Elouise Kelly swaps SABC for Ogilvy Johannesburg

by MarkLives (@marklives) Elouise Kelly has been appointed managing director of Ogilvy & Mather Johannesburg. She replaces Alistair Mokoena, who recently became CEO for Ogilvy South Africa, leaving the position vacant.

Kelly is the former head of marketing at the SABC, where she managed 25 SABC radio and TV brands, a 130-person team and hit a R6bn commercial revenue target. Her media experience includes time as CMO/VP of marketing for ON Digital Media (TopTV), head of editorial (Africa) for MTV Networks Africa and business unit director at Jupiter Drawing Room. She was also senior manager for brand and comms at MTN Irancell.

Chief delivery officer

Ogilvy South Africa also announced the appointment of Tracey Edwards as chief delivery officer. Edwards joined Ogilvy & Mather in 2001 as an account director, rising through the ranks of account management until she reached the position of deputy MD of Ogilvy Johannesburg.

Edwards’ various portfolios have included clients such as Coca-Cola, Unilever, Kimberly-Clark, Mondelēz, Avis, Investec and Brand KFC, leading the KFC brand for 12 years before been promoted to deputy MD. She also handled the acting MD role at Ogilvy Johannesburg, following Mokoena’s promotion to CEO.

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Cover Stories: Thoughtfulness in design (6 Apr 2018)

by Shane de Lange (@shanenilfunct) Let’s delve into great media design from South Africa and around the world:

  • Online: Magasins Genergaux is a catalyst that connects various creative types with businesses and the greater public in an effort to stimulate cultural growth
  • International/print: Metropoli takes its cue from Steven Spielberg, cleverly playing with intertextuality, semiotics and visual appropriation
  • Iconic: New Media was a once-off proto-punk precursor to neo-dada that helped define the avant-garde publications during the ‘70s
  • Local/print: Stet deifies traditional perceptions of Afrikaanerdom during 1980s’ apartheid
  • International/print: The New York Times For Kids recalls warm childhood memories from old comics and classic cartoons that are just as appealing to kids today

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

The New York Times For Kids (US), March/April, 2018

A very cool publication, this New York Times for children. The cover artwork is by Gary Taxali, who appropriates and updates old-school illustration styles, reminiscent of antique packaging design and advertising art from the mid-20th century, particularly the ’30s, mixed with elements from vintage comics and classic cartoons. Retro, animated and textured, Taxali’s work finds common ground with other contemporary low-brow street artists who’ve emerged into the mainstream of high-brow art and design, such as Barry McGee and Steve Powers. Great to see big publications display good taste in an accessible and approachable way.

 

Metropoli (Spain), 29 March–5 April, 2018

Metropoli, 29 March-6 April 2018

An interesting conceptual approach taken here by art director, Rodrigo Sanchez, with cover art by Josetxu L. Piñeiro succinctly illustrating the plot to Steven Spielberg’s ’80s-revival science fiction blockbuster, Ready Player One. The movie makes bold textual references to Spielberg’s earlier contributions, including Jurassic Park and Back to the Future. The cover is suggestive of the film’s story, a future where it is normal for people to escape their city-slums into a virtual universe, where one “can do anything, be anyone, without going anywhere at all”. It’s a video gaming reality, all remixed and mashed-up. Gaming nostalgia and a bunch of intertextual references from the ’80s, gaming culture, and science fiction are suggested here by a cleverly appropriated aesthetic, using similar visuals to the classic Nintendo Gameboy game, Tetris, with its pixelated, retro, 8-bit graphics, allowing the reader to enter a playful visual narrative.

 

Online

Magasins Généraux (France), April 2018

Magasins Generaux online, April 2018

Exploring the potential of creative cross-pollination as an effort to rattle the limbo that contemporary culture may be experiencing, Magasins Généraux (meaning General Stores) embraces the various ways that people may be connected. Stemming from a belief that everybody has an innate responsibility towards the development of culture, from businesses to creatives, the magazine advocates collaboration, with the help of partner institutions linking people to businesses and creatives based on their respective projects. The aim? To generate fresh cultural content not restricted to form or format, media or medium, consisting of a variety of different creeds, from artists and designers to dancers and chefs.

As a catalyst meant to connect various creative types with businesses and the greater public, Magasins Générgaux’s website is exemplary, sporting off-beat art direction, cascading layout, and content accented by a subtle use of parallax scrolling. Even the graphic and typographic tenets of the site maintain a low-brow frequency, seasoned with a smidgen of anti-design randomness. It allows one to gain access to all the elements that make Magasins Générgaux what it is, including events, residencies, publications and editions. That the cursor turns into a graffiti-like spray paint effect is a neat addition, giving the site an overall brutalist edge with a bit of bohemian design flare. French ad agency BETC is responsible for this platform.

 

Spotlight on the past

Stet (South Africa), issue 1, 1982

Stet Tydskrif, issue 1, October 1982

Deriving its name from a printing term meaning “let it stand”, Stet was an important avant-garde publication during 1980s apartheid South Africa. Oriented towards leftwing politics, Stet formed part of the resistance press and filled an obscure position within the ranks of Afrikaner orthodoxy, as it took an openly anti-apartheid stance. This ran counter to the dominant Afrikaner narrative of the time. Stet was a dissenting, rebellious voice written in Afrikaans, which emerged as an alternative stream during the ’80s, reconfiguring common reflections of traditional, Christian-National Afrikanerdom.

Edited by Gerrit Olivier and Tienie du Plessis, who also designed the so-called ‘little magazine’, Stet was in print for a decade, 1982–1992. Rooted in subversive literary traditions, Stet served to manufacture dissent, advocating reaction against apartheid. The masthead of the magazine was Du Plessis’ own handwriting. The cover copy for the first issue reflected the disillusionment that the editors had due to apartheid, which was largely supported by the dominant Afrikaner culture of the time. This tone is clear with statements on the cover such as “teen apartheid, teen sensuur” (meaning “against apartheid, against censorship”).

Stet was also a stepping stone for a young Anton Kannemeyer (of Bitterkomix fame), as it published a few of the earliest Bitterkomix comics, all with anti-conscription as their core message, undermining the apartheid regime from yet another angle.

 

Iconic

Mixed Media (Germany), #0, 1969

Mixed Media, issue 0, March 1969

Mixed Media was an avant-garde periodical based in Dusseldorf, Germany, during the late ’60s that injected an ad hoc parodic edge to the traditional newspaper format. Produced by German radio play author and artist, Ferdinand Kriwet, the publication exploited the sensationalism that newspapers still use to attract readers, rerouting this energy to shine a spotlight on various art happenings and concrete poetry. With its bold use of typography and its classic red, black and white palette, Mixed Media took a ‘readymade’ format and turned it into an anarchic gesture that pre-dates the improvised, DIY aesthetic of many of the neo-dada and punk zines during the ’70s.

Although the periodical had only one issue — because it was a parody, defiantly editioned #0 — and is hardly remembered today, its existence almost certainly influenced the production of later anti-establishment, anti-aesthetic, underground and avant-garde publications. Its subversive use of typography and layout design is important to mention, and could easily stand up to contemporary examples today. A proto-punk precursor to neo-dada, if you will.

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: SABC 3 — primetime top 20 for Feb 2018

by MarkLives (@marklives) The hottest primetime television shows on SABC 3 in South Africa revealed: TV ratings for February 2018.

SABC 3 February 2018

BRCSA TV Ratings February 2018 primetime SABC 3
Click to enlarge and view clearly.

Source: BRCSA February 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 Africa

 

The 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.

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Clicks n Tricks: Optimising for voice search

by Charlie Stewart (@CStewart_ZA) Here is some practical guidance on how organisations may optimise their sites to improve their chances of featuring in voice search results. This follows on from earlier this year, when I wrote about the growth of voice-enabled devices, unpacked how these are changing search behaviour and looked at the implications of this for publishers, brands and marketers.

Mobile-first

Most voice searches take place on mobile devices. A poor mobile experience will not only hinder your chances of ranking but, if people are directed to your site, the chances are they will either bounce straight off it or show lower engagement metrics than would be the case if they were visiting from a desktop.

As engagement metrics are baked into Google’s algorithms, giving your visitors a bad experience will jeopardise your future ranking potential. Beyond this, Google’s been pushing a mobile-first agenda for a few years now and will continue tweaking its algorithms to favour sites that perform well. If you want to see how your site runs on mobile, Google’s Mobile-Friendly Test and Site Speed Test are great tools to see how you can improve your mobile experience.

But optimising for voice search is about much more than just having a responsive design. You need to understand what your potential audience is looking for.

Check your keywords

Google’s just updated the functionality contained in the new beta version of its Search Console and now provides a fair amount of detail around the queries that bring people to your site.

Analysing these terms and their ranking positions will help you brainstorm other related queries that could push traffic. As voice queries are typically longer than text search, you should be thinking more about conversational long tail keywords.

Natural language spoken questions may be hard to nail down but tools such as Answer the Public allow you to dig deep into user intent by focusing on question starters, such as who, why, what, where, when and how.

Position zero

Many voice searches seek quick answers and, increasingly, Google’s providing these in its knowledge graph section (the one that looks like a Q&A concertina when running a search such as how many provinces in South Africa). The knowledge graph is often known as position zero as it appears above conventional listings — and it features heavily in voice results.

To improve your chances of appearing there, it’s crucial that you consider user intent when structuring your site and your content. One of the best ways to do this is to preemptively answer questions; you could do this by creating a series of pages, each addressing a particular topic by providing short punchy FAQ style responses to a range of typical questions your audience is likely to have.

Keep it local

Many voice searches are location-based.

If you run a restaurant chain, tyre franchise or any business that serves customers from its premises, you need to claim your local listings. These are the map-based results that often feature at the top of the page when people search for nearby businesses.

Head to Google My Business and put in as much information as you can. Try to be as specific as possible with your categories to increase the chances of appearing for the right voice search. You should also check how your name, address and phone numbers appear in other listings across the web and edit these to ensure that the same information is always used.

If you run a multi-site operation, Google has an API that allows you gather and approve information from all your branches.

Scheme your schema

Schema, and its associated microdata, provides search engines with lots of additional information about websites and is particularly valuable when you’re trying to boost your visibility around conversational or location-based queries.

However, schema (or any other structured markup format) is complex to implement and, as markup has to be added manually to each page, it can be a lot of work for large sites.

If you’re new to schema, you’ll find this guide very useful and, as with many of the other suggestions in this column, Google has a great tool to help you test your structured data.

Act today

Conversations about voice search strike up a range of emotions and reactions in the people I talk to. Some are frightened at its potential impact and others are bamboozled at how to optimise for it, while quite a few are sceptical as to its value.

The cynics do have a point — at the moment the majority of voice interactions are commands (play music, call so and so) rather than searches but, as we become more accustomed to having conversations with our devices, our searches will become more relevant to businesses touting products and services we’re interested in.

Starting the voice optimisation process today will create significant first-mover advantage and will position you well for the new frontier of SEO — one that, in the next couple of years, will see more than half of all searches conducted without a keyboard and screen.

 

Charlie StewartCharlie Stewart (@CStewart_ZA) is CEO of Rogerwilco, a multi-award-winning independent digital agency best known for its expertise with Drupal, SEO and content marketing. A Scot by birth, he moved to South Africa in the early 2000s in his quest to support a winning rugby team — a search he’s reluctantly forsaken. Together with Mark Eardley, he co-authored Business to Business Marketing: A Step by Step Guide, (Penguin Random House, 2016) and may be found on LinkedIn. Charlie contributes the monthly “Clicks ‘n Tricks” column, which looks at how brands are using digital channels to engage their customers, to MarkLives.

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B2B Customer Centricity: Moving from lip-service to full service

by Mark Eardley (@mdeardley) Laura Ramos is Forrester’s VP and principal analyst serving B2B marketing professionals. In my next few columns, I’ll be asking her about customer-centricity — why it matters; how to achieve it; the results it produces for sales and margins; and the reasons that it does that.

In January 2018, I reviewed a Forrester report about its predictions for B2B in 2018. Heading the list was the assertion that ‘B2B marketers will put customers at the core of their purpose’. My series of Q&As with Ramos kicks off by examining that statement.

Back2Basics: It’s not just marketers who need to put customers at the core, is it? Shouldn’t customers be at the core of everyone’s purpose — shouldn’t every element of the business be customer-centric?
Laura Ramos:
Absolutely! But, as obvious as the answer might sound, we continue to find that many B2B marketers are caught up in net-new customer acquisition and sales enablement activity that takes attention and resources away from the people that really matter, your buyers. We conducted a major survey in 2017 to understand what it really takes to be customer-obsessed, not just customer-aware. We found that the majority of B2B companies have not progressed very far: 65% of the B2B companies we assessed fell into the two least-mature categories on our customer-obsessed maturity scale.

Forrester Research - Customer Obsession Maturity IndexIt’s no longer sufficient to be customer-aware; today’s successful businesses must lead with the customer in all the decisions and actions they take.

B2B: To justify a customer-centric approach to those decisions and actions, what’s the goal of being customer centric — what does it yield in business benefits?
LR:
Our customer obsession study yielded some very interesting and important results. Companies that obsess over their customers — which we defined as “an enterprise that focuses its strategy, operations, and budget to enhance its knowledge of and engagement with customers” — fare better on key business metrics than their less-obsessed peers. Customer-obsessed B2B firms are more likely to have happier employees and more loyal customers by a wide margin:

  • Employees at 93% of customer-obsessed firms say they are happy to work at their firm compared to only 20% who say the same at customer-naïve companies.
  • 95% of customer-obsessed companies say their customers are satisfied with their products and services while only 46% of customer-naïve can say the same.
  • 93% of customer-obsessed firms believe their customer like doing business with them while just 41% of their customer-naïve peers can say the same.

Most importantly, customer-obsessed companies are more likely to outperform on their revenue goals when compared to less-obsessed peers: 42% of customer-obsessed firms said their revenues grew by 10% or more when compared to the previous fiscal year. Just 18% of the customer-naïve, and only 23% of the customer-aware firms posted similar results. That is the type of result that both the CEO and CFO will notice and appreciate.

B2B: In other words, being truly customer centric is demonstrably good for business. It boosts employee morale, raises customer satisfaction and increases sales. I’d also bet that it strengthens margins. So, on the road towards becoming customer-centric, how important is it that everyone agrees that customers are the most-critical component of the business?
LR:
It’s hyper-critical that every customer-facing employee put customers at the core of their purpose. It’s less important for those who do not directly interface with customers on a regular basis — but, as our research shows, knowing more about your customers better aligns everyone with the company’s purpose and goals. And it makes all employees happier to work at a company that knows and values its customers.

B2B: I’d suggest that everyone who affects the customer experience (not just those with a direct interface) needs to accept that customers are at the core of their purpose. Do you see securing genuine agreement on that point as the major obstacle — the Big Barrier — to becoming customer-centric?
LR:
I’m seeing that genuine agreement is essential but there are bigger obstacles. A lack of fact-based customer knowledge and not taking actions that focus on the customer first is keeping most companies from progressing from customer-naïve to customer-obsessed.

B2B: How can B2B organisations break through the barriers? What’s the starting point?
LR: First, increasing your customer knowledge must happen through both data and experience. Companies need to invest in not only cleaning up and improving their customer data but also adopting the discipline of customer data management. Marketing in particular must adopt, internalise, and share a new mindset focused on customers. Breaking through requires marketing — and the rest of the organisation — to become more human, helpful, and handy in its communications and interactions with customers.

B2B: Once the rest of the organisation acknowledges the benefits produced, how can a business best frame and implement a plan, a roadmap, that clears a path towards becoming customer centric?
LR: Companies encounter different barriers at different stages of their maturity. These barriers need to be addressed to move to the next level up on the maturity scale. For example, we found customer-naïve B2B companies have a hard time getting stakeholders to work together and do not work well across business units when solving problems. They are overly cautious, outdated, and slow-moving: A mere 16% have executives who take risks, 14% have ones who invest aggressively in new technologies, and 4% have ones who act on innovative ideas quickly. At these firms, marketing must sound the warning bell loudly that a turnaround is essential. We recommend that these firms take three steps:

  • Clean up messy data so they can get serious about really knowing their customers
  • Deliver insights along with lead information to sales
  • Work closer with sales to build programmes that target ideal customers, not just any customer.

In contrast, customer- committed B2B companies (the third highest on our scale) over-index on most aspects of customer obsession:

  • 89% have a strong understanding of what their customers want
  • 90% prioritise customers’ needs over efficiency when making product or process decisions.

The difficulty here is to move outside of marketing and challenge the rest of the organisation to become more concerned with customers’ needs. This happens when they:

  • Shift their revenue-generation practices from pipeline performance to customer engagement
  • Use analytics and insights coming from these tools to guide which actions to take with specific buyers
  • Use account-based marketing (ABM) to drive deeper engagement with prospects and customers alike.

B2B: In moving towards being customer-centric, what milestones need to be set and how may progress be measured?
LR: To reach the goal of becoming customer-obsessed, B2B firms must know where to start. Based on Forrester’s robust survey data and regression analysis, we’ve published a diagnostic tool that will tell you where you score on your journey toward customer obsession. B2B marketers should complete Forrester’s diagnostic across all marketing functions first, and then share it with sales, customer success management, service, and other customer-facing functions. Differences in cross-functional perceptions will add insight about your current state, and — although politically difficult to do — exposing the differences is a necessary first step to improving every department, not just those that lag behind.

From there, you need to plan your next steps — milestones, if you will — based on which operational levers you can pull most easily. Whether it’s talent, processes, technology, metrics, organisational design or culture — start with the levers that are easiest for you to pull in the next 30, 60, and 90 days to show immediate impact and gain broad organisational endorsement.

B2B: Who needs to be the custodian of the roadmap and the results achieved along the way? In other words, who drives the business from merely paying lip-service to customer-centricity and turns it into a business-benefitting reality?
LR:
Becoming customer-obsessed is a transformational change. It will fundamentally reset day-to-day operations and rearrange marketing activities. It will affect the structure, talent requirements, process change, technology investment, and metrics across the business. But ignoring the problem or worrying about all the potential places where failure lurks won’t make the task of becoming customer-obsessed easier to tackle. We believe characteristics like imaginativeness, storytelling skills, customer insight, and communication expertise make marketing the right function to lead a customer-obsessed transformation. CMOs should not delay and our best advice is to just begin: Declare that you intend to become customer-obsessed.

That’s more than a marketing campaign. It means telling the story — to shareholders, employees, and customers — that you believe that customer obsession is the right path forward and that they will soon see the proof. Convene a series of focus groups including executives, customer success managers, advocate customers, and creative writers or agencies to talk about your journey to customer obsession using storytelling elements and narrative.

  • Following this overview of benefits derived from centricity and ways to secure them, we’re going to look at how a centric approach enables B2B companies to: differentiate themselves; identify the key audiences for their marcoms; target those audiences; and measure outcomes. Next up: “B2B Customer Centricity: How it differentiates you from competitors and why this matters.”

See also

 

Mark EardleyMark Eardley (@mdeardley) advises B2B companies on how to govern their marketing to attract and retain profitable customers; several of his clients have grown to become market leaders. He and Charlie Stewart have written Business-to-Business Marketing: A Step-by-Step Guide (Penguin Random House), which offers practical, actionable advice on how to make marketing make money. His monthly “Back2Basics” column covers how B2B companies and their agencies should manage their marketing.

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Fair Exchange: The basics of the personal brand building journey

by Erna George (@edgeo23) Why work in brand management if you don’t have a need to progress — to learn, grow, understand people and have an impact on the world of brands? The allure of a pay cheque, title and sexy brand events might not be enough of the drawcard, especially in the longer term. Progression is a factor of delivery, excelling at your craft and having a positive impact on business and brand growth and, most importantly, mapping these into your brand journey to drive for success.

How many young people and new entrants to the business world understand what gets them the accolades and the forward trajectory in their careers? Do they understand the nuances of interactions and the unwritten rules of engagement? More and more often, I encounter naïve, cocky or entitled individuals floating in and out of interviews and other interactions who’re oblivious to how their attitude and approach impact their credibility and journey towards being great leaders of the future.

What gives your brand credibility is a level of substance that comes from a few elements and the nuance of each — so intellect is great but you need to be savvy to employ book-smarts in the best possible way. And, because so many are too afraid to ask and are more comfortable speaking via technology or too sure they know what’s best, they’re not actively crafting the path to greater heights.

If you’re in it to grow, here are only some of the considerations to giving Brand You credibility and progressing. The critical thing is to tailor these to your own brand and craft your journey for maximum positive impact.

1. Intellect vs savviness or IQ vs E.

This is your brand’s functional and emotional benefits, for want of a comparison. The reality is that many businesses have psychometric tests that may check for mostly intellectual ability, and fit with organisation may be checked with some values measures. However, there is little in the way that may absolutely check EQ or savviness within the business environment and relationships. This is something that you learn not only over time as experience is gained but also within the context of each organisation. You’ll find that navigation of various challenges, projects and day-to-day interactions becomes easier as the tools in your arsenal grows (experience).

The context of the organisation is an element of which you need to be cognisant, as culture impacts responses and approaches. Interaction, conversation and questions are critical. Observe others and you will soon notice patterns in how various approaches deliver different outcomes. Sit at your desk and write emails, and you’ll miss the nuance of tone and culture.

It is a minefield but politics of an organisation will impact your world, how smooth and how you navigate your brand journey. It will teach you when to say what for the greatest impact. This isn’t about changing who you are; it’s knowing how to operate to move forward most efficiently within your ‘marketplace’ — the office.

The other area where savvy is critical is in relationship-building: building connections between your brand and the business (from a selfish perspective, getting what you need and leaving organisations when relevant with relationships still intact).

I remember a conversation with a young ABM about getting a raise outside of review period, as they believed they were earning too little. The naivety of this statement caught me off guard as the person (who’d been working for four years already) truly believed it was just a matter of asking for a salary increase. On other occasions, I’ve observed people leave under less than forthright circumstances, such as just sending a resignation letter over mail or signing on a new role with a different department without a conversation. This shows neither emotional maturity nor indicate good connection between your brand and the business.

Yes, it’s tough to have forthright conversations but if your logic and rationale are strong and the benefits to you are clearly not available in the current team, few people will hold you back and, if they hold a grudge (if they have low EQ), they will get over it and see the factual point of view in time. If you burn bridges, it’s likely that you will encounter that person at some stage and, if they can’t trust you, it’s unlikely that they will give you another opportunity — people divorce brands they don’t trust.

Find a mentor to discuss these things with and practice conversations. You don’t have to give all the details but you do have to address people and circumstances to reflect a savvy and street-smart individual who one day can handle the press or shareholders — just imagine.

2. Depth vs breadth

Whether you work across a number of brands lightly or in depth on one or two, you’ll need depth and breadth to progress.

In my career I started with depth: I learned everything about the cheese brands I worked on — how the factory worked, how costs moved and their impact, how communication and shopper within the dairy and fridge section of supermarkets worked, how consumer research worked, etc. I stayed for a while and then I knew how to apply the rules of the game to my next brand management position.

If you start with breadth, you’re likely to quickly be able to see portfolio thinking and how to employ various strategies to win.

There’s no right or wrong start but, without depth of understanding of value chains and how communication or the trade works, you won’t progress easily. Without breadth of being able to manage portfolios or prioritise multiple resources for great effect, you’ll be lost. You need both. So, be patient as is doesn’t happen overnight, and be considered and methodical in constructing your career to gain this, even if some sections bore you.

This crafting has potentially the most long-lasting impact on Brand You. It may determine the path you travel. A flighty brand person doesn’t leave CMOs feeling safe.

3. Understanding what’s in it for your brand vs the business (your consumer)

Entitlement is a word that we hear especially often in South Africa and I’ve seen many expressions of entitlement across areas I’ve worked in. I enjoy developing people, in particular seeing the penny drop regarding how to manage the politics of place for progression. This was a struggle for me and, selfishly, the faster people get it right, the faster they’re able to own more projects and responsibility.

This is all about a two-way relationship and benefit stream between your brand and the business. I’ve offered various team members time to be coached or to check-in as a sounding board and always I say to them, “It is up to you. Set up time.” Some take the baton while others expect me to drive this interaction. Other delegates request significant salary increases with progression without understanding their abilities or contribution levels. Try selling a 70% price increase to a consumer for a similar or the same product — why should businesses accept this? Is what you’re offering worth it? Whether expectations are driven by a sense of entitlement or naivety, they don’t reflect well on how your brand is experienced over time or remembered.

Mapping

Mapping your journey through the world of business is the same as mapping the roles of the brands you manage and their journeys within consumers’ worlds.

  1. Understand the context so you can apply booksmarts within your space — your degree doesn’t win you success in a management position
  2. Cultivate depth and breadth for better marketability — this requires time
  3. Be clear on the benefit you’re delivering and what you require from the business if the one outweighs the other, the relationship will crack

Progress of your own brand is in your hands.

 

Erna GeorgeAfter starting at Unilever in a classical marketing role, Erna George (@edgeo23) explored the agency side of life, first as a partner at Fountainhead Design, followed by the manic and inspiring world of consultancy at Added Value. She has returned to client-side, leading the marketing team in the Cereals, Accompaniments & Baking Division at Pioneer Foods. Her monthly “Fair Exchange” column on MarkLives concerns business relationships and partnerships in marketing and brandland.

— One subscription form, three newsletters: sign up now for the twice-weekly MarkLives newsletter, including Ramify headlines; The Interlocker, our new monthly comms-focused mailer; and/or MarkLives Zambia!

First-ever Ciclope Africa finalists announced

by MarkLives (@marklives) The Ciclope Africa shortlist finalists have been announced. The festival will announce the overall winners in each category on 10 April 2018 at the Zeitz MOCAA Museum of Contemporary Art in Cape Town.

Finalists are a collection of the three best-ranked entries in each category based on scores provided by the jury members. The winning Grand Prix and best works in each category will receive an automatic entry as finalists into the flagship annual festival, which will be hosted in Berlin later this year.

Special categories

Category

Title

Entrant company

Client

Live Experience More Music You Love Bioscope Films Jacaranda FM 94.2
Long Form Above the Noise Park Pictures Beats by Dre
Long Form Bheki the Mbhaco Maker FCB Joburg (Pty) Ltd South African Tourism
Long Form Baby Marathon The Star Film Company Huggies
Long Form Absolut Onesource Egg Films
Low Budget #BreakingBallet No. 5 – Rain Dance Darling Films Darling Films
Low Budget #BreakingBallet No. 6 – Januworries Darling Films Darling Films
Low Budget Adam Groundglass Fever Dream Films
Low Budget Between Man and Child Groundglass N/A
Low Budget The Voice ‘Mechanic’ Bioscope Films Bioscope Films
Music Video Biggest Curse Ola Films Original Swimming Party ft. Moonchild Sanelly
Music Video How Did We Get So Dark? Orange Films and Riff Raff Royal Blood
Music Video Notget Wicked Pixels Bjork
Production Services Moments Orange Films Volvo Cars
Production Services Stuntman Moonlighting Commercials Tangerine
Production Services The Deep Stillking Films Cape Town Sheraton & Westin

 

Brand content

Category

Title

Entrant company

Client

Animation African Festive Masters & Savant DStv
Animation Testi-monial’s Darryl’s Right Testicle Bioscope Films CANSA
Casting Be Indie Bioscope Films Indiefin
Casting Carling “No Excuse” 0307 Films SAB Carling Black Label
Casting Hornbach Farm Film Production Hornbach
Casting Icelandic Boy they Chicken Licken
Casting VW “On the Road” 0307 Films VW
Cinematography Above the Noise Park Pictures Beats
Cinematography Be Indie Bioscope Films Indiefin
Cinematography Hollywood To Your Home Groundglass Panasonic
Cinematography Horse Call a Crew SAB
Cinematography Nedbank “Birds Eye View” 0307 FIlms Nedbank
Cinematography W2018 TVC -Samsung Fabian Vettiger Samsung
Direction (90 sec and over) I Do It For… The Star Film Company Nedbank
Direction (90 sec and over) Icelandic Boy they Chicken Licken
Direction (90 sec and over) NSRI – My Dad ROMANCE National Sea Rescue Institute of South Africa
Direction (90 sec and over) Original is Never Finished III RSA Films Adidas Originals
Direction (90 sec and over) VW “On the Road” 0307 Films VW
Direction (under 90 sec) Because its your money The Star Film Company Coronation Asset Managers
Direction (under 90 sec) Nedbank “Birds Eye View” 0307 Films Nedbank CIB
Direction (under 90 sec) Prodigy Figment Films Telkom
Direction (under 90 sec) Sanlam “Settle” 0307 Films Sanlam
Direction (under 90 sec) VW Polo – Red Flashy Thingy ROMANCE Volkswagen
Editing Apocalypse Now Now Left N/A
Editing Here’s To The ‘US’ 2+3 Post Productions Tusker
Editing Story Carbon Films Nederburg
Original Music OneSource Egg Films Absolut
Original Music “No Excuse” Pulse Music SAB Carling Black Label
Original Music Rivalry Figment Films ABSA PSL
Original Music Here’s to Us Groundglass Tusker
Production Design Hollywood To Your Home Groundglass Panasonic
Production Design L’aventure d’une Vie Gatehouse Commercials Leroy Merlin
Production Design Life Support Stillking Films Cape Town Sunny

For more, go to africa.ciclopefestival.com.

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Shelf Life: Black River creates a Darling campaign for Wonga

Cheryl Hunter (shelflife at marklives.com)’s weekly pick of all things new — product, packaging, design, insight, food, décor and more!

  • Wonga expands its product range
  • In Touch Media rebrands
  • #GetBubblified with Cadbury Dairy Milk Bubbly

Winning with Wonga

Short-term financial lender, Wonga Finance South Africa, has launched an ATL campaign introducing its new instalment loan product in a continuation of Wonga’s “It’s never just a loan, is it?” campaign, which kicked off the brand’s repositioning strategy in 2016.

Taryn Schmidt, Wonga SA head of marketing and communication, says the ad was inspired by unscripted customer testimonials on what they’d recently used Wonga loans to achieve: “The brief to Black River F.C. was to create a campaign that would highlight that Wonga’s new Flexi Loans is more than a provider of easily accessible short-term loans but rather a company invested in its customers and their financial wellbeing.”

The TVC, directed by Darling Films’ Jono Hall, is based on the insight that some things are hard to pay back — a gesture, family support or an act of kindness are just some examples.

“We used this premise to tell stories of people who wanted to show their appreciation for others who helped them throughout their lives, and how a loan from Wonga enabled them to do so. What sets us apart from our competitors is simple: ‘empathy’. Understanding what customers’ aspirations are, and what lies beneath those, is imperative for storytelling that cuts through.”

The campaign launched digitally and on TV in March 2018.

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Growing brands (and trees)

Out of home (OOH) advertising agency, In Touch Media, has rebranded after switching to an advertising agency model two years ago, sporting a fresher, more-modern corporate image and including a sustainability message in the new look.

In Touch Media CISays Margie Carr, In Touch Media managing director, “Now that we are a fully-fledged agency, having spent the past two years adapting to the changeover, we thought that it was the perfect time to reposition ourselves. Along with the tree in our branding, we conceptualised the slogan ‘Growing Brands’ and decided that it would be nice to give back to the environment at the same time and leave a living legacy for each new client campaign we sign up during the year.”

Taking the lead from the eco-friendly influence and colour palette of its new CI, Carr has pledged to support the South African Reforestation Trust by purchasing a tree for each signed media schedule received this year (01/03/2018 to 28/02/2019).

Designed by Maxine Montgomery of One Creative Design, the new CI was inspired by the in-house team who believe that, as a specialist agency contributing to the growth of brands and the industry, they needed to reflect this in their own branding and corporate communication.

Montgomery says: “The brief was to create something young, fresh and modern, with an eco-conscious edge, which is where the colours come in. The light green stands out and brings a refreshing and energetic feel to the branding while the grey brings in some balance and authority. “The ‘Green 2018’ tree stamp on the logo was inspired from the support of In Touch Media to the South African Reforestation Trust by purchasing a tree for each signed media schedule.”

These trees will be planted at the Women Presidents’ Organisation (WPO) Plant a Forest site on the Klein River Cheese Farm near Stanford in the Western Cape, which forms part of the SA Reforestation Trust’s mission to enhance the biodiversity in areas of the Cape.

intouchmedia.co.zaFacebookTwitterRamify
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saforesttrust.comFacebook

 

Beatboxing with bubbles

Cadbury Dairy Milk Bubbly is encouraging fans to #GetBubblified with the launch of its new lighthearted TVC and playful product packaging.

The Bubbly commercial captures a moment in an elevator between a young man and woman. As in most elevator rides, there is an awkward tension in the air with the strangers standing in silence, waiting to reach their destination. The woman then rummages through her handbag for something to save her — pulling out a bar of Cadbury Dairy Milk Bubbly. She breaks off a piece and pops it into her mouth; her cheeks puff up and she lets out a loud ‘boooom psssht’ as she starts beatboxing. She then shares a piece with the guy, who follows suit.

The commercial also introduces its audience to the new packaging, which builds on the brand’s on-shelf differentiation.

cadbury.co.zaFacebookTwitter

 

Cheryl HunterShelf Life is MarkLives.com’s weekly column covering all things new. 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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The wrong of gender equality goes right

by Sam Swaine (@samswaineThis is not a diatribe against men and this sentence shouldn’t evoke the same response as someone saying “relax” when you’re in a white rage (or, similarly, “don’t move” when you’re in a game reserve). This rhetoric is intended to be a balanced review highlighting a topical subject matter in which both men and women are participating and taking a proactive stance in stamping out gender inequality (thanks, Harvey).

Pay gap

It recently came to light that JWT UK’s pay gap favours men by 45%, according to a survey conducted by WPP, highlighting the controversial issue of gender equality in the media industry and beyond.

The marketing approach to men vs women has become an inaccurate science. Specifically, with regards to the media industry, women perform the same jobs as men, which require the same responsibility and execution — yet, when it comes to cost to company, they’re generally (according to the abovementioned survey) included as a more-economic option. But both genders pay the same amount for a bag of groceries, a car or an eyelash tint, the last time I checked.

Why is it that women in media as a holistic industry have to fight so hard against gender bias and pay equality?

Freethebid.com

A global movement called freethebid.com has arisen, an initiative that is spearheaded by women and men encouraging advertising agencies and production houses to take a ‘chance’ on women in the media industry. According to research on the website, global statistics cite that there are less than 3% of female creative directors worldwide and, furthermore, less than 7% of female directors. The industry needs a sharp awakening when it comes to women’s capabilities and decision-making processes as being equal and effective.

But the news is not all bleak. Men are playing a critical role in exterminating the outdated perception that women are considered in any way less valuable in the workplace, and are taking the podium in joining the misconception to expunge the pernicious trend of gender inequality. Men across all networks and industries are working collectively and individually towards advancing gender justice and equitable relationships. Diversity in the workplace is becoming a glaring issue; if anyone in any industry thinks there is any kind of meritocracy in any socio-economic environment, I’d advise them to begin smoking their socks.

Just as with racism, homophobia or religious discrimination, it’s not just the disenfranchised who must fight the good fight. The approach must be one of collaboration and inclusiveness.

Critical role

Gender equality finally taking centre stage has been a long time coming and, with all of us working in such an influential industry, it means we need to take a pervicacious stance to eradicate the misperception that women aren’t as capable as men. As marketeers, we play a critical role when it comes to setting the public agenda and this is going to require a cross-gender effort. Namaste.

 

Sam SwaineSam Swaine (@samswaine) is an independent marketing, PR and digital strategist. She also writes for other publications with a focus on arts and culture and emotional wellbeing.

“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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