What Is A Marketing Pixel And Why Should You Care?

Saturday, July 1, 2017

Ever heard of a marketing pixel? It's a little tracker placed on your website so you can keep up with what your customers are looking at to remind them about it later (i.e. ads on Facebook for the play you thought about checking out). Ticketfly is helping you out by laying it all out and how it can help grow your audience.

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Ticketfly Marketing

10 Productivity Apps Every Freelancer Needs

Task management, goal setting, invoices, and contracts—all made easier!

Thursday, October 15, 2015

Every marketer has a period of time when every waking moment they have the power to work—but there are those moments when you'd much rather stay in bed and go on a Netflix binge. Well, 99u has 10 possible solutions to help bring that spark to your work day! Take a look at these apps to help boost your productivity.

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Allison Stadd

6 Attributes of the Most Innovative People

Since March 2005, Phil McKinney has interviewed over 100 innovators on the series Killer Innovations. He took a moment to reflect on all these inspiring interviews and realized that each one person has similar characteristics. In this podcast, he takes a stroll down memory lane and points out the 6 attributes of the most innovative people he's interviewed. 

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Q&A with Three Stellar Content Creators in the Arts

Thursday, July 6, 2017

We all have our own sources of strategy, but it helps to take a look at what other people are doing to see if there are areas we're not tapping into. Capacity Interactive sat down with Lauren Fitzgerald (Director of Marketing and Communications at the New 42nd Street), Amanda Fowler (Marketing Manager at Charlotte Ballet), and Aly Michaud (Digital Marketing Manager at Cincinnati Playhouse in the Park) to pick their brains about the world of content creation.

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Capacity Interactive
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Lauren Fitzgerald, Amanda Fowler, Aly Michaud

Passion Project, Public Resource

In 2013, I was hemorrhaging money. I had just finished my Master’s in Arts Administration and, despite a solid work history for a 24-year-old, I was working full time for no money while paying to live in Washington, DC. So, I did what any anal-retentive college grad would do—I started making lists. 

I wanted to apply for at least 10 jobs per week—anywhere in the country, any type of organization, as long as it was marketing the arts—but finding those openings was a problem. Even great job banks, like the one at Americans for the Arts, only list so many new opportunities each week, and I knew I would only get one interview for every 10-20 applications. In the application game, quantity is key. Searching general job sites with my keywords wasn’t helping—try searching museum, theatre, or god forbid, arts, and see how many hospital jobs you get. 

I started compiling every arts and non-profit job bank I could find, along with direct links to employment pages for specific organizations across the country. I kept adding, even after I had found a job.  Three years and thousands of links later, I launched my website, CulturalJobs.org. Ironically, my push to finally make it public was an abrupt departure from a dream-job-turned-nightmare.

I structured the site around both mine and my friends’ experiences (some are tied to a geographic location, while others really want to work in specific areas, such as orchestras or history museums), so the lists are searchable by both location and organization type. Since moving to Australia, I've taken a more global approach, though I still add US links as well. 

Launching Cultural Jobs also helped me when applying for new jobs—several interviewers commented positively on it, and it helped fill unemployment gaps and gave me an answer for “So what are you doing now?” More importantly, my work can now help others in my field find the right job for them.

What I Learned Along the Way

Side projects are often beneficial, if you have something to show for it.
Show passion for your industry, along with initiative and work ethic. But you can’t just be someone who’s “working on” something. Until I launched Cultural Jobs as a website, it was just a private Google spreadsheet (though a massive one). 

Promote your job openings.
Many of the organizations I found don’t have a dedicated employment page, even for a rolling acceptance of letters of interest for unpaid internships. They are also probably not aware of everywhere they could be posting to reach the most candidates, along with other steps to take. Job hunts are fundamentally different from 20 years ago—has your recruitment process kept up? 

There is always a gap to fill.
I took my frustration with the job hunt and turned my personal solution into a public resource for my sector. I can’t fix the struggle, but hopefully Cultural Jobs can help. 

The work never ends, and that’s OK.
I will never finish adding and updating the links on Cultural Jobs, not to mention marketing it. As someone who likes neat endpoints, accepting this was a big deal for me. 

Go to NAMPC!
Having gone in 2012 and 2015, I can honestly say one of the downsides to living halfway around the world is that I can’t be in Memphis with everyone this November. Both times, going to the National Arts Marketing Project Conference made me a better arts marketer, gave me information to bring up in interviews, and helped me stand out in applications, especially as a speaker in 2015. It was also great to talk with fellow arts professionals about what I was doing and wanted to accomplish with Cultural Jobs, and to get feedback and encouragement.

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10 Nonprofit Twitter Accounts Doing it Right

Thursday, November 10, 2016

Struggling to figure out how a nonprofit can fit into the mainstream Twitter world? Check out these 10 nonprofits who are dominating this social platform, and get some inspiration for your organization's page.

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Sebastian Gutierrez

How to Use Facebook Ads to Boost Your Best Content

Larry Kim (founder & Chief Technology Officer of WordStream) joins this episode of the Social Media Marketing Podcast to help explain the inner workings of Facebook advertising and how to be sucessful on your next paid advertising campaign.

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Cathy Deng is a fellow at Buzzfeed Open Lab, where her main projects focus on how to break people out of their bubbles. In her CreativeMornings talk, she encourages the audience to embrace pure randomness through diversity amongst their team and personal interests, in order to help broaden their innovation and truly expereince serendipity.

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Artists, Arts Patrons, and Access to Capital

Memphis’s art scene is enriched by the complexities of cultural diversity. Historically and currently it has a rich economic mix of people of color (the majority of the Memphis population), rich density of Latinx individuals, an aging baby boomer population, and a growing pool of talented and eager millennials. It likewise faces adversity due to blight, racial inequality, and poor K-12 education.

The arts and culture sector is an undervalued contributor to the development of neighborhoods. In creating a more sustainable arts ecosystem, the importance of art-inclusive financial sources is essential to the trajectory of arts based careers, the overall arts ecosystem, and cities’ economic development. Industry sectors cannot exist only on one financial source or infusion of capital (i.e. foundation monies), but instead need a sustainable source (i.e. the development of jobs and investors) that provides resources to aide in the growth and support of a sector—herein, the “creative class.”

Johnathan Robert Payne’s performance “Meet Me Where I’m At” (2015), attended by Young Arts Patrons members. Photo by Elle Perry.

Several community organizations are working to create innovative solutions that improve access to capital related to Memphis’s creative class.

Young Arts Patrons—A Crowd of Young Angels

While the existence of foundations and federal grants exists for larger projects and more established arts organizations, the need for an alternative capital model to reach emerging creatives and innovative projects is essential. Understanding that the millennial population is uniquely positioned to create and sense these creative disruptions, Young Arts Patrons (YAP) activated under-40 philanthropists as one solution to arts-based economic development strategy. This group of individuals consisting of artists, patrons, and philanthropists collectively pool social and financial capital to support the local arts ecosystem through new opportunities, ideas, and networks. Treating young philanthropists as angel investors into art careers and new programs offers an alternative funding source for the arts ecosystem.

Young Arts Patrons’ most noteworthy program is The Young Collectors Contemporary Art Fair. The art fair focuses on the positive impact of educating and growing the art-collecting population as a source of capital for emerging visual artists to support their growth, creativity, and survival in the arts community. The artist-focused fair provides a platform for emerging artists to gain exposure and experience for growth to bigger art fairs with bigger private collectors. The art fair also contributes to the city’s bottom line as a method to promote tourism, developments, community identity and vitality, and overall quality of life.

Artists and patrons view a work by Memphis artist Lawrence Matthews selected for the 2016 Young Collectors Contemporary Art Fair. Artwork was sold to a first time art collector at the fair. Photo by Lauren Turner.

Memphis Music Initiative—Job Creation

The Memphis Music Initiative (MMI) is a community-initiated, developed, and implemented strategy that uses high quality music engagement activities to drive student, youth, and community outcomes. The initiative was designed to sustain existing intracurricular music education, as well as develop music-based youth development. While the mission of MMI focuses on youth development, the organization’s model employs local musicians as a part of the city’s cultural and economic economy. In its second year, MMI currently employs 33 musicians to support and strengthen existing in-school music education. In year 3, that will grow to 40 positions. The positions include a full school year stipend and a health stipend.

Memphis Music Initiative artists teaches a group of students. Photo courtesy of Memphis Music Initiative via Facebook.

Darren Isom, Executive Director of Memphis Music Initiative, said, “These are professionals that are also very well trained artists interested in youth development. Unless they had something stable to hold them in the city, they would leave. By creating jobs, they are able to continue to learn and grow in youth development if they choose, and also have something stable to provide a financial anchor to allow them to create. … You don’t build a group of professionals by starving them financially or limiting their creativity. Ultimately the city suffers and the arts sector suffers.”

Memphis Slim Collaboratory and River City Capital Investment Corp.—Slim’s Front Loan

Historically, parameters and guidelines offered by traditional financial institutions systemically excluded musicians. River City Capital Investment Corp. created a loan program in 2016 to fill the void in the financial systems through the availability of financial services in distressed communities. River City Capital recognized that the creation of music was a business and essential to the development of the Soulsville, USA neighborhood. A model for urban revitalization with an intentional strategy to attract musicians to the neighborhood, Slim’s Front Loan product incentivized musicians that lived in the Soulsville, USA neighborhood of Memphis by offering them lower interest rate loan products. The loan program applicants aren’t start-up musicians, but just as with Young Collectors Contemporary, it is intended for emerging musicians who need the financial capital to grow. The loan program offers a maximum amount of $5,000 over an 18- to 24-month term for touring, merchandising, recording, and promotional events. Interest from the loan products are used to sustain the program for musicians and ideally continue to attract musicians to the Soulsville, USA neighborhood.

These disruptive organizations arrived in Memphis to fill the gaps in the arts ecosystem and offer solutions to cultural inequity issues related to artists’ access to capital. Operated by nonprofit leaders, artists, and thought leaders, these programs assist in creating interventions to the current processes (or lack thereof) that systemically exclude underserved artists and creatives’ access to capital.

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Once In A Lifetime

Ryan Cummins is the co-founder of Omaze, an experience-based fundraising organization whose focus is to allow everyone the chance to win a once-in-a-lifetime experience with their favorite celebrity while (most importantly) supporting a great cause for as little as $10. Take a listen to this Innovation Crush episode as Ryan discusses how to network and maintain relationships, develop social impact, and live and work in the now. 

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