Insights by NYC Sales and Marketing Intern Emily Upson
What makes a successful Hackathon, you ask?
Had you asked me this a few weeks ago, I would have no idea. Frankly, I wasn’t completely confident in my definition of of a Hackathon. However, as an intern in the NY office of MKTG, I was able to work on my very first Hackathon, and it was awesome.
On July 18-19, MKTG INC produced a Hackathon for our client Warby Parker in partnership with the City of NY Office of Tech and Innovation at Civic Hall in the Flatiron District. The goal was to bring together 100 summer interns from companies in the area to spend a 24 hour period in lock down, solving a technology issue for three non-profits. Basically, a tech-for-good initiative.
As part of the core team, we worked for months for this to come off without a hitch. From venue selection to sponsorship procurement to donation outreach, collateral design, run-of-show, speaker training, intern recruitment, staffing and all the way through to production, it was a huge undertaking.
At kick off around 3pm on Saturday, July 18th, nearly 100 talented tech interns from the NYC area gathered for 24-hours to compete against each other for rewards that went far beyond bragging rights. Unlike my previous interpretation of a hackathon – cracking codes, breach firewalls – these interns used their tech skills and savvy to solve current issues faced by prominent NYC non-profits: Blue Ridge Labs, NYC Department of Homeless Services, and Donorschoose.org.
Although these interns were working tirelessly throughout the night, this isn’t to say they weren’t having fun, and they definitely weren’t going hungry. Participants could blow off steam by playing foosball or ping-pong, flying mini drones, and solving Rubik’s cubes, while consistent bouts of meals – a boatload (like hundreds and hundreds of tubs) of delicious Tribe Hummus of every variety, jars upon jars of candy, mountains of food, and of course #HudsonHack gear and toys kept them on their toes.
After hours of hard work, 24 to be exact, each team of 3-4 interns presented their final pitches to a panel of impressive judges including Minerva Tantoco, NYC’s Chief Technology Officer; Shelley Leibowitz, Board of Directors of E*TRADE and former CIO of Morgan Stanley and World Bank; and Alan Wade, Board of Trustees of The Aerospace Corporation and former CIO of the CIA.
The teams were judged on multiple aspects of their presented solutions, the most important factor being social innovation that solves an issue for the the greatest good. For example, one team developed an interactive map that showed where specific donations have the most impact, to an app that allows families to find safe educational events for their children during the summer break. In the end, the riseUP app won for incentivizing donations from diners and participating NYC restaurants to aid homeless shelters and kitchens in the area.
Overall, it was a ton of work but such an incredible experience. And working with a brand like Warby Parker was so much fun. It’s an amazing company with a cool culture that I really enjoyed being part of. Thanks to MKTG for this great opportunity I always remember fondly. What a great summer this has been!
Our very own Caitlin Buggy from MKTG’s New York (and sometimes San Francisco) office spent a few days last week at Vidcon. Check out her impressions below. Enjoy!
For those of you who don’t speak teen, Vidcon was started in 2010 by Hank and John Green, two brother otherwise known as the “Vlogbrothers” (John Green is also moderately well-known for having written ‘The Fault in Our Stars’ and ‘Paper Towns’) as an event for YouTube personalities meet their fans and communities. It began as maybe 1,000 people in a basement at the Hyatt Regency in Century City, and is now a multi-day event at the Anaheim Convention Center with around 30,000 ticketed attendees.
VidCon in 2015 looks like a part of the Internet that we, in the 20+ demographic, rarely see. Tickets are broken into 3 tiers: Community (the majority of attendees, which would get you access to Creator panels and entertainment, as well as the Expo Floor where you may run into your favorite Vine star and get a selfie), Creator (evaluated by the numbers of subscriptions your channel or account has [I believe the benchmark was 10,000], and granted access to creator-only panels), and Industry (self-explanatory, and includes press). The median ages of Community was probably 17 years old, Industry was 32, and Creator was all over the map.
You could tell that this year was the most biggest and most commercial year yet – teens were everywhere, though they didn’t exactly know what to do with the Jimmy Kimmel booth on the Expo floor. Kia, NBC Universal, PBS, Nickleodeon, and Cover Girl all had equal presences on the Expo Floor as Maker Studios, Fail Army, Instagram, TRIXIN, and Vessel, or more traditional digital platforms.
Brands are paying more attention to VidCon because the teens (or their parents) are spending a ton of money to meet and support their digital video idols. Community passes started at $100, and the main theme running throughout the Industry and Creator panels is ‘how do we leverage this audience in the future’. Creator panels included seminars on how to read contracts and leveraging analytics tools, and the Industry track featured talks from Jim Lanzone, CEO of CBS Interactive and Baljeet Singh, Head of TV & Video at Twitter, both of whom focused on the amazing growth they’ve recognized in digital video and how it will only continue to grow in the future as the current early adopter generation (TEENS!) ages and becomes more sophisticated in their content-viewing habits.
Our friends at YouTube are at the head of this trend, and Susan Wojcicki’s keynote (that MKTG had a hand in) emphasized their growth, a new mobile app, new creator tools in development, and the fastest creator revenue growth they’ve ever had. And their creators are making a ton of money – the week before VidCon and before he was featured on the cover of Variety, PewDiePie released a(n uncharacteristically un-shout-y) video addressing the reports that he made $7million off of his videos last year. PewDiePie has gotten too big to attend something like VidCon, but digital video stars of that level like Grace Helbig, GloZell, the Vlogbrothers, and Tyler Oakley drew huge screaming crowds at all of their appearances, and they were all plugging something other than their videos (Electra Woman & Dyna Girl, interviewing Obama, Paper Towns, and a new book, respectively). These creators support each other through their videos and through their MCN’s, but their audiences are distinct, passionate, and are eager for more inroads to these creators that they feel they know intimately. Imagine the Spice Girls in 1997 or the Beatles in 1965, except the fans feel closely connected from the constant stream of videos and sharing.
So this was a long post, but I think only touched the surface of VidCon! It was definitely a fascinating experience that I really think is only going to grow in the coming years (someone online described it as SXSW in 2006). As long as there are teens, there will be VidCon.
Marriott has signed a deal making it the official hotel partner of the NBA, specifically for several jewel events, beginning with this weekend’s NBA Africa Game and also including the NBA Global Games 2015-16 and NBA Canada Series 2015.
The NBA said that Marriott would be the first company to align with the NBA across international games on five different continents.
Marriott International said it has more than 4,200 properties in 80 countries and territories. The company reported revenues of nearly $14 billion in fiscal year 2014.
“Basketball is one of the most popular sports in the world, and our partnership with the NBA gives us an opportunity to tap into a passionate fan base and communicate the breadth and depth of our portfolio,” Karin Timpone, global marketing officer for Marriott International, said in a statement. “Similar to what we are doing with music and entertainment, our NBA partnership helps us create memorable experiences for our Rewards members and amplify the benefits of the program for both new and loyal guests.”
Bethesda, MD.-based Marriott International plans to support the union with multi-platform activations, including a sweepstakes for Marriott Rewards members in the U.S. offering the opportunity to win a trip and tickets to an upcoming NBA global event.
Marriott Rewards will host a series of private meet-and-greets with NBA legends and players for its Elite members and invite fans to take a virtual trip via an #AroundTheWorld photo and social sharing experience. That will begin with the inaugural NBA Africa Game on Aug. 1 in Johannesburg, South Africa.
Other marketing partners involved with the NBA Africa Game include Nike, Ford, South African Airways and telecom company Econet Global.
Marriott International said it would then offer Marriott Rewards members exclusive access to NBA games and events in 11 other cities across Brazil, Canada, China, Italy, Mexico, Spain and the U.K.
All but two of the games are part of the NBA’s pre-season exhibition schedule. The two games that are part of the 2015-16 regular season are Boston Celtics vs. Sacramento Kings in Mexico City Arena (Dec. 3) and Orlando Magic vs. Toronto Raptors in London’s The O2 (Jan. 14).
According to Emilio Collins, NBA evp-global marketing partnerships, “For our fans around the world, there is no opportunity more exciting than when live NBA games are played in their home countries. Marriott International is a renowned brand with extensive global operations, and is the ideal partner to help broaden the reach of our games and engage more fans.”
Marriott International operates and franchises hotels and licenses vacation ownership resorts under 19 brands, including: Marriott Hotels, The Ritz-Carlton, JW Marriott, Moxy Hotels, Courtyard and Residence Inn.
Source: NY Sports Journalism
Dentsu has acquired the Olympic media rights to the 2018, 2020, 2022 and 2024 Olympic Games for 22 Asian countries, the Tokyo-based ad-marketing holding company confirmed this week. The rights acquired cover all media platforms including TV, radio and the Internet.
The countries include Taiwan, Hong Kong, Singapore, Afghanistan, Indonesia, Iran, Thailand and others. Earlier, the company acquired similar rights for the same countries to the upcoming Summer Games in Rio de Janeiro.
Typically after acquiring rights, Dentsu resells them to local broadcasters with packages that also include advertising sponsors.
In addition to the Olympics, Dentsu has made other recent forays into the sports arena. In May it agreed to acquire a one-third stake in Laguna Hills, CA-based sports agency Athletes First for $16.5 million.
It also controls both MKTG and Team Epic (via Dentsu Aegis Network), which specialize in sports sponsorships and event marketing for clients including Nike, IBM and FedEx.
Earlier this year, Dentsu was selected as the agency of record for the Tokyo Summer Olympics (2020) and Paralympic Games.
The 2018 Winter Games are set for PyeongChang, Republic of Korea. Sites for the 2022 Winter Games and 2024 Summer Olympics are yet to be determined. Earlier this week the city of Boston withdrew its bid for the 2024 games after organizers determined that a majority of residents were not willing to support the effort.
MKTG INC is proud to be an official partner and supporter of the Beyond Sport United 2015 conference.
This morning on the floor of the Prudential Center, 500 sports and philanthropy executives gathered for Beyond Sport United 2015. Supported by MKTG INC and backed by US Major Leagues MLB, MLS, NBA, NFL, NHL and WNBA, the summit brings together the most powerful sport-led, social innovators and global leaders to discuss how sports teams and leagues can drive positive social change both locally and globally.
This article is by Nigel Morris, CEO of Dentsu Aegis Network Americas & EMEA.
This summer something profound is happening in the economy, with around $30 billion of media and marketing services in review simultaneously from many of the world’s biggest companies. This is because soon we will look back on 2014 as the year the digital economy became dominant.
Where previously digital businesses had to fit into an analog economy defined by the dynamics of the 20th Century, established businesses must now fit into a digital one.
This has accelerated the pace of start-up entrants in almost every sector. They are leveraging the digital economy’s dynamics and lack of legacy in the old model, and threaten to take down some of the world’s strongest global companies. Near-perfect competition is creating huge opportunities and disrupting almost every business sector – as well as society and culture.
How fundamentally different is this digital economy?
Consider that in January a San Francisco-based grocery delivery startup, Instacart, raised $220 million with a pitch to investors that was, in short: We have nothing. Instacart CEO Apoorva Mehta told The New York Times, “We don’t hold inventory, we don’t own warehouses, we don’t own trucks. The changes we make are software changes.”
But companies such as these do have something very valuable: people.
The reason startups such as Airbnb and Uber have become so disruptive so rapidly without traditional sources of competitive advantage is that they’re designed to take advantage of the connected infrastructure of the digital economy.
They don’t just have a base of customers or consumers that can be defined by a share of market; they have scaled networks of connected people. These networks match demand and supply, an important step toward perfect competition and a big reason the digital economy is so different and disruptive.
Another important way of thinking about this is that they are “Audience Businesses;” only the audiences are dynamic, rapidly growing and the source of the asset values of everyone from Facebook to Nextdoor. And with every action their customers take, they learn more about them and what they need or want.
In a digital economy, value is created through networks of connected people. They form with or without a company’s involvement, primarily through social channels and digital media, where the vast majority of contact between companies and their customers is migrating. Already these networks have changed the relationship between consumers and brands. The opportunity now they need to be activated at scale by established organizations and become core to the way they operate. Primarily through their brands, they must become “audience”—a core business discipline treated now as a passive group of people to market to, but an organic asset to be nurtured, activated and monetized.
As digital media and data grow more important, marketing is also transformed to become the sensor of the organization and critical to the success of the whole business.
As the regional president of a Fortune 100 company said at one of our recent Innovation Summits: “Marketing is way too important to just leave to the marketing team.”
Smart businesses will move away from existing marketing and research methodologies and instead listen to the data, which powers the sensor and enables the organization to respond. Companies will be able to deliver products, services and communication that people want, not simply sell them what has been produced, enabling them to be much more resource-efficient, which is not only good for the bottom line but for society as a whole. This is a real potential benefit of the digital economy and a fresh narrative on the issue of data.
Click here to read the rest of the story!
*Article originally posted by www.forbes.com
A team from MKTG INC recently traveled to the Cannes Lions International Festival of Creativity. The festival is the annual mecca for the global marketing communications industry, with the most powerful brands, media outlets, agencies of all kinds (advertising, PR, experiential, digital, technology, data, social, mobile, creative, and many many others) – approximately 15,000 people, flocking to Cannes to network, to visit brand experiences, to close major deals, to learn, to meet a lot of people, and in many cases take home some hardware.
Sure, the setting is seriously glorious, but it is honestly a beast of a week. Think Sundance or CES…at the beach…in the South of France, in the summer. You are running, watching a panel on a rooftop in 85 degree heat, then running into a freezing cold conference room and back again, and grabbing food along the way, usually until sundown when things slow up a bit.
Luckily, my friend Julie Thompson, a 16-year Cannes Lions veteran, wrote this hugely insightful article for Adweek, that I used as gospel to make sure I made the most of my four days in Cannes. Even with Julie’s help, I still overbooked myself, but not complaining.
Between the client and press meetings at our home base, the Dentsu Aegis Beach House, panels, Q&As, creative showcases, press sit-downs, more panels from Adweek, Medialink, digiday, LinkedIn and visits to Google Beach, Facebook’s Hacker Square, and my favorite stop, The Girls Lounge, I averaged 22,000 steps a day according to my trusty companion, my FitBit.
Anyway, rather than yarn on, I figured I’d share with you some photos I snapped along the way:
While we are sad to leave our first home in Chelsea Market, we are excited to finally move into our new home located at 32 Avenue of the Americas! Check out the video below for a sneak peek of our exciting journey!
As the culture of hip-hop continues to evolve, the lines continue to be blurred between rap music, fashion, and art. Whereas rap artists once boasted about having the biggest platinum chains or having the most Lamborghinis in their driveways, today, rappers are less interested in expressing their status through possessions and are more interested in being defined by their taste-levels. This change in culture has caused a collision between hip-hop and high-end contemporary art.
Take Jay-Z who shot “Picasso Baby: A Performance Art Film” (2013) at the Pace Gallery in NYC or Kanye West who promoted his 2013 album Yeezus by projecting visuals onto 66 art and fashion buildings around the world. It’s undeniable that hip-hop has developed a soft spot for an industry that would once be considered an oxymoron to the culture. What’s even more interesting is that the high-end art/fashion world once discounted rappers as genuine artists or tastemakers, but now they’ve seem to embrace hip-hop artists, seating them front row at premier events and partnering with them for various projects.
Recently, Drake and the Sotheby’s Museum in NYC followed suit to create an experience around an exhibition of contemporary black art. Drake curated a soundtrack for the exhibit, which ran from April 28th-June 12th.
In an interview with Sotheby’s Drake says: I wanted to be the bridge between this institution that’s held in the highest regard and kids who are into music. My goal was to try and make both world’s not seem so distant”. As a “kid” (or a 25-year old kid) who’s into hip-hop and pop-music, I was beyond excited when I got a chance to catch the exhibit on its last day. I was also intimidated because I was originally one of those people who thought of those worlds as distant. However, by the end of my experience, those sentiments changed drastically.
I walked in expecting to see pretentious paintings that made no sense and a tour guide spanking my hands telling me not touch anything. It was quite opposite. The staff was more than willing to direct me to the S2 gallery and when I entered it was free reign. There were other people my age walking around checking out the sounds and sights of the exhibit and Sotheby’s staff more than willing to answer their questions, but never overbearing.
I started my journey and wondered how the “playlist thing” would work. I then noticed that each station at the exhibit came with a pair of Beats and an iPad that played the song that went with the painting/sculpture. I went to my first station and immediately had a more unique connection to the art being that there was an audio component. As, I immersed myself in the visuals of Jean-Michel Basquiat and Romare Bearden and grooved to the rhythms of Rihanna and The Weeknd, it was an experience much like watching a good music video for the first time. You hear these songs and see the stories that directors created for them, but attending this exhibit, you see the stories that Drake visualized for these paintings through music.
Furthermore, Sotheby’s, an institution that’s usually thought of in a high regard, showed that it could put together an experience for both tastemakers and millenials, encouraging visitors to “tweet or instagram @sothebys #S2xDrake with your song of choice” for the different works in the exhibit.
All in all, I got to establish a newfound connection with some amazing contemporary pieces from acclaimed visual artists while also finding a few new songs for my iTunes library. The experience demonstrated how hip-hop’s love affair with contemporary art may be due in part to the fact that hip-hop is an art form within itself. From a bigger picture, this shows that instead of highlighting what makes our worlds different, we gain much greater experiences when two similar worlds bond and see that they’re not so different afterall.
— Emily Upson
We have all heard daunting tales of pointless internships, where interns are relegated solely to making copies and getting coffee while constantly asking themselves “Is it 5 o’clock yet?” But in my six weeks as an intern at MKTG INC, I have yet to get anybody coffee; in fact, I’ve had full-time employees offering to get me coffee on their run downstairs. We even have a “coffee talk” program, where each intern is given a Starbucks card (being the broke college student that I am, this is huge), as well as the opportunity to invite any employee in the company to coffee for a chat. Even though I am an intern in the Sales and Marketing department, I have had the chance to sit down with Tim Owens, VP, Production to pick his brain about another part of the industry that piques my interest.
If you ask any of the 12 MKTG summer interns in NY, Chicago, Atlanta and San Francisco about their typical day, the answers would be universal: there’s no such thing as a typical day.
We are in and out of the office, attending meetings and events, performing research, and even getting our hands dirty in the event production aspect of the industry. However, this isn’t to say we haven’t done our share of invoices and expense reports.
Many of the eight New York interns have spent recent weeks working on the Warby Parker Hackathon, a project MKTG INC is producing pro-bono in partnership with Warby Parker and the City of New York.
The Warby Parker Hackathon, called #HudsonHack, will host over 200 tech interns in New York City, and students will compete for 24 hours to come up with innovative solutions for several local nonprofit organizations. Our MKTG interns have been working in-and-out of their usual departments to help put on this event. Intern Stasean has been with the project since the brainstorming phase, working alongside the Strategy & Planning team to come up with ideas for sponsorships and activations within the event. The opportunity to meet so many members of the Warby Parker team and regularly visit their offices has allowed our interns to “really build a connection with the brand,” says Stasean. Meanwhile creative intern Lauren has had weekly trips to WP HQ to work with their design team. Julia and I have also tagged along, developing the event’s social media plan, recruiting intern participants, and helping with sponsorship outreach.
MKTG’s remaining summer interns have also worked on Diageo projects such as Chrissy’s work on Smirnoff’s NYC Pride Parade activation, and Julia and Melissa’s slew of Nike summer training events, even previewing not-yet-public classes and interacting with Nike trainers and clients.
More intern updates to come as our MKTG keep us all busy!