#Experiential Production in Brooklyn

[daggerzine]

Window Shopping with The Garment District: An Interview with Jennifer Baron (interview by Eric Eggleson)

If you’re a Ladybug Transistor fan like I am, then the name Jennifer Baron should sound familiar. She has been a part of it since the beginning. But what I didn’t know was that she has another musical outlet with her amazing band The Garment District. Thankfully, Gary Olson(see previous Dagger interview) told me about her new album. I had a chance to catch up with her and find out more.

Here’s the opening track from The Garment District’s new album:

What do you think of the current music scene? Any new bands we should know about? Some newer and newish contemporary music that is frequently on my turntable and in my ears: Surface to Air Missive, Carl Didur, Zacht Automaat, The Frowning Clouds, Traffik Island, ORB, Locate S,1, Gloria, Etran de L’Air, Paint, Large Plants, Euros Childs, Emma Anderson, Heather Trost, flypaper, Colored Lights, Cindy Lee, Brigid Dawson & The Mothers Network, The Murlocs, Cindy, Jacco Gardner, Tim Presley, The Cromagnon Band, Licorice Root Orchestra, Bong Wish, The Orange Alabaster Mushroom, Cut Worms, Hot Apple Band, Liam Hayes, Belbury Poly, Samantha Glass, Jackie McDowell, Chris Cohen, Golden Apples, Cory Hanson, The David Tattersall Group, Mike Donovan …

What is your musical background? Do you have any musical training? I create music as The Garment District and am also a founding member of Brooklyn’s The Ladybug Transistor (Merge Records). As The Garment District, I write and arrange the music, play multiple instruments, and write the lyrics. When I was in elementary school, I took piano lessons from a woman who lived on our street, and I still have some of my Leila Fletcher Piano Course Books. I dabbled in guitar lessons in Amherst, Massachusetts, while attending Mount Holyoke College and was also a DJ at WHMC 91.5 FM South Hadley, one of the oldest broadcasting facilities in the U.S. run by women. Really, I learned to play music in a self-taught experiential way, like the musicians I admire most, by starting a band. For me that was in Brooklyn, playing guitar in Saturnine. Soon after, I helped form The Ladybug Transistor, quickly learning to play bass for our tour with Sportsguitar in Switzerland, which flipped a musical switch to permanently be on in my psyche and life. As The Garment District, I have previously released albums on Night-People Records and Kendra Steiner Editions, as well as a single for La Station Radar (France) that features a remix of my song “Nature-Nurture” by Sonic Boom (Spacemen 3, Spectrum, E.A.R.). I have also contributed songs to compilations on Moon Glyph, Crash Symbols, Crafted Sounds and Kill Collector Culture. I’m ecstatic to have my brand-new full-length album, Flowers Telegraphed to All Parts of the World, released on Happy Happy Birthday To Me Records after knowing Mike Turner through Athens, Georgia, and Elephant 6 bands, for many years. It has been such a meaningful way to reconnect, and a deep honor to be label mates with The Primitives, The Wedding Present, Great Lakes, Fred Schneider, Outer World, Swansea Sound, Katie Lass, and many others. It was a dream come true to have the expertise of Warren Defever (His Name Is Alive) oversee the vinyl production and cut the lacquers for the new LP at Third Man Pressing in Detroit. I also love having opportunities to merge music with other art forms I am passionate about, especially film and video, which I have been invited to do through the Pittsburgh-based SYNC'D series. For both in-person and online events, I composed original soundtracks (ranging from 1-5 minutes) for the series, which pairs filmmakers and video artists with musicians for live shows and online broadcasts. My music has also been featured on the University of Pittsburgh School of Medicine's Pitt Med Podcast, and I contributed music and photography to Brooklyn-based ESOPUS magazine. In the art realm, I have also contributed an audio installation, a cassette tape and photography for group exhibitions curated by designer Brett Yasko at SPACE Gallery in Pittsburgh. In Spring 2023, I was invited to create a special DJ set for the opening celebration of “The Velvet Underground & Nico: Scepter Studio Sessions” exhibition at The Andy Warhol Museum and play my grandparents’ collection of tamburitza 78s at the Maxo Vanka Murals Community Block Party in Millvale, PA. 

Lucy and Jennifer (photo by Nicole Czapinski)

List all of the instruments you play. With The Garment District, I play keyboards live (Wurlitzer electric piano, synthesizer, melodica). On the new album, Flowers Telegraphed to All Parts of the World, I play a variety of organs and synthesizers, electric piano, guitar on several songs, bass on some songs, melodica, glockenspiel and percussion, and sing backing vocals throughout. With The Ladybug Transistor, I play bass, guitar, keyboards, and melodica live. 

What instrument do you begin writing songs with? (guitar, piano, etc.). I write music and make demos at home typically using my Roland JX-3P synthesizer, Hohner organ, Rickenbacker 360, and Hammond M3 organ. I love the raw somewhat warbled vibe of demos and the sensation that the construct of a song is amorphous or precariously trying to hold itself together as it emerges, and the way demos can reflect the creative process. Whether I make demos using my Boss digital 8-track recorder or iPhone, I try my best to save them (I’ve even been revisiting and digitizing old Ladybug Transistor and Frock 4-track sessions!). Most of the songs on the new Garment District album emerged as demos I recorded at home, playing the core keyboard parts, and mapping out song structures, vocal melodies, lyrics and ideas for instrumentation and arrangements. I love having analog instruments around the house to encourage a spontaneous writing process, inspired by where an instrument takes you as much as by lighting, ambient sounds, time of day, seasons, and shifting vantage points. Many are incorporated into the new album: Vox Super Continental organ, Wurlitzer electric piano, Hammond M3, vintage Casios, Fender Vibrolux Reverb amp, Rickenbacker 360, and melodica. Adding to these, I was fortunate to be able to incorporate a range of analog synthesizers on loan that I consider to be the holy grail in terms of the golden age of the analog synthesizer universe, like a 1970s Roland 505 Paraphonic, Roland System 100, Farfisa Syntorchestra, and a Sequential Pro One, plus 1960s and 1970s guitar pedals I borrowed from Gregg Kostelich of the garage rock band, The Cynics.

I love both experiences of creating intimate, experimental and spontaneous demos at home, and then seeing how they evolve into a permanent piece of recorded sound within the studio setting. I am especially motivated by layered melodies that come to me when experimenting with instruments, making demos, and working in the recording studio. To me, there is a kind of alchemy inherent in the art form of music, that can emerge when a song takes an unexpected direction, but remains true to its core, such as being anchored by a melody, an instrument, a rhythm or an arrangement. I am drawn to the duality of producing and arranging music, but also being open to letting the creative process itself, and the limitations or potential of instruments, guide your vision -- not always being totally in control of the final result because it’s being created in a very particular context, time, and place. A central, guiding inspiration for me comes from nature, swimming, and observing the world around me through photography.

Lucy and Jennifer (photo by Nicole Czapinski)

Here’s another video from the new album:  https://www.youtube.com/watch?v=QXCRv4XxgSA 

Were you in any other bands? In the 1990s, I cofounded the Brooklyn band Saturnine (Dirt Records).

Saturnine at the Bloomfield Bridge Tavern (RIP) in Pittsburgh, 1990's

Here’s a Saturnine video:  https://www.youtube.com/watch?v=jW03_LtH5fo  

In Pittsburgh, I also played organ and percussion with The New Alcindors, with whom I recorded an album at the legendary Castle Recording Studios in Nashville. My current bands are The Garment District and The Ladybug Transistor. 

Do you have a day job? Yes. I work as a writer and an editor, and I also am a writing tutor for teens. My professional experience includes working in art museums and co-running arts and community events. 

The Garment District live in Pittsburgh at the Andy Warhol Museum

(photo by Sean Carroll)

When did you realize how important music was in your life? Music surrounded us from our earliest days. My mom would sing Peter, Paul and Mary's "Stewball" (she went on to name her first dog after the song and he was the most loving majestic creature) to us as one of our lullabies. Growing up, our house was filled with LPs, CDs and radios, and our car had a tape deck for our many road trips to see our relatives in Philadelphia and at the beach in New Jersey (where my brother Jeff and I were born). Our parents’ record collection supplied some of our very first and favorite toys, so we were fortunate to have a private listening library to explore. So many memories of gazing at fantastical album covers: The Beach Boys, Leonard Cohen, Neil Young, Beatles, Jimi Hendrix, Cream, Jefferson Airplane, Donovan, Leonard Cohen, The Byrds. My mom taught a high school English course called “Poetry & Rock Lyrics” and I loved writing song lyrics out on index cards used to decorate her classroom.

Our home contained mind-blowing concert posters by legendary Fillmore West artist Bonnie MacLean, including a hypnotic Pink Floyd poster. Our mom grew up in Philadelphia with Bonnie’s sister Valerie and told us stories about Fillmore posters and postcards arriving at their Penn State dorm room. We also had the lyrics to Dylan’s “Sad-eyed Lady of the Lowlands” written out in calligraphy and framed hanging in our house, so that gives you an idea of the backdrop that led to having music of the 1960s and 1970s in our DNA. Watching shows like “H.R. Pufnstuf” (RIP Marty Krofft) and “The Electric Company” and singing along to “Free To Be … You And Me” and “Puff, the Magic Dragon” cemented the power and value of music in our lives and definitely planted the seeds for the kind of music I make along with a particular creative aesthetic and cultural mindset. As kids, my brother and I would make up our own radio shows, playing the parts of DJs and performing commercial spots, recording them onto Maxell tapes. Our first records bought for us by my mom were songs like “The Muffin Man,” which fueled my interest in offbeat folk music and melodies. As a family, we have attended many concerts together over the years: Leonard Cohen, Neil Young, Bob Dylan, Richard Thompson, Bert Jansch, Bruce Springsteen, The Replacements -- and it is a special bond to share with your parents. I think that empowered and inspired us to see many seminal concerts as teenagers at storied Pittsburgh venues like the Syria Mosque, Electric Banana (all-ages nights), Graffiti, Sonic Temple, Civic Arena, the Beehive and more.

Riding the T Downtown to shop at the iconic record store Eide’s for albums by New Order, The Smiths, the Go-Betweens and on and on, was a rite of passage and a teenage pilgrimage in a pre-digital era where gathering in public spaces to share the thrill of discovering new music was transformative. My deep love of music in a vast array of style and genres is something I do not separate from any aspect of my life or my identity. I have always been fascinated and moved by music because it is an art form that you cannot see or touch, yet it can transport you so powerfully through places and times and thoughts and feelings. It is both time-based but also beyond time, both fleeting and permanent, if that makes sense. 

The Ladybug Transistor live at the Andy Warhol Museum in 2023.

What artists have influenced you? On any day, I am listening to a vast range of music: 1950s-1970s psychedelia, pop, garage, freakbeat, and folk-rock; 1950s-1960s rocksteady and ska; early electronic; free jazz; 1980s hip hop; 1970s-80s pop and new wave from the U.K., Scotland, New Zealand, and Australia; soundtracks … I am deeply inspired by creative mediums beyond music: film, design, photography, material culture, especially from the 1960s-1970s. Film is extremely inspiring to me, especially 1970s filmmaking, British folk and Italian giallo. I am also very drawn to instrumental and interstitial music because it allows listeners to access visceral worlds through non-verbal communication. From Library Music to free jazz to Jamaican Rocksteady to early electronic music to albums by Yellow Magic Orchestra, Les Rallizes Dénudés, Manuel Göttsching, Delia Derbyshire, Jack Nitzsche, Hailu Mergia, Alice Coltrane, Harmonia, Broadcast and the Focus Group, and so much more. 

If you could work with any other artist (dead or alive), who would it be? Lee Hazlewood, Yoko Ono, Peter Weir, Alice Coltrane, Remy Charlip. 

What was the first CD/record you ever bought? Among the first albums we bought (literally the very first were the brightly colored plastic records for our Fisher Price Record Player my mom bought for us) were compilations of hits and novelty songs from the 1950s-1970s. I have such vivid memories of singing along to songs like The Coasters’ “Yakety Yak” (1958), Sam The Sham & The Pharaohs “Li’l Red Riding Hood” (1966) and Napoleon XIV’s “They’re Coming to Take Me Away, Ha-Haaa!” The combination of catchy melodies, interesting arrangements and evocative narrative imagery certainly sparked our childhood curiosity and imagination. 

What was the first concert you ever went to? Peter, Paul and Mary with my mom at The Stanley Theatre in downtown Pittsburgh. 

Who plays on your latest album?  Where did you find them? Family and friends (new and old) and members of The Garment District live band are featured on the new album. One extremely rewarding aspect of recording the new album was working with my cousin Lucy Blehar, who is a vocalist. I have always been drawn to the concept of family bands (I play in The Ladybug Transistor with my brother Jeff) and what can arise between relatives who collaborate on creative endeavors. For the two of us, we are able to sing backups and harmonies and double certain melody lines together. We share a very close bond personally, so the recording process was a very organic and fulfilling way of enjoying the studio environment together. This continues my family’s music-making heritage, as our grandfather, great-aunt and great-uncles on my dad’s side performed in Croatian tamburitza orchestra family bands in the Monongahela Valley towns Braddock and Rankin, and in Benwood, West Virginia, often for boarders who worked in area steel mills. To have Shivika Asthana (Papas Fritas) play drums on several songs on the new album is deeply special to me and to the identity of the drum sound. Our bands played shows together in the past, including at The Knitting Factory in NYC. It has been a tremendous joy to reconnect through music and the indie craft scene now that we both live in Pittsburgh. Another meaningful thread on the new album that also connects several dots, is one of the drum kits we used – a beautiful sounding 1966 Slingerland belonging to Laura Rogers (our bands, Saturnine and Ruby Falls, also played shows together in NYC and I am close with Laura’s sister and former bandmate Jennifer, who also lives right near me in Pittsburgh!). Though its provenance has not been confirmed, Laura was told that the kit, which she bought from a collector in Detroit, was used on the Nirvana “Unplugged” recordings. I love that our lives have intersected in these ways. It is also incredibly special to me that the new album features horns by my Ladybug bandmate and close friend Gary Olson on trumpet as well as Ladybugger Kyle Forester (whose solo band we just played with in Brooklyn in November) on saxophone. So, Flowers Telegraphed to All Parts of the World brings together people I adore deeply, whose gifts and energy helped the music come to life, including Dan Koshute (guitar, vocals), Corry Drake (bass), Sean Finn (drums), Shivika Asthana (drums), Alex Korshin (vocals), Nathan Musser (violin, cello) and David Klug (drums). And my constant close listener: my husband Greg Langel. 

Who is in your backup band when you tour? The current Garment District live band features Corry Drake (bass), Mike Kelly (guitar), Sean Finn (drums), Alex Korshin (vocals), and Erik Cirelli (guitar). We just performed in December for the new SYNC’D Presents series at one of my favorite Pittsburgh venues, Spirit. The event included an incredible liquid light show accompanying the music in real-time created by Billy Gruber, who runs SOS Lightshow in Dayton, Ohio. On January 28, we are thrilled to be opening for William Tyler & The Impossible Truth at Bottlerocket Social Hall. Past live show highlights for The Garment District include performing at the VIA Music & New Media Festival, The Andy Warhol Museum Sound Series and Silver Studio Sessions; Ladyfest, Deutschtown Music Festival; and Pittsburgh Cultural Trust Music SPACE series; opening for Parquet Courts, Julia Holter, Soft Moon, A. Savage, Jack Cooper, The Essex Green, Jenny Hval and Mr. Airplane Man; performing at the Carrie Blast Furnaces National Historic Landmark for the THRIVAL Festival; playing in an abandoned 1900s-era Czech Church on the Allegheny River for the SYNC’D series; and filming a live video segment at the Mattress Factory museum (where I used to work) for Doug Aitken’s Station to Station project. 

Where can people find your music? The vinyl and digital LP is available from Happy Happy Birthday to Me Records. The LP is also available in shops, with U.S. distribution through Midheaven Mailorder / Revolver.  https://www.hhbtm.com/product/flowers-telegraphed-to-all-parts-of-the-world/

Distribution for the new LP overseas is through: UK: Plastichead     Germany, Austria, Switzerland: Cargo     Border Music: Scandinavia     Goodfellas: Italy     Australia/New Zealand: Planet MGM/Groove Merchants     Benelux: Suburban   All of my current and past releases are available digitally through Bandcamp. My music is also available for listening on all streaming platforms (please support independent musicians when you can!) 

Video still of Jennifer by Sandy Loaf.

Are CD releases a thing of the past? Not in my particular world. Based on the number of people who purchased (or requested) CDs on our Ladybug Transistor tour in November, I would say no. I still have most of my CDs from the 1990s and we often listen to them on car trips. A few years ago, I actually released a CD of all-instrumental solo music, “Luminous Toxin,” via Kendra Steiner Editions, the Texas-based experimental label run by acclaimed writer Bill Shute.

How was the concert in Norway? (Egersund Visefestival) Absolutely dreamy! After having the magical experience of performing at the Egersund Visefestival in 2019 (where we joined Elf Power, Robyn Hitchcock, Emma Swift, The Essex Green, I Was a King and others), we were invited to return to the sublime southwestern coast of Norway for this past summer’s festival. It was especially fulfilling after the frightening pandemic years. In July, we performed at the festival along with Teenage Fanclub, Elf Power, The Minus 5, The No Ones, Colored Lights, The High Water Marks, Euros Childs, Honey Radar, The Rishis, and more. It was also the international premiere of the new Elephant 6 documentary, so there was a screening and panel discussion (that my brother Jeff participated in with Hilarie Sidney and Andrew Rieger). A blissful experience and also a total whirlwind of activity, including marathon rehearsals in a historic Norwegian house, sneaking in crisp lake swims, and not sleeping much during the midnight sun! One of many highlights was getting to play melodica (me) and flute (Sasha) with Peter Buck and Scott McCaughey during The No Ones' closing set.  Since we had our November 9 show at The Andy Warhol Museum scheduled well in advance, we decided to book a Fall mini-tour for November 2023. It was truly a dream to be back on stage and in the van  (aka a massive sprinter!) with Gary, Sasha, Julia, my brother Jeff, plus Derek Almstead on drums and Ake Strömer (of the incredible Strömer Mutroniks) helping us with driving and merchandise sales. The shows at Public Records in Brooklyn and The Andy Warhol Museum in Pittsburgh were particularly moving and thrilling, with sooo many old and new friends (we missed you, Tim!) and family members in attendance. It was fantastic to be back at Schuba’s again in Chicago and see Eric and his daughter. One unexpected highlight was discovering how incredible the Bell’s Brewery venue and facility are in Kalamazoo! We hope to be back on tour again in 2024. 

Sasha Bell and Jennifer on stage with No Ones at Egersund.

Tell us about your involvement with the Elephant 6 film? I contributed some archival footage that is used in the documentary, from our extensive late 1990s U.S. tours with Of Montreal. The digitizing continues! I also participated in post-screening Q&As with Derek Almstead when the film premiered in Pittsburgh at The Harris Theater in September 2023. 

Will you be touring your new album? I absolutely hope to soon, and would love to see Dagger readers out there along the way. The Garment District has only played locally so I look forward to more shows and some touring. Stay tuned please and stay in touch! 

What are your future plans? It has been a true joy to rebuild the live band after overwhelming pandemic interruptions. I look forward to performing more regularly and celebrating the new LP. I plan to continue my cross-country collaborations with artist Nicole Czapinksi, who created the music video for “Left on Coast” (filmed at an abandoned Nike Missile Site in Western Pennsylvania). Nicole would love to project live visuals, responding to our music in real-time using techniques we experimented with in the video. Likewise, I expect to continue collaborating with Asheville, North Carolina-based artist Peter Speer, who I have known since our shared NYC days, who created the music video for “Following Me,” our cover of the 1967 song by The Human Expression. I have started conversations with Pittsburgh artists Johnny Arlett, Michi Tapes and Sandy Loaf about working on new music videos for The Garment District. This winter, I will be contributing a track to a compilation planned for 6612 Tapes, the label run by Elephant 6 co-founder Hilarie Sidney (The High Water Marks, The Apples in Stereo), with all proceeds going to a blue candidate in a vulnerable state during the 2024 U.S. election. I have some new Garment District demos emerging and hope to be back in the studio soon! 

I hope you enjoyed learning more about Jennifer as much as I did. We can only hope she will bring her band out on the road in the future. It was such a fun time seeing The Ladybug Transistor in Chicago. Here’s hoping a new year will bring a new tour.

www.thegarmentdistrict.bandcamp.com

www.hhbtm.bandcamp.com

www.mergerecords.bandcamp.com

[pickceldigital]

What is retailtainment, and how are modern brands leveraging it?

Let me begin by asking a question: ever walked into a store that allows you to customize what you want to buy?

Or participated in a quiz or challenge about a product and earned a great discount on it?

Yes? Then, you have had a brush with retailtainment!

With businesses brainstorming on newer and more effective ideas to get customers hooked, a new retail marketing trend called “experiential retail” is gaining the spotlight.

But, what is experiential retail or retailtainment even for that matter?

Read on to find out!

What is retailtainment and experiential retail?

Retailtainment refers to bringing together retail marketing and entertainment and creating a worthwhile experience for the buyers, something that stirs up their interest and pushes forward a purchase.

Buyers experience your products using a combination of senses; retailtainment uses elements like lighting, colors, landscaping, store digital signage, sound, smell, and ambiance to evoke positive responses in their minds.

Retailtainment is in a way a component of experiential retail leverages in-store events and services, prioritizing consumer experience over sales and creating an experience that addresses consumers’ needs. It can range from ideas such as personalizing purchases and adding gaming experiences to introducing high-tech ‘wow’ gizmos.

Experiential retail marketing can engage the customer in every way through touch, glance, an interaction, or even an illusion. The visual merchandising of the store can also contribute significantly to building a memorable customer experience.

Why is retailtainment gaining importance for modern retail businesses?

Modern retail businesses are much more than selling a product. They focus on bringing products to life by adding a humane touch to them with storytelling at its core. After all, who doesn’t like an interactive shopping experience?

Another reason experiential campaigns are more rewarding than traditional marketing campaigns because they remain stuck in customers’ minds for a long time.

A recent study found that 100% of their respondents agreed that retailtainment, Point of Sale (POS) advertising, or close-up brand experiences stir up their interest in a particular product or service.

By combining technology with retail entertainment, consumer experience can reach a new high. Farfetch founder José Neves recently explained how dynamic the retail landscape has become:

Retailers need a way to collect information about their customers while they are browsing in-store, just as they collect data from online searches.

This vision pretty much represents the future of modern retail marketing and the fact that retailtainment is essential to make your customers keep coming back.

4 examples of brands leveraging retailtainment & experiential marketing

From the top global chains of businesses to the mid-size grocery stores, every brand is using retailtainment to offer their customers an experience beyond shopping. Here’s a look at four of my personal favorite.

1. IKEA

IKEA is a name that barely needs a referred introduction, and for the right reasons. After all, it is what true retail therapy looks like!

There is quite purposefully something for everyone the minute they enter the store.

But, IKEA is beyond just an outlet. It is a cultural force!

The brand has designed a 391 sq. foot home in its Brooklyn store, where they have built an impressively compact but fully-loaded home, including every product an actual dwelling would have. At IKEA, the customers are getting to experience and feel how that rug they desire would look in their personal space.

Feeling the hunger pangs while shopping? A fully loaded restaurant awaits you right at the center of the store.

All these don’t just add up to offer the customers a memorable experience and improve the brand recall rate; they have a direct business benefit: the more time your customers stay inside your store, the more they spend.

2. Huda Beauty

Huda Beauty, one of the most prominent beauty brands, came up with a fabulous experiential retail pop-up at the center of Covent Garden, London, to launch a new product line and reach new customers.

Huda used the location to deliver an out-of-the-world experience for their new eye-shadow palette Mercury Retrograde.

The pop-up store offered the shoppers an experience as close as to stepping into outer space.

3. Hermes

Design is something we all would love to learn. In January 2021, the French luxury design house Hermes came up with a spectacular event at Alserkal Avenue, Dubai, that gave visitors to plunge into the imaginary world of creation and joyfully celebrated design in all its forms.

At the Carré Studio, the main focus of the event, visitors could meet with the illustrators behind the jaw-dropping designs, learn the art of tying the perfect turbo, and show off their vocal skills at Carré Ok― an experience that will undoubtedly make the buyers keep coming back!

Different booths and arenas within the exhibition space offered different experiences.

At atCarré knots, they got an opportunity to learn various styles of tying a scarf.

And then comes the real deal: the Carré Mania pop-up stores where the shoppers get to buy their favorite scarves.

Isn’t fantastic? Start with experience and then make a sale.

4. Macy’s

STORY at Macy’s is indeed a story-driven retail experience in partnership with brands like MAC Cosmetics, Crayola, Levi’s Kids, etc.

The initiative launched as a unique retail store that believed in the idea of renewing its stock according to different themes every few months.

Concepts like ‘Love,’ ‘Remember When,’ and ‘Holidays’ acted as the benchmark for each new line of products. After seven years in business, Story was fully acquired by Macy’s and relaunched in 2018.

How does retailtainment drive consumer experience?

The examples I just spoke about stress the importance of engaging consumers in an in-store experience. Exceeding expectations drives emotional reactions. There are five common elements across all examples that are the driving force behind a remarkable customer experience:

Engagement: What the consumer sees and experiences in the store remains with them long after they have left the store.

Authenticity: Ideas, both original and innovative, making the customer feel like they are in a different world.

Personalization: A feeling that the experience has been tailor-made for them.

Dependability: Customer trusts the brand and sees it as more capable than other competing businesses.

Way forward

Experiential retail isn’t about spending hundreds of bucks on your store. A personalized shopping experience that requires more brainstorming (than money, trust me) helps provide an unparalleled retail experience for your existing and potential audience. Couple this with seamless in-store digital solutions and bingo!

Pickcel’s digital solutions can help your business build exceptional customer engagement! Sign up to manage your displays with the Pickcel display management system and unlock 60+ content apps (enjoy all the benefits free on 2 displays for 14 days!)

To get a quick demo and/or free consultation, contact our team.

For more click on the link Retailtainment

[sinceileftyoublog]

Pitchfork Music Festival 2021 Preview: 15 Can’t-miss Acts

black midi; Photo by YIS KID

BY JORDAN MAINZER

While yours truly won’t be attending Pitchfork Music Festival this year, SILY contributor Daniel Palella will be covering the actual fest. If I was attending, though, these would be the acts I’d make sure to see. 5 from each day, no overlaps, so you could conceivably see everyone listed.

FRIDAY

Armand Hammer, 1:00 PM, Green Stage

Earlier this year, New York hip hop duo Armand Hammer released their 5th album Haram (BackwoodzStudioz) in collaboration with on-fire producer The Alchemist. It was the duo’s (ELUCID and Billy Woods) first time working with a singular producer on a record (though Earl Sweatshirt produced a track), and likewise, The Alchemist actually tailored his beats towards the two MCs. Haram is the exact kind of hip hop that succeeds early in the day at a festival, verbose and complex rhymes over languid, cloudy, sample-heavy beats, when attendees are more likely to want to sit and listen than dance. And you’re going to want to listen to Armand Hammer, whose MCs’ experiential words frame the eerie hues of the production. “Dreams is dangerous, linger like angel dust,” Woods raps on opener “Sir Benni Miles”, never looking back as he and Elucid’s stream-of-consciousness rhymes cover everything from colonization to Black bodily autonomy and the dangers of satisfaction disguised as optimism. (“We let BLM be the new FUBU,” raps Quelle Chris on “Chicharrones”; “Iridescent blackness / Is this performative or praxis?” ponders Woods on “Black Sunlight”.)  There are moments of levity on Haram, like KAYANA’s vocal turn on “Black Sunlight” and the “what the hell sound is this?” type sampling that dominates warped, looped tracks like “Peppertree” and “Indian Summer”, built around sounds of horns and twirling flute lines. For the most part, Haram is an album of empathetic realism. “Hurt people hurt people,” raps Elucid on “Falling Out of the Sky”, a stunning encapsulation of Armand Hammer’s world where humanism exists side-by-side with traumatic death and feelings of revenge.

You can also catch Armand Hammer doing a live set on the Vans Channel 66 livestream at 12 PM on Saturday.

Dogleg, 1:45 PM, Red Stage

It feels like we’ve been waiting years to see this set, and actually, we have! The four-piece punk band from Michigan was supposed to play last year’s cancelled fest in support of their searing debut Melee (Triple Crown), and a year-plus of pent up energy is sure to make songs like “Bueno”, “Fox”, and “Kawasaki Backflip” all the more raging. Remember: This is a band whose reputation was solidified live before they were signed to Triple Crown and released their breakout album. Seeing them is the closest thing to a no-brainer that this year’s lineup offers.

Revisit our interview with Dogleg from last year, and catch them at an aftershow on Saturday at Subterranean with fellow Pitchfork performer Oso Oso and Retirement Party.

Hop Along, 3:20 PM, Red Stage

Though lead singer Frances Quinlan released a very good solo album last year, it’s been three years since their incredible band Hop Along dropped an album and two years since they’ve toured. 2018′s Bark Your Head Off, Dog (Saddle Creek), one of our favorite albums of that year, should comprise the majority of their setlist, but maybe they have some new songs?

Catch them at an aftershow on Saturday at Metro with Varsity and Slow Mass.

black midi, 4:15 PM, Green Stage

The band who had the finest debut of 2019 and gave the best set of that year at Pitchfork is back. Cavalcade (Rough Trade) is black midi’s sophomore album, methodical in its approach in contrast with the improvisational absurdism of Schlagenheim. Stop-start, violin-laden lead single and album opener “John L”, a song about a cult leader whose members turn on him, is as good a summary as ever of the dark, funky eclecticism of black midi, who on Cavalcade saw band members leave and new ones enter, their ever shapeshifting sound the only consistent thing about them. A song like the jazzy “Diamond Stuff” is likely impossible to replicate live--its credits list everything from 19th century instruments to household kitchen items used for percussion--but is key to experiencing their instrumental adventurousness. On two-and-a-half-minute barn burner “Hogwash and Balderdash,” they for the first time fully lean into their fried Primus influences, telling a tale of two escaped prisoners, “two chickens from the pen.” At the same time, this band is still black midi, with moments that call back to Schlagenheim, the churning, metallic power chords via jittery, slapping funk of “Chondromalacia Patella” representative of their quintessential tempo changes. And as on songs like Schlagenheim’s “Western”, black midi find room for beauty here, too, empathizing with the pains of Marlene Dietrich on a bossa nova tune named after her, Geordie Greep’s unmistakable warble cooing sorrowful lines like, “Fills the hall tight / And pulls at our hearts / And puts in her place / The girl she once was.” Expect to hear plenty from Cavalcade but also some new songs; after all, this is a band that road tests and experiments with material before recording it.

Catch them doing a 2 PM DJ set on Vans Channel 66 on Saturday and at an aftershow on Monday at Sleeping Village.

Yaeji, 7:45 PM, Blue Stage

What We Drew (XL), the debut mixtape from Brooklyn-based DJ Yaeji, was one of many dance records that came out after lockdown that we all wished we could experience in a crowd as opposed to at home alone. Now's our chance to bask in all of its glory under a setting sun. Maybe she’ll spin her masterful remix of Dua Lipa’s “Don’t Start Now” from the Club Future Nostalgia remix album, or her 2021 single “PAC-TIVE”, her and DiAN’s collaboration with Pac-Man company Namco.

Angel Olsen; Photo by Dana Trippe

SATURDAY

Bartees Strange, 1:45 PM, Red Stage

One of our favorite albums of last year was Live Forever (Memory Music), the debut from singer-songwriter and The National fanatic Bartees Strange, one that contributor Lauren Lederman called “a declaration of an artist’s arrival.” He’s certainly past arrived when you take into account his busy 2021, releasing a new song with Lorenzo Wolff and offering his remix services to a number of artists, including illuminati hotties and fellow Pitchfork performer (and tour mate) Phoebe Bridgers. Expect to hear lots of Live Forever during his Pitchfork set, one of many sets at the fest featuring exciting young guitar-based (!) bands.

Catch him at a free (!!) aftershow on Monday at Empty Bottle with Ganser.

Faye Webster, 4:00 PM, Blue Stage

Since we previewed Faye Webster’s Noonchorus livestream in October, she’s released the long-awaited follow-up to Atlanta Millionaires Club, the cheekily titled I Know I’m Funny haha (Secretly Canadian). At that time, she had dropped “Better Distractions”, “In A Good Way”, and “Both All The Time”, and the rest of the album more than follows the promise of these three dreamy country, folk rock, and R&B-inspired tunes. Webster continues to be a master of tone and mood, lovelorn on “Sometimes”, sarcastic on the title track, and head-in-the-clouds on “A Dream with a Baseball Player”. All the while, she and her backing band provide stellar, languorous instrumentation, keys and slide guitar on the bossa nova “Kind Of”, her overdriven guitar sludge on “Cheers”, cinematic strings on the melancholic “A Stranger”, stark acoustic guitar on heartbreaking closer “Half of Me”. And the ultimate irony of Webster’s whip-smart lyricism is that a line like, “And today I get upset over this song that I heard / And I guess was just upset because why didn't I think of it first,” is that I can guarantee a million songwriters feel the same way about her music, timely in context and timeless in sound and feeling.

Catch her at an aftershow on Saturday at Sleeping Village with Danger Incorporated.

Georgia Anne Muldrow, 5:15 PM, Blue Stage

The queen of beats takes the stage during the hottest part of the day, perfect for some sweaty dancing. VWETO III (FORESEEN + Epistrophik Peach Sound), the third album in Muldrow’s beats record series, was put together with “calls to action” in mind, each single leading up to the album’s release to be paired with crowdsourced submissions via Instagram from singers, visual artists, dancers, and turntablists. Moreover, many of the album’s tracks are inspired by very specific eras of Black music, from Boom Bap and G-funk to free jazz, and through it all, Muldrow provides a platform for musical education just as much as funky earworms.

Revisit our interview with Muldrow from earlier this year.

Angel Olsen, 7:25 PM, Red Stage

It’s been a busy past two years for Angel Olsen. She revealed Whole New Mess (Jagjaguwar) in August 2020, stripped down arrangements of many of the songs on 2019′s amazing All Mirrors. In May, she came out with a box set called Song of the Lark and Other Far Memories (Jagjaguwar), which contained both All Mirrors and Whole New Mess and a bonus LP of remixes, covers, alternate takes, and bonus tracks. She shortly and out of nowhere dropped a song of the year candidate in old school country rock high and lonesome Sharon Van Etten duet “Like I Used To”. And just last month, she released Aisles, an 80′s covers EP out on her Jagjaguwar imprint somethingscosmic. She turns Laura Branigan’s disco jam “Gloria” and Men Without Hats’ “Safety Dance” into woozy, echoing, slowed-down beds of synth haze and echoing drum machine. On Orchestral Manoeuvres in the Dark’s “If You Leave”, her voice occupies different registers between the soft high notes of the bridge and autotuned solemnity of the chorus. Sure, other covers are more recognizable in their tempo and arrangement, like Billy Idol’s Rebel Yell ballad “Eyes Without a Face” and Alphaville’s “Forever Young”, but Aisles is exemplary of Olsen’s ability to not just reinvent herself but classics.

At Pitchfork, I’d bet on a set heavy on All Mirrors and Whole New Mess, but as with the unexpectedness of Aisles, you never know!

St. Vincent, 8:30 PM, Green Stage

Annie Clark again consciously shifts personas and eras with her new St. Vincent album Daddy’s Home (Loma Vista), inspired by 70′s funk rock and guitar-driven psychedelia. While much of the album’s rollout centered around its backstory--Clark’s father’s time in prison for white collar crimes--the album is a thoughtful treatise on honesty and identity, the first St. Vincent album to really stare Clark’s life in the face. 

Many of its songs saw their live debut during a Moment House stream, which we previewed last month.

The Weather Station; Photo by Jeff Bierk

SUNDAY

Tomberlin, 1:00 PM, Green Stage

While the LA-via-Louisville singer-songwriter hasn’t yet offered a proper follow-up LP to her 2018 debut At Weddings, she did last year release an EP called Projections (Saddle Creek), which expands upon At Weddings’ shadowy palate. Songs like “Hours” and “Wasted” are comparatively clattering and up-tempo. Yet, all four of the original tracks are increasingly self-reflexive, Tomberlin exploring and redefining herself on her terms, whether singing about love or queerness, all while maintaining her sense of humor. (“When you go you take the sun and all my flowers die / So I wait by the window and write some shit / And hope that you'll reply,” she shrugs over acoustic strums and wincing electric guitars.) The album ends with a stark grey cover of Casiotone for the Painfully Alone’s “Natural Light”; Tomberlin finds a kindred spirit in the maudlin musings of Owen Ashworth.

Get there early on Sunday to hear select tracks from At Weddings and Projections but also likely some new songs.

oso oso, 2:45 PM, Blue Stage

Basking in the Glow (Triple Crown), the third album from Long Beach singer-songwriter Jade Lilitri as Oso Oso, was one of our favorite records of 2019, and we’d relish the opportunity to see them performed to a crowd in the sun. Expect to hear lots of it; hopefully we’re treated to new oso oso material some time soon.

Catch them at an aftershow on Saturday at Subterranean with fellow Pitchfork performer Dogleg and Retirement Party.

The Weather Station, 4:00 PM, Blue Stage

The Toronto band led by singer-songwriter Tamara Lindeman released one of the best albums of the year back in February with Ignorance (Fat Possum), songs inspired by climate change-addled anxiety. While the record is filled with affecting, reflective lines about loss and trying to find happiness in the face of dread, in a live setting, I imagine the instrumentation will be a highlight, from the fluttering tension of “Robber” to the glistening disco of “Parking Lot”.

Revisit our preview of their Pitchfork Instagram performance from earlier this year. Catch them at an aftershow on Friday at Schubas with Ulna.

Danny Brown, 6:15 PM, Green Stage

The Detroit rapper’s last full-length record was the Q-Tip executive produced uknowhatimsayin¿ (Warp), though he’s popped up a few times since then, on remixes, a Brockhampton album, and TV62, a Bruiser Brigade Records compilation from earlier this year. (He’s also claimed in Twitch streams that his new album Quaranta is almost done.) His sets--especially Pitchfork sets--are always high-energy, as he’s got so many classic albums and tracks under his belt at this point, so expect to hear a mix of those.

Erykah Badu, 8:30 PM, Green Stage

What more can I say? This is the headliner Pitchfork has been trying to get for years, responsible for some of the greatest neo soul albums of all time. There’s not much else to say about Erykah Badu other than she’s the number one must-see at the festival.

[nyfacurrent]

Conversations | Rica Takashima and Christine Yearwood’s “One Stop Family Pop Up”

The Fiscally Sponsored project celebrates maternal health at public events throughout New York City.

Visual artist Rica Takashima and Christine Yearwood, UP-STAND CEO/Founder, have teamed up to bring awareness to the maternal experience through their One Stop Family Pop Up, which is Fiscally Sponsored by New York Foundation for the Arts (NYFA). A social practice arts project, the mobile set-up shares accommodations through public events in New York City via workshops, a lactation tent, diaper changing station, a play-yard, and an experiential wearable pregnancy bump. 

Read NYFA’s conversation with Takashima and Yearwood as they tell us more about making accessibility a reality in an inaccessible city, and celebrate maternal health with them at the 6th annual Boogie on the Boulevard in the Bronx on Sunday, September 15, where One Stop Family Pop Up will next be stationed.

NYFA: How did your One Stop Family Pop Up collaboration begin?

Christine Yearwood: At the end of 2016, Rica met me at a community market. As soon as Rica saw UP-STAND’s table, a showcase of products and opportunities to support pregnant women and families, she asked to collaborate. Rica, as a mother and artist, sympathized deeply. I was excited about an artistic advocacy partnership with Rica and we quickly thought up the concept for One Stop Family Pop Up.

Rica Takashima: One of our aims is to increase accessibility in public spaces for families. In the beginning, we provided a lactation space, a diaper-changing station, a play-yard, priority seating area, and a free artists’ tent and workshop. Then, we also added a pilot Ramp Project, working to install portable ramps in storefronts that have a step and are therefore inaccessible.These ramps are beautifully-designed and painted by community members; we hope to invite visual artists to add paintings to the ramps in the future.

NYFA: For One Stop Family Pop Up, the experience includes a wearable Empathy Belly sculpture. What prompted you to highlight the pregnancy experience for others?

RT: This sculpture, made from a used children’s backpack, contains 20 lbs. of water-weights, the average weight gain around a pregnant woman’s abdomen. Wearing this sculpture, participants experience how much a pregnant woman is challenged just by sitting on a chair or putting on shoes. Not only that, they can also feel the heavy burden put on the body in other supportive areas, such as the back and legs.

CY: Many people, particularly males and young people, are not familiar with the typical challenges that come with pregnancy and are even less aware of the serious complications women frequently experience during pregnancy. Pregnancy is special, but can also be stressful, trigger health concerns, and limit mobility. Pregnant women need community members to understand and support them in order to produce healthy babies and best transition into their roles as mothers.

NYFA: The project now includes an open call for artists. How will presenting other artists’ work enrich the participant experience?

CY: After giving birth, many female artists experience career interruptions. We want to make a space for these artists to return and show their work. As an artist who overcame birth and child-rearing, and who is still struggling, Rica wants to make a path for others in her community.

RT: Artists often gain a new perspective through the experience of raising a child, and in turn provide participants with a new way to look at everyday things. For instance, one of our guest artists worked with participants to create reusable wraps made with cotton cloth and beeswax for an eco-friendly alternative to Ziploc bags or plastic wrap. Makers used cloth from a baby’s dress, or special shirt, to preserve and represent their special memories; this is a great way to give them new life!

NYFA: What new or unique perspectives have your own maternity experiences given you, that you might not have expected?

CY: Being pregnant and parenting has made us realize that pregnancy and childrearing are treated as things that may be accommodated as a courtesy in New York, but that we provide almost zero institutional, standardized, practical support to make public spaces and transportation truly accessible. Everyone knows that New York is expensive, but it is also surprisingly taxing physically and emotionally to have children here. We want to change that.

NYFA: You work in social practice. How does art strengthen a community?

CY: We believe families should have access to socially-engaging art shows, workshops, and public art. All of us better contribute to society when able to connect and engage with our communities!

RT: Our art shows and workshops represent the personalities and communities of our artists. Attending our workshops creates dialogue that introduces and respects one another's origins, customs, lives, and generational differences.

NYFA: Why did you choose NYFA Fiscal Sponsorship?

CY: NYFA has been incredibly instrumental in our work. Their sponsorship helped us to articulate our project goals, create a project plan and timeline, and keep us accountable. We receive our monetary donations through the NYFA portal and are easily able to manage that account, and have been able to receive material donations via their sponsorship as well. Our projects have truly only been possible with NYFA’s ongoing support!

- Interview conducted by Priscilla Son, Program Officer, Fiscal Sponsorship & Finance

Images: Rica Takashima and Christine Yearwood, Collaboration with MOMpreneurs’ Show & Tell, 2017, Astoria Park, Queens, Photo Credit: Yasushi Tamaki; Collaboration with GrowNYC Green Market, 2018, Prospect Park, Brooklyn, Photo Credit: Rica Takashima; Collaboration with Boogie On The Boulevard, 2018, The Bronx, Photo Credit: Rica Takashima

[pickcel09]

What is retailtainment, and how are modern brands leveraging it?

Let me begin by asking a question: ever walked into a store that allows you to customize what you want to buy?

Or participated in a quiz or challenge about a product and earned a great discount on it?

Yes? Then, you have had a brush with retailtainment!

With businesses brainstorming on newer and more effective ideas to get customers hooked, a new retail marketing trend called “experiential retail” is gaining the spotlight.

But, what is experiential retail or retailtainment even for that matter?

Read on to find out!

What is retailtainment and experiential retail?

Retailtainment refers to bringing together retail marketing and entertainment and creating a worthwhile experience for the buyers, something that stirs up their interest and pushes forward a purchase.

Buyers experience your products using a combination of senses; retailtainment uses elements like lighting, colors, landscaping, store digital signage, sound, smell, and ambiance to evoke positive responses in their minds.

Retailtainment is in a way a component of experiential retail leverages in-store events and services, prioritizing consumer experience over sales and creating an experience that addresses consumers' needs. It can range from ideas such as personalizing purchases and adding gaming experiences to introducing high-tech ‘wow’ gizmos.

Experiential retail marketing can engage the customer in every way through touch, glance, an interaction, or even an illusion. The visual merchandising of the store can also contribute significantly to building a memorable customer experience.

Why is retailtainment gaining importance for modern retail businesses?

Modern retail businesses are much more than selling a product. They focus on bringing products to life by adding a humane touch to them with storytelling at its core. After all, who doesn’t like an interactive shopping experience?

Another reason experiential campaigns are more rewarding than traditional marketing campaigns because they remain stuck in customers' minds for a long time.

A recent study found that 100% of their respondents agreed that retailtainment, Point of Sale (POS) advertising, or close-up brand experiences stir up their interest in a particular product or service.

By combining technology with retail entertainment, consumer experience can reach a new high. Farfetch founder José Neves recently explained how dynamic the retail landscape has become:

4 examples of brands leveraging retailtainment & experiential marketing

From the top global chains of businesses to the mid-size grocery stores, every brand is using retailtainment to offer their customers an experience beyond shopping. Here’s a look at four of my personal favorite.

1. IKEA

IKEA is a name that barely needs a referred introduction, and for the right reasons. After all, it is what true retail therapy looks like!

There is quite purposefully something for everyone the minute they enter the store.

But, IKEA is beyond just an outlet. It is a cultural force!

The brand has designed a 391 sq. foot home in its Brooklyn store, where they have built an impressively compact but fully-loaded home, including every product an actual dwelling would have. At IKEA, the customers are getting to experience and feel how that rug they desire would look in their personal space.

Visiting with kids? Leave them at Smaland to have fun while you indulge and spend time shopping at the IKEA store.

Feeling the hunger pangs while shopping? A fully loaded restaurant awaits you right at the center of the store.

All these don’t just add up to offer the customers a memorable experience and improve the brand recall rate; they have a direct business benefit: the more time your customers stay inside your store, the more they spend.

2. Huda Beauty

Huda Beauty, one of the most prominent beauty brands, came up with a fabulous experiential retail pop-up at the center of Covent Garden, London, to launch a new product line and reach new customers.

Huda used the location to deliver an out-of-the-world experience for their new eye-shadow palette Mercury Retrograde.

The pop-up store offered the shoppers an experience as close as to stepping into outer space.

3. Hermes

Design is something we all would love to learn. In January 2021, the French luxury design house Hermes came up with a spectacular event at Alserkal Avenue, Dubai, that gave visitors to plunge into the imaginary world of creation and joyfully celebrated design in all its forms.

At the Carré Studio, the main focus of the event, visitors could meet with the illustrators behind the jaw-dropping designs, learn the art of tying the perfect turbo, and show off their vocal skills at Carré Ok― an experience that will undoubtedly make the buyers keep coming back!

Different booths and arenas within the exhibition space offered different experiences.

At Carré Stories, the shoppers could hear the tales of the Hermes scarves on vintage dial phones.

At atCarré knots, they got an opportunity to learn various styles of tying a scarf.

And then comes the real deal: the Carré Mania pop-up stores where the shoppers get to buy their favorite scarves.

Isn’t fantastic? Start with experience and then make a sale.

4. Macy’s

STORY at Macy’s is indeed a story-driven retail experience in partnership with brands like MAC Cosmetics, Crayola, Levi’s Kids, etc.

The initiative launched as a unique retail store that believed in the idea of renewing its stock according to different themes every few months.

Concepts like ‘Love,’ ‘Remember When,’ and ‘Holidays’ acted as the benchmark for each new line of products. After seven years in business, Story was fully acquired by Macy’s and relaunched in 2018.

Originally Published as What is retailtainment, and how are modern brands leveraging it  on Pickcel Digital Signage Blog

[roots3productionsworld-blog]

Roots3 Productions 55 Meadow St, Suite 209 Brooklyn, NY 11206 (310) 741-8700

Top experiential marketing agency Roots3 Productions based in New York & Los Angeles. Serving brands around the USA. Experiential visionaries! Services ranging from Mobile Tours & Brand Activations to Living Walls, Art Installations & Event Permitting. We create unforgettable brand experiences!

External Social Links: Roots3 Productions Youtube Facebook Twitter Pinterest

[roots3productions-blog]

How To Promote Your Experiential Marketing Agency The Right Way

Money is possibly the driving purpose behind starting a company. Also, do not forget to take time on the essentials. The foundations to owning your agency are relatively simple to understand if you take your time and learn the critical info. Start your learning today by reading these useful suggestions.

Your workers can provide valuable insights, so try brainstorming with them when you are faced with a crunchy agency decision. Merely listing the pros and cons of each option you are considering can also aid in decision-making. Such approaches enable you to examine an issue from multiple perspectives. Having a meeting with an experiential agency development expert is a great habit whenever you feel undecided about the following motion for your experiential agency.

The best way to stay out legal battles is to make sure you're not just filed all the forms that state and federal governments require from businesses, but also have a grasp of the laws that govern companies. Without a basic knowledge of agency law, you can still consult with an attorney who specializes in the subject. It only takes a single expensive case in a court of law to result in the downfall of a lucrative experiential agency. Building a great relationship with an experiential agency attorney will likely be very helpful if you ever need to confront a legal challenge.

The prospect of financial ruin is indeed one to be evaded; an original way to do this when faced with a large-scale choice for your company is first to make a risk analysis that's comprehensive and precise. Huge risks can be extremely detrimental to even the best-managed agency. The most important thing is to keep the chance to your experiential agency at a minimum, to prevent the possible damage at a minimum as well. Keep your marketing company safe and lucrative by always conducting a reliable assessment of the significant risks each time you have to make a big decision.

To ensure your agency is a continued success, keep setting new benchmarks to meet. If you genuinely believe that your company will succeed, nothing will stand in your way. Every time you attend one of your objectives, make sure to replace it with one that is a little more ambitious; this simple strategy can help you achieve your dreams. Owners who settle for the smallest possible milestones of success and invest little of their effort in their companies probably should not bother opening a business at all.

The very best way to learn real agency skills is to gain experience by learning on the job. If you want to retain more data about the experiential agency world, most experts refer to learning with personal experience as being superior. This knowledge can help you navigate owning your experiential agency successfully. While books do offer a wide range of expertise, it's nothing compared to that which can be gained from personal experience.

For more information Visit: Pop-up Store with Roots3 Productions Roots3 Productions 55 Meadow St, Suite 209 Brooklyn, NY 11206 (310) 741-8700

[fashionsneakers1]

Why Is There Such a Lack of Representation for Black Women in Sneakers?

I think we are all aware that the sneaker industry is heavily male-dominated. That isn’t to say that there aren’t many incredible women shaping sneaker culture today, but many are not as visible as their male counterparts. While we are increasingly seeing more women behind the scenes at brands working on footwear, color and materials design, marketing, and product line management, there is still something missing: Black women.

Black female style and cultural leaders like Aleali May, Vashtie, Beyoncé, and the many other women who continue to set the pace in the sneaker industry, and inspire women are being highlighted and celebrated more than ever. Black women are not only setting the fashion trends, but they are also crucial components in the foundation of the sneaker industry. Sneaker culture is rooted in Black women just as much as Black men, so why aren’t more people talking about them?

From the perspective of a Black girl fairly new to the world of sneakers, the sneaker industry is intimidating, especially with the lack of representation of Black women working in the sneaker industry shown in the media. It can appear as an environment that is unwelcoming to us, and something we can’t feel a part of unless we have flawless style and thousands of Instagram followers. So now, more than ever, it’s critical that we open up the conversation and show Black women, girls, and non-binary people that they, too, are welcome and respected in the design, creation, and development aspects of the sneaker world—not just as style or fashion muses.

The lack of Black female representation in the sneaker industry can be traced back to Black women’s lack of awareness of the wealth of opportunities available in the sneaker industry. Cheresse Thornhill, who is the design director of the SEED program at Adidas, is working toward breaking down barriers and making industry more accessible for young Black, Asian, and minority ethnic women creators.

“We’re mostly exposed to the retail and sales opportunities, but there’s a whole world of opportunities within product creation from design to product marketing, development, engineering, biomechanics, wear-testing etc,” Thorhnill says. “Even within footwear design, there’s color, materials, graphics, and 3D design opportunities. We also need to be exposed to the pathways to gaining access to the footwear industry.”

Knowing the types of opportunities that exist in the sneaker world is only the first step; access to the education and resources needed to follow that path is crucial.

The Adidas SEED (School for Experiential Education in Design) program was established to serve as a better pathway for bringing in fresh talent to the brand and industry. In partnership with Pensole and supported by Pharrell Williams, Adidas last year welcomed the inaugural class of six women to the Adidas Brooklyn Creator Farm.

Thornhill was lucky enough to attend a product design college before taking on her role at Adidas; she understands what it’s like to strive to work in the industry and wants to make it easier for other Black women to do the same.

“My hope is that the work we’re doing through SEED inspires other brands and companies, not only in our industry but in other industries, to invest in the education of the next generation of innovators and change makers in our community,” Thornhill says. “It’s not enough to know these opportunities exist, knowing the pathway and the skills needed for entry is also key.”

Luckily, there is some light in the dark tunnel of recruitment. The Adidas SEED school prioritizes the needs of the candidates over the needs of the company. Liz Connelly, a SEED program manager and consultant, shares insights into how they recruit talent for the program and why other companies should take note.

“We set out to dismantle the systems that exist and create something new that would better support the people who are underrepresented in our industry,” she says. “Our entire application and interview process is designed to meet the creator where they are at their best and to allow for a more human process.”

Many people, Black-identifying women in particular, struggle with the cost of education or can’t afford it, period. With an industry as competitive as sneakers, resources and connections are just as important as an education.

Alicia Pinckney, a men’s apparel designer at Jordan Brand, founded the Black Talent in Design & Fashion Fund last year to help support the up-and-coming generation of Black individuals in the fashion and design world.

“Founding my nonprofit was a glimmer of hope that one day the lack of representation in the footwear/fashion industry would be addressed,” Pinckney says. “The intent of the Black Talent in Design and Fashion fund is to provide financial support through a scholarship so that they’ll have the tools to continue investing in their education and provide networking opportunities to meet people within the industry, especially other Black/brown talent.”

Past awareness and access, the biggest barrier for Black women is getting a job in the industry. To be completely blunt, the recruitment process has been and still is broken. Jazerai Allen-Lord is a multifaceted creative with deep roots in sneaker and street culture. True to Size, her company, specializes in elevating marginalized people and stories through brand strategy. She explains that the sources of talent where brands look aren’t diverse to begin with.

“When we take a look at the demographics of students in design schools, less than 2 percent of those students identify as Black,” Allen-Lord says. “The recruitment process, as far as brands, agencies, and the majority of these companies are recruiting from design schools. So right there we have a hole in the system.”

Black women who are recruited can also become locked in their first role and not given the opportunity to advance within a company. Brittney Perry, the founder of PerryCo. Shoes, a unisex footwear and accessories firm based in Chicago, has also seen issues with the recruitment process, even when recruiters look beyond design schools.

“Oftentimes, companies recruit employees of color, only to make them sales associates,” Perry says. “It’s also hard to get your foot in the door without proper job experience or formal education credentials, but how can these people get experience without someone willing to give them a chance? It has to start from the inside.”

Two of the biggest hubs for footwear brands in the US are Portland and Boston, both of which are very white cities. As a result, when Black women enter these environments, they can feel alone, which can have a negative impact on how they work.

“Once they are in these offices, the problem extends to retention,” Allen-Lorde says. “You can hire 30 percent Black people or have an aspiration to diversify your office and make it equitable. But if they are not comfortable or they don’t find a community or support, then they are going to leave in six months.”

This puts a great deal of pressure on young Black women. There’s a layered experience for a Black creative that wants to be in footwear design; they have had to grow a thicker skin and go through a lot of personal development, beyond the professional development.

However, Pinckney argues that it’s not as bad as it may seem from the outside, and there are spaces in the industry striving to support Black women.

“I didn’t know there were so many other Black women because I’m used to operating in spaces where I am one of few or sometimes the only,” she says. “I’ve been fortunate enough to work on great teams where my direct manager was invested in career growth. Because of this, I’ve never felt dismissed. In larger rooms, I make sure to lead with confidence so my voice can be heard and not overlooked.”

All of these problems contribute to the lack of Black women and representation for them in the sneaker industry. After overcoming one hurdle, there are five more; it is a constant fight that is being fought behind closed doors. This is why the visibility and recognition of these Black women who work in the industry, as well as their stories, is so important.

“I think the lack of Black women in the space can deter Black girls from wanting to get into the industry. Trying to break into male-dominated spaces is intimidating to some and difficult,” says Perry. “It’s hard to envision yourself doing something when you don’t see people that look like you in that space. That is why it was so important to me to start my own brand. To be the person I wish I had to look up to growing up.”

Though it’s not all as negative as it seems, Perry explains: “There are definitely positives in the lack of attention. It does make me go harder to show the younger generation that you don’t have to work for these larger companies, you can create your own brand.”

Don’t get me wrong, I’m not implying Black women are completely overlooked; but, there is still a big gap between what is aspirational and what is real, and women want to see real.

“If you don’t see yourself in these spaces, you automatically assume it’s not for you,” Allen-Lorde says. “Because there is a lack of respect for diversity, a subset of women thrive. But, this is not the reality for the average customer. The people behind the scenes have to look like the people in front. I think that’s where the missteps happen.”

Someone’s recognition does not indicate their level of success. However, with the fast increasing importance of social media, it is now more necessary than ever that Black women in the footwear industry are consistently acknowledged publicly and their stories are truthfully told. It’s important to have someone to look up to or even relate to who looks like you. Allen-Lorde has noticed this in her own work, realizing that people were turning to her because there was nobody else who looked like them.

Above all, we must now focus on the present and future, and look at what we can change. How can we as a community work together to make Black women feel included and supported?

Though there has been real progress in recent years, it is no secret that Black women face numerous challenges in getting their foot in this rapidly evolving industry. Fortunately, as these four incredible women have proved, success is possible, and there is space for all of us.

“There’s fertile ground, untapped potential, and lots of opportunity for black women to create their own brands or help chart the future for existing brands,” says Thornhill. “I’ve been in this industry for 14 years and I’m still motivated and inspired, now more than ever, to keep growing and help open up opportunities for black women in the footwear industry.”

[shortyawards]

Meet our Inclusion in a Digital World Panelists!

The Shorty Social Good webinar series is proud to present our next webinar, “Inclusion in a Digital World.” 

This panel discussion will feature first hand advice from industry experts on using social and digital media to create a more inclusive and diverse environment. 

MEET OUR EXPERT PANELISTS: 

Photo Credit: Manolo Campion

Shantell Martin is a visual artist best known for her large scale, black-and-white drawings and collaborations with artists and institutions including Kendrick Lamar, the New York City Ballet, Tiffany & Co., Puma, the Albright-Knox Art Gallery, The Museum of the Moving Image, and MoMA. Her upcoming exhibition NEW/NOW opens at the New Britain Museum of American Art later this year.

Her first art book in collaboration with HENI publishing LINES, featuring text by Katharine Stout and an interview by Hans Ulrich Obrist, is now available.

Jimmie Stone is a creative leader and cultural architect who has worked for over 20 years to connect brands and consumers through purpose-driven creative work. At Green Team, where he was Partner, Chief Creative-Strategy Officer for over 12 years, he helped co-create an agency culture of creativity and purpose focused on vital social and environmental issues. He led creative work with non-profits (National Geographic, the UN, Environmental Defense Fund), sustainable tourism (Scotland, Dominica Island, Ecuador) and progressive brands (Pret a Manger, Stonyfield Farm, Jaguar) to succeed in a world where authenticity and responsibility have evolved as powerful social currency. Today Jimmie is the Chief Creative Officer of Edelman NY & Latin America and a driving force behind the creative shift of the world’s leading independent agency in a sea of industry change. He leads a team of over 120 creatives ranging from art directors and designers to copywriters and producers, comedians and craftspeople, journalists, creative technologists and jacks of all trades. Under his “team of teams” mentality, he has created a nimble, organic ecosystem in this new “Creative Network”. Combined with his business acumen, he has driven both financial success and award-winning campaigns. Stone is also responsible for the growth of Edelman’s creative content offering, including building an experiential design group, and best-in-class creative studio and video production team. Jimmie has judged almost all the major award shows and along with his team, has won many of them throughout his career, including Cannes, Clios, Shortys, D&AD Impact, the International Design Award from ID Magazine and the United Nations Integrity in Advertising Award. Originally from Venezuela, Jimmie now lives in Brooklyn, NY (which he thinks sounds cool) with his wife and two children (who really are cool).

Judy Lee is the Global Head of Experiential Marketing at Pinterest. She leads the team that brings the Pinterest brand to life through experiences and events across all audiences around the globe. She also manages the industry marketing function which includes the speaker program and sponsorships.

Recognized for her work in transforming Pinterest's brand experiences, Judy has been named a Top Woman to Watch by Brand Innovators and a Top Woman in Events by Event Marketer in 2019. With a broad and deep background across multiple marketing disciplines, Judy is a thought leader who has judged numerous award competitions and shared her point of view at industry events.

Previously, Judy held marketing leadership roles at numerous high growth companies including Facebook/Instagram, Pandora, and AOL. She began her career and love of technology and media at CNET and her love of retail at Gap, Inc.

Judy is a passionate advocate for inclusion and mentorship, especially for women of color, and sits on Adweek’s Diversity, Equity, and Inclusion Council.  

Deeply passionate about advertising, blackjack and single malts, Sonal Dabral was born in Etawah, a beautiful city situated on the banks of the Yamuna in Uttar Pradesh. Sonal is a Visual Communications graduate from The National Institute of Design, India’s premier design school in Ahmedabad.

In a career that spans over 25 years, Sonal has led agencies to creative glory in 3 different markets across Asia. At Ogilvy Mumbai in the 90's, he helped drive Ogilvy & Mather to No. 1 creative position. He did the same with Ogilvy Kuala Lumpur leading the office to become the most awarded in Malaysia and one of the region's hottest within just three years. In the process winning Malaysia’s first-ever Gold at an international award show- a One Show Gold. Ogilvy Singapore was next, where he led his team to become No.1 in the Creative Ranking in Asia, and the third most awarded office in the world at Cannes Lions 2007 – a first for an Asian agency.

He returned to India in 2011 to head Bates, followed by a stint at DDB Mudra. In July 2017, Sonal was named Vice Chairman and Group Chief Creative Officer, Ogilvy India.

A popular speaker, Sonal has spoken at major festivals and events like LIA, TEDx and PechaKucha nights besides numerous engagements across the globe. He once successfully woke up a sleepy audience in Taiwan by singing an impromptu Bollywood song during a seminar. International Advertising Association (India chapter) recently picked Sonal as the Creative Leader of the Year for the year 2017. Sonal has also been a favourite TV host on prime time television and a Bollywood scriptwriter. This November, Sonal will also debut as a playwright when a play written by him is staged in Singapore.

Grab a pen and paper and make sure to tune in August 20th at 4 pm EST to watch these experts talk all things diversity and inclusion! 

[youngandhungryent]

Roc Nation Partners With Brooklyn’s Long Island University For New School

Source: Rich Fury / Getty

Jay-Z is doubling down on his commitment to empower Black and Brown people. His team is launching programming to teach the new generation the politics of the business.

As spotted on The Grio the media mogul is working with a place of learning very close to his roots. On Tuesday, August 4 Roc Nation announced a new partnership with Brooklyn’s Long Island University. The two entities will launch a Roc Nation School of Music, Sports & Entertainment. Roc Nation CEO Desiree Perez detailed the new initiative in a formal press release.

[The partnership] is “a true investment in our community and young people in Brooklyn, in New York City, and beyond” she said. “We’re excited that The Roc Nation School of Music, Sports & Entertainment will provide unique insight, knowledge and experiences for students and introduce the world to the next generation of unmatched talent”.

View this post on Instagram

In a Historic Collaboration, Roc Nation and Long Island University Establish Roc Nation School of Music, Sports & Entertainment to Educate the Next Generation of Industry Changemakers from LIU Brooklyn. Hit the link in bio for more.

A post shared by Roc Nation (@rocnation) on Aug 4, 2020 at 7:03am PDT

“Our proximity in and around New York City’s epicenter of music and sports clearly positions us to offer unparalleled experiential learning and access to professional opportunities that will launch students to success,” LIU President Dr. Kimberly Cline said in a statement. “We look forward to joining with Roc Nation to offer an unprecedented educational resource that opens up the entertainment and sports world to a new and eager generation.”

The new program will offer undergraduate degrees in sports management, music and music technology, entrepreneurship and production. Additionally students will get to engage with professionals at special sessions and have access to internships for on the job training. Classes begin fall 2021.

Photo:

source https://hiphopwired.com/894758/roc-nation-long-island-university/

[sageglobalresponse]

ROC NATION PARTNERS WITH LONG ISLAND UNIVERSITY TO LAUNCH SCHOOL OF MUSIC, SPORTS & ENTERTAINMENT

JAY-Z’s Roc Nation has announced a partnership with Brooklyn’s Long Island University for the Roc Nation School of Music, Sports & Entertainment.

The school is set to launch in the Fall of 2021 and will award 25% of the incoming freshman class Roc Nation Hope Scholarships.

Roc Nation CEO Desiree Perez told The Hollywood Reporter the new school will be “a true investment in our community and young people in Brooklyn, in New York City, and beyond.”

“We’re excited that The Roc Nation School of Music, Sports & Entertainment will provide unique insight, knowledge and experiences for students and introduce the world to the next generation of unmatched talent,” Perez added.

The degrees students can graduate with include music, music technology, entrepreneurship and production, and sports management.

“Our proximity in and around New York City’s epicenter of music and sports clearly positions us to offer unparalleled experiential learning and access to professional opportunities that will launch students to success,” LIU President Dr. Kimberly Cline said in a statement. “We look forward to joining with Roc Nation to offer an unprecedented educational resource that opens up the entertainment and sports world to a new and eager generation

. #likeforfollow #likeforlikes #like4likes #music #jayz #africa #followforfollowback #sageglobalresponse #musician news

[thisisjamaica]

In Puerto Rico, a Dedicated Arts Community Commits to Hurricane Relief Since hurricane Maria hit, the arts nonprofit Beta-Local has been working with a network of artists and organizations on the island to take matters into their own hands.  A report by Cristina Sanchez-Kozyreva for Hyperallergic. I was in radiant, tropical Puerto Rico in February this year, sharing writing workshops with the artists from La Práctica, a research initiative developed by Beta-Local. This artist-run nonprofit started in 2009, and is currently co-directed by Sofía Gallisá, Pablo Guardiola, and Michael Linares. In old San Juan, they run a welcoming ground floor space and library. For the local art scene, Beta-Local is a connecting hub and a support system. It’s hard to exactly pinpoint what they do, as it includes residencies, educational programs, financial and logistical support for art projects, and an overall commitment to connecting Old San Juan with the rest of the island and the world. Little did I know then, however, that Beta-Local would be reshaping its mission to help with hurricane relief just months later, and that instead of getting back in touch with Gallisá about a show we had discussed, it was to know how they were dealing with life in the aftermath of the strongest hurricane in Puerto Rican modern history. The island is in dire straits. The economical recession has hit hard since 2006 — Puerto Rican government debt now exceeds 70 million dollars — which has pressured its 3.7 million population to a sustained exodus to the US. The island still bears the marks of the colonial hold it came under in 1898, when the US acquired it from the Spaniards (along with Guam and the Philippine islands) following the Treaty of Paris that ended the Spanish-American war. The Philippines became independent in 1946, but Puerto Rico and Guam have remained under the sovereignty of the US. In 1917, the Jones Act granted citizenship to Puerto Ricans (who then were drafted to World War I), restricted its ports to US ships only, and barred the territory from statehood, thus from participating in presidential elections or having congressional representatives. Puerto Rico’s dependency on imports makes its living costs higher than on the mainland, and just more vulnerable to world changes, including, as it happens, climatic perils. Since hurricane Maria’s brutal onslaught on September 20, the island has nowhere near recovered. The lack of gas, electricity, clean water, and supplies transform simple acts of daily life into an obstacle race. “It just keeps getting more and more complicated,” said Gallisá. She was in Los Angeles setting up two shows when the storm hit, and couldn’t get back to her family for a week and a half. But as the island’s communication was down in the wake of the hurricane, leaving many desperate for news from their loved ones, Gallisá threw herself into helping coordinating relief efforts with the Puerto Rican diaspora. “I spent a year in Rockaway, New York after Hurricane Sandy as a volunteer relief worker, so oddly enough I had previous experience,” she said. Once back, Gallisá saw the “devastated landscapes” as she made a trip through the mountains to visit artisans who previously collaborated with one artist from La Práctica. On the day we spoke online, she was preparing to go back with a group of people to help the ceramicist Alice Cheverez to fix the roof of her workshop, hoping to re-open it for pottery classes. On October 12, Beta-Local started giving free meals to their neighbors in old San Juan, feeding around 50 people the first day, and now also delivering meals for the elderly who are stranded in their homes. Supermarkets and pharmacies are either closed, or empty, due to lack of power.“Our cultural scene has persisted precisely because of solidarity, mutual aid, and resourcefulness for decades,” Gallisá said. Earlier this month, Beta-Local launched El Serrucho (the Handsaw), the Hurricane María Emergency Fund. On October 17, the Andy Warhol Foundation for the Visual Arts, the Robert Rauschenberg Foundation, and composer Lin-Manuel Miranda each donated$100,000 to El Serrucho. Beyond the recovery of damaged studios and exhibition spaces, the fund aims at helping artists help their families and communities. “We’re in the process of identifying needs for our emergency fund and I can already tell you that we know of several artists who lost their homes, studios and jobs,” said Gallisá. The website offers the possibility to donate money or directly buy supplies from a provided Amazon list. “Local and federal government relief operations have been completely inadequate thus far. I have a hard time believing the fact that we’re soliciting tarps and distributing them to people who, three weeks after the storm, still don’t have anything to cover the roofs of their homes while it continues to rain on the things that they’ve managed to salvage,” said Gallisá. And yet, President Donald Trump threatened in a tweet on October 13 to pull aid from Puerto Rico and blamed the island for its disastrous economics. Celebrity Chef José Andrés, who has prepared and delivered one million hot meals to residents — more than the American Red Cross — recently denounced in Time what he calls the failure of the American government. The Washington Post described Puerto Rico as a “victim of colonial neglect.” Beta-Local has been working with a network of artists and nonprofits on the island to take matters into their own hands. “Every day people wake up with a to-do list of things that they need in order to eat, work, repair their homes, and help others,” said Marina Reyes Franco, a curator and researcher who was making her way back to the island from Mumbai via the US, bringing supplies such as water filters and toiletries. While she was waiting in Brooklyn for a flight to clear towards Puerto Rico, she volunteered with the Ecokit Duffle initiative, and received donations to take back home. “I probably traveled with $800 to 1,000 worth of supplies, I also had to pay United a $100 fee for my extra bag. But friends in New York and as far as Utah sent money or things with me back to the island.” Other involved artists include Chemi Rosado-Seijo, who has worked since 2002 with El Cerro, a community in the center of the island, on a project aimed at painting all of the community’s houses in shades of green, echoing its lush environment as well as the color of Puerto Rico’s independence party. Now he is helping El Cerro in its reconstruction efforts. Urban participatory design nonprofit La Maraña has also been collecting donations in the form of construction material and practical kits, specifically to implement repairs. Project and music space El Local in Santurce has been organizing meals, as well as collecting and distributing donations towards those harder to reach beyond San Juan. “The bigger misconception about Puerto Rico is the lack of visibility given to the amazing efforts the community develops to move forward,” Fernández lamented, explaining that, considering its infrastructure and administration, it takes that much effort on the island to get things done, and credit isn’t given to a community that is both dynamic and dedicated.“Like always, emergency situations reveal the weakness of the system,” shared Noelia Medina Fernández, a Spanish artist who has lived in Puerto Rico since 2009, and owes her artistic cultivation to the academic and experiential education she received in the island. She was at home when Maria struck, and despite the collapse of part of the roof, she reassured me no one was hurt. But weeks after, she confirmed that damages kept amplifying, through contaminated waters and people dying in hospitals because of lack of power that rendered impossible even common procedures. At last, she managed to take a boat to the Dominican Republic and fly to Spain, back to her family for a while. Studies mentioned by the Independent in an article mid-October suggest one in seven people could leave the island in the next few months. Despite the counter-productive efforts of the country it belongs to, Puerto Rico is helping itself and getting organized on its own, and the question of its statehood — or even more radically, independence — is becoming more and more pressing.

[agritecture]

Highlights from NYC AgTech Week 2017

CONTENT SOURCED FROM TECHNICAL.LY/BROOKLYN

How can we grow more food in cities?

That was the seemingly simple question tackled by innovators, developers, investors and thought-leaders in New York last week. And the proposed answers were anything but simple.

Over the course of NYC Agtech Week, attendees from across the globe had the opportunity to attend workshops, learn about investment strategy and share in local food and spirits. There were hands-on experiences with everything from hyper-controlled, in-home grow setups to the sun and soil of area community gardens.

“Six and a half years ago I was just a kid with a blog who was passionate,” said Henry Gordon Smith, founder and managing director of Agritecture Consulting and organizer of the event. “I’m thrilled about the rate of acceleration. Our first year we had seven events; this year we had 31 events and we sold out. We’re focusing on not just talking about urban agriculture, but doing it.”

Conversations during the third-annual agtech week focused on a handful of fundamental questions: What is urban agriculture? Why is interest growing rapidly right now? How can I get involved? The event was hosted by the New York City Agriculture Technology Collective.

NYC Agtech Week 2017. (Photo by Nina Sparling)

Defining urban agriculture and articulating why it matters flowed through many of the presentations and conversations over the course of the week.

In a workshop during Agtech Demo Day, the group offered a handful of impressions about why urban agriculture is hot right now: Density in urban areas, an increased demand for local fresh food, concerns about climate change and, as Diane Hatz, the founder and executive director of Change Food put it, “The food system is broken, and corporate industrial food sucks.”

Among the guests were several young entrepreneurs looking to turn ideas into realities. Most of the businesses in the agtech space are venture capital funded, and one panel at the Agritecture Consulting offices featured Andrew Shearer, the founder and CEO of Farmshelf, and Tinia Pina, the founder and CEO of Re-nuble. They addressed strategies for finding investors and building a business from the ground up. “Have a hit list and ask people that know people,” said Shearer. “It’s all networking — a lot of it is pounding the pavement. Fundraising is like dating.”

The tone was straightforward: be transparent, be reliable, and practice your pitch.

NYC Agtech Week 2017. (Photo by Nina Sparling)

The events vibrated with energy and momentum towards building a better food system.

Product designers and farm operators celebrated to how the industry has exploded of late, with Brooklyn leading the way in innovation. “Overall, it’s exciting to see how everything evolves: this event has exploded every year since the beginning,” said Marco Tidona from Heidelberg, Germany, who designed Aponix, a modular vertical farm that accommodates both soil-based and soil-less grow systems. “[Vertical farming] is further developed in New York City than in Europe,” Tidona said. “People are becoming aware — they would rather pay for a safe, clean product.”

I met Tidona at the Locavore Feast, organized by Our Name is Farm, a digital and experiential marketing company for the food system. The evening provided the opportunity for event-goers to network, but also to taste the food produced by New York’s high-tech farmers. A vibrant salad featured greens from Bowery Farms; Edenworks provided microgreens; Catskills Distillery brought their spirits (including a white whiskey, which is code for moonshine); and the kombucha featured local basil.

Several people had come to the Locavore Feast to learn about the what urban and vertical farming means, looking to get involved in one way or another. “I would love to work in the industry,” said Bronwen Blaney, who won tickets to attend the Locavore Feast and jumped at the opportunity to network with industry leaders. “Be it urban farming or vertical farming, there are so many different ways to approach it. I’m just trying to figure out my way in. So far, it’s full of great people and good food.”

NYC Agtech Week 2017. (Photo by Nina Sparling)

Among the curious observers and invested developers were a handful of people focused on building vertical farming into political and legislative futures.

Mayoral candidate Mike Tolkin — whose campaign is designed around privatizing much of city government — made an appearance at Agtech Demo Day. “Vertical farming is a source of future economic growth that is important for sustainability,” he said in our conversation. “It’s a thrilling integration of private development with public support. We should elevate vertical farming to a new level; everyone eats, it’s crazy that we don’t talk more about this issue.”

And while New York may be a hotbed of sorts for vertical and indoor farming, its future may be much more widespread.

“Right now, vertical farming is a very local activity; to have it implemented on a broader scale we need a policy change,” said Christine Zimmermann, the chairwoman of the Association for Vertical Farming (AVF), who I met at the Locavore Feast. AVF hosted a conference in Washington, D.C., last week, where Zimmermann was looking forward to the opportunity to meet politicians and decision-makers.

“What the United States can do in the Farm Bill has a global significance; everyone will look at what’s going on here,” she said. “The U.S. can take the lead on this.”

[haulix]

New openings (November 27, 2017)

Music Coordinator (GoPro - Bay Area) 

The Music Coordinator assists in the archival, acquisition and internal distribution of music assets for the entire brand. We’re seeking a creatively minded, highly organized, confident, self-motivated individual, with experience in music licensing or related fields. This role is equal parts creative music supervision and music administration.

The ideal candidate is someone who is passionate about music, discovering and championing new artists, interested in the nuts and bolts of music supervision and licensing, has a proven track record of effective content and file management, and is tech-savvy.  

Studio Production Guru (Loove Music - Brooklyn, NY) 

We're a multi-faceted music production and cooperative distribution shop in search of a savvy, technically minded human ​to design, implement, and oversee our production process and day-to-day operations of the studio with the principals. We are looking for a candidate with production experience, insight into the inner workings of the studio community and optimally some understanding of the tech sector and/or the improvisational music scene. If you are way smart, even-tempered, experienced and available for a committed engagement we want you for our mission. 

Product Marketing Manager (MyAudioVideo - Bellevue, WA) 

We are an Audio/Video company installing Home Theaters, Music Systems, and more.

We have a new Audio/Video related invention, the first of many planned. This is a Patent Pending Audio/Video accessory selling for $24.95. A prominent company in Seattle valued the product, pre-money, at $600k to $1.2m. This was before major improvements were made to the product.

There are many more details I can offer about the product and marketing with an NDA.

We are looking for someone who can take this product to market, or sell this to a manufacturer. We simply do not have the capital or the time, as we are busy with onsite installations.

We would rather not have a potential million dollar product sit on the shelf and collect dust either, so we are offering this opportunity. To the right person, this could be a windfall. As mentioned, we do have other products planned.

This is not a salaried position, however we are quite amiable at looking at compensation packages with you that work for both of us, to include Stock Options, Commission Sales, Bonuses and more.

Director of Marketing and Administration (AEG - New Orleans) 

The Director of Marketing and Administration is responsible for overseeing the administrative and operational aspects of the office, festivals, shows and touring. This role facilitates and establishes procedures to ensure the cohesiveness of several different departments including Marketing and Ticketing. The Director Marketing and Administration also collaborates with sponsorship sales teams on partnerships, and also research and make recommendations on business opportunities in order to generate revenue for the company. 

Coordinator, Digital Operations (Fuse Media - Los Angeles) 

FUSE is currently seeking an experienced Digital Operations Coordinator to join their Digital Operations team.

RESPONSIBILITIES INCLUDE, BUT NOT LIMITED TO:

Update department documentation (schedules, grids, digital plans) as needed.

Assist VP and Directors with documenting workflow policies.

Supporting scheduling, assets and metadata for all OTT, TVE, VOD, SVOD, EST and all other non-linear platforms.

Coordinate Live Event with internal and external teams.

Handling high volume content during busy times, such as festivals or awards shows

Director, Artist Marketing (Spotify - Los Angeles) 

The Creator Services team is responsible for developing and maintaining the connective tissue between Spotify and the creator community. For the position of Director, Artist Marketing, we seek an outstanding candidate with experience building out global music marketing campaigns to join our Artist Marketing team.

This role sits within the Artist Marketing team, a new team within the Creator Services vertical of Content. This team will collaborate closely across all other Creator Services teams (Artist & Label Services, Songwriter Relations) as well as the Shows & Editorial team. They will also work heavily with Spotify’s Core Marketing teams which includes brand managers, communications designers, experiential marketing experts, film producers, copywriters, and social marketing managers.

Artist/Showroom Marketing Coordinator (Fender - Nashville) 

The Showroom Coordinator is a driven and passionate individual who knows the Fender brand in and out and can support all showroom daily activities including scheduling, events and marketing needs.

About the Job:

Accurately and efficiently complete all sales transactions

Track and manage all inventory

Manage appointment scheduling

Prepare and process shipping and receiving, gear delivery and returns

Coordinate and support events internal and external

Assist Artist Relations Managers with artist support including order entry in Workfront and deliver marketing needs effectively

Assist in any technical support needed on site for products-guitar and bass set ups

Student Brand Manager - Berklee College of Music (Red Bull - Boston) 

Red Bull Student Brand Managers (SBMs) are a part of the most dynamic and empowered student ambassador program in the world. Our SBMs are passionate about Red Bull and share their love for the brand with their peers. They are responsible for driving the brand image on campus, building belief in the product benefits and ensuring long term loyalty starting with the college experience. The goals of the Student Brand Manager program are to reach new students, excite students, increase sales and manage the Red Bull brand on a collegiate level.

Manager, Marketing (Wolf Trap Foundation for the Performing Arts - Vienna, VA) 

Wolf Trap Foundation for the Performing Arts seeks a Manager, Marketing to research, develop, implement and evaluate an integrated strategic marketing plan necessary to achieve Wolf Trap Foundation communication goals to increase revenue – both earned and contributed, and deepen public awareness of the full breadth of Wolf Trap’s diverse arts and education programs. This position works closely with the Director, Marketing and other Foundation staff to develop and implement marketing plans to achieve the Foundation’s strategic goals. 

Product Manager, Voice and Music (Qualcomm - San Diego) 

To define, own, and drive software and platforms (a platform is a combination of several chips and several software and technology components) for the Voice and Music business unit.

Creative Services Director (KIRO 7 - Seattle) 

KIRO 7 is seeking a Creative Services Director to grow television ratings and digital audience, as well as being the driving creative force of our brand. The CSD will be the creative and strategic leader overseeing Marketing, Commercial Production and Graphic Design. A great communicator and collaborator, the CSD will push our teams to embrace change and stay ahead of trends in social media, ensuring we’re delivering our message on the platforms that our audiences are using right now. The Creative Service Directors innovative ideas will be rooted in research, rigor and a complete understanding of station branding, the market landscape and, most importantly, the audience we serve on every screen, every day. The CSD doesn’t have to be a doctor, but does need to be a rock star who is also a great team player ready to take our success to the next level. The successful candidate will collaborate with station leadership and the news department to make sure we are always living and delivering on our brand promise. The goals for this team are winning and excellence. The game plan involves understanding research, developing strategic action plans, using metrics to check our progress, inspiring the team and driving results. The CSD will be proactive in all facets of the role, specifically in the production of station image and daily news topical promotion, proof of benefit spots, graphic arts, outside media, commercial production, PSAs and station community events. 

Brand Marketing Manager (Fender - Los Angeles) 

We are currently searching for a talented Fender Brand Marketing Manager to join our global marketing team, based in Los Angeles, CA. Reporting to the VP Marketing, the ideal candidate will mix their obvious passion for music and culture, with their proven ability to lead the strategic cross-functional development and execution of integrated marketing campaigns and initiatives that: create demand for multiple assigned product launches and product lines; elevate & extend the brand; and fuel the growth and engagement of Fender’s community. As consumer-advocate and driving force for each marketing program, the Marketing Manager will ensure the timely delivery of insightful, relevant marketing campaigns, assets & activations that speak to and engage Fender consumers.

Project Manager, Creative Marketing Production (E! Entertainment - Universal City, CA) 

Responsibilities

Managing the creative and production process from concept thru completion for all video, digital and print projects. 

Investigating, troubleshooting and problem solving, providing solutions for resource, workflow, scheduling and budgetary concerns 

Working with and supporting the Internal Creative Teams to innovate, design, produce and execute exemplary creative elements and campaigns 

Reviewing and analyzing Creative Briefs/Job Requests 

Negotiating and maintaining project budgets, timelines and deliverables, managing workflows internally and externally 

Budgeting including but not limited to: data entry, forecasting, tracking, submitting invoices, actualizing, pacing, accruals, re-allocation, etc. 

Being the point of contact for programming, production management, and production companies in regard to timelines for pre-production, production and post production for promotional shoots, asset delivery, asset sharing, etc. 

Working with Music Rights to secure licensing for commercial songs and ensuring the clearance information is shared with all who need. 

If needed, researching, locating, licensing, purchasing and tracking stock footage, stills. 

Liaising with Legal, Rights & Clearances, Programming/Development, Talent Relations, PR, Production, 3rd Party Productions, Vendors, etc. to obtain and ensure legal approval on all materials used in marketing campaigns and to disseminate information of restrictions to all affected parties. 

Archiving and Tracking all deliverables and assets 

Music Designer (Mood Media - Austin, TX) 

Mood Media is seeking a Music Programmer to join our growing National team in Austin, TX.  This creative role will conceptualize and manage branded music experiences and programs for national corporate clients and consumer offerings, keep abreast of music trends, and coordinate client relations.  A Music Programmer is responsible for choosing music to capture the essence of a brand, experience design concept or consumer target. Candidate must have a background in creating brand or consumer experiences with Music. As a result, the ideal candidate will need to have a creatively focused background, having worked within media or a creative agency (radio, television, new media, advertising, design). While they must ultimately demonstrate significant creativity in the job, he/she must also demonstrate discipline and a strong corporate acumen, as they will regularly interact with a variety of brands across multiple industries. A Music Programmer for Mood Media must also demonstrate a multi-dimensional relationship with Music, either as a musician, a DJ, a producer or promoter in addition to the required experience.

Brand Director (Sonos - Boston/Santa Barbara) 

Sonos is active and expanding across the Americas & Pacific (AMPAC) Region, which includes the United States, Canada, Australia, Mexico, and Latin America.  The AMPAC Brand Director is responsible for creating integrated and impactful brand plans across media & retail partners.  This means integrating global strategy into regional and country executions as well as bringing local insights back to the global team.  In addition, this person will be the primary contact for Public Relations and Brand Activation teams in the region to ensure marketing plans are brought to life across all marketing levers.  This role reports to the Sr. Director, Marketing AMPAC and will be located in our Santa Barbara or Boston offices.

Product Development Coordinator (UMG - Santa Monica, CA) 

Universal Music Enterprises (UMe) is the centralized U.S. catalog entity for the Universal Music Group. Working closely in concert with all of the company’s record labels, UMe provides a global frontline approach to catalog management, a concentration of resources, a greater emphasis on strategic marketing initiatives and opportunities in new and emerging technologies.  UMe is seeking a passionate music enthusiast to join our catalog A&R team as the Product Development Coordinator based in Santa Monica, CA.

Manager, Product Development (Disney Theatrical Production - NYC)

The Manager, Product Development develops and manage the merchandise assortments for self-produced and licensed merchandise businesses. This role partners closely with the Retail Operations and Finance teams to optimize revenue for the overall Merchandise business both domestically and internationally. This individual will report to the VP, Merchandise and Licensed Brands.

General Manager (Confidential Live Theater - New Jersey) 

The General Manager supervises the business operations of the theater including finances & insurance, human resources, facilities, operations, food & beverage (F&B) service, and information technology.

Music Gear Listings Coordinator (Reverb.com - Chicago) 

Reverb.com is a marketplace for music gear continuously innovating the way musicians buy and sell online. Enabling everyone from individuals to international dealers to buy and sell both used and new gear side-by-side, it’s the ultimate destination to shop for musical instruments, recording equipment, parts and accessories.

Listing Coordinators at Reverb are responsible for ensuring every listing on the site meets the standards of our musician-driven community. This includes building our knowledge base, gathering data, examining listings and working with sellers to make Reverb the highest quality, most transparent marketplace for gear in the world. Fanatic attention to detail, superior digital organization skills and a passion for researching gear are key to excelling in this entry-level role. Most essentially, effectively managing an ever-increasing number of new listings on a daily basis requires sustained focus while moving at a rapid pace and a deep wealth of musical instrument knowledge.

Digital/Sales Strategy Leader (Mom + Pop Music - NYC) 

In this role you will be leading and executing the digital/sales strategy for a dedicated roster of artists that you and a product manager will be working hand-in-hand on. Additionally, you will work with managers/artists to ensure that assets are uploaded and maintained on all of your artist’s digital properties (Website, Facebook, Instagram, Twitter, SoundCloud, Spotify etc.) and that SmartURL’s/Google Analytics are created, implemented and used by artist/third parties. You will be responsible for putting together and analyzing digital ad campaigns when appropriate.

Older posts (7+ Days)

Marketing Assistant (Live Nation - NYC)

The Marketing Assistant will provide a full range of administrative support to our creative department in a fun and demanding environment, including scheduling meetings, maintaining calendars, making travel arrangements, processing expense reports and assisting with special projects.

Assistant, Urban Promotions (WMG - NYC)

As the Assistant to the EVP of Promotions, this individual will enhance the effectiveness of the EVP by providing exceptional administrative, project, and research support. This individual must be detail oriented and proactive with an ability to anticipate the needs of the EVP. This includes providing necessary information and reports in a timely fashion, drafting letters and documents, gaining necessary approval/signatures on invoices and clerical pieces, booking the travel of the EVP, maintaining the department calendar, scheduling meetings and answering/screening calls. At times the Promotions Assistant will also be called upon to assist the field staff and other members of the national staff.

KROQ Assistant Program Director/Music Director (CBS - Los Angeles)

Are you a successful alt rock guru with the ear, the contacts and the passion to break new, exciting modern music to the masses? The World Famous KROQ has a rare opportunity to work with the BEST talent, bands, programmers, production folk and marketers as APD/MD! YES, THAT KROQ - home of Kevin & Bean, amazing live events like KROQ’s Almost Acoustic Christmas and Weenie Roast and SoCal’s best new music is looking for a solid APD/MD with a proven track record in alt rock to join the band! 5+ years exp. as APD with minimum 2 years exp. scheduling music. MUST be DOWN with the format, the culture, the vibe, self-motivation, and major determination!

Digital Marketing Assistant (Sight + Sound Gallery - Atlanta, GA)

Sight+Sound Gallery is a boutique gallery specializing in 2-channel audio, while offering a wide selection of solutions for computer and personal audio, music servers, streaming devices, and home theater and automation. We consult, design, install, and program systems, providing a holistic experience to address any need. We operate as both a brick and mortar store and an online retailer. Our mission is to turn your house into a home through the medium of Sight+Sound. Sight+Sound Gallery is seeking a Digital Marketing Assistant to assist with gallery operations in-store and online. This role would be part-time at 25 -30 hours/week, and is based in Atlanta, GA in the heart of midtown.

Music Programmer (Mood Media - Fort Mill, SC)

Mood Media is seeking a Music Programmer to join our growing National team in Charlotte, NC . This creative role will conceptualize and manage branded music experiences and programs for national corporate clients and consumer offerings, keep abreast of music trends, and coordinate client relations.

A Music Programmer is responsible for choosing music to capture the essence of a brand, experience design concept or consumer target. Candidate must have a background in creating brand or consumer experiences with Music. As a result, the ideal candidate will need to have a creatively focused background, having worked within media or a creative agency (radio, television, new media, advertising, design). While they must ultimately demonstrate significant creativity in the job, he/she must also demonstrate discipline and a strong corporate acumen, as they will regularly interact with a variety of brands across multiple industries. A Music Programmer for Mood Media must also demonstrate a multi-dimensional relationship with Music, either as a musician, a DJ, a producer or promoter in addition to the required experience.

Partner Marketing Specialist (Apple Music - Santa Clara Valley, CA)

Apple seeks Partner Marketing Specialist to aid in management and growth of the Apple Music affiliate program. This person will work closely with the Global Affiliate Manager in the on-boarding, monitoring and reporting of partners to ensure compliance with program requirements and brand guidelines. The position is focused on Apple Music, but also requires oversight of the iTunes, App Store, iBooks and Mac App Store affiliate programs.

Marketing Coordinator, Wings Event Center (Greenleaf Hospitality - Kalamazoo, MI)  

What You’ll Be Doing

Develop marketing and promotional plans for events including radio, television, print, outdoor, grassroots and online marketing efforts

Execute promotional efforts on site at events

Manage marketing budget for shows

Work on events with capacities ranging from 100 to 5,000 people

Work as a part of a collaborative team made up of personnel in management, booking, marketing, ticketing, operations, graphic design, and production

Engage in active dialogue with agents and artist management

Maintain relationships with promotions directors, sales representatives, and various media personnel

Produce creative and engaging advertising materials

Analysis of customer research, current market conditions and competitor information

Manage the productivity of the marketing plans and projects

Monitor, review and report on all marketing activity and results

Identify, interpret and capitalize on social media trends

Plan, manage, coordinate and execute all social media programs and initiatives

Creation and maintenance of the websites

Coordinate and execute marketing and promotion meetings

Promotions Coordinator (TownSquare Media - Fort Collins, CO)

The Promotions Coordinator is the driving force behind organizing and coordinating promotional events, arranging on-air contests, creating/executing sales programs, organizing and distributing contesting prizes, and coordinating promotional on-air activity. They will work across multiple departments including programming, sales, and live events. The Promotions Coordinator reports directly to the Market President, but also works directly on a day-to-day basis with the Operations Manager and Director of Sales.

Partnerships And Licensing Coordinator (2K Publishing - Novato, CA)

If you join our team, you’ll have the opportunity to work with the biggest brands in entertainment. You’ll work closely with all stakeholders to assist with in-game asset review and approvals for brands such as Nike and Gatorade, present new games to Microsoft, Sony and Nintendo, and be involved in the preparation and execution of strategic partnerships. We need someone who can juggle all this while remaining organized and comfortable in a fast-paced and constantly evolving environment.

Executive Assistant, Digital Music (Amazon - Seattle)

Envision being able to leverage the resources of a Fortune-500 company within the atmosphere of a start-up. At Amazon Music, we are building the world’s best music service, with Alexa as your personal DJ. The future of music is here. Now. A unique opportunity is available to support the VP of Marketing for Amazon Music in Seattle. You will partner with the existing admin team to offer comprehensive support for a highly-distributed global organization. Heavy calendar management, travel coordination, event planning, large internal team meetings and communication, leadership meetings, and project reviews are all key aspects to this role. The role requires strong, concise communication skills and poise and composure. This role demands a strong sense of urgency and the ability to work independently on assignments and demonstrate sound judgment. The right candidate will have a strong bias for action and the ability to multi-task a large volume of tasks. A high level of integrity and discretion in handling confidential information and professionalism in dealing with senior professionals inside and outside the company is imperative.

Content Director (Alpha Media - East Texas)

Alpha Media – East Texas is seeking Content Director who will be responsible for managing the strategy and execution of the station brand and increasing audience engagement. The Content Director is ultimately responsible for the quality of the product of the station and, by extension, for protecting the station licenses. The Content Director supports the Market Manager and the General Sales Managers in driving revenue growth while developing and maintaining a market’s stations brand and identity.  The Content Director, formally known as the Program Director, is a member of the management team and role models the values and operating principles of programming staff and broader market employees.

Promotions Coordinator (CBS - Detroit)

98.7 AMP Radio Detroit is looking for energetic event team members who love to interact with listeners. Must be responsible, timely and able to set up and break down station equipment. Love of top 40 music, knowledge of pop culture, and a great attitude are a must!

Marketing Coordinator, Promotions and Partnerships (LA Philharmonic - Los Angeles)

Assist Assistant Director, Marketing, with planning, execution and tracking of promotional programs for both Walt Disney Concert Hall and Hollywood Bowl seasons.

Associate Music Supervisor (TouchTunes/PlayNetwork - Redmond, WA)

Our mid-level apprentice position for Music Services is designed to help support the team of Music Supervisors. This position is multi-faceted with duties ranging from administrative support to music cataloguing to Music Supervision of mid-level accounts.

Account Director, Music (The Marketing Arm - Chicago)

The Marketing Arm is seeking a proven, dynamic Account Director to guide the Music work for one of the agency’s largest clients. The newly created position requires a powerful combination of leadership skills that can guide a multi-dimensional team; experience with multi-channel, consumer-centric marketing and a personal interest in Music. The Account Director will be the strategic liaison for clients, internal teams and partner agencies while also supervising multi-channel engagement execution. Candidate must be a creative and strategic thought leader with the ability to deliver integrated thinking; demonstrate a positive, do-what-it-takes attitude; be a natural connector who develops strong relationships among various groups, and anticipate and solve problems while being highly organized.

Influence Content Coordinator (Branded Entertainment Network - Sherman Oaks, CA)

The company has an immediate opening for an Influencer Content Coordinator. The ideal candidate has a passion for social media and understands the unique driving trends to support BEN from many differing business perspectives. The primary focus will be to help add, revise, monitor and maintain data for BEN related social media influencer content projects.

This position requires an in-depth understanding of the social media influencer space to help support internal and external clients. The coordinator works collaboratively with internal teams to maintain and improve BEN’s ever evolving influencer business and market needs. Due to the high dependency on this role, and associated content entry/modification work, acute attention to detail is imperative.

On a day to day basis, the coordinator works with BEN’s Client Services, Content, Influencer and Product teams supporting and expanding key business needs and passionately pursuing industry trends and insights to further solidify BEN’s position as an industry leader.

Traffic Coordinator (Westwood One - Culver City, CA)

Westwood One | Culver City is looking for an entry level, full-time Traffic Coordinator in the Traffic Department. Applicants must have a strong ability to successfully troubleshoot issues, be extremely detail oriented, and have excellent communication and data entry skills. The position works closely with the Westwood One sales, marketing, and production departments, network radio producers, stations, agencies and clients.

Associate Producer (Disney - California)

The Associate Producer will be responsible for supporting the review and approval of interactive products that incorporate Lucasfilm IP, such as Star Wars film and television properties, across all digital platforms, including but not limited to: Mobile (iOS, Android, Windows), Console (Sony PS3/PS4, Microsoft Xbox 360/One, Nintendo Wii U), Handheld Gaming Devices (Nintendo DS/3DS, Sony PSP/Vita), PC/Mac, and physical arcade units. The Associate Producer may serve as lead on a small slate of products in development and/or live products, under the supervision of a Producer, partnering with internal and external partners to deliver innovative, high quality/brand-enhancing products.

Culture Marketing Manager (Red Bull - San Francisco)

The Culture Marketing Manager (CMM) drives the development and execution of regional culture-focused marketing initiatives (e.g. music, art, dance, fashion, film and social innovation initiatives). Through events, artists, and influencers, the CMM builds local and regional brand affinity while paying into Red Bull’s global strategies.

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Rules Don't Apply Presents ELIXHER Summer Sip: The Grand Finale

Take a break from the summer heat and have sip with ELIXHER x Rules Don’t Apply on Sun., July 9 at Brooklyn’s Ode to Babel.

Mix and mingle with beautiful QTWOC. Celebrate six years of content and the close of this magical chapter.

Music by DJ Adair & DJ Flowergaze. No cover.

#SummerSip2K17

Rules Don’t Apply is a brand + experiential production house built by and to serve multicultural millennials.