‘It’s a basic survival instinct’: Office gossip is vital for relationship building, but could be hindered in hybrid working setups, say experts

This article is part of the Future of Work briefing, a weekly email with stories, interviews, trends and links about how work, workplaces and workforces are changing. Sign up here.

Call it small talk, banter or office gossip, those little conversations between on-the-job tasks are at risk of being lost in a hybrid workplace.

According to Jack Levin, a professor at Northeastern University in Boston and author of the book ‘Gossip: The Inside Scoop’, chit-chat at work can be a force for good. It ties together social and business networks and can improve productivity.

But chartered psychologist Dr. Jan Smith, who specializes in workplace mental health, said small talk is a social skill that could disappear in the new way of working. She said it needs to remain because it demonstrates an interest in our colleagues and helps to build relationships at work.

“It fills the silences between conversations and connects us,” she said. “Opportunities for these exchanges can happen organically when making coffee or collecting something from the printer.”

The reality is many people like a good gossip at work. Who is dating who? Where might the Christmas party be held? Have you heard that so-and-so might be leaving? 

Of course, there are differences between gossip and poor taste banter where lines can be crossed. Negative gossip can create division within teams and damage the workplace culture.

Mandy Watson, managing director at U.K. recruiter Ambitions Personnel, said these informal chats boost employees’ happiness, well-being and engagement.

“This shouldn’t be underestimated by employers,” she said. “It might not appear to directly impact on a firm’s bottom line, but it will do indirectly. It is also a way to include new starters who have been working from home since they were hired and do not yet have a relationship with their colleagues.”

When the world went virtual as the pandemic arrived, there were plenty of examples of embarrassing office gossip gaffes as people struggled with the technology. 

Career coach Lucy Freeman said the loss of casual face-to-face interaction was replaced at the start of the pandemic by awkward half-heard comments on Zoom and Teams, and people thinking they were on mute when they were not.

“Initially it did fuel massive paranoia and a lot of my time was spent reassuring people,” she said. “Even facial expressions were being misinterpreted. The forced communication on these platforms meant people were anxious about what others were thinking and saying. In normal circumstances they would have simply glanced over at the person in the physical meeting and received a reassuring smile.”

Freeman is not sure traditional office gossip can thrive virtually. 

“Zoom drinks often deteriorate into a moan-fest. This serves the purpose of releasing tension and sharing experiences, but it obviously isn’t as spontaneous as the quick gossip in the lift. Gossip tends to be the one bond in a disparate group.”

Ultimately our brain is hard-wired to create connections with people, and Dr Sam Mather, author of ‘Rise Together: A leader’s guide to the science behind creating innovative, engaged and resilient employees’ said gossip is a natural thing to expect in a physical or virtual office environment. 

“It’s a basic survival instinct. We do not like to feel excluded or disliked by others. When we are, our brain assumes this to be a threat to our safety and triggers a stress response,” she said. “The brain communicates to us in the form of feelings such as sadness, anger or jealousy. Gossip is positive when it includes us as part of a group because we feel safe and less stressed. Of course, if you are the subject of gossip then it is not so good for your mental health or well-being.”

Indeed, gossip which might be meant as innocent could cause trouble for a worker and the employer in a virtual world.

Small talk relating to business information such as new products, future restructures or customer information could be a breach of confidentiality or data protection laws by the workers involved. There is also the risk of discrimination claims if the gossip relates to particular characteristics of individuals regarding their race, religion, gender or age.

“With hybrid working, gossip has moved from the water cooler to exchanging messages on Teams, WhatsApp or other internal communication systems,” said Kate Benefer, partner at London law firm Royds Withy King. “The technology means there is a written record of what has been said, which makes it easier for employers to take disciplinary action if the gossip comes to their attention.”

3 Questions with Tom Morton, global CSO of agency R/GA

You’ve chosen a flexible model in which you let employees decide on their remote and in-office days, rather than dictate it for them. Why is that?

We heard from our employees that they want choice and flexibility. And we had our best year at the One Show and the Effies [Awards], and our best year of new business wins while working remotely, so we had proof that in-person working was no longer necessary for great work. So we committed to a hybrid working model where employees could opt to spend the days they choose in the office, or declare themselves to be long-term remote workers.

The model helps us to offer a better experience to employees. We’re in a fluid time when people are re-evaluating who they work for and where they work from. Four million people a month are quitting their jobs in the U.S., so offering a work-from-anywhere option helps us to attract and retain talent, especially when other creative companies are herding staff back to the office. We can bring in talented people who happen to be based far from our physical locations. Our New York mothership has employees based in Chicago, Atlanta and as far away as Sweden. Too many creative companies misread their employee surveys. Three fifths of your employees wanting to do some work out of an office doesn’t equate to everyone at their desks for three days out of five. You’re not a work-from-anywhere employer if you’re taking a register.

How have these changes impacted your workspace needs and design? 

Our redesign of our New York office space is focused on collaboration and connection. We have an open floor plan with bookable hot desks. The management team shares space with the employees to promote togetherness. Office layouts will prioritize space for collaboration and communal work areas. Desks will be booked on the days you are in the office. Meeting room acoustics will be tuned and new audio / AV equipment will be tested to improve the experience for those not in the room. We’re even piloting whiteboard cameras in conference rooms so remote workers can follow what’s developing in the room. More fundamentally, the past two years have questioned the purpose of an office. It’s no longer the physical structure for making work. So if your home serves as your office, your office needs to serve as your offsite. The future office should be more of a gathering place to mark big moments and stage big projects than a factory full of desks.

What do you think will be the biggest challenges in maintaining this model? 

Onboarding new people into our culture. One example, 60% of people working in strategy at R/GA have joined the company since March 2020. That means they’ve never set foot inside our offices, or been to a company party or met [founder and chairman] Bob Greenberg in person. They haven’t soaked in the culture as you would in an in-person workplace. We need to share our values and our ways of working more deliberately if we’re going to ask people to work in the R/GA way. Creating equity between onsite and remote employees. Before the pandemic, many R/GA employees believed there was a stigma associated with working remotely, and some people feared that people in offices would have better access to opportunities. The reopening of offices means adapting to another collaboration model. Teams have become accustomed to collaborating with everyone remotely. The shift to hybrid will require teams to adapt their ways of working once again.

By the numbers

  • 37% of 1,000 U.S office workers surveyed, said they felt worse being back in the office than they did at their lowest point during remote work.
    [Source of data: Bamboo HR’s Hybrid Work: Expectations versus Reality report.]
  • 91% of 1,000 U.S. employees polled, said their workload has prevented them from taking time off.
    [Source of data: Skynova’s Time-off Habits report.]
  • 47% of 2,000 working Americans said the pandemic has changed how they feel about their career, while 73% feel less fulfilled in their current jobs.
    [Source of data: LinkedIn data.]

What else we’ve covered

  • In the stampede to figure out the right hybrid models, misunderstandings can lead to further headaches. But some experts believe that will lead to issued later on, if left unchecked. Here is a myth buster.
  • Flexibility has become not only an essential element of workers’ happiness but also a significant factor in the feelings of underrepresented groups
  • Since the U.K. government’s work-from-home mandate lifted, people have been making the most of new flexible working freedoms. And that’s resulting in people logging in to work from a whole heap of new destinations from pubs, to supermarkets, to gardens and even from overseas.

This email briefing is edited by Jessica Davies, managing editor, Future of Work.

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Facebook expands live shopping offering to prepare for a bustling holiday season

The holiday shopping season has arrived.

With more people planning to shop for gifts online this year, Facebook is using it as an opportunity to bolster its live shopping feature. Starting this week, Facebook (which now falls under newly named parent company Meta) is rolling out its largest live shopping program to date, according to Kate Gronso, product marketing lead for Facebook Shopping.

It’s a move building on the social media platform’s current live shopping offering, Live Shopping Fridays, which launched programming over the summer to convince more U.S. shoppers to take part, per previous Digiday reporting.

“For shoppers this holiday season we hope our live shopping programming can provide an easier way to purchase gifts without having to make a trip to the store,” Gronso said via email.

Those who tune into the daily live shopping holiday series, available on Facebook and Instagram, can access exclusive drops, deals and complete purchases directly from the app using Facebook Pay. According to Facebook, major retailers such as Walmart and Macy’s have agreed to participate, as well as beauty brands, including Cocokind skincare, Ulta Beauty and Benefit Cosmetics, the latter of which started Facebook live shopping efforts earlier this month. 

According to Maggie Ford Danielson, director of brand outreach, brand ambassador at Benefit Cosmetics, live shopping for the brand was promoted by Facebook and garnered more than 1,000 viewers, double the amount of shoppers reached on Instagram live. Since then, the video lives on the brand page and now has 400,000 views, she said. 

“We are just dipping our toe in this,” Ford Danielson said. “The thing that I’m excited about is being in on the ground level with our partners at Facebook, trying things out ourselves, different platforms.”

Live shopping hasn’t taken off here in the U.S. the way it has overseas but platforms like Facebook and, most recently, YouTube, are investing in it for this holiday season. And Wunderman Thompson estimates live-streaming sales to be $500 billion by 2023 and ahead of the holiday season, social e-commerce will be a major driver for brands and retailers alike.

“Facebook is well-positioned as one of the most scaled platforms and its investment in live shopping is well-timed,” Aaron Goldman, CMO at global tech company Mediaocean, said in an email. “​​The social element makes it easier for products and streams to be seen and shared.”

Facebook may be embroiled in privacy battles and seemingly never-ending bad publicity, but industry experts say at least the company’s eye toward live shopping could be a win. And if brands want in, now is the time to join efforts.

“We see live shopping and shoppable video as a sizeable growth area,”  Evan Kirkpatrick, VP of shoppable media at Tinuiti, a performance marketing firm, said via email. “By investing in these formats now, brands have an opportunity to stand out vs their competition and build a shoppable infrastructure that they can expand upon as the formats grow.”

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The Rundown: Amazon tiptoes toward building another podcast brand

Amazon has already splashed out on two big podcast acquisitions in the past 12 months, but it is taking tentative steps toward building a brand for itself as a podcast producer.

On Oct. 29, Amazon Music announced that it would launch “Country Heat Weekly,” a weekly podcast hosted by Kelly Sutton and Amber Anderson on Nov. 9. The show, named after an Amazon Music playlist, is expected to feature regular guests, and will debut with an appearance by Eric Church.

“Country Heat Weekly” is branded as an Amazon original, a bit of branding that it has applied somewhat haphazardly to the shows its teams have produced since Amazon’s podcasting arm formally launched last fall.

The key details:

  • Since Amazon launched its podcasts operation last year, it has released about a dozen different Amazon Original-branded podcasts. These range from “Uncommon Ground,” a show hosted by CNN political commentator Van Jones, and “Set It Straight,” a show hosted by the country music group Midland, to “That Scene,” a show where sports journalist Dan Patrick talks with actors and filmmakers about iconic moments in movies.
  • Amazon has also co-branded several shows it has acquired this year, including “9/12,” a show about the aftermath of the Sept. 11 attacks created with Pineapple Street Media, and “SmartLess,” a show starring Will Arnett, Jason Bateman and Sean Hayes, which Amazon reportedly spent $80 million on acquiring its exclusive rights. 
  • The launches come months after Amazon acquired Art19 over the summer and Wondery back in December. Both brands were rolled into Amazon Music, a streaming service which is available in both ad-supported and premium forms; one of the Premium tiers is part of Amazon’s Prime bundle of services, while others start at $3.99 for Prime members.
  • Different parts of Amazon’s sprawling business have tried to build a portfolio of original, exclusive podcasts. In 2016, its audiobook business, Audible, a sister company of Amazon Music, started approaching podcast studios about exclusive shows.

Building many brands at once

That clutch of shows is just a small portion of the original podcast content Amazon has launched this year. Wondery, for example, has launched several shows of its own in 2021, including the true crime show “Suspect” and “Rich and Daily,” which focuses on celebrity culture. 

Shortly after Amazon finalized its acquisition of Wondery for a reported $300 million, Wondery CEO Jen Sargent told Variety that Wondery planned to double the size of its staff, with much of the hiring concentrated on development. Some of what the team is developing is branded as “Amazon Original,” while some makes no mention of Amazon at all, though it is distributed through Amazon Music.

Platform podcast push

The podcast format has been a real buoy for ad-supported streaming audio services. In its most recent quarterly earnings, Spotify said its podcast ad revenue was up more than 100% compared to the same period last year, and it played a key role in the platform’s quarterly ad revenues rising to $373 million. Amazon did not break out hard numbers. 

Spotify said it now drives more podcast consumption than Apple, which long dominated podcasting. It has 3.2 million podcasts on its platform. 

Amazon releases information about the size of Amazon Music infrequently. At the beginning of 2020, it said it had 55 million customers worldwide spread out across its tiers.

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‘We are the media company’: Sportsbooks are spending millions on media deals, but publishers should hedge their bets

The relationships between sports publishers and sports betting companies are increasingly common and the outcome for media companies is wildly lucrative in the grand scheme of sponsorship deals. 

But in the vast digital advertising landscape, what do sportsbooks get from these investments? The short answer is they are able to quickly acquire new sports bettors in the U.S. as states continually legalize online sports gambling. However, media companies may not want to put their money on sportsbooks staking them over the long run. Sports bettors are becoming media companies in their own right, and the potential for consolidation could eventually take stacks of revenue chips off the table.

“The economics don’t make sense,” said Sam Yardley, the evp of North America at sports marketing agency Two Circles. “There is a bubble forming, and there will be a reckoning at some point.” 

How sports bettors have gotten a taste for media game

Working with sportsbooks is becoming big business for media companies, as the bettors see the U.S. market as a jackpot and publishers as having the hot hand to help them acquire customers.

In July, Gannett signed a five-year-long deal with European sportsbook Tipico, which is worth $90 million in fixed cash, plus gives the publisher an ability to earn affiliate revenue on new betting customers it drives to Tipico, according to Michael Reed, CEO and chairman of Gannett. The publisher also has the ability to own up to 4.9% of the betting company based on a variety of performance goals, though he declined to share what those were.

Reed said his team approached Tipico, which was the top sports betting company in Germany, and ultimately chose to pursue that partnership because the sports betting operator told him they saw the U.S. as its “single biggest growth opportunity,” and wanted to seriously invest in growing there.  

The requirements for the partnership, Reed said, were that Gannett would be seen as a priority to Tipico and that the sportsbook would compensate the publisher through cash, stock and affiliate commissions. In exchange, Tipico would have branded content reaching 50 million monthly visitors to Gannett’s niche sports brands, including Golf Week and MMA Junkie, as well as access to 250 local sports markets, reaching a national scale. The publishers’ 500 local sports reporters and marketing teams would produce everything from branded columns, video series, blogs, newsletters, promotions and events, he added. 

Sports podcast network Blue Wire has similarly been able to bank on sportsbooks’ media interests. In February, WynnBET signed a three-year-long deal with Blue Wire that is worth a $3.5 million investment in the media company in exchange for partial ownership, at least $1 million in advertising revenue and a multimillion-dollar recording studio built at the Wynn Las Vegas that opened in early September, according to Blue Wire’s founder and CEO Kevin Jones.

Other sports betting operators, however, like DraftKings, have taken a broader approach to media partnerships, signing deals left and right with more publishers including WarnerMedia, Vox Media and even individual creators to start producing in-house content. 

This multi-year media strategy seems to have been helping DraftKings to acquire customers. The first game in this year’s NFL season saw more than double the bets from last season’s first game placed on its platform, though it would not disclose the total number of bets placed, and had 1.5 million total bets placed on the first game of the season between Tampa Bay Buccaneers and Dallas Cowboys, an amount that took over a month to reach when the company first launched in 2018, according to a company spokesperson. 

Regardless of where they are orchestrating their media partnership strategies, these sports gambling companies are spending millions of dollars on what boils down to paid media and branded content. 

But why are sports betting companies prioritizing media partnerships for their digital campaigns? Because it can be easier than jumping through the hoops necessary to run ads.

Social media platforms, like Facebook, make the traditional digital advertising process difficult with state-by-state applications and regulations that take time and effort, said Yardley. So when a sports publisher already has a curated following of 1 million sports fans on that platform, it becomes more appealing to create a branded video, for instance, and have them organically circulate it on their page — with the added benefit that it also looks more genuine to the viewer.

Why media companies’ sports betting hot streak could turn cold

In their campaigns with media outlets, sports betting companies are primarily targeting casual bettors, or those interested in betting, but who are not heavy gamblers, Yardley explained. That’s because this demographic of gamblers is likely to download and set up one sportsbook app and use that for the bulk of their online bets going forward. 

There is so little differentiation between sportsbooks, at the end of the day that, unless you’re a serious gambler, there is no reason to be placing bets across multiple apps, Yardley said. What it all comes down to is customer inertia and these companies getting the sports betting-curious to place their first bet with them. 

This cohort, though, tends to have a low lifetime value, betting $10 to $50 at a time on an irregular cadency, said Yardley. So the cost of acquisition through some of these partnerships simply don’t add up. In five years, Yardley doesn’t believe that there will be 20 sports books operating in the U.S. Instead, there will likely be three to four large sports betting conglomerates that have acquired all of the low- to mid-sized companies that couldn’t compete in the user acquisition race. 

Yardley said there are many parallels that can be drawn to the U.K.-based and European sports betting companies, who have had several years’ head start over the U.S. in building these businesses. Over that time, a lot of consolidation has occurred and there are only two major sportsbook companies that have acquired the smaller entities in the space — William Hill and Paddy Power. 

Sports betting is the largest revenue stream for Blue Wire since the company was founded in 2018, said Jones. And Reed said that the deal with Tipico has been one of the biggest sponsorship deals Gannett has had in its history as well. 

But while publishers like Gannett and Blue Wire are seeing multi-million dollar checks come in from sports books, it stands to reason that once the bubble pops, these deals will decrease in volume and size. So publishers should probably be cautious of viewing this as a long term recurring revenue opportunity.

Taking the house

Another threat to sports publishers’ relationships with sportsbooks is the potential for more sportsbooks to turn into publishers’ competition. After getting a taste of the media market and its role in their marketing strategies, sports bettors like DraftKings and Penn National Gaming are going all-in.

In January 2020, Penn National Gaming bought a 36% stake in Barstool Sports for approximately $163 million cash and convertible preferred stock, according to the company’s announcement. And on Oct. 19 of this year, the sportsbook completed a $2 billion purchase of Canadian sports media company theScore, which had rolled out its own sports betting app in 2019.

DraftKings aims to become a publisher in its own right, according to the company’s CMO Brian Angiolet.

In 2019, DraftKings took its first stab at becoming a content creator by partnering with Vox Media’s SB Nation to create the vertical DraftKings Nation. Then in March 2021, the company acquired sports betting radio and streaming network Vegas Sports Information Network (VSiN) for an undisclosed price, which gets DraftKings’ name on 24/7 sports betting coverage, Angiolet said.

This September, the company even began programming video content on its YouTube channel, which had 121,000 followers at the time of publication, with the help of influencers and content creators, like Gary Vaynerchuck. The entrepreneur and vocal sports fan, who goes by GaryVee, is the host of his new weekly show for DraftKings called “GaryVee’s Die Hard Dialogue” and is tasked with creating more culture content for the sportsbook, rather than hard analysis, Vaynerchuck said. 

For sports bettors like DraftKings and Penn National Gaming, becoming a publisher is seen as the smarter bet considering all the competitors taking a seat at the lively U.S. table.

“Owning our own network allows us to cut through the noise of all the paid media being spent today,” said Jon Kaplowitz, head of Penn Interactive in an email to Digiday about the decision to acquire a minority stake in Barstool Sports. “We don’t have to pay a [third-party] media company to get the word out; we are the media company, and we are able to deliver our messages with more focus and authenticity. It’s a huge competitive advantage to own the media company [versus] rent the eyeballs of the media company.” 

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Media Buying Briefing: How messed up is the CTV marketplace? Bad enough that efforts are being made to fix it

If you’re in the content or marketing business, you can’t go an hour, much less a day, without hearing something about connected TV (CTV), the nascent world of streaming services and support industries that grabbed American viewers’ attentions during the pandemic and never let go.

Hulu, Peacock, Disney+, Discovery+, as well as repackagers like Roku, Pluto TV are all becoming household names. Recent research also shows users gravitating more toward ad-supported versions, which are less expensive.

Given the rise in pricing on linear television in the 2021 upfront marketplace, this sounds like a dream opportunity for media planners and buyers to purchase TV time in streaming for their clients. But buyers say the reality is, CTV is in shambles, with multiple demand-side platforms selling the same inventory, rampant fraud and an inability to control ad placement. And the problem is expected to grow exponentially as CTV is forecast by eMarketer to attract $13.4 billion in ad revenue, almost 50% over 2020’s haul of just over $9 billion in 2020.

“If you’re using multiple DSPs, not only are you getting overlapping inventory, you’re also bidding against yourself! The problem is exacerbated right now because we’re seeing inventory levels are low,” said Brian Hovis, head of performance marketing at Traction, which dubs itself a marketing accelerator. “Net net, programmatic OTT will be part of your buy, but it’s no panacea that will help you reach your goals. And if you’re using multiple DSPs, stop!”

“You get this web of buying paths, so when you think about supply path optimization, it gets really messy,” said Ryan Eusanio, managing director of digital activation at Omnicom Media Group (OMG). “The selling ecosystem of the digital side of TV does not match what the linear side is currently operating on today. So we have to bridge that gap as best we can in order for those dollars to successfully match where the consumer is going.”

To that end, Digiday has learned that OMG is proposing a set of standards for CTV purchasing it hopes the rest of the media agency world will support, called The Connected TV Signal Standardization Initiative. It essentially lays out a set of investment practices and protocols to bring order to CTV’s messy house, through three primary avenues or “signals:”

  • Inventory standardization (getting CTV platforms to be more transparent with show, genre and placement data and involving third-party verification firms to validate the buys)
  • Identity standardization (moving toward household IDs and away from IP addresses, and coordinating data clean-room usage to connect first-party data)
  • Fraud prevention (introducing more transparency in the supply chain through the use of IAB’s ads.cert 2.0 security protocols)

OMG has lined up a mix of companies to support its initiative, including SSP Magnite, Yahoo, AMC Networks and IAB Tech Lab, as well as a verification partner it declined to identify, according to Eusanio. “Providing this kind of standardization and transparency around what’s being bought, who’s being reached and reducing ad waste are all things that are beneficial to the buy- and sell-sides and all the tech in the middle. This is one of those areas it’s not beneficial to be competitive in.” 

The problem of content adjacency and buyers’ lack of control to determine it is real. “How do you how do you accurately control for those?” asked Tony Marlow, CMO of Integral Ad Science, which tackles fraud and attribution for marketers. “How do you make sure that your ads are turning up in the places where they’re going to have the greatest impact and achieve the goals of the campaign? And not turning up where they either don’t represent your brand values or just simply don’t work that well for what you’re trying to achieve. That starts to get to not just the interoperability of the audience, but being able to control the context in a much more granular way than was ever possible with linear TV.”

Jason Fairchild, CEO of TV ad-tech buying and measurement firm tvScientific, said the problem lies with the multitude of DSP cluttering the CTV space right now. “It doesn’t have to be as hard as it is. If you approach the marketplace correctly with the right technical protections and the right buying approach, which is one-to-one curated deals, then you can get around almost all the issues,” he said. 

One final issue IAS’ Marlow has with the current state of inventory management in CTV is the fact that there’s less premium inventory left once upfront commitments and programmatic deals have sucked up the best spots. “The effect that has is it locks up vast lots of the premium inventory and it constricts the availability of a lot of a lot of these impressions within the open market, and it’s still transacting this way. It means that inventory isn’t available to anyone else,” Marlow said.

Color by numbers

Tubular Labs recently calculated what it says are the first gross ratings points for the top 10 U.S. TV network-affiliated creators, based on data from September of this year. (The parenthetical number represents unique viewers across YouTube and Facebook.) They are:

  • Fox News: 76.2 (28.3 million unique viewers)
  • Inside Edition: 37.5 (19.1 million)
  • A&E: 27.6 (15.1 million)
  • MSNBC: 27.3 (9.7 million)
  • SportsCenter: 23.5 (29.4 million)
  • Saturday Night Live: 23.2 (10.9 million)
  • Disney Junior: 23.1 (18.0 million)
  • ESPN: 22.6 (20.3 million)
  • ABC News: 22.3 (28.1 million)
  • Love and Hip Hop: 21.7 (8.0 million)

Takeoff & landing

  • Havas Media Group Canada hired both Alessia Grosso as vp of strategy from Enthusiast Gaming where she led marketing, and Scott Nelson in the newly created role of vp, investment & partnerships, from a digital investment role at Dentsu. Both report to HMG Canada president Noah Vardon.
  • Mediassociates landed CompoSecure, a cryptocurrency account, for which it will help launch a new cold storage device called Arculus. 

Direct quote

“The power to make meaningful changes and how companies relate to their key stakeholders — whether that’s employees, whether that’s customers, whether that’s end users — is really around experience and not messaging. What we do has never been rocket science/brain surgery/world hunger. At our best, the marketing industry used to be a manufacturer of popular culture and a driver of behavior change — and we would do that through campaigns, through messaging. And those are not the channels that have impact anymore … Agencies have a long history of trying to fake it, and I think the things that clients need are no longer fakeable.”

— Benjamin Wiener, CEO of agency WongDoody

Speed reading

  • I interviewed Acxiom CEO Chad Engelgau, who explained his support for national privacy laws to supplant confusing and expensive state-by-state rules.
  • Digiday senior editor of research and features Max Willens breaks down the ad-related details of Amazon’s Unboxed event last week, including its efforts to encourage more brand-side advertising rather than just sales. 
  • Digiday platforms, data and privacy reporter Kate Kaye details how Facebook (which announced a name change last week) keeps deactivated accounts alive in various forms.

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