The Digiday Podcast

A successful first-party data strategy incorporates data into every facet of the business — from advertising to affiliate to licensing.At least that’s how Trusted Media Brands’ CEO Bonnie Kintzer is approaching the company’s first-party data strategy. So far the company's notable revenue growth is proving this to be a good move.The company’s advertising revenues have been up 40% year over year, with particular growth in programmatic business since the beginning of TMB’s fiscal year July 1, Kintzer said. Meanwhile, its affiliate commerce business has seen 75% growth year over year, with January coming in at double its revenue from the same month the previous year, she added.“We may have been a little bit late to the [affiliate] party, but [we’re] making up for lost time,” Kintzer said.

There is a reason why most conversations start by addressing the weather. It's a universal talking point that affects everyone, regardless of backgrounds and demographics, making it an easy icebreaker.Marketers love the topic too and publishers like The Weather Channel end up benefiting greatly because they attract large audiences that span whatever targets an advertiser is hoping to reach.In February alone, The Weather Channel's website and app reached 430 million active users, according to Sheri Bachstein, the global head of Watson Advertising and The Weather Company, owned by IBM.Bachstein discussed the ways in which The Weather Channel and IBM are making the most of its audience and first-party data, including creating an AI-based data offering and launching a subscription product on its app to diversify revenue with the help of nearly 1 million super weather fans.

The digital advertising industry is in the midst of an identity crisis. Between the third-party cookie’s impending demise and Apple’s mobile app tracking crackdown, advertisers and agencies are having to figure the future of identity in digital advertising. Fortunately, that future has been a long time coming.“For better or worse, the crystal ball has been decently clear that this is the direction we’re going from regulatory pressures, from a consolidation in terms of who is owning and controlling experiences through the lens of a browser, through the lens of an operating system. So we take solace in that there’s been a bit of a head start,” said GroupM global head of partnerships Kieley Taylor in the latest episode of the Digiday Podcast. Taylor was joined by GroupM global head of social Amanda Grant.Further helping advertising figure out the identity situation is Apple’s mobile app tracking crackdown. That change is expected to take place this spring and is “giving us really good training wheels for the cookie-based changes that are going to come about,” Taylor said.However, what that experience is showing so far is that advertisers may want to exchange the training wheels for off-road tires as they try to navigate the bumpy trails ahead. Although Apple has been fairly clear in saying that apps will need people’s permission in order to continue to track them for advertising purposes, “the platforms are all interpreting that very differently as it impacts their platforms. So it’s not like we have a single rules of the road for social activation moving forward,” said Grant.

Harper's Bazaar is a 153-year-old legacy magazine using social media platforms to help it become a modern, digital fashion authority.The brand's digital presence not only helps amplify its print stories, but diversify revenue through e-commerce and advertising — turning fans of the magazine into digital consumers of luxury fashion and beauty.And three months ago, Nikki Ogunnaike rejoined the magazine as its new digital director to help strategize ways it can grow and monetize its audience, including staying on top of digital trends."Now is this weird, sort of wild, wild west time" of new social media platforms that Harper's has to consider in its digital strategy, including Clubhouse and Twitch, said Ogunnaike on the latest episode of the Digiday Podcast.

The ways in which publishers solved their 2020 problems vary, but Bustle Digital Group's approach included reestablishing longterm relationships with advertisers in a variety of categories and leaning on retail partners like Amazon to bring in incremental commerce revenue.During the first quarter of 2020, Bustle Digital Group was projected to be up 40% in revenue over 2019 by the end of the year, according to Jason Wagenheim, BDG's president and chief revenue officer. But by March, reality of what the year would hold had set in and that projection was thrown out the window."We had the darkest 72 hours in our company's history where literally tens of millions of dollars just cancelled within a three day time period," said Wagenheim in the latest episode of the Digiday Podcast. "There was a lot of panic at the start of the pandemic."Ultimately, BDG ended the year about 5% up from 2019, thanks to its position in a myriad of advertising categories. Wagenheim did not provide exact revenue figures. "It's the importance of being able to satisfy retail as much as tech as much as auto as much as fashion," he said.

News outlets experienced a surge in traffic and viewership during Donald Trump’s presidency right through to when he left office in January. In fact, between the inauguration of President Joe Biden and the attack on the U.S. Capitol, CBS News Digital received more readers to its site and attracted more viewers to its video programming in January than in any previous month in its history, according to CBS News Digital evp and gm Christy Tanner.But now that Trump is out of office — and hopefully without another Capitol attack on the horizon — news outlets have been faced with the question of whether people’s interest in the news would subside. In other words, whether the Trump Bump would turn into a Trump Slump.“I do not expect to see a slump. We still have some major, major compelling stories that are not going anywhere anytime soon,” Tanner said in the latest episode of the Digiday Podcast.The election may be over, but there remains a pandemic, a racial reckoning and a climate crisis for news organizations to cover, said Tanner. “In many ways, what I’m happy about is we can focus on these really important stories now that we have a different president in office and a different type of news cycle,” she said.

Last year proved to be one of the most challenging years on record for the media industry with ad revenue drying up in the second quarter, but for Group Nine, it was magnified by its entry into its first full year following the merger with PopSugar.In the first few weeks of the merger, the company’s chief revenue officer Geoff Schiller came onto the Digiday Podcast to talk about the vertical sales strategy he implemented at the beginning of 2020 that required sellers to have a deep endemic focus — a strategy carried over from his time leading sales at PopSugar.This would allow sales expertise that normally fits with a brand like PopSugar — like entertainment — transfer to a brand like Thrillist, after main sponsors in the travel and restaurant industry took a big hit and pulled back from advertising in 2020.Navigating last year helped Schiller realize the horizontal focuses all of Group Nine’s titles needed to account for as advertisers’ needs shifted throughout the year. Pivoting to include the horizontal with the vertical, Group Nine’s revenue in 2020 was flat with 2019, according to Schiller, but the fourth quarter ended up being the best on record for the company.

By March 16, theater doors around the country shut their doors. The Pop-Up Magazine touring production, which had just completed its first (and only) national tour of 2020, had to figure out where to go from there.The publisher, known for its on-stage renditions of original magazine stories that rethought the performance of storytelling, had not previously filmed its shows. But the pandemic forced the publisher to experiment with a virtual format like many others and in true Pop-Up form, it came with a twist.The publisher premiered its Spring show on YouTube Live, with performers filming themselves from home alongside animations and illustrations. And then wanting to push the experience even further, the company created a $70 issue-in-a-box and organized community groups and virtual experiences that could continue convening the show's fanbase despite not being in a shared theater space."The silver lining for us about 2020 and the pandemic is it was an opportunity for us to be very experimental with storytelling in different formats," said Chas Edwards, the president, publisher and co-founder of Pop-Up Magazine Productions. "And most importantly 2020 gave us permission to get closer to our audience in a variety of ways."

Ben Smith has an enviable view of the current media landscape. Before The New York Times announced in January 2020 that the publication had hired Smith to be its media columnist, he had eight years as the editor-in-chief of BuzzFeed, a period during which the meme publisher matured into a media company that retained its social savvy while also operating a news business. And before BuzzFeed, Smith had covered politics as a reporter and blogger at Politico. That experience helped Smith to see the coming rise of alt-right media outlets using social platforms to spread misinformation coming before many others. “I think was increasingly aware of it at BuzzFeed. Because we were swimming in those waters, we were very quick to see the rise of the alt-right, and we covered the hell out of it in 2014 and 2015,” Smith said in the latest episode of the Digiday Podcast. Lately Smith has been reflecting on media in the early days in the internet. Specifically he has been thinking about he and others learned how to use the web to get around gatekeepers like the big, traditional media companies and inadvertently “opened a kind of Pandora’s box,” he said. He continued, “It’s not that we didn’t see that it had a dark side, but I think we misunderstood the balance.”

The Week Jr. was set to debut in the U.S. last spring but the day that the first run of the children's magazine went to the printer, much of the country went into lockdown.That threw a wrench not only in the magazine's editorial plans, but also in the marketing strategy for how the U.K.-based, Dennis Publishing-owned title was meant to enter the western hemisphere.Despite the initial hiccups, Andrea Barbalich, editor-in-chief of The Week Jr. U.S. and Kerin O'Connor, chief executive of The Week said on the most recent edition of the Digiday Podcast that the weekly news magazine for kids has already surpassed its initial run of 50,000 issues and now reaches 75,000 subscribers in the U.S.This is in part thanks to 2020 having one of the most intense news cycles on record, which Barbalich said her team was diligent about covering in a way that kids could easily digest and in a manner that parents might not be able to do on their own.Within about three or four issues we had The Week Jr. being read in every state in America," said O'Connor.