Jef Loeb

Are you prepared to get fired? You should be. This week, here in the SF Bay Area, media watchers are buzzing about some high-profile sports radio announcers who got the axe, unexpectedly. Including a guy who’d been on the air for 28 years and, arguably, help build the station. The economics of legacy media are a $#!& show, so cuts are hardly a surprise. But when big-name talent with highly-rated shows aren’t safe, it’s a good reminder that the nobody has job security. Even if everything seems rosy with your current gig, you should take steps to prepare yourself for your next one. Four tips: → Get your site together. Regardless of what you do, you should have a “portfolio site.” More than a resume, it’s a site that collects achievements and shows your work. (Non-creative types, you should have site/portfolio, too!) Grab copies of your work, decks, and performance metrics NOW before you lose access to the server. Don’t wait until you need it; build now and maintain as you go. → Build your personal brand. (I know, it’s cringe. But it’s the way of the world.) You don’t have to be a prolific LinkedIn poster, but you need to consider who you are professionally and what value you bring to the table. Find avenues to demonstrate that value. Identify 3-4 ways a year you can “get out there” and show your stuff. Maybe that’s creating your own projects, sharing work on your social channels, writing an article, speaking at a conference, starting a side hustle. → ABCYN. Always Be Cultivating Your Network. You don’t have to do this in a sleazy sales-y sort of way, but you’re going to NEED the help of your connections at various points of your career. So make those connections. Grab coffee. Drop notes. Congratulate people when you see them do something awesome. Offer help to others. Be genuine, but make an effort to reach out. → Take the interview. Even if you love your job, you should always see what’s out there and keep your options open. It’s helps keep your interview chops sharp and it helps you understand your current value in the marketplace. You don’t have to lead ‘em on—if you’re not a serious candidate after the first meeting, you can withdraw your name. It's still worth it. “But I’m super busy with projects for my current employer. I don’t have time for all this.” YOUR career is at least as important as the work you’re doing for somebody else. Invest some time in yourself. Don’t wait for that unexpected meeting with your manager and HR to pop onto your calendar before you get your act together. P.S. Seriously, if you don't have an up-to-date portfolio site, do SOMETHING today to move the ball forward. Buy the URL. Write down the 2-3 projects you'd want to include. Pull the assets off the server that you'll need. Take a micro-step toward taking charge of your career. Do it!

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Why did WPP and Cannes invite Elon Musk to speak at Cannes? Musk has shown nothing but contempt for the advertising industry, expressed racist views, peddled dangerous conspiracy theories, and allowed hate speech and disinformation to run amok on the website formerly known as Twitter. At the beginning of their discussion, Read lamely said that he “didn’t agree with Elon on everything” which is about as hard-hitting as it got. You can watch the whole painful interview, which consists entirely of Read lobbing softball after softball to Musk, on YouTube. Here's the thing. If you’re going to put a malign figure like Musk on a stage—especially if you lead a company that claims to value diversity—you should hold him to account. So these are 10 questions Read should've asked. 1.       You wrote that “DEI is just another word for racism.” I couldn’t disagree more, and at WPP, we are strong proponents of DEI, and have invested heavily in it. Why do you believe it’s racist? 2.       Regarding DEI programs, you also wrote, “It will take an airplane crashing and killing hundreds of people for them to change this crazy policy of DIE [sic].” What evidence do you have that DEI initiatives make airline travel less safe? 3.       Your post about airline safety was a reply to a post that claimed, without evidence, that Black HBCU graduates have low IQs (“borderline intellectual impairment”). Do you think your amplification of racist views like that is responsible? 4.       Since Tesla is currently being sued both by the US Equal Opportunity Commission and by 200 Black employees for racial discrimination, don’t you think your company would benefit from more diverse representation and perspectives? 5.       You accused the Anti-Defamation League (ADL), one of the world’s most well-regarded organizations committed to fighting hatred—and one we have supported at WPP— of being “the biggest generators of anti-Semitism” on X. What is the evidence that this is true? 6.       You agreed with a post that said Jewish people hold a “dialectical hatred” of white people, writing, “You have said the actual truth.” Why did you agree with that? 7.       You posted a video that promoted "the great replacement" theory, writing "This is actually happening!" Can you explain that? 8.       You often claim you are a “free speech absolutist.” But according to Bloomberg, you ordered a team to search Twitter employees’ Slack and social media postings and fired those who made “snarky comments” about you. How do you square that? 9.       Multiple independent studies, including by the EU, the ADL, the Center for Countering Digital Hate, and Montclair State University have shown that hate speech and disinformation on X have increased dramatically since you bought the company. Why has that happened? 10. Why should brands advertise on X when the CEO amplifies content that almost no brands want to be associated with? #CannesLions2024 #WPP #Advertising #X

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Lately, I’ve been overwhelmed by public challenges and private grief that have been difficult to manage. I recently submitted an op-ed to the Daily Bruin, detailing the unfair treatment and lack of opportunity I experienced as a MFA film student at UCLA and thereafter. My hope is to highlight the uphill battles I’ve faced since completing my degree—battles that have continued long after leaving UCLA. Despite my qualifications and experience as a screenwriter and longtime member of the Writers Guild, I’ve struggled to secure meaningful employment in academia. During my time there, I encountered a system that undermined rather than uplifted minority voices. I’m optimistic that this op-ed will open a dialogue on these issues and encourage greater transparency in faculty hiring. Meanwhile, I’m also addressing another battle with Glendale Water and Power (GWP). Sky-high rates and unaccountable increases have created a financial burden that forces tough choices. I’ve had to rely on credit just to keep up with the electricity bill, all while seeing little transparency from the city council. The latest rate hikes have made it nearly impossible for residents to manage their utility bills. To top it off, Assemblywoman Friedman’s office has dismissed my concerns, reinforcing outdated stereotypes rather than addressing a tax-paying constituent with legitimate grievances. I’ve felt dismissed as an “illiterate Latina,” reminding me of the bias that still exists in supposedly progressive spaces. Adding to these challenges, I recently faced a deep personal loss. My beloved schnauzer, Cato, passed away at 14, and I miss him intensely every day. I still have two small dogs, Tullia (Cato’s daughter) and Clementine, and while they bring me comfort, nothing can replace the bond I shared with Cato. His passing on September 11 came at a particularly overwhelming time, adding to the grief and exhaustion I felt from these struggles. There are moments when I catch myself calling him for breakfast, only to realize he’s no longer here. Then, there are the frustrating hiring practices at CSUN, where I’ve applied for a faculty position for over a decade, only to face a process that feels impenetrable. Despite my extensive experience, I haven’t been able to secure an interview. I see this as another symptom of a system that overlooks qualified candidates while claiming to support diversity and inclusion. These issues—dealing with GWP, advocating for fairness at UCLA, navigating the pain of losing Cato, and confronting closed doors at CSUN—have left me feeling drained. Yet, I’m grateful to see my words finally finding an audience. My hope is that bringing these issues to light will relieve some burdens I’ve carried alone for too long and perhaps spark change in the systems that have, for too long, remained unaccountable.

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OK public affairs advertisers and agencies, it's time to have a conversation about how to influence the President. Here's what won't work but will definitely come up in conversation (they did last go-around): Spot buys on Fox & Friends in DC because that's where Trump gets his news. Or, going up on X and making a big to-do about it as a bank shot through Musk. You could get lucky, but this is a misguided approach for a number of reasons: 💭 Anyone who presumes to predict how President Trump will react to an ad or when he's truly paying attention is wrong. 📱 The media environment, including Trump's bubble, have undoubtedly changed since 2017. The channels are far more diverse and far more online than they were. 💡 Unless you've got a true zinger that will stoke some sort of visceral response (which most public affairs advertisers are reticent to produce), the amount of advertising you need to do persuade ANY individual requires a more mixed approach. 🏛️ Decision making happens among a much more diverse set of stakeholders. This is where your audience mapping makes a difference. Yes, President Trump was known to erratically weigh in on issues in his first administration. But banking your advertising strategy on that is a losing scenario -- and will have you pulling your hair out! If you're planning to advertise, even if it's just a notional possibility, now is the time to talk strategically about who your stakeholders are (which could include the President) and how advertising can best complement your influence program aimed at them.

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Sometimes in life, you’re right on time. 😃This is why, when we started down the road to create our IBC - International Broadcasting Convention Accelerator Project: ‘Digital Replicas and Talent ID: Provenance, Verification and New Automated Workflows’ - that we knew we had the chance to articulate a solution for a very real problem: fraudulent deepfakes and unauthorized usages of Name, Image, Likeness, and Voice (NILV) of public figures. Through legislation moves like these two bills, the stage is set for the industry to come together and work out the systems and methods of protecting talent with the “4 C’s” of Consent, Control, Credit, and Compensation.

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🔈 Thursday Thoughts: Demystifying How to Pitch to Local Media I recently secured coverage with several major local San Francisco Bay Area-based media outlets. Here's what I observed: 💡 No RSVPs: Broadcast media, such as TV and radio, tend not to RSVP to events. They just show up! 💡 Relationships Matter: It's crucial to have direct contact with assignment editors and individual reporters. While this sounds like common sense, I often see many (especially tech PR specialists) pitching irrelevant news to random reporters. 💡 Early Risers: Pitches need to go out early in the morning—sometimes as early as 4 am—to capture the attention of assignment editors, especially in broadcast media. 💡 Be a Producer: Due to newsroom budget cuts, the cameraman may also act as the reporter onsite. As a PR pro, you need to act as a producer and help shape the story. Amateur PR specialists often just stand by and watch the interview happen. I've seen this many times. They should be able to line up interviewees and provide background information to help shape the story. 💡 Cultural Competency: I often see PR 'pros" treat journalists who are people of color like second-class citizens. The journalists notice and remember this treatment. I've had several off-the-record conversations with POC journalists in mainstream media who have declined pitches from major PR agencies because of their attitude. 💡 Kindness Matters: Thank everyone after the interview is done. I take care of my journalists when they're onsite—I make sure they are fed and hydrated. 💡 Mass Email: Good news! Local media is open to mass pitches. However, make sure you include the right reporters and conduct one-on-one follow-ups. Entertainment, political, and community press are okay with mass pitches. However, do NOT do this with the tech press—you will end up on the naughty list. 💡 Hire Local: Local media outlets are not fans of big national agencies pitching local stories. It can come across as inauthentic. I recommend bringing on a regional PR specialist to help you navigate the local nuances. #PR #MediaRelations #MediaStrategy

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MARTIN GROVE'S HOLLYWOOD REPORT FOR 5/19/24: IF looked a little iffy Friday, but strong Saturday matinees for the family appeal comedy starring Ryan Reynolds boosted its opening to $35M.     Hollywood handicappers had been overly exuberant with $40-45M projections, so Saturday morning estimates of $30M made for unhappy headlines. What wasn't taken into account was that families don't go to Friday matinees. They turn up Saturday & Sunday afternoons -- so IF's total could kick up some more when the final numbers are in.   Reynolds' superstar luster and his hard work promoting IF are key factors in getting it open this well and positioning the John Krasinski written & directed film to play into the summer. Paramount's solid marketing campaign also worked to achieve what's a decent launch in a marketplace that will take years to recover from the 2023 strikes the AMPTP allowed to drag on.   Too much has been made of IF's miserable 49% critics score on Rotten Tomatoes. What's much more important is RT's audience score of 87%, which indicates favorable word of mouth.     Driven by IF & KINGDOM OF THE PLANET OF THE APES, the overall marketplace, per Comscore Senior Media Analyst Paul Dergarabedian, totaled $98.989M, up1.6 % from the prior weekend, but down 20% vs. this time last year. Comscore's year to date tally has 2024 at $2.43B, down 21% from $3.08B in 2023. Last weekend, 2024 was down 22% vs. 2023.   Meanwhile, back at the multiplexes: Paramount/Maximum Effort's PG family film IF was #1 with $35M at 4,041 theatres ($8.661). It's done $24M internationally, per Comscore, for a worldwide cume of $59M. IF reportedly cost $110M to produce. It's tracking best for first choice with under-25 women (nine points over norm) and next best with women over 25 (six points over norm).   Disney/20th Century's KINGDOM OF THE PLANET OF THE APES was #2 in weekend two with $26M (-55%) at 4,075 theatres ($6,380). It reportedly cost $160M to produce and has done $101.2M domestic and $237.5M worldwide.   Lionsgate's R rated horror thriller "THE STRANGERS: CHAPTER 1" opened #3 to $12M at 2,856 theatres ($4,202). It reportedly cost just $8.5M to produce and is tracking best for first choice with women under 25 (two points over norm). RT critics are a dreadful 14% and audiences are a dead 41%.   As for next weekend's wide releases: WB's R rated sci-fi action adventure FURIOSA: A MAD MAX SAGA could raise boxoffice temps with $40-50M, per analysts, at about 3,700 theatres. RT critics are cheering at 85%. It's tracking best for first choice with men over 25 (five points over norm).   Sony/Alcon Entertainment's PG animated comedy adventure THE GARFIELD MOVIE could do $35M, per Hollywood handicappers, at about 3,700 theatres. RT critics are a blah 73%. It's tracking best for first choice with women under 25 (five points over norm).   #movies #boxoffice #martingrove #if              

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My Journey: The Pursuit of Credibility and Reality I thought UCLA would be a crucial stepping stone in my pursuit of credibility as a Latina screenwriter. With years of hard work and some excellent credits in the industry, I believed an MFA in Film, TV, and Digital Media would validate my experience and allow me to teach in a university setting what I knew firsthand as an accredited professional writer. Enrolling was fueled by hope; I envisioned a collaborative, nurturing environment filled with colleagues who had industry experience like mine. Instead, I found myself in a program marked by favoritism, mediocrity, and a lack of resources. Professors, wrapped in their own sense of entitlement, spent more time tooting their own horns than mentoring aspiring filmmakers. The result? My work went unsupported and unnoticed, leaving me feeling alienated in a space where I thought I would find community. Graduating with my MFA brought a wave of profound disappointment. I emerged without the professional confidence I once had and—worse still—unemployed. The degree that was supposed to open doors felt like an expensive piece of paper that did little to advance my career. After years of struggling with the fallout from this experience, I reached out to the Department of Education to share how UCLA’s failure to deliver on its promises had detrimental effects on my career. Ultimately, my loans were discharged due to "university misconduct." However, this small victory left me grappling with lingering questions: Where did this leave me, and how would I move forward? Through this process, I realized my journey wasn’t about seeking validation from an institution; it was about reclaiming my narrative. While UCLA failed to provide the credibility I sought, I refused to let it define my worth. I’m carving my own path, driven by the stories only I can tell. My journey continues—authentic, unapologetic, and on my terms—as I remain dedicated to teaching in a university setting, eager to share the lessons I’ve learned along the way and empower future storytellers with the knowledge I gained through years of hard work and experience in the industry.

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This is such a great post by Shelly Palmer. I really love both of his observations on these unrelated articles and the space we are entering. If you have been a part of any of my keynotes, presentations, or AI Masterclass Training, you have heard me discuss these issues regarding deep fakes and misrepresentation. Take a look at and I am curious your thoughts. #highered #highereducation #higheredmarketing #generativeai

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Testing Gemini. I wanted to compare the answer to Chat GPT. This answer included suggestions. "Why are so many creatives and producers unemployed right now?" There are a couple of factors contributing to unemployment among creatives and producers: * **Economic Downturn:** A looming recession or economic uncertainty often leads companies to tighten their budgets. Advertising and marketing expenses are often among the first to be cut. This means fewer projects for creative agencies and production houses, leading to layoffs. * **Shifting Priorities:** Even without a recession, companies might re-evaluate their marketing strategies. With the rise of programmatic marketing ([what is programmatic marketing]), some businesses might be focusing their budgets on more data-driven online advertising, reducing the need for traditional commercials. * **Project Completion:** As mentioned earlier, there was a surge in film production in 2021 and 2022 to catch up on pandemic delays. This could lead to a temporary lull in new projects this year, leaving creatives and producers in between jobs. **Here's the breakdown:** * **Discretionary Spending:** Creative fields are often seen as discretionary expenses. When companies cut back, creative projects are often the first to go. * **Competition:** The creative industry is very competitive. Even in good times, there can be more qualified people than available jobs. Economic downturns can exacerbate this competition. **Upskilling and Adapting:** While the current situation might be challenging, there are ways for creatives and producers to adapt: * **Embrace New Technologies:** Understanding programmatic marketing and data-driven advertising can be valuable for creatives who want to stay relevant. * **Develop Side Hustles:** Freelancing platforms and online marketplaces can provide opportunities for creatives to find work outside of traditional agencies. * **Network and Build Relationships:** Having a strong network can be crucial for finding new opportunities, especially during tough times. The good news is that creativity is always in demand. By staying informed, adaptable, and connected, creatives and producers can navigate challenges and find success. #AI #production #advertising

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I speak with strategists, lots of them, most days, most of the day. The consensus is as we approach a seismic event in the U.S. next week, is that a performance-oriented focus has seriously wounded the appetite for great strategic thinking. That's certainly borne out through job losses that I'm aware of over the last year. Yes, the media and advertising industry is in the midst of structural change. This will continue for a few more years. And yes, there is a pressure on the C-Suite to make those numbers, so if the business emphasizes annual bonuses, of course decision making emphasizes a more transactional approach both brand and agency-side. The good news - As well as an industry facing structural change we have all been on the wrong end of an economic cycle. The good news, high inflation and interest rates are heading in the right direction and coming into 2025 as rates start to come down, as the tide comes in, all boats will rise, getting work should be relatively easier. The Really Good News/Endless Opportunity For Strategists Each week I hear about new examples of agency strategists either building completely new businesses from scratch or working for start-ups, non-profits or brand-side. Many of you have fear that your skills are not transferable and so beyond the agency business your opportunities limited. This is not true. Absolutely wrong. You might not have the same title; You might not use all the skills you've used, day-to-day, but your skills, as long as you can communicate the value they deliver, will always be needed. I ask you, what business new or existing, doesn't require expertise either to identify and connect with a target audience? Yes, I hear you mention 'technology!' Yes, it can do a lot and no doubt will much more! My belief is that as important as data is, while we are trying to understand and influence the behaviour of audiences that are human, the best understanding and work (even if it costs more) will always come from an 'emphasis' on human engagement. The possibilities for smart strategists are endless. This is why I'm optimistic.

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"Neglecting measurement is like working ineffectively. If you can't show results, it's hard to justify continuing." Amen to that. Top article from Wavemaker that highlights some myths worth busting: 1) Does measurement stifle creativity? Not if you're measuring emotions. As my colleague Barney Worfolk Smith 🦩 likes to quote, the goal is 'just move me, dude'. We are helping brands understand that emotions felt at a high level moves the consumer to do something because the content becomes sticky, it creates a memory, and that memory creates the desired outcome. And yes, that's the same for B2B. 2) It's just for hero content. It used to be because testing was expensive. But the hero is the tip of the iceberg of what we test today because the model has changed. What used to cost thousands per asset to test is now a fraction of that. This means we're testing everything: static and video created internally and externally. At that price point, it makes sense to know how all of your content/ads are working, not just the hero. Otherwise, how can you truly benchmark your performance or feed the data back into a proper learning agenda? 3) It's too late to make changes. It is if testing is going to take 4 weeks, but what about if it's real-time? Testing can now be iterative not just because it's real-time (but also because of the cost model). You can refine the assets for the chosen media environment to ensure that it hits home. Not so long ago, it was purely a 'tick box' exercise, whereas we can now test multiple edits, not just the top 1-3. We've seen the impact this has: a real-time 11x increase in sales of the original vs. the optimized. 4) Testing is too expensive for MMM. This was true up until the application of AI. It's now completely feasible to add a creative signal into the model. With creative driving almost 50% of the campaign performance, this is a game-changer. 5) It's hard to prove that testing drives outcomes in the real world. The challenge for this is that brands didn't used to have or want to share sales data. This has changed rapidly. We're now working with brands to help model their sales data with our testing to help improve hard outcomes. We can show them what's working and help them use this data to predict future performance and power highly valuable insight that helps improve the content. As pointed out in the article, effectiveness and creativity go hand in hand. This is a fact. Because the data in the creative, when applied to the media mix, is pushing effectiveness through the roof. Creative data improves targeting, powers DCO by explaining not just which creatives to optimise for but why. What does this mean in the real world? As above at DAIVID 🦩 we're seeing improved performance for our clients on their media metrics and importantly, hard sales metrics.

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One thing became clear on election night - paid advertising as we know it is dead. We saw that it is completely overrated in convincing people to support a candidate or even convince someone to buy a product (in this case the Democrats were the product). The Harris campaign spend about HALF A BILLION more on advertising than the Trump campaign - and suffered a much worse loss than Hillary had in 2016 to the same candidate. I don't blame this on the Harris campaign. They had no time and did a remarkable job in only three months. Their work was impressive to say the least. But the media landscape has completely changed. And let's be real - people aren't watching TV ads anymore. When the ads come on, we all pull out our phones. I'm not saying there shouldn't be ads, but $1.4 billion worth? No way. But then where should the money go? Well, we are still digging into that, but it's clear campaigns, organizations and businesses need a new approach. Ads won't cut it. You need to build a network of people supporting whatever you are focusing on. This means partnering with influencers to carry your message for you. It means partnering with podcasters and YouTubers to do a lot of the heavy lifting for you. I've done this in the business world and the government world with great success. You don't need to spend a lot to see value. There will be many more discussions about this in the coming days/weeks/months ahead, but if you want to get ahead of the rush, now is the time to think how this can best work for you and your goals - whether they be messaging, revenue or changing hearts and minds. If you're interested in talking more about this - shoot me a note or leave a comment below. #advertising #marketing #Influencers #podcasts

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In today's rapidly evolving business landscape, video marketing has emerged as a cornerstone of success. Gone are the days of traditional advertising; the future lies in creating content that educates and engages. As the middle class faces economic challenges, the way we approach selling has to evolve to meet new demands. https://lnkd.in/gdQKpcYY

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A recent PQ Media report showed how media consumption grew worldwide (up 0.3% to 56.15 hours per week) last year. And though there was a slight drop in the United States (down 0.4% to 76.69 hours per week), the projections were pointing toward “accelerated growth” and further expansion. Consider that growth, digital publishers and marketers, when considering the latest numbers from EMARKETER, which found that digital media continues to distance itself from traditional media in terms of average time spent. “Digital will make up 63.7% of the 12 hours and 37 minutes (12:37) per day US adults spend with total media in 2024,” according to EMARKETER’s forecast, which charted a nearly 50/50 split between digital and traditional media as recently as 2019. Looking further ahead, EMARKETER says digital will make up nearly 66% of the average time spent with total media in two year’s time. “Time spent with mobile will hit 4 hours (4:00) per day among US adults, making it the most popular media access point in 2024,” the report says. For publishers looking to take further advantage of these digital publishing possibilities, the Digital Media Manager brings ad sales automation and AI-driven marketing tools to an already robust CRM. Considering all the time consumers continue to spend on digital media, getting the most out of a digital media management platform is well-worth your time. #digitalmedia #mobile #traditionalmedia #digitaladvertising #publishing #publishingindustry #digitalpublishing #mediapublishing #AIsoftware #AImarketingsoftware #digitalmarketing #digitalmediamanager #digitalmediamanagement #MarketingManager #MagazineManager (Photo Source: EMARKETER)

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Two big news items in this conversation with Jeff Baumgartner in Light Reading (link to story below) First, we are excited to launch with our newest partner, Ziply Fiber, who is investing a tremendous amount of capital to bring fiber to hundreds of thousands of homes in the Pacific Northwest. Our suite of tools is here to help them drive acquisition and fill up that fiber with happy customers! Speaking of suite of tools, we’re also thrilled to announce the launch of our next big product. The MyBundle Mobile App is now available to all consumers on iOS and Android, and it’s co-branded for our 100s of broadband partners. We all spend way too much time flipping around on our TV, going app to app, looking for something to watch when all we want to do is sit back and relax. And while the many different TV devices out there are trying to make discovery easier - it still doesn’t feel right. I can’t be the only one who gets “just pick something already!!!” from their significant other. We believe the phone in your pocket (or what you’re reading this on) is the solution. Not only is it a lot easier to navigate, type, etc., but it’s always with us on the go! I don’t know about you, but sitting in front of the TV at 11 o’clock at night is not when my friends tell me about the latest show they watched; it’s more likely at dinner, a BBQ, etc. Big thanks to Scott Barton, Danny Cohen, Sara H. and the entire team for putting this all together and tackling the many problems facing consumers in the new streaming age. Here are just a few features/uses: 1. Quickly discover what to watch next across all your services in one place BEFORE turning on the TV and create multiple watchlists anytime, for different moods or people you watch with. 2. Stream on your phone or tablet? The MyBundle app can be your content hub to jump into playback across any of your streaming apps. 3. Share and receive recommendations for shows and movies from your friends and family. 4. Easily track all your streaming services and costs in one place. Of course, the free MyBundle app not only helps consumers but also supports our broadband and streaming partners, who are more focused than ever on customer delight and retention. And, like everything else we do at MyBundle, there is a lot more to come! Don't forget to head over to the app store and download the MyBundle app today. https://lnkd.in/eqUzaNWJ

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I want to talk about an Apple ad, no, not "that one", instead this one below from 1997, a classic that should be the anthem and manifesto for advertising & creative agencies today. The big agencies, and many medium-sized ones, seem to have lost or are fast losing, the rebels and the crazy ones.   Agencies were once home to the misfits and malcontents who would come up with some wild thinking that would push the needle for a brand. Safe was once the worst four-letter word you could use in an agency. “If you feel safe in the area you’re working in, you’re not working in the right area. Always go a little further into the water than you feel you’re capable of being in. Go a little bit out of your depth. And when you don’t feel that your feet are quite touching the bottom, you’re just about in the right place to do something exciting.” - David Bowie Many agencies have been doggedly focused on the bottom line while being steered by non-creative leadership, forgetting the lines they used to cross to unearth better ideas and creative thinking. The very things that separated them from merely being consultants. Oh, and the consultants caught onto this lapse in reasoning and jumped in to offer creative solutions. Big ad agencies seem really good at creating their own competition, and they still have not learned their lesson. So many talented creative people have been shown the exit door and others kicked the door open themselves and departed, mainly due to frustration and creative dissatisfaction. Some have chosen to start micro-creative outfits that are popping up worldwide. There seems to be a new one every week joining the roster of those who led the charge a few years ago. And, as I have written previously, I believe clients have had enough too. The old agency model isn't working. Revisit that classic scene from the 1976 movie - ‘Network’, where the TV news anchor Howard Beale (played by Peter Finch) vents his anger and frustration. It could easily be screamed from many agency office windows today, even client windows. Here’s an excerpt. “I want you to get up right now. Sit up. Go to your windows. Open them and stick your head out and yell – ‘I’m as mad as hell and I’m not gonna take this anymore!’ Things have got to change. But first, you’ve gotta get mad!…You’ve got to say, ‘I’m as mad as hell, and I’m not gonna take this anymore!’ Then we’ll figure out what to do about the depression and the inflation and the oil crisis. But first, get up out of your chairs, open the window, stick your head out, and yell, and say it: ‘I’m as mad as hell, and I’m not gonna take this anymore!" We need more rebels, more pirates, and more different points of view. This Apple ad sums it up well, it should be used as inspiration by many. And the more misfits, round pegs in square holes, and crazy ones we get, the better. ⚡⚡ ⚡ ⚡ ⚡⚡ ⚡ ⚡⚡⚡ ⚡ ⚡ ⚡⚡ ⚡ ⚡⚡⚡ ⚡ ⚡ ⚡⚡ ⚡ ⚡ #advertising #cmo #brands #creativeagency #advertisingagency #apple #crazyones

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Night bought Bottle Rocket Management. Yup, more M&A consolidation amongst talent rep companies! BIG congrats to Chas Lacaillade, BRM’s founder and a close friend of mine. Chas is a shrewd operator, and over the years I enjoyed watching him build a high-performing creator management company. Awesome to see him pick a strategic partner that aligns with his plan for future growth and improved client servicing. RockWater Industries served as financial advisor to BRM. I therefore can’t go into deal specifics due to the NDA between our companies. Let's break it down… ---TARGET: Bottle Rocket Management--- OVERVIEW • Talent management firm for digital content creators • Founded 2015 by Chas Lacaillade • Bootstrapped, no outside capital • Focus on YouTube creators • Reps ~40 talent clients • Based in Austin, TX TALENT HIGHLIGHTS • Austin Evans • BroScienceLife • JerryRigEverything • UrAvgConsumer ---BUYER: Night--- OVERVIEW • Next-gen representation platform for artists • Founded 2015 by Reed Duchscher • 75-100+ team per LinkedIn • Reps 100+ talent clients • Based in Austin, TX BIZ UNITS • Talent - management, focused on digital creators being entertainers and entrepreneurs • Studios - content studio, helps digital creators create and package shows for TV, streaming • Labs - venture studio, pairs operators with creators to build companies e.g. Feastables • Capital - TCG-backed fund to invest in / acquire profitable creator-led businesses • Ventures - early stage venture fund, focused on tech OPERATING HIGHLIGHTS • Reps world’s largest Twitch streamer, Kai Cenat • First manager of MrBeast, helped catapult his growth • Launched Feastables in 2022, est $100M+ 2024 revenue CAPITAL MARKETS HISTORY • 2022 raised an est high 7 to low 8 figures from TCG • 2022 raised $100M from TCG for Night Capital • 2023 bought mgmt co LFM • 2024 bought The Roost Podcast Network ---DEAL DETAILS--- OVERVIEW • Announced 11.25.24 • Deal terms undisclosed DEAL ORIGINS • Night and BRM leadership have known one another for years • Lacaillade and Night President Ezra Cooperstein both worked at Fullscreen, an early YouTube MCN VALUE PROP • Bring a top digital manager into Night’s leadership team • Deliver larger and more exciting opportunities to BRM clients • Scale talent roster and offerings for Night’s brand and client partners • Scale Night’s seasoned digital talent team via BRM team additions • More leverage to recruit more digital-native clients ...I'll write more about the deal in my Friday M&A newsletter, signup link in comments 👇 -- I'm the founder of RockWater. We do M&A and strategy advisory for media, agencies, and creator economy. My DMs are open.

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