A Bronx native with Nigerian roots, Olu Alege embodies the true spirit of New York City: grit, self-reliance, and radical honesty. Raised by immigrant parents whose fate was ruled by the ebbs and flows typical of colonized countries, Olu’s personal and professional mission to lower the noise and turn up the voices of his peers began at a young age while attending an afterschool program at High Bridge Life Center.

Spending his afternoons in drama class, learning how to play drums and basketball sheltered him from the challenges affecting his surroundings—almost 40% of High Bridge’s families come from minority backgrounds and live below the poverty line. Being in an environment that promoted creative self-expression allowed him to develop a strong sense of purpose and curiosity. Encouraged by these values, Olu found the confidence to bend the boundaries that often delimit the existence of first-generation kids (he did not become a lawyer, doctor, or engineer) and explore alternative ways of leaving a mark while simultaneously being unapologetically himself. The first entry point was fashion.

“You know, for me...I was just looking for a way to make my dreams become a reality,” recounts Olu via an 8-minute-long audio message that could easily be played as a soundbite at a motivational lecture. “Dressing differently was my way of rebelling as a kid growing up in the Bronx. And, at that time [mid-late 2000s], the creative class wasn’t so segregated; you could easily finesse your way in if you looked the part."

His Uptown charm and unconventional style landed Olu multiple modeling gigs, ultimately cementing his presence within those elite Downtown circles that wrote so much of what we define as underground culture today. But appearing on billboards in Times Square or Sheik Zayed Road in Dubai was not enough for the outspoken creative professional; he needed a platform to speak his mind.

Fortune soon smiled upon Olu. In an unexpected twist of fate, he was invited to join a focus group [1]  led by Ruby Pseudo—a pioneer of ethnographic research—and quickly realized he was sitting on gold: his lived experience was a commodity brands and institutions were willing to pay a premium for. “That was a turning point for me,” Olu reflects. “I finally saw how I could use my knack for creativity juxtaposed with my background to move the needle.” Capitalizing on this revelation, Olu transitioned into the advertising realm, securing roles at prestigious agencies.

However, it wasn’t long before he encountered the ingrained complacency that permeates the advertising world. “No disrespect, but these ad agencies are mostly managed by people who are too comfortable to shake the status quo. They don’t want to rock the boat, they don’t actually want to solve problems. And, maybe, I was too naive and passionate, but working in that environment galvanized me to quit and start my own company,” he says. This frustration with the industry’s reluctance to embrace change and genuine problem-solving was the catalyst that propelled him to establish No Noise, a platform where he could authentically apply his creativity and first-hand experience to make a tangible impact.

If you’re among Olu’s social media followers, you’ve likely witnessed his straightforward and genuine demeanor. His Instagram stories serve as a platform for his introspections, providing insights into his views on contemporary issues and concrete strategies for reform. Olu’s approach eschews vague abstractions and lofty theorizing; instead, his agency, No Noise, aims to profoundly connect with and represent the authentic voices of grassroots communities. These individuals, often the unseen muses of countless branding campaigns and media narratives, are the heart of No Noise’s mission—bringing their stories and perspectives to the forefront, ensuring they’re not just the inspiration but also integral to the storytelling process.

Matter of fact, Olu positions his business as an impact agency dedicated to facilitating the connection between niche communities and brands, helping both parties move in a mutually beneficial way. “I want to get brands to invest in these spaces they claim to champion in their mission statements and marketing decks,” he asserts. “No Noise has evolved from a clear-cut research and insights or strategy service to informing how brands should be interacting with these communities.”

No Noise’s mission is rooted in immersive knowledge rather than a reversed banking model of education [2]  where the observer—in this case, the companies—absorbs information without inviting the subject to be an active part of the process.

Despite the growth in Corporate Responsibility initiatives and the establishment of Diversity & Inclusion roles aimed at diversifying the creative sector, challenges persist. The industry remains notably exclusive, with a dwindling presence of individuals from working-class backgrounds since the 1970s.

“Things sprung up for me because of a lack thereof. I didn’t have the necessary tools or means to go after the job that I wanted early on, so I had to create something out of nothing. Nowadays the term creativity is turning into a hobby for rich kids,” insists Olu from the other side of the phone.

Research [3] conducted in the United States in 2019 indicated that the likelihood of choosing a career in the arts is significantly influenced by the availability of financial backing from family members. The report suggests that for every increase of $10,000 in a family’s overall income, there is approximately a 2% rise in the probability of an individual pursuing a profession in the creative field.

By leaving minorities out of the conversation, we are missing out on talent and beauty. Change needs to be systemic; hierarchies and recruitment processes must shift gears, and power structures must be reimagined. The relationship between decision-makers and audiences has to become more integrated, making space for low-income communities to add to the conversation and have agency over the final outputs. Until then, the disconnect will continue to widen.

“Why is the creative class in the USA represented by a very select number of people with a certain level of education, income, or socioeconomic status?” asks Olu, raising a concept discussed by the late bell hooks in Where We Stand: Class Matters. [4] 

The intention behind No Noise is to exist as a sort of elevator connecting the ground floor—marginalized creatives—to the top floor—the brands—and facilitate their interaction by using a problem-posing methodology [5] . This implies strategic word-of-mouth communication and honest evaluation of the projects worked on. Based in New York, Olu’s venture is a global endeavor made of a capillary network of collaborators with footholds in the most unexpected places.

“We want to represent the underdogs. Those who don’t normally get the chance to have a seat at the table, but beyond that, at No Noise, we want to reconstruct the table to make sure there are enough chairs for everybody to sit down and take part in the discussion,” says the dynamic entrepreneur.

Personal experience rules Olu’s approach to collaboration, using what he learned as a former newcomer to pave the path for the next generation and create opportunities for his peers.

Whether it’s bringing people together to discuss how a generation of event creators can leverage culture to leave a mark in their city through collaboration with Prince Aday’s Irie Sessions for Eventbrite, or working with the popular circular fashion platform Depop to research how financial insecurity affects young entrepreneurs, it is mandatory for each project to trigger a legacy-building chain reaction.

Coming out of the pandemic, a reassessment of what the agency looks and talks like felt like the natural thing to do to continue on the right path. After all, change starts from within. With the reintroduction and rebrand—spearheaded by Katie Ling, the agency's lead designer—of No Noise, Olu ushered in an era of renewed intentionality, ultimately working to incite more creative dreams in people who, like him, may have been historically sidelined.