#AgencyFocus: TMI’s T and I — transparency and integration

by Carey Finn (@carey_finn) The directors of The Media Image like to do things “properly”. For Quinton Jones, who joined agency founder Pete Brooke-Sumner in 2016 to head up its new media department, TMI Media, it’s something that’s lacking in much of the industry — particularly when it comes to integrated offerings. “A lot of big agency networks talk digital, but they don’t give it,” he says. “They talk integration, but they don’t do it properly.” Not so at TMI, he says.

Started in 2008 as a digital business serving up paid search marketing, the Cape Town-based agency grew over the years to bring in DoubleClick technologies and incorporate SEO, display, programmatic and content. The fiercely independent agency prided itself on transparency and trackability, at a time, says Brooke-Sumner, when there was very little of either in the South African digital market. After eight years of doing digital well, TMI was looking to expand its offerings.

Combine forces

As luck would have it, Brooke-Sumner met Jones, fresh out of Carat, where he had been group MD, and the two decided to combine forces to shape TMI into a digitally led media business, allowing it to pitch more broadly as a fully integrated service. “The integration of digital into the traditional media model has created an interesting scenario in the industry,” says Jones, “because you’ve either got agencies that are completely digital, or completely media, or you’ve got digital agencies that can do a little bit of media, or media agencies that can do a little bit of digital. To find an agency that is equally weighted and strong on both digital and media, to the depth you need it to be, is very difficult. A lot of agencies talk it, but they’re missing some of the pieces. The intent from our side was to create that integrated agency.”

Jones says that the partnership was an obvious one for him. “One of the main reasons I left conventional big media agency land is because the model is pretty broken in this country at the moment,” he says. “A lot of agencies are complacent, the quality of staff and servicing has gone down, and the businesses are very horizontal. The excitement for me was to get back into a smaller, independent, far-more-nimble agency that takes clients seriously. It was about getting back and doing things properly, working with the clients that we wanted to work with, and doing the kind of work that we wanted to do.”

TMI Media, as part of TMI, has gained traction over the past year and a half, says Jones, summarising his division’s progress as “so far, so good”, a sentiment reflected in the title of Independent Media Agency of the Year in the 2017 AdFocus Awards. He emphasises that success is measured across the business as a whole, which he estimates has trebled in the last 18 months. Client growth has been significant, he says, with many of the wins being integrated accounts where the agency services “across digital, traditional and anything else the client needs, right through to activations.” Major clients include Woolworths, whose ATL business was added last year to the digital portfolio already managed by the agency, Dunkin’ Donuts, SportPesa, Sygnia and Pam Golding.

Costing model

Brooke-Sumner suggests that TMI’s costing model, centred on client service, may be part of the recipe for success. “From day one, there were models that worked for agencies rather than clients,” he says. “But from the very beginning we decided to work with the client and what they were comfortable with.” This meant alerting clients if it appeared they might unwittingly overspend on a brief, an issue in the days when digital was poorly understood, he says, and doing whatever they could to help them grow. “It means taking a campaign and asking, what is the best extraction for this for our clients?” he says. “And how can we transparently show them that we are doing it in their interests?”

“Relationships are a big part of who we are,” adds Lauren Foster, a fellow TMI director.

Jones agrees, adding: “The important thing is not about how we charge our clients; it’s an understanding of what that charge really is that counts. We’ve got different models that we use across the business; it could be commission, it be a retainer, it could be project-fee, it could be based on delivery. A lot of the business that we do is linked to risk and reward, so we put it down and say, if we don’t deliver, you can penalise us. We measure ourselves against the KPIs we set with the client. I really think that the industry needs to be open and honest, and it needs to take responsibility for the relationship it has with clients.”

Internal success

This transparency is key to internal success too, say Foster and Brooke-Sumner, who point to open-door and open-access policies as factors in the agency’s low staff-turnover rates. All employees have access to, and experience with, all tools and systems in the business as part of what Brooke-Sumner calls a “culture of learning”. Promoting from within TMI ranks is also an important part of team growth, he says.

Going forward, TMI and its media arm will be looking to show the industry that an independent agency that’s not network-aligned can compete with the best — which they are already doing, properly, says Jones.

TMI Media logo
themediaimage.co.zaRamify

  • Office location: Cape Town
  • Revenue band: Not disclosed
  • Staff count: 45
  • Key clients: Woolworths, Dunkin’ Donuts and Baskin-Robbins, Sygnia, Pam Golding, SportPesa, F-45, Pioneer Foods
  • Services: Full media services including full digital offering

 

Carey FinnCarey Finn (@carey_finn) is a writer and editor with a decade and a half of industry experience, having covered everything from ethical sushi in Japan to the technicalities of roofing, agriculture, medical stuff and more. She’s also taught English and journalism, and dabbled in various other communications ventures along the way, including risk reporting. As a contributing writer to MarkLives.com, her new column “#AgencyFocus” is an ongoing weekly series updating the market on agency performance, including business performance, innovation, initiatives, the work, awards and people.

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Why empowering women makes for good business

by Buyi Mafoko (@BuyiMafoko) While much has been written about the need to increase gender diversity in the workplace, many corporate leaders and decision-makers still regard this as another box to tick. This is outdated thinking. Increasingly, research is revealing that employing more females, and more specifically, female leaders, leads to better business results.

More profitable

According to a 2016 study published by the Harvard Business Review, firms with more women in the C-suite are more profitable. Indeed, when examining the profitable firms in the study sample, researchers found that going from having no women in corporate leadership (the CEO, the board, and other C-suite positions) to a 30% female share is associated with a 1%-point increase in nett margin — which translates to a staggering 15% increase in profitability for a typical firm! Such results have been supported by other studies, and one only needs to look at leading firms today (Apple, Facebook, PepsiCo) to grasp the significance of female leadership in the global business ecosystem.

Here at home, we certainly have much work to do with regards to raising the profile of women in the workplace. One media release published by Statistics SA stated that “gender representation is still below the 50% mark for positions that come with a great deal of influence.” According to government data from 2014, women comprised 32% of Supreme Court of Appeal judges, 31% of advocates, 30% of ambassadors and 24% of heads of state-owned enterprises. In the second quarter of 2018, 32% of managers in South Africa were women.

Removing self-imposed barriers

So where to from here?

First, as women, we must have the confidence that we can lead. We must believe that we can excel, and that, when we’re faced with challenges, we can ask for support from other women — and men — without being labelled as incapable. Today, a collective lack of self-confidence in the workplace is undoubtedly holding many highly capable female professionals back. It’s time we remove the self-imposed limits and go for what we want in any sector of society!

Importantly, we don’t need to become as ‘hard’ as men to demand our rightful positions, remuneration and respect. As women, we no longer need to ask for permission, and we should exercise our voices of authority without having to sacrifice others on the way up.

Today, the policies contained within National and Economic Development plans give women a seat at the table to contribute to key political and social shifts. We must leverage this. In years past, we experienced generations of leaders who perpetuated patriarchal societies and economies. Now, women are needed in key decision-making positions to employ ‘softer’ skills and to ensure that business is mindful of its social impact. Critically, women are needed to ensure that businesses are not putting profitability before people.

Driving inclusive growth

Beyond the narrow concept of profit, women can bring the perspective of inclusivity into business — and create sustainable value for the communities in which businesses operate. As women, we are intuitive and integrated thinkers, and can therefore bring the more-holistic lens that business sorely needs today. Notably, emotions can no longer be considered unimportant — as women are able to offer the counsel required to connect with consumers, which is pivotal to business success in today’s era of social media and hyper-connectivity.

As we look ahead, we must take into account that diversity beyond race and gender is critical in offering an interconnected experience that breeds creativity and innovation. In short, diversity (of all kinds) boosts overall business performance and value creation. Now is the time to act.

 

Buyi MafokoBuyi Mafoko (@BuyiMafoko) is the managing director and co-founder at Leratadima Marketing, a 100%-black-owned integrated marketing agency. She is an accomplished entrepreneur, speaker and mentor who’s built her business from the ground up.

“Motive” is a by-invitation-only column on MarkLives.com. Contributors are picked by the editors but generally don’t form part of our regular columnist lineup, unless the topic is off-column.

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TBWA pulls Trump/Verwoerd campaign, hands back Loerie

by Herman Manson (@marklives) TBWA\Hunt Lascaris has issued a statement acknowledging it inadvertently misquoted apartheid prime minister, Dr HF Verwoerd, and current US president, Donald J Trump, in a Gold Loeries award-winning radio ad produced for the Apartheid Museum (see #Loeries2018 controversy over TBWA’s Apartheid Museum ad). The agency says “7 of the 27 quotes it used in the campaign appear to be in question as to their true authenticity.”

Sean Donovan, TBWA CEO apologised for the campaign. “We always apply in-depth research and fact-checking in all our work, and it was certainly never our intention to attribute the wrong quotes to anyone. For that we unreservedly apologise. But the lesson is certainly that even trusted sources need to be questioned.”

The agency also announced that the campaign has been pulled and that it would be handing back the Loerie award it had won.

Full statement by TBWA Hunt Lascaris

TBWA Hunt Lascaris statement on sources used in “Past and Present” Campaign

Johannesburg – 24 August 2018 – TBWA Hunt Lascaris confirms that it inadvertently took some of the sources believed to be trustworthy and used them in its recent award-winning “Past and Present” campaign at face value and should have dug deeper.

The company’s internal investigations in which all sources were submitted for further verification revealed that 7 of the 27 quotes it used in the campaign appear to be in question as to their true authenticity.

The campaign, which is no longer on the airwaves, was a three-part series for the Apartheid Museum which compared the quotes of famous people in history. The campaign juxtaposing Verwoerd and Trump won an award at The Loeries Awards a week ago.

The campaign drew attention to a message which remains highly relevant – the uncannily similar quotes made by apartheid architect Dr HF Verwoerd and US President Donald Trump.

“We always apply in-depth research and fact-checking in all our work and it was certainly never our intention to attribute the wrong quotes to anyone. For that we unreservedly apologise. But the lesson is certainly that even trusted sources need to be questioned,” says TBWA CEO Sean Donovan.

The four questionable sources were from a purported speech, a book which is currently in circulation and a major international newspaper specifically the New York Times.

“We certainly apologise for taking those sources at face value and had no malicious intent to misrepresent the facts. We trusted them and had no reason to doubt that the sentiments being expressed were not those of either Verwoerd or Trump,” he says.

TBWA is in communication with The Loeries and has provided full details of their investigation. As a proactive measure and to ensure the integrity of the Apartheid Museum, the agency has pulled the campaign and will be handing the award back.

//Ends

 

Herman Manson 2017Herman Manson (@marklives) is the founder and editor of MarkLives.com.

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#Loeries2018 controversy over TBWA’s Apartheid Museum ad

by Herman Manson (@marklives) Controversy has erupted over the authenticity of quotes attributed to apartheid prime minister, Dr HF Verwoerd, and current US president, Donald J Trump, in a Gold Loeries award-winning radio ad produced for the Apartheid Museum by TBWA\Hunt Lascaris.

In the ad, “Past and Present”, purported statements by Verwoerd and Trump are placed in such a way as to show similar attitudes by the men.

Verwoerd starts: “By now, every one of us has seen practically that blacks cannot rule themselves.”
Trump: “They are bringing drugs, they are bringing crime, they are rapists…”
Verwoerd: “Give them guns, and they will kill each other. Let us all accept that the black man is a symbol of mental inferiority, laziness…”
Trump: “Laziness is a trait in blacks, it really is, I believe that.”
Verwoerd: “Blacks and whites need to adopt and develop divorced from each other.”
Trump: “We need to build a wall, and it has to be built quickly…”
Verwoerd: “That is all that the word apartheid means.”
Voiceover: “If the words of apartheid prime minister, Dr HF Verwoerd. and President of the United States, Donald J Trump, have taught us anything, it is that there has never been a better time to learn from the mistakes of our past. Start by visiting the Apartheid Museum today.”

Loeries investigation

Social media users pointed out discrepancies in the quotes attributed to Trump and Verwoerd on Facebook, including on the Facebook page of Graeme Codrington, co-founder of TomorrowToday, who then brought it to the attention of The Money Show on 702.

The Loeries has now launched an investigation into the ad. “Due to the queries raised on the Apartheid Museum radio ad which was awarded a Gold Loerie, the Loeries is reviewing the entry, including a fact check of the content,” The Loeries tweeted on Friday morning, 24 August 2018. “As soon as this is done more information will be provided.”

Both the Apartheid Museum and TBWA\Hunt Lascaris have been approached for comment but neither has been forthcoming at the time of publication. We will update the story as they respond.

More social media reaction

https://twitter.com/IainBryant/status/1032874077487333377

 

Herman Manson 2017Herman Manson (@marklives) is the founder and editor of MarkLives.com.

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Book Extract: Growing Greatness — Pepe Marais tells us his story

MarkLives is running five extracts from Joe Public United founding partner Pepe Marais‘s first book, “Growing Greatness — A Journey Towards Personal and Business Mastery”, over the next few weeks. Here is the first, “I want to tell you my story in the way I would like you to know me.”

Growing Greatness book coverby Pepe Marais (@pepemarais) I would like to tell you my story in the way I would like you to know me.

During the first quarter of 2010, I was invited by a friend of mine, Allon Raiz, to one of his Medici business dinners. Allon is the founder of Raizcorp, an incubation company whose purpose is to accelerate the growth of small entrepreneurial enterprises. In my opinion, he is one of the leading entrepreneurs in our country, a mastermind behind the success of many of the businesses under his tutorship, and a person I highly admire and value.

To my left at the table was an empty chair, reserved for an invitee who was running late. He finally arrived, in time for our entrée, in the form of the flamboyant ex-MK fighter, chief economist and vice president of the Industrial Development Corporation, Lumkile Mondi. Even before sitting down, Lumkile announced loudly that he and some friends would be climbing Kilimanjaro in September that year, and that they had two spots open. “Anyone want to join us?’ he asked in a boisterous voice. I didn’t know him from a bar of soap, but I had learned over the course of my journey that the only way to overcome my fears was to step boldly into those opportunities where few people are willing to tread. My hand shot upwards while my jaw dropped downwards: “I’m in.”

And so I found myself a few weekends later, accompanied by my wife, repeatedly climbing the stairs of the Sandton Towers, with my 20-month-old boy strapped firmly to my back. Together with the other members of our party, we would sweat through flight after flight of those stairs over the weeks to come: Khanyi Chaba, an executive working at Standard Bank, Irene Jacobs, an executive working at Coca-Cola at the time, and Vincent Charnley, former president of the Institute of Waste Management of Southern Africa (IWMSA). I am blessed to call myself a friend of Sibusiso Vilane, the first black African to summit Everest, who agreed to shepherd our party up Kilimanjaro.

On day one of our six-day hike up Kilimanjaro, I experienced for the first time in my life what it felt like to be a minority in a social context within our group of seven. I remember how the majority of our team were conversing in isiZulu, then suddenly stopped upon realising, “We have abelungu with us.” After some lively laughter, they quickly changed back to speaking English. I also remember overcoming hell on the night of our final summit, reaching the top of Kili just before daybreak, after a back-breaking 10-hour climb. But, most of all, I remember spending eight solid hours above the white clouds at Karanga Camp, after scaling the Barranco Wall the day before. It was as if the entire trip was designed for this one episode to play out.

We arrived at Karanga Camp just after 11 o’clock that morning, at minus ten degrees. We had just survived a pretty treacherous climb up the Barranco Wall, where one wrong step could send you toppling 200m down. It was to be the shortest hike of our six-day climb and we would be spending the remainder of the afternoon resting, in preparation for the second-last leg to Barafu Camp from where we would attempt the summit the following evening. While tightly huddled around the tiny plastic table in our teeny-weeny tent, Khanyi suddenly leaned towards me, looking me straight in the eyes. I remember her exact words to this day as she asked, or rather instructed, “Pepe, I would like you to tell us the story of your life, in the way you would like us to know you.”

I remember her exact tone of voice, the sincerity in it, even the way she pronounced my name. This simple question unlocked a deeply profound eight-hour sharing session between seven strangers, who afterwards walked away friends. And although most of us would never see each other again after our expedition into the depths of each other’s souls, there would forever be the deepest connection between us.

I would like to tell you the story of my life, in the way I would like you to know me.

I was born on Tuesday, 5 November 1968, at 8.45am, weighing in at 3 pounds 3 ounces and measuring 18 inches. It was Guy Fawkes morning, and one could say I entered the world with a very small ceremonious bang.

My first living memory is that of my mother sitting on a black-and-white toilet. I must have been less than three months old, lying on my back in my little crib, looking up at her from the level of a chequered black-and-white floor. There was a tiny window to the left of the toilet, way, way up on the wall. The sun was shining brightly through it, backlighting my mother’s head, making her appear like an angel. It was a contented moment. The calm before the storm called life.

See also

 

Pepe Marais August 2018Pepe Marais (@pepemarais), founding partner of Joe Public United, officially launches his first book, “Growing Greatness — A Journey Towards Personal and Business Mastery”, on 27 August 2018 in Cape Town and on 29 August in Johannesburg. Filled with scribbles from the mind of an adman, the book inspires innovation, creativity and showcases the entrepreneurial spirit. Through his growing awareness of what purpose means in both business and personal terms, Pepe points the way to growing your own greatness.  Published by Tracey McDonald Publishers, “Growing Greatness” is available in print and electronic format from leading bookstores.

“Motive” is a by-invitation-only column on MarkLives.com. Contributors are picked by the editors but generally don’t form part of our regular columnist lineup, unless the topic is off-column.

— One subscription form, three newsletters: sign up now for the MarkLives newsletter, including Ramify headlines; The Interlocker, our new monthly comms-focused mailer; and Brands & Branding, launching soon!

Media Design: Counterpoint, Mariano Pascual, Punk, The New Yorker

Shane de Lange (@shanenilfunct)’s weekly analysis of media design — both past and present, print and online — from South Africa and around the world:

  • Independent print: Counterpoint has a quasi-kitsch, cult visual appeal, thanks to its risograph printing and bespoke production that’s eccentric, independent, and idiosyncratic
  • Online: Mariano Pascual riffs off of the classical postmodern style of the Memphis group, piecing together an engaging online creative portfolio
  • Iconic: Punk moulded punk music culture in America during the late ’70s, using a blend of pop-journalism and Mad-Magazine-style illustration
  • Commercial print: The New Yorker celebrates the life and time of legendary soul singer/songwriter, Aretha Franklin

Find a cover we should know about? Tweet us at @Marklives and @shanenilfunct.
Pinterest icon Want to view all the covers at a glance? See our Pinterest board!


Print

Heart-Love-Polygon-Geometric-Flat-Design-Icon-Illustration by lekkyjustdoit courtesy of FreeDigitalPhotos   The New Yorker (US), 27 August 2018

The New Yorker, 27 August 2018 - Aretha Franklin - and Folksinger by Charles WhiteInspired by Charles White’s ink drawing, “Folksinger” (1957), American artist Kadir Nelson pays homage to Aretha Franklin, the queen of soul, who died at the age of 76 last Thursday. White is famous for his realist dignified portrayals of African-American people, which are always imbued with respect and integrity. Nelson has illustrated about a dozen New Yorker covers, and one would be forgiven for mistaking this portrayal of Franklin as an artwork by another artist as it doesn’t fit with his usual style.

Nelson’s appropriation of White’s work for this cover, coupled with his momentarily breaking away from the work that he’s known for, makes this image evermore poetic. Franklin is illustrated in profile, dressed in choir attire; she was the daughter of a preacher, and her concept of soul stemmed from the church. A pioneer of post-war music in America, her expression is aimed towards heaven, singing with all that she can humanly muster. According to The New York Times, “Franklin will be mourned in a way usually reserved for heads of state. Her body will lie in state on Tuesday and Wednesday at the Charles H. Wright Museum of African American History, and on Thursday at New Bethel Baptist Church. A private funeral is scheduled for Friday, Aug. 31 at Greater Grace Temple.”

 

Heart-Love-Polygon-Geometric-Flat-Design-Icon-Illustration by lekkyjustdoit courtesy of FreeDigitalPhotos   Counterpoint (Scotland), Issue 16, 2018

Counterpoint, issue 16, 2018 and Jungle Jim, issue 1Shortlisted for Stack’s Best Use of Illustration award in 2016, Counterpoint is an independent quarterly that has been in print since 2015. It showcases prolific illustrators paired with contemporary writers, not dissimilar to the South African cult zine, Jungle Jim (featured in this column in October last year). Edited by Edinburgh-based illustrator, Bethany Thompson, and writer, Sam Bradley, the theme for #16 is “flight”, interpreted in various ways by the contributors, including bees, balloons, fireworks, airports, turbulence, and trapeze. Interestingly, all profits are shared equally between contributors. The cover features an intentionally crude illustration of an archetypal female flight attendant gesturing towards a passenger airplane, created by Cumbria-based illustrator, Rachel Tunstall. The image is so bad it’s good, reminiscent of art brut or fauvist artistic traditions.

When it comes to embracing crude artistry (the ‘craptastic’), the craft and production quality of Couterpoint can’t go unmentioned, especially in relation to the hand-binding and Risograph printing that the zine uses. Jungle Jim experimented with a folded format, with no binding, but it was also printed using Risograph digital duplicators, which are designed for high-volume printing and are considerably cheaper than conventional photocopier, laser, or inkjet printers. Risographic printing has a distinct ‘cheap’, quasi-kitsch, visual appeal that is conducive for the distribution of bespoke, cult-inspired, independent zines such as Counterpoint. Printed in Edinburgh with soy-based inks and recycled paper, the eccentric nature of the zine’s printing and production guarantees that every copy has an idiosyncratic quality.

 

Online

Heart-Love-Polygon-Geometric-Flat-Design-Icon-Illustration by lekkyjustdoit courtesy of FreeDigitalPhotos   Mariano Pascual (Spain), personal portfolio site

Mario Pascual portfolio site, August 2018 and moreBarcelona-based, Argentinian illustrator and designer, Mariano Pascual, is known for his distinct treatment of the classic Memphis style. His online portfolio emulates Mac’s original desktop and the equally classic OS interface introduced in 1983, made iconic by the famous “1984” television advert directed by Hollywood director, Ridley Scott. This interface redefined our understanding of the personal computer (PC) with its nostalgia-inducing, retro desktop, where digital files where housed in virtual folders for the first time, and the mouse had to be invented so that the user could interact with it all — inventions that we take completely for granted today.

Memphis was an early postmodern art and design movement that existed at the same time as Mac’s historic experiments with GUI. Designer Ettore Sottsass was arguably Memphis’ most-popular exponent, who questioned the meta-narrative of modernism, and contributed to the evolution of postmodernism. Readymag Stories has an excellent feature on his life and work here.

The Memphis style is arguably one of the most heavily used today, with many young creatives not realising that they are appropriating, blindly, from an important historic style. However, Pascual’s conceptual acumen and media-bending crafting ability is a definite exception, taking his baton from Sottsass, and others such as Michele de Lucchi, working with less-rigid lines, softer geometric forms, and lighter colours and crafting his own brand of abstract Memphis compositions.

The site works just like an operating system, where one can click on folders and icons and interact with them. The quirky, illustrated graphic user interface is accompanied by neat sounds and effects that make the overall experience more engaging — the way that ‘fresh’ should be delivered.

 

Iconic

Heart-Love-Polygon-Geometric-Flat-Design-Icon-Illustration by lekkyjustdoit courtesy of FreeDigitalPhotos   Punk (US) 1976–1979

Punk, issue 1, January 1976Zines and handouts have a key role to play in the history and culture of punk music. During the late ’70s, an American fanzine called Punk was the publication that introduced punk music to America. The publication was edited by illustrator John Holmstrom, and journalist Roderick Edward McNeil (then known as “Legs”, the ‘resident punk’), and founded with the help of publisher Ged Dunn. Starting in January 1976, Punk popularised punk rock, a term that was arguably first used in the US by Creem magazine to describe certain harder elements of rock music. Holmstrom studied under Harvey Kurtzman, the founder of Mad Magazine, and legendary cartoonist, Will Eisner, and their mentorship undoubtedly influenced the visual direction of Punk magazine. Most illustrations for Punk were done by Holmstrom himself, alongside cartooning greats Bobby London and Peter Bagge, who all went with a style for the zine similar to Mad.

Referred to as “the print version of The Ramones”, Punk took inspiration from comic books and music by porto-punk bands such as The Stooges and The Dictators, and the pop-journalism of Creem. Punk focused primarily on the underground scene in New York, creating meaning for the scene as a modern narrative by plastering posters across the city declaring that the punk invasion was coming. The zine was often a channel for female writers and artists who were mostly ignored by the male-dominated underground punk scene, specifically in publishing.

Much like the original punk movement, Punk’s success was sudden but equally short-lived. From 1976 to 1979, 15 issues of the magazine were printed. It created a platform for interviews, essays, and cartoons that featured prolific bands such as the Sex Pistols, Iggy Pop, Lou Reed and Patti Smith, to name a few, distributing more than 20 000 copies per issue. As the ’80s arrived, and the Sex Pistols disbanded (marking the end of the original punk movement), accompanied by increased political pressure, Punk folded in 1979 after moulding punk culture in America. There was a brief revival in 1981 with the publication of a special issue, “The D.O.A. Filmbook”. Another brief revival was attempted decades later in 2007.

References

 

 

Shane de LangeShane de Lange (@shanenilfunct) is a designer, writer, and educator currently based in Cape Town, South Africa, working in the fields of communication design and digital media. He works from Gilgamesh, a small design studio, and is a senior lecturer in graphic design at Vega School in Cape Town. Connect on Pinterest and Instagram.

Media Design, formerly Cover Stories and MagLove, is a regular slot deconstructing media cover design, both past and present.

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Market Research Wrap: Ignoring risk, advertisers embrace online video

Cheryl Hunter (research at marklives.com)’s weekly wrap of the latest market and consumer research:

  • Mobile drives video demand
  • The best retail businesses
  • Companies need to connect

Mobile video drives US$30bn in online ads

Advertisers are expected to spend a combined US$30bn on online video advertising this year, most of which will be paid to social media platforms despite the continuing risks of negative adjacency and ad fraud. This is according to the latest WARC Global Ad Trends, “A focus on online video advertising”.

WARC Data: Video is approaching half of daily internet consumptionThe rise of mobile usage is driving video consumption, which in turn is driving up advertiser investment in video, with online accounting for 17.5% of global video spend this year. This compares to an anticipated rise of 1.1% for linear TV, which equates to US$140.2bn — on a par with the level recorded in 2010. Consequently, online video is set to account for 17.5% of the total US$170bn spent on video advertising worldwide this year, up from a share of just 1.3% in 2010. Most of this money is going to social platforms such as YouTube and Facebook.

Online video is set to account for almost half of daily internet consumption, with mobile driving growth. Projections show consumption will rise to 84.1 minutes per day in 2020, up 26.6% from a projected 66.5 minutes this year. Of this, 62.3% of the time will be spent watching via mobile devices (compared to 60.7% currently).

Data for the second half of 2017 shows that at least one in 10 online video ads poses a risk of negative adjacency to brands. For mobile, the content types that pose the most-frequent brand risk are violence, and offensive language and controversial news, regardless of whether the ad is bought programmatically or publisher direct. Fraud also poses a risk to online video advertising, especially if the ad isn’t optimised against such activity. A recent study by Guardian US and Google found that as much as 78% of video spend is susceptible to fraud if publishers don’t employ the ads.txt script within their websites.

Summing up, James McDonald, WARC data editor, says: “The vast and continuing increase in video consumption via mobile devices has directed ad dollars to social platforms, despite the well-documented and persistent risks around negative adjacency and ad fraud. Facebook hopes to regain the initiative with its Watch platform, which is being positioned as a safe brand environment offering advanced audience segmentation.”

To purchase the report, go to WARC.

 

South African retailers buck global trends

2018 Vend Retail Benchmarks ReportOver the past year, South Africa’s independent retailers enjoyed sales volumes 25% higher than the global average, according to data from the 2018 Retail Benchmark Report from retail management software company, Vend.

Vend compared data from over 13 000 retailers using its services around the world, revealing that globally the average independent retail store makes US$22 300 (R320 000) per month, with a gross margin of 51%. Independent retailers in SA are bucking that trend, however, with monthly sales volumes a huge 25% higher, and revenue 9% higher than the global average. Across SA, monthly sales volumes per store were 36% higher than retailers in North America and 5% higher than those in the UK.

Worldwide, Vend’s data showed that furniture stores and beer, wine and spirits stores had the highest revenues, while beauty and cosmetics stores tended to earn the least, on average. In SA, the top three verticals with the highest gross monthly revenue compared to the average for African retailers are:

  • Furniture stores — 100% more gross revenue
  • Sporting goods stores — 72% more gross revenue
  • Electronics and appliances — 32% more gross revenue

Find the full report here.

 

Consumers connect; companies don’t

Forrester logoA new report from Forrester, “Consumers Are Connected; Your Company Isn’t”, addresses the issue of customers being more connected than ever, with businesses lagging behind in adopting the same devices, platforms, and channels to meet consumers where they are.

The report demonstrates that investment in customer-focused mobile experiences pays off: Among customer experience (CX) transformer firms — those that employ mobile to transform CX — 55% has seen a significant positive financial impact due to mobile, compared with only 16% of shrink-and-squeeze firms.

A growing number of customers use emerging devices, channels, and platforms, such as smart speakers, mobile wallets, and Facebook Messenger, but most firms have been slow to build experiences for these new technologies. About a third of mobile executives don’t know their plans for progressive web apps and instant apps — two mobile technologies that are increasingly important as firms shift to bite-size mobile moments.

The report is intended to help digital business strategy professionals benchmark their use of mobile and emerging technology against the tech that their customers and other firms use.

To purchase the report, go to Forrester.

 

Cheryl Hunter

Cheryl Hunter (@cherylhunter) has written for the South African media, marketing and advertising industries for more than 15 years. A former editor of M&M in Independent Newspapers and contributor to Bizcommunity, AdFocus, AdReview and the Ad Annual, she has also produced for various television networks and currently consults on communication strategy and media liaison. She now does the new weekly “Market Research Wrap” column for MarkLives.com.

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Headspace: Behavioural science & consumerism

by Tenielle Maris. Behavioural science, and its role in understanding and predicting behaviour, is receiving increased attention, specifically when it comes to getting to the bottom of why consumers remain in relationships with brands. It’s been identified as the examination of how psychological, social, and emotional factors often conflict with and override economic incentives when individuals or groups make decisions.

A nudge in the right direction

Through the work of psychologist, BF Skinner, the influence of positive reinforcement on behaviour was already highlighted decades ago; however, with the abundance of data at our fingertips, we now have access to the kind of insights that enable marketers and advertisers to predict consumer behaviour better than ever before. The difficulty lies in that human behaviour is irrational: despite a number of traditional key factors influencing consumer actions, choices are ultimately swayed by a cocktail of variables that tend to get overlooked when failing to see the bigger picture.

The premise behind behavioural science is that small interventions stand to guide people through subconscious influences to take a desired action, something that has been coined “nudging”. As the name implies, this is the gentle process to get consumers a little closer to the ultimate end goal that impacts both the consumer and the brand positively.

According to Prof Richard H Thaler, author of “Nudge”, marketers and advertisers should always “nudge for good” or ensure that the encouraged behaviour is unequivocally transparent and will improve the welfare of those being nudged.

Mastering positive reinforcements

The role of recognition in driving (or nudging towards) positive behaviour comes into play when one considers ways in which brands stand to really influence the people that they’re trying to connect with. There’s a global shift — especially when considering some of the most-popular retailer-reward schemes — towards rewards that encourage long-term loyalty and deep engagement vs short-term sales spikes. This is the premise behind the increased focus on consumer engagement vs sales transactions, which means that brands and retailers need to work harder to ensure that their consumer base is motivated, beyond the perks, to interact with what they have to offer, time and time again.

It has, therefore, become evident that consumer behaviour should be rewarded in a way that is sustainable in order to drive long-term behaviour for the brand, without compromising the perceived benefits of what you have to offer. Without constantly relying on tangible rewards, however — something that has come to be expected as the norm — brands need to consider other meaningful ways in which to make consumers feel valued and recognised.

This is where a deep understanding of consumer behaviour is required: being in tune with the drivers that stand to engender the most-desired and -prolonged positive behaviour towards your brand.

Getting it right

Purina identified that pet owners in Greece — a country with reports of the highest percentages of job insecurity and stress in Europe — were spending less time with their pets, due to increased work pressures. This was a challenge that impacted Purina’s performance in ways that special offers or similar short-term tactics wouldn’t have solved with a once-off campaign. Purina decided to address this issue head-on through its “Pets at Work” campaign that encouraged companies to create pet-friendly environments — an initiative that was later rolled out across multiple markets. By doing so, pet-lovers were provided with the long-term solution to embrace pet ownership in a way that plugged seamlessly into their lives and created a value proposition for the brand that benefitted the greater community.

Brands are demonstrating the art of nudging in simple ways that go back to human-led insights and don’t necessarily rely on traditional rewards. The challenge is to look beyond the data and the short-sighted tactics, and rather to go back to the consumer pain point standing in the way of your brand succeeding — consistently delving deeper to understand why.

References

 

Tenielle MarisBeginning her career in branding and communications, Tenielle Maris has spent the last decade and more in the marketing industry, where she has worked upon big brands spanning the African continent. Having found her passion in understanding what drives human beings to connect with particular brands, her time is spent getting up close and personal with the people whom brands are trying to connect with. Tenielle contributes the monthly “Headspace” column, which unpacks anything and everything that helps marketers and advertisers understand why people connect with brands, to MarkLives.com.

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#Loeries2018: The chillest and the K-word

by Herman Manson (@marklives) Ah, Durban, the chillest place in South Africa and, once again, the destination for (mostly) South African advertising creatives looking for some awards-bling and a good time. Regardless, as they gathered on Friday, 17 August 2018, at a Durban ICC conference room to take in talks by various speakers, it was all business.

Nobody could tell me who the MC was (bit aggressive, yoh), and not even the Rastafarian accent could chill the vibes. White walkers promoed DStv — or, as Fahmeeda Cassim-Surtee, DStv media sales CEO, positioned it — “the blesser for today’s creative seminar” and, possibly a little optimistically, as “breaker of Netflix”.

Note on the featured image: Taken from the presentation of Mzamo Masito, CMO, Google Africa, South Africa. His opening slide talked to the power of words and of how one word affected him all his life, ever since he heard it for the first time, aged four.

Seminar

Here are my take-home points from the seminar (in order of them being made at the conference).

Ramsey Naja
CCO, J. Walter Thompson Middle East & Africa

  1. Advertising, for clients, has become about instant gratification. It’s all short-term KPIs and the the next quarterly revenue cycle.
  2. Brands are being shaped by three factors: worthiness, usefulness and entertainment value. What do you do for me? Are you useful? And do you entertain me? A combination of all three creates news, and potentially affects culture.

Lethepu Matshaba
VP Homecare Southern Africa, Unilever South Africa

  1. The pace of change will never be slow again. We won’t be able to turn back from a hyper- fragmented, connected and empowered marketplace.
  2. On the importance of diversity (race, gender, thinking, you name it): “If two of us are the same, one of us is irrelevant.”

Nicolas Courant
ECD, Ogilvy & Mather Singapore

  1. Ninety-nine percent of what the ad industry produces is crap. It’s fallen into the crap trap.
  2. The best way of cutting through the clutter is not creating more clutter. Do less, do better.
  3. Always ask why people should give a damn about what we do (no answer is also an answer).
  4. Consumers have developed an insincerity detector to protect themselves from people selling stuff (that would be you).

Mzamo Masito
CMO, Google Africa, South Africa

  1. His opening slide talked to the power of words. And of how one word affected him all his life, ever since he heard it for the first time, aged four. Write new words, he told copywriters.

  1. Creativity can help decolonise your mind (in reference to a painting of a black, dreadlocked Jesus he saw in an American church, when he was 17).
  2. Creativity is art and science. Clients have parked their guts and intuition to focus on research. Strategists are failing to make data accessible to creatives and ad schools have failed to embrace science and mathematics, to the detriment of their students and the industry.
  3. We need to be deliberately, intentionally and pro-actively inclusive.

Sebastian Padilla
Co-founder, Anagrama Mexico

  1. When you start a business, surround yourself with the right people. Look for energy, diversity, principles, skills and trust. Then share power.

Fabian Frese
CCO, Kolle Rebbe Germany

  1. Support startups. You can learn from them, you can access young talent and they can help you invest your own products.
  2. Frese won a Grand Prix at Cannes. He felt nothing. He needed change from boredom. He resigned from a dream job to reinvent his career. Boredom tells you it’s time for change.

Ian Mackenzie
ECD, FCB/SIX Canada

  1. What if the big story about the big idea is wrong?
  2. Ideas are networks (the more diverse your team, the more network nodes you have access to). Sometimes executional creativity brings forth ideas.

Awards evenings

Like Design Indaba 2018, Loeries 2018 felt somewhat austere. The venue wasn’t vast, yet it never truly filled up. DJ Ready, the real juggernaut of the Loeries, kept everybody in high spirits, even when the ceremonies felt uncharacteristically long (even by Loeries standards!). Donovan Goliath MCed both awards evenings and did good job at it, too.

The selfie-takers hogged the red carpet. Everybody else dodged flashing iPhones or simply photobombed the lot.

The vibe was happy and relaxed but the amount of alcohol that flowed into the hall was unnecessary and disrupted the event (as people got up and crawled over one another to get to the aisles and the exits, either to get refills or to find a loo. Repeatedly.) Even in chillest this shows no chill. Some adulting here would not have gone amiss.

Everybody rushed for the doors while the final winners of the evening went on stage to collect their trophies. I felt bad for those onstage, staring back at a rapidly emptying hall, rather than rapturous applause. But, yeah, can’t blame people for needing the get out of there. I’m not sure how anyone can really survive three hours of advertising (maybe that explains the booze, then).

In total, 287 Loeries were awarded, consisting of six Grands Prix, 31 Golds, 69 Silvers, 113 Bronzes, 18 Craft Golds and 50 Craft Certificates.

Grands Prix

Communication Design

  • Fear and Fantasy Festival’s “Fear and Fantasy Festival” by TBWA Reklam Hizmetleri, Turkey

 

Digital & Interactive Communication

 

Print Communication

 

Radio

  • Louvre Abu Dhabi’s “Highway Gallery” by TBWA\RAAD, UAE

 

Film Communication

 

Integrated Campaign

  • La Libanaise Des Jeux’s “Lucky Face” by Impact BBDO Dubai, UAE

My favourite winners

Of course, not every worthy award can bag a Grand Prix. Here are some of my favourite winners of the evening (across Bronze, Silver and Gold, and in order of appearance at the event):

Campaign Silver

Life Beyond the Logo — Angry Birds, Red Bull, Puma
FoxP2
National Geographic Kids

Loeries 2018 angry birds

Bronze

Brand South Africa Freedom Day
The Odd Number
Brand South Africa

Loeries 2018 Brand South Africa

Gold and Silver

News you need to see
Joe Public United
POWA

Loeries 2018 POWA

Silver

Think Bench
Promise
Rand Merchant Bank

Loeries 2018 RMB

Silver x2

Culture Captcha
Scanad
Kenya Tourism Board

 

Campaign Gold + Craft Certificate

Absolut One Source
VML South Africa
Pernod Ricard South Africa

 

Gold

Past and Present
TBWA\Hunt Lascaris Johannesburg
Apartheid Museum

 

 

Campaign Craft Gold, Campaign Craft Certificate + Campaign Silver

World Gone Mad – Swim, Festival, Date
TBWA\Hunt Lascaris Johannesburg
Flight Centre Youth & Adventure

 

Bronze

Mountain Climber
Impact BBDO Dubai
Mars (Snickers)

Other worthies

Doug Place, Nando’s chief marketing officer  took home the Marketing Leadership & Innovation Award and Greg Gray of Romance Films was inducted into the Loeries Hall of Fame. Joe Public United took home Agency of the Year and TBWA\ won Regional Agency Group of the Year.

And, with that, it was all over and done with, and back to work, work, work. Advertising today really is all business and this year, at its awards weekend, it felt it, too.

 

Herman Manson 2017Herman Manson (@marklives) is the founder and editor of MarkLives.com.

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EXCLUSIVE: Rob McLennan exits King James II, Jenner takes the helm

by Herman Manson (@marklives) The creative founding partner of King James the Second (KJII), Rob McLennan, will be leaving the agency in September 2018. His creative partner, Graeme Jenner, takes over as executive creative director of the Johannesburg-based agency, which is part of the King James Group. Jenner will be working closely with recently appointed managing director, Lesego Kotane, to take the agency forward.

King James II logoPassion projects

McLennan, who won’t be leaving advertising, plans on pursuing a number of passion projects of his own. This includes a stake in a local beer brewery and a global partnership that will see him continue consulting for brand clients.

According to him, he wants to spend his remaining working years doing exactly the kind of work he wants and that, while he loves creating advertising, running an agency is an altogether more-difficult proposition, and one he would prefer to leave to others to manage.

McLennan also feels the time is right to hand the reins to Jenner as the agency has recovered from the trauma of Pick n Pay moving its retail marketing from KJII to King James in Cape Town (which already handles the brand marketing) — a stressful episode which led to several rounds of retrenchments — thanks to a number of new client wins, and is also doing well creatively (it picked up seven statues at The Loeries this year).

Restructuring process

According to Alistair King, co-founder and chief creative officer of King James Group, McLennan’s departure allows the agency to up the pace on its restructuring process as it moves towards full integration, a process the CT agency has already completed. This will see a number of King James Group’s Johannesburg agencies, including KJII, King James Digital, Hammer and Atmosphere, collapse their creative departments into a single unit.*

Mclennan, Jenner and King James Group launched KJII in March 2013; the two had both recently left Net#work BBDO after that agency lost the Nedbank account to Joe Public. Three weeks after launching, the new agency picked up its first client after pitching against FCB on the Altech Autopage business — and winning. Its first campaign aired three weeks later. Mclennan describes the Altech win as one of his career highlights, as is the creative work he’s done for Allan Gray and PnP.

During McLennan’s tenure, the agency has grown from five to around a hundred people today.

*Updated at 4.26pm on 21 August 2018 to reflect creative departments only are being collapsed into a single unit.

 

Herman Manson 2017Herman Manson (@marklives) is the founder and editor of MarkLives.com.

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