August 7, 2025 • 12 mins
In this powerful episode of Culture Raises Us, brand strategist and cultural thought leader Kenny Mac joins us to unpack what it really means to move with intention—and why platform alone isn’t the goal, it’s the tool. Together, we examine how artists like Bad Bunny are redefining influence, using their visibility to spark economic growth, cultural preservation, and long-term community investment.
Kenny breaks down a practical framework for converting experience and influence into meaningful execution—and challenges the entertainment industry to think beyond applause and into impact. From strategic timing to authenticity, this conversation explores how artists, athletes, and creatives can empower their teams to embed social good into the core of what they do.
This episode is a masterclass in doing more than performing—it’s about building.
#CultureRaisesUs #KennyMac #StrategicImpact #BadBunnyEffect #PlatformWithPurpose #EntertainmentIndustry #CommunityInvestment #CulturalLeadership #BlackExcellence #PurposeDrivenCreatives #BrandStrategy #ImpactCulture
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:02):
We've seen artists sell out arenas, but what happens when
they build up economies? What happens when the stage becomes
a platform for like real change. Today's convo with my
guy Kenny Meck, who is a seasoned brand builder, is
going to explore how entertainers, influencers, and athletes have a
tremendous opportunity to use their platforms way beyond self promotion
(00:22):
and actually turn attention into long term strategic impact. Came.
Do you believe platform and purpose can like truly coexist
in a capitalist, you know, feme driven industry or do
they naturally kind of pull against each other.
Speaker 2 (00:37):
I think that they can. I think that, you know, and.
Speaker 3 (00:43):
In a world that is either very for capitalism or
against capitalism, it's very polarizing.
Speaker 2 (00:48):
I think, you know, being centrist in that moment is is.
Speaker 3 (00:52):
A can be It can be a good thing because
you understand that that capitalism can also be a tool
to make change if you write, I think too that
you know, there's a very simple formula when talking about
things like this that I like to kind of you know,
break down, which is experience and influence with intention and
(01:17):
opportunity and execution.
Speaker 2 (01:21):
Is how you're successful doing this well.
Speaker 1 (01:25):
You know this convo was birth from I think the
recent Bad Bunny residency in Puerto Rico, which is a
living I say, a living blueprint to kind of true
authentic impact. And I want to share some stats on
the impact of this thirty show residency from July to September.
So the projected economic injection estimates to bring in one
(01:46):
hundred and eighty one million to two hundred and fifteen
million in tourism revenue, which is also two thousand temporary
jobs generated from that three hundred and seventy seven million
projected island wide include both creative and local business sectors,
which is supporting another thirty six hundred jobs. Six hundred
thousand additional visitors are expected for the residency, which is
(02:09):
roughly double the typical summer volume in Puerto Rico. Flight
searches jump seven x immediately after the announcement. Hotel Mike's
books have surged with thirty thousand plus expected from the residency,
which is a seventy percent increase to ly. It's generated
twenty five million in media value with sixty two million
(02:29):
in digital engagements related to the event, and the residency
is as much activism as entertainment at this point, which
it's prioritizing the local ticket access, em betting cultural pride
and performances and aligning with Puerto Rican autonomy, messaging and
so mind blowing stats. And I look at Adidas, who
(02:50):
I think has done a really good job of capitalizing
on this with the Bad Bunny Gazelle City series only
available in Puerto Rico, where we get back to those
days of we're we had to hunt down shoes or
getting product. But more importantly, it's also preserving the authenticity
of this tribute. So I asked, how can other individuals, brands,
companies mimic this kind of cultural and local investment.
Speaker 3 (03:15):
I think, you know, one thing to this goes back
to my formula, and I'll add one more point to
my formula. The one other thing that you need in
order to make this work is timing. And when you
think about timing, this is a very the stars all
aligned for Bad Bunny to do something like this. One
(03:39):
his trajectory as an artist is I mean, like you
can't even talk about, you know, a major independent artist
in the last twenty years and not mentioned the impact
that this guy has had and the career trajectory.
Speaker 2 (03:57):
That he's had.
Speaker 3 (03:58):
Secondarily, what's been happening to his homeland is appalling, Like
what's happening with the you know, the current administration and
how they treat and talk about this island and and
you know, not to mention, you know, all of the
land snatching with the the crypto boys going out there,
(04:22):
like all this stuff has been happening to this, to
this poor country or island, and him being really about
his homeland. He had, you know, the intention to do
something right. So he has the influence because he is
the artist that he is. The timing is impeccable, and
(04:46):
he has the intention. Now from an experience standpoint, he
knows what what his tours do, he knows how much
money they generate.
Speaker 2 (04:57):
And what he looked at was, if my intention is
to do good for my country or good for my homeland,
I'm going to use my experience knowing what I do
in Arenas and instead of going on tour, every date
that I would usually perform is going to be home,
and everything that I would have made and every all
(05:17):
the economic impact that my tour would have had in
the US is all going to happen for Puerto Rico
and Puerto Rico is.
Speaker 3 (05:25):
Going to see the spoils of it, and so that
was the that would you mix that influence with that
intention and you get that opportunity, which was to bring
that level of economic change to his homeland. And then
now we're going to see the execution, which I think Adidas,
through their experience.
Speaker 2 (05:45):
Jumped in on the execution. Well, if we're gonna have
this level of.
Speaker 3 (05:52):
You know, consumer and fan there, we know that he
sells product, we know what he does with product, and
to your point after it's like we can spread this
product around foot locker and all of that, or we
could just do it right here with him, adding to
his intent and being that good partner for him. So
I think, I mean, it is it's not even a blueprint,
(06:14):
a blueprint aster.
Speaker 2 (06:15):
It's a masterclass.
Speaker 1 (06:16):
It is a master class. It is a master class.
But it's wow that even these type of examples are
still anomalies and not the norm. And I think that
there's got to be some sort of systematic barriers that
are preventing more entertainers from operating like this.
Speaker 2 (06:30):
I think, you know, I think I've had a lot
of conversation recently around artists and the expectations of around artists, right,
and I want to kind of pull.
Speaker 3 (06:41):
Back and say that what we have to remember at
the core of it is a music artist for the
most part, will use them as as the as the
vertical of celebrity. But like a music artists, a kid
who just wants music to be heard and wants to
(07:02):
achieve is his or her dream, their dream as an artist,
and I don't think that they necessarily know how to
think and move like activists.
Speaker 2 (07:19):
And so.
Speaker 3 (07:21):
What I tend to do is across the board. I
think I tend to one give artists in general grace
to say, yo, like, you didn't sign up for this,
you signed up to like make music and that was it.
You know what I'm saying, Like, and manage my expectation
of them. You know what I'm saying, Like, yes, I
will be in the club rocking out the Future. Do
(07:44):
I think Future is gonna do a social activism campaign
anytime soon?
Speaker 2 (07:48):
No?
Speaker 3 (07:48):
But does it take away from the fact that he's
a dope artist. I don't think so.
Speaker 2 (07:52):
Right now. Now. I do think that.
Speaker 3 (08:00):
You know, uh, there are special artists who wants well,
I'll pull back.
Speaker 2 (08:08):
So that's the expectation part.
Speaker 3 (08:09):
Secondarily, right, there are artists who do have that wealth,
who do have that power, and who do want.
Speaker 2 (08:16):
To do things for their community, but they do it
behind the scenes.
Speaker 3 (08:20):
They don't need everybody to know what they're doing because
they're doing it in their own way, and we don't
even know the level of impact that they're having because
they keep it quiet, because they keep their life as
an artist separate from their life as you know, a
social do gooder.
Speaker 1 (08:37):
Fair, fair, it's fair. So you know what, I challenge
your thought and ask this question. Then, so in both instances,
can we look at it and say, yeah, I get
that there's no full on responsibility or deliverable that you
should be bringing in this impact space if you're an artist. However,
we do know the impact that these individuals have and
how they can shift things. Couldn't we say then maybe
(09:00):
it's looking at the situation and saying maybe it's about
should the camps around these people now be more inclusive
of having somebody who is a strategic community impact person
for these artists who can take advantage and capitalize on
these opportunities, even though it's not in the realm of
what that individual artist is capable of or doing. I
(09:22):
see it no different than having a financial advisor, right,
because financial is a savviness that you have to have
in that then an artist might not. So they hire
a financial you know, lead, a manager, somebody who's booking
the gigs and figuring out what's going on with the
label and managing all things in that realm, an agent, right,
we have these different people already a PR person, right,
(09:43):
and artists is not gonna be their own PR person.
You get individuals or people who have that expertise. Can
we not say that maybe this is a new area
to now have the thought of maybe some or many
should start looking into having a strategic community impact officer
for everything that you just said.
Speaker 2 (10:01):
I do think that that's a great idea. I do
think it should be something. And I also do think.
Speaker 3 (10:06):
That there are certain that have somewhat of that person
in their crew, not to the extent that you're talking about,
but they.
Speaker 2 (10:17):
Do have it.
Speaker 3 (10:18):
I do, so I think your idea is sound. I
do want to go back to authenticity and timing.
Speaker 2 (10:26):
Right.
Speaker 3 (10:28):
If Puerto Rico is thriving and doing well as Bad
Bunny doing what he's doing for them right now, no,
he's doing his tour like he regularly would, but this
is authentic to him and it's a moment when it's happening.
So when you're saying, when you're bringing up the fact
about the anomaly of it, I think that we do
have to realize that there are moments that are anomalies
because an opportunity is created to do good for something
(10:52):
based on what is happening around it and it needing
there being that need for that.
Speaker 2 (10:57):
Artist to do that. Very similarly, Kendrick's on tour right now,
killing it right.
Speaker 3 (11:03):
But like if we thought something was happening bad in Compton,
don't you think he would be putting all of his
effort and energy into fixing what's happening in Compton? On
one hundred percent, he would because that's his community and
that's what's authentic to him, you know what I'm saying.
Speaker 2 (11:16):
So I think.
Speaker 3 (11:17):
That the having that type of person in your camp
is important, but also again managing the expectation of what
these artists are doing I think is important as well too.
Speaker 1 (11:29):
Yeah, And you know, as we close it out, I
think we can't keep applauding impact as if it's rare, right,
it should really be the expectation, and it's the platform.
Definitely isn't the goal, it's the tool, yeah, right, And
so I think once we get that mind shift and
everybody galvanizes around that, I think we get to a
(11:50):
much better, oddly enough impactful place.
Speaker 2 (11:54):
Yes, agreed.
Speaker 1 (11:55):
I appreciate you bro. Always great having you on Sam
Brother same
We've seen artists sell out arenas, but what happens when
they build up economies? What happens when the stage becomes
a platform for like real change. Today's convo with my
guy Kenny Meck, who is a seasoned brand builder, is
going to explore how entertainers, influencers, and athletes have a
tremendous opportunity to use their platforms way beyond self promotion
(00:22):
and actually turn attention into long term strategic impact. Came.
Do you believe platform and purpose can like truly coexist
in a capitalist, you know, feme driven industry or do
they naturally kind of pull against each other.
Speaker 2 (00:37):
I think that they can. I think that, you know, and.
Speaker 3 (00:43):
In a world that is either very for capitalism or
against capitalism, it's very polarizing.
Speaker 2 (00:48):
I think, you know, being centrist in that moment is is.
Speaker 3 (00:52):
A can be It can be a good thing because
you understand that that capitalism can also be a tool
to make change if you write, I think too that
you know, there's a very simple formula when talking about
things like this that I like to kind of you know,
break down, which is experience and influence with intention and
(01:17):
opportunity and execution.
Speaker 2 (01:21):
Is how you're successful doing this well.
Speaker 1 (01:25):
You know this convo was birth from I think the
recent Bad Bunny residency in Puerto Rico, which is a
living I say, a living blueprint to kind of true
authentic impact. And I want to share some stats on
the impact of this thirty show residency from July to September.
So the projected economic injection estimates to bring in one
(01:46):
hundred and eighty one million to two hundred and fifteen
million in tourism revenue, which is also two thousand temporary
jobs generated from that three hundred and seventy seven million
projected island wide include both creative and local business sectors,
which is supporting another thirty six hundred jobs. Six hundred
thousand additional visitors are expected for the residency, which is
(02:09):
roughly double the typical summer volume in Puerto Rico. Flight
searches jump seven x immediately after the announcement. Hotel Mike's
books have surged with thirty thousand plus expected from the residency,
which is a seventy percent increase to ly. It's generated
twenty five million in media value with sixty two million
(02:29):
in digital engagements related to the event, and the residency
is as much activism as entertainment at this point, which
it's prioritizing the local ticket access, em betting cultural pride
and performances and aligning with Puerto Rican autonomy, messaging and
so mind blowing stats. And I look at Adidas, who
(02:50):
I think has done a really good job of capitalizing
on this with the Bad Bunny Gazelle City series only
available in Puerto Rico, where we get back to those
days of we're we had to hunt down shoes or
getting product. But more importantly, it's also preserving the authenticity
of this tribute. So I asked, how can other individuals, brands,
companies mimic this kind of cultural and local investment.
Speaker 3 (03:15):
I think, you know, one thing to this goes back
to my formula, and I'll add one more point to
my formula. The one other thing that you need in
order to make this work is timing. And when you
think about timing, this is a very the stars all
aligned for Bad Bunny to do something like this. One
(03:39):
his trajectory as an artist is I mean, like you
can't even talk about, you know, a major independent artist
in the last twenty years and not mentioned the impact
that this guy has had and the career trajectory.
Speaker 2 (03:57):
That he's had.
Speaker 3 (03:58):
Secondarily, what's been happening to his homeland is appalling, Like
what's happening with the you know, the current administration and
how they treat and talk about this island and and
you know, not to mention, you know, all of the
land snatching with the the crypto boys going out there,
(04:22):
like all this stuff has been happening to this, to
this poor country or island, and him being really about
his homeland. He had, you know, the intention to do
something right. So he has the influence because he is
the artist that he is. The timing is impeccable, and
(04:46):
he has the intention. Now from an experience standpoint, he
knows what what his tours do, he knows how much
money they generate.
Speaker 2 (04:57):
And what he looked at was, if my intention is
to do good for my country or good for my homeland,
I'm going to use my experience knowing what I do
in Arenas and instead of going on tour, every date
that I would usually perform is going to be home,
and everything that I would have made and every all
(05:17):
the economic impact that my tour would have had in
the US is all going to happen for Puerto Rico
and Puerto Rico is.
Speaker 3 (05:25):
Going to see the spoils of it, and so that
was the that would you mix that influence with that
intention and you get that opportunity, which was to bring
that level of economic change to his homeland. And then
now we're going to see the execution, which I think Adidas,
through their experience.
Speaker 2 (05:45):
Jumped in on the execution. Well, if we're gonna have
this level of.
Speaker 3 (05:52):
You know, consumer and fan there, we know that he
sells product, we know what he does with product, and
to your point after it's like we can spread this
product around foot locker and all of that, or we
could just do it right here with him, adding to
his intent and being that good partner for him. So
I think, I mean, it is it's not even a blueprint,
(06:14):
a blueprint aster.
Speaker 2 (06:15):
It's a masterclass.
Speaker 1 (06:16):
It is a master class. It is a master class.
But it's wow that even these type of examples are
still anomalies and not the norm. And I think that
there's got to be some sort of systematic barriers that
are preventing more entertainers from operating like this.
Speaker 2 (06:30):
I think, you know, I think I've had a lot
of conversation recently around artists and the expectations of around artists, right,
and I want to kind of pull.
Speaker 3 (06:41):
Back and say that what we have to remember at
the core of it is a music artist for the
most part, will use them as as the as the
vertical of celebrity. But like a music artists, a kid
who just wants music to be heard and wants to
(07:02):
achieve is his or her dream, their dream as an artist,
and I don't think that they necessarily know how to
think and move like activists.
Speaker 2 (07:19):
And so.
Speaker 3 (07:21):
What I tend to do is across the board. I
think I tend to one give artists in general grace
to say, yo, like, you didn't sign up for this,
you signed up to like make music and that was it.
You know what I'm saying, Like, and manage my expectation
of them. You know what I'm saying, Like, yes, I
will be in the club rocking out the Future. Do
(07:44):
I think Future is gonna do a social activism campaign
anytime soon?
Speaker 2 (07:48):
No?
Speaker 3 (07:48):
But does it take away from the fact that he's
a dope artist. I don't think so.
Speaker 2 (07:52):
Right now. Now. I do think that.
Speaker 3 (08:00):
You know, uh, there are special artists who wants well,
I'll pull back.
Speaker 2 (08:08):
So that's the expectation part.
Speaker 3 (08:09):
Secondarily, right, there are artists who do have that wealth,
who do have that power, and who do want.
Speaker 2 (08:16):
To do things for their community, but they do it
behind the scenes.
Speaker 3 (08:20):
They don't need everybody to know what they're doing because
they're doing it in their own way, and we don't
even know the level of impact that they're having because
they keep it quiet, because they keep their life as
an artist separate from their life as you know, a
social do gooder.
Speaker 1 (08:37):
Fair, fair, it's fair. So you know what, I challenge
your thought and ask this question. Then, so in both instances,
can we look at it and say, yeah, I get
that there's no full on responsibility or deliverable that you
should be bringing in this impact space if you're an artist. However,
we do know the impact that these individuals have and
how they can shift things. Couldn't we say then maybe
(09:00):
it's looking at the situation and saying maybe it's about
should the camps around these people now be more inclusive
of having somebody who is a strategic community impact person
for these artists who can take advantage and capitalize on
these opportunities, even though it's not in the realm of
what that individual artist is capable of or doing. I
(09:22):
see it no different than having a financial advisor, right,
because financial is a savviness that you have to have
in that then an artist might not. So they hire
a financial you know, lead, a manager, somebody who's booking
the gigs and figuring out what's going on with the
label and managing all things in that realm, an agent, right,
we have these different people already a PR person, right,
(09:43):
and artists is not gonna be their own PR person.
You get individuals or people who have that expertise. Can
we not say that maybe this is a new area
to now have the thought of maybe some or many
should start looking into having a strategic community impact officer
for everything that you just said.
Speaker 2 (10:01):
I do think that that's a great idea. I do
think it should be something. And I also do think.
Speaker 3 (10:06):
That there are certain that have somewhat of that person
in their crew, not to the extent that you're talking about,
but they.
Speaker 2 (10:17):
Do have it.
Speaker 3 (10:18):
I do, so I think your idea is sound. I
do want to go back to authenticity and timing.
Speaker 2 (10:26):
Right.
Speaker 3 (10:28):
If Puerto Rico is thriving and doing well as Bad
Bunny doing what he's doing for them right now, no,
he's doing his tour like he regularly would, but this
is authentic to him and it's a moment when it's happening.
So when you're saying, when you're bringing up the fact
about the anomaly of it, I think that we do
have to realize that there are moments that are anomalies
because an opportunity is created to do good for something
(10:52):
based on what is happening around it and it needing
there being that need for that.
Speaker 2 (10:57):
Artist to do that. Very similarly, Kendrick's on tour right now,
killing it right.
Speaker 3 (11:03):
But like if we thought something was happening bad in Compton,
don't you think he would be putting all of his
effort and energy into fixing what's happening in Compton? On
one hundred percent, he would because that's his community and
that's what's authentic to him, you know what I'm saying.
Speaker 2 (11:16):
So I think.
Speaker 3 (11:17):
That the having that type of person in your camp
is important, but also again managing the expectation of what
these artists are doing I think is important as well too.
Speaker 1 (11:29):
Yeah, And you know, as we close it out, I
think we can't keep applauding impact as if it's rare, right,
it should really be the expectation, and it's the platform.
Definitely isn't the goal, it's the tool, yeah, right, And
so I think once we get that mind shift and
everybody galvanizes around that, I think we get to a
(11:50):
much better, oddly enough impactful place.
Speaker 2 (11:54):
Yes, agreed.
Speaker 1 (11:55):
I appreciate you bro. Always great having you on Sam
Brother same
Host
Astor Chamber
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