Treavor Wagoner

Summer is here, and with the start of a new month, I’m bringing you my conversation with Treavor Wagoner, senior product designer, author, and quite the avid traveler! We spoke just as Treavor wrapped up his latest trip and right before the launch of the ebook version of his latest book, “So Much Trouble”.

Treavor talked about what drew him to working at Redfin, and from there he spoke about life growing up in a small Texas town. Treavor also went into his college days at University of North Texas, and shared how his love of writing drew him to teaching himself HTML and CSS. We also touched on a number of different topics after that, including how he’s unlearning harmful habits and how his non-linear career path has allowed him to indulge in a lot of his personal passions. According to Treavor, being Black and queer in tech is hard, but navigating it is possible — keep going!

Transcript

Full Transcript

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

Treavor Wagoner:
Hi, my name is Treavor Wagoner. My pronouns are he/him, and I am a system designer by day, and then a seeker, traveler by the rest of my life.

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

Treavor Wagoner:
I would say it’s been going pretty well. I moved back to Austin to kind of start going after my dreams. It’s been going well so far. Well, it’s been kind of going well so far. I just adopted a dog and so it’s a little bit of a harrowing experience.

Maurice Cherry:
Oh, nice. What kind of dog?

Treavor Wagoner:
So he’s a mutt, but we just got back his DNA results and he is German shepherd, Australian cattle dog, Shih Tzu, and a small poodle mix.

Maurice Cherry:
That is quite a mix.

Treavor Wagoner:
Yeah, a lot of energy.

Maurice Cherry:
I can imagine. Yeah. Aside from the new dog, do you have any kind of plans for the summer I saw on Twitter, you mentioned that you’re touring US national parks. Is that still going on?

Treavor Wagoner:
No, actually, I did that last year, so that kind of ties into what I’m back in Austin for. But last year I did a seven month road trip around the west and where I was seeing national parks, as well as seeing friends who hadn’t seen in years because of the pandemic. And then also kind of keeping an eye out for land to buy or a house to buy or whatnot because Texas prices have gone up so wildly, so it’s been kind of difficult to find places to live. But I moved back to Austin to kind of reassess, save money, just prepare for the next five years of my life. But as far as this summer, no big plans. I think it’s just beat out the heat here in Texas, train my dog, take care of my dog and hang out with my friends who live here while I can.

Maurice Cherry:
Nice. Now you were there for South By this year. This was sort of the first year back, I think, after two years, roughly of sort of remote South by Southwest. Did you notice like a big change in the city with South By coming back?

Treavor Wagoner:
Typically, before or BC, before COVID, South By would shut down the whole city and all the local residents would leave or just stay in the house until South by went away. But this year, it was very quiet. It was a slow ease back into city shutdown. Typically, when South By is going on, you can’t go downtown, can’t find a parking space to save your life. But I went down to downtown once or twice and it was like any other day, to be honest. No streets were shut down as far as I saw. So yeah. I mean, I didn’t really participate in South By, but just because I didn’t want to deal with crowds and COVID and things like that.

Maurice Cherry:
And you live there, so what’s the draw?

Treavor Wagoner:
Exactly. But the thing about South By which a lot of people don’t really realize is that you have South By film, music and all the other treks associated with South By, but there’s also a lot of free shows or peripheral shows that are happening that you can go to, parties and things like that. Restaurants and local vendors are doing cool things for all the traffic, all the South By people coming into town. So yeah, I mean, that stuff is fun, but like I said, dealing with traffic and parking, all that stuff kind of is a drain sometimes.

Maurice Cherry:
So currently I see you’re working as a senior product designer at Redfin. Tell me about that. What drew you to the company?

Treavor Wagoner:
Actually, I didn’t see it for Redfin initially. So I was the former head of design. Colin Gregson reached out to me on LinkedIn and he was like, “We’re trying to start up the design system at Redfin and we need someone like you.” I guess he had heard about what I did with Indeed. And he wanted to kind of do the same with Redfin, but at the time I wasn’t really looking for a job. I wasn’t working at the time. I was actually taking a break. I was on another sabbatical. I had just left a company where I had experienced racial discrimination and was taking some time to heal from all of that.

Treavor Wagoner:
And I let him know. I was like, “Hey, I’m not feeling it right now. I’m not feeling it right now. I’m healing from that. I’m dealing with COVID.” I mean, I didn’t catch COVID, but the pandemic was fresh and new. This was like March 2020.

Maurice Cherry:
Oh, wow.

Treavor Wagoner:
Yeah. So I was like, “Uh-uh (negative), I’m not.” It was at a time where I was once again, wondering if I wanted to stick with the tech industry or just, I don’t know, do something else, but I’m a completist and obviously I decided to stick with it and he kept reaching out a couple of times to see how I was doing, where I was at. I think that the next time that he reached out was around June 2020, and of course around that time, it was not a good time at all because of protests and police murders and things like that. Which again, just kind of reopened the bullshit that I had experienced. And I was just very frustrated and angry and jaded and bitter and old.

Treavor Wagoner:
I think it was around December is when I told him, “Hey, I feel that I can jump back in and actually provide or do what I’m here to do when it comes to systems design and really help you out.” So we began interviewing and all that stuff, and it was probably the best interviewing experience that I’ve ever had hands down. They really made me feel comfortable, and in the past, what I’ve experienced with interviewing as a black person is that people don’t really see it for you, or they don’t think that you actually have the expertise that you do have. And with Redfin, I just felt like they allowed me to present my work and the stuff that I consider to be my craft, the things that I study, things that I love to do, which is signing a system and they heard me out, and they loved it. And they were like, “Yeah, you’re the on.” And then they offered me a deal. And I was like, “Yeah.”

Treavor Wagoner:
The story of trauma doesn’t stop there. In Texas, we had the winter storm maybe a week before I was supposed to start.

Maurice Cherry:
Oh, with the power grid and all that stuff, right?

Treavor Wagoner:
Yeah. It was very bad. I was one of the unlucky few who did not have power or running water the whole time, and we’re talking single digits. Yeah. It was traumatizing. The whole time I was thinking, “Am I going to survive?” I’m checking in with friends and they’re telling me, I’m not going to say it here, but it’s pretty traumatic stuff that they experienced. We’re talking death and things like that. And I, like a crazy person who has experienced a lot of trauma in his life, I was like, “You know what? Sure, I can start a job following all that.” So I started the next week and I did it with a smile on my face, but definitely it was a mental wear down for me eventually.

Maurice Cherry:
You know, I think we’re going to look back in the history books and just see how much repeated trauma and shit black people had to put up with that summer of 2020, because I got laid off right around that time, in May, around Memorial day. And I remember I didn’t really feel like going back and trying to jump into finding another job. I had just been at this place for two and a half years and I sort of wanted to take a break, but I felt extremely guilty about taking a break at a time when people were out protesting in the streets for such a worthy cause. And I’m like, I really need this rest, though. I don’t know what I’m going to have another time in my professional career to actually be okay with staying still for a few months because we got severance and all that sort of stuff.

Maurice Cherry:
And what ended up happening, and I think a lot of black folks, again, during this time will mention this is that now you have this influx of companies that are not only pledging to do better in the face of all of this, but now all of a sudden I got work. I’m getting bombarded with offers and things to do and talking to companies internally about ways that they can change their DEI and all this sort of stuff. But then also being said, this is such a watershed moment, and do you think that this will continue? And I’m like, no, but also it’s not really up to me to do that because you, as the white people in power, it’s on y’all to continue this. It’s not on us. It’s not on the aggrieved to try to fix this. It’s on y’all. And of course now two years later, pretty much all of those promises have gone up in smoke.

Treavor Wagoner:
Yeah, I think I would say with Redfin, you asked me about Redfin. I would say that I’ve really seen them try. Not trying to be the spokesperson for Redfin, because I don’t think I could do a good job at it, but I’m really impressed with how they’ve been leaders in the real estate industry of trying to do the right thing for not only black people, but marginalized individuals.

Treavor Wagoner:
They’ve removed crime stats. Because our researchers are amazing, they’ve removed crime stats from house listings or property listings because they found that the areas that see a lot of “crime” are over policed and are predominantly black or brown, it’s kind of skewed data that they’re getting. So why have that on there? It’s not clean data, it’s not representative of the actual neighborhood, so let’s remove that.

Treavor Wagoner:
And I think they’ve kind of put the pressure on other real estate companies to do the same as well. So that really impressed me. Not only have you cleaned up house, clean up your own house, but you’re also encouraging other people to clean up their houses too. I thought that was really great.

Maurice Cherry:
And I should mention, this whole conversation is not to bash your employer. So I don’ want them to think that we’re going in on Redfin or anything.

Treavor Wagoner:
Oh, no.

Maurice Cherry:
No, but I think it’s just worth mentioning that during that time in particular, there were so many friends of mine I know that were finally getting more speaking gigs, getting more design gigs, more companies were hitting them up. They were getting more job offers and it’s kind of bittersweet because yeah, it’s great that you see what I’m able to offer, but this is what it had to take for that to happen? And for it to not even be a sustained thing, it’s just sort of this one spike, and then that’s that. It’s crazy.

Treavor Wagoner:
Yeah. It’s interesting because it’s like, finally. For me, someone who’s been in the industry for almost 15+ years, who has been around a lot of designers who get awards and things like that, or whatever or just get a lot of recognition; it felt good to finally be recognized in some way, but it was also bittersweet because I’ve been here, I’ve been doing the dang thing. I’ve been doing a great job at it, and in a sense, it’s like you’re not really recognizing me, the work. You’re recognizing me, the black designer. I’m more than that. I do more than that.

Maurice Cherry:
Yeah. Or if anything, they’re kind of trying to maybe wallpaper over some corporate guilt.

Treavor Wagoner:
Yeah, exactly.

Maurice Cherry:
Well, not to dwell too much on work or anything, but I’m curious what’s a typical day like for you at Redfin? What’s your day-to-day look like?

Treavor Wagoner:
So my title is product designer, but our design system team is very small. It’s just mainly me and my co-lead, who is a designer as well. So we don’t have a direct manager. We don’t have a product manager in our “pod.” We work with an engineering team, but they’re a separate team. They’re not actually a part of our team, but we work very closely together all the time. So my day-to-day is looking at roadmaps and kind of filling in for the product manager role. It’s also doing some design tasks as well, so designing components, researching systems, checking in with my co-lead to make sure that we’re on track to meet our goals for our MVP of the design system and things like that.

Treavor Wagoner:
Sometimes we get questions from our design system customers, which are designers and engineers from the company. If I know the answer, which most of the time I don’t, I’ll chime in and kind of help out wherever I can. So doing support, thinking about educating, how we’re going to educate our customers about the new system that we’re working on, checking in with our stakeholders as we’re building the design system, to make sure that we’re in alignment and we’re doing fulfilling business needs as well as our customer needs. And then also making sure our partners we work with to build the system are happy and aligned with us as well. It’s a lot of engagement. It’s a lot of communication, which for me as an introvert can be a little draining sometimes. But I would say that I have a pretty good self care regimen. I could do better, but I try my best.

Maurice Cherry:
Yeah. I think especially throughout the pandemic, we’re all just trying to hold on. Especially with all these other things that are happening out in the world that are not pandemic related that are still compounding stress. I don’t want to specifically give name to any tragedies, but for folks that are listening, they know what’s going on right now in this time in the world. It’s heavy, it’s heavy.

Treavor Wagoner:
It’s like a landmine. You’re just walking through this really beautiful field and you come across landmines here and there. Like you mentioned, not to name any tragedies that have happened, but there’s so many, so take your pick. But each one of those, it affects me. It affects me in some way. I’m an empath, so I see people hurting and I want to do something. I want to take the hurt away, but I can’t do anything about it. Yeah. I feel like the closest I can get is donating money, but even that feels like it’s not enough.

Maurice Cherry:
Let’s switch gears here and learn more about you and your origin story. Like you mentioned, you’re in Austin, Texas right now. Is that where you grew up?

Treavor Wagoner:
I did not grow up in Austin. Austin was always this cool city, but I grew up near Waco, Texas. Which, if you’re not familiar with Waco for some reason, it is in the center of Texas, central Texas. I grew up in a very small town, maybe 15-20 minutes north of Waco. Very small town, we’re talking less than 900 people growing up. Yeah. I’m from the country. Right now, you’re probably not hearing my Texas accent, but it’s deep in there somewhere.

Treavor Wagoner:
At a certain point, my mother who at the time was a microbiologist, couldn’t find a job in the Waco area. She was also involved with the military. So we had our house in near Waco, but we also lived up in Arlington, Texas, which is in DFW. So we had a dual-residence type situation where we would live in Arlington throughout the week and then go down to the country on the weekends. So I had a city life and a country life at the same time, which I think hopping up and down I-35, sitting in a car for an hour and a half each way kind of yielded into me being a traveler when I got older, and just wanting to explore more of the world, more of our country.

Treavor Wagoner:
When I was at the age where I needed to start going to school, I started going to Christian private school in Arlington. It was non-denominational, so all walks of life were there. Catholic, baptist, Christian, Asian, black, white, Latino, et cetera. The neighborhood that we eventually settled in in Arlington was predominantly Hispanic, or at least it became predominantly Hispanic. And my babysitter who I went to hang out with after school was Hispanic, she was from south Texas and she taught me Spanish.

Treavor Wagoner:
So I was exposed to a lot of culture at a young age, but I was also from a small town, so I faced a lot of small town mindset, which is not being exposed to a lot of different cultures. So I was always met up with encountering people who did not realize that there’s a world outside of the small town, outside of where Walmart Super Center was the biggest thing, the happy place.

Treavor Wagoner:
So yeah, it was fun. It was interesting, but I eventually had to get out of there because I’m a queer person and it’s a small Texas town, so you can gather what that means for me. But I had to go find myself. I had to see what kind of life I could lead being a black queer person. And that’s where I ended up in Denton, Texas, going to UNT, or University of North Texas.

Maurice Cherry:
So before that, though, you started off at a community college at McLennan, was that in Waco or nearby Waco?

Treavor Wagoner:
It was in Waco. So I went at the same time. I’ve always been kind of an overachiever. I think it’s because of the private school education that I had. But while I was a, I think junior and senior at West High, which is in West comma Texas. We say West comma Texas because when we say West Texas people think Western Texas, and it’s a town called West. You may have heard of it. Speaking of tragedy, there was a fertilizer explosion that kind of almost demolished the whole town. It was around the time the Boston shooting happened in 2013, ’14.

Maurice Cherry:
Oh, yeah.

Treavor Wagoner:
Yeah. Anyway, so I went to high school there, but at the same time I did dual credit, which is when you take government and economics and some other courses, you also get college credit for them. So the local community college that was doing that was McClennan community college. So I didn’t actually do full fall spring semesters. I did summer school, summer classes. And then I eventually went to, I transferred those credits to UNT. So I consider University of North Texas my full on college experience, and McClennan, or MCC was my kind of interim exposure to college.

Maurice Cherry:
Was that a big shift, going from a community college to a four year?

Treavor Wagoner:
Yes. It was less of a big shift going from community college to a full on university and more of a big shift going from being very sheltered to just all of a sudden having no rules, no one to watch over me or keep me out of trouble or whatever. No one to keep me from figuring out what queerness is or my identity is. So yeah, it was a unique experience, I would say. It wasn’t something that I wasn’t used to, because I would say going from a private education to a public education was far more of a big shift, and that happened when I was in sixth grade, where all of a sudden you’re enforced to be very prim and proper, no cursing, to being in an environment where people are fighting, kids are fighting all over the place, cursing, having sex. Like, what did I get myself into?

Maurice Cherry:
It was a totally different world, it sounds like.

Treavor Wagoner:
It was a totally different world. No offense to Mormons, but I felt like I was a Mormon kid actually going into the real world.

Maurice Cherry:
Was your Rumspringa.

Treavor Wagoner:
Yes. But at 12, 13. Looking back, it’s funny and hilarious, but at the time it was kind of scary. So I would say when I transitioned from graduating from high school and attending some community college courses or doing some community college courses to full on living in a dorm, being on a college campus, meeting people from different parts of the world, I would say that was very exciting for me. I just felt very free.

Maurice Cherry:
I hear that you were dubbed “the guru” while you were there.

Treavor Wagoner:
Yeah, that was a nickname that my manager at the time gave me. That’s funny. I started as a web designer, so I was designing blogs when I was in high school, and online blogs were my saving grace as a black queer person. I didn’t have any friends, really, in high school, so I would just write online and that was my escape. So in escaping to writing blogs, I started designing them and created a service out of that for other bloggers. So I would create their templates, their blog templates. I learned CSS from doing that, and I think a little bit of HTML at the same time, and also got to flex my creative muscle as well and creating color schemes and finding this rinky dink image creation software, editing software, and creating mass heads for blogs and stuff like that.

Treavor Wagoner:
But that led me into wanting to do that as for actually getting paid to do it. And so within a couple of months of being on campus in my freshman year, I found a job flyer for a web designer for the rec center on campus. And I kind of just begged my way into that job. They gave me the job and after about a year or so of doing that, the head of IT for the division that the rec center department was under saw my work, and he was like, “Hey, would you like to do this for the whole division?” And I was like, “What does that entail?” He was like, “That’s like, you get to be the webmaster, web designer for 30 to 40 websites.” And I was like, “Okay, sure.”

Treavor Wagoner:
He was grateful for it because it was cheap labor, but I think that was the first time that I learned how to be… Not learned how to be, but I think that’s where I adopted my skill as in what I call an octopus. Like I mentioned, I had to maintain design, develop 30, 40 sites and they all kind of looked the same, but they had all had to look the same because they reflected the division, not so much their department. So I guess in a sense, it was my first time working with multi-brand design systems, which is crazy, because I didn’t really make that connection until just now. Like oh, I’ve always been working on multi-brand design systems.

Treavor Wagoner:
But because I understood system thinking, even at that age, which was around, I think it was 20, 22, he called me guru. So I understood our process was important. It was almost necessary to maintain that many properties all at once. You have to have some semblance of organization. So he just saw my approach and the fact that I plastered this cubby hole wall that I had. I was working from the storage room because we didn’t have an office or a desk for me to work in. And so while I was in the storage room, I would just plaster all the walls with site maps and diagrams and whatever, just to keep myself organized with all these many different properties that I was maintaining.

Maurice Cherry:
So what was that early post-graduation career like?

Treavor Wagoner:
Because I had already had a lot of experience under my belt already having been paid to do web design, salary wise, I was able to get a high wage for my first job out of college. It was hard because it was at the time where we were having the recession in 2010, so it was very hard to find a job. But once I got a job, I was able to get a high salary. And high salary at that time for me for a, I guess, relatively kind of new designer was $45K in Dallas area. Yeah. I felt like I was going from ravioli eating every night to having a luxury apartment overnight, it felt like. It was interesting. It was a little bit of adjustment, and I don’t think I quite found the balance. Eventually I was let go from that job, and I think that was pretty devastating to experience that. But it led me to creating my own business with my former partner, romantic partner, which was a bad idea.

Maurice Cherry:
Was that business Braver?

Treavor Wagoner:
It was, yeah. It was a combination of our names, but it was also a representative of the kind of work that we wanted to do, which was a traveling philanthropic, but also providing web development solutions to small businesses in the Dallas area. So yeah, and we were able to do that. We actually started our company cash positive, so that’s always been a great accomplishment of my own. It’s not something that people know about, but it’s something that I’m really proud of, that I was able to do that.

Maurice Cherry:
Now, you’re also the co-founder and the executive director of a group called Black UX austin. Tell me about that, and what did you want to sort of get out of that group?

Treavor Wagoner:
Oh my gosh. So going back to talking about leaving a company that I was working for, that I faced some racial discrimination, a researcher that I was working with at the time, Carmen Brunes, she’s also black as well, but she saw what I was going through and she was like, “You need a release. You’re way too talented to be treated this way. And I want to provide an outlet for you to do what you do best.” Two other researchers had started Black UX Austin before I even came along and they just had never been able to get it off the ground, and so she told me that she wanted to actually take it all the way.

Treavor Wagoner:
She wanted to be nationally recognized and be the one stop shop for black people wanting to get into tech, specifically in the Austin area, largely because black people in tech are usually the onlies in the company. That’s the typical experience, whether you’re the only black person on your team, in your organization, in your department. And so you may experience things that if someone like you was around, they would tell you “Girl, you’re going through some shit right now. They’re treating you badly. It’s gaslighting.”

Treavor Wagoner:
So there wasn’t that community there before we came along. I don’t think there was that kind of community in Austin specifically, and if you’ve been to Austin, you know that it’s very white. There’s not that many black people here at all. It’s funny, because one of my best friends asked, I think he was asking someone else and I think one of his other friends had visited Austin and he was like, “Did you see any black people there?” And he was like, “No.” I told him, I was just joking, but I was like, “Yeah, I’m the only one here. I’m right here. You’re talking to the black people or the black community in Austin.” No, just kidding. There’s more than that of course, more than me.

Treavor Wagoner:
Yeah. We started Black UX Austin as a means for black people in tech to have a community, to have a safe space, to not feel like you are being tone policed, to just let your hair down and just be yourself. We started right before the pandemic started and as we were reforming and making it kind of formalized COVID started. And so we were like, “Oh, crap.” So by that point, we had only had one in person event. And then we had to shift everything to be all virtual. And we got so good at it that other black organizations that were in and out of tech were like, “How are you guys doing this?” Because we got really good at it that people on LinkedIn, on maybe Instagram, too, or whatever were seeing what we were doing and were wanting to support.

Treavor Wagoner:
And these are not just black people, but also white people, organizations where they’ve seen or witnessed black people being oppressed or mistreated in some way. They just wanted to support. So there were other black organizations or organizations in general were just asking us, “How are you guys able to grow and thrive online as you’re doing?” Part of it was that I know a lot about creating online community, having been someone who grew up needing community when I was growing up in rural Texas and being the only very sensitive black person in probably a 20-30 mile radius. So I sought online community as much and as often as I could, and so I just learned from that and I think that has warmed its way into or carried its way up to now, which is providing community or safe spaces for other black people.

Maurice Cherry:
Now, I feel like I’m mentioning all these aside, but as I did my research, I saw that you’re a poet and you’re an author. Tell me about that, particularly about the impetus behind your latest book. Where did the drive come from for that?

Treavor Wagoner:
My gosh. So first of all, I don’t call myself a poet. I do write poetry, but I don’t feel that it fits me well. I call myself a writer. Poetry is not the only writing that I will do. I want to do more memoirs and things like that, but actually I didn’t get my degree in design or web design or anything like that. I got my degree in creative writing. I had started to pursue creative writing and communication design, which if you’re not familiar, communication design, at least at UNT, it encompasses advertising and graphic design. So not web design, but it is design or the visual aspect of design. And at the time, it was the closest thing that I could get to a design degree.

Treavor Wagoner:
And my minor is in computer education and cognitive systems, which translation, that means a couple of courses in installing Linux systems and some Adobe Photoshop courses. So yeah, that was the closest I could get to having a web design degree at that time, which was between 2006 and 2010. But eventually I ran out of financial aid and I just stuck with the English creative writing aspect of my life. So growing up, I’ve always had, I guess, an affinity for writing. I’ve always wanted to be a songwriter, and so I started writing songs at 12, just because I had seen one of my favorite songwriters, Mariah Carey. You may laugh, but she’s a great songwriter. Obviously we know a lot of our songs. I’ve always just written lyrical poems. Yeah. There’s a floppy disk somewhere in my storage somewhere of maybe 500 lyrical poems I had written when I was a kid.

Maurice Cherry:
Not a floppy disc. You got to get it off the floppy disk, man.

Treavor Wagoner:
Yeah, I know. You know what, I think at some point I did translate them to modern digital at some point, so they’re probably somewhere on a hard drive somewhere maybe. But yeah, I don’t know if I want to revisit those, to be honest. They’re probably terrible. But yeah, while I was at UNT, I got my English degree and like I mentioned before, I had started my UX product design career. Product design is kind of like a jealous mistress when it comes to my other abilities, so my writing kind of had to be pushed to the side, but eventually I was approaching 30 and I was like, “What can I do very quickly that I can be proud of my twenties for?” And that was creating or writing a book.

Treavor Wagoner:
And so I self-published my first title, which is called The Remaining Trouble and Other Battles. And then during the pandemic, I kind of remixed it and expanded it and republished it as So Much Trouble. And in terms of writing, it’s probably the project that I’m most proud of, because the way I was able to produce it is how I envisioned it, and the quality is great in terms of design and writing. I was just very proud of it. I think all creatives should have something that they’re just absolutely proud of that they did. I feel like that’s very rare. Even if you do great work that other people admire, this level of self deprecation that designers have, or they don’t fully love the work that they do, even if it’s great. So I think that everybody should have that one project where they’re just like, “I absolutely love the shit out of this thing.”

Treavor Wagoner:
So yeah, the book is about, it’s a book of poetry, a collection of poetry about based on a time in my life where I had experienced relationship trauma. What I aimed to do with the book was to really just tell a story of a black kid who didn’t know how, but just really wanted to be loved and to love. And I feel it’s intense at times, but I love how it came out and anyone who’s read it has told me the same.

Maurice Cherry:
Now when I asked you earlier about what you wanted to discuss, you had told me a few things that I kind of want to unpack a little bit. You said navigating a box-based world as an odd shape. You said unlearning harmful habits, and you said self parenting. Talk to me about it. What’s on your heart?

Treavor Wagoner:
It’s very woo woo, and that’s kind of where I’m at in my mid-thirties right now. This is not the case for everybody, but for a few millennials, we’ve grown up in and seen some shit. We’ve grown up in a time where our parents told us one thing and the world is actually another. So there’s a great deal of, at least when you identify as black and queer or gay, and so those are two communities that have seen a lot of shit go down and who have experienced a lot of things, a lot of terrible things we’re talking. If you’re black, you know what we’ve been through, but in terms of the queer community, AIDS, I grew up during the AIDS epidemic/pandemic and the fallout, the religious fallout of that. People who are religious saying you’re going to hell because you got aids or because you’re gay or whatever.

Treavor Wagoner:
And just living in fear of identifying as gay and over time, I’ve learned to unlearn all of the survival tactics that I’ve had to learn growing up in rural Texas or growing up in Texas in general. Age 35, I’m trying to just radically authentically be myself and love myself and encourage other people to do the same. Not living under any guises, any false pretenses or anything like that. Just be yourself and love in that. I’m finding that it is yielding a great improvement in your health, in your physical health and your mental health as well. It’s really important to just be yourself. So that’s where I’m at.

Treavor Wagoner:
And I think you mentioned self parenting, I was talking to a friend of mine who is also a black queer person and he was like, “We need somebody to speak on the unique experience of being a black queer cis male and the relationship with our mothers.” My relationship with my mother has been very rocky. When I came out to her at 19, I wasn’t under her roof. She maybe would have disowned me completely, so I’m glad that I had the wherewithal and the knowledge to just wait until I was out of her house to tell her who I actually am.

Treavor Wagoner:
After that, I think we were even more distant than we were already, because I think moms know, but once you say the words, then they actually know, and there’s no denying it, and so I think that created a bigger rift between you, too. And so because of that, there were things that as a, what we call in the community “baby gay,” or somebody who’s fresh to the gay community, there are some things that I experienced that I really could have benefited from having a parent there or some kind of mentor or something to kind of guide me through all this newness, and I didn’t have that necessarily.

Treavor Wagoner:
So I had to learn how to self parent. I had to learn how to look at the seven year old, who was scared to be himself and say, “There’s nothing wrong with you.” To just learn to love myself. And I think that plays out in every aspect of my life, even my professional career. There are times where I deal with imposter syndrome or just being in spaces where I wasn’t previously, and now I all of a sudden am because of the great shift in thinking in the industry. I’m specifically talking about summer 2020, where all of a sudden the gates that I wasn’t allowed to enter through, all of a sudden I am, but I have no understanding of how this new arena plays out or how to be or anything like that. So I deal with imposter syndrome.

Treavor Wagoner:
And then you know what I do? The kid who just felt very ostracized, very on the outside of everything, on the outside of blackness, on the outside of queerness, just because I didn’t have access to it, that plays out. And so what ends up happening is when that little kid comes out, the 35 year old bubbles up and says, “You’re okay, I got you.” And that is essentially self parenting, basically being your own advocate and standing up for yourself.

Maurice Cherry:
Do you think you’re still trying to find yourself?

Treavor Wagoner:
I think if you’re living, you should be, because we’re always changing. I identify as a seeker. I think it plays out in my travel habit. I’m usually traveling by myself, and I prefer it that way, largely because traveling is not vacation for me most of the time. It’s me thinking and writing in exotic places, in dirty places or whatever, what have you. Just being here, there and everywhere, just trying to learn about myself in different environments.

Treavor Wagoner:
Also, I feel like growth happens when you’re out of your comfort zone, and so that’s why I do that. I want to learn as much as possible about myself. And I find it to be a common thing where people don’t want to do that either it’s from fear or they’re afraid of what they might find or lack of self confidence, which I totally understand. But I don’t want to live in fear in my life, so I put on a brave face and I go into the unknown. So, that’s me.

Maurice Cherry:
I feel like there was a lot of subtext in that inhale just then. But black person to black person, I felt that. I felt that. If you knew that you couldn’t fail in your professional life, what would you want to do? What would you want to try to do?

Treavor Wagoner:
Oh my gosh. That’s related to the question of if you weren’t a designer, what would you be? And I would say if I weren’t a designer, I would probably be a professional entertainer, a singer or songwriter or something. Being a designer in the tech world, it can be very technical, very heady stuff. I find I want to flex my emotional muscle more. I try to do that as a system designer. As designers, we’re empathic anyway, or we have a lot of empathy. It’s just a part of the job, but it’s in a technical space most of the time, so you can’t really go too deep with it and understand fully what your empathic abilities are. But with creative careers like music or writing or even acting, you get to explore that more and understand humanity more or better. That’s what I would be.

Treavor Wagoner:
But if I were to stay in this hypothetical situation, if I were to stay within the tech industry, I think I’m close to what I dream of being. This is going to sound very nerdy, but hey, we’re all nerds here. Kind of like a special agent designer in the realm of design systems where I help teams adopt the design system, where I basically do the dirty work for them of taking the existing product and essentially almost creating kind of a new version of that product with the design system and basically going “bippity boppity boo,” over amount of time, taking what was old and crusty and putting some shine on it, making it golden, saving the day in that way. I’m almost there.

Treavor Wagoner:
A part of it is trying to get business to understand what design systems even are, and then also getting them to understand the pain point of a feature team adopting a design system and how hard and strenuous it is. So if there was someone like me or a team that I was a part of to go in and do that hard work for them and essentially save the day, get some happy smiles in there, make the business feel like their employees are happy just because somebody came in and helped them out, then that’s what I would love to do. I’m a person who, I don’t care about promotion. I don’t care about money. It’s more about how I make people feel. I want to help people. And if I can help people with their jobs, their day to day, that makes me feel good. That makes me feel like my job is rewarding. So yeah, that’s me.

Maurice Cherry:
What career advice would you give to somebody, they’re listening to you talk, they’re listening to your story and they see that you’ve had this very, I think non-linear career path, is probably a good way to describe it. What career advice would you give to someone who is walking that same sort of path?

Treavor Wagoner:
There was advice that I’d gotten from design evangelist Steven Anderson, when I was, I guess, fresh out of college and at the height of being really unhappy with my first job out of college. He gave the advice of have fun with your career. And I’m going to expound on that and say, don’t just get a job get a craft, something that you can believe in, something that makes you happy and makes you joyful. It makes you want to wake up in the morning and get to it, jump into it. I’m so glad that design systems has become a thing, because when I wake up in the morning, I’m really excited to just jump in with design system stuff. I really geek out on it to the point where people don’t understand what the heck I’m talking about, because I’m speaking a different language, I’m speaking a systems’ language, and they’re usually speaking a product language.

Treavor Wagoner:
But yeah, that’s what my advice would be is have fun with your career. I think something that we didn’t talk about really was at a certain point, I was a career contractor, so I was kind of like a handyman and that meant I was taking on jobs three months or six months at a time in Austin, Dallas, Seattle, or if I wasn’t anchored to a city, I was traveling full time around the country, doing things. At times, I was working from Costa Rica while I was backpacking and things like that. So yeah, I’ve always wanted to just not do things the typical way, and it has always made it fun. My favorite thing is to tell people things like that and to see their face is like, “Really? What?” Just shock people. So have fun with your career.

Maurice Cherry:
To that end, where do you see yourself in the next five years?

Treavor Wagoner:
I’m going to ask a clarifying question. Do you mean professionally or do you mean in my personal life?

Maurice Cherry:
I mean any way that you wish to take it.

Treavor Wagoner:
I was hoping you would say one or the other, because that would make it easier. But I’m in my mid-thirties and I’m thinking a lot about my personal life. I’ve given a lot of attention to my professional life up to this point, and like I mentioned before, product design or my design career has been like a jealous mistress of anything else that I try to focus on. So I had the great ability during my seven month road trip last year to kind of do both. I think about where I want to go from here or from that point, and also foster my design career. And I see myself retiring from design. I haven’t really told anybody that. I don’t think it’s feasible, but I would love to.

Maurice Cherry:
Why don’t you think it’s feasible?

Treavor Wagoner:
I think because I’m thinking very realistically, I’m looking at my finances and I’m thinking, “Okay, you want to do this and this and this and this and this and this. How are you going to pay for that? Oh, right. You have to have a job, Treavor. Come on. Get real.” So I would love to get to a point where design is not my only main means of income. I’ll say it that way, where it’s not my only means of income. Maybe I’m still doing design systems in some way, but it’s not the only thing that I’m doing. I’m finding balance. That’s where I want to be in five years, is maintaining a balance where I’m loving life still, I’m loving doing design systems or helping people with design systems, but I’m also creating a family.

Treavor Wagoner:
I feel like with my career, I haven’t fully been able to do that. I’ve been very much a career girl. So yeah. So to be able to kind of invest more in, like I mentioned before, the emotional side of myself and have family and people. I guess just foster more relationships. It’s kind of a long-winded answer, but that’s where I’m at. I’m kind of thinking on the spot a little bit, but that’s where I want to see myself in five years, is feeling balanced, full of joy, and loving what I do in terms of work. And I’m almost there. I feel like I’m almost there, and it feels really good to be almost there, whereas before it felt like it was a long time away.

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

Treavor Wagoner:
Yeah. So you can find out more about my writing and my design@treavorwagoner.com. My name is spelled a little weird, I have some extra letters in there, so I’ll spell it for you. It’s T-R-E-A-V-O-R W-A-G-O-N-E-R.com, and you can go to my design page and you won’t have access to my portfolio, but you’ll see all the other nerdy things that I write about there as well. You can also follow me on Twitter @TreavorWagoner. That’s it.

Maurice Cherry:
Sounds good. Well, Treavor Wagoner, I want to thank you so much for coming on the show. I get the sense that you are someone that is at a crossroads right now. Usually when I give these post scripts, when I’m talking to the guests, I’m saying that you’re doing great work, which is not to say that you’re not doing great work, but I really feel this sense of tension within you, like you’re at a crossroads right now. I would be interested to see if in the next five years you fulfilled that balance that you’re seeking.

Treavor Wagoner:
Yeah. I’ve been seeking, living that persona for years, and as a seeker, you eventually find. And so that’s probably part of the tension, is the realization, I would say, as a seeker is that you realize what you’re looking for, you have already had. And so now that I’ve kind of realized that I’ve always had it, now I get to actually discover it more, what I already have, and enjoy it. That’s where I’m at.

Maurice Cherry:
How profound.

Treavor Wagoner:
I am a writer.

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

Treavor Wagoner:
Thank you for having me. I appreciate it.

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

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André Elijah

Virtual reality used to be a science fiction trope in the 90s, but now, virtual reality is actual reality! Take it from this week’s guest: the one and only André Elijah. His work building games and doing marketing projects as an immersive director is sought after by brands and celebrities worldwide, including Google, Meta, Snap, Drake, and Beyoncé. And that’s not all!

Our conversation began with a slight nerd-out moment about VR Troopers — shout-out to Michael Hollander! — and then André gave a rundown about AR, VR, the metaverse, and the ins and outs of immersive experiences. He also shared a bit of his origin story as a child actor, Ryerson University grad, and becoming one of the first people in Canada to use RED cameras (which are now a worldwide industry standard). André also gave some great advice for people looking to get into the immersive space.

There’s more than one way to success, and André proves that you don’t have to chase VC funding to do it!

Transcript

Full Transcript

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

André Elijah:
My name is André Elijah and I’m an immersive director working in augmented reality and virtual reality.

Maurice Cherry:
How has the year been going for you so far? I can hear from in the background that you probably have started off this year with a pretty big announcement.

André Elijah:
Yeah, my twins are born in January. So yeah, I guess you can hear them in the background. I’ve got noise canceling headphones on.

Maurice Cherry:
No, no, no. You’re you’re all good. Congratulations.

André Elijah:
Thanks, dude. Yeah. It’s been a bit of a shift, but no, it’s been good. It’s been good.

Maurice Cherry:
How has it been juggling work and family? Are you sort of finding that balance now?

André Elijah:
No, it requires a really good partner that can take care of things on the home front while I work maniacally at all hours of the day and night.

Maurice Cherry:
Well, let’s jump into that work a little bit. You have a studio, André Elijah Immersive, and you just recently celebrated your five year anniversary. Congratulations on that.

André Elijah:
Thank you, sir.

Maurice Cherry:
Tell me more about it.

André Elijah:
It’s basically a studio where we build everything we want to see in the world. There’s multiple parts to the company. We’re building games. We see games as the major catalyst to enable these new mediums and platforms. And so we want to be there and kind of build the content that we think will sell units and sell headsets and make this augmented reality and virtual reality future pervasive. And then on the flip side, we also work with a number of agencies and brands doing marketing projects, ad campaigns, that sort of thing, building interactive elements of that, or activations, augmented reality activations, metaverse activations, all kinds of stuff. So we’re constantly busy, probably a little bit too busy, some would say, but no complaints. This year’s been absolutely mental. I think I’m really lucky in that I was able to survive this long in this industry.

André Elijah:
A lot of people thought that VR in particular was going to pop off multiple times already and it didn’t and really kind of found its footing during the pandemic. There’s a lot of things that came together. Everything from Oculus Quest 2 or I guess now Meta Quest 2. Everyone being at home with the pandemic and needing something to do, the rise of VR fitness was really another thing that popped off and helped sell headsets and find a user base. And so all these things coalescing at the same time allowed for me to still be here and be in business all these years later. Definitely one of the lucky ones in that regard.

Maurice Cherry:
VR as a technology, I feel like has been trying to pop off since at least, I guess at least the ’90s, right, the mid ’90s.

André Elijah:
Yeah, that’s correct.

Maurice Cherry:
It has tried to gain some footing. The first, and this is probably weird, but the first thing I think of when I think of VR is VR Troopers. That really horrible, horrible show.

André Elijah:
That show. Yeah. In the ’90s it was basically a riff off of the Power Rangers because there was the three VR Troopers. I remember that. There was a TV station called the New VR and they carried VR troopers. Yeah, it was a station based at a Barrie, Ontario.

Maurice Cherry:
Oh wow. So, interesting thing. Do you remember the black guy that was on there that played JB?

André Elijah:
Yes.

Maurice Cherry:
He works in gaming. I’ve had him on the show before.

André Elijah:
What?

Maurice Cherry:
Yeah, yeah.

André Elijah:
That is wild.

Maurice Cherry:
He told me all the behind the scenes. That show is so chopped up. It’s like the video form of, I don’t know, scrapple or something. It’s like a whole bunch of stuff taken from different shows that they cobbled together and it’s wild. It’s not even from one show. It’s from five different shows that they put together to make that show because they have different outfits in VR grid versus when they’re fighting the monsters. And it’s so funny. There’s a video on YouTube, if you want to check it out. There’s a video where the cast got drunk and did a voiceover of one of the episodes. It’s so funny. It’s so funny.

André Elijah:
That is awesome. This makes me really happy to hear, I’m not going to lie. It’s funny because no one knows what the hell VR Troopers is. You can mention Power Rangers and everyone knows that. Occasionally you can mention Masked Rider and people will get that because it’s just Kamen Rider. You mention VR Troopers, no one ever knows what the hell you’re talking about. So, you made me really happy right now.

Maurice Cherry:
Yeah. But to go back to my earlier point, VR has really tried to pop off since then. You had Nintendo with the failed Virtual Boy. You even had video games that had virtual or virtual in it, like Virtual Fighter. There’s been all these attempts to try to make virtual reality really a big thing. And it seems like, as you said now-

André Elijah:
Even the Metal Gear Solid VR missions. And I think it was Metal Gear Solid 2. It was all these simulated missions that were, quote unquote, in VR.

Maurice Cherry:
But even now, as you said, there’s been this perfect storm of I guess the pandemic and the technology becoming at a enough of a consumer price point where it’s starting to become commonplace now.

André Elijah:
Yep. Hundred percent.

Maurice Cherry:
So with your studio, what does a typical day look like for you?

André Elijah:
I don’t really think there is a typical day. It’s everything. So, right now we’ve got multiple VR games in production. One is kind of midway-ish. One is at the tail end and we’re about to go into certification. We’re working on a number of augmented reality projects and advertising campaigns and things like that. So, every day is kind of a mishmash of touching base with my team to see where things are at, play testing our products and projects and giving some feedback there, investigating new technology that we might be called to use in a campaign of some sort or an activation, pitching projects that we ultimately want to build and do. It’s a mishmash. Every day starts early and it goes late, but there’s really no set formula, just whatever we get time to do.

Maurice Cherry:
Yeah. Now we’re talking about VR virtual reality, which again I’m pretty sure most of the audience knows about. But I also just kind of want to level set the conversation because there’s a lot of terms when we talk about these immersive experiences that get thrown around, like AR, XR, the metaverse. Can you give us a couple of definitions of terms that are widely used in this space?

André Elijah:
Yeah. The three that I use are AR, VR, and regrettably metaverse because those are three biggest ones. XR I throw out the window because that just opens up its own can of worms. So, augmented reality is basically digital information overlaid on top of the physical world. So, whether that’s virtual screens that exist in your room, virtual pets that exist in your space and navigate your space that you interact with, things like that. Virtual reality is an entirely virtual space. So, you put on a headset. There is no pass through. You’re not seeing the real world. You are immersed in a fully virtual world with virtual interactions and virtual environments.

André Elijah:
And then we’ve got metaverse, which is basically a think ready player one basically networked experiences with other people in a virtual space. Doesn’t necessarily have to be in VR. You could make a case that Fortnite is a metaverse of its own with the way that people are able to express themselves with various designs and skins and way you can customize yourself. And you’re communicating with people and you have shared tasks and goals or you can just hang out remotely together. I think that’s the perfect example of a metaverse. And so those are really the three that I try and stick to because otherwise you get way too in the weeds with all the different terminology and you lose people.

Maurice Cherry:
Yeah. Why do you regrettably say metaverse?

André Elijah:
Ever since Zuckerberg changed the company’s name, Facebook’s name to Meta, everyone’s been jumping on the metaverse bandwagon. I think in some ways it’s good that we have a shared language finally because if you’ve been working in this space for years, the terminology got pretty hardcore. You had AR, you had VR, you have XR. And then there’s a whole debate online as to what the hell XR even stands for and where the origins of it come from. That’s literally a Twitter battle every other day. And then we’ve got spatial computing, which Magically tried to use to differentiate themselves. And we have Microsoft with Mixed Reality.

André Elijah:
And so there’s all these terms and everyone has their own branded version of the same thing, which made having that common language difficult. So, here’s Zuckerberg blowing $10 billion a year, whatever to make the dream happening. Renames the company Meta in the spirit of the metaverse. And so everyone now is using metaverse for everything. But I just think if you’re building this content, you’re building real time content with networked interactions and expressiveness and personalization, all of things like that. Now we have everyone saying that Web 3 projects are all the metaverse. You buy an NFT and it’s for the metaverse, even though you can’t use that content anywhere else. I saw an article the other day about an audio metaverse and it’s like-

Maurice Cherry:
Oh God.

André Elijah:
Everyone is just… If you do a Google search every day, it’s just nothing but metaverse this metaverse that. And most of it’s bullshit. If people are selling you stuff that will be used in the metaverse, 99% of it can’t be used anywhere because there’s no interoperability with any of the platforms. So it’s kind of disingenuous I find when people use the term metaverse. I think it’s great because it grounds the conversation to a degree. And if anyone with real understanding will know that we’re talking about networked multi-user experiences that are digital. But for the most part, I think it’s become a bit of a hype train thing and I’m waiting for it to die off again.

Maurice Cherry:
It sounds like Meta, Facebook, whatever, they muddied the waters a bit by calling what they’re doing the metaverse because right after that, everyone of course is asking, “Well, what is the metaverse?” But they’re associating the metaverse with Meta and think that everything metaverse related has to do with Meta the company.

André Elijah:
Yeah, that’s true. But I was watching an interview this morning on the Breakfast Club with Charlemagne, and DJ Envy, and Angel Yee. And they had a Ja Rule on there and he was talking about how he’s building a Madison Square Garden for the metaverse. And I’m like, dude, what now? And so then he said two things later, he had said that he was building inside of the platform called the Sandbox, which is a crypto platform. But one Web 3 real time product isn’t the metaverse. He needs a certain level of interoperability between the different platforms and we need to be able to jump to and from them easily before I would ever consider it to be the metaverse. But it’s common parlance now. It’s to the point where 46 year old rappers are dropping the metaverse now in interviews.

Maurice Cherry:
Right. It’s funny. At work where I’m at now, we just released a print magazine and our next issue that we’re doing the theme for it is Web 3. It’s geared towards product communities. And so I’m trying to find what that intersection is going to be between Web 3 and product communities and stuff. But we were initially going to call it metaverse because of that kind of large encompassing, I guess, general definition of it as so many people jump on the bandwagon. But I think narrowing it to Web 3 hopefully will help with that. But I wanted to get those definitions because I think that along with NFTs and DAOs and all that stuff gets thrown in together and people just get confused and I almost feel like that’s on purpose.

André Elijah:
Yeah. I think the running joke right now is if you want to raise a bunch of money, maybe not right now because things are on a downturn, but certainly a couple months ago, if you wanted to raise money, you just say Web 3, metaverse, and DAO and a pitch deck and all of a sudden you’re valued at $50 million. And I was even thinking about doing some stuff in the crypto space and I talked to a couple investors. And honestly, dude, I didn’t have anything solid. It was pretty shaky. The idea that I had and the investors were like, “Yeah, your company, if you started right now, it’s valued at $25 million. I can help you raise $5 million tomorrow.” And it’s like, “Say what? Dude, I don’t even have a deck. I don’t have a company. What are you talking about?”

André Elijah:
I felt a little bit dirty having those conversations. I’m like, you know what, I’m just going to keep on doing this VR AR thing for a minute and just ride this out. But that was the thing. You throw enough of those terms around in a deck and you got a really big valuation and chances are Andreessen Horowitz is going to jump in and value it at a billion dollars, which is those things that was happening. So, it’s interesting.

Maurice Cherry:
So, I was going to ask this question. I’ll still ask it, but I can’t help but notice in your profile picture you have these Snapchat, AR Spectacles. And that’s one way that people can experience these immersive experiences. You also mentioned Meta Quest 2. Are there other ways that people can start to get a sense of what these immersive experiences are about?

André Elijah:
Yeah. So in the case of the spectacles, those are very much developer only or creator only, as Snap’s terminology would be. So, there’s only a handful of people in the world, maybe 600-700 people in the world that have Spectacles right now. They’re early. They’re very cool. I love using them, but they’re really for us to figure out what the capabilities in a lightweight headset need to be for augmented reality to be real and to go mainstream. So, there’s a lot of dialogue between people like myself and Snap to eek out the most performance and have an understanding of how we want to use these things in the first place. I think in the coming years they’ll hit mainstream and you’ll be able to buy them. But right now those glasses are very much for developers to spell out what the future is going to be like.

André Elijah:
In terms of what can you use today to get a sense of what all the stuff is going to be like, Snapchat is huge when it comes to AR. There’s hundreds of millions of active users right now using AR multiple times a day. So, a lot of the marketing projects that my team engages on are all Snap based just because they have a high number of users, the retention is really high, and people just love using the platform. And so my team has built projects for Direct TV and AT&T and Google and probably some others that I can’t even think of right now all on Snap.

André Elijah:
And typically when we get a request for breaking down the project, it always starts off with, “We’re going to target every platform. We’re going to do Spark AR and we’re going to do Web AR so you can hit the stuff in a web browser. And we’re going to do Snap and maybe even a dedicated app.” And two weeks into any of these processes, they’re like, “We’re just going to go to use Snap because they have the highest amount of users, the highest amount of retention, and the capabilities of the platform are dope. So, I think if you want to experience AR right now, Snap is probably the way to go on your phone.

André Elijah:
And if you want to experience virtual reality, Meta Quest 2 is basically the best headset you can get, best platform you can get. It’s a few hundred bucks. You can go to Amazon or Best Buy and pick them up and bring them home. And it’s honestly the best experience that you can get right now all in one standalone headset. You don’t need a computer, which I think VR was really held back for a while by the fact that you needed a gaming computer for the longest time to be able to drive these things. And so here we have a standalone device that’s basically Android phone on your face. And you get really compelling content. You get, if you want to work on your fitness, you got Supernatural, which is probably the best workout app ever. And I’m really into it for the boxing. We’ve got, if you’re into shooters, they’ve remade Resident Evil 4 in VR and it’s only available on the Quest and it’s probably the best VR game I’ve played next to Half-Life: Alyx.

André Elijah:
And so you’ve got all these games that are being able to run in a standalone form factor. And then if you want some of those PC only experiences, then you can connect with a cable or even wirelessly to your PC and have it be a PC headset as well. So I think if you want to get into AR, it’s going to be Snapchat on your phone for the time being. And if you wanted to get into VR, then it’s going to be Meta Quest. And even with the Quest, they’re enabling augmented reality and mixed reality experiences now, too. It’s black and white pass through, but all your content is color. It’s really compelling. It’s really compelling.

Maurice Cherry:
Wow. I have a client that bought me, well, actually I had requested him to get me a Meta Quest 2 instead of paying me a deposit, it’s still in my closet. I haven’t broken it out yet. I need to give a spin.

André Elijah:
Yeah. Well if you open it up, which you need to, we can play together and you can add me and I will onboard you. That’s a promise.

Maurice Cherry:
No, you mentioned-

André Elijah:
[crosstalk 00:19:12].

Maurice Cherry:
All right. You mentioned these earlier clients that you’ve worked with. You said Snap, you mentioned just for some of the others I’m looking at your website here, Uber, Sony, Drake, Beyonce. When you’re working with these brands, are you seeing any specific trends when it comes to the type of immersive experiences they want to create?

André Elijah:
Early days VR was very much driven by hype. So, you basically wanted to have a very basic project. Keep in mind the capabilities when this wave of VR was popping off a few years ago, five years ago, the capabilities weren’t really as fleshed out as they are now. So it was basically you could look around in a headset. If you were lucky, you had motion track controllers. But you’re still tethered to a PC that wasn’t very powerful, especially when it was driving a stereoscopic two views at 90 frames per second. So, you were.

André Elijah:
Limited in what you could do. And early days it was basically let’s build this thing, attach a celeb or a big brand to it, and get press. And so basically you were building projects just to get press because there really was no market to make money. So, you were getting paid to build the experiences and your metric was how many views and how many articles did you get? And I think that did a lot of harm to the industry because weren’t creating anything really of value that stood the test of time. People weren’t getting much utility out of it and it hurt the space. And that’s why when I say I’m one of the lucky ones that’s still around, I mean 90% of my peers have died off in this industry to go to adjacent industries or something completely different because there just was no way to make money in VR for the longest time until the last couple years with the advent of the Quest and Quest 2.

André Elijah:
So, I think now we’re at a point where we have enough data and we have enough users that we can make a go of this, if you do it right, and really create value for people, whether it’s through an entertaining experience, like a game, or something that provides utility, like a workout app that actually helps people with fitness. Maybe it’s a meditation app that helps with people’s personal wellness and that sort of thing. So, I think we’re at a point now where we’re trying to identify what are the opportunities to create value for people? As opposed to what’s this flashy headline that I can get with a celeb or a big brand attached just for shits and giggles? And it’s a very different way of working. That’s why I pitch a lot of projects because I don’t necessarily have all these clients coming to me. But it’s like, “Hey, I see an opportunity because I’m working with the platform. I have some insight as to the numbers or percentage splits of who’s engaged in what kind of content. And I see an opportunity here if we do it right.”

André Elijah:
And I think that’s the key thing is doing it right because you don’t want shovelware. You don’t want to announce something that never gets out the door and you ultimately don’t want to fail the platform. As much shit as they take, Meta’s done a really great job in building a platform that succeeds for the developers and that you know that if you manage to get to that store and they push you in front of their audience, you’ll live to fight another day. You won’t have to close up shop, you can pay your mortgage, everything is good.

André Elijah:
And I think part of that responsibility is creating content that stands the test of time, that shows up and does well for its audience. And ultimately, I say this every time we take on a project, we got to come correct. I don’t want to build a thing that we ship on day one and we forget about it. I don’t want to ship something that people forget about. It’s like come correct, create value for the platform, create value for the users, and then identify the next opportunity, and rinse and repeat. But the key thing is to come correct.

Maurice Cherry:
I’m glad that you mentioned shovelware because first of all, that immediately took my mind back to late ’90s, early 2000s when companies were just starting to get on the internet. And they were making just trash just to say that they had some sort of presence, like Pepsi world or something like that. Where you go and it’s like, “Oh, you can view our latest commercial.” Why would I want to view a commercial? It wasn’t any sort of intent behind it, I guess, outside of it being just another commercial, another ad. But I think that was also because brands then, this was such a new technology and a new space, they didn’t know how to operate within it. I would imagine now with the metaverse, maybe companies are a little smarter about the type of experiences that they want to have, maybe, possibly, not really.

André Elijah:
I don’t want to anyone under the bus, but no. There’s group chats with people and we see the latest headlines every now and then from the Verge or Engadget and we trade it around. We say, “Why does this even exist?” There’s a lot of that going around still. That’s kind of the nature of the beast to a degree. You got these huge multi-billion dollar companies that are trying to create platforms and they want some big names attached and the people that have access to those big names. It’s the traditional agency model in a lot of ways where agencies aren’t really run by creative people. There’s a million levels of abstraction involved and everyone takes a meeting on every little thing and it’s designed by committee and none of it is breathtaking. None of it is new. None of it’s innovative. And the end product hurts.

André Elijah:
So, I think a lot of these projects and products that come out that are associated with a big agency and a big brand, you can probably guess that it’s not going to be the greatest thing ever. But if you have a really small, nimble team, that’s dope at what they do and they’ve studied the space and they’ve worked at it, they’ve put in those hours, and they get a hold of something valuable, like a brand or IP, then they’re going to knock it out of the park. That’s been the game with everything from the internet to we saw what happened in last year with the NFTs and Web 3 and all this stuff. Did we really need a Matrix Avatar project that’s basically just a rebranded version of Unreal’s Meta Humans? No, I don’t think we needed that. So I think, VR, AR none of it’s really all that different. I think you just need the indies kind of lay the groundwork for everyone else to follow. And you just make sure that the indies get their flowers and they get their paycheck so they can live another day.

Maurice Cherry:
That makes a lot of sense. That makes a lot of sense because what you are seeing are a lot of small studios and independent developers trying to stake their claim. And now the larger brands are kind of trying to rush in. And now that they see that, oh, this is something that I think we can be a part of in some way, now they want to try to rush in and get a piece of it. So, that makes sense. But some of these considerations you’re talking about, there’s so much to think about with, quote unquote, the metaverse there’s virtual wellbeing, there’s economics around NFTs and stuff, there’s intellectual property. How do you factor in these other types of considerations within your work? Do you think about that stuff?

André Elijah:
No, I try and limit the scope of what I do to exclude all that or else I wouldn’t get anything done all day. Our business right now on the games front, we’ve got a couple original games that we’re working on and we’ve become the master’s of porting games. So, we have access to the IP. We don’t have to worry about any of that. So, we’re in a good spot there. And then when it comes to the agency side, obviously we’re working with the brands and agencies. So IP again, isn’t really a concern for us because they’re coming to us and saying, “Use our name and do this thing.” So, I think the way I’ve tackled this, we kind of get around all of that. I don’t think I have, as well as the studio’s doing, I don’t think I have enough dollars for all the lawyers that would be involved with everything you’re mentioning.

Maurice Cherry:
That makes sense. Let the big companies sort that out. That’s what they’re paying for, right?

André Elijah:
Exactly.

Maurice Cherry:
Yeah. I love that you’ve got this portion on your site with rejected projects. Why did you decide to show those?

André Elijah:
Yeah, so it’s weird, man. So, a lot of what people do when they’re indie is build products and projects and prototype things. But if you take a look at their portfolios, they only have the finished projects, the sexy ones, the ones that shipped. And you never know about what happened in those three months or four months between them shipping stuff. You never know what the backstory is. You don’t know the genesis of so many of these things. And I found myself for a while not shipping projects and doing a lot of prototyping and having a lot of discussions. And I just wanted an avenue to show it off and put it up as in a way that’s like, “Hey, this is not final. It’s not shipping. It’s not representing anyone. But these are the things that we’re thinking about. These are the conversations that we’re having behind closed doors.” The people that we’re talking to are probably people that you would want to want a product from or at least the conversation with to figure out what this would look like.”

André Elijah:
And ultimately I just said one day, “Fuck it. I’m just going to post all of this stuff sitting on all of these decks and all of these ideas and all these email threads and conversations that I’ve had. Why shouldn’t people know about it? They’re not secret.” I did the work to come up with the idea and get it in front of the right people and pitch them. So, maybe people should know that I’m not just kind of sitting around playing Fortnite all day, but I’m not shipping stuff, but I’m actually trying to get things done. I’m trying to build alignment behind the scenes with big brands and stuff. And so just kind of decided one day I got enough material, let’s do it.

André Elijah:
And to be fair, I’m probably showing only a 10th of the rejected pitches that are pretty decent. Just a matter of I need to find the time to throw all that stuff up. So I think we’ve got, what do we have in there, dude? We’ve got some People stuff. We’ve got Title and RocNation who I was talking to for a while about doing some stuff. I think we got Dead Menace in there. So, there’s enough cool ideas and content in there that it just kind of made sense to put it out there and say, “Hey, yeah, I know all these people.” And if we have something strong, I can take an idea back to them as well. And maybe we’ll do something in the future.

Maurice Cherry:
And it’s probably also just a learning experience, hopefully, for people that are like, “Oh, we just got pitched on a similar project. Maybe we don’t do it this way, or something like that. So it’s kind of a learning tool.

André Elijah:
Yeah. A hundred percent

Maurice Cherry:
Now as these immersive technologies become more readily available, now we’ve got, like you said, Snap Spectacles, we got Meta Quest 2. I’m sure there are going to be more peripherals that come down the line in the years to come. What do you think is going to set each experience apart as these technologies become more readily available?

André Elijah:
I think part of it is understanding the tech and how to make it work and understand the limitations and polish everything that you do. Like I said before, you got to come correct. So when we’re creating these different experiences, some of them are games and some of them are applications, mixed reality applications that add a layer of utility on top of your physical space, your home or whatever. I think user experience is really important. Onboarding users that have never touched a headset before is really important. Letting them feel comfortable and getting them to a point of comfort where they can share with their friends, “Hey, put on this headset and try this thing out.” We need to stop getting away from these high end technologies because this kind of tinkerer space or this hardcore technology space and realize that it’s for everyone. So I think polish and onboarding and taking the ego out of it is really important to grow that adoption.

Maurice Cherry:
Now we’ve talked a lot about your work. We’ve talked for the past 30 minutes about your work. Let’s kind of switch back to the real world. Let’s learn more about Andre Elijah, the person, the man. Tell me about where you grew up.

André Elijah:
Yeah. I grew up in Toronto, middle class family, parents working their asses off to give me a future. Initially wanted to be a child actor and got into that for a little bit. And that kind of kicked off my whole film industry thing. So, did a lot of auditions, was in some commercials and couple small movies and that sort of thing growing up. And really loved the energy of being on set really loved being creative with people. So, that I think set the tone for the rest of my career and seeing how people collaborated and worked under really stressful situations on a set to create something really, really dope.

André Elijah:
And grew out of that a little bit. Just the auditions were a lot with everything I had going on at school. I had a lot of extracurriculars and bands and drama and all that sort of stuff. Kind of aged out and then there was an opportunity when I was in, I think grade eight, seven or eight to do what was called an options program and I sucked at sports. So, it was basically an opportunity to do more creative things. So on top of doing debate, there was an opportunity to be part of the film club. And that piqued my interest immediately. My first time shooting and editing, it was a… My first camera that I used was a Canon and GL1 camera, which is a 3CCD or three chip semi-pro camera from Canon. And my first edit suite was I think Final Cut 3 on a Power Mac G4 with mini DV capture deck and external monitors and all that sort of stuff. So I started, they threw me in the deep end and I got to play with the pro stuff first.

Maurice Cherry:
Wow.

André Elijah:
It was probably seven or eight years before I ever touched iMovie. After I started in Final Cut, I found that whole process of shooting projects and editing them and taking them through post production really, really interesting and fascinating. And I picked it up quick. That just kind of became my thing. And I was always a geek and loved playing with computers. So, the fact that I could create the stuff that people would watch and enjoy while geeking out on these really hardcore computers was a dream from true.

André Elijah:
A lot of the older students, I was grade seventh, grade eight and a lot of the older students that were in grade 11, 12 when they graduated, they went off to work in the big leagues. We had some guys that went off to New York and worked on the Sam Raimi Spider-Man films. We had a couple guys go off to work at visual effects houses. We had some that went off to China and worked in documentary films there. And so I guess they all kind of took me under their wing and I got to see life through their eyes for a while and they onboard me to their projects. So, I was this young kid that was getting really shitty duties on their projects, but it was dope. And eventually I got good at editing. So I became an editor, freelance editor while I was still in high school and all that.

André Elijah:
I ended up working with Radio Television Hong Kong. I was editing some of their documentaries and a buddy of mine that I worked with in the corporate world, we were both moonlighting in the film industry. He ended up going to the American Film Institute. He became a directing fellow there and I edited the three short films that got him accepted into the American Film Institute. So, that kind of set me up. And then I worked at my first agency ever I worked at as a video editor initially cutting together demo reels for them and content for their clients. And then they turned me into a flash developer before flash got killed off by Apple, Steve Jobs, and one letter. They turned me more into a dev than anyone else. And let me see what happened when you press a button and something bounces on a screen. They did that. And I think in a big way kind of set me up to where I’m at now.

Maurice Cherry:
So, you got introduced into tech at a early age, but through media. I think that’s pretty cool.

André Elijah:
Yeah. I really just always love the creative process and being able to geek out to pull that process together. It’s been a lot of fun. It’s been a lot of fun. You see a lot of stuff and yeah, I think the common thread in my career though has been being on the cutting edge of technology. So whether it was the film and using janky ass versions of Final Cut Pro on these ridiculously powerful computers. I did a stint at Canada Pension Plan Investment Board. So, I was a systems analyst for them working on some hardcore service stuff. Years later, after film and agency stuff, working in AR and VR, again, cutting edge of technology. So, I think that’s always been kind of the constant in my life and in my career.

Maurice Cherry:
And now you went to Ryerson University, which I think by the time this interview comes out, people know it’s now Toronto Metropolitan University. But you majored in fine and studio arts as part of their new media program there.

André Elijah:
That’s correct.

Maurice Cherry:
What was your time like there?

André Elijah:
It wasn’t great. I went to Ryerson because the founder of my first agency, he was actually in the first batch of new media graduates at Ryerson. That guy has always been my hero and I love him to death. Shout to Spencer Saunders. I wanted to be like him, so I went to Ryerson and hopped into the new media program over there. And it was very different than when he went to school. I was one of those people, man, I like doing stuff. I don’t really like the theory of things. I like getting my hands dirty. It just didn’t click for me, which is fine. Maybe it clicked for some others, but I like getting my hands dirty. I like building stuff. I like doing the work.

André Elijah:
So, sitting in a class and watching someone code on a projector doesn’t really teach me that much. Hearing about a VHS fine artwork from 20 years prior when we’re doing stuff online didn’t really connect with me. It’s just one of those things. I think that’s been another constant in my life too. I just like doing, I don’t really like the instruction. I Just like getting my hands dirty with the code and seeing how things react when I change things around. So, Ryerson wasn’t really my bag.

André Elijah:
First couple years, I think I was in school full time. And then the last couple years I was working down the street at Canada Pension while I was doing my classes. So, Canada Pension was really cool. They let me slip off to class when I needed to for an hour or two here and then go back to work. So, I start my day early. I’d end it kind of later in the day, probably five, six o’clock. And skip out for, instead of taking lunches or whatever, I’d just go to class. So, at least my last couple years I had real work that I was doing to kind of balance it all out.

André Elijah:
But yeah, go get your degree. That’s the thing that gives you credibility I guess. But I can honestly say, at this point in my career, I don’t think I’ve ever looked back at Ryerson and been like, wow, they set me up for this or everything that I did there led to this. God, no. It was me just kind of downloading Unreal Engine when they announced Unreal Engine 4 and being able to play with those content examples and build my own stuff that really kind of got me here.

Maurice Cherry:
That’s interesting. I have I guess similar experiences to when I was in college. I would imagine that college is still set up this way where your first two years you’re just slammed with classes because you have to take your humanities and all the general stuff before you can really get into your major. And then once you get into your major, there’s not so many classes hopefully. So, you have more time just outside of school to do things. My first year at Morehouse I was ready to go. I was like I don’t know if this is what I want to do. And I stuck it out because eventually I did have part-time jobs. I actually started working in the computer science lab at Morehouse and that’s how I got into, not necessarily how I got into technology. I was into it before then. But I got to spend so much time in the computer lab teaching myself HTML, basic JavaScript, et cetera, reverse engineering webpages, figuring that stuff out on my own that had nothing to do with what I was actually learning in my major courses.

Maurice Cherry:
And so I think if I look back at my time, similar to what you’re saying, I don’t know if I would really recommend it. I could say, “Oh, I went to Morehouse.” And that means something to people in the world. To me, eh, it was okay. It was all right. I got my degree. I got out, no debt. I can say that proudly.

André Elijah:
Key part, right? You got out, you survived, you did it.

Maurice Cherry:
We had our graduation outside. They normally have the graduations outside and it stormed on my graduation, lightning hitting electronics stormed. And I’m sitting there in my cap and gown drenched because the person next to me had an umbrella and he wouldn’t let me get under the umbrella because he’s like, “I don’t know who you are. Our last names just happened to be together in the alphabet. Get away from me.” Yeah, I get what you’re saying.

André Elijah:
At least you went to you graduation though. I skipped mine. So yeah, that tells you everything.

Maurice Cherry:
So after Ryerson, you started out as a freelancer. You were working as a production artist. You were doing a lot of post production work. Was that kind of where the education for you really set in, doing the work?

André Elijah:
Yeah. But even what I was doing half the time there was no template for, there was no real learning other than doing it. So, I was fortunate enough that I got my hands on the first couple RED cameras that ever landed in Canada. So, for the people that don’t know-

Maurice Cherry:
Oh wow.

André Elijah:
Yeah. So that was a big deal. But for people who don’t know, the RED camera was really the first 4K digital camera that film productions could get their hands on. So, it’s from a company called RED and Peter Jackson was the first director that would create a project with them. And it was a short film that he created specifically for the company. And since then, they basically redefined Hollywood and they’re kind of the norm now. And if you watch videos from any of the big YouTubers, like MKBHD, or iJustine, or Jonathan Morrison, any of these people, they all have REDs.

André Elijah:
And back in the day, REDs used to cost as much as a house. So the guy that went off to be a directing fellow at American Film Institute and someone else that I was working with, they both happened to get REDs at launch because they could spend as much as a house on a camera and they were directors. They didn’t want to know how these things worked. They didn’t need to know. So me kind of being the post-production guy and ultimately becoming an onset workflow person, I learned how the camera worked. I learned how to get the footage off the cards, transcode it.

André Elijah:
I could see a camera shooting and know whether or not it was going to die. And in the early days reliability wasn’t that great. And I just became the guy that knew how these damn things worked. And so I was consulting a lot on RED productions. Known as the RED whisperer because I just knew everything about them. I figured it out on the fly. There was no real support network for these things. No one had them. So, we just had to figure it out by the seat of our pants on a really expensive production on set. And so worked with those cameras for years.

André Elijah:
And then that’s kind of what led into me working with Beyonce. So, we were shooting a commercial, a real estate commercial, completely unrelated in New York City. And on the last day of the shoot, I got a message from the director of the Beyonce project saying we’ve got 10 REDs on the floor at a place called Off Hollywood and we don’t know how to set them up. And my partner and I went over there and we got all the cameras on the same firmware version. We set them up so they could do multi-cam shoots. And we got them all up and running at the facility or at the location, which was Roseland Ballroom in New York City, which I think is closed now. And we got those things up and running for four nights and in a day basically.

Maurice Cherry:
Wow.

André Elijah:
For a live via satellite, quote unquote, live via satellite segment for the Michael Jackson tribute concert. We got through that shoot and it was the first 10 RED multicam shoot ever. And we did it for Beyonce and that just kind of we hacked that together. It wasn’t supposed to work and it did. So all of this stuff, it’s you learn by doing. You learn by throwing yourself into really uncomfortable situations and just saying, “Fuck it, let’s just figure it out.” So, that’s kind of led me from thing to thing and it hasn’t failed me yet.

Maurice Cherry:
Now you founded a studio back then, Last Step Studios. And based on what I’ve heard, your current studio evolved out of that over the course of a weekend. How did that happen?

André Elijah:
Yeah, I’ve had multiple studios. I guess, multiple studios under different names. And I keep on using up all the cool names. That’s why it’s Andre Elijah Immersive now because I just can’t come up with any more cool names that should be the name of a company. So in that company, I founded it with another student from Ryerson and we wanted to make video games. And on day one we realized, oh, crap, video games are very expensive to make, very expensive. And we don’t have money because we’re broke students. And so we pivoted immediately to doing architectural visualization work using real time engines. And so it was initially Unreal Engine.

André Elijah:
The work that we were creating in Unreal, it looked cool, it was realistic looking, and we could change material on couches and on walls and stuff. And that impressed some people, but they ultimately came to us for more traditional rendering work or dollhouse renderings and some static renderings, that sort of thing, because game engines was so new to the real estate market. It didn’t really get a lot of pickup. Ultimately, I think we wanted to do different things.

André Elijah:
I saw the demo of the HoloLens. I think it was at E3 where they showed off the Minecraft demo in AR. And I thought that was really kind of awe inspiring. And I wanted to try my hand at making something like that. I didn’t have the computers to do it. I didn’t have the know how to do it. I just wanted to do it. And at the same time, the Oculus Kickstarter had popped off and VR was trying to find its footing with Palmer at the helm. And there was something new and sexy and crazy about it that I really wanted to be part of. And it just reminded me of the same energy of so many other things that I chased over the years, whether it was doing the post production stuff in Final Cut or I was getting hands on time with the RED.

André Elijah:
It was just kind of new and unexplored and I wanted in. And I saw it. I saw it pretty clearly in my head what it could be. And I just figured I had a chance. So, literally two founders kind of going in different directions and we dissolved the company over a weekend. And by Monday my new company was spun up and I started trying to land that kind of work. And so tried to figure out ways to differentiate myself from everyone else. And I didn’t really know what to do. And I had never 3D modeled in my life. I was the engine guy, my old co-founder was the modeler.

André Elijah:
And I figured, you know what, if I’m going to do anything, I’m just going to go build Drake’s house and see what happens. And so I learned to 3D model and I built out Drake’s house, which I think was I don’t remember now. I think it’s 25,000 square feet or something ridiculous like that, his new house. The floor plans have leaked on the BBC. And so I had the floor plans and I built it out. I made a website for it, sent it out to a couple places, a couple media outlets. It wasn’t anything… I didn’t do a full court press for it or anything.

André Elijah:
And all of a sudden everyone picked up this goddamn house and there were stories everywhere. Teen Vogue picked it up and the Verge or Polygon picked it up, everyone. And I got millions of views in record time. And everyone started hitting me up, platforms and technology companies and other brands. And they’re like, “What are you going to do with this thing? Can you do product placement in this house? Can we roll it out to our platform?” Et cetera. And it took on a life of its own for a while there, trying to figure out what it could be.

André Elijah:
And that kind of gave me the legitimacy in a weird way. It was a horrible project technically. My computers were really weak, so I couldn’t render shadows properly. Couldn’t render post processing. My processors were too weak so I couldn’t even bake the shadows. It was God awful. But again, you have a big name, like Drake, who he’s huge now, but he was big then. You take his name and then you add on something crazy like VR and all of a sudden that’s the perfect combination there for some headlines.

André Elijah:
And so from there, I got a bunch of companies and agencies reaching out to me to do some work and then created the first new home sales suite in real estate for Canada off the back of that. And it actually happened to be for Drake’s agency, the agency that represented him for a bunch of stuff and worked with him for a bunch of stuff. They hit me up to do the first new home sales suite in Canada using VR. And so we rolled that out and prospective home buyers actually went into VR in the sales office and checked out their future homes. And so we rolled those out. And I did some stuff out of Miami. And then all of a sudden I’m doing VR for real estate. The thing that I was intending to do with my old co-founder I’m now doing on my own. And from there other companies started reaching, startups started reaching out to me saying, “Can you prototype ideas of ours? Because we don’t have the talent in house.” So, that was a stepping stone.

André Elijah:
And then suddenly bigger companies are more amenable to me working on their stuff or they’re reaching out. Pretty gradual growth until a couple years ago. Epic Games gave me a MegaGrant for an educational project that I’ve been working on called Innocence in the Fire. And that was the first major co-sign that I ever got. And they were really great. And so as soon as I announced, “Hey guys, I got an Epic MegaGrant.” Bam, life went into overdrive and Snap took me in and has been really supportive. And they keep on shining a light on me with different profiles and different features at their conferences and stuff. And then now I’m working with Meta. I’m working with some other companies. So, it’s been, the last couple years have kind of everything’s gone into overdrive, which I really love and appreciate. But yeah, it took a minute and some craftiness to get in position for that in the first place.

Maurice Cherry:
It sounds like things really kind of snowballed after that. I think it was Drizzy Manor, that was what you called it, right?

André Elijah:
Yep, exactly. Yeah.

Maurice Cherry:
Things kind of just snowballed after that. And now you’re also on the AR, VR program advisory board at Vancouver Film School. How has that experience been for you in a way entering back into education? Although not as a student this time, of course.

André Elijah:
Here, we’ve got a school that has some really amazing graduates. We’ve got Neill Blomkamp went there. End of story, Neill Blomkamp, it’s done, it’s a lock. We’ve got this really amazing traditional film school that wants to explore new media and a new platform. And they’ve really crafted amazing programs and talent to foster that growth. So, initially there was a buddy of mine that was teaching there. He had me just give a guest lecture. The students were really into it. They asked really great questions. And I was honestly impressed because I think certainly myself and my peers weren’t solid students like they were when we were younger. Just talking to the staff and the program coordinator, I was like, “Wow, this is legit. And let’s figure it out.” They just kept on calling me back to give talks.

André Elijah:
And for the project that ended up getting the Epic MegaGrant, we actually used some of the students for their thesis project. We let them build a prototype of the game. The work was really great. And so just in conversations of how do you teach the next wave of people how to get into the space and teach them to prepare for the future. That just kind of became the onboarding to bring me in as advisor for the program. And it’s been great. They take our ideas seriously. The students that they have are amazing.

André Elijah:
The talent they have teaching, they’re all practicing professionals. It’s not those who can’t teach. It’s like that’s not the situation here. They’re all professionals in the space. They’re all people I work with in the space doing really dope shit. And so the students are really lucky. I wish all these teachers were at Ryerson when I was there because maybe I’d take something from it. But no, it’s been a really great experience working with the school and seeing the impact that it’s had on these students and seeing where they land after they graduate has been really dope.

Maurice Cherry:
Now you’ve been quoted as saying that your biggest goal for the future is to set the standard for interactive and immersive education. Where does the passion for that goal come from?

André Elijah:
I went to private school when I was a kid and the best we had were VHS’s and DVDs that were horribly boring. And I think that if you’re paying that much in tuition, maybe there should be a better learning experience there. And I think with the accessibility of the Meta Quest or Snap on your phone, the level of access to content has never been more amazing and higher. And I think that if we, instead of doing shooty, shooty games all the time, we tried to engage people in new concepts and ideas and reinforce learnings, I think we’d be further along. So, I just think ultimately that if we were to use all these skills to build something dope, maybe the future has a chance, particularly around climate education.

André Elijah:
We keep on putting people into videos of this is a polar bear dying or this is the world on fire and it hasn’t really made enough of an impact. You just kind of see the trajectory that the world is on. It’s not great. So, I think that if we were to engage people more and actually show them the effects of their actions in a digital environment or in a simulation, that maybe it’ll hit different. The study’s have proven that if you experience things in VR, your retention is way higher. You understand concepts way more clearly in VR. And I think that if we were to use that for some good, maybe the world would be on a better path. So, that’s just one of my weird altruistic things. But I’m hoping that by making these games that are mainstream and onboard more users and get more people there, there’s a viable path to creating really dope immersive content for education. And then maybe we can turn this world around in a decade from now. That’s the hope anyway.

Maurice Cherry:
Now your career to date, as you’ve described it just in this interview, has been extremely prolific. Who are some of the people that have really helped you out over the years, whether there’s been mentors, peers, anyone?

André Elijah:
Everyone, man. I think this whole industry. I would say the immersive industry is more open and friendly and awesome than any other industry I’ve been part of. I think at the heart of it, we’re all a bunch of misfits trying to find our way and trying to lock in and create the future that we all want. And so it’s been ultimately way more collaborative than any other industry I’ve been part of. So, it doesn’t really matter if it’s a major executive at a company that’s doing immersive stuff or it’s a lowly developer that specializes in some weird thing. The whole industry has been really collaborative and really cool. And there’s you basically check your ego at the door. So, to single anyone out would be kind of weird because I’ve literally gone up to the top execs at Meta, formerly Facebook, and been like, “Hey, I really want a meeting with so and so.” And then they send a message and the next day I get a meeting with that person.

André Elijah:
It’s just one of these things. I think VR and AR, I don’t think anyone that’s in it, really in it isn’t a geek. I think we all identify with each other in really profound ways. And so there’s a level of humility involved in the industry that’s been really great. You see inside of industry Slacks and Discord groups and everything. We’re all sharing information. We’re all sharing learnings. We’re all helping refine each other’s pitches and play testing each other’s games and applications. And as much as it’s Andre Elijah Immersive, there’s a lot of people on my team and there’s a lot of people not on my team that have helped out and helped to get us where we are now. So, it’s really one of those things, it takes a village to raise a kid. So, I think we’re no different

Maurice Cherry:
If there’s somebody that’s out there that’s been listening to this and they want to follow in your footsteps, whether it’s I would imagine just getting into this world of AR and VR, what advice would you give them?

André Elijah:
I would say just do it. I don’t want to sound flippant with that, but this is one of those industries where it doesn’t take a whole lot to be able to get in and start building. When I worked in film years ago, you needed more than a Handycam to have a good looking image. You needed more than just iMovie to have a really solid edit and final delivery. You need the color correcting and all that sort of stuff. And so you have all the software and hardware considerations and all that. With AR and VR, you need a not so powerful computer and a $300 headset and you’re off to the races. Game engines are free. Unity and Unreal are free. They have lots of example projects and tutorials online that you can follow to find your footing and start building, but you don’t need a powerful computer because these headsets are all running mobile parts.

André Elijah:
So, you’re not pushing for photorealism for these projects. So I think for under a grand ultimately you can be set up and you can start building. And so I think that removes a lot of the barriers and a lot of the excuses as to why you can’t get into it. So, I would say literally just Google some of your favorite games and how to rebuild some of those mechanics. There’s literally YouTube channels that just show you in Unreal or in Unity how to build mechanics from games that we all play and like. Learning about the interaction systems and how to set up a project and how to compile. This is all stuff that’s available at your fingertips. So I think more than ever in this industry you want to do it. You can just go ahead and do it. You don’t need to ask for permission. There’s no one gate keeping any crazy hardware or software. You can literally just start.

Maurice Cherry:
What do you think you would’ve went into if you didn’t get into this field?

André Elijah:
I asked myself that a lot. For a while I wanted to be an entertainment and intellectual property lawyer. And for a while I wanted to be a robotics engineer. And for a while I also wanted to be a professional jazz trumpet player. I played trumpet for a number of years.

Maurice Cherry:
Nice.

André Elijah:
It was going to be one of those three things.

Maurice Cherry:
Nice. So given how fast all of this is progressing, the technology and everything, where do you see yourself in the next five years? What do you want to be doing?

André Elijah:
I’m going to be shipping a number of games in the next two to three years and then probably go investor. My team members know that I can maintain this pace for a couple more years. They’re all young. They got a lot longer to go and I want to be the first check in on their companies when they go ahead and do their own thing. And I tell them all the time, “I need you guys to bang out these games on these projects and we’re going to do them together. And you’re going to have them to your name and it’s going to be great. And then you’re going to go out and you’re going to do your own thing and you’re going to stomp all over me and it’ll be fun. I just want to be the one to fund you.” So, I really want to be the ones that open some doors for them once they’re done with my stuff and just help the next generation I think.

André Elijah:
I think there’s been this whole thing since early web days, and then you saw the shift to the app store and everything and all these tech companies, there’s a certain progression. And you need to go get your Tech Crunch articles and your press and go get your venture capital and all this sort of stuff. And I think there’s other ways to do that. I think if you’re really good at shipping products and projects that connect with people, there’s a different way forward. And so I just want to impart my wisdom on these people and I know a lot of people and look at my rejected section, I know a lot of people. So if there’s a way for me to open some doors and connect some dots for folks, then I think that’s the position I want to be in a couple years. And not necessarily shipping a project for a brand every month, month and a half and deal with these crazy ass hours. I’m getting old.

Maurice Cherry:
And you got kids!

André Elijah:
And I got kids! I got to watch them grow up and do after school activities with them when they’re older and stuff. So yeah.

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

André Elijah:
Yeah. My website is www.andreelijah.com. And my Twitter is @andreelijah. So if you want some industry hot takes, that’s probably the place to go. And then yeah, my website, that’s where the portfolio lies. And if you want to know the work that we’ve done or the stuff we pitched and rejected section, it’s all there.

Maurice Cherry:
Sounds good. Well, Andre Elijah, I want to thank you so much for coming on the show. Just hearing this, I don’t know, almost this whirlwind of activity that you’ve got going on, not just with what you’re doing now with the studio, but what you plan to do in the future and really how you’ve had this passion to do this for such a long time. I think it really points to the fact that while these technologies, VR for instance, have taken a long time to get off the ground, there’s been this constant steady push by people like you to really push things into the, not just the mainstream, but to the next level to create experiences that in the future we’ll be talking about for years and years to come. So, thank you so much for coming on the show. I appreciate it.

André Elijah:
I appreciate you, dude. Thanks for having me. It was a lot of fun.

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Azeez Alli-Balogun

Azeez Alli-Balogun came highly recommended by several former guests, so I knew that a great conversation was going to happen. Azeez currently works as a lead product designer on the globalization team at Netflix, and he’s also a co-founder of Design to Divest. But if you think that’s all there is to Azeez’s story, then think again!

We started off with a quick 2022 check-in, and then he talked about his plan to work on more Black-focused design projects, and also gave a glimpse at what it’s like working at Netflix. From there, Azeez spoke about growing up in Louisiana, becoming a jewelry designer, and how he transitioned into product design. We also spent some time talking about Design to Divest and Azeez shared what he wants the organization to accomplish in the future. Everyone has the power to make change with design, and Azeez is a prime example of this!

Transcript

Full Transcript

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

Azeez Alli-Balogun:
My name is Azeez Alli-Balogun. I am a product designer at Netflix, a product design lead at Netflix on the globalization team. What that really entails is that we’re looking at how do we enable Netflix products and the content that we create to live in local markets, but also experience global audiences.

Azeez Alli-Balogun:
So I work a lot on the enterprise tools or the tools that help us create the subtitling assets, the dubbing assets, and all of those things that actually help our content become very, very locally resonant in local markets and local geographies, but also accessible to global audiences.

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

Azeez Alli-Balogun:
It’s been going really great. It’s interesting. We’re in the end of January, and it’s been incredibly productive, quite a lot of work that I’ve been doing in the beginning of the year. I’ve been invited to do a couple of different types of projects that I feel were very, very impactful. I think it’s just there’s so many seeds and so many things that have been planted in 2020 and 2021 that are starting to kind of blossom a little bit, which is both good and, also, I’m getting to a point where I need to make sure I’m prioritizing myself and my rest. I want to make sure that 2020 doesn’t lead to burnout for me with opportunities coming my way.

Maurice Cherry:
Is there anything special in particular that you want to achieve this year?

Azeez Alli-Balogun:
I mean the biggest thing that I think is really focusing on some of the work that I’m doing with Design to Divest, but really starting to produce more content or areas in where people from marginalized backgrounds, particularly the Black communities and African communities and indigenous communities, to be able to access design differently, access learning differently, and be able to participate in the creation of the world that we live in through their own cultural knowledge base.

Azeez Alli-Balogun:
So that type of work is something that I’m looking to start to really tangibilize in more meaningful ways. So I’m pretty hopeful that with all of the work that I’m doing and the projects and the communities that I’m a part of, that I’ll be able to create these platforms that allow or bring in more Black, African, and indigenous creatives to the forefront of creating some of the institutions that are going to shape the future.

Maurice Cherry:
Now, let’s talk about the work that you’re doing at Netflix. You’re the product design lead for the globalization team there. Now, you mentioned what you’re doing has to do with subtitles and dubbing. I can only imagine probably after the success of titles like Squid Game and Lupin and stuff that you probably have had a lot on your plate. But tell me more about the work that you do.

Azeez Alli-Balogun:
Yeah. It’s a lot of stakeholder management. So it’s interesting in the sense that the team that I’m working on really crosses so much of what Netflix does. It’s an integral part to growth. As Netflix grows our global subscriber base and grows into global markets, it’s incredibly important that we’re effective in the way that we localize our content as we start to even increase the volume of content that we produce, the volume of film and the volume of movies, and really trying to create platforms for different geographical spaces outside of Hollywood to be able to share their stories.

Azeez Alli-Balogun:
So a lot of the work is when you go into Netflix and you’re able to see the option to choose 20 different subtitles or watch things in dubbing, all of that stuff is work that I’m directly impacting and the team that I work on directly impacts. We’re working with linguists. We’re working with project managers. We’re working across the board with so many different types of stakeholders to ensure that there is quality attached to the subtitles and the dubbing and that if a director in Nigeria creates a television show or a movie, that same movie can be enjoyed by somebody in Swedish and it doesn’t lose a lot of the cultural nuances that represent how that content or how that TV show or film was created.

Azeez Alli-Balogun:
So it’s a heavy task because it’s very difficult to even measure things, like what is a good subtitle? What is a good dubbing or voiceover? Can we make sure that we are staying true to the content? Because when you think about different languages, it’s very, very … If you’re lucky enough to be able to speak multiple languages, then you know that there are certain nuances and certain kind of things that just don’t translate.

Azeez Alli-Balogun:
You want to be able to translate those cultural nuances so people start to really understand what it actually means to experience the culture that that film or that television show or those characters are actually situated in. So there’s a lot of really trying to figure out how do we communicate, also creating a lot of the workflows that allow our stakeholders, the project managers internally at Netflix with the linguists and the other vendors that we use in order to create all of these assets, how do we allow them to do this work very, very effectively and at the volume and scale of the amount of content that we produce on a yearly basis?

Maurice Cherry:
So talk to me more about the team. What does the makeup look like?

Azeez Alli-Balogun:
It’s a typical product team. I mean you have your designers. I lead a particular area of the globalization design side. I have two other design partners who are also design leads in other areas. I work with a product manager, and I’m in constant contact with the globalization project managers and program managers as well as vendors and linguists in order to really understand what is necessary and how to create the best conditions for their workflows to be successful in delivering on the subtitling and dubbing and other localization assets.

Azeez Alli-Balogun:
So the core team is I’ll have my UI front end team and backend team designer and me, as a designer, project manager. We’re the core product team building out all of the tools. And then we’re in constant communication with the project managers, the vendor managers, the linguists who are actually authoring and creating a lot of the subtitling and localization assets in order to ensure that we’re providing the tools that are really supporting their workflows in a positive way.

Maurice Cherry:
So Netflix has linguists that are doing the translating, I mean as they’re listening through to the content and making sure that those subtitles, like you said, are kind of accurate to the plot, culturally accurate, et cetera.

Azeez Alli-Balogun:
Yeah. I mean there’s a whole process there of subtitle authoring. I can’t get too deep into lots of that stuff because I think it’s one of the things that does set Netflix apart from some of the other services that you might encounter, the level of detail that we go into trying to create good subtitles. There’s a lot of experimentation and things that we’re doing right now in order to enable that process to be better for our members.

Maurice Cherry:
Yeah. I remember when Squid Game had come out and there had been some kind of talk about like, “Oh, well, if you’re watching Squid Game, don’t watch it with subtitles because the subtitles aren’t right,” or something like that. Or no, it wasn’t the subtitles. It was the dubbing, I think, one of those two things. But I mean I can imagine even with a show like that, there’s still going to be some sort of cultural differences or things like that that get lost in translation.

Azeez Alli-Balogun:
Yeah. I mean that’s exactly right. I mean there’s always going to be some dissonance. We’re always testing things out to try to get it right. I think the one thing that’s really great about the culture at Netflix and how we go about designing and building product is we experiment in order to figure out how we can learn and improve and constantly improve. So if we don’t get something right the first time, it’s a learning experience for us. We take all of that feedback and use it to ensure that we’re doing better as we move forward.

Maurice Cherry:
What does an average day look like for you?

Azeez Alli-Balogun:
Average day? I try to segment a little bit of my days or my week. Some days I load up with meetings, so I’m meeting with engineers and my product manager partner and other stakeholders. And then other days, I create that space for me to kind of just work and I’m designing and creating different concepts that are related to the conversations that I’ve been having, so kind of going through the whole design process, but in very, very short cycles.

Azeez Alli-Balogun:
It’s not spending three months or two weeks or just doing nothing but research, but do longer cycles of discovery research on a particular area that we’re trying to improve operational efficiency on and then take that, summarize that research into some opportunities, create some concepts behind that, and then start to socialize that with engineering and product in order to start to tweak and do more of … I try to do much more co-creation, co-designing with the stakeholders, the engineers, and product all together.

Azeez Alli-Balogun:
That way the decisions that are being made are made with the right amount of input from the different internal stakeholders that influence how the product actually tangibilizes itself. So my typical days typically would be I have some times where I’m dedicated. I need time to intake all the information that I’ve gotten and then start to visualize that into some sort of concept.

Azeez Alli-Balogun:
And then a lot of the times, I am taking those concepts in meetings and doing a lot of co-design in order to fulfill requirements and understand what the needs are directly with both the users and then my product stakeholders as well.

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

Azeez Alli-Balogun:
Stakeholder management maybe. The reason that I would say that is when I think about the idea of complexity, what really makes anything complex is that you have a bunch of different competing priorities that happen at scale. So being able to really clearly align all the different priorities that are happening from different parts of the process and different stakeholders into something that works, I think, is the most difficult part because I’m also constantly listening and observing what people are saying, what people are doing, and then trying to translate that down into a language that can be understood by everyone who is involved.

Azeez Alli-Balogun:
As you know, it’s interesting as we talk about language and linguistics, not only in different languages. There are different languages within different industries. There are different languages within different professions. So everyone might have a different way of communicating the same thing. Oftentimes, you can be in meetings where people are trying to communicate an idea or a concept with the language of their own profession.

Azeez Alli-Balogun:
So engineers might be communicating things in a certain way that’s different from product. That’s also slightly different from the way that the type of language that design would use to communicate something. And then our end users are using a different type of language and trying to wrangle all of those different concepts and in the way that people are trying to express what it is that they’re trying to think of in a way that everyone’s aligned on and everyone kind of understands.

Azeez Alli-Balogun:
That’s where I feel like a lot of the true power of design comes because once you start to take the language and start to visualize things, then people can have something to have an opinion about. They can have something to kind of analyze and say, “That’s not it,” or, “That is it,” or, “It’s this and this. Add this or that or the other.” But bringing life to the words that are being said by all of the people in the room and then allowing people to kind of mold what’s been created to make sure that everyone’s voices is really being heard.

Maurice Cherry:
I would imagine language and linguistics probably influence a lot of the design work in general, right?

Azeez Alli-Balogun:
Yeah. I mean just really trying to understand the nuances of it and how those nuances can be misinterpreted because, as you know, a misinterpretation of even body language or a language or just a word or a concept can have dire consequences. So it’s important operationally as well as it is tangibly when we’re trying to create the product and making sure that the things that we create are very, very clear and transparent.

Azeez Alli-Balogun:
Netflix, it’s been an interesting place working. It’s been the most different place that I’ve worked at in my career because of the culture. The culture at Netflix is very unique. As I mentioned a little bit before about the experimentation culture of just trying to do things to learn, to get feedback, and then course correct. That also kind of goes into how we’re managed as employees. There’s a lot of the idea of freedom and responsibility and then the culture of feedback. All of those feed into the way that we’re able to work and the way that we’re able to kind of explore different areas of our profession in ways that we may have been restricted in other organizations.

Azeez Alli-Balogun:
So I think that that’s a huge part that I typically really enjoy at Netflix and enjoy working with a bunch of other people who have similar mindset of growth and discovery and learning. It really shows through whenever we’re able to create, learn from the products and the things that we create, and prove it for our members.

Maurice Cherry:
Oh, nice. That’s pretty cool. It sounds like Netflix does give you that freedom. I know there’s some companies of people whom I would love to interview, but they have a strict embargo on their employees cannot do podcasts or anything like that. So it’s good that at least they let you all be able to talk about your work and do other things freely.

Azeez Alli-Balogun:
Yeah. I mean it’s definitely encouraged, but I mean there’s definitely tons of stuff that we can’t say.

Maurice Cherry:
Right.

Azeez Alli-Balogun:
I walk a line a lot of times trying to make sure that … Because there’s so much transparency at Netflix and I think that that’s one of the really great parts of the culture at Netflix is that, as an employee there, the leadership from the top down is always going to be as transparent as possible. But with that comes responsibility of we’re letting you know all of this information. We don’t expect you to go out and tell the world all of the secrets and things. This is internal information that we are providing you context so you’re able to really do your job to the best of your ability. We don’t want to hide things from you.

Azeez Alli-Balogun:
But it comes with a lot of responsibility, that level of transparency and that level of trust that our leaders kind of put in us as contributors to the mission that the company is trying to achieve.

Maurice Cherry:
Gotcha. I’m curious to learn more about you, your particular origin story. Tell me about where you grew up.

Azeez Alli-Balogun:
Both of my parents are from Nigeria, and I was born in Baton Rouge, Louisiana. So I grew up in Louisiana. I spent most of my childhood in Louisiana and went there to high school. I went to Southern University when I graduated high school for a couple of semesters before switching over to design and going to University of Louisiana at Lafayette. But growing up, I wouldn’t have thought of myself as being a designer. I wasn’t exposed to it in that way. I mean my dad was in school for architecture, so I was exposed to that.

Azeez Alli-Balogun:
But the ideas of industrial design or other aspects of design weren’t really things that came across. I played basketball, growing up. I was more interested in trying to go to the NBA than I was with anything else. But I was also an avid reader. I read quite a lot, and I did a lot of writing, drawing. So there was always that creative aspect, but I imagined myself going into medical school rather than design.

Maurice Cherry:
So when you went to University of Louisiana at Lafayette though, you ended up majoring in industrial design. Talk to me about that.

Azeez Alli-Balogun:
Yeah. I mean that was really the reason that I left Southern University because they didn’t have an industrial design program. So initially, whenever I was in school, my intention was to be a pediatric surgeon. Actually, I was like, “I’m going to study biomedical engineering and then go to medical school to be a pediatric surgeon.” That was my intention. At the time, too, biomedical engineering was a fairly new field of study within the higher education to where if you really wanted to do that, you had to get a master’s degree.

Azeez Alli-Balogun:
So while I was at Southern University, I needed to kind of create a curriculum for myself, working with my engineering faculty. I was doing mechanical engineering and double majoring in cellular molecular biology. But after a while, I was just like, “Something about this is not really what I want to do. I would love to create the medical tools and the medical devices. I’d love to design those things.” But it was just something that just didn’t feel right in terms of the education for me while I was in engineering.

Azeez Alli-Balogun:
I started doing some research. Maybe I might like automotive design. Through that, I found what industrial design was, and I was like, “Whoa. With this field, I can actually design medical devices. I can actually go and design prosthetic legs and all of these different things that I was interested in kind of creating.” That’s how I found University of Louisiana at Lafayette because that was the only school in Louisiana, at the time, that had an industrial design program. So I ended up going there and studying industrial design.

Maurice Cherry:
Okay. So you kind of, I guess, looked at another way to get into the medical field then by looking at industrial design.

Azeez Alli-Balogun:
Yeah.

Maurice Cherry:
Okay. So in your early post-grad career after you left school, you ended up going into jewelry design. I’m curious. What drew you to that?

Azeez Alli-Balogun:
It wasn’t anything that really drew me. It was literally I graduated shortly after a recession in Louisiana. There were no jobs, really. It was really difficult to get a design job, especially in the South, in Louisiana. So really, what happened was that my portfolio was a bunch of … It was pediatric medical tools and prosthetics and stuff like that. The jewelry company, which had a connection to some of our professors at University of Louisiana, looked at my work and they’re like, “We really like your aesthetic visually. You have a really good sense of style and taste,” even looking at the medical tools, the medical stuff that I designed.

Azeez Alli-Balogun:
That’s literally how I jumped into jewelry design. I was interested in fashion. I was interested in design in general, but I wasn’t intending to go be a jewelry designer. If anything, I would have wanted to go to do something in footwear design at Nike because that would have merged a lot of the biomechanics and technical medical things that I was thinking about in terms of design with human performance. So yeah. Jewelry design just kind of came about. It was an opportunity that kind of came about, but it really allowed me to start to understand what it meant to design for things that were going to be worn on people’s bodies.

Maurice Cherry:
That makes sense. How long were you a jewelry designer?

Azeez Alli-Balogun:
I was there for about two to two and a half years.

Maurice Cherry:
Okay.

Azeez Alli-Balogun:
It was quite an interesting experience, but even though while I was there … This is also the field of user experience design or a lot of the digital product design, all of that stuff. That was still fairly in its infancy. So even while I was there, I participated in some things, some interface things that were very interesting. From there, after I left that company, I wanted to discover what is it that I really wanted to do, but I also needed to look at where the market was going.

Azeez Alli-Balogun:
Industrial design jobs weren’t en masse. A lot of these jobs that when you’re designing physical things, they don’t have incredibly large teams. Just seeing the digital world kind of pick up, I started to make some pivots over into really learning that particular skillset, branched off to try to do a little bit of my own freelance work, both as an industrial designer. But then what I found was that I was getting more clients, more people looking for branding and web development and more digital kind of stuff.

Azeez Alli-Balogun:
That’s kind of how I ended up pivoting or going to grad school to learn really more of a service design kind of method to incorporate both to be more agnostic about what my skillsets delivered and more focused on what the outcome needed to be of whatever it is that a client or somebody wanted to create.

Maurice Cherry:
That’s a good way to put it in terms of trying to be more agnostic because what I’m hearing, and you can please correct me if I’m wrong here, it sounds like you were just trying to find where you were going to fit in. You’ve graduated. You have these design skills. While there certainly were things that you wanted to do in terms of design, those opportunities just weren’t available. So you were trying to see what could maybe your skills transfer into.

Azeez Alli-Balogun:
Yeah. I mean I think that that’s a good characterization. I’m a person who is always ready to adapt to a situation. I have my core values and principles that I’m going to stay in those, and I’m not going to allow my value set and my principles to be swayed. But those principles aren’t rigid outcomes. They just help guide me in terms of the decisions that I need to make in life. But at the same time, I don’t create a level of rigidity to what it is that I can be and what it is that I can do.

Azeez Alli-Balogun:
Because it in the same way of when you’re designing a product or a service for someone or for people or a community, you need to allow it to be what it needs to be rather than always trying to force it into being something that you envisioned from the beginning.

Maurice Cherry:
Now, when did you decide to go to grad school? Was that during this time as well?

Azeez Alli-Balogun:
Yeah. That was during this time. I was looking at a handful of schools. I was looking at Pratt, RISD. I almost went to SCAD for the service design program because I had a friend who I was in undergrad with who was there, and he told me it was a great program. Service design’s still kind of a fairly newer field in design in the United States. It’s still catching on. You’re starting to see it more so now than it was years ago. I mean it’s definitely been something that’s far more developed in Europe than it has been in the United States. That’s just a reflection of the market and how we view the utility of design here at organizations.

Azeez Alli-Balogun:
Hearing the service design methods and methodologies, that was very interesting to me, and I was ready to go to SCAD. But also, another friend of mine who I was in undergrad with had mentioned ArtCenter to me before, and I really liked the rigor that ArtCenter placed on developing your technical skills and the level of polish that a lot of the portfolios and a lot of the students had the capacity for after graduating from ArtCenter. And then also, ArtCenter had this program with the Drucker School of Management where the graduate industrial design program also could be a dual MBA degree.

Azeez Alli-Balogun:
Once I got there, I didn’t see the usefulness not necessarily in an MBA because I did take MBA classes at UCLA. I do see a benefit in that, but I didn’t see the benefit for that particular school that ArtCenter was partnering with. So I didn’t actually go forward with that, though it was a decision that I made to go to ArtCenter in the first place because that option was available.

Maurice Cherry:
While you were there, you also managed to work on an internship which let you transition into product design, right?

Azeez Alli-Balogun:
Yeah. I did a couple of internships there. The education, too, in grad ID, the name can be misleading because it’s industrial design. But really a lot of the training was for us to be innovation leaders, to be able to come in and really understand what the business needs are for a company and help them pivot into creating products and services that now are able to accommodate the changing landscape. So we would routinely have different companies come in. This is part of the ArtCenter education where different companies come in and do these studio projects.

Azeez Alli-Balogun:
We did one with Uber whenever I was in maybe my fourth semester or something like that, where Uber was creating their Uber Air platform. We worked in groups with other students from other departments. So we had transportation designers, automotive designers, as well as interaction designers, in addition to us in graduate industrial design and worked with some of the key executives for that particular unit doing the Uber Air. Our task was really to design what that whole experience would be if we were to create air taxis.

Azeez Alli-Balogun:
If Uber were to go into this business, how do we start to visualize what that whole experience would be, all the way from understanding what the airport security type situation would be to what is the interior of the electric vertical landing takeoff vehicle going to be, all the way to really understanding the market. So if you create this type of service, well, who are going to be the people to use this service and who are going to be the early adopters all the way down to the late adopters in order to get this service off of the ground?

Azeez Alli-Balogun:
So it was a pretty involved project that took a whole semester where we built life-sized mock-ups to test out what the interior of the vehicle could be and could look like. We did a lot of architectural design and sketches to understand where would we create and put some of these what we call sky ports, which would be the airports for people to access these vehicles, designing also how would we implement or integrate this into the existing application, so if somebody wanted to catch an Uber Air vehicle. So it was a pretty involved project that spanned the scope of a bunch of different design skills from automotive design to interaction design to industrial design and whatnot.

Maurice Cherry:
Kind of sounds like a air taxi, in a way.

Azeez Alli-Balogun:
Exactly. It was an air taxi. There’s so many different nuances in terms of what that whole experience could or would be. And also, there are limitations to the technology that existed at the time, still even to right now. A lot of that technology is still being developed in a way that could make it really feasible and economical to launch a service like that.

Maurice Cherry:
Yeah. I would imagine also even just getting FAA certification because, unlike something like UberX where anyone that has a driver’s license can drive, that doesn’t necessarily mean anyone with a pilot’s license, I would imagine, would do Uber Air or something like that.

Azeez Alli-Balogun:
Yeah. There’s definitely some technical and some licensing, piloting things there, especially, also, I mean you’re thinking about just air traffic control as well.

Maurice Cherry:
Oh yeah, that’s right.

Azeez Alli-Balogun:
I mean that’s been there for a while. There’d be some adjustments and things that would need to be made in order to allow for another set of vehicles to be in the air.

Maurice Cherry:
So after you graduated from ArtCenter College of Design for grad school, you ended up working at a couple of other places before Netflix. You worked at a biotech company called Script Health. So you, I guess, in a way managed to get around to doing some work in the medical field, even in this sort of roundabout way. But then you also worked at IBM working on products on their data, AI, and cloud integration teams. When you look back at those two experiences specifically, what do you remember the most?

Azeez Alli-Balogun:
It was interesting because with Script Health, one of my friends who’s a pharmacist, that was his startup that he was creating. I was actually working on that while I was in grad school and helping him really design and bring to life the vision of that product and that service that he was trying to create. So I won’t go too deep into it, but the gist of that really was building out a service to deal with the opioid epidemic and providing the right type of medication for overdoses, things like naloxone, to places in rural communities.

Azeez Alli-Balogun:
There’s a huge lack of access to the right types of drugs and services in the most marginalized communities or the most affected communities. And then that learning, kind of taking a product from zero to one, the amount of work and effort that it takes to do the research and then finding a market fit, pivots and things that need to happen, partnerships that need to be made and created, and then visualizing the concept and telling the story and the narrative in a way that is going to inspire and communicate what it is about.

Azeez Alli-Balogun:
That was also a crash course for me, really working with engineers as well as working with outside agencies that were taking my design work and starting to code it into something and really understanding what are the specific things that I need to communicate in order to make sure that what I do design ends up being the thing that gets created and it not being some kind of mangled version of that because there are details that I left out or things that I didn’t communicate that they just had to make a decision on, and it may not be the right decision.

Azeez Alli-Balogun:
When it comes to IBM, the thing that I learned at IBM really was a lot of stakeholder management and also a lot of leadership skills, what it means to manage up, as well as how to align people and influence people around a shared objective and a shared goal and then trying to get things done within a short period of time. I feel like those were some of the key things. I mean I can dive really deep into aspects of that, but I think those were the main things that I’ve learned.

Azeez Alli-Balogun:
Working with people, I think, is an incredibly important part of being a designer, and understanding how to do that effectively, I think, is something that it takes a lot of designers a lot of time to really understand what it actually means to do that beyond just your hard technical skills.

Maurice Cherry:
Now, another thing that you sort of created that came about while you were at ArtCenter was Critical Discourse in Design. Talk to me about that.

Azeez Alli-Balogun:
Yeah. That happened while I was at IBM. So this was after my graduate program. I still have a lot of really great connections with a lot of the faculty at ArtCenter. After the murder of George Floyd, there was just a lot of energy around something needs to be done. I’m in the design community. Think about racism. When we think about prejudice, when we think about all of the things, these institutions that are perpetuating these things, they are designed institutions. They’re created.

Azeez Alli-Balogun:
For me, in addition to, okay, well, protesting is one thing. But based off of my own skillsets and my own proximity to the type of work and things that I do, how can I start to impact or influence the change that I want to see in the world? So I started these conversations with some of my friends who are still faculty at ArtCenter to try to uncover what is something that we can do. We didn’t really have an idea of what it was going to be.

Azeez Alli-Balogun:
But through the conversations and through a lot of the things that I was talking about in terms of how … A quote that I constantly say is that, “Design is the invisible hand that shapes all lived experience.” So Critical Discourse in Design came about when we started really thinking about when you think about oppression, oppression needs physical tools and objects. It needs a physical space. It needs to be designed.

Azeez Alli-Balogun:
So when you think about you can go throughout history and you can look at what are the tools or the innovations of oppression? A noose, a prison cell, all of these different things. So if you can design for oppression, then you can design for liberation. Critical Discourse in Design came about like, “Well, what does that conversation of designing for liberation, what does that actually mean? How do we start to translate theory into action? And then who are the voices that we need to bring to the table in order to be able to have these conversations?”

Azeez Alli-Balogun:
Because when you think about the design industry, also where the Black designers is calling out is the 3% or 4%, depending on who you ask, of the people who are designers are Black. So the voices that are the most impacted by the things that are being created in the world are not at the table to voice how they feel things should be. They’re not able to provide their cultural intelligence to the institutions and the systems and the tools and the things that get created in the world.

Azeez Alli-Balogun:
So Critical Discourse in Design really was a response to that. It was really a response to how do we start to now bring in these voices and also to leave people not with just new words and new theories, but a theory that can turn into practice and really starting to understand what the connection between pedagogy, what people are learning, is with practice, how people create, how people experience and actually deliver things into the world.

Maurice Cherry:
Now, let’s talk about Design to Divest, which it sounds like came out of Critical Discourse in Design. Tell me about that. I know you’re one of the founding members of this collective. We’ve also had another member of the collective on the show before, Michael Collett. But yeah. Talk to me about Design to Divest.

Azeez Alli-Balogun:
Yeah. While I was actually creating Critical Discourse in Design, one of my really close friends who was working with part of Design to Divest messaged me and said, “Hey, do you have some capacity to join the steering committee here? This is what we’re doing.” So I joined Design to Divest. At the time, it was really meant to mobilize design skills and different designers, to mobilize those design skills around social impact projects. It was very like graphic design-based.

Azeez Alli-Balogun:
So I think part of what I was doing whenever I joined the team was really thinking about what Design to Divest actually meant as a concept, and what are the most impactful ways that we can create positive change or the change that we want to see in the world? That started over the past two years that we’ve been just having these discussions and doing projects and working on things to manifest into a version of what it is today, where we have a lot of things that we’re going to be releasing this year, hopefully, and that really talks about what it means to divest the inequitable systems that have been designed and created in the world. How do we start to celebrate and design for the communities on the margins?

Maurice Cherry:
I mean I think that came about at such a monumental time, during the summer that you mentioned where, of course, there were people out in the streets that were protesting against police brutality. You talked about the murder of George Floyd. Again, it seems like this was a time when a lot of people were really looking for this kind of thing. They were looking to hear from Black voices, but also just looking for ways that they can, I guess, channel whatever frustrations they had into something more positive.

Azeez Alli-Balogun:
Yeah. Not to say that that time still isn’t happening now, but [crosstalk 00:45:33]-

Maurice Cherry:
Oh yeah. We’re still in it very much. Yeah.

Azeez Alli-Balogun:
We’re very much in it, but it was reaching fever pitches. It wasn’t just in the United States, it was globally. Me being Nigerian and seeing with SARS and the protests that were happening in Nigeria, the protests that were happening in South America, things happening in Brazil, it was everywhere, where you started to see people were really fed up with the institutions and the things that were meant to serve them. But people were just like, “Nothing is actually serving any of us, and nothing is serving us in a way that’s going to provide any level of comfort or any level of support. It’s actually doing the opposite.”

Azeez Alli-Balogun:
So I think Design to Divest became, especially for designers, because I think so many designers get into design feeling that they can change something or that there’s some sense of positivity that they can use design to affect, but no one ever tells them how. And then it typically falls flat with very altruistic ideas that really don’t connect back to impact. It just connects back to some sense of moral I don’t want to say superiority, but just a sense of moral reflection that you did a project that did something, but it doesn’t necessarily connect back to impact.

Azeez Alli-Balogun:
I think with the idea of Design to Divest, we really want to give people a path to connect the things that they do to the impact that they want to see in the world, the impact that they want to see in institutions, and the impact that they want to see in the different products and tools and experiences that we experience in the world.

Maurice Cherry:
Now, speaking of that impact, given now that the collective has gone on now, what? I guess this will be your second year of going into things?

Azeez Alli-Balogun:
Mm-hmm (affirmative).

Maurice Cherry:
What do you want to see Design to Divest accomplish?

Azeez Alli-Balogun:
Quite a lot over time. But I think about education is a really core thing in terms of … One of the things that we’ve identified, too, is that there’s so many designers on the margins, designers of color, but particularly Black and indigenous designers who don’t have access to any type of content or education that teaches design in a way that validates their culture, in a way that validates their identity, in a way that celebrates the cultural intelligence of their heritage towards the creation of the things that exist in the world.

Azeez Alli-Balogun:
When you look at design, the canon of literature and text that’s being taught to designers all are from European white men, and so there’s always a cultural disconnect. Essentially, what it does is informs people getting into design that you need to either erase your culture and assimilate into this culture if you want to find success in this profession because your culture is devalued or isn’t valued as a producer of good design, if you call something good design.

Azeez Alli-Balogun:
So part of what my hopes for Design to Divest is to really provide that platform, on one hand, for Black and indigenous designers to be able to have content and community to engage with around design that validates their identity, that validates their cultural heritage, and then that brings them to the table of creation. I feel like the world is a group project and, typically, only a select group of communities and culture have gotten to participate in creating the institutions, organizations, and business that shape the lived experiences for all of us.

Azeez Alli-Balogun:
I think it’s time that we create this space of ownership. I think this is what equity means, ownership and creation, and stop blocking these communities that are on the margins, Black, indigenous communities from participating in the creation and the stewardship of the world. I think that I want Design to Divest to be that platform that allows Black and indigenous communities to harness their ability to design through their own cultural intelligence, to create and populate the institutions and things in the world that are going to serve our communities.

Maurice Cherry:
Who are some of the people that inspire you?

Azeez Alli-Balogun:
That’s a tough question because I’m typically just inspired by people, in general. I’m inspired by culture, in general. Obviously, I’m inspired by my family, by my parents, aunts, and uncles, especially coming from Nigeria, making a way for themselves as expats into the United States and balancing multiple cultures. I’m also inspired by other designers, other creators, but also other people in other professions. I constantly draw inspiration from economists, from lawyers, from doctors in the way that they approach the work that they do.

Azeez Alli-Balogun:
I can say, as of late, too, I’ve been inspired by people like André Leon Talley and Virgil, who both passed, but seeing the impact that they’ve had. You can see that by the outpouring of support and the outpouring of responses that people have to their passing. To have that level of impact on community, I think, is also something that’s incredibly inspiring to me.

Maurice Cherry:
What advice would you give to somebody that is looking to enter into the design field? Because it sounds like, with your career, you’ve managed to really take that and apply it across a number of different facets of design and, even now, you’re still kind of paying that forward with the work you’re doing in Netflix, but also with this community work through Design to Divest. So if someone’s listening to this and this is inspiring them to want to get into design in some sort of way, what would you tell them?

Azeez Alli-Balogun:
I mean one of the most important things, as a designer, is to be curious. I think that one thing that I would tell people is you just kind of have to do it. There’s so many people who are going to have something to say about whatever it is that you do. It’s also kind of that’s the idea of design is that whenever you design, there’s a difference between art and design in a sense, whereas design is really not meant for yourself. Design is outward. It’s meant to be critiqued by the people that you’ve created it for. So you can’t wait for perfection.

Azeez Alli-Balogun:
I think I would tell people that they have to just go out and do it. But another one of the most important things, too, is that design is a very community-driven profession. I think that it’s not done in isolation. I think that that’s in contrast to the way that we were taught about design. We were always taught about these individual people who are design heroes, whether it’s Dieter Rams or Frank Gehry or whatever. They’re not doing these things alone as individual people. They have a network of people. They’re talking to people.

Azeez Alli-Balogun:
They are influenced by people, and they are finding different people who is inspiring to them to communicate with and also build with. So one of the most important things is to constantly seek out the people who are doing things that you find interesting and try to have a conversation with them and try to build your own communities, because that’s going to be the path forward for you finding the opportunities to design the things that you want to design, to create the things that you want to create and with the people that you want to create.

Azeez Alli-Balogun:
And then lastly, too, I would also say is that you really want to start from a place of purpose. So if you don’t really have a purpose yet or you haven’t identified what that is, definitely just take some time to think about it. As everything, it could be an iteration. Your purpose whenever you were 16 could be different when you’re 24 or 50. But having a sense of purpose and principles to back that purpose then allow you to make decisions a lot easier. It gives you something to filter the opportunities that come your way with something that means something more to you than just existing.

Maurice Cherry:
Where do you see yourself in the next five years? What kind of work would you like to be doing?

Azeez Alli-Balogun:
I’m doing a lot of the work that I want to be doing in combination with Design to Divest and some of the freelance projects that I’ve been working on as well. But I think more of that work, more of the work that I’m doing with Design to Divest, more of the creating the platforms, creating archives and things who are Black and indigenous designers to be able to participate in the creation of the world. Also, I mean I do quite a lot of mentorship.

Azeez Alli-Balogun:
So I’d love to be able to build careers and create more pathways for designers from other marginalized communities, including Black communities and other marginalized communities to have a pathway to create. So I see within the next five years, continuing to grow and scale the impact that I’m able to have on the design community from both a pedagogical, educational standpoint as well as a practice and people standpoint.

Azeez Alli-Balogun:
So when I think about the practice, it’s really illustrating to both the business and design world that you want to be able to take … What it really means to be diverse and to harness diversity for innovation is being able to take the different cultural knowledge systems that exist, where there’s the aboriginal system of knowledge, the African system of knowledge, and being able to apply that to the problems that you’re facing as a society or in your particular company, reframing the problem underneath those systems of knowledge, and then allowing those systems of knowledge to be able to deliver on solutions for you.

Azeez Alli-Balogun:
So doing work that allows me to bring more of those different systems of knowledge and those different diverse perspectives into the creation of things, and then on the people side of just continuing to bring more of those people who are holders of that knowledge, the descendants of African people from different African cultures who hold that knowledge or indigenous people, Native people, and providing a platform for them to use that knowledge that’s been passed down to them to design and create things that make the world a better place.

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

Azeez Alli-Balogun:
Yeah. I try to not be so visible online all the time. They can find me on my Instagram, Azeez_Alli. In the near future, we’ll be releasing a new website for Design to Divest where they can check out some of that work that I’m doing. If anyone wants to chat with me or anything like that, they can always shoot me a message on LinkedIn. I definitely try to respond to people who reach out to me and might not be immediate, but definitely something that I’m open to chatting more and more with people who resonate with some of the things that I’m doing.

Maurice Cherry:
All right. Sounds good. Well, Azeez Alli, I want to thank you so much for coming on the show, one, of course, for telling your story about how you got into design. But I think it’s really important, especially now, as a lot of people are really looking at the work they do and try to figure out how it can make an impact in the world, I think the way that you’re taking your design knowledge and, one, how you’ve been able to apply it to different parts of design, but then, two, also using it in a way to pay it forward to the community is something that is super important.

Maurice Cherry:
I hope that we get to see a lot more of that in the future. So thank you so much for coming on the show. I appreciate it.

Azeez Alli-Balogun:
Yeah. Thank you so much for having me.

Sponsored by Brevity & Wit

Brevity & Wit

Brevity & Wit is a strategy and design firm committed to designing a more inclusive and equitable world.

We accomplish this through graphic design, presentations and workshops around I-D-E-A: inclusion, diversity, equity, and accessibility.

If you’re curious to learn how to combine a passion for I-D-E-A with design, check us out at brevityandwit.com.

Brevity & Wit — creative excellence without the grind.

Sponsored by The State of Black Design Conference

The State of Black Design

Texas State University’s Communication Design Program is excited to announce The State of Black Design Conference, a three day virtual event March 4-6, 2022.

This year’s theme is “family reunion”, and there will be over 50 amazing speakers, including author and educator Jelani Cobb, and world-renowned poet, activist, and educator Nikki Giovanni.

This year debuts the State of Black Design’s Resume Book initiative, so if you’re a Black design student, or you’re a Black designer looking for your next role, then listen up!

You will be able to submit your resume and your portfolio to the Resume Book, along with your institution of study and major if you’re a student, and recruiters and employers will have access to it before the event. If you’re interested and you want to be included in the Resume Book, send your info to blackdesign@txstate.edu with the subject line “Resume Book”. You have until March 3, 2022 to submit.

The State of Black Design Conference is brought to you with the support of the University of Texas at Austin, Universal Pictures Home Entertainment, Microsoft, General Motors, Design for America, Civilla, IDSA, AIGA, and Revision Path.

Visit The State of Black Design Conference website for tickets. Hope to see you there!

Tolu Ajayi

If you’re thinking about getting into product design, then this week’s interview with Tolu Ajayi is just for you! Tolu has made it her mission to help inspire the next generation of product designers, and her passion and energy are infectious.

Our conversation began with Tolu talking about her current work as a product designer, and she told her story about how she transitioned from graphic design to UI/UX, and shared what sparked her to create UI Narrative, a platform and podcast that helps inspire and connect her to the greater design community. She also spoke on the Black women in design who help inspire her, and shared some of her goals for the future. I’m really excited to see just how far Tolu will go!

Sponsor

Facebook Design is a proud sponsor of Revision Path. The Facebook Design community is designing for human needs at unprecedented scale. Across Facebook’s family of apps and new product platforms, multi-disciplinary teams come together to create, build and shape communication experiences in service of the essential, universal human need for connection. To learn more, please visit facebook.design.

Miles Anderson

When I first chatted with Miles Anderson, he said that he’s “just a normal guy who works hard.” But then I heard his story and the growth in his career and well…Miles is no normal guy — he’s extraordinary!

Miles talked about his recent move to Seattle in the midst of the COVID-19 pandemic, starting on the Xbox team at Microsoft, and how he’s getting along during this time. He also spoke about his time at IBM and how it helped him grow as a designer, the power of self-education in tech, and what he would do in his career if failure wasn’t an option. Miles is finally getting the recognition he deserves, and I’m glad to have him on the show to share what he’s doing with you all!

Sponsor

Facebook Design is a proud sponsor of Revision Path. The Facebook Design community is designing for human needs at unprecedented scale. Across Facebook’s family of apps and new product platforms, multi-disciplinary teams come together to create, build and shape communication experiences in service of the essential, universal human need for connection. To learn more, please visit facebook.design.