Headspace: New normal — shaking free from gender-based stereotypes

by Tenielle Maris. Although we’re seeing an ever-moving shift towards greater social liberalisation, many consumers today still face a number of obstacles that prevent them from embracing specific lifestyles. Gender discrimination remains one such obstacle that continues to pervade the way in which consumers view not only themselves but also the rest of society.

Marketers and advertisers are stepping back and taking real notice of new-age consumers yearning for empowerment — to break free from the shackles enforced on them by society and to celebrate their individuality. Brands that are embracing this global trend of empowerment are aiding consumers in their quest to redefine ‘normal’: by depicting women who are powerful and resilient, by portraying men who are more vulnerable and imperfect than their former macho and infallible selves, and by providing consumers with gender-neutral platforms to express their individual take on gender.

These brands are incorporating unisex dynamics into formerly gender-biased occasions and illustrating traditionally unconventional possibilities. From alcohol brands including more women in their advertising to cosmetic brands partnering with transgender ambassadors and leading fashion labels launching gender-neutral lines, the shift is happening at all levels and is fascinating to watch unfold.

Free from definition

According to a recent report by the Advertising Standards Authority (ASA), advertising shapes the way in which genders are expected to look and behave. More than ever, consumers are seeking out those brands that contribute towards society in positive ways and make the world a fairer place for all.

For brands wanting to connect with younger audiences, this is more important than ever before: 2018 reports are showing that more Gen Z consumers are increasingly rejecting traditional gender-based definitions as they grapple with the stereotypes attached to those labels. Times are changing fast. Younger and arguably more open-minded generations want forward-thinking brands, and brands had better adapt fast or, quite simply, cease to be relevant.

More than ‘femvertising’

“For women across the globe, rights, opportunities and freedom of expression differ enormously. But many women are becoming increasingly willing to challenge established gender stereotypes, speak out against oppression and demand products, services and campaigns that meet, can be tailored to, or reflect new aspirations and multi-faceted lifestyle needs.” —Trendwatching.com

We’ve seen female empowerment brands like Dove, Always and Barbie applying this insight to connect with audiences across the globe but, now, traditionally male-focused brands are having their say in a way that consumers can’t help but respond to: Johnnie Walker, the iconic ‘man’s brand’ has taken advocating for women a step further by incorporating Jane Walker on the packaging of some of its bottles, with the end goal to erect a monument in New York to honour American female role models.

Progressive masculinity

Just when you think all the focus is on banishing female gender stereotypes, we are also seeing a new type of empowerment of men whom no longer want to be pressured and restricted by the age-old conventions of masculinity.

A 2017 study conducted by personal-care brand, Axe, with nonprofit group, Promundo, found that men who don’t fit into stereotypical norms are more likely to be unhappy. Based on Google Search data on the insecurities and fears of guys today, it found that over 50% of men feels pressure to behave a certain way to be a ‘real man’.

Axe then leveraged this insight through its campaign, Is it OK for guys?, that started a global conversation by highlighting the drastic effect that male stereotypes have on young men.

This year, the wave continues with startup shaving brand Harry’s campaign, A Man Like You, that poignantly addresses the issues around male mental health in a category dominated by macho advertising.

Where to from here?

The future of consumerism in 2018 and beyond comprises consumers who want brands that truly understand their evolving roles, and reflect their inner struggles with modern realities and progressive identities. As marketers and advertisers, we need to take a long, hard look at how we speak to audiences, and recognise the power that we have in perpetuating potentially harmful gender ideologies. We then need to harness our ability to empower individuals by embracing their changing realities and by rewriting our brands’ stories — carving out new spaces for audiences to celebrate who they really are, and not who we have told them to be.

References

 

Tenielle MarisTenielle Maris is strategic director at TTL agency, 34°, in Johannesburg. Beginning her career in branding and communications, she has spent the last decade 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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Young, Gifted & Killing It: Owethu Makhathini

by Veli Ngubane (@TheNduna) Owethu Makhathini (@owethumack) has always been a creative at heart, from wanting to be an actress and watch-this-space multidisciplinary collaborations to running her own creative consultancy. In this interview, she shares her passions for her business and transformation in the creative industry as a woman.

Veli Ngubane: Tell us more about yourself: where did you grow up and what did you want to be when you were growing up?
Owethu Makhathini: My name is Owethu Makhathini, I grew up in Durban and Auckland. I wanted to be an actress, a lawyer, a diplomat, then a businesswoman.

VN: Please explain what you actually do and how an average day looks for you?
OM: I do a number of things. First, I run Makhathini Media which is a creative consultancy based in Durban, KwaZulu-Natal. I specialise in crafting curricula on digital marketing, social media and work readiness. Secondly, I am a freelance writer for both online and print publications; my most recent work is an essay in the book Feminism Is, the April copy of ELLE Magazine and on Between 10 and 5, the online creative showcase. Thirdly, I am a public speaker; I speak mostly to youth and businesswomen. There is no such thing as an average day when you’re a creative entrepreneur as no one day is like the other. My day typically involves sending lots of pitches, emails, invoices, writing features, fiction and speeches as well as shuttling between Joburg and Durban.

Owethu Makhathini in actionVN: Tell us about your company and business journey?
OM: My company, Makhathini Media, is still in its infancy. It is a creative consultancy that offers digital skills training, work readiness and social media strategy among other services. I started the company in order to primarily upskill young people in entrepreneurship, digital literacy, code and programming, creativity and work readiness on a large scale. I also want to fund creative projects, facilitate wellness and networking events and help big brands create compelling-perception-shifting creative while driving the industry forward.

VN: What drives you in the hard days of running a business?
OM:
Knowing that I am creating a legacy for myself and my family is what drives me. Entrepreneurship is a tough journey but I wouldn’t have it any other way; it has been a journey of self-love and becoming closer to myself and my purpose. I know that what I am doing now will pay off; I don’t care if it takes me two years or 20 years, I am in it for the long run.

VN: Why do you think the industry is struggling with transformation?
OM:
The advertising industry is still a (white) boys club. Transformation is slow and the norm is still to entrust big, sometimes international, campaigns to white creatives, entrenching a de facto system of separate development. The structure of ownership, capital legacy and human relationships needs to be completely overhauled. There is very little, if any, emphasis on skills development and leadership training within the agencies to equip those who have been previously disadvantaged to get the opportunity to create legacies in the industry. Black people, particularly women, are facing the unique challenge of being passed up for promotions while being hired as a little more than figureheads in otherwise untransformed departments. Advertising can be used as a medium to shift perspective and contribute towards nation-building and should be treated as such. It is irresponsible to create work that does not account for the climate it is produced in, and the burden should not lie with the marginalised to lead the transformation.

VN: What is it like to work as a female in a male-dominated industry and how do you think the industry may attract more female creatives?
OM:
The industry can start viewing women as people. Women deserve a seat at the table and it all starts with transforming the industry through legislation and enforcing HR practices. The culture of agencies has to adapt in order to provide the best experience for everyone in order to extract the best creative work. Differences between men and women, old and young should be celebrated and used to show people that our differences can bring us closer; hiding from them is what creates misunderstandings and ill-treatment.

VN: What do you feel is missing in the ad industry today?
OM: Authenticity, relevance, creativity and representation.

VN: Where and when do you have your best ideas?
OM:
My ideas usually come from a good night’s rest.

VN: What advice can you give to young women wanting to get into the business?
OM:
I would definitely encourage women to get into the industry and fight for their seat at the table, for women to build alternative tables that challenge the status quo. I would advise her to get a mentor or two early on to avoid making the mistakes some of us have [done] in the past.

VN: Tell us something about yourself not generally known.
OM:
I can sing.

VN: What exciting projects are you working on at the moment?
OM: I am working on a series of multidisciplinary collaborations with incredible established and emerging creatives. Something to look out for because it will be exciting!

VN: Please would you supply two or three pieces of work you have been involved in?
OM:
Feminism Is, ABSA The Women Before Us, Between 10 and 5.

 

Veli NgubaneVeli Ngubane (@TheNduna) entered the world of advertising with a passion after completing his BSocSci (law, politics and economics) at UCT and a post-graduate marketing diploma at Red & Yellow, where he’s currently advisory board chairman. He also sits on the IAB’s Transformation & Education Council, is a DMA board member and has judged the Loeries, Apex and AdFocus awards. He is CCO and founding partner of the largest black-owned and -managed full-service agencies in the country, AVATAR. He is also co-founder of M&N Brands, which is building an African network of agencies to rival the global giants. In his monthly column “Young, Gifted & Killing It”, he profiles award-winning, kick-ass black creative talent in South Africa.

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Shelf Life: Latest FCB’s Debonairs ad • Alcopops decline • Royal Sodastream

Cheryl Hunter (shelflife at marklives.com)’s weekly pick of all things new in retail — consumer products launches, retail news and FMCG campaigns!

Praiseworthy pizza

Debonairs Pizza has launched its new range of Beef Almighty pizzas with a new TVC from FCB Joburg called “Praise Singer”.

https://youtu.be/eorTE07Llr8

The ad is fresh and engaging, largely thanks to the exuberant character performance by the pizza delivery guy, who just happens to be able to sing praises, bringing the idea to life in an entertaining way.

Says Toni Joubert, Debonairs marketing executive, “As we all know, praise singers are used to announce the arrival of and sing the praises of important people. We were intrigued and excited when the agency suggested we use this practice to highlight the status of Debonairs Pizza’s new, praiseworthy, beef steak pizzas.”

Greg Cameron, creative director, adds, “What better way to present a superior product in a fresh way than by using a uniquely South African insight?”

Debonairs Pizza Beef Almighty “Praise Singer” was directed by Zwelethu Radebe and Ian Difford, from Egg Films and Hungry Films respectively, with post-production by Fuel Content. The range comprises three variants (Double Beef & Bacon, Spicy Beef, and Beef & Mushroom) and the ad is currently flighting on SABC, eTV and select DStv channels.

debonairspizza.co.zaFacebookTwitter
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Price pressure on alcopops

A recent BMi Research report shows that the flavoured alcoholic beverage category has been hard hit by limited consumer spending, with declines in volume during 2017, albeit a softer decline than that experienced in 2016 and 2015.

BMI logoIt is hypothesised that consumers are opting to purchase other affordable alcoholic beverages, such as homebrewed craft beer and traditional beer, which are relatively lower priced, rather than flavoured alcoholic beverages.

All regions contracted in volume, besides the Western Cape, which noted a limited increase for the base year; however. it was not sufficient to bolster category volumes into the black overall. Stiff competition among players trying to achieve sales budgets may have been a contributing factor to the conservative price increases.

The glass/other packaging format continued to dominate the flavoured alcoholic beverages category. The can packaging format showed the largest drop in volume, largely attributed to the small pack-size denominations that saw a decline in volume. It is thought that consumers have been looking for better value-for-money offerings found in larger pack sizes.

The category is expected to remain under pressure in the short-to-medium term due to the competition from other alcoholic beverages.

bmi.co.zaFacebookTwitter

 

Sodastream supports Surfers against Sewage

In celebration of the UK royal couple’s wedding and their dedication to the fight against single-use plastic bottles, sparkling water brand SodaStream dressed up a set of limited-edition bottles that were auctioned as a donation to the plastic-free charity Surfers Against Sewage — a charity chosen by the royal couple.

https://youtu.be/dAvr2gmxS8w

As part of its commitment to the removal of single-use plastic from the world, SodaStream created a set of miniature hats using state-of-the-art 3D printing that is 100% recyclable. Each of the five exclusive hat designs was inspired by an iconic look previously sported by female royals. The concept was imagined by the Israeli innovation agency, Gefen Team, and developed jointly with SodaStream’s global marketing team.

The limited royal edition bottles have been auctioned and winning bids will be notified this week.

Says Hugo Tagholm, Surfers Against Sewage chief executive, “SodaStream’s commitment to eliminate plastic and promote reusable bottles is a great step in the right direction towards plastic-free coastlines, and sends a strong message to the beverage industry. This fun and quirky project to celebrate the royal wedding further highlights the importance of stopping the single-use plastic epidemic”.

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Cheryl HunterShelf Life is MarkLives.com’s weekly column covering all things retail. Notify us of yours at shelflife at marklives dot com. Want to sponsor Shelf Life? Contact us here.

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.

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Adnalysis: How to build or kill a brand quickly — the formula

by Bogosi Motshegwa (@Thinkerneur) Words which rhyme, pictures which please the eye and stories which capture the heart are what grab our attention and help us make an action decision, whether it’s to visit the physical store or go online. But building a brand takes more — the real job is in everything that the company does.

Therefore, brand-building is more what you do than what you say or what you say you’ll do. So where should companies really focus? The detail is in the customer experience.

Brand messages are essentially promises, and experiences are what we measure those promises against. Bad brand experiences contradict the brand promise (messaging in the form of a campaign), and the opposite — positive brand experiences — reaffirm and strengthen a brand promise.

What should brands, brand managers and brand stakeholder do?

Brands and brand managers should hold all partners accountable. If the real job is in everything that the company or brand does, this means that the lines of accountability (if they aren’t already) need to be blurred between partner agencies. While the lead advertising agency is responsible for the brand positioning, messaging and the overall campaigns, the PR agency for creating traction for those campaigns, and the digital agency for all things digital, everyone needs to be accountable for brand success.

While partners are responsible for certain or specific functions of brand marketing and building, everyone should be concerned about the overall effort, and not compartmentalise success. A greatly communicated campaign (brand promise) that is compromised by a bad customer experience, which could be a PR disaster (brand contradiction), should be everyone’s concern. This calls for consistent collaboration among different agency partners.

Brand-building doesn’t start with a brief and end with a launch; once a campaign has begun everyone needs to ensure that all customer touchpoints that have been identified are consistent in delivering the message ie brand promise.

We don’t say brands into success; we do brands into success

Campaigns that capture our hearts and imagination are great, as they should, but if the actions contradict the promise, you know what is said love: it’s all in what you do. FNB can talk ‘help’ all it wants, but if customer feel that they haven’t been helped, this may prove to be more detrimental to the brand.

Think carefully about brand promises as this will need to be carried out across all customer touchpoints. A brand that has no ATL messaging (promise) yet delivers exceptional experiences in-store or online may achieve more success than a brand that has contradicting messages spread across all channels. In fact, having messages all over the place with contradicting experiences may create compounded problems as the consumer takeout about the bad experience may be exacerbated by the brand being perceived as a liar.

The formula for how to build or kill a brand quickly

  • Brand promise + bad brand experience = brand that lies = a quick way to kill a brand
  • Brand promise + good brand experience = truthful brand = a quick way to build a brand

As marketers, brand custodians and brand managers, we tend to think that consumers are stupid; they’re not. They never forget. An entrenched bad experience will always be mirrored with all new communication, with the result being that, whatever the company says, it won’t hold any value as the experience will outweigh and overshadow any future promises (messaging).

Do the right thing.

 

Bogosi MotshegwaBogosi Motshegwa (@Thinkerneur) truly believes that advertising can really change the world. Every single day he tries to prove this. He shares his thoughts on the industry and sometimes has unconventional views. Bogosi is the co-founder of Melanoid Éclat (for finding black entrepreneurs), a committee member of AMASA, an Advisory Council member and guest speaker at Vega, and also does speaker management at TEDxJohannesburg. He is currently a strategic planner at Net#work BBDO. He contributes the monthly column, “Adnalysis”, which analyses adland from a strategist’s point of view, to MarkLives.com.

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How does access to info drive influence, consumer trust?

by Sarah Dexter (@sarahlouisedex) While much is made of the vast, and ever-increasing amounts of information we are exposed to, consumers the world over generally feel more empowered and in control than ever before — with two-thirds of South Africans stating that “information availability has made me more confident in brand choices” and a whopping 76% feeling that “information gives me control in my buying decisions”. This is according to the latest New Realities research study across the US, UK, China, Russia, India, Brazil and, most recently, South Africa.

This notion of information equaling control is particularly high in relation to banking and software brands (and less so when it comes to “nominal” purchases such as snack food and fast food). And, interestingly, increased information appears to have a very positive impact on people’s satisfaction with brands.

Consumers want to be educated

This New Realities study didn’t reveal completely overwhelmed consumers — but rather people who welcomed this never-ending avalanche of information on the whole. There were those who sought to avoid too much brand- or service-related information but this segment only accounted for one in five people in SA and Brazil. Both countries exhibited high levels of info enjoyers (one-in-three for SA and two-in-five for Brazil).

However, that doesn’t mean we can simply push consumers anything we feel like communicating in any channel we feel appropriate. Findings regarding the role of channel and impact in the decision-making process mirrored our connected world attitude and non-linear path to purchase approach.

New Realities graph 01

The role of advertising

Surprisingly for some, and happily for others, advertising is still seen as the prime mover for creating awareness and familiarity with a brand — nudging the sage advice of friends and family into second spot. However, it’s unsurprising that actual experience, expert product reviews and promotions are seen to be of more value to a consumer when making an actual brand purchase decision. Promotions help drive fast-food purchase far more than “considered” categories such as cars and insurance.

Loyalty and brand responsibility

And then the notion of some kind of loyalty kicks in — a hotly contested topic — but our study reveals that 38% of South African consumers claims to be more loyal to brands than before.

But with all this ‘loyalty’ and trust comes great responsibility: consumers are holding their brands to a higher standard than ever before, especially banking, software and skincare brands. If you think they will simply wax lyrical about you to all and sundry, you’d better rethink that notion.

New Realities graph 02

Social media and the role of the influencer

It is generally accepted that social network sites are seen as a good source of word-of-mouth information on brand experiences. However, South Africans appear to be surprisingly much more reticent in sharing their views about brands than their global counterparts. This is particularly so compared to Chinese millennials, who’re more than happy to voice their opinions, unsolicited.

Perhaps this is why we are seeing a rise of the micro-influencer — online personalities with a small but dedicated following, who provide honest insights and opinions on products and brands — both globally and locally. Many consumers subscribe to the ‘I don’t share unless I’ve had a great experience’ school of thought and that ‘perhaps others are the same and hence I can trust them.’

New Realities graph 03In what may come as a surprise to many, this doesn’t hold true for celebrities — South Africans are quite aware that, more often than not, the macro-influencers are paid to endorse products, so regularly seek out the more “like me” influencers when considering whether or not to purchase a particular product or brand.

Consumers and brands face a new reality today

Nearly three-quarters of South Africans feel that there is more information available to them than was previously the case. The goalposts in terms of information gathering have moved substantially, and consumers face a daily barrage of brand messaging, not only from brands, family and friends, but also from advocacy groups, influencers (both paid and unpaid), and then there’s the additional aspect of fake news to keep in mind.

There are virtually no barriers to where consumers may access information. It’s ‘always on’, immediate and very often part of the daily discourse. As consumers grapple with the who or what to trust when making purchase decisions, it is critical that brands guide the conversation while being cognisant of how information is absorbed, processed and acted upon. While we’re not unlike our international peers, a simple copy and paste of what works in market X or market Y is not going to do it for your brand. Understanding how brand advertising, advocacy, influence and trust are interlinked and work within a defined market is more relevant than ever today.

 

Sarah DexterSarah Dexter (@sarahlouisedex) is head of MullenLowe South Africa, which recently partnered with IPG in the latest round of the group’s ongoing New Realities research study. This has been conducted for the past nine years across seven countries: the US, UK, China, Russia, India, Brazil and, most recently, South Africa. The research forms part of an extended study into the major changes in consumer behaviour, and how this is impacting the marketing world today.

“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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#AgencyFocus: Digital is not a commodity — Platinum Seed

by Carey Finn (@carey_finn) The economic climate is pushing companies towards ever-greater cost-efficiency in all areas — and digital strategy is often the first to face a budget cut. But Bradley Elliott, director of Platinum Seed, believes there’s confusion about what digital really entails, and what it may do for an organisation.

Bradley Elliott
Bradley Elliott

“Real misunderstanding”

“I think there’s a real misunderstanding in the market about what digital is,” says Elliott. “I think the market perceives ‘digital’ to be digital marketing, covering campaign strategy and brand strategy in the digital space, microsites, social media — not digital transformation or tech enabling business.”

This, he says, has led to a “commodification” and condensation, rather than specialisation, of digital services, and a proliferation of low-cost offerings based on the mistaken belief that “anyone can do it half well”. Social media management is a prime example.

Platinum Seed takes a different approach to digital, and this, it believes, sets it apart. The business, founded by Elliott in 2009, describes itself as a digital innovation company that designs products, services and experiences to connect brands and consumers. It’s about much more than maintaining a Facebook page or website.

“Sum of all interactions”

“For us, digital customer experience is the sum of all interactions that a customer has with any digital touch point within a business,” Elliott explains. “We want to drive growth at every single one, or at least introduce points that can drive growth.”

This reflects Elliott’s own focus on growing his agency, although, to avoid being pigeonholed, he doesn’t use that word to describe it. While brand promotion is part of what Platinum Seed does, it doesn’t want to be perceived as operating solely in the marketing and advertising industry, which “agency” might connote. The emphasis on digital as a tool for holistic growth has required a shift in mindset from clients (Elliott isn’t a fan of that word. either; he prefers partners), but the results and feedback have been positive on the whole.

Despite the tough state of affairs in the industry over the past 12 months, Platinum Seed continues to be stable, and earlier this year celebrated its scooping of the Campari East Africa account. Other major partners include Vodacom and Acceleration. Until recently, Edward Snell was also in the fold.

Do something unusual

With low overall staff turnover, plus the onboarding of Paul Coetzer, ex-M&C Saatchi Abel, as strategic director, and Ally Behr, formerly with Gloo, as design director in July last year, the company seems geared for success — though here again, Elliott emphasises that they’re looking to do something a little unusual.

“Our business model is quite different to a traditional agency,” he says. “We position ourselves as a growth agency; we prefer to measure ourselves in terms of the growth we provide clients, rather than awards. I’m talking about bottom-line growth as opposed to impressions, reach, likes, etc.”

With a nod to thought-leader Dave Duarte, Elliott speaks of truths, trends and trifles. “In business, growth is a truth.” So is digital, he adds.

Growth engine

In future, Platinum Seed wants to position itself as a business-growth engine, combining design, UX and UI with technology, insights, data and behavioural psychology. Elliott is no stranger to the value in data analytics; he is involved in another startup, Continuon, which aims to offer insights into the ways people interact and engage with brands on social media. Platinum Seed’s internal incubator (for products with the potential to disrupt or add value), and a premium accelerator to promote rapid growth, which will rely on partnerships with other experts, are two other areas highlighted for growth.

“It’s really about solidifying our position right now,” says Elliott. “We want to be seen as — if you want growth, come to us, and that growth can be achieved in many different ways. It could be as simple as moving a button on a website, or it could be transforming your entire customer journey.”

Platinum Seed logo

Platinumseed.comRamify listing

  • Office locations: Cape Town
  • Revenue band: R15–20m
  • Staff count: 20
  • Key clients: Campari, Quality Beverages, BrightPlan, Acceleration, Skin Renewal and William Grant & Sons
  • Services: Digital, user experience, design, consulting, strategy, digital transformation, creative, technology, data and data science

Updated at 11.23am on 25 May 2018.

 

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” will be an ongoing weekly series updating the market on agency performance, including business performance, innovation, initiatives, the work, awards and people.

— 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 Redefined: Zuckerberg, can we trust you?

by Martin MacGregor (@MartMacG) I was more fascinated than I expected to be watching Mark Zuckerberg getting grilled by a bunch of geriatric US senators. The humorous highlight was obviously his retort to 84-year-old Senator Orrin Hatch from Utah, who had asked how Facebook plans to remain free. A gobsmacked Zuckerberg replied, “Senator, we run ads.” But the real highlight for me was Ted Cruz, senator and former presidential candidate, who really pushed Zuckerberg’s buttons with a fundamental question about whether Facebook considers itself a neutral platform.

I found his answer very interesting: “Senator, we consider ourselves to be a platform for ideas.”

Have his cake and eat it

It struck me immediately that Zuckerberg was trying to have his cake and eat it. The more neutral the perception, the broader potential advertising he is likely to attract. What he wasn’t willing to concede is that there would be a natural left-leaning skew to Facebook content by the 20 000 or so content monitors, even though he did admit that Silicon Valley is “an extremely left-leaning place”.

Cruz’s followup question really rammed it home : “Are you a First Amendment speaker expressing your views or are you a neutral public forum allowing everyone to speak?”

Zuckerberg spent the rest of the session trying to be as convincing as possible that, aside from hate speech, Facebook was open to everyone’s views. In the cesspit that is US politics, and the swirl of views around stolen elections, Russian influence and fake news, this is clearly a very hot topic. Globally also, as Zuckerberg admitted, Facebook is playing an increasing role in moulding voter perceptions, from right-wing Hungary to left-wing Venezuela.

Why does it matter?

Where does this leave advertisers, and does it matter? Clearly, we are in a new realm here where we have moved beyond media owners being publishers with their own natural newsroom biases to reader-owned platforms where they set the agenda.

Facebook is now desperately trying to have some kind of control and set the basic rules for what kind of content is allowable. The issue for a lot of people like Ted Cruz is the fairness of the referees.

Advertisers are chasing target markets, not the views of those markets. I don’t think any brand in the US would state that it doesn’t want Trump voters buying its products. Fox News has a big and well monied market and a left-leaning CEO is unlikely to forgo profit for principles.

The line between hate speech and a viewpoint is really what is being debated here. Advertisers have acted very quickly if there’s been any whiff of their brands being associated with a terrorist, racist or sexist grouping. Weeding these out is their biggest challenge, especially establishing exactly where the line is. But what happens if media owners go bad and can’t be trusted? When they don’t apply the rules properly or, even worse, purposefully self-destruct?

Local examples

Two recent local examples have been milder but equally interesting. Last year, at the height of Zuma capture and Hlaudi incompetence, I had a number of marketing directors phone me to ask if we should be pulling our advertising from the SABC – even though the SABC was the most-effective way to reach the market. It was a very tough call and luckily the situation improved before drastic action was forced.

Still ongoing is Independent Newspapers and its slide from newspaper to ownerpaper. Slipping readership, which will only be accelerated by this irrelevant content, will make the decision a lot easier for advertisers.

So, whether the content is publisher- or user-generated, the owners of old and new media need to be careful around the health of their environments. Advertisers will always be attracted to potential markets but will be increasingly asking that the content being consumed there won’t in any way damage their brands. The Facebook/advertiser relationship is showing the way. It really does come down to whether we can trust what Zuckerberg says or not.

 

Martin MacGregorMartin MacGregor (@MartMacG) is managing director of Connect, an M&C Saatchi Company, with offices in Johannesburg and Cape Town. Martin has spent 18 years in the industry, and has previously worked at Ogilvy and was MD of MEC Nota Bene in Cape Town. He contributes the monthly “Media Redefined” column, in which he challenges norms in the media space, to MarkLives.com.

— 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!

Cover Stories: Anxy, Luxe Noir, The Great Discontent, Vogue PT & Wet

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

  • International/print: Anxy poses the question, “How are boundaries defined?”
  • Local/print: Luxe Noir cultivates taste and style, focusing on contemporary art and design from Africa
  • Online: The Great Discontent uses interviews with industry stalwarts, thinkers and makers to inspire and inform the creative community globally
  • International/print: Vogue Portugal provides a restrained, enigmatic, and quiet portrait of fashion
  • Iconic: Wet invented an unconventional, nonconformist graphic language that went beyond the status quo

Find a cover we should know about? Tweet us at @Marklives and @shanenilfunct.
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Print

Heart-Love-Polygon-Geometric-Flat-Design-Icon-Illustration by lekkyjustdoit courtesy of FreeDigitalPhotos  Luxe Noir (South Africa), issue 2, 2018

Luxe Noir, issue 2, 2018

Published biannually and based in Johannesburg, Luxe Noir is all about the cultivation of taste and style. It focuses on contemporary art and design from Africa, using a variety of topics from fashion to travel. A magazine that functions on collaboration via an international network of creative professionals, Luxe Noir highlights brands, artists, craftsmen, designers and the like who are making a real difference on the continent. The second issue, themed ‘material and meaning’, explores the differing perspectives and approaches of artists and designers towards the subject of materiality in their work. In so doing, Luxe Noir presents a cultivated and layered narrative about Africa and its inspirational creativity, feeding off the diverse cultural heritage and rich traditions of the continent and the diaspora. The quasi-minimalist cover proves that black is never a bad choice.

 

Heart-Love-Polygon-Geometric-Flat-Design-Icon-Illustration by lekkyjustdoit courtesy of FreeDigitalPhotos  Vogue (Portugal), April 2018

Vogue Portugal April 2018, Saul Leiter 1960 and Christrian Boltanski 1990

The April 2018 issue of Vogue Portugal reminds one of the photographic installations and conceptual approach of French artist, Christian Boltanski, as well as the painterly, almost abstract expressionist, photographic language of New York artist, Saul-Leiter. The photographer for this cover, Branislav Simoncik, known for his editorial work for GQ and Elle, to name a few, certainly portrays a ghostly image of model, Jess Cole. With the support of stylist, Samuel Drira, and director, Dominika Svetikova, Simoncik’s work for this cover sees him make a slight departure from the editorial photography that he is noted for. Restrained, enigmatic, and quiet to say the least, it makes for a thought-provoking cover indeed.

 

Heart-Love-Polygon-Geometric-Flat-Design-Icon-Illustration by lekkyjustdoit courtesy of FreeDigitalPhotos  Anxy (US), issue 3, Spring/Summer, 2018

Anxy, issue 3, Spring/Summer 2018

In his book, Postmodernism, Or The Cultural Logic of Late Capitalism, Frederick Jameson suggests that anxiety, paranoia and schizophrenia are normal responses to the alienation caused by the media and consumerism in contemporary society. Here is a magazine with a similar approach. Not a scientific journal and in no way a self-help or motivational book telings you how to fix yourself, Anxy is a magazine with a simple message: “It’s okay; there are people who feel the same way as you do.”

Using factual stories, interviews, personal essays, and reported features that delve into the way we live today, Anxy attempts to expose the inner world of the human mind. Sharing various struggles and fears seemingly abnormal, Anxy exposes such feelings as utterly normal. The third issue, themed “The Boundaries Issue”, shows how boundaries define us as individuals and societies, signaling the question: how are boundaries defined? The cover is considered. Gradients are incredibly trendy currently, almost to the level of kitsch, but this cover is a rare, tasteful example among all the senseless, borderline vulgar, design out there with a similar visual language.

 

Online

Heart-Love-Polygon-Geometric-Flat-Design-Icon-Illustration by lekkyjustdoit courtesy of FreeDigitalPhotos  The Great Discontent (US), April, 2018

The Great Discontent online, April 2018

The creative mind may arguably, very loosely, be associated with narrative, or storytelling, in one respect and systems, or design, in another respect. In industries where storytelling and design are fundamental, which are paradoxically managed by strategists and accountants, it’s easy to become disillusioned and lose sight of the creative forest for the strategic trees. All too often, we forget that humans manipulate the (digital) tools, not the other way around, and we tend to disregard that people create the messages behind the pixels. In this world, where tools increasingly dominate the message, New York-based The Great Discontent (TGD) is a motivational magazine for creatives working within this industry milieu.

Available online and in print, TGD uses interviews with industry stalwarts, thinkers and makers to inspire and inform — from famous designers such as Adam J Kurtz to popular illustrators such as Gary Taxali. With over 130 long-form conversations already published, TGD offers rare, personal insights into the lives and work of trailblazers within the creative community. These interviews are supported by short features, podcasts, film-based projects and events to amplify the overall purpose of the magazine, collaborating with creative types across the globe, and the platform is open for all to contribute.

TGD Traveler is a compact companion to the larger-format print version and the more-organic online version of the magazine. Every issue contains four features, with the current issue, #2, showcasing Reggie Watts on the cover, who makes a point about improvisation as a pivotal quality for any creative mind.

 

Iconic

Heart-Love-Polygon-Geometric-Flat-Design-Icon-Illustration by lekkyjustdoit courtesy of FreeDigitalPhotos  Wet (US), 1976–1981

WET issue 1 May-Jun 1976, issue 14 Sep-Oct 1978, and issue 24 May-Jun 1980

Trailing a curious strapline, The Magazine of Gourmet Bathing, WET was an eccentric lifestyle magazine published from 1976 until 1981. Thirty-four issues were printed in all, starting with #1 as a four-page black-and-white zine. Wet had to extend its interpretation of bathing, eventually referring to many water-related activities, such as drinking water (or bathing from the inside), hot tubs and waterbeds, to name a few examples. After several format evolutions, an idiosyncratic graphic language was invented that rebelled against the grid so holy to the modernists of the late 20th century.

True to the times and existing parallel to the DIY, anti-establishment aesthetic of punk, Wet’s defiance of the grid would come to fruition over a decade later in the form of publications such as Ray Gun (highlighted in last week’s column). With its unusual spreads and ambiguous layout, Wet filled its pages with art, music and fashion, and tasteful advertisements for the local fashion boutiques in Los Angles, supported by small amounts of nudity. In so doing, Wet crafted a vernacular for the new wave in Los Angeles during the late ’70s and early ’80s.

The offbeat nature of the publication is captured in a quote from its editor, Leonard Koren: “WET is a magazine devoted to upgrading the quality of your bathing experience. Hopefully, in the great American tradition of Coca-Cola, doggie diapers and Pet Rocks, Wet will become one of the things you never imagined you needed until you find you can’t live without it.” Wet developed its notion of gourmet bathing to be synonymous with an unconventional, nonconformist existence motivated by an endless appreciation of difference that lies outside the realms of rationality, beyond the status quo.

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.

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

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SA TV Ratings: DStv — primetime top 30 for Apr 2018

by MarkLives (@marklives) The hottest primetime shows on DStv in South Africa revealed: TV ratings for April 2018.

DStv April 2018

BRCSA TV Ratings April 2018 primetime DStv
Click to enlarge to view clearly

Source: BRCSA April 2018

In 2016, the Broadcast Research Council of South Africa (BRCSA) changed its policy about giving away TAMS and now only monthly reports, highlighting the top 20 or 30 primetime shows on several popular channels, are available.

 

Broadcast Research Council of South AfricaThe Broadcast Research Council of South Africa (the BRC) is a non-profit, industry body that was incorporated in 2015 to cater to the audience research needs of the radio and television industry in South Africa.

— 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!

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