morning? What inspires you to go after it? And so, I think that’s a fundamental question. You need to know what inspires you to get out of bed every single morning. You have to have something.

Kevin Carroll:
And that became even more evident during this pandemic, because this global traumatic event broke a lot of people who didn’t have that clarity of purpose and passion and intention, and they felt lost. It derailed a lot of people. It broke a lot of people. And then there were some people who had this discovery moment, and they doubled down on the thing that they cared about, and they learned more during this pause.

Kevin Carroll:
And so I just think that the red rubber ball is about what are you chasing. What inspires you to get out of bed in the morning and that you want to chase it every single day? And then if you can be blessed and fortunate enough to find a way to blur your passion and your play, that’s great. Maybe you don’t necessarily, your work isn’t your play, but you can always know that this is something I’m chasing, this is something that inspires me and I want to keep that close. That’s the red rubber ball.

Maurice Cherry:
When you look back at your career and all of your life experiences that you’ve had, is this how you imagined yourself as a kid?

Kevin Carroll:
Never, never. I never imagined myself like this, honestly. When I first went to college, after high school, when I went to college, here was my job career idea. I was going to be in public relations in a bank. How random is that, dude? How random is that? But Maurice, this is how this got in my head. So, when I would ride the trolley, the trains in Philly and out on the main line, I would always see these men just dress sharp with briefcase. And so, I envisioned in my head, oh, they must work in a bank because I always see people dressed nice going in the bank. So, maybe they’re in there doing, I don’t know, public relations. I don’t know where I got that idea of public relations. So I said, I want to do that.

Kevin Carroll:
So when I went to college and people would ask me, so, what do you hope to accomplish? Oh, I want to work in public relations in a bank. I would spit that so fast, public relations in a bank. And people would always look at me curiously like, well, that’s very clear what you want to do. I was about them fits. I loved how cool they looked and clean and [inaudible 00:41:04], briefcase. And I obviously was interested in stories, public relations. But I didn’t have the word storytelling. And so, that’s what I thought I was going to do.

Kevin Carroll:
There’s no way in my wildest, wildest, wildest dreams, could I have ever imagined doing what I’m doing right now. Zero chance. The NBA thing was probably the only thing I might have spoke out and got laughed, basically just laughed at. And that squashed when I was a kid and my attitude was I’ll show you, you watch, I’ll show you. And then I end up in the NBA. That might be the only thing that I had an inkling of an idea. But of course, no one believed that would happen. But other than that, there’s zero chance I imagined what I’m doing right now, zero chance.

Kevin Carroll:
I just knew that I needed to be around a ball, so sports and play. Books, around education and enlightenment and just raising your game and elevating your game to learn more of the curiosity piece. And betterment. So people bettered me, and so, how can I better others? And so, those are my three Bs that I look that, the ball, books and betterment. And that’s kind of how I’ve always been about. I recently got that clarity, but those are three things that have been consistently in my life and a constant for me.

Maurice Cherry:
What gives you the purpose now to keep doing the work that you do?

Kevin Carroll:
There’s another one out there that needs to know it’s possible. Ms. Lane. So I made a promise to her before she passed away, it’s been eight years now, and I told her, I’m going to be the next you, Ms. Lane. I’m going to be that encourager for the next generation. I’m going to use technology and all these things, I’m going to have greater reach and impact, but I’m going to be the next you, and I’m going to remember what you said, there’s another you out there that needs to know what’s possible.

Kevin Carroll:
So that’s what gives me the passion to do this each and every day, that there’s someone that needs to hear from me, see a project I’m working on, maybe collide with somebody that I’ve already impacted, something like that. But I know there’s another one out there. So that’s what I do the work for on behalf of them.

Maurice Cherry:
Now, you talked earlier about significance versus success. I’m curious, what does success look like for you now?

Kevin Carroll:
It’s happening. I’m doing it and I’m proof that you can find success. Your circumstances don’t have to dictate your destiny, you can rise above that. Got to have that passion, purpose, and intention, and that clarity around what it is that you want to chase. So, that’s success, I have that. Significance is what I’m chasing. So I can point to, like you said, I’ve had four or five different lives, they’ve all been successful. Easy to point to that.

Kevin Carroll:
But significance, I haven’t reached that yet. I haven’t gotten to that point where I’ve got this really amazing platform that I’m impacting lots of people on a regular basis. I’m doing it kind of in piecemeal now. I’m hoping, I mean, speak it into existence, I want to have a TV show. I want it to be a Saturday morning show, where I’m inspiring young people, and they’re seeing themselves in me. But not to be the host or anything, but seeing all these journeys and all these experiences that I’ve had, and know that it’s possible for them.

Kevin Carroll:
And so, how can I introduce them to all these different careers and show them this wonderful multicultural expertise that’s out there so that they can see themselves in these roles that maybe they quietly imagine themselves doing, but not speaking them into existing or letting anybody know that they really want to do that, because they’ve not seen themselves in that role. So how can I be that unlock? How can I be that way finder? How can I be the plug for folks? How can I be a cheat code? That’s what I want to do.

Kevin Carroll:
So, that would be the end game for me, is this programming of some sort, traditional, Saturday morning or on a digital platform, but have the reach an impact so that I can be that Ms. Lane for the next generation, that CEO, that chief encouragement officer.

Maurice Cherry:
I can see a Netflix series in your near future. I totally can see it.

Kevin Carroll:
That’s what’s up. See. That’s what’s up. Right? Your lips God’s ears. Let’s go. Let’s go. Let’s do this, Maurice. You’d be one of the people on the show, I’d be talking about you. We’re now interviewing Maurice Cherry and how he created a time capsule of black and brown voices to encourage people to go after it. See, there it is, it’s already happening. Episode five, limited series. Or it might be like season nine.

Maurice Cherry:
You dropped already so many pearls of wisdom in this conversation. It almost feels a bit selfish to ask this, but what advice would you give somebody that wants to sort of chart the same kind of I guess path, to call it that, how can someone follow in your footsteps? How can someone be like you?

Kevin Carroll:
Do you. Be the best you think is the advice that I’d love to give folks. I’ll go back to the original thing I brought up. I have no special talents, I’m only passionately curious. And I think curiosity for the win, FTW. Curiosity, that’s going to unlock, that’s going to help you stay in beta as a human being, always updating, always improving. I say this all the time, we’re so quick to update those apps on our devices and our computers, but what about ourselves?

Kevin Carroll:
We’re the greatest app ever created, Maurice. There is no app greater than us. We’re so quick to update those apps on the devices, update yourself. That starts with curiosity, that starts with wanting to raise your game. And that’s going to unlock all kinds of possibilities and potential because you stay in beta, you’re always in this mindset of improving, of getting better, of leveling up. And that’s the key. And so, that would be my advice, that would be the thing that I think would really make a difference for someone, to chart their own path to significance, and to have a career portfolio of lots of amazing experiences. And to go beyond just a path.

Kevin Carroll:
We go into a super highway, that’s what we want, super highway of experiences. I think it’s available for everyone and it doesn’t, I’m proof, circumstances don’t have to dictate your destiny. I’ve seen it all over the world, I’ve seen people do a lot with very little, we’re resourceful and resilient well beyond our circumstances, but we got to surround ourselves with the right other mindset and people who believe in the same things. Haters are your motivators, they’re going to be out there and they’re real.

Kevin Carroll:
But find people who are like-minded and about the same things and keep them close. Keep those people close because they’re going to be the ones that help you when you’re really struggling. It’s not a clean, straight path. It twists and turns and challenges you. I always say this too, Maurice, doubt is success testing you. When doubt appears, when doubt comes into your mind, that self-talk that you’re not good enough, this isn’t going to be available, this is never going to happen for you, are you ready to dance with doubt? Are you ready to fight the good fight on behalf of that hope, that dream, that aspiration that you have? Then you ready to battle, then you ready to dance.

Kevin Carroll:
And that’s the key. Are you willing to fight for this when it’s not going to be easy, when there are challenging times? That’s the key, because that’s going to unlock things that you never thought were going to be possible.

Kevin Carroll:
One of the things that’s clear, my journey, expect the unexpected, because there’s a lot of unexpected stuff that’s happened. It continues to happen in my life, and just expect that, and respect it.

Maurice Cherry:
Well, just to kind of wrap things up here, Kevin, I mean, again, you’ve given so much in this interview, my God, where can people find out more about you and about your work and everything online?

Kevin Carroll:
Just @ me, @ me, @KCkatalyst with a K, that’s easy. K-A-T-A-L-Y-S-T. Yep. So KCkatalyst. @ me. You’ll find you can find me on all my socials, is that, and it’s easy to find me linked in that way. You can find out more about me that way. And if I can be of service to the next gen especially or the young at heart, and folks that are just trying to advance something, I’m happy to do it.

Maurice Cherry:
Sounds good. Man, Kevin Carroll, thank you so, so much for coming on the show. I had an idea I think how the conversation went, because as I mentioned to you before, I’ve been listening to your interviews all day prepping for this, but I mean, the unexpected twists and turns that are just a part of your stor, I think what anyone will take away from this is that you are someone that embodies curiosity and really just a passion for learning that is definitely taking you to where you are now. The fact that you’re also still paying it forward to so many people is astonishing.

Maurice Cherry:
I see that Netflix series in your future. It may not be Netflix, maybe it’s Hulu. I mean, there’s like a dozen streaming services or something now. But I see it happening because this kind if message, it’s an important message, but I think especially right now, it’s so important because of what’s happened over the past few years. I think a lot of people have just kind of felt stuck, and this period of time has caused them to think about, well, what’s the next thing going to be. They need that catalyst, they need the KC Katalyst, that’s what they need.

Kevin Carroll:
My buddy would call me the hope peddler, he said, you out there peddling that hope. I’m like, that’s right, I got what you want, I got what you need. Come on. Let’s go. Hope will not be canceled, my man, hope will not be canceled as long as I’m out here.

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

Kevin Carroll:
My honor and pleasure, man. Time capsule, I’m just going to leave you with that, Maurice Cherry. Time capsule. This is what your program is going to become, there you go.