Daedalic Entertainment

Membran Entertainment Group

Tchibo

Otto Hamburg – freenet Group Deutsche Telekom City of Content Norddeutscher Rundfunk

Studio Hamburg

achtung! Trebitsch Peer Musikverlag Entertainment

Ganske Publishing Group

Steinway & Sons Warner Bros. Entertainment Goodgame Studios Gebrüder Beetz Filmproduktion

LEGEND dpa Deutsche Hamburg Media School, Miami Ad School, Presse-Agentur HAW Faculty of Design, Media and Information Broadcasting & Film fischerAppelt Internationale Musikverlage Publishing houses Hans Sikorski finetunes University of Hamburg Agencies

Music betahaus ROBA Music Verlag pilot Hamburg Xyrality GmbH Digital & IT Jung von Matt Hugendubel Digital Institutions Musikhaus Karostar SinnerSchrader Hirschen Group Reeperbahn Festival Bigpoint XING Dropbox CinemaxX Hamburg University of Applied Sciences (HAW) Junafilm Scholz & Friends Karsten Jahnke Facebook Facelift Konzertdirektion Axel Springer Google/YouTube Yelp Deutschland Die ZEIT twitter Verlagsgruppe Funke Mediengruppe Hinz & Kunzt Bauer Media Group Kreditech Henri-Nannen-Schule Hubert Burda Media Kolle Rebbe Texterschmiede Bytro Labs MyTaxi Heimat Hamburg Gruner + Jahr SPIEGEL-Gruppe Weischer.Media thjnk edel Current data and Believe Digital InnoGames further details: Grabarz & Partner FKP Scorpio Stage Entertainment Konzertproduktionen Elbphilharmonie Warner Music Group Germany Holding

Indigo Musikproduktion + Vertrieb DATAGROUP Hamburg EDITORIAL 3

Dear readers,

he best days of media and ately and enthusiastically in communi- the media city of Hamburg ty spirit and with business acumen on T lie ahead of us. Never before ideas for the future. have there been more opportunities to shape the content of media so substan- Media transformation is unavoidable. tially and enthusiastically. These are ex- It requires strength from media-mak- citing times for media-makers tackling ers and yet it holds opportunities: new these challenges and especially here in sources of research and presentation the media city of Hamburg, where we options, liberation from technical lim- have all the requirements and the com- its of old, improved scaling and range petences to develop new media offers potentials. Probably the most serious and business models. change will lie in extricating the con- tent from a saleable media by aggre- The media city of Hamburg is after all gators, streaming platforms and Face- a merchant city and as a result, it has book-likes similar to illegal pirates. always kept a keen eye on the economic framework conditions. Seventy years We will accompany this change with Dr. Carsten Brosda ago, a journalistic start-up culture pre- the nextMedia.Hamburg media initia- Minister of Culture and Media vailed in Hamburg and was linked to tive. Many companies and urban au- names such as Axel Springer, Rudolf thorities are collaborating here togeth- Augstein, Henri Nannen, and Gerd Buce- er to improve the framework conditions rius. The innovations by these and oth- in the media and digital industry. The er journalists and publishers in Ham- focus is always on the constantly in- burg have left their mark on the pres- creasing coalescence of technical and ent German press market – just think contextual aspects. of SPIEGEL, Stern, Die Zeit, and BILD which was also founded in Hamburg. Media transformation is to some meas- The people of Hamburg were at the ure the central theme of this brochure. forefront of introducing private broad- Take inspiration from the companies casting. And now again, the people of and media-makers whom we are pre- Hamburg are shaping the future of me- senting on behalf of the entire media diation processes in online newsrooms location. They show how digital trans- and internet companies. formation can be achieved in the di- verse media sectors. Contemporary founders’ names have yet to achieve the awe inspired by for- mer publishing giants. Yet people in nu- Yours sincerely, merous start-ups are working passion- Carsten Brosda 4

48 Young journalists on the new demands of their 19 profession thjnk advertising agency exemplifies going digital

24 Hamburg-based platforms such as Google, Facebook and Xing gaining more and more importance for media-makers

06 Party meets business: Reeperbahn Festival and Online Marketing Rockstars are must dates for media-makers

28 Music as an experience – a night in Hamburg’s live clubs

32 TV icons today and in future: Despite all their differences, Tagesschau and Rocket Beans TV have plenty in common CONTENTS 5

06 EVENTS

10 PUBLISHERS

40 16 Where do media MEDIA POLICY start-ups flourish best? A visit to Hamburg’s betahaus 19 AGENCIES

24 PLATFORMS

44 28 Game makers: What traditional media can learn MUSIC from the games sector

32 TELEVISION

36 FILM 36 Supporting what deserves support: Brave, ambitious 40 movies from Hamburg INNOVATIONS

44 GAMES

48 TRAINING 10 Hamburg is Germany’s press 50 capital. How publishers became IMPRINT what they are today The Austrian band Wanda in Docks, Reeperbahn Festival 2015 Smart celebrations Dancing, meeting, marvelling – Hamburg’s media scene loves the right mix of party and business. Two events are setting standards across Europe 8

Rockstar feeling he place is thronged and the gigantic to come together and participate in one way in the fairgrounds stage is still empty. Start! Start! Start! or another. We want to make these days very at OMR 2016 T The excitement and anticipation have special for all those involved and in every re- already peaked. Nothing goes anymore. Even- spect – from productive business dates about tually, there is a bang up front and the video inspiration and further education right up to screen lights up. Welcome to the show. Let’s networking and good times,” said Westermeyer, start. And professional, further training can be founder and Managing Director of Online Mar- similar. The Online Marketing Rockstars (OMR) keting Rockstars. Put differently: good people, turn a digital marketing expo and professional good issues and good music. conference into an unforgettable party. Cool live acts, game-changing speakers and inspi- This triad triggers vibrations at the Reeperbahn ration on every single square inch of the exhi- Festival. Meanwhile, it has morphed into Ger- bition space – this extravagant mix meanwhile many’s most successful club event and counts attracts well over 20,000 visitors every year. among the top three music festivals in Europe. Over two days, events in Hamburg’s fairgrounds Year on year, it surprises festivalgoers with zoom in on the latest digital marketing trends. fresh, often unknown artists and innovative speakers taking part in the conference. Music is Philipp Westermeyer is the brains behind this clearly at the centre of attention. Around 500 success story. His efforts have transformed a concerts and art events at 70 venues across student project into a leading, international the Reeperbahn offer entertainment where event focusing on online marketing with edgy lessons can be learnt. The Reeperbahn Festi- panellists, lectures and an inspiring fair. “On- val is thus far more than a series of success- line Marketing Rockstars is an open platform ful band performances in live clubs across St. for numerous movers and shakers in the scene, Pauli. Since 2005, the NEXT conference has artists, experts and the key firms in the sector been held simultaneously in the same neigh- EVENTS 9

bourhood and features events revolving around transformation. Thus, it creates a spectacle of art, concerts and a creative, digital economy, which is unique across Europe. The Reeperbahn Festival has long since morphed into one of the leading events in the creative sector.

Obviously, it is modelled along the lines of the South by Southwest (SXSW) festival in Aus- “What am I experi- tin, Texas. The Texan fest was one of the first events, festivals and conferences in the music, film and interactive media business to present encing now that I everything as an entity. Alex Schulz, co-founder and Managing Director of the Reeperbahn Fes- will talk about in tival, first went to SXSW in 2000 and immedi- ately had the daring idea of staging something similar in St. Pauli. For him, the key question years to come?” was: “What am I experiencing now that I will talk about in years to come?” Alex Schulz, Managing Director of Reeperbahn Festival Big events like the Online Marketing Rockstars and the Reeperbahn Festival boost the passion for personal work. They are drivers of good ide- as and leave room for thinking outside the box and networking in a relaxed atmosphere. This is where the relevance and the dynamics of this particular sector can be experienced at first hand. No better experience for a company in the media and creative location of Hamburg.

Festival atmosphere: NEXT conference at Reeperbahn Festival Pioneers of yesterday and today

Hamburg’s biggest publishers arose from the ruins of World War II. They have left their mark on Germany’s present mediascape. And they have long since taken on the challenge of digitalisation PUBLISHERS 11

n June 1945, the boxing legend Max Schmeling entered room I no. 310 of Hamburg’s Town Hall. There, he requested a pass from the British occupational administration al- lowing him to travel outside the gates of the city. Schmeling was heading for Bendestorf, seat of the Springer pub- lishing family, in the hope of convincing the young Axel Springer to apply with John Jahr, journalist and publisher, and himself for a newspaper licence. The boxer sniffed the chance of earning big money. Hamburg was in ruins and Ger- many still lingered deep in a post-war coma. But soon, and of that he was cer- tain, people would start buying print- ed news again. And companies would place ads. Springer wanted to start mo- torising immediately. The trio tried to get an ageing Opel working again, but and their magazines in the Hanseat- Above (left to right): The publishers in vain. Eventually, Schmeling took the ic city. An economy of scarcity, limita- Gerd Bucerius, John Jahr and Richard car in tow and they set off over the Elbe tions and entrepreneurship marked by Gruner at a meeting in 1968 Bridge through the bombed out Ham- journalism soon bonded them togeth- Left: The publisher, Axel Caesar burg. Their trek is the stuff of legends. er. The early years turned the men into Springer, posing outside his publishing Although they did not get the licence close companions in part. The revival house in 1956 initially, the era of Axel Caesar Spring- of the German economy saw the rapid er had dawned and that of other pub- rise of young publishing companies of lishing rulers. whom Springer proved the keenest to expand – much to the chagrin of one or Apart from Springer and Jahr, other pub- the other. Except for Springer, the own- licists like Rudolf Augstein and Henri ership structures were to change fre- Nannen quickly established themselves quently in that period and led to 12

diverse, criss-cross shareholdings. “Left ly led Strauss to leave office. Augstein of centre, each one critical of the gov- was released after spending 103 days ernment in his own way and unafraid THE RISE OF HAMBURG’S in custody. of stepping on the toes of important PUBLISHERS: people in Bonn or elsewhere – that was During the following years, Hamburg’s the Hamburger Kumpanei,” the pivot- importance as a press and media me- al lawyer, Gerd Bucerius, recalled later. 1875 tropolis rose. In 1965, Gruner, Jahr and Originally founded as a printer of Bucerius merged their brands STERN, Along with the Richard Gruner printing visiting cards, Bauer Media Group Brigitte, Die ZEIT and Capital. This publishes around 600 magazines in company, Bucerius took over Nannen’s 16 countries today. merger gave rise to Gruner + Jahr GmbH share in STERN – and soon afterwards, & Co. KG – Germany’s second largest the magazine achieved the highest cir- publisher. Although Springer relocated culation in Europe. Bucerius spent the his headquarters to the divided Berlin, profit on reviving his favourite project, most publishers still opted to leave their DIE ZEIT weekly newspaper, which had 1907 headquarters in the Hanseatic city after been languishing for years. The pub- Originally launched by reunification. Richard Gankse as a reading circle, lisher, John Jahr, was involved in nearly the Ganske publishing group has every venture. In 1950, Jahr took over long since expanded and now INTERNET SUCCESS half of Augstein’s SPIEGEL publishing has subsidiaries publishing books, company. Shortly afterwards, the mag- magazines, electronic media and In this way, Hamburg’s publishing hous- azine moved out of the ’Anzeiger-Hoch- trade publications. es became what they are today. The haus’ or skyscraper in Hanover to ZEIT past successes may still encumber man- in Hamburg’s ‘Pressehaus, Speersort’. agers of some publishing houses who At the time, rival publisher Axel Spring- are now facing digital transformation. er was printing the magazine. 1946 Actually, the most respected have long On February 21, the first since taken on this challenge. This is TOUGH BATTLE FOR edition of Die Zeit is published as particularly noticeable at SPIEGEL. DER MARKET SHARES a so-called "licenced press" with SPIEGEL was the world’s first news a print-run of 25,000. magazine to go online under the cum- By the early 1960s, the Hanseatic pub- bersome internet address http://ham- lishers had largely divided the market up burg.bda.de:800/bda/nat/spiegel/ on among themselves. Springer emerged October 25, 1994. The magazine’s early as the most powerful German publish- 1962 web experience survived the era of the er and dominated the daily newspaper The "SPIEGEL Affair" New Economy downfall and morphed market. Tensions grew in the group becomes a milestone of Federal into a leading, digital medium. SPIEGEL German press history. as the battle for shares of the market ONLINE (SPON) is now of the strong- raged. The Hanseatic band was torn est news portals in the republic. And apart and most criss-cross sharehold- profitable. ings were dissolved. 1965 The newsroom is staffed 24/7 and a Hamburg itself became the scene of John Jahr, Gert Bucerius member of staff in Sydney manag- the toughest battle for freedom of the and Richard Gruner found es the page. “Digital transformation "Gruner + Jahr" - Germany’s second press at the time: in 1962, SPIEGEL ran has changed the way we work. Both biggest publishing company. a headline to the effect that Germany the usage times and situations have was only “Partially ready to defend it- changed,” said Barbara Hans, Head of self”. The article nurtured doubts about SPIEGEL ONLINE. The focus is now on the ability of the German Armed Forc- users’ needs: which news and reports es to defend the country. Germany’s 1994 do they want to read, at what time then Minister of Defence Franz Josef DER SPIEGEL becomes the and in which situation – are they com- Strauss had SPIEGEL’s newsroom raid- world’s first news magazine to go muting to work or sitting on the sofa? online. SPIEGEL ONLINE becomes ed, searched and occupied temporarily. one of the leading news portals in “We want to learn and experiment and Augstein and seven members of staff German-speaking regions. find the best ways of presenting an is- were accused of treason and arrest- sue so that it interests readers,” Hans ed. Protests across Germany in sup- pointed out. Klaus Brinkbäumer, Edi- port of freedom of the press eventual- tor-in-Chief of SPIEGEL and Hans are PUBLISHERS 13

more relaxed than some of their rivals to take account of readers’ usage be- SPIEGEL Editor-in-Chief about the looming reliance of big com- haviour with SPIEGEL Plus, SPIEGEL Klaus Brinkbäumer and panies on groups like Facebook and Daily and other offers. SPIEGEL ONLINE’s Editor-in-Chief Barbara Hans Google. In the past, companies were reliant on printing companies and the Der SPIEGEL has thus found its way arbitrariness of the display at a local ki- into the digital era. The other Ham- osk. But the vast creativity and employ- burg-based publishers have also set ee identification with their own publish- the wheels in motion. Some are tread- ing company has helped to successfully ing down similar paths and others are secure new user groups and sources of heading in entirely different direc- revenue on the web. Old divisions like tions. Heated debates have ultimately the stringent separation of print and given way to print newspapers and online newsrooms have been overcome. magazines and new confidence pre- “Today, stories become longer and usu- vails that the sector will not only sur- ally successful by digital means,” Brink- vive digital transformation but will al- bäumer pointed out. And now he seeks so be able to shape it. 14

Beacons of publishing

Self-portraits of Hamburg's media companies

AXEL SPRINGER BAUER MEDIA GROUP FUNKE MEDIENGRUPPE

The young Axel Springer developed Bauer Media Group is one of the world’s The FUNKE MEDIENGRUPPE is on the idea for his start-up in a stable in most successful media companies. course to become Germany’s best na- Nordheide rather than in a Californian More than 600 magazines, 400 digital tional media company with emphasis garage. In 1946, he then proceeded products and well over 100 radio and on two core business sectors – regional to launch his publishing company in a TV stations reach millions of people media and women's magazines as well shelter on Hamburg’s Heiligengeist- all over the world. The group’s portfo- as TV guides and combining them intel- feld. These humble beginnings bred lio includes printing companies, sales ligently with digital offers. In Hamburg, Europe’s leading digital publisher, and marketing services. The claim, “We FUNKE has strong newspaper brands headquartered in Berlin, with over think popular”, illustrates the Bauer such as Hamburger Abendblatt, Berge- 15,000 employees. Nowadays, the Media Group’s self-image as a house dorfer Zeitung, Hamburger Wochen- company is increasingly active on the of popular media that inspire and mo- blatt and Klönschnack. The group’s U.S. market with brands such as BUSI- tivate 11,500 employees in 20 nations. portfolio also includes dailies, adver- NESS INSIDER and eMARKETER. Ax- tising papers, women's magazines and el Springer remains loyal to Hamburg TV guides in addition to regional, online with its editions of WELT and BILD, portals in five German states. the Auto, Computer & Sport group and net portals such as Immonet, Casamundo and hamburg.de as well as interests in radio stations.

GANSKE VERLAGSGRUPPE GRUNER + JAHR HUBERT BURDA MEDIA

Ganske Verlagsgruppe is a modern G+J is one of Europe’s largest maga- Hubert Burda Media is a global media media company for books, magazines, zine publishers. Thanks to its forma- and technology company. Burda’s port- electronic media, corporate commu- tive brands, STERN and BRIGITTE, the folio encompasses 540 products in nication and trade with books and publishing house is synonymous with Germany and 19 other countries. The magazines. The family company com- creativity and innovation in magazines products include print media such as bines tradition with innovation and of- and digital business. G+J is constant- the FOCUS and BUNTE magazines and fers unique content and quality servic- ly launching new, successful titles on digital brands like Xing, a social net- es. Cross media offers in cooking and the market and operates a leading web working site for professionals, and the enjoyment, travel and leisure, art and page on topics related to people, wom- Cliqz browser. In the fiscal year 2015, culture, health and well-being, fashion en, food and living. G+J’s subsidiary, the company generated turnover of and beauty as well as living and style Prisma Media, is France’s leading digi- EUR 2.2 billion. Burda views itself as a render the group a significant shap- tal publisher and Ligatus is one of Eu- “company for entrepreneurs“. Thus, the er of Germany’s mediascape true to rope’s key digital content marketing structure is decentralized and organ- the motto of the publisher, Thom- companies. TERRITORY, one of the ized in profit centres. The company has as Ganske, who noted: “We produce largest German service providers of around 10,300 employees presently. deep-rooters – not creepers.” content communication, also belongs to the publishing house. PUBLISHERS 15

Main stage for quality German journalism: the traditional Nannen Prize in Hamburg. Journalists from Hamburg's publishing companies count regularly among the winners

MEDIENGRUPPE KLAMBT SPIEGEL-VERLAG ZEIT VERLAGSGRUPPE

The Klambt media group is among SPIEGEL-Verlag is a Hamburg-based Germany’s leading, opinion-forming Germany’s oldest publishing houses. media enterprise. The company’s pub- weekly newspaper, ZEIT, was found- Founded in 1843 as a small Silesian lishing products are synonymous with ed in Hamburg in 1946. Every edition publisher, the company now has more excellent, quality journalism and inde- reaches over 2 million readers (paid cir- than 650 employees in over ten subsid- pendent reporting. DER SPIEGEL, Eu- culation: 500,000 copies). The news- iaries in Germany and abroad. Apart rope’s most widely circulated news paper is synonymous with ambitious, from magazine publishing, Klambt al- magazine and SPIEGEL ONLINE, the well-researched journalism that has so operates two general insurance leading medium on the German-lan- garnered many accolades. Apart from agencies. Additionally, the group has guage internet, reach over 13 million ZEIT, the ZEIT Verlag also publishes shares in magazines and companies in people every week – on paper, the in- various magazines such as the scien- various segments as well as in press ternet and on mobile gadgets. The tific magazine ZEIT WISSEN as well as agencies and radio broadcasters. The “manager magazin” and SPIEGEL TV the student magazine ZEIT CAMPUS portfolio has recently been expanded formats are among the company’s oth- and a children’s magazine named ZEIT by shareholdings in start-ups. Klambt er leading journalistic offers. In 2015, LEO. The publishing house has estab- has also founded several internet por- the SPIEGEL Group and its 1,100 em- lished ZEIT ONLINE as one of the larg- tals. The group’s best known periodi- ployees generated turnover of EUR est and rapidly growing platforms of- cals are: “OK!", “IN", “GRAZIA" as well 285 million. fering top quality, online journalism. as “FUNKUHR", “LEA" and “7 Tage”.

MEDIA POLICY 17

"The best is yet to come"

The role of politics in digital The media user’s attention is, how- What does that mean exactly? media transformation: ever, being magically drawn to social a conversation with Olaf networks and aggregators. The Office of Media is where sectors are looked after and the regulatory frame- Scholz, Mayor of Hamburg, What you are describing is part of the work conditions are worked out there since 2011 all-encompassing media transforma- as well – like the present restructuring tion. Undoubtedly, those who do not of media law between the Federal Gov- confront this transformation will dis- ernment and the states and prompted appear from the market. Indeed, nearly by Hamburg. We are offering with this For years, there has been talk of a every media company is in the middle media dialogue a nationwide forum for crisis in the media sector. How do of a transformation process. Despite an exchange between representatives you view the situation? Are things all the differences, the developments of all media sectors and politics. Ad- becoming worse or slowly starting that I am following give cause for plen- ditionally, we have founded initiatives to pick up again? ty of optimism about the future. Just like nextMedia with several companies. think of the opportunities that lie in We are thereby establishing Hamburg I can no longer listen to any talk of a data journalism, the enormous ranges as a place where both existing business crisis. I am under the impression that and communication channels or new models are rearranged professionally good money can still be earned with diverse ways of using content. I am cer- and creative and innovative projects are good content across all sales paths tain that the best is yet to come. developed and pushed forward. and especially here in Hamburg. Mean- while, several media companies have Digital disruption is still spooking Should politics explain digital busi- fully accepted the challenge of digitali- the media discourse… ness to managers and makers? sation. Many new things are being tried out and the same applies to traditional The concept of disruption is long worn Of course, not. As part of nextMedia, publishing houses that are opening up out. Around 11,000 people in Hamburg we urge producers of content and tech- to more innovative and contemporary work in the IT and media sectors of nology providers to work closer togeth- organisational structures, marketing large companies with long traditions er. Beyond the desired competition, dig- approaches and new technologies. as well as in young start-ups. Aban- ital transformation holds many new op- doning these structures to ‘creative de- portunities for sensible collaborations. struction’ á la Schumpeter would not To this end, we link the players in the be wise. We instead wish to accompa- location more closely with each other ny their transformation process. I’m in- and initiate joint projects. This has led Left: Olaf Scholz at the light table clined to agree with Steve Jobs, who to a digital, ecological system in which of the digital model of the city in said: “Don’t be trapped by dogma.” I publishing houses, advertising and de- Hafencity University (HCU) would like to help with that. sign agencies, IT developers and 18 MEDIA POLICY

Leading representatives of the German media industry discussing the challenges facing the sector with Olaf Scholz at the annual media dialogue

munication agencies and clients like Unilever or Beiersdorf also count as well as the previously mentioned eco- logical system.

What is happening in reference to start-ups in Hamburg?

Luckily, big media companies have long since noted the value of start-ups. The nextMedia Accelerator in betahaus, for instance, came about in this way – a development lab for new digital busi- ness models and the industry’s con- tents. DER SPIEGEL, DPA, Gruner + Jahr, DIE ZEIT and many other reputa- ble companies are backing this project financially and providing mentors for the young founders, who are receiving long-term support. I view that as an film producers, start-ups and media unconditional expression of the will for entrepreneurs benefit from each other. permanent reflection, self-checking and change across all media sectors. So technology providers can still add steam at media companies… By the way, about change… do you use other media than previously? A good alliance is mutually beneficial. Demand for top-quality contents and I use mainly new distribution paths refinancing is high in the digital world. such as ePaper or the Tagesschau app. The business has become more com- If I am travelling a lot, being able to plex with far more client channels and avail of information everywhere is very long valued-added chains. That re- helpful. I have not yet given up the hab- quires plenty of specialised knowledge. it of following entire media and will In Hamburg, classic content providers probably never be satisfied with just a are drawing on the experience of web selection of news in a press review or sales specialists and big digital com- newsletter. I like it when the editors panies also located here such as Xing, confront me as a reader or viewer with Google, Facebook, Twitter or Dropbox. things of which I have never heard or E-commerce firms like Otto and com- knew about before. AGENCIES 19

Rare photo: Michael Trautmann (left) and Jan Becher (right), both frequent travellers, at a rare meeting in thjnk agency

ransformation began in the shape of a blue pillar that was a good meas- Transformers T ure higher than the adjacent red pil- lar. Conversations fell silent in Hamburg Air- port’s business lounge. Everyone stared at the TV screens lighting up on either side of the pil- at the water- lar and announcing Barack Hussein Obama’s election win. Michael Trautmann also watched with bated breath. Naturally, on this grey No- front vember 4, 2008, the United States of Ameri- ca was experiencing an historic shakeup. The first black man ever was about to govern the Online advertising is no longer up to internet country. Yet, Trautmann, founder and member specialists. The advertising industry is in the throes of the board at thjnk agency (at that time kem- of digital upheaval. A visit to an agency that is pertrautmann), noticed another turning point in the win: “The communication sector will un- reinventing itself dergo radical change.”

Obama’s extraordinary election campaign re- lied on the targeted use of voters’ data and social media. His campaign advisors had 20

realized that digital platforms and exception- Trautmann noted: “We all face the same challenge al social media marketing could influence the of digitalisation. The answers vary though.” His election effectively. Social media also played a agency has opted for a balance between clas- pivotal role in electing Donald Trump as suc- sic, creative skills and new digital opportunities. cessor to Obama. And Trautmann’s premoni- tion has eventually come true. Digital channels MANY STEPS TO TRANSFORMATION are now a fixed part of the media mix. The bat- tle for the user’s attention is tougher than ever. How do we bring technical know-how aboard? The question is how best to reach people on the Where do the fields of growth lie? These are the web with advertising messages? The answer is questions repeatedly faced by thjnk agency since best sought in Germany’s agency capital. No- Obama’s win. Singular flagships came quickly where else has such a multitude of advertising after the start of digitalisation and amounted to companies; classic agencies like Jung von Matt, good approaches, but too little to bring about Scholz & Friends, Grabarz & Partner and Kolle real transformation. Trautmann hired Jan Bechler Rebbe, but also digital specialists like Sinner- as chief digital officer. As an outsider to agency Schrader or La Red. All the relevant agencies are business, Bechler brought along a new perspec- at home in Hamburg or at least have a branch tive, entrepreneurial spirit and great competence in the city. During competitions involving the in online marketing. The duo has also revamped most creative German communication service the structure of the organisation and now dig- providers, those in Hamburg regularly lead the ital experts have fixed positions in every team. way. And on an international scale, Hamburg Thus, the agency is not aiming for a digital task is mentioned in the same breath as New York, force, rather a digital solution. “Digitalisation is London and Rio de Janeiro. not a building block that comes with every pro- AGENCIES 21

ject, rather each campaign must work digitally vertisers rely instead on suitable technological from beginning to end,” said Bechler. That’s why partners. Facelift, for instance, is a Hamburg- thjnk develops media neutral campaigns. Every based technology company and Facebook’s of- single idea must work online, offline, as a mo- ficial partner, and started a joint venture called bile and moving image as well. The linear agency upljft with thjnk in 2015. Upljft aims to pool process has been pried open in favour of closer the strengths of both partners and to play out co-operation. To guarantee success, the agency branding campaigns in social media channels. also invests in further staff training such as the Bechler believes: “Nowadays, a good agency thjnk school – a regular advance training offer. combines strategy, market understanding, da- ta analysis and campaign management as well Free spaces, NEW OFFERS FOR NEW DEMANDS as the best-possible creation.” Data help send open atmosphere far more pointedly and targetedly and with a in the agency’s The modern offices on the waterfront between view to the next campaign and optimum as- new offices Baumwall and Landungsbrücken represent this sessment. Ultimately, ideas make the difference, transformation and the new mindset of a clas- Trautmann is certain. sic advertising agency with digital DNA. Open communication is the keyword: closed offices Yet, creative agencies are not the only ones with are almost a thing of the past at thjnk. The ideas. Media agencies, consultancies and tech- members of the board sit at a single, long table. nology providers like Google, Facebook and SAP Each member of staff is mobile and the entire are also in the mix on the digital advertising building is a hive of creativity. market. Digitalisation is turning these players into rivals and sometimes partners. The diver- Like every agency, thjnk must be technologically sity suits Trautmann’s strategy of constant trans- fit. The agency has consciously gone without in- formation, embracing change and always seek- house programming. The waterfront-based ad- ing out new opportunities and partners.

MEDIAL ECOSYSTEM

The heart of Germany’s advertising industry beats in providers benefit from each other. Hardly any other Hamburg. All the relevant agencies are traditional- place has such a multiplicity of relevant companies ly at home or have a branch in the city. Over 1,500 from all parts of the media sector. advertising agencies and around 15,000 employees make Hamburg Germany’s advertising capital. The Digitalisation is pushing cross-sector networking advertising sector is increasingly a part of a medial even further ahead. Short communication paths in ecosystem in which publishers, agencies, music la- particular are triggering a permanent, dynamic ex- bels, production companies, start-ups and service change of ideas in the Hanseatic city. 22

Hamburg's Idea Catalysts

Creation, media, corporate publishing, PR: firms in the city shape commercial communication like few others. A short round of self introductions:

FISCHERAPPELT EDEKA, FAZ, KIA, NIKON, NIVEA, Sixt und Vodafone count among the agen- One group, all specialties. fischerAp- cy’s clients. pelt is Germany’s leading content mar- keting agency. We turn our clients in- to significant dialogue partners. Our KOLLE REBBE experts lead the way in branded, dig- ital thinking in first-rate technology Kolle Rebbe stages brands all over the know-how. Having fun with real sto- world. Strategists, creative people and ries goes hand in hand with a content specialists in all kinds of disciplines de- agency like the belief in ideas that re- velop integrated communication solu- main in people's minds. We seek to de- tions via media and across borders. velop products that effect change and Lufthansa, O2, Netflix and Ritter Sport create pictures that move people. We are some of many examples. Kolle Reb- do not wish to compel attention, we be inventing products. Designers and wish to earn it. Appreciating attention creative technologists develop prod- is part of our DNA. ucts, brands and innovative technol- ogies until marketable. The agency is Coarse, incorrect and tasty: Since 1999, well acquainted with creative business Philipp und Keuntje have advertised Astra. The GRABARZ & PARTNER word "cult" is apt by way of exception intelligence. Kolle Rebbe supporting start-ups. The agency offers financial We do not need 600 characters to de- assistance and entrepreneurial know- scribe our company. The 60 charac- how and helps make young brands and ters in a Yelp description in the neigh- the challenges of a rapidly changing companies successful. bouring bistro suffice: “Hundreds of and more complex world. youths work at the advertising agency next door.“ PHILIPP UND KEUNTJE JUNG VON MATT The Philipp und Keuntje creative agen- HIRSCHEN Jung von Matt is the most successful cy was founded in 1999 in a former agency group in the German-speaking The Hirschen Group consists of six region in terms of awards for creativi- vastly different communication and ty and efficiency. In 2016, the agency consulting agency brands under a sin- soared to the number one spot on the gle roof acclaimed as the Home of the German manager magazin's creative Brave. We offer advice for communi- index. Jung von Matt offers its clients cation, digitalisation and public opin- creative and efficient marketing com- ion. In Hamburg alone, we have six of- munication across all channels, disci- fices – two of Zum Goldenen Hirschen plines and media. The Hamburg-born and one each of Freunde des Haus- and bred agency has been looking af- es, VORN Strategy Consulting, res- ter national and international clients

sourcenmangel, and courage! Togeth- in Karoviertel, Hamburg’s designer Kolle Rebbe's PR success: er and individually, we support our cli- quarter, for 25 years. adidas, Bitburg- refinishing for the 2014 World Cup yielded ents and help them effectively handle er, BMW, BVG, Deutsche Post, DFB, global attention and awards AGENCIES 23

SCHOLZ & FRIENDS THJNK

We are the Orchestra of Ideas. We cre- “Milch” in the Ditmar-Koel-Str. 22 is a ate brand experiences that change how sheer delight. The boss, Nico, calls his people think, feel, and behave. And we employees “hosts”, photographs guests’ believe in friendship. Founded in Ham- dogs and tweets them as #milchdogs. burg in 1981, today we are one of the He also places great emphasis on small leading German agencies; in the last roasting houses. So much so that he two years alone, we have won the much has begun roasting coffee and serving it sought-after accolade of “agency of the with fresh country milk. Advertisers can year” in several competitions. Along relish Espresso Tonic – espresso with with agency offices in Hamburg, Ber- tonic but without gin at “Milch”. Oh, and lin, and Düsseldorf, we are present in Nico recently tried out waffles as well further European markets and, through but with limited success. We think it has WPP, worldwide. Our clients include something to do with the yeast, but oh Deutsche Bahn, Opel, Siemens, Tchibo, well. You can find us here between 1 pm Vodafone, and institutions such as the and 2 pm – otherwise around the cor- This campaign by Scholz & Friends revived the German government. ner in Vorsetzen 32 where we do ad- traditional Opel brand vertising for others, but not ourselves.

SINNERSCHRADER WEISCHER.MEDIA community centre in St. Pauli and is SinnerSchrader counts among Europe’s now headquartered in the former Frei- leading digital agencies and offers the Many people can roar, but few actual- hafenamt in Speicherstadt. At the mo- whole range of digital agency services: ly triumph. Every year, the who is who ment, the company employs 195 staff conception, design, development and in advertising converge on Cannes to in its offices in Hamburg and Ingol- sale of digital platforms, mobile apps, celebrate the latest trends. To adver- stadt. The agency’s motto, “NEW IS service design, campaigns and analytics. tisers, winning a lion in Cannes is akin NORMAL”, stands for an inquisitive to a knighthood. Weischer.Media sup- culture that is constantly giving staff More than 500 employees including 200 ports the festival as the official German and clients new impetus. The agen- developers work on digital transforma- representative. We believe that good cy’s clients include founding cus- tion for companies such as Allianz, Au- communication is more – an art form tomers such as Audi and Astra and di, comdirect bank, ERGO, Telefónica, that moves people and can change the brands such as RIMOWA, Sennheis- TUI, Unitymedia and Volkswagen. Sin- world. Weischer.Media is synonymous er, Telekom, Kühne, Bärenmarke, NEFF, nerSchrader was founded in 1996 and with emotional brand presence sur- Deutsche Bank, E WIE EINFACH, BRI- has been publicly listed since 1999. The rounding the world of cinema, effective, TA, Holsten and Duckstein. company has offices in Hamburg, Ber- target group dialogue on out-of-home lin, Frankfurt am Main, Munich, Prague media, riveting storytelling and sus- and Hanover. tainable brand communication across PILOT all digital marketing channels.

We do advertising for the digital era – and that since 1999. Embedded in markets and advertising research; me- dia, creation and technology work to- gether seamlessly in our independent and owner-run agency group. A close Viral Hit: mesh of skills and specialist fields is the Christmas TV advert crucial to pilot. Our range of servic- #cominghome by Jung von Matt for Edeka evoked es covers digital and classic media strong emotions and led to consultation, programmatic advertis- heated discussions ing, performance marketing, research, media and industrial co-operations as well as content and technology for digital screens. 24

Best prospects for new alliances

Digital players like XING, Google and Facebook have located their Germany headquarters in Hamburg. Many are revamping the media sector from here PLATFORMS 25

Letting the eye wander to the Elbphilharmonie while working on Xing’s rooftop terrace

ever, far greater and in just a few years, they have redefined the rules of the game in the digital content business. Google and Facebook, in particular, are authoritative sources of ex- panding reach and online marketing. From bas- es in Hamburg, their teams advise companies and agencies on the use of their own platforms and services. Google alone is locally active with hundreds of sales specialists and marketing professionals. These are in addition to more and more special service providers for online marketing such as performance media or the U.S. Rocketfuel company, which specialises in artificial intelligence.

IMPORTANT BASIS FOR CONTENT BUSINESS

More efficient, algorithm-based methods of ew challenges for the world of media online marketing are important to companies have in reality arrived long ago. Goog- across all sectors. And even more so to the me- N le opened its Germany headquarters dia industry – they are namely a foundation as early as 2001 in Hamburg. Facebook fol- of the future content business. Yet, internet lowed in 2010. Well-known digital platforms companies set the pace. Providers of content like Twitter, Xing, Dropbox and Yelp are also achieve a far higher reach and additional target in Hamburg. What do such diverse companies groups with Google and Facebook. Converse- have in common with each other? And what do ly, digital groups acknowledge the importance they share with Hamburg’s media? of content for the long-term success of their platforms. As a result, Google is backing media To begin with, they all supply valuable tools for companies with its global ‘Digital News Initia- digitalisation. Both users and media makers tive’. Key Hamburg-based media players were benefit directly from their innovative strength. involved early in the programme and some were The creative power of digital platforms is, how- the only Germans on the European pro- 26

gramme’s committee. Others such as Gruner + tor-in-Chief of Xing Klartext, said: “The mix of Jahr, the Hamburg-based magazine publisher, classic journalism and data analysis creates far obtained funding to develop a news app. Goog- more opportunities of informing and entertain- le is also involved in the Next Media Accelera- ing the user in the best possible way.” Experts tor, Hamburg’s support programme for media from commerce and politics comment on cur- start-ups (see article on page 40). On the other rent affairs, and users discuss their contentions hand, Facebook’s ‘Instant Articles’ offers a di- later. The concept is working and user interac- rect way of positioning newspaper and maga- tivity has soared, the company said. zine articles in its user’s news stream and gives internet providers a share of the advertising Xing’s example reveals something else: despite revenue. SPIEGEL ONLINE, BILD and Tagess- the clout of digital giants like Google and Face- chau are among others in Germany offering in- stant articles.

The growing importance of co-operations be- tween technology specialists and content pro- viders is reflected on the entertainment level as well. The nextMedia.Hamburg initiative has analysed the developments on the market (see www.nextmedia.hamburg). Their main finding is that technology and content skills must be in an equal balance in a company. Contents can and should be more than an aggregated con- dition whereby “value-benefit” and “experience” are crucial to success. As contents are increas- ingly becoming separated from their producers and are being sent via digital platforms, these revenue structures must become more flexible.

HAMBURG-BASED PLATFORMS GO THEIR OWN WAY

Xing exemplifies a sensible balance of technol- ogy and content. The focus at the career net- work, founded in Hamburg in 2003, is on retain- ing personalised information and to spread it in a goal-orientated manner. To do so, Xing re- lies on exclusiveness. TecDAX-listed companies with fee-based premium user accounts and oth- er offers liable to cost generate around half of its turnover. Xing earns the other half through its B2B business, for instance, with licenced re- cruiting tools and company profiles. Advertis- ing is not part of Xing’s core business, but it is marketed vigorously and played out in a per- sonalised fashion. The Burda subsidiary is in- creasingly offering its own content to raise user activity. A branch newsletter was followed by news webpages where media companies can circulate articles. In October 2015, the ‘Klar- text’ format launched with its own classical- ly-operating editorial staff – an unusual step for a social network. Topics such as business and career are personalised according to the sector and user profile. Jennifer Lachman, Edi- PLATFORMS 27

book, digital platforms can position themselves on the market successfully. Xing is, after all, the biggest career network in the German-speak- ing region and ahead of its U.S. rival LinkedIn. And perhaps it is no coincidence that Xing is Hamburg-born and became big here. Many new start-ups have emerged from the city’s mer- chant-shaped spirit and grow organically. And they come face to face with a content industry, which is open to new alliances, novel experi- ments and especially new thoughts.

Above: Rowing at Google: working innovatively in Hamburg

Left: Facebook employees amid trees and owls in the conference room

MUSIC 29

On nights like this Digitalisation back and forth – live music still the most beautiful. Music as a common experience is a crucial, commercial and cultural asset. What does that take? A productive, charged relationship between commercial exploitation interests and subculture. A different kind of sightseeing tour

e meet the odd couple Even before we arrive at Knust, the sec- The Golden Pudel, founded by Rocko early in the evening out- ond stop on our tour, deep bass tones Schamoni and friends, was such a free W side the bunker on Heili- and the screeching sound of trumpets space and has been a bulwark of Ham- gengeistfeld: Oke Göttlich, founder of are audible. The urban brass band, burg’s alternative culture ever since. finetunes, the indie label digital dis- Moop Mama, is in the middle of a guer- Vast parts of it were ravaged by fire tributor, and honorary president of rilla gig on Neuen Kamp. Lyrics such in February 2016 and the roof had to the St. Pauli football club and Dick- as Alle Kinder schreien – Ohhh – auf be propped up. The painstaking over- en, frontman of the punk band Slime. die Fresse fertig los can be heard and haul is hard going. It’s heartbreaking They take us on a night-time tour of the audience sways happily to the early to remember dancing here in the sun- their club haunts. evening strains. “Boah,” Dicken laughs, rise at 5 am. adding, “When we were gigging, I mean We start in the bunker. The concrete punking, nothing like that was happen- Ralf Köster, an electro legend from the eyesore dating back to World War II ing outside. They were small, cramped, start, has been a booker and DJ here houses the Uebel und Gefährlich (liter- stinking places. There was a bar called for ages. “The closeness is magic - this ally Evil and Dangerous) club and Ter- Krawall 2000. You get it?” living in a box feeling. As a DJ, you are race Hill as well as rehearsal rooms, always very close to the audience and sound studios, a music business and TOTALLY HAMMERED,SPACED you hear the sound they first hear as a music academy. We take the elevator OUT, HAPPY AS EVER well. To us, what counts is the love of up to the fourth floor, Malte von der music, not profit. This is where you can Lacken, a booker at Uebel und Gefähr- Oke points to a sound engineer, who is try out and experiment.” lich welcomes us with a cold beer each. checking and adjusting the band’s dec- A tour of the ballroom and the sun- ibels. “Yes, we didn’t have things like The DJs are well aware of the Pudel’s bathed terrace follows as the first that before. Rules for everything make unique charm. However, the booking rooftop concert of the season nears. things hard for clubs. That’s all well agencies are often against performan- The panoramic view of the city forms and good; protecting residents, emer- ces in that club and prefer a full hall the perfect backdrop for a small, ex- gency escape routes, fire protection, and secure takings. Ralf adds: “I’ve met clusive outdoor gig and the start of security, etc. But that’s costly. When DJs who spin the discs on Saturdays our club tour. the streets are rocking during South in Berghain and Sundays in our place, by Southwest in Austin, Texas, that’s literally stumble out of here, totally Left: On the way into the night: Oke (right) ok. Free spaces where experiments are stoned and spaced out, but happy as and Dicken (left) in front of Hafenklang allowed are needed.” ever.” Oke notes: “That’s the 30

difference between superficial event cul- halls. I mean, if it were only about the ture and clubbing your heart out.” “True,” music, I’d throw more parties instead says Dicken, “The music here was nev- of lucrative concerts. But the financial er my thing, but I’ve always supported pressure of bookings makes it hard to the idea behind Pudel because it’s about pluck up the courage to do that. Direct something that keeps us all together.” funding for artists and for individual gigs would be a fine thing.” BETWEEN COMMERCIALISA- TION AND CLUB SURVIVAL Just as the Kamikaze Queens start rock- Experts among themselves: ing their Sick inside song, we zigzag We reach Hafenklang on Fischmarkt. In Oke (left) and Dicken (right) talking downstairs, through the cloakroom and the 1970s, the club was Hamburg’s first about music, clubs and St. Pauli into the big concert hall. Everyone is 24-track studio and concerts were held sweating and the place is heaving. Ad- there as well. Upstairs in the Golden Sa- am Bousdoukos, actor and screenwrit- lon, the Kamikaze Queens are pulling er of Soul Kitchen, the comedy set in out all their rockabilly stops while their Hamburg, takes to the stage. He and his lead singer, who has literally poured her- band, Amane, are tonight’s support for self into her shiny black gear, swings a Iman Baildi, electro-heavy Balkan hip- microphone. “That’s my music,” roars hop from Greece. Oke says: “But, first Dicken excitedly. And although we can a good drink,” and steers us over to Go- hardly tear ourselves away, we withdraw lem. This turns out to be a “place for to the back. boozing in style and earnest debates”. A rum and coke for Dicken and a mate Oke introduces us to Thomas, a long- peng for Oke soon do the job. time booker and manager of Hafenklang. “I really value the living-room feeling “Hamburg must embrace its subculture,” here,” says Oke, “The relaxed atmos- says Oke. “None of us wants to hear it, phere away from the hustle and bustle in Kamikaze Queens pulling out but the comparison to Berlin shows that the hood.” Thomas notes: “That’s what all their rockabilly stops the (1989) transition has helped them people come here for,” adding, “That’s keep some of the free spaces for techno. the difference between owner-run plac- Hamburg is sort of arrogant because of es or associations and industrial music its beauty. And subculture brings fresh-

VIBRANT MUSIC SCENE

Hamburg’s musicians, bands, DJs and songwriters such as Audiolith, Grand Hotel van Cleef or Buback. are as internationally esteemed as they are varied: Annual music events include mainly the Reeperbahn Samy Deluxe, Jan Delay, Hundreds, Deichkind, Dig- Festival and the Dockville Festival. italism, Boy, Fettes Brot, Kettcar, Kollektive Turm- strasse, Revolverheld, Selig, Wolfheim, etc., etc. The Hamburg leads Germany with over 100 music clubs. Hamburger Schule music style emerged in the mid Music stages shape the cultural life of the city and 1990s with bands like Tocotronic or Blumfeld and turn music into an experience. And for musicians, has left its mark on German bands today. Hamburg the clubs are none too seldom places where pas- is known throughout Germany for its musicals and sions become professions. Since 2004, the profes- classical music offers. Some big record labels in sional association, Clubkombinat, has advocated Hamburg such as Warner Music or Edel Records the interests of club managers, organisers, bookers face a multiplicity of small, independent music labels and agencies. MUSIC 31

Music culture in Komet brings opposite genres together. A vinyl auction upstairs and a freestyle battle rap downstairs

ness and new ideas. But if you only look that partying. I just go maybe to Molo- speaker sends Dicken and Oke into rap- at the beauty, then at some point it will tow.” “The Molotow, by the way, are tures. Dicken suddenly shouts, “What morph into Munich and you will look happy with their new location on No- nonsense – terrific!”, “bought!” and nabs forward, mellowed with age, to great bistor,” Oke points out. Andi Schmidt the next record, Best of Buddy Holly for local recreational areas. I think there is the manager of Molotov, one of the €4.50. Now, things really get going and should be less emphasis on econom- most famous clubs in the dilapidated our club tour is in full swing to Cher’s ic indicators. Esso House, and which has been de- In his Kiss somewhere between joy and molished meanwhile. “It would be really cringe factor while a freestyle rap-bat- Of course, Hafenklang is not a tourist great to have new Esso Houses, which tle is raging down below in the cellar. magnet. But it is an important nucleus by the way are being designed as part of Hamburg’s club culture and boosts of a citizen participation procedure, We eventually head to St. Pauli’s most the cohesion of the indie scene and en- built with a new Molotow inside. The sincere pub, the Jolly – a bar that has tire neighbourhood. However, support old one could remain in its present lo- not yet been figured out. No one quite can only be improved and such unor- cation. Then we would have two good knows whether it is a club sometimes – thodox spaces protected from rules by live clubs.” run by the St. Pauli football club fans. policies that value them.” “The rules are clear here,” says Marta, We arrive in the nearby Komet in time who has both the counter and punters HAMBURG MUST EMBRACE for an auction of the top or flop vinyls firmly in control. A message reaches ITS SUBCULTURE that nobody wants anymore. The DJ is us: “Photography banned, intimate merciless and smashes any unauctioned zone.” Dicken shoves his new vinyl re- We head out up towards the Reeper- vinyls and sends the broken parts shat- cords over the counter. Football, music bahn. Dicken says: “I rarely go right into tering onto the dance floor. Sounds of and heart. More St. Pauli cannot be the middle of a hood. I can’t stand all “Pogo in Togo” coming from the loud- found anywhere else. 32 TELEVISION

Kiek mol an!*

Two unusual TV formats are at home in Hamburg: The “Tagesschau” is Germany’s most important news programme. At the same time, “Rocket Beans” is illustrating what television could look like in future. Credibility is basis of both programmes’ success

* Look at this!

whisper went through Germany when viewers tune in every evening and the trend is the “Tagesschau” updated its signa- rising. Thus, Germany’s most important news A ture tune a few years ago. And even programme is a TV institution of the highest or- though it was the seventh change of tune. But der. Other distribution channels reveal the clout when it comes to a programme that has lit up of the brand: Apart from two linear television millions of living rooms, evening for evening on stations and a webpage, the “Tagesschau” can the dot of 8 pm for over half a century, viewers also be watched on an app. This is in addition to notice even the slightest change. Kai Gniffke, social media where the “Tagesschau” is among Editor-in-Chief of ARD-aktuell, noted: “The ‘Ta- the top three on Facebook and Twitter. The pro- gesschau’ has essentially remained what it is – a gramme has long since become the strongest daily summary of news condensed into a quar- German news brand on Instagram. ter of an hour.” His newsroom at Norddeutscher Rundkunk (NDR) produces the “Tagesschau”. Credibility is key to the success of “Tagesschau”. Relevance is their standard: What is important The editors stress its independence and compe- to society, the country and on this day? Viewers tence through live connections, among others, value their news decisions. An average 9 million to its vast network of correspondents. Viewers trust the journalists’ choices and way of present- varied end gadgets and at different times of ing the issues. Yet, critics say the brevity and day. Gniffke said: “When young people are no type of news presentation is outdated. Nonethe- longer sitting on the couch at 8 pm, but are in less, the “Tagesschau” does not go against the the lecture hall, gym or pub, then we have a grain of media usage. Gniffke commented: “For duty to supply them with information wherever Being serious: a while, I thought the ‘Tagesschau’ would figure they happen to be.” The Rocket Beans presenters less on TV and increase on all other platforms.” Simon Krätschmer (left) and Daniel Budiman (right) as The “Tagesschau” is instead increasing on every The “Tagesschau” manages the balancing act be- guests on “Tagesschau” single media channel. While viewers obvious- tween suitable brand and adjusting to the fea- ly value the type of reduced presentation, the tures of various channels, as Instagram shows: newsroom is successfully using digital means only 15 seconds are available for sending a mes- to transfer the label to other distribution paths. sage – and most users watch the videos with- out sound. As a result, an entire new text and Outplay channels support each other in this image language had to be developed. The con- process. This allows the “Tagesschau” to reach tent is custom-made especially for the medium. younger target groups who consume media on Such extra work is possible only thanks to 34 TELEVISION

synergy effects, professional routines, constant- ly optimising the process and because highly experienced teams of experts work closely to- gether in the respective sector. The community does not go unnoticed in the process. Between 6,000 and 15,000 comments per day require the “Tagesschau” to contact users. And the makers of the programme believe that it is well able to meet the challenges of the digital society. Al- though not everyone in the newsroom is a nerd, said Gniffke: “The ‘Tagesschau’ has been on air for 20 years. The net is, God knows, no longer uncharted territory for us.”

FROM CREATIVE BUNCH TO PROFESSIONAL TV BROADCASTER

The five founders of Rocket Beans Entertainment also know their way around the net. Since Jan- uary 2015, they have been operating the web broadcaster Rocket Beans TV. Arno Heinisch, founder and Managing Director, said: “The sta- tion was born out of necessity. At the end of 2014, the VIACOM group (which owns VIVA, Comedy Central and MTV) switched off our pro- gramme ‘Game One’ after eight years on air. We and our 25 employees faced the choice of closing down or ‘taking the bull by the horns’.”

BROADCASTING IN AND AROUND HAMBURG

Hamburg’s radio market has many strong radio stations. The newTV Kongress is players. Radio Hamburg is the biggest a leading forum on moving images. In- station in the urban district with a daily ternational experts face the strategies reach of 700,000 listeners. And NDR’s of German content providers and mar- 22 programmes bring its market share keting executives to discuss formats, to a solid 49 per cent in north Germa- technologies and markets. The focus is ny alone. on practical examples of merged con- tent, technology and distribution. Under Since 2010, the Deutsche Radiopreis or the umbrella nextMedia.Hamburg, the German Radio Prize has been presented newTV Focus Group organises annual in Hamburg to distinguish programmes congresses, regular new TV forums and by ARD, Deutschlandradio and private technical workshops. “Tagesschau’s” newscaster, Jan Hofer, during a return visit to Rocket Beans TV’s studio

This has resulted in an independent TV station senter, Etienne, to just sit down and do a morn- with emphasis on gaming, which is online 24 ing show. This is how the success story, “Moin hours per day, has a full agenda of several pro- Moin”, came about and is meanwhile broadcast grammes and is live on air for up to ten hours. on RTL2you’s station for youths. Apart from it’s own webpage, the main channels are YouTube and social media and the stream- The loyal, incredibly active fan community sup- ing platform Twitch.tv. plies ideas, support and offers criticism for nu- merous projects and is a major pillar of the fi- Apart from interactivity and the live aspect, the nancing system at Rocket Beans Entertainment. unique selling point of Rocket Beans is a com- Thus, the station has been earning a profit from munity, which has grown over years. From the day one. “The most important aspect of crowd start, viewers have been involved in the design investment is always remaining credible and ac- process. Is this also a secret to their success? knowledging viewers as smart and responsible,” Founder Heinisch recalls: “During our pilot pro- said Heinisch. The community offsets this trans- gramme, empty picture frames decorated the parency with profound attachment. He adds: walls. Then we told the community: ‘here, this “Flat-shares post ads reading: ‘Rocket Beans fan is your programme. You can decide how we do welcome’. It’s like a character trait, an interest this thing together!’” At first, some technical that binds us. Such a high degree of identifica- problems had to be overcome. Then at one point, tion with a station exists nowhere else in Eu- a gaming stream crashed prompting the pre- rope! We are very, very grateful for that.” The actor, Catrin Striebeck. In the background: Zeise cinema FILM 37

Top-level production in series

TV and movie productions from Hamburg regularly enjoy international big hits. Film support is just one reason. Actors, directors and producers value other things in location

atrin Striebeck begins glowing ing and unusual projects are done every immediately. “Hamburg is like year and there are several pearls among C my home city although I was them.” One film to receive such finan- born in Vienna,” she says. The actor has cial support was “Head-On” (Gegen die spent most of her life on the Elbe Riv- Wand) by Faith Akin. The drama later er. Striebeck’s filmography reflects her won a Golden Bear at the Berlin Inter- attachment to Hamburg. Over the past national Film Festival in 2004. Almost 20 years, she has appeared in numerous 800,000 moviegoers saw the filmstrip, Tatort, crime series and TV productions which now enjoys cult status, in cine- from the Hanseatic city. She has worked mas. Yet, “Head-On” is considered a low- repeatedly with Hamburg-based direc- budget project by international com- tors such as Uwe Schrader and Fatih parison. Directors have to go to great Akin. And she often works with local lengths to come up with financing for production companies, the NDR and their projects. And they often receive Studio Hamburg. funding from five or more institutions. Critics hailed another example from She is only too aware that ambitious Hamburg despite the low budget. Di- films would not be made without the rector Uwe Schrader spent five years support of the Film Fund Hamburg researching his film, “Mau Mau”, a study Schleswig-Holstein (FFHSH). The FF- of neighbourhoods in the city. Striebeck HSH supports cinema films of all gen- played the leading role in that movie and res and lengths. Its co-operation part- later had a part in “Head-On”. ners include universities and colleges, Cine Regio, the European umbrella or- For her, the first sound of the clapper- ganisation of regional film funds, the board at the start of a shoot marks the European Film Promotion and the next. start of yet another new, wonderful ad- Media.Hamburg initiative. Striebeck not- venture, Striebeck said. Although she ed: “Thanks to the Film Fund Hamburg loves theatre work (Striebeck is a mem- Schleswig-Holstein, all sorts of excit- ber of the Vienna Burgtheater), and 38 FILM

On the set of the she can try out and decide many things into the cast, who are handpicked be- ZDF TV series on stage, her role on a film set has to fore shooting starts. “You talk about “Notruf Hafenkante” be perfectly thought out beforehand. the film’s character with him and then – “The actors must know exactly what they he gifts you the role,” said Striebeck. want in advance. It’s like the opera: the singers arrive with a rehearsed aria and Trust grows from shared experiences. they search for a creative way of work- The film network in Hamburg is very ing with it,” said the actor. Whether her tightly meshed. People move in diverse work is successful also depends on the circles of friends; mutual recommenda- film crew – and the result is often a last- tions are not uncommon and celebrity ing surprise. Others decide how to cut affectations are frowned on. The film and whether the sound is to be changed, and TV location of Hamburg is one of on the most suitable music – in a nut- the frontrunners across Europe. How- shell the look of the final product. ever, differences in production outside of Germany are noticeable. Striebeck Placing herself entirely in the hands of believes that TV directors have less in- the director and team is by no means fluence on productions than in Germa- easy, according to the actor. Trust is ny. She notes: “In Germany, many fussy the essence of film productions. The corrections are done,” adding, “I think Hamburg-based director, Fatih Akin, we could certainly be more courageous for instance, puts extensive thought and open-minded.” 39

Series like “Der Tatortreiniger” and “Jen- time with the company, part of Warner nifer – Sehnsucht nach was Besseres”, Bros. has been relocated from Berlin both of which are NDR productions, WILFRIED GEIKE to Hamburg, “so that all employees in show that things can be different and WARNER BROS. the south of Barmbek are under one prove that ambitious TV always finds roof. Hamburg is still the number one an audience. media city in Germany.” 1980 DIGITAL PIONEERS FROM First job in film business at BARMBEK United Artists (UA)

Yet promising new productions such as the first German series for Amazon Prime by Warner Bros. are guided more 1983 by the sophisticated mainstream. The First executive position man behind the series counts among at Warner the most important producers in the film business. Wilfried, called Willi, Geike is a bedrock of the film industry in Germany, Austria and Switzerland 1995 of which he was President and Manag- First co-production in Geike’s ing Director at Warner. “I have worked responsibility: “Der Totmacher” at Warner Bros. for over 33 years and starring Götz George the business has changed fundamen- tally in that period,” he said. Geike left his mark on the blessed video rental era. Today, he is producing, “You Are Since 2007 Wanted”, which is the first German dig- President and Country Manager ital series for Amazon Prime starring of Warner Bros. (umbrella) Matthias Schweighöfer, Alexandra Ma- ria Lara and Catrin Striebeck, among others, in the leading roles. Why has he taken this step? Geike knows that many viewers no longer watch TV or cinema movies at fixed times. He not- ed: “The viewing behaviour has become completely individualised – the mod- ern viewer watches digitally whenever, however and wherever regardless of time and on diverse gadgets.”

Series like “Game of Thrones”, first broadcast in 2011 on Warner Bros. ca- ble station HBO, saw Warner set new standards in the TV series business. And Geike is already working on new formats. He added: “I can imagine giv- ing viewers the opportunity to down- load the latest cinema movies at home first and parallel to the start of new releases and two tickets on top of that for the big screen.” To ensure quality, the company will also be responsible for the script, cast and film crew of co-productions in future and continue operating from Hamburg. During his 40

Young founders in ometimes, the great transformation software, which automatically generates editori- Hamburg’s Sternschanze – comes quietly. Bozhidar Georgiev and al texts from sports results and financial figures. The Next Media Accelerator Guy Hood are sitting in the focussed promotes media start-ups S all over Europe atmosphere on the first floor of Hamburg’s beta- Young media start-ups like Yatrus and Narrativa haus and are bent over their notebooks. The duo are not merely niche players. Large publishing share co-working spaces in Hamburg’s Schan- companies and agencies have long since begun zenviertel with other young start-ups. Georgiev, vesting their interests in them in the shape of a Bulgarian, and his start-up, Yatrus Analytics, accelerators, incubators and increasingly time, aims to use big data algorithms to help journal- money and know how. A few years ago, big me- ists uncover issues not usually found or detect- dia companies often concentrated on transform- ed too late with conventional means. Guy Hood, ing their own companies. Meanwhile, the digital also an experienced IT specialist, is banking on culture is palpable across the location. SPIEGEL artificial intelligence to improve journalism. He ONLINE, Bauer Xcel Media, G + J, Green House and his colleagues at Narrativa have developed Innovation Lab all use the city’s shortest paths INNOVATIONS 41

Home port of good ideas

Small and strong – established firms can learn plenty from young media start-ups. Places like betahaus breathe the spirit of the new and unorthodox. A visit to the workshop

to network and develop constantly. The Next Me- inventor of NMA. As Chief Marketing Officer, dia Accelerator (NMA) is a novelty of the scene. Ellers is also part of the management team at Founded in 2015 by Deutsche Presse Agentur the Accelerator and both have offices in beta- (dpa), Axel Springer, Gruner + Jahr, ZEIT pub- haus, something which is proving practical. lishing and backed by the city of Hamburg, it is so far the only accelerator in Europe offering ex- CO-WORKING IN COMMUNITY clusive support to start-ups in the media sector. NMA backs start-ups like Yatrus and Narrativa Our way to the “small biotope of betahaus – intensely for six months with mentors and up the place for professional self-fulfilment”, as to €50,000 in capital in return for shares in the described by Julia Oertel, Managing Director, start-up. The emphasis is less on “the next big takes us past graffiti, small boutiques, cafés and, thing, but rather on five to ten mid-sized things of course, the Rote Flora. Some 300 founders, which remain on the market sustainably”, said freelancers, start-up teams, creative minds, lone Meinolf Ellers, Chief Digital Officer at dpa and wolves, students, part-timers and employees 42

treat to the calm, open-plan office space or of- fices one storey up. Oertel noted: “We create the framework conditions in our community. But then plenty of unmoderated dynamics occur.” The community is constantly growing. “That’s noticeable at big events like Social Media Week or the betapitch, but also at small meets such as the weekly betaBreakfast,” Oertel pointed out. Founders present themselves and their ide- as at the weekly breakfast. This is where you come across entrepreneurs like Inken Arntzen,

left: Inken Arntzen, founder of Super- helden-Training

right: Guy Hood, co-founder and COO of Narrativa

in big companies work here to dive into the es- pecially creative atmosphere. The betahaus is geared towards an open-minded exchange and mutual support, and that is noticeable on en- tering the place. Co-workers sit at long tables talking to each other in the cosy coffee-shop atmosphere. The community works at leased desks on the ground floor while teams can re-

HAMBURG’S START-UP SCENE

Hamburg is a hot spot of Germany’s The quality also speaks in favour of Ham- start-up scene. The strong and diver- burg’s start-up scene. Many start-ups sified economic structures as well as a from the city have meanwhile become vibrant start-up economic system form established international companies a good basis for implementing ideas such as InnoGames, Coremedia, Facelift, successfully. An average 25 start-ups Parship, Jimdo, myTaxi, or Xing. New per year with around 1,000 employees start-ups like Collins, Dreamlines, Kred- each means that the state of Hamburg itech, or Sonormed continue to write has the second highest amount of start- Hamburg’s success story as a place of up activity in Germany. innovation and departure. INNOVATIONS 43

a founder who helps with professional self-ful- filment. Her company, Superhelden-Training, is based in Berlin. Yet she spends most of her times in Hamburg. “I met all of my business partners in betahaus. You can work wonderfully here and switch off at the same time and just drift,” she “Founders in enthused. She sees solid arguments for the lo- cation. “Hamburg is characterised by commer- cial thinking. Money is central to the support of Hamburg are founders and in relation to potential objectives,” said Arntzen. Oertzel added: “Founders in Ham- burg are cautious and the support on the diverse cautious. levels is more evaluated and thus decidedly last- ing. Hamburg is economically strong and offers The support a good breeding ground for realizing ideas and innovations.” The founders, Georgiev and Hood, are now hacking away at this breeding ground, is lasting.” and presenting their software to managers in publishing houses and editors. Their ideas stem Julia Oertel, Managing Director of betahaus from their native lands. Here in Hamburg, they are now bent on proving that they can reinvent journalism somewhat.

Concentrating and interacting – the community in betahaus 44

Learning from winners

In just a few years, Hamburg’s games sector has grown into an important economic power. Sector’s approaches could be a model for other media companies

he conquerors came silently. Unnoticed plished; meanwhile, over 4,500 people in the by others at first, several developers of Hanseatic city work in games companies. T games in Hamburg soon realised the economic potential of browser games. During GENERATING REVENUE the shortest of periods in the early 2000s, they PLAYFULLY soon turned their hobby into a profitable busi- ness. Pioneers like Heiko Hubertz (Bigpoint) Hamburg’s rank in Europe as a city more or less created a new economic sector out of innovative games is unrivalled. of nothing. Elsewhere, people were getting het Three of the five leading online up about the dangers of alleged "killer games". games companies were found- ed in the city and still operate in Michael Zillmer, also one of the early founders Hamburg namely Goodgame Stu- (Innogames), recalls: “The games with which dios, Bigpoint and Innogames. everything started were made mainly for our- “This facilitates not only the ex- selves and our friends first. Naturally, we were change about experience among keen on constantly improving them, especially colleagues and companies, but the graphics of the games.” Things were con- it also attracts many talented tinually being done along the lines of the lat- people from all over the world est technologies. Zillmer noted: “That eventual- to the Hanseatic city,” noted Hu- ly led to a corporate mentality of never resting bertz. The founder of Bigpoint and on one’s laurels.” his new company, Whow Games, still remains loyal to the city. From the onset, gamecity:Hamburg was of the earliest players in branch. The initiative launched The business model of Hamburg’s gamers still in 2003 with the goal of boosting the domestic goes according to the free2play principle mean- games sector. Stefan Klein, Manager of game- ing the game is free of charge, but is only fun to city:Hamburg, said: “We gamers and other com- play after making micro payments. The players panies wanted to meet other media sectors on pay small sums for better weapons or armour. an equal footing.” And that has been accom- The concept worked immediately and turnover GAMES 45

Archer in Bigpoint’s went through the roof. Yet, growth was never online game, Drakensang. guaranteed: distribution paths changed swiftly It has won prizes as and went from browser to Facebook. Meanwhile, Germany’s best browser game games for smartphones are the main source of revenue. Three different types of sale platforms in just a few years require a huge degree of flex- ibility from the developers.

Others could learn plenty from this flexibility and the technological approaches. The gamers have insisted on finding answers such as micro payments, free-to-play models and setting up own communities to important challenges fac- ing the press, film and music industries. Dirk Hensen, Head of Corporate Communication 46

at Goodgame Studios, pointed out: “Free-to- play experts in Hamburg are still pioneers of new models for assessing monetary value. Being able to develop free products continually over many years and to earn money with additional content requires a detailed understanding of the target group and their needs.”

“The exchange across industry borders is sen- sible for all the participants,” Zillmer has said, adding, “We in the games sector respect the Professor Gunther Rehfeld, big media companies. Learning from each other founder of Games-Master, should be mutual. We sail close to the wind in in Hamburg our sector as well. However, games companies are often more adventurous.”

Being able to adjust quickly especially on a tech- nical level, is a keyword for Sven Ossenbrüggen, Managing Director of Xyrality. The independent developer’s studio now has 75 employees and operates across all platforms. “The games sec- tor is a ‘hit driven’ business. All of the big stu- dios are founded on success that yielded swift growth. Now, the focus should be on long-term growth and spreading the risk, but at the same time clarifying: constant ebb and flow is abso- lutely a matter of course in our branch. High staff fluctuation is the norm especially at the start. Staff requirements in the development phases are far higher than when the game has launched on the market.”

Hamburg provides the perfect environment for the games sector. The high density of companies triggers fluctuation and exchanges of staff and know-how. Hamburg is also attracting more and more international professionals. Innogames for example has 400 employees from over 30 coun- tries. Many game companies praise the interna- tionality and central points of contact such as the Hamburg Welcome Center. The office helps foreign employees with everyday integration in German society. OPENNESS FOR EXCHANGE AND PROGRESS Asked whether reliance on just one game is prob- lematic, Ossenbrüggen replied: “That should not All that can only be achieved when the supply of be exaggerated. On the one hand, you have to young talents is appropriate. Many companies be able to turn a hit into a brand, something view sufficient staff reserves as one of the main which works in the long-term. This is where challenges facing the branch. A unique train- games companies can learn plenty from watch- ing facility in Germany has been established ing media companies.” Look at, for instance, how at Hamburg’s University of Applied Sciences long SPIEGEL has been a success on the mar- (HAW) with GamecityLab and the Games-Mas- ket. On the other hand, the focus must be on ter. Things are clear to Zillmer: “Why are Boston further shortening the production cycles and and Silicon Valley so strong? That is due to the increasing efficiency.” colleges there.” Games-Master is Hamburg’s GAMES 47

response to that. “Early prejudices have since ical front end and people are always trying to Shaping process given way to acknowledgement of both the ar- come up with innovation.” More programmers Designing a character at tistic and the level of innovation. We have a high are needed to guarantee that in a classic media Goodgame Studios degree of spin-offs, for instance, Daedalic or company, Rehfeld opined. “At the moment, a Xyrality,” said Professor Gunther Rehfeld, who normal media transformation process is taking established the course of studies. place. Most new media do not yet know where they are headed. They experiment and fail some- Asked what media companies, in his opinion, times. For a long time, classic media were often could learn from gamers, Rehfeld stressed: “They the ones thwarting their own progress owing should fight their way through. The games sec- to very fat financial cushions. Exchange within tor finances itself completely self-sufficiently. the branch is vital, he believes, and it is increas- Work is constantly underway on the technolog- ingly being held in Hamburg. 48

Lessons learned

From research to the final product – data are increasingly determining the everyday life of a newsroom. What young journalists should learn in future. And why sticking with old ways is still good

everity creates orientation.” accurate language, a sense of respon- Wolf Schneider would prob- sibility and the ability to be self-critical. S ably have agreed with this TRAINING LOCATION sentence. Maybe the doyen of German HAMBURG DIGITAL JOURNALISM AS A journalism would even have let it pass COURSE OF STUDIES as a lead. Schneider stood for Prussian virtues when it comes to writing and Wide-ranging offers The second path into the profession is research: care, precision and punctuali- Hamburg is one of the most a course of studies and meanwhile in ty. The severity imparted by the former important centres of media training. a digital variation. The Hamburg Uni- Apart from several training director of the Henri-Nannen-Schule in professions, around 30 colleges and versity of Applied Sciences (HAW), for Hamburg on the texts of his journal- universities offer a variety of study instance, is treading new paths with a ism students undoubtedly offered ori- courses in media. Masters course in Digital Communica- entation. Generations of top journal- tion. There, students learn the basics ists have passed through this training of digital journalism in their own news- facility. Schneider has shaped myriads room. The Academy for Journalism and of journalists. His books on language Communications in Hamburg is offering Practical education and journalism have long since become Apart from the Henri-Nannen-Schule, an international approach with its ex- bestsellers. But does the profession ac- the Bauer Media Academy also offers tra-occupational course of studies enti- tually have iron rules or does journal- a school of journalism. tled “New Media Journalism”. Together ism have to reinvent itself amid digi- with partners from Austria and Swit- tal transformation? And the training zerland, it teaches students the tools on top of that? for shaping the digital transition. And Masters students in Digital Journalism, Large pool of professionals “I think our sector could be more adven- another extra-occupational course at A total of 12,000 people were turous,” said Amrai Coen, a prize-win- undergoing media training in the Hamburg Media School, are learning ning Nannen graduate, who works in the Hamburg in 2016 and the trend everything that counts in the digital me- Dossier division of Hamburg’s weekly is upward trend. dia business – such as audience under- newspaper DIE ZEIT. Coen, 29, said: standing, community building, mobile “You learn your trade, attitude and pas- reporting and multimedia work. Apart sion at the Nannen school. But you al- from journalistic education, emphasis is so learn to suffer.” Every year, only 20 also on a broad range of skills. Financ- of several hundred applicants survive ing models, media ethics and copyright the school’s entrance exams. They go law as well as modules such as quality through 18 months of training includ- management or product development. ing seminars and work placements at print and online media, TV and radio Nora Burgard-Arp counts among the stations as well in correspondents’ of- first graduates of the two-year course. fices abroad. Digitalisation has long She noted: “People want orientation. since made itself felt on their roster Today, there is no lack of information. of seminars. Timeless virtues remain What counts is rather keeping the over- such as thorough research, vibrant and view amid the flood of information.” TRAINING 49

Left: Amrai Coen, graduate of the Henri-Nannen-Schule

Right: Nora Burgard-Arp took off after completing her course at HMS

Burgard-Arp began studying German, lationship to authors is often expect- es for trainees and further training for English and Philosophy in Cologne and ed. That may require new communica- journalists and people in the media. The worked as a journalist on the side. Love tive skills and greater sensitivity for the programme covers all the media chan- prompted her move to the Hanseatic abilities of readers and viewers alike. nels and ranges from day workshops to city where she set her eyes on the Ham- Coen is convinced that work can only four-week courses for trainees right up burg Media School. The 30-year-old has benefit from that: “Today, journalism to extra-occupational certificate cours- put a successful year behind her dur- occurs on an eye level. If I make an er- es. Nadja Stavenhagen, Director, not- ing which she won the reporting prize ror, I’ll learn my lesson immediately.” ed: “The content of the training is up- for young journalists, was nominated dated constantly and adjusted to the for the Grimme Online Awards and be- DIGITALISATION DURING needs of the market. Digital and tech- came one of the finalists for the Axel TRAINEESHIP nical skills have become more and more Springer Prize. important akin to the development of Compared to a course of studies or own format ideas.” Similar to gradu- Authenticity is the essence of online school of journalism, a third way of ac- ates of journalism schools and courses activity, Burgard-Arp believes. And she cessing the profession is sometimes of study, trainees at the academy also is relaxed in view of the digital trans- tougher: trainees usually learn the busi- form long-lasting networks. formation facing journalism. “Despite ness in a single newsroom. The extent all the new features triggered by digi- of a newcomer’s digital competence of- To conclude, given the appropriate talisation, at the end of the day, we are ten hinges on that particular newsroom. framework conditions, all three educa- still storytellers.” Thus, that lends even more importance tion paths can lead to a promising fu- to co-operating with educational insti- ture. Germany’s renowned training in- Apart from technological transforma- tutions such as the Academy for Jour- stitutions are well equipped in digital tion, the relationship to the audience nalism and Communications. Founded terms. However, Wolf Schneider’s quip has also changed. It has become more in 1970, the academy is one of the larg- of old, “Quality come from qualms,” is critical and a more straightforward re- est German institutions offering cours- unlikely to change. 50 IMPRINT

Students and staff at the Hamburg Media School (HMS) have composed this brochure in co-operation with the Office of Media / Free and Hanseatic City of Hamburg.

Publisher Free and Hanseatic City of Hamburg Ministry of Culture and Media

Responsible according to German Press Law: Dr. Carsten Brosda, Minister of Culture and Media

Hohe Bleichen 22 20354 Hamburg

Editing Concept and texts: Jan Kuchenbecker, Nils Oeyenhausen, Ulrike Otto, Bettina Schary as well as Fabian Mrongowius (Guest contribution: music) Manager of Project: Andreas Wrede (HMS/InnoLab) Layout and infographics: Tina Polster/Paulinenplatz Final edit: Dagny Hildebrandt Responsible person in Office of Media: Dr. Dirk Burmester Translation: Pauline Bugler

Photo credits © Axel-Springer-Unternehmensarchiv (page 10) © dpa/STERN/Blume (page 5, 11) © Florian Jaenicke/Senatskanzlei Hamburg (page 3) © Frank von Wieding (page 27) © Goodgame Studios (page 5, 47) © Inferno Events GmbH & Co. KG (page 4, 6) © Iris Carstensen/DER SPIEGEL (page 13) © Jörg Müller (Cover and pages 4/5, 19–21, 24–27, 28–31, 32–35, 36, 39, 42/43, 46, 49) © Letterbox Filmproduktion/Boris Laewen (page 38) © Marcelo Hernandez (pages 16-18) © NEXT Conference (page 9) © Next Media Accelerator (pages 40/41) © OMR/Rajko Hess (page 8) © Perrey/Stern (page 15) © Thies Rätzke/Elbphilharmonie (Flapper page)

Free and Hanseatic City of Hamburg Ministry of Culture and Media Hohe Bleichen 22 20354 Hamburg www.hamburg.de/kulturbehoerde