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Is Salesforce a Great Place to Work? -

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NVIDIA, why work here? -

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Manager Instructional Technology at George Washington University -

Thursday, October 4, 2018

5 Highest Paying Business Development Manager Jobs in New York -

Monday, July 23, 2018

What kind of Business Development
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QVC , On Air Program Host Job for 3rd Largest Ecommerce Company -

Monday, March 26, 2018

Facebook has over 1700 Jobs: Here is How to Get a Job at Facebook -

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Nielsen Why You Want to Work at this Digital Transformation Organization -

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Why You Want a Job at Twitter -

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How fast is this Blockchain thing going to take over? -

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Should You Work at HBO or Netflix? -

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Why Working at Hearst is Much Better than Houghton Mifflin Harcourt -

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What Will Making a VR Game While in Virtual Reality be like? -

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Why You Want to Work at Snapchat -

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Why You Want to Get a Job at Vogue Magazine: -

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Is it Better to work at Buzzfeed or The New York Times? -

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LeBook Business Development Job for Trend Setter -

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Executive Editor Job at Philadelphia Gay News -

Friday, November 10, 2017

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Want to improve clickthroughs on banner ads? Try beautiful banner creator Dispop

There can’t be many pros with media jobs in online adver­tis­ing who would dis­pute the fact that get­ting the tar­get­ing right, get­ting the track­ing accu­rate and opti­miz­ing for search are pret­ty essen­tial to the suc­cess or fail­ure of an ad cam­paign. But Ayal Ebert, CEO of the up-and-com­ing dis­play adver­tis­ing and retar­get­ing plat­form Dis­pop, believes this trio of essen­tials comes under the ‘nec­es­sary but insuf­fi­cient’ head­ing. Style + Effec­tive­ness To be blunt, if a dis­play ad sucks in appear­ance, that trio won’t be enough to save it. As Ebert puts it, “Design is the most impor­tant fac­tor.” Most sea­soned busi­ness devel­op­ment man­agers and adver­tis­ing sales man­agers would prob­a­bly agree. New York-based Dis­pop came out of beta in June this year, hav­ing raised $600,000 in seed fund­ing cour­tesy of Inim­i­ti Cap­i­tal Part­ners, and it’s built up a ver­i­ta­ble army of free­lance design­ers – about 5,000 of them — who are approached for their ban­ner ad design pro­pos­als when­ev­er a new cam­paign is afoot (the start­up usu­al­ly invites about a dozen pro­pos­als at a time). Adver­tis­ers sup­ply the ini­tial cre­ative brief and the design­ers come up with their ideas based on that, where­upon those same adver­tis­ers select the three approach­es they find…

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New York’s Opperman Weiss agency creates the most authentic and beautiful Irish booze ad yet

Even sea­soned busi­ness devel­op­ment man­agers would be hard-pressed to guess the true source of the haunt­ing new ad for Tul­lam­ore Dew Irish Whiskey. An ad that looks so, well, Irish, just had to have been con­ceived on the Emer­ald Isle itself, right? Wrong. It was filmed there, true, in Coun­ty Wick­low to be pre­cise. But every line of dia­logue, every nuance of the sto­ry, every fea­ture of the ad, was craft­ed in New York’s ris­ing bou­tique agency, Opper­man Weiss (or OW). Melan­choly joy Depict­ing four young men walk­ing through the rain in the bleak­ly beau­ti­ful Wick­low land­scape, it tells the sto­ry of an impend­ing farewell, where one of them will leave the group for­ev­er. The poignan­cy of youth­ful friend­ships com­ing to an end will bring a tear to the eye of even the most hard-boiled busi­ness devel­op­ment man­ag­er. But then the emo­tions morph into melan­­choly-tinged joy – sit­ting on a stone wall out­side an ancient church shar­ing a part­ing shot of whiskey, it tran­spires that one of them is actu­al­ly about to mar­ry his beau­ti­ful young fiancée. So how did a New York agency cre­ate such an authen­ti­cal­ly Irish ad, right down to the poet­i­cal­ly haunt­ing folk song sung by…

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New York-based startup Branch revamps its ‘Potluck’ link-sharing, content-encouraging app

Social media man­agers famil­iar with these pages will know that we report­ed back in July on Potluck, a new link-shar­ing app from the team behind the New York-head­­quar­tered social con­ver­sa­tion ser­vice Branch. We can now report that the app has been launched in its sec­ond incar­na­tion, shift­ing the ser­vice in the direc­tion of a news and mes­sag­ing hybrid. Encour­ag­ing shy lurk­ers As social media man­agers who read our ear­li­er arti­cle will be aware, Potluck began life as a link-shar­ing ser­vice where peo­ple could share their inter­est­ing find­ings. But it was designed to break the internet’s “1 per­cent rule” – the rule that only 1 per­cent of a social media site’s vis­i­tors will be con­tent cre­ators, with the rest act­ing as view­ers (“lurk­ers”). Potluck ver­sion 2.0 con­tin­ues in this vein, encour­ag­ing lurk­ers out of their shy­ness by let­ting them post com­ments about a shared link. And Potluck’s empha­sis was always on the mes­sage, not the mes­sen­ger. But what’s new? For one thing, the user inter­face has been re-vamped to make it much more mes­sag­ing-friend­­ly. Giv­en that the start­up has built up a very engaged com­mu­ni­ty on a short space of time, that’s a nat­ur­al next step. Con­ver­sa­tions in the new app…

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From startup to major player in three years: the rise of New York’s Barton F. Graf 9000

How do you get from fledg­ling ad shop to major agency in three years? Ger­ry Graf, CEO of three-year-old New York agency Bar­ton F. Graf 9000, is prob­a­bly the man who can give the defin­i­tive answer. The art of the clev­er­ly absurd Graf resigned as CCO at Saatchi and Saatchi New York in 2010 to set up Bar­ton F. Graf 9000 (or BFG 9000 as it’s affec­tion­ate­ly called). Before that, he’d chalked up an impres­sive CV, hav­ing worked for years at anoth­er pres­ti­gious New York agency, TBWA\Chiat\Day. You don’t need to be a vet­er­an account man­ag­er to fig­ure out that this guy knows more than a thing or two about Adland. In its first three years of exis­tence, BFG 9000 has estab­lished a well-deserved rep­u­ta­tion for its char­ac­ter-dri­ven, often bizarrely hilar­i­ous ads, a notable exam­ple of which is its recent offer­ing for Lit­tle Caesar’s piz­za (one ad fea­tures a cou­ple order­ing a piz­za in a Lit­tle Caesar’s restau­rant – so delight­ed are they at not hav­ing to wait for their food that they exu­ber­ant­ly leap up and down four times to give each oth­er dou­ble high-fives, then once for a sin­gle high five). Art direc­tors with atti­tude? Ear­li­er this month,…

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From photo-sharing for fashionistas to ecommerce for fashionistas: trendy New York social platform Trendabl takes a new step

New York-based social pho­­to-shar­ing plat­form Trend­abl, which has become the Insta­gram of fash­ion pho­tos, is tak­ing a bold step into e‑commerce just 18 months after its launch. And most sea­soned ecom­merce ana­lysts would prob­a­bly agree that it rep­re­sents a nat­ur­al next step. From shar­ing to shop­ping Trendabl’s empha­sis to date has been on expand­ing its com­mu­ni­ty and sign­ing brands along the way, amongst them big names like Diane von Fursten­berg, Bar­neys and Michael Kors. The ser­vice lets fash­ion pub­lish­ers, brands and fash­ion­ista-users upload images and tag the pic­tured items. The ecom­merce ini­tia­tive involves around 15 small­er retail­ers (Ani­ta Ko, Young and Reck­less, Singer22 and Reece Hud­son includ­ed), although all U.S.-based retail­ers and brands can apply. But a poten­tial­ly con­fus­ing issue appears at this point, as the can­ny ecom­merce ana­lyst would doubt­less spot: since not all the fash­ion items uploaded are pur­chasable, how does a Trend­abl new­bie work out what’s shop­pable and what’s not? The solu­tion is twofold. Shop­pable items will appear in a user’s feed accom­pa­nied by a “Buy” but­ton; and for those who don’t want to sift through man­u­al­ly to find out what they can and can’t buy, the app now fea­tures a curat­ed shop feed which brings all…

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