Hidden Figures: Kgomotso Seabe

by Musaba Kangulu (@ThatTypeOfMoose) It gives me great pleasure in celebrating an unsung heroine who believes a woman’s voice should never go unheard in the workplace: Kgomotso Seabe (@Kg_Koosh). Read more about her in this interview and consider taking it one step further by connecting with her.

It goes without saying there’s a new wave of brand managers who’ve developed an understanding of the new environmental context, and the role brands are now being asked to play in society. What kind of questions does one ask a young woman who’s managed to shake up the corporate industry as brand manager for one of South Africa’s most-loved and well-known beer brands, Amstel? As if that isn’t enough, she’s also the founder of Sneakers Only, a brand experience collective bringing together local music with urban culture.

Musaba Kangulu: With the rise of transformation in the corporate sector, has the industry done enough to empower women?
Kgomotso Seabe:
I think in a lot of sectors there has been an active movement to empowering women with tools and opportunities to break into an industry, eg engineering and technology. However, I think that the marketing and advertising industries significantly lack tools or programmes that “open up the industry” for women. We still have a long way to go to provide spaces that empower women.

MK: As a woman, have you had to make any compromises in order to fit in and, if so, at what cost?
KS:
I have been privileged to be a part of organisations where I have never had to compromise anything to fit in. But this is also in my nature — I’m not a very malleable person in terms of my character.

MK: As a young woman and woman of colour, what are some of the common challenges you’ve had to overcome and still face today?
KS:
Most of the challenges I have faced are from suppliers or agencies — which are predominately run by white males. As soon as they walk into the room and see me, there is an immediate assumption of incompetency.

It is always difficult to be heard or to be looked at as an asset in the room, but I have to remind myself that I’m not in the room because someone wanted to give me a chance; I am in that room because I am good at what I do and I know that I add value.

MK: Can you recall a moment where you felt belittled or victimised in your working career and, if so, how did you counteract against that?
KS:
There have been many — as mentioned above. I usually make sure that I have as many facts, [and] I hold onto email trails, so that no-one can catch me unawares. It is important to back yourself and have people in the room [who] back you.

MK: Why do you feel gender equality is taking so long to achieve?
KS:
Gender equality in the workplace is taking long to achieve primarily because of who the gatekeepers of the industry are. I always note that it is important to have people who look like you in positions of power — but, if you walk into an agency or you walk into a marketing department of a corporate, your creative directors and your marketing managers are men.

The gatekeepers of the industry have taken too long to open the gate for deserving women and, furthermore, it takes far too long to achieve desired growth in the agency environment. Imagine being a junior strategist for four years when you know you can move to be a mid-level strategist after two years?

The industry is just not set up for women or people of colour to thrive within its current form. I think that’s why we are starting to see so [many] more black-owned and female-run agencies, consultancies and initiatives — because, if we don’t create these spaces, we will come up short for a long, long time.

MK: What soft skills or steps should women maintain to survive in corporate?

KS: 1) Be very confident in your abilities; do not question how good you are and whether or not you deserve to be where you are. 2) I find it helpful to have a mentor — male or female — who will help you map out your growth path; it is so important to know where you are going. 3) Respect time — yours and other people’s time. 4) Ask questions if you don’t know.

MK: How do you counteract against discrimination?
KS:
Sometimes I am taken aback by it but, most of the time, I attack it head on. It is so important to let people know when their words or their actions are wrong and offensive. In order to move forward, we can never argue that it is what it is.

MK: Do men have a role to play in gender equality?
KS:
Men have a fundamental role and a responsibility to play in gender equality. Men experience so much privilege in the corporate world that, without their active participation in initiating change, and creating space for women in the corporate world, gender equality is going to take longer than anticipated.

MK: The office environment can be a hotbed for all sorts of pressure, and it doesn’t help that certain workplaces carry double standards that place extra loads on women’s shoulders. What unconscious mistakes do women make that sabotage their careers?
KS:
The main thing is that women take on too much — and try and be everything to everyone. [These result] in under-delivery in the work place and therefore make it seem like women are incompetent. It is important to know when to say “No” or “I can’t do that right now”. Saying that you can’t do something right now does not make you lazy or ill-equipped to do your job.

MK: Do women in your industry who have been around a lot longer than yourself have a responsibility to actively serve as a change agent to pave the way for the next wave of youngsters?
KS:
To a certain degree — yes. However, I think it is important for younger women to act as change agents themselves. You cannot always rely on those before you to make your life easier. This is your career and your future, not theirs.

MK: If you were given the opportunity to introduce new laws to empower women in all working environments, what would they be?
KS:
“Laws” in the corporate world are quite restrictive. However, I would create an initiative for women in corporate or particularly in marketing that provides women with tools to break down doors in order to create opportunities. I think this is an important foundation that needs to be put in place in order for women to thrive.

It would be great to have a certain number of women in decision-making positions — because, as mentioned previously, it is important to have someone in a position of power that looks like you in order for us to feel like this is an industry or a space in which I, too, can flourish.

MK: Big or small, what steps have you taken to eliminate gender inequality?
KS:
I always make sure that a woman’s voice doesn’t go unheard in the workplace, whether it be in a meeting or in general conversation. This is a tiny, tiny step but, in rooms filled with men, it is important to be heard.

MK: What are some of the soft skill traits that are often overlooked in a competitive environment?
KS:
1) Attention to detail. 2) Relationship-building. 3) Compassion and empathy.

 

Musaba KanguluMusaba Kangulu (@ThatTypeOfMoose) is a firm believer in women using their diversity to push different thinking and bring new insights to the table. Playing in the digital space has taught her to be unashamedly confident in using her expertise and experience to encourage women in their digital career pursuits. Perseverance and self-worth are important messages we need give to younger women. She contributes the new “Hidden Figures” column, which celebrates the unsung heroines of the South African marketing and advertising world.

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Post Truth: Fact vs fiction in marketing

by Marguerite de Villiers. Today’s consumers are bombarded with facts, falsehoods and fabrications; they have to filter through fake news to decipher what is factual and what is false, and avoiding click bait that uses sensationalist techniques to get them emotionally invested to read further. In a post-truth era, facts become questionable, consumers grow sceptical, and brands draw inspiration from a multiplicity of perspectives.

Fact

A fact is something that is assumed to be true; it is presented as a statement of truth. This kind of statement is told in somewhat of an authoritative narrative, with a confident use of tone and wording. It seems to be convincing, unopposed and true in its entirety.

American cable network, A&E, released a Brave Storytellers campaign in August 2017 as an attempt to rebrand the network as a platform for “serious storytelling”. It wants to be viewed as the home to “fearless and factual storytellers”. The campaign features personalities from different shows on the network, each with a tagline that captures — in a factual tone — what each show is about: we are not victims, we are not limited, we are not afraid. Making statements of what they are not, the overall campaign concludes that they all represent the network; they are A&E. The campaign leaves little room for debate or challenge.

Fiction

Evidence is traditionally used to determine whether a statement is true or valid. What, then, of a post-truth world where validity is determined through a process of psychological factors, rather than knowledge-based ones? It is common practice for those operating in a post-truth context to judge the truthfulness of something based on how that information makes them feel. If something feels right, correct or true, then it must be so.

We see fiction and fabrication play out in an interesting manner when it comes to false advertising — whether justifiably questionable, or assumed to be. While some are often content to accept what is advertised to them or are even aware that some advertisers fabricate truths in order to convince them to buy into a product or service, there are others who demand evidence.

In August, Africology, a cosmetics and spa company originating from Johannesburg, was ordered by Advertising Standards Authority to withdraw its advertising claiming that it did not test its products on animals, as there was no evidence provided to prove it. Its rabbit logo is placed on products that contain ingredients tested on animals; it’s apparently not meant to validate its anti-animal testing policy but some feel that this is false advertising.

And somewhere in between

What does this mean for brands? Advertising is an art. Sometimes art imitates life, and sometimes life imitates art. Be clear about what message you want to communicate: are you depicting an imagined ideal (life imitating art) that consumers are aware is fictional but strive towards, or are you painting a picture of your brand’s truth (art imitating life) that is a reflection of the consumer’s lived reality? Be confident in your statements and communications, but be wary of sounding authoritative and elite.

 

Marguerite de VilliersMarguerite de Villiers is an anthropologist at strategic marketing consultancy, Added Value. “Post Truth”, her new regular column on MarkLives, addresses marketing in the post-truth era.

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Dissident Spin Doctor: Assaulting our media — let slip the dogs of war

by Emma King (@EmmainSA) Has anyone else been worried about the recent outright and coordinated attack on our free media? Those who aren’t should be. And those, like me, who are, need to step out from behind our armchair Twitter accounts.

To put this into perspective, let’s not underestimate the role that a strong and independent media has played in forming our young democracy. Nor let us forget the role it’s still playing now — imagine if the media had never brought to light the skandaal of the fire pool at Nkandla or the juicy-yet-nauseating levels of corruption detailed in the #GuptaLeaks? It all makes for a fabulously interesting read over the morning coffee, or scintillating discussion around the water cooler, but there’s a darker story in this to be considered.

One of the last standing barriers

Our media is one of the last standing barriers (along with our constitutional court and, we hope for now, a free and fair election system) between a strong and healthy democracy and a failed state. At the recent Daily Maverick Gathering evening in Cape Town, the discussion went further. Panellists suggested that whistle-blowers and journalists are playing a role of ‘freedom fighters’ in fighting for our democracy, while others suggested that what we’re seeing now is testimony to the level of state capture that has occurred, where the media is essentially playing the role of the failing criminal justice system.

The result is that our proud tradition of an independent and free media is coming increasingly under attack.

This isn’t confirmed to the borders of South Africa. Media houses globally are increasingly coming under more and more financial and social pressure, faced with nose-diving revenues, and as with the case in the “Land of the Free”, a concerted effort to delegitimise any voices that question the powers that be. But it’s been taken up a level here, where journalists have been hounded and physically attacked. Where they need bodyguards to leave their houses, simply for refusing to stay silent.

Planned propaganda

Likewise, we have seen a poisonous use of media and social media in structured, planned propaganda campaigns. We only need to look in our own backyards to see how editors and journalists have been the targets of sustained attacks by armies of belligerent Bell-Pottingereqsue Twitter trolls in what some have described as the “weaponsiation of social media”. There are people whose agenda it is to tell the truth, and other whose agenda is not to. And, as with many things in life, one only has to ask who’s funding it for it to make a certain kind of sense.

It’s all very easy for us, sitting in our safe little businesses and sipping our artisanal ground coffees to turn a blind eye. But it’s useful to look at recent history to learn some lessons.

Martin Niemöller, a prominent pastor who spent the last seven years of Nazi rule in a concentration camp, famously wrote:

First they came for the Socialists, and I did not speak out — Because I was not a Socialist.
Then they came for the Trade Unionists, and I did not speak out — Because I was not a Trade Unionist.
Then they came for the Jews, and I did not speak out — Because I was not a Jew.
Then they came for me — and there was no one left to speak for me.

Bigger stakes

And so, today, in our climate, here and abroad, it’s not just the media who should be worried but all of us. Because, make no mistake, there are bigger stakes at play.

So the thing we all ask ourselves, myself included, is what the hell we can actually do about anything? If investigative journalists have put their jobs and lives on the line to find out the truth and fight back, shouldn’t we be doing everything in our power to support them, instead of sitting on the sidelines sipping said coffees?

First, those in business should understand the role that they play and the bigger voice they could have in the defence of our freedom and democracy. There is the worry that, in a punitive state, there are consequences to pay for sticking a head above the crowd but there’s also the opportunity for businesses to come together as a powerful team, to be more fearless — as Wendy Applebaum said at the DM Gathering “if they don’t, there will be nothing left.”

Active decision

Secondly, we — businesses, individuals — need to make an active decision to support the credible and investigative media outlets which are struggling stretch tight revenues. Imagine if they failed and we had no access to any free or independent information?

We need to start paying for subscriptions and not expecting information for free all the time, and businesses need to put their advertising revenue behind outlets which are “fighting the good fight”. As much as Facebook and Google may be chewing up advertising revenues, they certainly aren’t ploughing that back into South African investigative journalism.

We need to understand that the lack of resources which the media is facing is hampering their ability to get information to the poor and the rural masses — arguably the audiences that most need to be informed. Can businesses rethink their CSI budgets so that they are not just handing over a cheque but where they are, instead, supporting the growth of technology to build clever ways to galvanise people and share information?

Most powerful

The last and most powerful thing that we, as individuals, should understand is that every single one of us can be a journalist and social activist. We can share information and we can add our voices to stand up for those who are standing up for us We are at a pivotal point in our democracy and I’m sure I speak for many in saying we want to be on the right side of history.

News24’s Adriaan Basson also said at the DM Gathering, “When looking at people like Pravin Gordhan and Mcebisi Jonas [at which point there was a standing ovation], how could we not play our part? We have no choice; we need to be part of this.”

 

Emma KingEmma King (@EmmainSA) is the owner and MD of The Friday Street Club (@TheFridayStClub). She is allergic to bad grammar and ampersands, but likes working her way through piles of novels and travelling the globe. She contributes the monthly “Dissident Spin Doctor” column on PR and communication issues to MarkLives.com.

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Ad of the Week: Nedbank CIB’s new angle on money

by Oresti Patricios (@orestaki) My favourite ad this week is a beautifully filmed piece of visual poetry that showcases Nedbank Corporate Investment Bank (CIB)’s role not just as a bank but also as a developer and investor in forward-looking projects. The ad, conceptualised by Joe Public, takes viewers on a journey through a changing landscape of nature, humanity and technology — from a novel angle.

Africa is growing; in many places, it’s booming and, everywhere you go, there’s a need for infrastructure development, especially in the areas of energy and telecommunications. Why is infrastructure so crucial? Metaphorically speaking, roads, rail, fibre cables, mobile networks, airports and ports are the pumping blood and nerve centres of a state. Research repeatedly shows that investments in infrastructure equal economic growth. Not only is this much-needed in Africa, but these developments offer tremendous opportunities for investment. Nedbank’s CIB has made considerable investments in these areas, including 23 deals in South Africa’s Renewable Energy Independent Power Producer Programme (REIPPP) to the tune of some R25bon. The bank has also invested in other projects in Africa, including €623m in the Lake Turkana Wind Power Project in Kenya, which will be the biggest wind farm in sub-Saharan Africa.

In an era when many individuals and companies prefer to make ethically and environmentally oriented investments, the green bank is certainly taking the lead. In the latest TV ad, directed by Kim Geldenhuys of 0307 Films, and conceptualised by the creatives at Joe Public, Nedbank’s CIB asks the viewer to take a unique perspective of the world: from above. Every single shot in the commercial is shown from a ‘bird’s eye view’.


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The ad starts with a scene of a man swimming in a lap-pool in downtown. The voiceover begins: “If you strive to see further than what’s in front of you. If you look past the next deadline, the next dollar, the next deal… well, then, you’ll see the bigger picture.”

The montage cuts from the man in the pool to some people emerging from a building in a financial district, and being stopped by a gaggle of reporters, then on to a busy highway interchange.

The soundtrack throughout has subtle elements threaded through it, such as news reports in Japanese, or a cellphone message saying, “I can’t wait to see you guys” — which coincides with the narration line, “… then you’ll see the bigger picture”. The soundtrack is so carefully crafted that it’s worth listening to without the picture.

But the images themselves are compelling, each one beautifully framed and executed. According to the production company site, no stock footage was used: everything was filmed originally, in five different cities in two countries— Johannesburg, Cape Town, Upington and Durban in South Africa, and Dakar in Senegal — over nine days, using cranes, drones and helicopters to get these evocative images.

Getting back to the ad, the narration continues on the theme. “You’ll see the potential for growth, and the possibility of harnessing energy from the sun.” The imagery here is of everyday commerce — shopping aisles, busy urban streets, warehouses and, finally, a massive solar power array.

Later, a clever transition goes from somebody doing online shopping on a cellphone to an automated warehouse being managed by robots and drones, with the commentary, “You’ll see the power of technology.” The top-down view makes the scenes seem new and fresh.

The end of the sequence goes from an overhead city view, with distant voices on the soundtrack, to a satellite in orbit with the sound of a phone ringing, and a voice saying “Hello”. The narration ends with: “Because, when you look at the world differently, you may just change it for good.” The simple text payoff at the end is “see money differently”, the bank’s new payoff line since earlier this year (replacing “Make things happen”).

This is followed by the Nedbank CIB logo — very plain, clean and simple. Less becomes more in this advert which helps one see the world anew.

The message is powerful and uplifting. It is an encouragement to look at the world differently, to ignore the vagaries of fickle politics, and to think seriously about investing in the meaningful aspects of the future: our country and the world need us to think differently about infrastructure, energy and technology, and how it impacts on human lives.

Well done to Joe Public, Nedbank and 0307 Films for a remarkable commercial — one that sets new standards for creative craft. Folks, you’d better get the carpenters in to lengthen the shelves you place awards on. This is work that will win major awards but, more importantly, it’s work that astutely positions Nedbank CIB as the kind of African bank that big global brands will be proud to partner with.

Credits

Agency: Joe Public
Group chief creative officer: Pepe Marais
Executive creative director: Roanna Williams
Art director: Kursten Meyer
Copywriter: Verona Singh
Production company: 0307 Films
Director: Kim Geldenhuys
Producer: Jo Barber
Agency producer: Di Cole
Assistant directors: Tony Tex (Cape Town) Vinca Cox (Joburg)
Account management: Salma Mkwanazi, Khuthala Gala Holten, Mpumelelo Zondi
DP: Jamie D Ramsay
Focus: Nicolas Turvey
Post production: Black Ginger
Editor: Gordon Midgley
Drone company: Skyhook
Drone pilot: Graham Newton
Drone operator: Andre Roux
Gaffer: Danny Smart
Grip: Alan Gray
Helicopter pilot: Gert Uys
Audio: Stephen Webster, The Workroom
Music company: Pulse
Music producer: Marc Algranti
Composer: Simon Kohler

 

Credits updated at 11.12am on 6 November 2017.

 

 

Oresti PatriciosAd of the Week, published on MarkLives every Wednesday, is penned by Oresti Patricios (@orestaki), the CEO of Ornico, a Brand Intelligence® firm that focuses on media, reputation and brand research. If you are involved in making advertising that is smart, funny and/or engaging, please let Oresti know about it at clientservice@ornicogroup.co.za.

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Dear Radio: The podcast conundrum in South Africa

by Paulo Dias (@therealptp) Waiting for the great South African podcast breakthrough is like waiting for an audio Christmas that never comes. Where is our “Serial” moment? That one spark that takes podcasts into the mainstream?

US and UK boom

The US — spurred by a culture of NPR and buoyed by lively political debate — has embraced podcasts as a natural part of its weekly infotainment consumption. Apple finally integrating podcasts into a simple-to-use app is leading the charge on a medium it helped name, and the UK is experiencing a similar podcast boom which coincides with major drops in traditional radio listenership, with even stalwarts such as Chris Evans feeling the pinch.

I believe podcasting is in an ugly place in South Africa and in danger of not reaching its potential, simply because the podcast party is being hosted by the same burly doormen who run the radio stations. The big radio players are ‘embracing’ podcasting — but all they’re really doing is moving the party to another room.

A scan at any of the top local ‘podcasts’ charts is dominated by previously heard-on-air material. Radio stations are lazily splicing-up features, news, prank calls and the like, and placing them online in the name of podcasting — which it is not. Podcasting is about niche content catering to niche audience, giving new voices a chance to be heard; all they’re doing is putting the same voices in different places with content the radio stations think you want to hear.

Monopolisation

That is not podcasting. It is the same monopolisation of voice that they’ve been guilty of for decades.

I still have great hope for podcast-only platforms such as Cliff Central and watch their moves with interest. The problem I see with them, though, is that, while they seem to have got the content right and carry really niche shows, they still come across like a radio station and, from my conversations with people (the sort of people they’re trying to attract), they’re seen as a radio station — not a podcast hub. We don’t really know how to categorise Cliff Central and listening to it for a day, where you pick up a very specific format, doesn’t do much to convince that it’s not an online radio station.

So how do we get people on a mic and podcasting? Or what if you’re a podcaster religiously producing a show and marveling at your handful of fans and downloads?

Audio consumption in SA

First, stop thinking as if you’re in the UK or the States, and understand the nature of audio consumption in this country. The biggest reason podcasting has not caught on in SAis simply because our radio market in African Language markets is so strong: ALS stations are telling the stories and carrying the niche entertainment people are looking for.

Radio is also free to listen to and the devices used are cheap — do you even know how much a radio costs? — plus we don’t have to face the data hurdle that is blocking us from adding our voice to worldwide platforms.

Making money from podcasts is a tricky business and overseas models may not work. US podcast audiences are happy to pay subscriptions or make donations to keep podcasts going and ad-free while, in the UK, the opening and closing billboard model, coupled with in-stream ads, seems to be working for now. Let’s be honest; we don’t pay our TV licences and whine about DStv subs, so we’re not going to pay for a podcast and we’re oblivious to sponsorships, so that won’t work.

Traditional radio

If traditional radio is so strong, why don’t we put our content there? Think about this — you want people to hear your message and story — so, theoretically, there should be an audience online, but the audience who will resonate with your story is not consuming content in your format.

So fish where the fish are biting and try get your content on traditional radio and, more specifically, the untapped potential of community radio. Community radio listenership is growing with content that is engaging and relevant… but expensive to produce.

So what if potential podcasters produce the content at their own expense and supply it to community stations free of charge, either carrying the full format on-air or used on-air as a gateway to an online platform and by partnering with a community station? The podcasters have just given themselves a built-in sales team that know how to sell the audio medium.

Win-win

This would be a win-win for everyone: podcaster gets their audiences, along with a sales infrastructure; and the community station gets content for free and gets a run at untapped revenue without spending a cent.

We’ve made the mistake of thinking podcasting is about the platform but it’s not. It’s about the narrative, it’s about the connection and it’s about finding people who want to hear your story.

If it were as easy as switching on an iPhone and pushing out SA’s “Serial”, we’d all be having a go but our market is different and don’t all live in Fourways so, if you’re a podcaster or an aspiring one, let’s change the way we distribute — because the revolution will come and you want to be part of it.

 

Paulo DiasPaulo Dias (@therealptp) is the head of creative integration at Ultimate Media. He works closely with the programming teams at leading radio stations to help implement commercial messaging into their existing formats. He contributes the regular column, “Dear Radio”, looking at the changing radio landscape in South Africa, to MarkLives.com

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Shelf Life: The Blacksmith Collective — where creatives merge

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

  • Blacksmith Collective offers creative talent pool
  • Woolworths launches De Villiers chocolate pod
  • Radisson Blu gets social with Skript

Creative collaboration

Brands and businesses in the market for production services may now access a curated network of creative experts at the newly launched Blacksmith Collective, a production house with a network of over 200 creative partners across South Africa.

Blacksmith CollectiveBlacksmith Collective, founded by creative entrepreneurs Diogo Mendonça and Marcus von Geyso, is a production collective specialising in content creation and creative problem-solving. Explains Von Geyso, “We partner with the very best creative minds and experts, from film and photography specialists to brand strategists and even engineers, allowing us to adapt to specific project requirements. “Having a pool of creative talent to collaborate with allows us to work smarter, ensure a high standard of service and deliver expert executions.”

According to Mendonça, this also offers creatives a platform to work with some of the biggest brands across industries, with teams ranging from five to 50 creatives: “Having access to a vast network of creative professionals, when trying to solve a creative problem, definitely adds a lot of dimension to our work, ensuring our ideas are always current,. We spend a lot of time researching our creative teams to find the best fit for the job at hand and grow our vast creative network with a variety of fresh talent.”

The collective has worked with international brands including Castle Lite, Castle Lager, Opel, Budweiser, Shell, Corona and Visa, and has collaborated with Ogilvy & Mather South Africa, King James II, Joe Public, Isobar and TBWA.

Mendonça and von Geyso met while working at Ogilvy & Mather South Africa, and realised their shared entrepreneurial spirit and vision for a creative platform. The pair decided to start their own collaborative platform that is capable of dynamically scaling up or down, depending on the nature and demand of a client’s brief.

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Chocolate from Africa

Woolworths and De Villiers Chocolate have this month launched the retailer’s first in-store chocolate ‘pod’ at its flagship store in Somerset West, in the Western Cape.

Woolworths De Villiers Chocolate PodDe Villiers Chocolate is one of Africa’s first bean-to-bar chocolate brands, made from cocoa beans sourced from cocoa bean farmers on the African continent. One of only a handful of Africa-based chocolate brands, De Villiers Chocolate is committed to providing consumers with absolute transparency throughout its supply chain and abides by global ‘clean label’ practices. The clean label trend sees consumers actively limiting processed foods, and replacing these with products made from naturally derived, minimally processed, organic and non-GMO ingredients. Industry circles see this trend as one of the most-influential consumer-driven developments in packaged goods, in recent years. In fact, so prevalent is this trend that 2017 is named the Year of the Clean Label.

Inspired by research indicating that consumers have an increasing interest in the origin of the brands they purchase, Woolworths’ chocolate pod will allow consumers to engage with De Villiers Chocolate through tastings, new product trials and information about the heritage of the brand and its products.

Says Glenda Philp, Woolworths brand head of foods, “Woolworths uses suppliers who meet our high-quality standards, and De Villiers Chocolate offers delicious products that our customers love.”

According to Pieter de Villiers, owner and founder of De Villiers Chocolate, De Villiers Chocolate’s success is due to direct feedback from customers: “We relied on consumers’ responses when we started out selling at a stall at a farmer’s market, and, even though the brand has grown, we still value our relationship with our customers above everything else.”

Seasonal products will be launched on a quarterly basis at the De Villiers Chocolate Pod, with flavour and packaging combinations to complement various seasonal themes.

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Breakfast Blu’s

Hotel brand, Radisson Blu, has launched a multichannel social-media video campaign with agency Skript to showcase its new breakfast offerings.

Inspired by the magic moments that take place around the breakfast table, the #SuperBreakfastMoments campaign comprises three videos celebrating Radisson’s new breakfast concept and the restaurant location.

Says Marie-Laure Blaise, Carlson Rezidor Hotel Group senior marketing manager, Africa & Indian Ocean, “The key message of the campaign is that the best travel moments begin at a superb hotel but they all start with a Super Breakfast; which takes this to a new level. Ingredients are sourced from domestic suppliers as part of our localisation strategy, keeping us culturally relevant, with a sustainable operation.”

Radisson Blu Super BreakfastThe campaign recently launched on social media, with a call-to-action for the public to take a picture of their favourite breakfast item and share it. Entrants stand a weekly chance of winning a Radisson Blu Super Breakfast for themselves and five friends at a Radisson Blu hotel of their choice during September 2017.

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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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Ad Exec: Measuring agency performance

by Tom Fels (@thomasfels) The nature of client-agency relationships has evolved over time, but have the metrics of performance evaluation moved on significantly, too? In my experience, while there are some shining lights, there is still work to be done in refining the measurement of agency performance, given the balanced nature of maintaining healthy relationships.

Why measure performance at all?

That’s a valid question. Why not just let the relationship take its course and change suppliers if it’s not working out? I believe that this approach will likely have this exact outcome time and again, leaving both parties none the richer in experience.

Any modern marketer wants not only an agency that delivers what is required but a strategic partner that engages in the pursuit of shared hopes and dreams, providing support over the mid-to-long term. Because of the close engagement between agency and client, it makes sense therefore that regular, formal milestones should be in place to prompt feedback and enable course correction where necessary — with a focus on creating a sustainable framework for mutual success.

Where the wheels fall off

In most commercial relationships, the wheels fall off when a gap, created between the expectations of the client and the delivery of the supplier, does not get adequately addressed. Despite regular contact and collaboration, if the core direction in which both parties are headed is misaligned, there’s no doubt that the relationship will hit stormy waters sooner or later.

Generally, this goes from bad to worse when the long-anticipated performance evaluation is conducted as a one-sided affair that typically exposes any weak areas within the agency, without opening the door for reciprocal input. We talk partnership every day and yet the dynamic may adopt a very parent/child nature when these types of reviews are conducted, which creates an environment of fear that leaves agencies peddling to satisfy with no recourse for changes in client-side inputs.

When performance evaluation works

As with individual job performance, having a clear understanding of the measurement scorecard is a vital starting point to successful and comprehensive evaluations. One needs to know how your efforts will be measured in order to deliver against expectations. The scorecard should be accurate in terms of the scope of services, and comprehensive enough to identify weak areas while offering a balanced review.

The opportunity should also be provided for mutual evaluation, with agency executives able to constructively input their experience of the relationship and ask for assistance that will positively impact agency delivery.

Of course, a good dose of maturity is required in ensuring the whole process is adequately constrained and elevated from the day-to-day frustrations, rather than languishing in detail. There is a component of operational delivery that should be incorporated, though this should not frame the whole experience.

Many best-in-class performance evaluations make use of independent services, which use (often anonymously completed) online performance surveys that cover both projects and the specific components of agency delivery, with a professionally administered feedback session to ensure there is equal opportunity for constructive input and debate. Thus, the key focus is ultimately on the health of the relationship, and the propensity to recommend an agency to others is often a key measure.

Why strong relationships win

In the end, clients and agency staff are just people. We both get up every day and work together to achieve worthy goals. If the ties that bind us together are strong, then the sky is the limit.

As with any other relationship, effort is needed to be kind, to be clear, to trust and to create shared value. If it’s all just about performance delivery, one might miss all the basic things that will actually help the partnership to succeed in the first place, starting with the joy of conquering challenges together.

 

Tom Fels 2016With a history of local and international experience in leading brand consulting, design, shopper marketing and integrated advertising roles, Tom Fels (@thomasfels) has gained a deeply relevant understanding of the marketing ecosystem. His skills are now put to work daily as chief executive of digital technology and performance-marketing business, Nurun (www.nurun.com). He contributes the monthly “Ad Exec” column to MarkLives.

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The making of South Africa’s biggest foodie magazine

by Herman Manson (@marklives) Fresh Living, Pick n Pay’s consumer title, took eight months to establish itself as South Africa’s biggest-selling food magazine when content marketer, John Brown South Africa, launched it 10 years ago. Over most of the next decade, it maintained its position. Having proven itself by increasing shopper-visit frequency and basket size, Pick n Pay changed track in March 2016 by making half a million copies available to members of its Smart Shopper loyalty programme.

According to Lani Carstens, managing director at John Brown Media, the massively upped print run offers a sense of the resurgence of print and its value offering to brands (as opposed to the traditional consumer-magazine market).

Carstens describes the work her Fresh Living team does as editorialised brand content. The team of 22 (editorial and advertising) produces the magazine, all brand extensions and content across several social media channels and the brand website — including features, recipe generation and videos (one on making the perfect pizza, shared on social media, generated 250 000 views in its first week). Its weekly Supper Sorted email newsletter, which offers ideas on menus for the week ahead, has a 82% open rate (and you may print out your shopping list if you intend following its suggestions).

Fresh Living, says Carstens, is one of SA’s biggest content-marketing success stories. This she largely ascribes to Justine Drake‘s intense focus on readers, whom she puts first in her editorial decision-making, rather than simply producing copy that would serve the brand in isolation. The key has been in finding a way to speak to consumers while representing the brand in a way that consumers do not feel sold to.

The change in strategy, from news-stand sales to being free for loyal shoppers, is driven by the need to get more copies of the magazine into the hands of more consumers, who in turn are spending more money and time in PnP aisles. It’s a huge investment for the client — imagine the bill for printing 500 000 magazines every month — but it’s paying off. Considering that there are an estimated 10m members to the Smart Shopper loyalty programme, the opportunity for further growth is also possible. The current pass-on rate stands at two other people per copy, giving the magazine an estimated audience of 1.5m: a number that starts competing with TV for eyeballs.



Drake works closely with the client’s marketing department. When the fresh produce team decides it wants to push something, eg kale, in a particular month, the magazine will find ways of featuring it in recipes; usually, this results in a significant uplift in product sales. The latest quantitative research with Smart Shoppers also shows that 92% of readers say they buy the products featured in Fresh Living.

The magazine sells around 30 ads per issue, too, helping offset costs for the supermarket retailer.

The relationship with Pick n Pay is that of a long-term partnership. The Fresh Living team challenges itself to keep innovating, something Carstens gladly embraces. She wants to get the brand and its content in front of more and more customers.

Case studies

Supplied by John Brown

Short, snackable video content aligned to tactical days is some of the most-popular content on Pick n Pay’s social media, driving engagement and longer viewing times. Here are a few examples.

A series of videos giving viewers new ideas for affordable protein alternatives, with a local twist

  • “Breakfast Pap Pizza” achieved over 258 000 views on Facebook, reached over 903 000 people and received over 43 000 engagements. The series had a combined 673 000 views on Facebook.

A branded content piece with Johnnie Walker Gold for Whisky Day

  • “Spiked Orange Hot Chocolate” achieved over 279 000 views, reached over 824 000 people and received over 18 000 engagements

A tactical video for International Coffee Day with a fab iced-coffee idea

  • “Ice Coffee” achieved over 171 000 views on Facebook, reached over 707 000 people and received over 51 000 engagements
  • Viewers loved the idea and the post received over 330 comments, 2 800 reactions and was shared over 3 200 times

Seasonal campaigns

For seasonal campaigns, we use a mix of video, stills and animated gifs in social media to keep PnP top of mind and to showcase ideas, food inspiration and amazing products from PnP that may make these key events special. Here are some examples.

Christmas 2016 — a series of videos featured Chef Siphokazi with fresh new ideas for festive crowd pleasers

  • These videos achieved over 365 000 combined views across social media platforms, and received wonderful interactions and user-generated content by fans who tried these recipes.

Easter 2017 – a wider campaign with a microsite and supporting content, including a series of videos on social media

  • These videos achieved over 433 000 combined views across social media platforms
  • The Easter Bunny Bark video was used for an in-stream ad campaign on YouTube and achieved a 25% view rate.

Animated gifs – carefully timed to autoplay and repeat in newsfeed – provide a bit of interest, humour and fun on tactical holidays

Infographics

By using educational, informative and relatable content to communicate with PnP’s digital audience, John Brown produced animated infographics to inform people of how Smart Shopper was changing to work better for consumers.

  • Smart Shopper Infographic explained, in a bite-sized format, how Smart Shopper was changing
  • Reached over 287 000 people, received the highest engagement of any post

Heritage Day

In 2016 we produced a series of Heritage Day videos via Fresh Living, speaking to four South African personalities about their fondest food memories and family recipes. A couple of examples:

  • This specific video achieved over 246 000 views!

 

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

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Big Q CMOs: Marketers operate in a very-complex environment

by MarkLives (@marklives) Is there a new C-suite executive on the horizon? Is it time to redefine the role of the CMO, possibly by agreeing that the roles of CMO and CTO are aligning and need some level of collaboration? And can this result in more-effective growth strategies for organisations? We asked a panel of key industry executives for their take. Next up is Masego Motsogi of Ninety9cents (99c) Johannesburg.

Once tasked with managing communications and brand, the modern CMO’s role has been expanding to include technology, data and impact (ie sales and the bottom line). Where this is not the case, anecdotal evidence suggests shorter tenures, and a loss of prominence and clout at board level.

Masego Motsogi

Masego MotsogiMasego Motsogi (@masegom) is the managing director at Ninety9cents (99c) Johannesburg. Her career in advertising and marketing spans over 15 years, having worked at Ogilvy & Mather, The Jupiter Drawing Room, South African Breweries and FCB Africa before joining 99c. She has a degree in community and health psychology and a higher diploma in integrated marketing communications.

In today’s ever-changing, super-malleable world, it is expected that professionals must have knowledge and understanding beyond their immediate ambits. Things have become more fluid in how the human race operates and this has mostly been aided by the advent of technology and an expanse of information that is available to the general populace.

The key to success

For one to survive, it has become important to be conversant with many ideas and concepts. The key to success, however, is the ability to keep an eye on many areas while simultaneously remaining deeply focused on one’s core discipline. The same may be said about the role of chief marketing officers.

Previously, the marketing team would have succeeded by understanding the 6 Ps of marketing, expanding on them in a logical way and feeding those to the business — and as they say — Bob’s your uncle. The 5 Ps (product, price, promotion, place and people) enjoyed ample attention from the marketing function. The process part of the model, which we know from marketing 101, enjoyed the least amount of consideration and was often delegated to the relevant department, and only hauled out when it was a requisite. But things have changed since then.

The world is moving at a much-quicker pace. The consumer has access to an incredible amount of information and this makes for a more-knowledgeable audience. There is a plethora of media through which to reach the consumer. There are countless products and services on offer. International boundaries have also been broken, so there is little opportunity to contain disasters around brands if they do occur. Yet opportunities abound for brands that affect people positively; the impact is huge and makes for global success. All these factors make for a very-complex environment in which marketers operate.

Other points of connection

Beyond the complexity and speaking to customers through media such as TV, radio, print and outdoor, it’s essential that CMOs and their teams consider other points of connection that will offer a deeper and meaningful conversation with those whom they are targeting.

Cue information technology (IT), which falls under the 6th P of marketing referred to earlier. The advent of technology has largely meant that businesses are not only sustained through the brick and mortar form but also operate commercially on electronic platforms. These are intricately linked to the IT run through the company.

With the convergence of functions, a fast-paced world and consumers who are inundated with multiple messages, it is up to marketing teams to ensure that their messages are not lost and so customer relations management (CRM) and digital marketing efforts have become an integral part of the marketing mix in that, through them, more substantial and directed messages can be passed on to consumers.

Integral part

E-commerce has also become an integral part of the consumer’s journey, when they shop for what they will.

Additionally, both CRM and digital marketing are deeply linked to the IT function and require that marketers have a thorough understanding of its workings. Marketing is no longer seen as a mere cost-centre, where companies’ funds disappear into a black hole and, when it’s time for reporting, the sales team alone is answerable for the numbers.

Previously, it may have been incumbent for marketing executives who work in technically focused environments to have a good grasp of the IT systems of a company; however, because many companies are merging their everyday business with e-commerce, it is only beneficial for marketing outfits to understand how IT impacts on the business and, in turn, the services and products that they offer to consumer.

Remember what we are here to do

Given the increased responsibility for marketing to deliver good returns on investment through sales and to also ensure that their brands’ and companies’ reputation remain intact, their professional capabilities need to include an understanding of IT so that informed decisions may be made around more-relateable marketing efforts.

Be that as it may, we always have to remember what we, as marketers, are here to do.

I often lament the fact that we’ve forgotten what it’s all about — culture. It’s about shifting perceptions and making a difference that no chief information officer or chief financial officer or any other chief in the business could necessarily deliver — a connection to the hearts of the people.

Art or science

One of the debates we tackled earnestly during my earlier studies was the conundrum around marketing and advertising, and whether these disciplines were either an art or a science. I assert that it is certainly a combination of the two. Marketing serves as the conduit to the art (heart) element, with intentional efforts to constantly keep up to date with people’s moods, shades and feelings, so that marketers may preempt solutions while applying data to how those solutions are presented for maximum effect.

Marketing’s role has grown to drive sales more than ever before. But marketers also recognise the need to speak to the hearts of people. Solutions need to rooted in what people sense and feel, but work that works needs to be delivered. It’s a simple premise but one that many struggle to deliver on: the balance between heart and the numbers, in whichever form they need to be resolved.

Perhaps the role of the CMO is not necessarily changing but rather adapting to the ways of the world. Those who look beyond their immediate discipline are likely to be quicker to respond to consumer needs, both in the form of ability to speak to them more appropriately and with more-innovative products.

See also

 

MarkLives logoLaunched in 2016, “The Big Q” is a regular column on MarkLives in which we ask key industry execs for their thoughts on relevant issues facing the ad industry. If you’d like to be part of our pool of potential panellists, please contact editor Herman Manson via email (2mark at marklives dot com) or Twitter (@marklives). Suggestions for questions are also welcomed.

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Media Redefined: Brand stories — gone in six seconds

by Martin MacGregor (@MartMacG) The heresy involved in limiting an artist’s creative expression has no bounds, and this debate really is the line of where pure art meets commercial reality. This is why I was recently intrigued to see a lot of coverage of Facebook and YouTube announcing the arrival of the 6s-ad as the “ideal ad length”.

Duration

Duration. That awkward subject that comes up at the end of most conversations involving media and creative. It’s the moment when the creative team tries desperately to either invoke their inner charm or outer asshole to secure the gallery space they need to hang their picture.

“There is no way we can tell this story in less than 60 seconds.”

“I’m thinking a 45-second ad, followed by three 15-second cutdowns. All in the same programme.”

I’ve had a million of these conversations and I always end up feeling like the person from finance who cancelled the end-of-year party.

Change the parameters

The rise of the mobile video ad was always going to change the parameters as consumer behaviour shifted. I have no doubt that Facebook and Alphabet will push an agenda that suits their commercial interests, too. Q2 results for Facebook showed that US$8bn of its US$9.3bn revenue came from mobile ad revenue, most of which would now be video.

That being said, it did research on 6-, 15- and 30-second ads and, to quote Sheryl Sandbergh, “The shortest duration saw highest brand metrics across the board.”

More interesting is what is driving this: consumers now consciously desire to avoid advertising. Their patience level at brands attempted storytelling getting in the way of a quality content experience is low and they are more likely to react positively to a much-shorter duration. It’s almost as if they respect the brand more for respecting their time.

Long enough

In mid-June 2017, Fox Networks Group in the US became the first broadcast-TV company that agreed to run 6s-ads on its digital and on-demand properties — with plans to eventually bring them to linear TV. It believes that that six seconds is long enough to provide “appreciable brand lift” without hurting the “optimal user experience”.

This is hardly inspiring language and I’m scratching my head to come up with how I am going to land a 6s-ad recommendation in my next creative session, not to mention the fight with TV channels which unfairly punish advertisers which advertise below what they see as the optimal 30-second duration. That very-comfortable rate card is going to have to be torn up and the paradigm shifted.

Whenever I write a tweet, I get very quickly to the point where the number at the bottom moves negative and I have to cut words. I end up really enjoying this process — the challenge of finding only the necessary words to get my point across is hugely satisfying — and the result is always better than the original. And so it’s going to have to be for brands. They are going to need to craft their stories until the consumer will get it all in six seconds.

Wish me luck with those artists.

 

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.

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