Design Plus: Discover Six Things

by Mark Tungate (@MarkTungate) Vanessa Bruce and her partners at Boston and L.A. agency, Six Things, are youthful startup veterans who specialise in giving brands a soul.

When you come across a new agency called Six Things, the obvious first question is: “What are the six things?” The name is a reference to Lewis Caroll’s Through the Looking Glass, in which the White Queen says she’s often “believed as many as six impossible things before breakfast”. The implication is that the agency will strive to do the impossible for its clients.

Appealing name

I happened upon Six Things and its Boston-based co-founder Vanessa Bruce in The New York Times. The article was about something else: an innovative stock photo library called Stocksy, for which Bruce is a dedicated advocate. But the name of Bruce’s brand strategy and design firm appealed to me, so I contacted her via LinkedIn.

I was right to do so, because Bruce and her two partners — Chelsea Hobgood and Kayci Baldwin (above from left to right) — are running a very different kind of operation. You might even describe it as a millennial agency. They learned practically everything they know at startups, which became their prime targets when they launched Six Things earlier last year. But they say they will work with companies at any stage to “design, build, test, brand and launch awesome products”.

Or as Bruce puts it: “We give brands a soul.”

Synergy of skills

The trio met at a startup called ReferralMob, a job recruitment platform where Bruce was involved in designing its UX (user experience, for non-techies), among other things. Although they had very different skills, they found they had a synergy.

“We learned quickly that our eclectic backgrounds brought tremendous strength to our team,” says Bruce. “We’re all very focused on the human in the tech space; that’s our passion and how we got together.”

Hobgood, a Colombia graduate, has spent the last 10 years applying her psychology and neuroscience degrees to growing and developing new businesses; Baldwin, who studied sociology at Harvard, specialises in consumer psychology and user acquisition.

“We are the millennials we market to”

Although Bruce is a classically trained graphic designer (she holds a BA in design and public relations), she says she’s always loved tinkering in the tech world. “I built my first website, a Sailor Moon fan page, when I was 12 year old,” she recalls. This inclination came to the fore in 2010, when she joined 360 Public Relations and found herself not only guiding the agency’s creative vision but designing everything from websites to Facebook applications and mobile apps for clients.

These days, she’s what a former colleague describes as a “triple threat”, a brand strategist who designs and codes. Like the other co-founders of Six Things, she’s valuable to startups because she comes from their world. Keeping up with trends through their own media consumption and the habits of their network, including teenage siblings, the trio are uniquely attuned to the millennial mindset.

“Millennials don’t just buy things,” she points out, in a conversation about branding. “This generation is hungry to get behind a brand with a purpose. They expect their brand allegiance to make an impact.” She mentions Warby Parker — the eyewear retailer — and Toms Shoes, both of which have a “one-for-one” policy of donating one product to charity for every one sold.

Design an important influence

Design is also an important influence, she adds. “Millennials make decisions very quickly. They’re so flooded with digital imagery that they know within two seconds whether a company is in line with their values, just by the design.”

She says her partner Baldwin often downloads apps to keep an eye on the marketplace, but ditches them immediately if the opening screen shot and general “onboarding experience” are not well executed.

“We’re responsive to beauty,” she continues, mentioning that she finds Instagram ads effective because of their aesthetic qualities and integration with her own social feed. Which is just as well, because Bruce and her husband don’t own a TV: they only watch commercial-free streaming services. So how else can brands reach them?

“Grassroots”

“Branding is more grassroots now,” she says. “Word-of-mouth and brand ambassadors are more effective than ever: people rely on those they trust.”

In terms of the future of Six Things, Bruce says they’re interested in working with “consumer-facing brands” whose values align with their own. “In a lot of ways, we are the millennials we market to. We expect our work with our clients to make an impact, so we think carefully about who we work with and seek out projects we truly believe in.”

So do millennials feel more comfortable working for themselves — hence the proliferation of start-ups — than, say, joining a traditional agency? “I don’t think it’s about size or ownership,” she reflects. “I think for our generation it’s about finding a sense of purpose and belonging in what you do.”

 

Mark TungateMark Tungate (@MarkTungate) is the editorial director of the Epica Awards (@EpicaAwards), the only global creative prize judged by the specialist press. In this series of articles called Design Plus, Epica highlights creativity in the design field.

— Sign up now for the MarkLives email newsletter every Monday and Thursday, now including headlines from the Ramify.biz company newsroom service!

Multisensorial marketing — the tasty

by Marguerite de Villiers. Our taste preferences and perceptions differ vastly from how others experience taste. Not only do taste trends come and go as we are introduced to new food products, regional variations, and flavour innovations, our preferred tastes change as we age. As marketers, we need to incorporate verbal, visual and experiential perspectives when marketing taste.

The single sip slip-up

Blind taste tests are a popular way for competitor brands to determine which brand consumers prefer — solely based on taste. Products are placed in unmarked containers and given to consumers to taste and indicate which they like most and for what reasons. It isolates consumer perception and preference around taste, avoiding other influences inherent in branding. Sensation transference is the impact on taste by consumers’ subconscious associations with branding and packaging. In other words, we eat first with our eyes. We transfer the way a product appears over to our perception and experience of its taste.

The Pepsi Challenge — an ongoing marketing promotion since 1975 — has consumers taste unbranded Pepsi and Coca-Cola. This challenge has revealed that most American consumers prefer the sweeter taste of Pepsi. But there is a twist to this tale: other studies have shown that, while consumers are more likely to prefer a sweeter option when allowed just a single sip, they would opt for a less-sweet alternative when drinking a larger amount over time.

The taste mistake

In an attempt to replace the original recipe with something sweeter, Coca-Cola introduced “New Coke”, which later became “Coke II”. ‘The new taste of Coca-Cola’ was considered by many as a major marketing failure. The original Coke formula was then reintroduced and rebranded as Coca-Cola Classic. There was a significant spike in sales, causing consumers and critics to question whether it all was just a marketing ploy or truly a cautionary tale.

In 2016, Coca-Cola launched its “Taste the Feeling” campaign, shifting from a lifestyle brand to focusing more on its unmatched taste. For many, the taste of Coca-Cola is unbeatable — partly because of the powerful, subconscious and emotional experiences evoked when drinking Coke. Coca-Cola’s new campaign is particularly targeted at lapsed consumers, reminding them of the nostalgic and youthful associations they may have with the brand.

Taste of place

Terroir is described as the characteristic taste and flavour of a product that has been influenced by the environment in which it was produced. These include physical factors and practices involved in its production. Terroir impacts the perception and price of a product, particularly in wine, cheese, pork, cognac and coffee.

There exists a relationship between taste and place. We see this clearly in single-origin coffees such as those served at Starbucks. Sourcing coffee beans from an isolated region seems to intensify the characteristic taste unique to that location.

When marketing taste, we need to develop a strategy that is both appealing and that creates the impression of benefit. The challenge is to do so through justified claims and without making comparisons: a product needs to stand for the best. Edible products need to be portrayed as both tasty and flavourful in order to convey enjoyment, to be memorable and connect with consumers’ existing memories, and to be perceived as being beneficial in addressing a need or desire.

 

Marguerite de VilliersMarguerite de Villiers is an anthropologist at strategic marketing consultancy, Added Value.

“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.

— Sign up now for the MarkLives email newsletter every Monday and Thursday, now including headlines from the Ramify.biz company newsroom service!

Ad of the Week: Are you gonna go my way?

by Oresti Patricios (@orestaki) Volkswagen South Africa, Ogilvy & Mather Cape Town and director Grey Gray of Velocity Films deliver a cuteness overload with a charming little vignette that steers the Golf brand well on the path of being, first and foremost, a family car.

Can you overdo cuteness? Is there a cuteness quotient or saturation point beyond which you get to a point of too much cuteness? This week’s Ad of the Week puts the cuteness factor to the test. It marks the launch of a sleeker, sportier-looking Golf, the new Golf 2017, which is nonetheless a family a model. This means a big part of the communication is what the car offers in terms of safety features, fuel economy and indoor comfort that appeals to a wide urban demographic.


Pinterest icon View all the Ads of the Week at a glance on our #AdoftheWeek Pinterest board!
YouTube icon Watch our 2017 #AdoftheWeek playlist on YouTube


The ad, “For the Love of the Drive”, follows the story of a little girl, from when she arrives at kindergarten to when she is picked up by her dad. Throughout the day, she’s singing and humming to herself (this is not a song you’ll quickly or easily recognise, unless you happen to be a diehard rock fan). Throughout the montage, we hear her little voice singing little snatches of lyrics, slightly out of tune; she clearly has an “earworm” going through her head.

The girl doesn’t stop singing — whether it’s while painting, jumping rope or playing in the playground. She gets a weird look from one of her classmates during music class, and even her teacher seems amused by her.

Yellow is clearly her favourite colour: she is wearing a yellow jersey, her painting is predominantly yellow, and it becomes clear why, when Dad comes to pick her up — his shiny new Volkswagen Golf is a trendy metallic mustardy-yellow colour.

They both buckle up. “Are you ready?” he asks. “Yeah!” she laughs. His hand swipes in front of the car stereo console and the 1993 Lenny Kravitz anthem, “Are You Gonna Go My Way” bursts forth.

Dad hams up the spoken line, “What I want to know is…” Then they both join in on the chorus: “Are you gonna go my way?” The little girl is really cute as she mimes to the drums and sings along.

The ad ends with the slogan, “New Golf. For the love of the drive.”

There is great chemistry between the father and daughter; she’s a real gem. There is enough of the car to warrant one wanting to take a closer look: the shape has evolved, and there is a real sense of both fun and sophistication with the brand.

Last year, Ogilvy & Mather made us chuckle with an ad produced for one of Volkswagen’s other models, the Tiguan. This one, too, featured a little girl, whose parents were oblivious to the fact she was in the backseat while they talked about her.

It feels as if Volkswagen, the people’s car, has managed to overcome the PR disaster that so damaged the brand back in late 2015, when the US’s Environmental Protection Agency found that VW engineers had put special software into several models of Volkswagen, aimed at misleading the US’s stringent emissions test protocols. Now, Volkswagen is firmly back on track, with models that appeal to families and individuals across the board, and a brand message that speaks to safety, fuel-economy, stylishness and comfort first, rather than performance and power.

The ad also reminds us of the emotional bond we have with our cars, and the cherished memories of dropping children off at school and taking them to interesting places. This message, that our cars almost become part of the family, is consistent across the Volkswagen brand, and reinforces the concept of “the people’s car”.

Congratulations to the creative folks for landing cute city. In a world that’s serious, stressful, and becoming increasingly polarised, it’s awesome that advertisers bring us back to the warm and fuzzies — the joy of fatherhood, family experiences and that life really is all about the journey.

Credits

Agency: Ogilvy & Mather Cape Town
Executive creative director: Tseliso Rangaka
Creative directors: Mike Martin, Jacques Massardo
Art director: Monique Kaplan
Copywriter: Oskar Petty
Head of broadcast Ogilvy CT: Cathy Day
Executive producer: Helena Woodfine
Production company: Velocity Films
Director: Greg Gray
DoP: Paul Gilpin
Editor: Ricky Boyd
Final mix: Louis Enslin, Produce Sound

 

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 info@ornicogroup.co.za.

— Sign up now for the MarkLives email newsletter every Monday and Thursday, now including headlines from the Ramify.biz company newsroom service!

ABC Analysis Q1 2017: The biggest-circulating newspapers in SA

by Herman Manson (@marklives) The Audit Bureau of Circulations of South Africa has released newspaper-circulation statistics for the period January–March 2017 (ABC Q1 2017); see our magazine ABC analysis here.

Note: we compare the current figures with the same figures for this time last year, and not with the previous quarter. Green equals growth; red declined; purple maintained, new entrant or renamed; orange discontinued or resigned; pink no submission or suspended; brown minimal newsstand sales; and grey moved to a new category.

Key insights

Daily newspaper circulation fell to 1 211 887 from 1 332 320 during the previous corresponding reporting period (Q1 2016); pdf replica editions totalled 5 365, down from 6 184 copies in Q4 2016, while single-copy sales came in at 898 611. Circulation at the weeklies fell, too — total circulation declined to 506 730 from 526 673; weekend newspapers went to 1 436 844 from 1 626 226; and local papers also saw a decline, falling to 355 048 from 376 682. Free sheets fell to 6 224 346, from 6 325 829.

ABC member circulation totals:

  • Daily newspapers: down to 1 211 887, compared to 1 332 320 for the previous corresponding period
  • Weekly papers: down to 506 730 from 526 673
  • Weekend papers: down to 1 436 844 from 1 626 226
  • Local papers: down to 355 048 from 376 682
  • Free papers: down to 6 224 346 from 6 325 829

Daily papers

In Gauteng, Pretoria News has climbed to 15 038 from 14 381 (sales below 50% of retail cost = up to 3 059). Beeld has fallen to 41 286 from 46 721 in the previous corresponding reporting period. The Star  is down to 84 857 from 86 833 (sales below 50% = 12 193). Sowetan is down to 80 010 from 90 165.

Die BurgerIn the Cape, Die Burger (Eastern and Western Cape editions) has declined to 49 483 from 52 810. The Cape Argus has decreased to 29 707 from 30 524 [3 272 to Print Media in Education (PMIE)], while the Cape Times has also declined to 31 212 — down from 31 767 (2 618 copies go to PMIE). Son has fallen to 73 757 from 79 193.

In the Eastern Cape, Daily Dispatch has fallen to 20 509 from 23 150, and The Herald to 17 721 from 19 673.

In KwaZulu-Natal, The Mercury has climbed to 26 185 from 25 725, but the Daily News is down slightly 24 278 from 24 494 (1 085 = sales below 50%). The Witness has declined to 13 651 from 14 348.

Business Day has declined to 21 555 from 24 672, The Citizen to 43 480 from 51 700 (single copy sales: 28 676), and Daily Sun to 174 483 from 206 793. Isolezwe has fallen to 95 430 from 103 899. The Times is down to 51 308 from 80 666.

Volksblad has declined to 15 527 from 17 014. Diamond Fields Advertiser is down to 8 362 from 8 541.

The MarkLives Big Daily Newspaper List*

  1. Daily Sun: 174 483
  2. Isolezwe: 95 430
  3. The Star: 84 857
  4. Sowetan: 80 010
  5. Son: 73 757
  6. The Times: 51 308
  7. Die Burger: 49 483
  8. The Citizen: 43 480
  9. Beeld: 41 286
  10. The Cape Times: 31 212

Weekly & weekend papers

Pretoria News Saturday is up to 8 946 from 7 521 (sales below 50% of cover price: 1 818); the Weekend Argus Sunday edition has grown to 17 828 from 17 448; and Independent on Saturday has risen slightly to 37 489 from 37 151. The Saturday Star is down to 51 202 from 52 174 (sales below 50% of cover price: 5 095); Saturday Beeld has fallen to 38 918 from 41 851; Saturday Burger has declined to 62 452 from 66 417; the Weekend Argus Saturday edition to 35 043 from 37 050; and Saturday Dispatch to 16 573 from 17 908.

City Press has declined to 71 710 from 91 339 and Rapport to 124 854 from 130 985 (single copy sales: 99 209). The Sunday Times has declined strongly to 262 569 from 322 111 (single copy sales: 145 358). Sunday Tribune has declined to 55 389 from 60 347 (sales below 50% = 5 427). Sunday Sun is down to 86 081 from 115 706, and Sunday World has also dropped to 60 527 from 80 431.

Ilanga Langesonto is up slightly to 41 111 from 40 805 but Isolezwe ngeSonto has fallen to 72 282 from 78 773. Isolezwe ngoMgqibelo has fallen to 74 365 from 74 849.

In terms of the weeklies, The Post is down to 40 154 from 42 024 (sales below 50%: 2 676) and Ilanga has fallen to 72 635 from 73 567. The Mail & Guardian has fallen to 30 148 from 34 442. Soccer Laduma is down to 284 276 from 287 873.

The MarkLives’ Biggest Circulation Per Issue Newspaper List*

  1. Soccer Laduma: 284 276  +1
  2. Sunday Times: 262 569  -1
  3. Daily Sun: 174 483
  4. Rapport: 124 854
  5. Isolezwe: 95 430  +1
  6. Sunday Sun: 86 081  -1
  7. The Star: 84 857
  8. Sowetan: 80 010
  9. Isolezwe ngoMgqibelo: 74 365  reentry
  10. Son: 73 757  reentry

Ilanga: 72 635
Isolezwe ngeSonto: 72 282  falls out of top 10
City Press: 71 710  falls out of top 10

*South African titles only. Must have a cover price. Excludes free papers.

ABC 2016 stories

More ABC stories

 

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

— Sign up now for the MarkLives email newsletter every Monday and Thursday, now including headlines from the Ramify.biz company newsroom service!

ABC Analysis Q1 2017: The biggest-circulating consumer mags in SA

by Herman Manson (@marklives) The Audit Bureau of Circulations of South Africa has released consumer-magazine circulation statistics for the period January–March 2017 (ABC Q1 2017); see our newspaper ABC analysis here. Apart from highlighting several figures that stand out for us, we’ve also updated our list of the biggest-circulating consumer titles in SA.

Note: we compare the current figures with the same figures for this time the year before, and not with the previous quarter. Green equals growth; red declined; purple maintained, new entrant or renamed; orange discontinued or resigned; pink no submission or suspended; brown minimal newsstand sales; and grey moved to a new category.

Key insights

The ABC reports that total magazine circulation declined by 2.3% on the previous quarter, and by 6.5% on the prior year. Consumer Magazines increased by 9.2% on the previous quarter, but declined by 5.7% on the prior year, as the result of several titles changing sector from custom to consumer. On a like-for-like basis, consumer magazines declined by 3.3% on the previous quarter and by 16.3% on the prior year.

Overall, circulation fell to 4 838 894 from 5 132 119 in the previous corresponding reporting period. Single-copy sales stood at 2 750 146 (down from 3 329 935 in Q1 2016) and total paid (which includes subscription figures) stood at 3 892 438 (up from 3 329 935 in Q1 2016). Paid-for digital copy sales stood at 56 200.

Custom magazines saw an overall circulation decline to 6 329 980 from 7 395 036 in the corresponding previous reporting period. Single copy sales in this category stood at 35 776, and total paid for circulation at 1 102 772.

The business press

Finweek is up to 17 342 from 11 345 (total free copies = 3 287 plus sales at below 50% of the cover price = 8 566; single copy sales: 2 812). Financial Mail has declined to 12 673 from 14 018 in the corresponding previous reporting period.

Your Business Magazine has grown slightly to 10 565 from 10 352. Entrepreneur has declined to 16 941 from 18 212; Forbes Africa is down to 22 200 from 25 588 (total free = 11 454); Noseweek has declined to 12 658 from 15 203; and Personal Finance has fallen to 9 532 from 11 459.

Landbouweekblad grows to 31 00 from 30 927 but Farmer’s Weekly is down to 12 380 from 14 398. Marktoe! has grown to 9 862 from 8 700. Veeplaas has fallen to 8 743 from 9 612.

Biggest-circulating business magazines in terms of paid-for (sales, bulk and subscriptions) circulation:

  1. Entrepreneur: 16 930
  2. Finweek: 14 622*  +4
  3. Financial Mail: 12 673
  4. Noseweek: 12 658  -2
  5. Forbes Africa: 10 746  -1
  6. Personal Finance: 9 447  -1
  7. Your Business: 8 019

Biggest-circulating business magazines in terms of total circulation:

  1. Forbes Africa: 22 200
  2. Finweek: 17 342  +3
  3. Entrepreneur: 16 941  -1
  4. Noseweek: 12 658  -1
  5. Financial Mail: 12 673  -1
  6. Your Business: 10 565
  7. Personal Finance: 9 532

Finweek note: Total free copies = 3 287 plus sales at below 50% of the cover price = 8 566. Single copy sales: 2 812

Position movement relative to Q4 2016.

Entertainment & celeb news

People has fallen to 38 177 from 55 074. TV Plus (Afrikaans) is down to 34 900 from 35 384; the English edition has fallen to 25 247 from 35 060.

Bona is down to 78 237 from 79 391 in the previous corresponding reporting period. Drum has collapsed to 51 227 from 78 521; Huisgenoot has dropped to 208 322 from 230 766; and YOU has fallen to 107 108 from 125 346.

The Big Issue has fallen to 10 146 from 14 725. Taalgenoot is down to 68 427 from 69 023.

Home & gardening, leisure

Condé Nast House & Garden has declined to 32 996 from 36 410 (total free = 5 167). Easy DYI is down to 12 598 from 14 091 (total free = 4 342). Food & Home Entertaining has fallen to 22 339 from 29 146 (total free: 2 754). House & Leisure has declined steeply to 25 902 from 37 449 (total free: 2 804). Sarie Kos has fallen to 26 691 from 36 346.

Woolworths TASTE is listed as a custom magazine — circulation has climbed slightly to 30 150 from 30 180 (single copy sales: 26 781).

Elle Decoration has fallen to 19 906 from 22 793 (total free: 5 061) and SA Home Owner is down to 42 149 from 43 854 (total free: 8 177). SA Garden and Home is down to 53 097 from 58 360 (total free: 6 909). Tuis Home has fallen to 77 966 from 78 931 (total free: 0) and VISI is down to 14 820 from 15 499 (total free: 408).

Men’s market

Destiny Man is down to 14 620 from 14 642 (total free jumps to 5 120). Very Interesting has declined to 15 199, compared to 18 347 (total free down to 2 467) in the previous corresponding reporting period.

GQ is down to 20 656 from 24 197 (total free: 5 979); Men’s Health has fallen to 29 305 from 39 894 and Popular Mechanics to 32 759 from 37 285. Stuff is down to 13 465 from 16 928 (total free: 2 834).

Health, fitness, sport

Compleat Golfer is up to 10 791, from 9 100 (total free = 5 013). Amakhosi has fallen to 17 155 from 21 404, and Kick Off is down to 21 679 from 28 993. Golf Digest has fallen to 8 402, down from 9 414. Zigzag has been suspended.

SA Hunter climbs to 46 965 from 43 330. Magnum has fallen to 11 922 from 12 286 while Game & Hunt/Wild & Jag is down to 9 331 from 13 586.

Hitting the road

Leisure Wheels has inched up to 19 082 from 19 044 and Drive Out/WegRy has grown to 32 300 from 31 912, while CAR has declined to 72 060 from 77 175. TFG Motor has been moved from the custom to consumer category; its circulation has come in at 39 829. Speed and Sound is down to 26 506 from 33 200.

Getaway is up to 44 772 from 42 420 (total free: 8 930) but Weg!/Go! has fallen to 57 710 from 59 205. SA Country Life has declined to 33 262 from 39 030.

Woman’s general

Destiny Magazine is up to 27 544 from 26 560 (total free: 5 663). Cosmopolitan has declined to 37 075 from 51 948, and Glamour to 44 428 from 50 879 (total free: 7 399). Elle has fallen to 22 872 from 26 049 (total free: 6 589). Fair Lady is down to 34 611 from 43 196.

Good Housekeeping/Goeie Huishouding has declined to 41 802 from 52 078 (total free: 5 129). Move! has collapsed to 82 421 from 102 127. True Love is down to 33 216 from 44 702, and Vroue Keur has dropped to 53 251 from 59 874. Woman and Home is down to 81 477 from 92 573 (total free jumps to 9 059).

Essentials is down to 25 708 from 30 366. Kuier is down to 100 214 from 101 994. Marie Claire has dropped to 24 053 from 32 753. Rooi Rose is down to 75 851 from 90 673. Sarie has fallen to 71 463 from 75 844. Your Family is down to 33 091 from 39 259. Women’s Health falls to 40 083 from 56 132, and Longevity to 15 140 from 16 370. Finesse has changed frequency to 9x annually and has fallen to 43 429 from 46 472.

The MarkLives’ Big Magazine list*

  1. Huisgenoot: 208 322
  2. Foschini Sports: 165 008 New  +9
  3. YOU: 107 108  -1
  4. Kuier: 100 214  -1
  5. TFG My Kitchen: 90 342  +5 new
  6. Move!: 82 421  -1
  7. Woman and Home: 81 477  -3
  8. Bona: 78 237 Re-entry  +3
  9. Tuis/Home: 77 966  -3
  10. Rooi Rose: 75 851 -3

CAR: 72 060  falls out
Sarie: 71 463  falls out
Foschini Living Space: 71 012  new
Taalgenoot: 68 427  falls out

*By total circulation. Must have a cover price. Annuals excluded. Movement on the Big Magazine list compared to 2016 Q4 data.

ABC 2016 stories

More ABC stories

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

— Sign up now for the MarkLives email newsletter every Monday and Thursday, now including headlines from the Ramify.biz company newsroom service!

Shelf Life: Planters Nuts return with Y&R Labstore campaign

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

  • Cartoon campaign for Planters Nuts from Labstore SA
  • Entertainment on demand for Africa
  • Crumbs & Cream arrives in Joburg

Planting the idea

Remembered fondly by many as a favourite snack but missing from these shores for more than three decades, iconic American brand Planters Nuts is back on local shelves. Its long absence has meant the product has needed a substantial campaign to raise awareness and generate affinity for the premium brand among a new generation of consumers.

https://youtu.be/rAT0FMlFd4c

https://youtu.be/NEzAmW91J84

https://youtu.be/UJSPcY-RE5E

https://youtu.be/Dkirgzyk0dY

Developed for Kraft Heinz by Y&R’s Labstore South Africa in partnership with Bugbox Animation, the resultant quirky launch campaign offers ‘snack-sized humour’ that appeals to different tastes. The four 30-second commercials, flighting on selected DStv channels, are inspired by Planters’ brand icon Mr Peanut, who is famous for his one-liners.

Viewers will see subtle local details in each execution, with the picnic scene set in a famous South African botanical garden (Kirstenbosch), the yeti at home in a KwaZulu-Natal mountain range (uKhahlamba-Drakensberg )and the elephants twerking in the shadow of the Hillbrow Tower.

Says Labstore South Africa’s creative director, Liesel Tiemesmann, “The simplicity of the cartoons makes them distinctive in a cluttered media environment.” She also says the idea of associating Planters with simple line-drawn cartoons started with the in-store point of sale, which is unusual: “The creative approach was so successful that it was extended to social media and now television.”

Planters is available from Pick n Pay, Checkers and Spar.

planters.com • Facebook • Twitter
labstoreshopper.com • Facebook • Twitter
whyweare.co.za • Facebook • Twitter • Ramify
bugbox.co.za • Facebook • Twitter

 

Viewing freedom

Digital Entertainment on Demand (DEOD) has launched in South Africa, offering a selection of rental and subscription video entertainment on-demand services, including news and sports internet TV channels, direct to viewers’ phones, tablets, and laptops.

Says Discover Digital managing director, Stephen Watson, “Unlike traditional free-to-air and pay-TV services, DEOD offers true freedom of choice; consumers can enjoy internet TV channel programming, subscribe to bouquets of content to watch as they choose, or they can simply opt to rent individual movies on a pay-per-view basis — anywhere, any time. Viewers today want freedom of choice. They want customisable, affordable access to movies, news, sports, music and TV series wherever they are.”

Launched in markets across Africa by Discover Digital, in partnership with regional telcos and businesses, DEOD is priced from R49 for the News Service and R99 for the Sports Service to R189 for the Premium Package (which includes all news and sports channels, DEOD Sports Network [DSN] and a selection of series, music videos and movies on demand.)

Watson says DEOD breaks new ground for mobile viewers, delivering a premium viewing experience with little to no latency, even on mobile phones: “To really experience the benefits of VOD, it has to be suitable for mobile, too. We use adaptive bitrate technology to ensure that viewers in every country enjoy the best-possible viewing experience.”

DEOD payment systems will include credit cards, debit orders and voucher payment/redemption options, plus future mobile money and charge to bill options in partnerships with telcos and mobile wallet operators.

discoverdigital.co.za • Facebook • Twitter

 

Ice-cream innovation

Cape Town’s favourite boutique ice-cream sandwich store has opened its first Johannesburg branch at Illovo Junction in the trendy suburb of Illovo.

Crumbs & Cream started small — the size of a tuk-tuk to be exact — just two years ago at the popular V&A Waterfront, where the Crumbs Truck, as it came to be known, found its home. Demand soon exceeded supply, however, and the flagship Crumbs & Cream store opened up in Sea Point, Cape Town.

The Crumbs & Cream concept is to allow consumers to get creative and craft the ice-cream sandwich of their dreams, based on any two cookies from a freshly baked variety, followed by a scoop of gelato and finished off with a choice of toppings and spreads. In addition to the iconic Ice Cream sandwich, on offer are ice cream cones, coffees, crumbs shakes and limited-edition creations including sugar-free ice cream and a vegan heaven cookie with a choice of sorbet.

crumbsandcream.co.za • Facebook • Twitter

 

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.

— Sign up now for the MarkLives email newsletter every Monday and Thursday, now including headlines from the Ramify.biz company newsroom service!

On My Mind: No story? Good luck with that brand

by Jerry Mpufane (@JerryMpufane) A First People proverb teaches: “Those who tell the stories rule the world.”

Since the beginning of time, humanity has had a profound need to make friends and to connect. Storytelling enables that. The explosive speed of progress is also fuelled by our ability to tell stories. That’s why consumers — who are confronted with multiple simultaneous messages in a noisy, saturated world — need stories to derive meaning. And why I believe that, without stories, brands will battle to succeed.

Stories are the oldest and most powerful form of influence. To read or hear or see a story is to feel an experience and to synchronise our minds with its subject. So, to help you with your synchronicity, here are eight tips for brand storytelling:

1. Always keep it conceptually simple

The most-straightforward narrative arc is: Problem > Solution > Success. Every book, film and series uses it. So should you.

2. Look outside the brand for inspiration

Even the most-carefully researched and -considered facts are routinely greeted with cynicism or outright dismissal. No one cares about a brand’s marketing goals. No one is moved by a corporate agenda. But everyone likes a good anecdote. So refrain from making it all about you/the brand.

3. Learn from the simplest storytellers

Such as the street performer. A busker might be someone wanting to raise attention for a cause or raise money to support a family. Either way, he or she is able to connect with people and, importantly, collect some cash. Whether poetry, mime or the written word, the best stories capture the imagination — forcing a pause and a reaction from those who’d otherwise walk by.

4. Forget god-like figures and epic tales

Susan Gunelius says in Forbes that stories should be inspired by “the presence of people who participate, create, connect, and develop the saga of growth and success. Personality drives the story. But the story isn’t a biography of an individual. It’s the evolution of an entity told with personality. People trust other people. The core reason why your story should be personality-driven is so that it will provide someone real for customers to trust.”

5. Look for consumers’ commonalities

Yes, everyone in a digital world may choose their own content. But, no matter who they are, each individual shares the drive to achieve certain goals. With insight, a brand may engender a positive but realistic energy in those who engage with it. Tell your story in such a way that it tells your customers: “We relate to you; we understand you; we are like you.”

6. Remember the potential of new media

New media means that brand storytelling has become a more all-encompassing experience: visual stories in photographs, spoken stories in videos and recordings, and written words on blogs and even status updates. If you want to be a part of the conversation, manage your relationships with your target consumers in a compassionate yet realistic way.

7. Tell the same story everywhere

Make the story part of who you are and what your company is about. Be consistent and be relentless. When your brand hits the mainstream, its story will become further entrenched in public awareness. Don’t suppress telling or even retelling of your brand’s story, if it’s accurate.

8. Encourage your consumers to tell the story

Testimonials are one of the most-effective ways you can broadcast your brand’s story, because consumers will experience the problem > solution > success momentum of the story themselves.

~~~

Bottom line? Good stories surprise us. They have compelling characters. They make us think and they make us feel. They stick in our minds and help us to remember ideas and concepts in a way that the basic facts simply cannot. So: we act.

 

Jerry MpufaneJerry Mpufane has executive experience in both ad agency and client organisations, and has only one goal in life, which is to be an inspiring leader. He is currently chairperson of the M&C Saatchi Abel JHB Group of Companies; vice-chair of the Association for Communication and Advertising (ACA); a Loerie Awards board member; and a judge for Bookmarks, Loeries and PRISMs. His monthly column on MarkLives, “On My Mind”, focuses upon what it takes to run a great AND sustainable ad agency.

— Sign up now for the MarkLives email newsletter every Monday and Thursday, now including headlines from the Ramify.biz company newsroom service!

Thinking B2B: B2B vs B2C marketing automation

by Warren Moss (@warrenmoss) While marketing automation is typically used in a consumer context, B2B marketers are swiftly catching on to its benefits, too.

Marketing today is driven by data used to target and communicate with various people, based on how relevant the message is to their gender, interests, life stage and location. Marketing automation refers to the technology that helps companies to plan, manage and measure their marketing efforts in an automated way in order to increase both efficiency and revenue.

And it’s growing hugely in popularity: according to MarketsandMarkets, by 2019, the global marketing automation market will reach US$5.5bn.

A longer buying cycle

But the form it takes in a B2B context is very different, especially because the buying cycle is much longer.

For example, say you searched for a particular type of shoe on a clothing retailer website but didn’t end up buying them. Then, when you log on to social media later, an advert for those shoes follows you around the web for another week until you either buy the shoes or simply ignore the ad.

Known as remarketing, this strategy can’t be done in the same way in a B2B context. Imagine you were the CTO of a large corporate and you needed to buy a new PABX/switchboard system. You don’t simply go online and buy it immediately, as with the shoe example above. You go through more phases in the process, including education, awareness, purchasing and then justification after your purchase.

Content with longevity

In B2B marketing, automation also needs to cater for a longer buying cycle of months or even years. To do this, marketers need to create content that outlives the cycle; these ideas also have to have serious longevity, as political and economic changes may occur over these large spaces of time.

Although the CTO or CFO may make the ultimate decision or sign the cheque, there are multiple influencers that exist around the buying decision. In fact, the whole B2B buying process is not only longer than in B2C — it’s also a lot more complex. To market effectively, you need to create personae for the different B2B buyers and then target each of them.

The buying process is not as linear as in B2C, because it often depends on business triggers such as companies being able to afford to make the purchase. You therefore need to be able to push people towards the marketing funnel and once they engage, mark where they are in the buying journey, and then start exposing them across different platforms to different content.

An example

Say you’re the CFO of a medium-sized business and a large bank wants to sell you an overdraft facility. Typically, the CFO will first realise that they have a cash flow problem and then Google “5 ways to bail my company out of cash flow problems”. As a B2B marketer, you would then tag this person as being in the awareness phase: they’re interested and could possibly take out an overdraft facility.

Next, this CFO may download a white paper about how overdraft facilities may help get their company out of cash-flow problems. As a marketer, you then might build an online calculator that they could use as an assessment tool, as they’re currently in the evaluation phase.

Depending on what piece of content they’re engaging with, marketers decide where they are in the purchase phase and then serve them the relevant content, automating the whole process. All this content created sits somewhere on the content hub and, as someone engages with it, they enter the funnel and are then served the right content, whether they’re on Facebook or reading a piece of news online.

Not invasive

To the end user, this whole process will feel serendipitous, even though, behind the scenes, the entire thing has been curated by the B2B marketer. It doesn’t feel invasive, however, because it happens over a longer period, and the content being served feels educational, helpful and necessary.

It’s worth understanding these differences in order to make marketing automation work for your B2B marketing efforts. Almost 11 times more companies are using automation than they were in 2011 so, if you don’t already use it, it may be something for your business to consider.

 

Warren MossWarren Moss (@warrenmoss) is the CEO and founder of Demographica, a multi-award winning full service agency that specialises in the B2B category. He is the chair of both the Direct Marketing Association of South Africa (DMASA) and the Assegai Integrated Marketing Awards (Assegais), as well as the only African to judge the B2 Awards, which recognise the top performing B2B marketers in the world. Warren contributes the monthly “Thinking B2B” column, which looks at the latest trends in B2B communications and explains why it is fundamentally different from B2C comms.

— Sign up now for the MarkLives email newsletter every Monday and Thursday, now including headlines from the Ramify.biz company newsroom service!

Brands and bands — a marketing match

by Kim Penstone. If there’s one business that’s been as turned on its head by the advent of the internet as the advertising industry has, it’s the music industry. It is almost serendipitous that the two sectors should align to create a new marketing model.

Branded music video

‘New’ might be stretching the description slightly; after all, music has been a bedrock of advertising since the dawn of radio and TV, says William Nicholson, co-founder and producer of Arcade Content. But it is only fairly recently that this collaboration has come into its own — with a branded music video not only winning acclaim and awards in the advertising arena but also in the music biz.

Upside Down and Inside Out, a music video by OK Go, mind-bogglingly shot in zero gravity, doubles as a three-minute advertisement for the Russian airline, S7 Airlines, which provided both the budget and the setting.

“Upside Down and Inside Out was a hit for the band, the brand and their fans, with over 50m views on Facebook alone,” explains Kevin Kriedemann, marketing manager for production companies Arcade Content and Egg Films. “Conceptualised by the band with Russian agency TutkovBudkov, the music video has already won branded content awards from the London International Awards, Ciclope Festival and The Shots Awards. But I think the Grammy nomination for Best Music Video places it in the realm of a real tipping point campaign.”

SA tipping point

Locally, he cites Khuli Chana’s One Source album as the South African tipping point.

“Guided by NativeVML, Absolut not only sponsored the music video but backed the album as a whole, which went on to top the iTunes charts and has just been nominated for a South African Music Award (SAMA) for Best Rap Album. Khuli performed One Source at Cassper Nyovest’s historic, sold-out Orlando stadium concert, which is the kind of memory you can’t put a value to. With seven awards from its 14 nominations, One Source was both the most-awarded and most-nominated advertising campaign at this year’s Bookmarks, where it won the only Gold for Branded Content.”

These are among the more-extreme versions of the alliance between brands and music. Earlier incarnations, which exploited the relationship to a much-lesser degree, include the likes of Cadbury’s “Gorilla”, Toyota’s “Swagger Wagon”, and Virgin Airline’s “Safety Dance”.

Locally, Red Bull was an early adopter, with product placement in Die Antwoord’s “Baby’s on Fire”.

On first consideration, it would seem that brands and musicians would make uneasy bedfellows: the combination of the tightly controlled corporate world with the archetypal independence of the music industry. So what prompted the alliance?

Exploring new models

From the advertising industry perspective, it’s fairly obvious. In a world maxed out by marketing, brands need to find a voice that consumers will choose to hear. And, from a music industry perspective, the old financial model of relying on CD sales has been broken, which creates an openness to exploring new models, such as brand sponsorships.

“So the timing’s been good,” says Kriedemann. “Brands need content that people actually want to watch, and musicians and music video directors need the resources that brands can provide. When it’s done properly, it’s a natural fit. Brands have always dreamt of having fans as passionate as the kids in the front row at a concert; bands have always dreamt of being able to actually pay their music video directors.”

He adds, however, that the genre doesn’t come without its challenges:

“Matching the right brand to the right musician to the right music video director isn’t simple. Each element brings its own associations, which need to fit naturally. If anything feels fake, everything can break, especially when representing subcultures.”

William Nicholson
William Nicholson

Shareable

Nicholson adds that perhaps the biggest challenge is ensuring that the end result is shareable: “You have to make something shareable otherwise it will flop — for the brand, and the band. YouTube, Facebook and other platforms are brutal.”

In this way, the genre is no different to any other form of advertising. It has to be seen to be heard.

For Nicholson, the best way of ensuring shareability is the ‘fun factor’: “Often traditional ads are too busy trying to be clever, overly conceptual or deep, when what most people will enjoy and share are pieces that put a smile on their face. People love music and its ability to lift your mood or make you dance or simply break the tedium of our office-bound lives.”

If you get it all right, the end result is what Nicholson calls “perfect symbiosis”, where everybody wins: the brand reaches its target market and the artist scores a piece of content with a much-bigger budget and reach than most artists or labels may afford.

Here to stay

Kriedemann concludes that there is no doubt that this genre is here to stay, but also that it is just getting started: “Music videos are still waiting for their Lego Movie equivalent of a branded content breakthrough.”

 

Kim PenstoneKim Penstone is a freelance journalist, specialising in marketing, media and advertising. Over the past 15 years, she has worked for a variety of leading marketing industry publications, including Marketing Mix, Marketingweb and Brand Magazine, and in her freelance capacity contributes regularly to specialist titles, such as Brands & Branding, AdFocus and MarkLives. She has recently started a blog, www.runlikeamom.co.za, which is completely unrelated to the marketing industry.

— Sign up now for the MarkLives email newsletter every Monday and Thursday, now including headlines from the Ramify.biz company newsroom service!

Back2Basics: Creativity in B2B? Now there’s a challenge!

by Mark Eardley. 85,863,641. That’s eighty-five million, eight-hundred-and-sixty-three thousand, six hundred and forty-one. Early-ish in April 2017, that’s how many views an ad by Volvo Trucks had clocked-up since it appeared on Volvo’s YouTube site on 13 November 2013. Jean-Claude van Damme, an Enya soundtrack, two trucks, two drivers, one take and the best part of 86m YouTube views. Wow!

But, wait, it gets galactically better. Van Damme’s epic split between two reversing trucks that slowly inch apart — gasp! — is just one in a series of Live Test ads each demonstrating a technical feature in Volvo’s latest range of heavyduty trucks. And the series’ views keep on rising — already way past the 100m mark — as does the viewers’ hyperbolic adulation of these extraordinary ads. Plus, lots of awards for the agency, Sweden’s Forsman & Bodenfors, and masses of chattering applause in the marketing and general media. The ad industry’s gong-giving has been overwhelming and its incestuous back-slapping is probably audible on the space station.

But did it move the metal?

Extraordinary they may be but did they move the metal? Nobody’s saying. A Wall Street Journal article headlined “The Van Damme Dividend” says Volvo’s heavy-truck sales in November 2013 were 31% higher than in the previous November. That’s a pretty stupid headline comment, marrying as it does a mega jump in sales to an ad that only appeared on the 13th day of the month in question. I betcha nobody — but nobody — watched the slick, theatrical circus of the ‘epic split’ and said, “Whoa! We gotta buy lotsa Volvos in the next fortnight!” And it’s also inconceivable that anyone in the trucking game had never heard of Volvo’s trucks; they’re second only to the three-pointed star in the global heavy-truck market. Nevertheless, it’s great hype.

In fact, it’s hype, hype, hype all the way, up to the point where the proverbial elephant-in-the-room poses its awkward question: is the campaign moving metal? That old elephant, hey, just can’t help but poop at the party.

The stock response from Volvo Truck’s PR and marketing departments and the award-laden agency is that they can’t possibly comment on sales figures. I wonder why? If attributed sales were leaping off the wall-chart, we’d surely be hearing about it. Big time.

“If it doesn’t sell, it isn’t creative” — David Ogilvy

Ogilvy also said, “Don’t count the people you reach, reach the people who count.” With that in mind, perhaps ask yourself how many of the multimillions of Volvo Trucks’ YouTube viewers are ever going to influence — in any way at all — the decision to buy any sort of heavy-duty truck?

Now for the tricky question: who does influence truck-buying decisions?

Well, it appears that Volvo Trucks already knows a whole bunch of these influencers. Not surprisingly, they’re working in, er, transportation companies. After the Van Damme ad went galactic, it surveyed companies in that market segment to gauge their reactions to the Live Test ads.

According to an article in Campaign, Volvo Trucks commissioned the respected market researcher, GfK, to survey 2 200 of these companies in Sweden, France, Germany, UK, Spain, Poland, Russia and Brazil between December 2013 and January 2014. Half of the trucking companies surveyed operated Volvos and the other half didn’t.

The results? Epically anaemic, to put it mildly. Campaign’s article says that, “of the respondents who had seen ‘epic split’, [What?! There were some who hadn’t seen it?] 24 per cent said they took action after seeing it (either visiting a Volvo website or contacting a dealer), 19 per cent said they intended to take action, and 57 per cent said they did not intend to take action”.

The greatest-ever hoopla in the trucking world and over half of the target market just couldn’t care less. Hmmm…

More to the point, did any of the 1 100 non-Volvo operators switch to Volvo in the coming months and years? Who knows? And the coy folks at Volvo Trucks ain’t telling.

B2B’s creative challenge: too tough to handle?

B2B places huge — yes, huge — demands on creative minds. The challenge is to differentiate an offering from its competitors in such a way that it generates sales to long-term customers. That’s a hard task for even the most creative.

Too many B2B marketers, and their agencies, fail to address the challenge because they lack accurate insights into their customers’ buying motivators and how buying decisions are influenced. The result? B2B marketing has been branded as a discipline where there is no room for creativity. That dumb assertion is justified by the mantra that B2B is inherently boring and therefore outcast from the minds of so-called ‘creatives’. The real truth is that too many marketers have decided that B2B’s creative challenge — generating profitable sales — is too great and simply given up.

Volvo Trucks are certainly being highly original in the live test series. Nobody had ever before seen a hamster steering a truck around the precipitous roads of a huge quarry or a plucky paraglider being towed, happily still airborne, under a road bridge by a truck.

Trouble is, in terms of Ogilvy’s definition, none of this seems to be creative. It’s just whacky. And being whacky doesn’t motivate trucking companies to buy trucks. What’s worse is that the series may well have had a negative effect: positioning Volvo Trucks as a brand that doesn’t take its customer’s needs very seriously. Not good.

References

 

Mark EardleyMark Eardley is the author, together with Charlie Stewart, of Business-to-Business Marketing: A Step-by-Step Guide (Penguin Random House), which offers practical, actionable advice on how to make marketing make money. Both he and Charlie will be speaking at the forthcoming B2B Trade Conference on 18–19 May 2017, Emperor’s Palace Convention Centre, Johannesburg, organised by Vukani Communications. Mark contributes the monthly “Back2Basics” column, covering how B2B companies and their agencies should manage their marketing, to MarkLives.com.

— Sign up now for the MarkLives email newsletter every Monday and Thursday, now including headlines from the Ramify.biz company newsroom service!

Online CPD Courses Psychology Online CPD Courses Marketing analytics software Marketing analytics software for small business Business management software Business accounting software Gearbox repair company Makeup artist