EDITORIAL 3

Dear readers,

he Hamburg media location like the Kreativspeicher in the Speicher- stands for major publishing stadt district. At events like “Indiecon”, T houses such as Gruner + Jahr, young newspaper journalists and pub- SPIEGEL, Bauer and ZEIT as well as lishers from many different countries well-known TV brands like “Tagesschau” exchange passionate journalistic ideas and “Tagesthemen”, Germany’s most about how to create successful print important public news programmes. or digital magazines. The Reeperbahn Google Germany has also been based Festival and the Online Marketing Rock- in Hamburg for around ten years mak- stars event in Hamburg have long since ing it part of a strong media and digital morphed into hit class reunions for the sector that continues our tradition as international media and creative sector. a leading media metropolis. This brochure shows the developments Hamburg-based companies have set in various media sectors: what will jour- the pace for nationwide media for dec- nalism look like in the future? How is ades. We are the capital city of agen- the business of advertising agencies cies and a key location for broadcasting, changing? How does the film industry Dr. Peter Tschentscher music and games companies. Hardly deal with new formats? What’s in vogue Mayor of the Free and Hanseatic any other place can boast such a mul- in the music sector? Digital transfor- City of Hamburg titude of nationally and internationally mation is a recurring theme in all these important companies in every branch issues. of the sector. The activity and diversity of media com- The diversity and vast experience of panies in Hamburg show that concepts our media and creative industry offers for successful journalism and media new opportunities for digital change. content in the 21st century are being Companies in Hamburg that operate in developed right here in our city. The globally networked digital and creative media industry thus makes an impor- sectors, start-ups as well as commit- tant contribution to our society and to ted universities and colleges create a our democracy. vibrant environment for new impulses and innovations.

Experimental spaces for trying out new forms of co-operation and tomorrow’s Yours sincerely, business models are emerging in places Dr. Peter Tschentscher 4 CONTENTS 5

06 EVENTS

10 PUBLISHERS 48 Young journalists on 40 16 the new demands of their 19 What does digital renewal MEDIA POLICY profession thjnk advertising require? A search for clues in agency exemplifies the Kreativspeicher going digital 19 AGENCIES

24 24 Hamburg-based platforms such as PLATFORMS Google, Facebook and Xing gaining more and more importance for media-makers 44 28 Game makers: What traditional media can learn MUSIC from the games sector 32 TELEVISION

36 FILM 06 36 Party meets business: Reeperbahn Festival Supporting what deserves and Online Marketing Rockstars are must support: Brave, ambitious 40 dates for media-makers movies from Hamburg INNOVATIONS

44 GAMES

48 28 TRAINING Music as an 10 experience – a night in Hamburg is Germany’s press Hamburg’s live clubs capital. How publishers became 50 what they are today IMPRINT 32 TV icons today and in future: Despite all their differences, Tagesschau and Rocket Beans TV have plenty in common Smart celebrations Dancing, meeting, marvelling – Hamburg’s media scene loves the right mix of party and business. Two events are setting standards across Europe

The Austrian band Wanda in Docks, Reeperbahn Festival 2015 8 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.

Rockstar feeling in the he place is thronged and the gigantic to come together and participate in one way fairgrounds at OMR stage is still empty. Start! Start! Start! or another. We want to make these days very 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 40,000 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 Festival atmosphere: Philipp Westermeyer is the brains behind this clearly at the centre of attention. Around 500 NEXT conference at success story. His efforts have transformed a concerts and art events at 70 venues across Reeperbahn Festival 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 2015, the NEXT conference has artists, experts and the key firms in the sector been held simultaneously in the same neigh- 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 Pioneers of yesterday 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 and today 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 Hamburg’s biggest publishers arose from the ruins of World War II. They have left Apart from Springer and Jahr, other pub- the other. Except for Springer, the own- their mark on Germany’s present mediascape. And they have long since taken on the licists like Rudolf Augstein and Henri ership structures were to change fre- challenge of digitalisation Nannen quickly established themselves quently in that period and led to 12 PUBLISHERS 13

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 share in STERN – and soon afterwards, GmbH & Co. KG – Germany’s second the magazine achieved the highest cir- largest publisher. Although Springer re- culation in Europe. Bucerius spent the located his headquarters to the divid- profit on reviving his favourite project, ed Berlin, most publishers still opted to DIE ZEIT weekly newspaper, which had 1907 leave their headquarters in the Hanse- been languishing for years. The pub- Originally launched by atic city after 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 past haus or skyscraper in Hanover to ZEIT successes may weigh on some publish- in Hamburg’s Pressehaus, Speersort. At ing managers who are confronted with the time, rival publisher Axel Springer digital transformation. In fact, however, was printing the magazine. 1946 the venerable publishers have long ac- On February 21, the first cepted this challenge. This is particular- TOUGH BATTLE FOR edition of Die Zeit is published as ly noticeable at SPIEGEL. DER SPIEGEL MARKET SHARES a so-called “licenced press” with was the world’s first news magazine a print-run of 25,000. to go online under the cumbersome By the early 1960s, the Hanseatic pub- internet address http://hamburg.bda. lishers had largely divided the market up de:800/bda/nat/spiegel on October among themselves. Springer emerged 25, 1994. The magazine’s early web as the most powerful German publish- 1962 experiment survived the period of the er and dominated the daily newspaper The “SPIEGEL Affair” New Economy’s decline and morphed market. Tensions grew in the group becomes a milestone of Federal into the leading digital medium. Today, German press history. as the battle for shares of the market SPIEGEL ONLINE (SPON) is one of the raged. The Hanseatic band was torn strongest news portals in Germany. And apart and most criss-cross sharehold- profitable. ings were dissolved. 1965 In the following years, SPIEGEL’s jour- Hamburg itself became the scene of John Jahr, Gert Bucerius nalistic offers were expanded amid the the toughest battle for freedom of the and Richard Gruner found many possibilities emerging from the “Gruner + Jahr” – Germany’s second press at the time: in 1962, SPIEGEL ran sector’s digital transformation. Apps structures create the organisational burg-based publishers have also set Luminous landmark biggest publishing company. a headline to the effect that Germany were developed for mobile phones framework to offer SPIEGEL journal- the wheels in motion. Some are tread- of the media location Hamburg – was only “Partially ready to defend it- and tablets seizing the market ena- ism across all media channels where ing down similar paths while others are the SPIEGEL publishing house near self”. The article nurtured doubts about bling a new visual means of storytell- readers and users expect it. The most heading in entirely different directions. the Speicherstadt the ability of the German Armed Forc- ing. SPIEGEL+ successfully established important project in this context is in- After heated debates about the end of es to defend the country. Germany’s 1994 a digital payment system in the form of tegrating the editorial departments printed newspapers and magazines, the then Minister of Defence Franz Josef DER SPIEGEL becomes the a monthly subscription model. Thanks of SPIEGEL and SPIEGEL ONLINE to industry is regaining confidence that Strauss had SPIEGEL’s newsroom raid- world’s first news magazine to go to SPIEGEL and SPIEGEL ONLINE’s of- pave the way for centrally managing it will not only be able to survive the online. SPIEGEL ONLINE becomes ed, searched and occupied temporarily. one of the leading news portals in fers giving users access to all digital research, content and products in the digital change, but will also be able to Augstein and seven members of staff German-speaking regions. products under the SPIEGEL umbrel- near future. shape it. were accused of treason and arrest- la brand, new groups of users and ad- ed. Protests across Germany in sup- ditional sources of revenue have been Der SPIEGEL has thus found its way port of freedom of the press eventual- tapped. Modern and flexible corporate into the digital era. The other Ham- 14 PUBLISHERS 15

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 Main stage for quality German journalism: and net portals such as Immonet and the traditional Nannen Prize in Hamburg. Journalists from Hamburg’s Casamundo as well as interests in ra- publishing companies count regularly among the winners dio stations.

GANSKE VERLAGSGRUPPE GRUNER + JAHR HUBERT BURDA MEDIA MEDIENGRUPPE KLAMBT SPIEGEL-VERLAG ZEIT VERLAGSGRUPPE

Ganske Verlagsgruppe is a modern G+J is one of Europe’s largest maga- Over 600 print and digital consumer The Klambt media group is among SPIEGEL-Verlag is a Hamburg-based Germany’s leading, opinion-forming media company for books, magazines, zine publishers. Thanks to its forma- media as well as technological inven- Germany’s oldest publishing houses. media company. Its products stand for weekly newspaper, ZEIT, was found- electronic media, corporate commu- tive brands, STERN and BRIGITTE, the tions such as the open-source software, Founded in 1843 as a small Silesian outstanding journalistic quality and in- ed in Hamburg in 1946. Every edition nication and trade with books and publishing house is synonymous with Thunder, or the Cliqz data protection publisher, the company now has more dependent reporting. The weekly mag- reaches over 2 million readers (paid cir- magazines. The family company com- creativity and innovation in magazines browser make Hubert Burda Media one than 650 employees in over ten subsid- azine DER SPIEGEL is Europe’s high- culation: 500,000 copies). The news- bines tradition with innovation and of- and digital business. G+J is constant- of Germany’s largest media and tech- iaries in Germany and abroad. Apart est-circulation news magazine and paper is synonymous with ambitious, fers unique content and quality servic- ly launching new, successful titles on nology companies. Thanks to its power- from magazine publishing, Klambt al- along with SPIEGEL ONLINE, the lead- well-researched journalism that has es. Cross media offers in cooking and the market and operates a leading web ful brands including Focus, Bunte, CHIP, so operates two general insurance ing medium on the German-language garnered many accolades. Apart from enjoyment, travel and leisure, art and page on topics related to people, wom- jameda and Xing, Hubert Burda Media agencies. Additionally, the group has internet. Both reach over 14 million ZEIT, the ZEIT Verlag also publishes culture, health and well-being, fashion en, food and living. G+J’s subsidiary, has a reach of some 50 million readers shares in magazines and companies in people: on paper, on the internet and various magazines such as the scien- and beauty as well as living and style Prisma Media, is France’s leading digi- and 185 million users. The company is various segments as well as in press on their mobile phones. Other lead- tific magazine ZEIT WISSEN as well as render the group a significant shap- tal publisher and Ligatus is one of Eu- characterized by its innovative capac- agencies and radio broadcasters. The ing journalistic offers are the manager the student magazine ZEIT CAMPUS er of Germany’s mediascape true to rope’s key digital content marketing ity based on the roots and values of a portfolio has recently been expanded magazine and SPIEGEL TV’s formats. and a children’s magazine named ZEIT the motto of the publisher, Thom- companies. TERRITORY, one of the family-owned business. Burda aspires by shareholdings in start-ups. Klambt In 2017, the SPIEGEL Group with its LEO. The publishing house has estab- as Ganske, who noted: “We produce largest German service providers of to actively shape the transformation of has also founded several internet por- almost 1,100 employees generated a lished ZEIT ONLINE as one of the larg- deep-rooters – not creepers.” content communication, also belongs the media world. Around 12,000 em- tals. The group’s best known periodi- turnover of € 269 million. est and rapidly growing platforms of- to the publishing house. ployees in 20 countries are striving to cals are: “OK!”, “IN”, “GRAZIA” as well fering top quality, online journalism. achieve this goal. as “FUNKUHR”, “LEA” and “7 Tage”. MEDIA POLICY 17

“Whoever considers journalism dispensable is succumbing to a dangerous misconception.”

The role of journalism and The media industry is still in a is still mixed. We use the communica- politics amid digital media ­state of upheaval. What challenges­ tive possibilities of social media pas- transformation: Interview ­do you currently consider to be­ sionately, but are only gradually learn- particularly­ important? ing how direct yet responsible public with Dr. Carsten Brosda, communication functions. This applies Senator for Culture and Firstly, digital technologies open up en- to such diverse aspects as data theft Media in Hamburg tirely new ways of communicating and and evaluating user behaviour, hateful disseminating information. And second- comments and threats as well as tar- ly, there are increasing threats to the geted disinformation, which can endan- freedom of opinion, which paradoxically ger the free exchange of opinions. It are growing parallel to the new com- seems even more difficult for a com- munication possibilities of the internet. mon public to grow out of these indi- It will be crucial to further develop our vidual possibilities. joint culture of communication in such a way that the immense opportunities What does that mean for offered by digital media are realized. journalism?­

What does that mean in concrete Apparently, some people consider jour- terms? nalism unnecessary in the era of digital communication. I think that is a dan- From an economic point of view, the gerous misconception. Democracies media industry is increasingly suc- need journalism because it can make cessful in the digital sector. Given this different interests and points of view backdrop, politics must ensure a fu- perceptible, link them in a social dis- ture-proof framework. This applies, for course and thus decisively facilitate instance, to well-trained specialists and the formation of public opinion. De- to legal regulations on greater fairness mocracies need journalism because it in the digital markets - the famous lev- can make different interests and points el playing field. A strong infrastructure of view perceptible, network them in a also plays an important role, especial- social discourse and thus decisively fa- ly in an area-wide fibre-optic network cilitate the formation of public opinion. Left: Senator Carsten Brosda, formerly a newspaper journalist, that reaches every connection. We want Algorithms have functioned differently is now one of the key devisers of to achieve this in Hamburg by 2025. hitherto because they focus on the in- German media policy. From a social point of view, the picture dividual rather than on the public 18 MEDIA POLICY AGENCIES 19

During the annual discussion on media, Carsten Brosda and Peter Tschentscher talk to top representatives of the German media sector.

German states are currently develop- ing rules for the selection, aggregation and presentation of information by so- called intermediaries. In future, we will work even closer with the German gov- ernment and the EU.

Which upcoming technological innovations do you consider par- ticularly relevant for the media­ industries?

Almost every digital trend has an im- pact on the media industry. Language relevance. In addition, there is the in- and semantic comprehension especial- dispensable educational and investiga- ly will certainly gain enormous impor- tive work of journalists. It is crucial to tance. The co-operation between man highlight the social value of journalism and machine will become much easier, if even more clearly. the device actually understands what I am saying. In the medium term, cultur- This can also be accompanied by stra- al changes are likely, if our written lan- Rare photo: Michael Trautmann (left) and tegically adjusting one’s own role. Now guage loses importance. For the many Jan Becher (right), both frequent travellers, more than ever, journalism is needed not content producers in Hamburg - in mu- at a rare meeting in thjnk agency only to mediate between representa- sic, film, games, advertising or journal- tives of social interests, but increasing- ism - this presents great challenges and ly as a facilitator and thus as an advo- opportunities for marketing and sales. cate for establishing a reasonable public discussion. Journalists must also take How does Hamburg support ransformation began in the shape of into account of the fragmented public ­companies in these innovative a blue pillar that was a good meas- spheres on digital platforms and will processes?­ Transformers T ure higher than the adjacent red pil- repeatedly take on the role of the in- lar. Conversations fell silent in Hamburg Air- terlocutor themselves. Media companies here are part of an port’s business lounge. Everyone stared at the ecosystem that we promote through TV screens lighting up on either side of the pil- However, digital opinion forming is our location policy. Creative industries, at the water- lar and announcing Barack Hussein Obama’s increasingly driven by algorithms digital companies, start-ups and univer- election win. Michael Trautmann also watched and not by editorial offices. sities benefit from intensive co-opera- with bated breath. Naturally, on this grey No- tion. We see the digital and creative in- front vember 4, 2008, the United States of Ameri- Well, a large part of the content shared dustries in particular as drivers of ideas ca was experiencing an historic shakeup. The online originates in editorial offices. for others who are in the midst of the first black man ever was about to govern the But of course, intermediaries, i.e. dig- transformation process. We want to tap Online advertising is no longer up to internet country. Yet, Trautmann, founder and member ital platforms, are other key designers this potential even further. Conversely, specialists. The advertising industry is in the throes of the board at thjnk agency (at that time kem- of public communication and increas- digital newcomers benefit greatly from of digital upheaval. A visit to an agency that is pertrautmann), noticed another turning point ingly the first point of contact in the co-operation with established media in the win: “The communication sector will un- reinventing itself search for information. That’s why we players. That’s why targeted network- dergo radical change.” take a close look at their practical work ing and the opening of experimental and are devising a legal framework for labs and spaces are the most impor- Obama’s extraordinary election campaign re- their way of working. In the discussion tant tasks for our nextMedia location lied on the targeted use of voters’ data and on a state media treaty, for instance, initiative in Hamburg. social media. His campaign advisors had 20 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 Free spaces, co-operation. To guarantee success, the agency branding campaigns in social media channels. open atmosphere in the agency’s also invests in further staff training such as the Bechler believes: “Nowadays, a good agency new offices thjnk school – a regular advance training offer. combines strategy, market understanding, da- ta analysis and campaign management as well NEW OFFERS FOR NEW DEMANDS as the best-possible creation.” Data help send far more pointedly and targetedly and with a The modern offices on the waterfront between view to the next campaign and optimum as- 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- realized that digital platforms and exception- Trautmann noted: “We all face the same challenge Like every agency, thjnk must be technologically sity suits Trautmann’s strategy of constant trans- al social media marketing could influence the of digitalisation. The answers vary though.” His fit. The agency has consciously gone without in- formation, embracing change and always seek- election effectively. Social media also played a agency has opted for a balance between clas- house programming. The waterfront-based ad- ing out new opportunities and partners. 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 MEDIAL ECOSYSTEM 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 The heart of Germany’s advertising industry beats in providers benefit from each other. Hardly any other Scholz & Friends, Grabarz & Partner and Kolle real transformation. Trautmann hired Jan Bechler Hamburg. All the relevant agencies are traditional- place has such a multiplicity of relevant companies Rebbe, but also digital specialists like Sinner- as chief digital officer. As an outsider to agency ly at home or have a branch in the city. Over 1,500 from all parts of the media sector. Schrader or La Red. All the relevant agencies are business, Bechler brought along a new perspec- advertising agencies and around 15,000 employees at home in Hamburg or at least have a branch tive, entrepreneurial spirit and great competence make Hamburg Germany’s advertising capital. The Digitalisation is pushing cross-sector networking in the city. During competitions involving the in online marketing. The duo has also revamped advertising sector is increasingly a part of a medial even further ahead. Short communication paths in most creative German communication service the structure of the organisation and now dig- ecosystem in which publishers, agencies, music la- particular are triggering a permanent, dynamic ex- providers, those in Hamburg regularly lead the ital experts have fixed positions in every team. bels, production companies, start-ups and service change of ideas in the Hanseatic city. 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- 22 AGENCIES 23

SCHOLZ & FRIENDS THJNK Hamburg’s Idea Catalysts 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’ Creation, media, corporate publishing, PR: firms in the city shape commercial communication believe in friendship. Founded in Ham- dogs and tweets them as #milchdogs. like few others. A short round of self introductions: 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 FISCHERAPPELT EDEKA, FAZ, KIA, NIKON, NIVEA, Sixt with agency offices in Hamburg, Ber- tonic but without gin at “Milch”. Oh, and und Vodafone count among the agen- lin, and Düsseldorf, we are present in Nico recently tried out waffles as well One group, all specialties. fischerAp- cy’s clients. further European markets and, through but with limited success. We think it has pelt is Germany’s leading content mar- WPP, worldwide. Our clients include something to do with the yeast, but oh keting agency. We turn our clients in- Deutsche Bahn, Opel, Siemens, Tchibo, well. You can find us here between 1 pm to significant dialogue partners. Our Vodafone, and institutions such as the and 2 pm – otherwise around the cor- KOLLE REBBE This campaign experts lead the way in branded, dig- by Scholz & Friends revived the German government. ner in Vorsetzen 32 where we do ad- ital thinking in first-rate technology Kolle Rebbe stages brands all over the traditional Opel brand vertising for others, but not ourselves. 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- SINNERSCHRADER agency like the belief in ideas that re- velop integrated communication solu- WEISCHER.MEDIA main in people’s minds. We seek to de- tions via media and across borders. community centre in St. Pauli and is SinnerSchrader counts among Europe’s velop products that effect change and Lufthansa, O2, Netflix and Ritter Sport now headquartered in the former Frei- leading digital agencies and offers the Many people can roar, but few actual- create pictures that move people. We are some of many examples. Kolle Reb- hafenamt in Speicherstadt. At the mo- whole range of digital agency services: ly triumph. Every year, the who is who do not wish to compel attention, we be inventing products. Designers and ment, the company employs 195 staff conception, design, development and in advertising converge on Cannes to wish to earn it. Appreciating attention creative technologists develop prod- in its offices in Hamburg and Ingol- sale of digital platforms, mobile apps, celebrate the latest trends. To adver- is part of our DNA. ucts, brands and innovative technol- stadt. The agency’s motto, “NEW IS service design, campaigns and analytics. tisers, winning a lion in Cannes is akin ogies until marketable. The agency is NORMAL”, stands for an inquisitive to a knighthood. Weischer.Media sup- Coarse, incorrect and tasty: Since 1999, well acquainted with creative business culture that is constantly giving staff More than 500 employees including 200 ports the festival as the official German Philipp und Keuntje have advertised Astra. The GRABARZ & PARTNER word “cult” is apt by way of exception intelligence. Kolle Rebbe supporting and clients new impetus. The agen- developers work on digital transforma- representative. We believe that good start-ups. The agency offers financial cy’s clients include founding cus- tion for companies such as Allianz, Au- communication is more – an art form We do not need 600 characters to de- assistance and entrepreneurial know- tomers such as Audi and Astra and di, comdirect bank, ERGO, Telefónica, that moves people and can change the scribe our company. The 60 charac- how and helps make young brands and brands such as RIMOWA, Sennheis- TUI, Unitymedia and Volkswagen. Sin- world. Weischer.Media is synonymous ters in a Yelp description in the neigh- the challenges of a rapidly changing companies successful. er, Telekom, Kühne, Bärenmarke, NEFF, nerSchrader was founded in 1996 and with emotional brand presence sur- bouring bistro suffice: “Hundreds of and more complex world. Deutsche Bank, E WIE EINFACH, BRI- has been publicly listed since 1999. The rounding the world of cinema, effective, youths work at the advertising agency TA, Holsten and Duckstein. company has offices in Hamburg, Ber- target group dialogue on out-of-home next door.” PHILIPP UND KEUNTJE lin, Frankfurt am Main, Munich, Prague media, riveting storytelling and sus- JUNG VON MATT and Hanover. tainable brand communication across The Philipp und Keuntje creative agen- PILOT all digital marketing channels. HIRSCHEN Jung von Matt is the most successful cy was founded in 1999 in a former agency group in the German-speaking We do advertising for the digital era – The Hirschen Group consists of six region in terms of awards for creativi- and that since 1999. Embedded in vastly different communication and ty and efficiency. In 2016, the agency markets and advertising research; me- consulting agency brands under a sin- soared to the number one spot on the dia, creation and technology work to- gle roof acclaimed as the Home of the German manager magazin’s creative gether seamlessly in our independent Brave. We offer advice for communi- index. Jung von Matt offers its clients and owner-run agency group. A close Viral Hit: cation, digitalisation and public opin- creative and efficient marketing com- mesh of skills and specialist fields is the Christmas TV advert ion. In Hamburg alone, we have six of- munication across all channels, disci- crucial to pilot. Our range of servic- #cominghome by Jung von Matt for Edeka evoked fices – two of Zum Goldenen Hirschen plines and media. The Hamburg-born es covers digital and classic media strong emotions and led to and one each of Freunde des Haus- and bred agency has been looking af- consultation, programmatic advertis- heated discussions es, VORN Strategy Consulting, res- ter national and international clients ing, performance marketing, research,

sourcenmangel, and courage! Togeth- in Karoviertel, Hamburg’s designer Kolle Rebbe’s PR success: media and industrial co-operations er and individually, we support our cli- quarter, for 25 years. adidas, Bitburg- refinishing for the 2014 World Cup yielded as well as content and technology for ents and help them effectively handle er, BMW, BVG, Deutsche Post, DFB, global attention and awards digital screens. 24 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 Best prospects 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- for new alliances 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 Digital players like XING, Google and Facebook have located their Germany platforms. As a result, Google is backing media headquarters in Hamburg. Many are revamping the media sector from here 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 PLATFORMS 27

gramme’s committee. Others such as Gruner + tor-in-Chief of Xing Klartext, said: “The mix of book, digital platforms can position themselves Jahr, the Hamburg-based magazine publisher, classic journalism and data analysis creates far on the market successfully. Xing is, after all, the obtained funding to develop a news app. Goog- more opportunities of informing and entertain- biggest career network in the German-speak- le is also involved in the Next Media Accelera- ing the user in the best possible way.” Experts ing region and ahead of its U.S. rival LinkedIn. tor, Hamburg’s support programme for media from commerce and politics comment on cur- And perhaps it is no coincidence that Xing is start-ups (see article on page 40). On the other rent affairs, and users discuss their contentions Hamburg-born and became big here. Many new hand, Facebook’s ‘Instant Articles’ offers a di- later. The concept is working and user interac- start-ups have emerged from the city’s mer- rect way of positioning newspaper and maga- tivity has soared, the company said. chant-shaped spirit and grow organically. And zine articles in its user’s news stream and gives they come face to face with a content industry, internet providers a share of the advertising Xing’s example reveals something else: despite which is open to new alliances, novel experi- revenue. SPIEGEL ONLINE, BILD and Tagess- the clout of digital giants like Google and Face- ments and especially new thoughts. 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. Above: Rowing at Google: working innovatively in Hamburg HAMBURG-BASED PLATFORMS GO THEIR OWN WAY Left: Facebook employees amid trees and owls in the Xing exemplifies a sensible balance of technol- conference room 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- 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 MUSIC 31

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 Music culture in Komet brings opposite genres together. people come here for,” adding, “That’s keep some of the free spaces for techno. A vinyl auction upstairs and a freestyle battle rap downstairs 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- 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 VIBRANT MUSIC SCENE 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- Hamburg’s musicians, bands, DJs and songwriters such as Audiolith, Grand Hotel van Cleef or Buback. Of course, Hafenklang is not a tourist great to have new Esso Houses, which tle is raging down below in the cellar. are as internationally esteemed as they are varied: Annual music events include mainly the Reeperbahn magnet. But it is an important nucleus by the way are being designed as part Samy Deluxe, Jan Delay, Hundreds, Deichkind, Dig- Festival and the Dockville Festival. of Hamburg’s club culture and boosts of a citizen participation procedure, We eventually head to St. Pauli’s most italism, Boy, Fettes Brot, Kettcar, Kollektive Turm- the cohesion of the indie scene and en- built with a new Molotow inside. The sincere pub, the Jolly – a bar that has strasse, Revolverheld, Selig, Wolfheim, etc., etc. The Hamburg leads Germany with over 100 music clubs. tire neighbourhood. However, support old one could remain in its present lo- not yet been figured out. No one quite Hamburger Schule music style emerged in the mid Music stages shape the cultural life of the city and can only be improved and such unor- cation. Then we would have two good knows whether it is a club sometimes – 1990s with bands like Tocotronic or Blumfeld and turn music into an experience. And for musicians, thodox spaces protected from rules by live clubs.” run by the St. Pauli football club fans. has left its mark on German bands today. Hamburg the clubs are none too seldom places where pas- policies that value them.” “The rules are clear here,” says Marta, is known throughout Germany for its musicals and sions become professions. Since 2004, the profes- We arrive in the nearby Komet in time who has both the counter and punters classical music offers. Some big record labels in sional association, Clubkombinat, has advocated HAMBURG MUST EMBRACE for an auction of the top or flop vinyls firmly in control. A message reaches Hamburg such as Warner Music or Edel Records the interests of club managers, organisers, bookers ITS SUBCULTURE that nobody wants anymore. The DJ is us: “Photography banned, intimate face a multiplicity of small, independent music labels and agencies. 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 trust the journalists’ choices and way of present- varied end gadgets and at different times of the “Tagesschau” updated its signa- rising. Thus, Germany’s most important news ing the issues. Yet, critics say the brevity and day. Gniffke said: “When young people are no ture tune a few years ago. And even programme is a TV institution of the highest or- type of news presentation is outdated. Nonethe- longer sitting on the couch at 8 pm, but are in Being serious: A The Rocket Beans presenters though it was the seventh change of tune. But der. Other distribution channels reveal the clout less, the “Tagesschau” does not go against the the lecture hall, gym or pub, then we have a when it comes to a programme that has lit up of the brand: Apart from two linear television grain of media usage. Gniffke commented: “For duty to supply them with information wherever Simon Krätschmer (left) and Daniel Budiman (right) as millions of living rooms, evening for evening on stations and a webpage, the “Tagesschau” can a while, I thought the ‘Tagesschau’ would figure they happen to be.” guests on “Tagesschau” the dot of 8 pm for over half a century, viewers also be watched on an app. This is in addition to less on TV and increase on all other platforms.” notice even the slightest change. Kai Gniffke, social media where the “Tagesschau” is among The “Tagesschau” is instead increasing on every The “Tagesschau” manages the balancing act be- Editor-in-Chief of ARD-aktuell, noted: “The ‘Ta- the top three on Facebook and Twitter. The pro- single media channel. While viewers obvious- tween suitable brand and adjusting to the fea- gesschau’ has essentially remained what it is – a gramme has long since become the strongest ly value the type of reduced presentation, the tures of various channels, as Instagram shows: daily summary of news condensed into a quar- German news brand on Instagram. newsroom is successfully using digital means only 15 seconds are available for sending a mes- ter of an hour.” His newsroom at Norddeutscher to transfer the label to other distribution paths. sage – and most users watch the videos with- Rundkunk (NDR) produces the “Tagesschau”. Credibility is key to the success of “Tagesschau”. out sound. As a result, an entire new text and Relevance is their standard: What is important The editors stress its independence and compe- Outplay channels support each other in this image language had to be developed. The con- to society, the country and on this day? Viewers tence through live connections, among others, process. This allows the “Tagesschau” to reach tent is custom-made especially for the medium. value their news decisions. An average 9 million to its vast network of correspondents. Viewers 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 “Tagesschau’s” newscaster, broadcaster Rocket Beans TV. Arno Heinisch, Jan Hofer, during a return visit founder and Managing Director, said: “The sta- to Rocket Beans TV’s studio 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’.”

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 BROADCASTING IN AND AROUND HAMBURG 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 Hamburg’s radio market has many strong radio stations. The newTV Kongress is are YouTube and social media and the stream- The loyal, incredibly active fan community sup- players. Radio Hamburg is the biggest a leading forum on moving images. In- ing platform Twitch.tv. plies ideas, support and offers criticism for nu- station in the urban district with a daily ternational experts face the strategies merous projects and is a major pillar of the fi- reach of 700,000 listeners. And NDR’s of German content providers and mar- Apart from interactivity and the live aspect, the nancing system at Rocket Beans Entertainment. 22 programmes bring its market share keting executives to discuss formats, unique selling point of Rocket Beans is a com- Thus, the station has been earning a profit from to a solid 49 per cent in north Germa- technologies and markets. The focus is munity, which has grown over years. From the day one. “The most important aspect of crowd ny alone. on practical examples of merged con- start, viewers have been involved in the design investment is always remaining credible and ac- tent, technology and distribution. Under process. Is this also a secret to their success? knowledging viewers as smart and responsible,” Since 2010, the Deutsche Radiopreis or the umbrella nextMedia.Hamburg, the Founder Heinisch recalls: “During our pilot pro- said Heinisch. The community offsets this trans- German Radio Prize has been presented newTV Focus Group organises annual gramme, empty picture frames decorated the parency with profound attachment. He adds: in Hamburg to distinguish programmes congresses, regular new TV forums and walls. Then we told the community: ‘here, this “Flat-shares post ads reading: ‘Rocket Beans fan by ARD, Deutschlandradio and private technical workshops. 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.” 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

The actor, Catrin Striebeck. In the background: Zeise cinema 38 FILM 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- On the set of the she can try out and decide many things into the cast, who are handpicked be- ed: “The viewing behaviour has become ZDF TV series on stage, her role on a film set has to fore shooting starts. “You talk about completely individualised – the mod- “Notruf Hafenkante” be perfectly thought out beforehand. the film’s character with him and then – ern viewer watches digitally whenever, “The actors must know exactly what they he gifts you the role,” said Striebeck. however and wherever regardless of want in advance. It’s like the opera: the time and on diverse gadgets.” 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 Series like “Game of Thrones”, first ing with it,” said the actor. Whether her tightly meshed. People move in diverse broadcast in 2011 on Warner Bros. ca- work is successful also depends on the circles of friends; mutual recommenda- ble station HBO, saw Warner set new film crew – and the result is often a last- tions are not uncommon and celebrity standards in the TV series business. ing surprise. Others decide how to cut affectations are frowned on. The film And Geike is already working on new and whether the sound is to be changed, and TV location of Hamburg is one of formats. He added: “I can imagine giv- on the most suitable music – in a nut- the frontrunners across Europe. How- ing viewers the opportunity to down- shell the look of the final product. ever, differences in production outside load the latest cinema movies at home of Germany are noticeable. Striebeck first and parallel to the start of new Placing herself entirely in the hands of believes that TV directors have less in- releases and two tickets on top of that the director and team is by no means fluence on productions than in Germa- for the big screen.” To ensure quality, easy, according to the actor. Trust is ny. She notes: “In Germany, many fussy the company will also be responsible the essence of film productions. The corrections are done,” adding, “I think for the script, cast and film crew of Hamburg-based director, Fatih Akin, we could certainly be more courageous co-productions in future and continue for instance, puts extensive thought and open-minded.” operating from Hamburg. During his 40 INNOVATIONS 41

Home port of good ideas

What does digital renewal require? A search for clues in the Kreativspeicher – Hamburg’s powerhouse of media and digital innovations

Young founders in ost of these young people already issues. The way in which content is produced, which many media companies have provided launching onto the German market: “The NMA Hamburg’s Speicherstadt – have clear ideas for managing digital discovered and consumed is radically chang- for years. “However, they only rarely use their is an excellent door opener for us. There are the Next Media Accelerator transformation, which is a burning ing due to new technologies. Media companies often excellent productions for monetization, an incredible number of media companies in promotes media start-ups M from all over Europe. issue for nearly every media company. However, have undergone major changes in recent years – for example as an additional offer to attract the city with which we can quickly establish it remains to be seen whether their solutions and they’ve become more open to co-operation, subscribers,” said Linn Dyveke Wilberg from good contacts.” are suitable. The founding teams supported by especially with young teams of founders. “We Norway. The former newspaper journalist is one the Next Media Accelerator (NMA) are convinced accelerate media start-ups from all over Europe, of the most experienced female entrepreneurs The chatbot “Sigmund” is also intended to help and fiercely determined. A few weeks ago, they financially, through contacts and via our 200 supported by the NMA programme. Her start- companies with digital communication, espe- arrived up here on the seventh floor of the mentors,” said Meinolf Ellers, CDO of Deutsche up company “Lytt” offers a white label platform cially SMEs in their content marketing. “Market- “Kreativspeicher” in Hamburg’s Speicherstadt Presse-Agentur dpa. The accelerator is unique in for publishers keen on marketing their podcasts ing communication has become very complex. aka the warehouse district which is now a re- Europe and creates a strong proximity between better rather than relying merely on reach. This There are so many channels and formats that a nowned UNESCO World Heritage site. Where start-ups and established content houses. The approach is already successful in Norway’s au- company has to use,” said Marc Thaddäus Süß, coffee and spices from overseas were once han- focus is on content strategies, business models dio book sector. Wilberg now hopes to make who invented “Sigmund” together with Michael dled, there is now plenty of room to mull new and product innovations, for instance, podcasts, waves in Europe. For her, Hamburg is ideal for Schmitt. While larger brands have their own 42 INNOVATIONS 43

The chatbot asks questions and gives advice on AUDIO, AI, VR – WHAT’S NEXT? strategic communication goals; the text form and the target group. This guides users in the Those in the Kreativspeicher are not eyeing the right direction. “SIGMUND TALKS” was hailed invention of the next big thing. The emphasis as “Content Start-up of the Year” at the Frank- is on creating contents for digital technology furt Book Fair in 2018. Now Süß and Schmitt sit in an intelligent manner. “The Kreativspeicher at long white tables in front of their computers is a successful example of experimental spac- at the NMA and are training “Sigmund” on new es for dealing with media and digital innova- content and marketing formats. tions,” said Nina Klaß, Director of nextMedia. Hamburg. The location initiative has accompa- SMART COMBINATION OF CONTENT nied the digital transformation for years. “Audio, AND TECHNOLOGY AI and VR will certainly continue to be crucial topics for media and digital companies in the Matilda Kong, Matilda Kong from Stockholm has chosen an long term,” said Klaß. Parallel to this, nextMedia founder of Ceretai entirely different approach. Together with two is also keeping track of further developments partners, she founded “Ceretai” to automatically and bringing potential, co-operating partners examine content for distorted representations together. Content providers as well as creative of social equality using artificial intelligence (AI). and technology companies from various sectors This bias often refers to gender or the colour are working jointly on future-oriented topics, of a person’s skin. The software calculates, for for instance, the “Content Foresight” project. instance, how frequently white men appear in VR pioneer from Hamburg: I would have founded a non-governmental or- Publishing houses, mobility and service pro- a motion picture or how often women have a Nicholas Chibac, VRHQ ganisation,” said Kong. viders are establishing a pool of creative ide- departments or service providers for market- say in a movie. “We combine hard data with as and prototypes for content in cars or trains. ing and communication, small companies of- soft values,” said Kong. Potential clients include The start-ups in NMA could hardly be more dif- Companies and students are developing testa- ten lack these resources. The SIGMUND TALKS broadcasters, streaming providers as well as ferent. Yet, they all have a clever mix of tech- ble prototypes in the “Prototyping Lab” in only start-up co-creates content with clients from producers. They can obtain entirely new meta- nology and content in common which is pre- one semester backed by experts in the sector. the initial idea right up to publication with the data from “Ceretai” to improve their systems of cisely what many established media companies And nextMedia’s incubator also promotes teams user. “It’s like experiencing writer’s block when recommendation, she said. The young Swedish like Axel Springer, Gruner + Jahr and ZEIT-Ver- that bring technology and content together in a confronted with that famous blank white page national is pursuing both a socio-political goal lag seek. For this reason, they have lent their novel ways. They all have answers to questions on your desk,” said Süß. and earning money in the process. “Otherwise, support to NMA, which was founded by dpa in about digital transformation – a change that no 2015, from the very beginning. Proximity to new longer causes fear, but anticipation. ideas and bringing as much of this fresh spirit as possible into their own editorial offices and departments is their priority.

A second powerful source of media innovations STRONG SUPPORT FOR MEDIA INNOVATIONS can also be found in the Kreativspeicher in the Port of Hamburg. The floors below NMA accom- nextMedia.Hamburg is the location ini- panies as well as the City of Hamburg, modate the research and transfer centre “Virtu- tiative for media professionals. As part the Next Media Accelerator has already al and Digital Worlds” belonging to the Hamburg of this framework, the City of Hamburg, “accelerated” over 50 start-ups from all University of Applied Sciences (HAW). Apart media companies and the Hamburg Kre- over Europe. During the six-month acce- from basic research, several teams are working ativ Gesellschaft work together to open lerator programme, the founders recei- here to create virtual reality (VR) for practical up the opportunities of digital change ve up to € 50,000 in investments, of- applications. Fittingly, Hamburg’s headquarters for all media sectors. These include in- fice space, access to over 200 mentors, of VR start-ups, VRHQ, can also be found in dustry events such as the newTV Kon- the network of the German publishing Kreativspeicher. Nicholas Chibac, a pioneer of gress or the scoopcamp, as well as col- house industry and intense coaching. drones, who’s at home here with other start- laborative formats and classic services. Participants can easily make contact ups, said: “We want to let everyone experience nextMedia Hamburg accompanies the with international investors and colla- the potential of VR and AR.” Next Media Accelerator (NMA). Foun- borate with other development teams. ded by Deutsche Presse-Agentur dpa NMA receives a 10 per cent stake in the and supported by several media com- start-ups in return for their endeavours.

Supports the sector with media innovations: Nina Klaß, Director of nextMedia.Hamburg 44 GAMES 45

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 Hamburg’s rank in Europe as a city of innovative the shortest of periods in the early 2000s, they games is unrivalled. Three of the five leading soon turned their hobby into a profitable busi- online games companies were founded in the ness. Pioneers like Heiko Hubertz (Bigpoint) city and still operate in Hamburg namely Good- more or less created a new economic sector out game Studios, Bigpoint and Innogames. “This of nothing. Elsewhere, people were getting het facilitates not only the exchange about experi- up about the dangers of alleged “killer games”. ence among colleagues and companies, but it also attracts many talented people from all over Michael Zillmer, also one of the early founders the world to the Hanseatic city,” noted Hubertz. (Innogames), recalls: “The games with which The founder of Bigpoint and his new compa- everything started were made mainly for our- ny, Whow Games, still remains loyal to the city. selves and our friends first. Naturally, we were keen on constantly improving them, especially GENERATING REVENUE the graphics of the games.” Things were con- PLAYFULLY tinually being done along the lines of the latest technologies. Zillmer noted: “That eventually The business model of Hamburg’s gamers still led to a corporate mentality of never resting goes according to the free2play principle mean- on one’s laurels.” ing the game is free of charge, but is only fun to play after making micro payments. The players From the onset, gamecity:Hamburg was of the pay small sums for better weapons or armour. earliest players in branch. The initiative launched The concept worked immediately and turnover in 2003 with the goal of boosting the domestic went through the roof. Yet, growth was never in just a few years require a huge degree of flex- have insisted on finding answers such as micro The games location games sector. Dennis Schoubye, Manager of game- guaranteed: distribution paths changed swiftly ibility from the developers. payments, free-to-play models and setting up has evolved rapidly like city:Hamburg, said: “We gamers and other com- and went from browser to Facebook. Meanwhile, own communities to important challenges fac- in a city-building game panies wanted to meet other media sectors on games for smartphones are the main source of Others could learn plenty from this flexibility ing the press, film and music industries. Dirk an equal footing.” And that has been accom- revenue. Three different types of sale platforms and the technological approaches. The gamers Hensen, Head of Corporate Communication 46 GAMES 47

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 compa- nies triggers fluctuation and exchanges of staff and know-how. Hamburg is also attracting more and more international professionals. Innog- ames for example has 400 employees from over 30 countries. Many game companies praise the internationality and central points of contact such as the Hamburg Welcome Center. The of- fice helps foreign employees with everyday in- tegration in German society. OPENNESS FOR EXCHANGE AND PROGRESS response to that. “Early prejudices have since ical front end and people are always trying to Shaping process Asked whether reliance on just one game is given way to acknowledgement of both the ar- come up with innovation.” More programmers Designing a character at problematic, Ossenbrüggen replied: “That All that can only be achieved when the supply of tistic and the level of innovation. We have a high are needed to guarantee that in a classic me- Goodgame Studios should not be exaggerated. On the one hand, young talents is appropriate. Many companies degree of spin-offs, for instance, Daedalic or dia company, Rehfeld opined. “At the moment, you have to be able to turn a hit into a brand, view sufficient staff reserves as one of the main Xyrality,” said Professor Gunther Rehfeld, who a normal media transformation process is tak- something which works in the long-term. This challenges facing the branch. A unique train- established the course of studies. ing place. Most new media do not yet know is where games companies can learn plenty ing facility in Germany has been established where they are headed. They experiment and from watching media companies. Look at, for at Hamburg’s University of Applied Sciences Asked what media companies, in his opinion, fail sometimes. For a long time, classic media instance, how long SPIEGEL has been a success (HAW) with GamecityLab and the Games-Mas- could learn from gamers, Rehfeld stressed: were often the ones thwarting their own pro- on the market. On the other hand, the focus ter. Things are clear to Zillmer: “Why are Boston “They should fight their way through. The games gress owing to very fat financial cushions.” Ex- must be on further shortening the production and Silicon Valley so strong? That is due to the sector finances itself completely self-sufficiently. change within the branch is vital, he believes, cycles and increasing efficiency.” colleges there.” Games-Master is Hamburg’s Work is constantly underway on the technolog- and it is increasingly being held in Hamburg. 48 TRAINING 49

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- Left: Amrai Coen, Wolf Schneider would prob- sibility and the ability to be self-critical. graduate of the S ably have agreed with this TRAINING LOCATION Henri-Nannen-Schule sentence. Maybe the doyen of German HAMBURG DIGITAL JOURNALISM AS A Right: Nora Burgard-Arp journalism would even have let it pass COURSE OF STUDIES took off after completing as a lead. Schneider stood for Prussian her course at HMS 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- Burgard-Arp began studying German, lationship to authors is often expect- es for trainees and further training for bestsellers. But does the profession ac- the Bauer Media Academy also offers tra-occupational course of studies enti- English and Philosophy in Cologne and ed. That may require new communica- journalists and people in the media. The tually have iron rules or does journal- a school of journalism. tled “New Media Journalism”. Together worked as a journalist on the side. Love tive skills and greater sensitivity for the programme covers all the media chan- ism have to reinvent itself amid digi- with partners from Austria and Swit- prompted her move to the Hanseatic abilities of readers and viewers alike. nels and ranges from day workshops to tal transformation? And the training zerland, it teaches students the tools city where she set her eyes on the Ham- Coen is convinced that work can only four-week courses for trainees right up on top of that? for shaping the digital transition. And burg Media School. The 30-year-old has benefit from that: “Today, journalism to extra-occupational certificate cours- Masters students in Digital Journalism, put a successful year behind her dur- occurs on an eye level. If I make an er- es. Nadja Stavenhagen, Director, not- Large pool of professionals “I think our sector could be more adven- another extra-occupational course at ing which she won the reporting prize ror, I’ll learn my lesson immediately.” ed: “The content of the training is up- A total of 12,000 people were turous,” said Amrai Coen, a prize-win- undergoing media training in the Hamburg Media School, are learning for young journalists, was nominated dated constantly and adjusted to the ning Nannen graduate, who works in the Hamburg in 2016 and the trend everything that counts in the digital me- for the Grimme Online Awards and be- DIGITALISATION DURING needs of the market. Digital and tech- Dossier division of Hamburg’s weekly is upward trend. dia business – such as audience under- came one of the finalists for the Axel TRAINEESHIP nical skills have become more and more newspaper DIE ZEIT. Coen, 29, said: standing, community building, mobile Springer Prize. important akin to the development of “You learn your trade, attitude and pas- reporting and multimedia work. Apart Compared to a course of studies or own format ideas.” Similar to gradu- sion at the Nannen school. But you al- from journalistic education, emphasis is Authenticity is the essence of online school of journalism, a third way of ac- ates of journalism schools and courses so learn to suffer.” Every year, only 20 also on a broad range of skills. Financ- activity, Burgard-Arp believes. And she cessing the profession is sometimes of study, trainees at the academy also of several hundred applicants survive ing models, media ethics and copyright is relaxed in view of the digital trans- tougher: trainees usually learn the busi- form long-lasting networks. the school’s entrance exams. They go law as well as modules such as quality formation facing journalism. “Despite ness in a single newsroom. The extent through 18 months of training includ- management or product development. all the new features triggered by digi- of a newcomer’s digital competence of- To conclude, given the appropriate ing seminars and work placements at talisation, at the end of the day, we are ten hinges on that particular newsroom. framework conditions, all three educa- print and online media, TV and radio Nora Burgard-Arp counts among the still storytellers.” Thus, that lends even more importance tion paths can lead to a promising fu- stations as well in correspondents’ of- first graduates of the two-year course. to co-operating with educational insti- ture. Germany’s renowned training in- fices abroad. Digitalisation has long She noted: “People want orientation. Apart from technological transforma- tutions such as the Academy for Jour- stitutions are well equipped in digital since made itself felt on their roster Today, there is no lack of information. tion, the relationship to the audience nalism and Communications. Founded terms. However, Wolf Schneider’s quip of seminars. Timeless virtues remain What counts is rather keeping the over- has also changed. It has become more in 1970, the academy is one of the larg- of old, “Quality come from qualms,” is such as thorough research, vibrant and view amid the flood of information.” 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) © Behörde für Kultur und Medien/Marcelo Hernandez (pages 5, 16–18, 40/41, 42/43) © dpa/STERN/Blume (pages 5, 11) © Frank von Wieding (page 27) © Goodgame Studios (pages 5, 47) © Inferno Events GmbH & Co. KG (pages 4, 6) © InnoGames GmbH (page 45) © Jörg Müller (Cover and pages 4/5, 19–21, 24–27, 28–31, 32–35, 36, 39, 46, 49) © Letterbox Filmproduktion/Boris Laewen (page 38) © NEXT Conference (page 9) © Noshe/DER SPIEGEL (page 13) © OMR/Rajko Hess (page 8) © Perrey/Stern (page 15) © Senatskanzlei Hamburg (page 3) © Thies Rätzke/Elbphilharmonie (Flapper page)