The Power Report: Please Retail SA, stop going all pseudo on us

by Megan Power (@Power_Report) I’ve always hated made-up names for children, and for good reason. It’s similar to how I feel about brands, especially those in the beauty and food industries, that try to impress by using inane descriptors to market their products.

With children’s names, whether it’s ‘creative’ spelling or the blending of two names or just a plain thumbsuck, the Camleighs and Brandalls, the Laylanys and Questins, the Lyrics and Scotlyns can’t help but jar. It’s all so unnecessary, too. There’s certainly no shortage of existing — real — names to choose from. I recall the baby names book (yes, I’m that old) we consulted to better understand the meanings of different names and, importantly, double-check spelling. It was thicker than a thesaurus. I suspect parents of such named offspring want to break the mould, or at least they want their children to — to stand out on the playground, to be spotted in a pile of CVs on a cluttered employer’s desk. But is it really a bonus? Couldn’t it just as easily be a handicap, an embarrassment?

Pretentious add-on terms

When it comes to brands, I’m not talking about a brand or product name but rather those pretentious add-on terms used, to supposedly, differentiate a brand, and often preceded by a “with”. They’re usually a combination of words, or parts of words, with a few numbers or letters thrown in for impact. If there’s a way to fiddle the spelling, it’ll be found. If it can boast a scientific or technical ring, even better.

So, you have a shampoo with ActivProB, a moisturiser with BoostQ9, a soap with SateenZR, and an antiperspirant with DryGuard95. The toothpaste with TrixomeM, the multivitamin with SupaBioniK, the razor with MotionGen and the handwash with GermXBlast. Food-industry favourites include the fruit juice fortified with VitagonA, the oatmeal boasting a dose of FibaFul, and the chamomile tea infused with Calmathon.

These examples are particularly bad, partly because I made them up. But I can easily find similar real-life examples at my local Pick n Pay or Dis-Chem. Our supermarket shelves are full of this contrived mumbo jumbo. I fabricated these because, if I named some real ones, in fairness, I should name them all. Also, besides risking the alienation of most of retail South Africa in one go, it simply would take too long.

Ordinary ingredient

These quasi-terms, whether exotic- or scientific- sounding, usually reflect nothing more than an ordinary ingredient or some concoction especially selected for inclusion in a product. I once queried the technical-sounding name featured prominently on one of South Africa’s leading drinks brands. Turns out (as I had suspected) that it was something the manufacturer had made up to describe a blend of very unremarkable vitamins and minerals it had added to the ingredients.

Perhaps it’s just me and these trumped up descriptions are indeed what distinguish brands and move people to choose them? I’d be surprised, though. More and more beleaguered, yet increasingly empowered, consumers want plain talk. They want authenticity. Especially here, right now. Battered by the relentless double-speak of our politicians, the duplicity that is Eskom and the ongoing betrayal of promises by government, it’s hardly surprising consumers yearn for no-nonsense, straight-forward communication.

We’re in an age where honesty and transparency are no longer nice-to-haves. We all loved English comic and actor, Ricky Gervais, for calling a spade a spade when he hosted the recent Golden Globes awards. His scathing remarks about hypocrisy in Hollywood were a breath of fresh air. We identify with him because he’s down to earth; he bravely and unashamedly calls out posturing, and speaks in a language and tone ordinary people relate to.

“Driven by purpose”

If so many of today’s leading brands are indeed “driven by purpose”, perhaps they should start with the basics and be more sincere in their marketing. Using fake words and names that don’t even exist to suggest a superior or unique offering (it’s seldom either) hardly inspires trust. Consumers want to know what a product contains and what it does. There are more than a million words in the English language to choose from; if marketing gurus can’t sell a product without going all pseudo on us, perhaps the product itself should go back to the drawing board.

And, while we’re at it, it would be great to see less clichés this year. The best thing about the days following Christmas was an end to festive-season advertising; the hackneyed gift brochures and ads trotting out tired platitudes like “’tis the season…”, “the more the merrier”, and “all the trimmings”. As for “all wrapped up”/“it’s a wrap”, it was everywhere.

Worse, still, was that throughout it all, we were encouraged to “gift”. It’s apparently no longer good enough to “give” a present. “Gift a book”, one retailer enthused. “Reveal the beauty of the season through the art of gifting”, a large coffee brand gushed.

Not an easy year

I’m hardly alone in my dislike of lazy, misleading or pompous copywriting. A UK copywriter and branding specialist last year posted a lovely example from Europe of a luxury watch brand keen to highlight its exclusivity and unparalleled craftmanship. Next to its name it featured the payoff line: “One of not many”.

We’re now properly into 2020 and it’s not an easy year, on many fronts. I hope, for the sake of ordinary consumers, that unimaginative and formulaic marketing that does little to enrich our lives will be rarer. Or, at least, one of not many.

 

Megan PowerMegan Power (@Power_Report) has nearly 30 years’ experience working in South African media, including investigative journalism and news editing; she now runs Power LAB, a strategic communications and customer experience agency focusing on customer journey audits, crisis readiness and brand reputation. Megan’s consumer column, The Power Report, ran weekly in the Sunday Times for six years and has now found a new home on MarkLives.

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Dear Radio: Disaster comms, industry layoffs & chasing chickens

by Paulo Dias (@therealptp) Here’s a scan of the news, stories and innovation that caught my eye from radio stations and groups around the world recently.

Australian bushfires

During emergencies, disaster and stage-six loadshedding, we assume that, in our ultra-connected world, we’d be able to get news and information plus communicate over the internet like we always do. What we’ve seen, time and again, is that mobile networks become unstable and devices just run out of battery.

Radio always impresses me with its resilience at times like these and the latest case in Australia saw the national broadcaster, ABC Radio (Australian Broadcasting Corporation Radio) put out over 100 special emergency broadcasts alone in the first week of the Australian bushfires.

Local radio dropped its summer programming to run the emergency broadcasts, which gave people an outlet to distribute and receive information when other channels became unreliable.

iHeartMedia

The seedier and more-cutthroat side of radio reared its head US state-side with the behemoth audio corporation, iHeartMedia, announcing in the name of evolution that it had laid off dozens of radio staff, including well-known on-air personalities. iHeartMedia is an absolute monster in the US, with over 850 live stations and many other podcast, on-demand and streaming platforms. It claims that its network reaches nine out of 10 Americans every month, so this is no small story.

The move is said to be an effort to maximise the company’s investment in technology and artificial intelligence (AI), with most people assuming that roles such as scheduling and music compiling will be taken over by AI.

As we see technological advances disrupt so many other industries and make jobs redundant, we mustn’t fool ourselves into thinking the same can’t happen in our local radio stations and groups.

Chasing chickens

Last but not least, it brings me great pleasure to end off with a promotion that I’ve been wanting to share since I found it late last year:

Radio promotions are very simple. Most are designed to make audience members listen longer and, while they do so, cash and prizes are won for not doing all that much. Y 107.9 FM Ghana didn’t get the memo… To mark its 11th anniversary, YFM Ghana launched the Chicken Chase. Eleven chickens released into a yard — catch one and it’s yours.

The promos write themselves.

Plus, it doesn’t look as if any chickens were harmed in the making of that contest.

 

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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Young, Gifted & Killing It: Thabang Moleya

by Veli Ngubane (@TheNduna) An award-winning director and entrepreneur born and raised in Tembisa, Gauteng, Thabang Moleya (@Teabagg; IG:@teabaging) is the co-founder of Seriti Films [here’s the YGK interview with the other co-founder — ed-at-large]. We trace his love for films, from a young age to directing an international series featuring Brendan Fraser.

Professionals 2019 TV series posterVeli Ngubane: First things first, congratulations on directing an international TV series featuring Brendan Fraser. Tell us more about how the opportunity came about and your highlights?
Thabang Moleya:
Thank you very much. The international series was one of the biggest co-productions to come out of South Africa, with a combined budget of US$27m. “Professionals” is set against the backdrop of international espionage and corporate sabotage in the 21st century’s privately funded space race. When an advanced medical satellite is destroyed, a billionaire futurist (Fraser) and his medical visionary fiancée (Elena Anaya) enlist the services of a hardened counter terrorist operative to assemble a team to investigate. They discover that a number of business rivals, corrupt government officials and a shadowy crime syndicate may be behind the attack. That’s the briefest synopsis of the project; it’s fast-paced action, it’s drama and comedy, all coming together beautifully in what I believe will be a well-received and loved series. I’ve directed two other international shows before this project, “Jacobs Cross” and medical drama series, “Jozi-H”, so I would like to believe the opportunity came from the local and international producers seeing a body of my work and trusting that I could be part of this amazing team.

VN: Where are you from and how has your background influenced your work?
TM:
I was born and raised in Tembisa, I grew up in a home where we had the only VHS machine in the area/street we were living in; a lot of my friends would pack up the lounge and we would watch cheesy action and karate films. My love for storytelling really started there. In my teen years I fell in love with photography and processing [my] own black-and-white images in the dark room. I was soon collaborating with friends, writing scripts and shooting short films — we were only 15/16 years old at the time but this bug had caught us — weekends we would spend time at each other’s homes, watching films and writing down ideas. I had no idea I could do this for a living, yet alone get paid, but I guess this is how God reveals our purpose to us.

VN: Please explain what you actually do and how an average day looks for you?
TM: I don’t have one typical day that consists of the same routine. Being one of the business owners of Seriti, we have different responsibilities in running a company that offers multiple services to our clients. We run a commercials divisions, drama series, feature films, content creation and skills development/training/master classes etc. By the end of most of my days, I’m completely depleted because the machine keeps turning, developing and growing. Currently [at the time of the interview], we are setting up our first telenovela for Mzansi Magic, lots of castings, reading scripts, finding locations; in the evening I continue with developing a feature film, which is a Zakes Mda adaptation, “Black Diamond”. We [are] exploring collaborations between local and international partners/individuals. We are really motivated by exploring collaboration opportunities while developing talent and growing the business into a legacy we can be proud of.

VN: Tell us more about Sereti Films?
TM: We are currently in our third year. Let me tell you something: there’s nothing like running a business until you run a business. I appreciate my partners, the people [who] work within the business, the clients that we have worked with, the agencies we have created great commercials with, M-Net for investing in our growth. [B]ehind the scenes, we have mentors we look to for advice and insight; we never pretend to know when we don’t, we’re not afraid to ask and we strive in letting our employees know and believe that they don’t work for ‘us’ — that they should bring to the table their ideas and dreams and see how we can be the support for those dreams and help them get there. I love my team.

VN: How did you break into the industry? Please give a brief history of your journey from the beginning until now.
TM: I first broke into the industry as a K-T.V. presenter for M-Net; I was a teen then. We actually didn’t have an M-Net decoder at home, so I had no idea what I was auditioning for when the castings started happening — even worse I couldn’t watch at home with the family. Which I find ironic. Two presenters and myself wrote short films and used the M-NET gear and post to shoot and edit our work. We cast friends [who] had a passion for acting and, before we knew [it], we had a small hit team. I then approached Cinema Nouveau in Rosebank once the films were made and said, “I’m a director and I would like to book two of your cinemas for a screening and I don’t have any money to pay you” and they agreed. We invited our friends and family. I think pockets of such moments in my life really made me feel like this is what [I’m] meant to be doing. I was 16 years old at the time.

VN: Why do you think the industry is struggling with transformation?
TM: It is transforming but very slowly. It’s not going to happen overnight either because changing something that’s been set in its way for many years takes time. Government does play a big part with incentive and rebate structures with the IDC and the DTI, and that’s definitely having an impact; the same energy needs to be put into more woman in HOD positions, not just in wardrobe, makeup and production managers/assistants — I mean female producers, directors and company owners. Clients/agencies need to have a look at how much work they have produced in a year and how much of that work was produced by female lead positions — the same with channels across the board. We need to table these matters collectively so that the change happens simultaneously.

VN: What advice do you have for young people wanting to break into the industry?
TM: We often give advice about being a hard worker but we seldom speak about having the right attitude. Attitude goes a long way. I would rather hire or work with someone who has the right attitude and less talent. Attitude means you treat people right, you respect others, you respect time, you respect your part to play and you honour that. People always remember the experience of you more than the project that you worked on.

VN: What’s next for your industry: what are the key trends driving change in your field?
TM: The demand for content and how it is being consumed. Brands shifting and exploring different ways to engage consumers. Ultimately, this is a landscape that is forever evolving; being able to adapt to these changes is important for longevity — more so positioning yourself as a collaborator and constantly showing consistency in being able to deliver high-end production value to the clients in whatever shape or format.

VN: What community initiatives and mentorship programs do you have and how can young people work with you?
TM: We are currently working with the JLD Institute in KZN [KwaZulu-Natal] in hosting masterclasses and workshops for the UIF Labour Activation Programme Class. Film/TV/media shouldn’t exclude those who can’t afford it. Already it’s such a cost for the youth to get into these colleges and universities; the fees are alarming high; some kids do first year and drop out. Programmes like this help me get closer to the ground roots levels of finding and uprooting this talent and giving them an opportunity to be heard through their work.

VN: Where and when do you have your best ideas?
TM:
Usually at home, in the early hours of 2am or 3am, when the world is quiet and I sit in silence. I enjoy sitting in silence; I enjoy being home. I invite my ears to hear, to listen.

VN: What have you learnt about yourself as a result of running a business?
TM: To set deadlines for goals, to be consistent, to be patient but remain consistent.

VN: Tell us something about yourself not generally known.
TM: I enjoy my coffee/tea every day at 5pm before I leave the office, with two slices of white bread and butter on it. Nothing more. It’s just something I really enjoy having. Reminds me of home and my grandmother.

VN: What other exciting projects are you working on at the moment?
More great commercials, a really exciting telenovela coming soon, feature films, collaborations and partnerships, I’m just really happy I now have an espresso machine because there’re a lot of long nights in 2020.

VN: Please would you supply two or three pieces of work you have been involved in?
TM:

See also

 

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

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Cultural relevance — more than just a #hashtag

by Vikash Gajjar (@VikashGajjar) Understanding what’s happening matters more than ever, but it’s no longer enough for brands to just “join the conversation” to up their cultural relevance. Brands need to stand up and stand for something. Sponsoring events and jumping onto trending hashtags are now hygiene.

‘New brand voice’

At some point in the last two years, you’ve probably come across an article or a Twitter thread emphatically encouraging brands to become more human with a distinct voice, on social and digital in general and when interacting with consumers on these platforms in particular. So, that’s what brands fixated themselves on doing. For the most part, this translated into brands personifying themselves as a singular individual: speaking in first person and referring to themselves as “I”, even when it didn’t make sense.

This ‘new brand voice’ opened up possibilities when it came to social content and community management. Some brands found themselves enjoying much success when organically tagging onto trending topics and conversations on platforms such as Twitter — others, quite simply, got dragged — all in the quest to become culturally relevant.

We’re currently living in a tight economic climate that breeds savvy consumers, who’re spoilt for choice but need to make their money stretch further. The fundamentals then, such as price point and value, are now even more considered. But, for brands to truly cut through the clutter, their relevance is as vital as their product price point — and relevance is no longer just about capitalising on key moments or being culturally in tune or passively supportive.

Need to stand up

In a trend report highlighting the fastest-evolving topics on Twitter between January 2006 and June 2019, the conversations shaping culture today centre on “well-being”, “one planet” and “my identity”. Inherently, these topics are drivers for positive change in the world we live in and, since they make up the majority of conversations on social media, they’re a fair indicator of what’s important to our consumers, of what’s relevant.

A 2019 study by MAGNA and Twitter revealed that consumers think brands should be involved in social issues and movements, more so than in sponsoring events and latching onto trends (which is what most brands in South Africa have been doing). In today’s information-rich and mobile-centric world, consumers are more informed than ever on practically everything, especially social causes. They know more, so they care more, so they want to make more of a difference because they now know how to. In turn, they demand the same of their brands.

For far too long, brands have gotten away with passive support on topics neither too controversial nor too polarising. But it’s 2020. It’s not enough to print the rainbow flag on the inside of a fries box for the month of Pride to show your support for the LGBTQI+ community, or to unexpectedly change the colour of your logo in solidarity of a cause that everyone else is now suddenly supporting. What are you doing to actually uphold your claim, other than to state your support? Are you donating a portion of your profit? Are you uplifting and enabling that which you support? Social media has given everyone a voice, so how are you contributing towards a social movement, other than lending your own?

Holistic support

More often than not, brands fear wholly supporting a cause or social movement because of the consumers it may polarise. Brands fear picking a side. But getting a firm “no” is much better than a consumer sitting on the fence.

As humans, we inherently want to do good. We want the brands we support to do the same. But we want them to do it properly, not superfluously. In 2020, brands need to chase social trends less and, instead, focus on backing something that they can support holistically, together with their consumers, and impact culture for the better.

 

Vikash GajjarVikash Gajjar (@VikashGajjar) studied a year of accounting before realising he was meant to work in a more-creative field, so he swapped balance sheets for (what was then) 140-character tweets. He is currently a digital content producer at M&C Saatchi Abel, driving relevant and engaging content creation that’s topical and resonant on some of South Africa’s leading brands.

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

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#DesignIndaba25: Lots of lemonade, the odd porky

by MarkLives (@marklives) This year, Design Indaba celebrates its 25th edition. A panel of agency and media execs who’ve been regular attendees tackle: What impact has Design Indaba had on the thinking, attitude and leadership of agency and marketing creatives and executives? Has it evolved and inspired you to research new ways of doing and thinking? Has it changed how you perceive the industry? Have there been any personal highlights, and where should the event pivot next — what can it do to add meaning to the industry and to one personally? Last up in our #BigQ panel is our very own Herman Manson.

Herman Manson

Herman MansonHerman Manson (@marklives) is the founder and editor of MarkLives.com. He’s attended and covered Design Indaba numerous times over the last two decades.

Keep smiling and wave might as well be the golden rule for influencers and a fist-full of hacks ‘covering’ industry events. If you offer a critique that even remotely approximates the real delegate experience, you’re bound to lose friends in low places, not get invited back (or anywhere, actually) and nobody will buy you drinks. Ever. Again.

Journalists have a complicated relationship with industry events. You’re a delegate and… you’re not. Your critique has to be honest, yet entertaining, and it’s very, very public, and often gets taken very, very personally. Respect to the Design Indaba team for having us back, year after year, in spite of our hopefully constructive but not uncritical reviews of the event. I can tell you, dear reader, that that truly is an outlier.

The (yes) iconic conference/festival dedicated to the creative economy is celebrating its 25th birthday this year in its home city of Cape Town. And, since it’s the 25th anniversary and you can read all the critical (but, ahem, constructive) criticisms elsewhere on this site, let’s focus on the lemonade, rather than the glitter pork (which does sound fabulous but Martha Stewart can make even that uncool).

Surprisingly representative

I love that you can spend a (work) lifetime in this industry and that who inspires you will most likely not be the ‘rock-star’ names all industry events import from the US or Europe to draw in the crowds and headline the afternoon sessions but designers with an obvious fear of public speaking and decidedly not the Queen’s English yet who translate brilliantly — because they’re awesome, inspiring and innovative. It helps create a stage that’s truly global and surprisingly representative.

My favourite sessions tend to be those in which designers/artists/poets/writers (told you — surprisingly representative) reveal the processes they engage in to come up with creative solutions. They tend to look at what’s around them, what’s been known for generations and then apply their creativity to reinterpret or integrate these solutions to solve design problems. It tends to be simple but not at all obvious (until you see it in action).

Carla Fernandez, for example, works squares and rectangles into her fashion line, a celebration of local culture and skills that creates jobs for local women, honours local fashion, and simplifies production as this design requires less tailoring, so less skill and wastage. “Fernandez is saving a traditional craft by offering an incentive to a younger generation to learn it (by offering them employment),” I wrote in my 2014 overview of her talk in 2011. “Her take on the use of squares and rectangles in fashion speaks authentically of her homeland, yet translates effectively into modern fashion design.”

About the creative process

It’s not all about design; it’s about the creative process, too. In doing so, Design Indaba manages to differentiate itself properly from most of its competition — it’s definitely a large part of both its appeal and a reason for its influence. Take the 2014 talk by Lauren Beukes, author of “The Shining Girls”, in 2014, which centred on how we create stories to protect us from monsters (in this instance, violence against women) as self-defence mechanisms. She discussed the brutal murder of her friend, Thomokazi Zazayokwe, and the failure of communities and the justice system to bring her tormentor to book.

Another author, Ayse Birsel offered a 2017 talk about her book, “Design the Life You Love: A Step-by-Step Guide to Building a Meaningful Future”, which originated through her taking a moment to think about her own design-driven thought process.

Then there’s been architects Francis Kéré’s low-tech, community-orientated approach to architecture and Alejandro Aravena’s practical examples of how to effectively integrate newcomers into existing built environments, or Kenyan filmmaker, Wanuri Kahiu, whose film, “Rafiki”, was banned by a crassly homophobic Kenya Film Classification Board (KFCB) even as it was celebrated around the globe.

Design Indaba 2017 The Arch. Jonx Pillemer
Image credit: Jonx Pillemer, Design Indaba.

Power of perseverance and humility

And then there are moments — the late Hugh Masekela and trumpet in 2016 — where he quipped “I’m not a designer. I’m actually a design. My primary designers were my parents.” Or Archbishop Emeritus Desmond Tutu moving his chair around on stage in 2017 so he could view the choir, rather than sit with his back to them and not block the view of the audience. These are lessons in the power of perseverance and humility most designers would do well to be reminded off, even if it’s only once a year at a conference that celebrates them.

— MarkLives.com is a proud media supporter of Design Indaba 2020, taking place 26–28 February 2020 in Cape Town, South Africa. Book your tickets online for the main conference or the live simulcast to multiple cities around South Africa.

 

See also

 

MarkLives logoLaunched in 2016, “The Big Q” is a regular column on MarkLives in which we ask key advertising and marketing industry execs for their thoughts on relevant issues facing the industry. If you’d like to be part of our pool of 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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From the outside, looking in

by David Alves (@TheDavidAlves) In an age where partnering through empathy is becoming more relevant than ever before, how does one strike a balance between being a paid-for-resource and a trusted supplier and business partner?

It’s difficult taking time out of our busy schedules to actively manage the emotional effort and engagement psychology this requires. “Being professional” is supposed to govern all engagements on either side of the table but professionalism isn’t an emotion — it’s a state of play — and managing emotions in the workplace between a supplier and a client is becoming trickier than ever before.

Having been on both sides of the table, here are a few key engagement methodologies and tactics that will help you as an agency or supplier to nurture relationships with multiple clients while allowing yourself to be human.

I need… something

Everyone who’s sat on a client side of the table is guilty of at least one of the following actions: lazy briefs, changes over WhatsApp, one-hour turnarounds and telephonic conversations that contradict status-meeting notes from the previous day.

Are people allowed to change their minds? Certainly. Are they allowed to communicate by any means necessary? Maybe. Part of being able to manage a client’s emotional needs is being able to understand what motivates them beyond their day-to-day work.

The belief that all clients of a certain company all think and act the same is a dangerous mindset to have. From previous experience, each and every individual in the client environment is motivated by something completely different to the next. You might ask, “Surely, they’re aligned on vision?” Absolutely; that’s a given. But vision isn’t the same as emotion.

Help me, know you

When did suppliers stop getting to know their clients? You could argue that much shoulder-rubbing-and-golfing happens at a C-suite level, which is sometimes true, but this rung in an organisation is removed from the day-to-day activities that filter into an individual’s KPIs for a fiscal. Again, you might argue that your client isn’t the “let’s catch a beer and get to know each another” type. But, over time, you should be able to uncover what your clients are interested in and figure out how to engage with them via a mechanism they can relate to.

More often than not, simply asking what you can do for them goes a long way outside of the professional engagement matrix we all love to hate. No one is saying break your neck and pick up their laundry but remembering what kind of coffee your client drinks goes a long way to show you listen and care. Caring is often, and surprisingly, where the buck stops.

Can’t touch this

There’s no scarier sound in the world of a supplier than hearing nothing at all. Radio silence is a killer on both sides of the table. You might ask, “Well, my client is never in the office and they don’t reply to email so what am I supposed to do?” It’s a good question.

If the inability to communicate with your client is impacting deliverables, then escalate. There’s nothing wrong with surfacing non-communication, if done respectfully. If you’re unable to pin down your client for a face-to-face meeting, request a video call. Technology has evolved to the point where even psychotherapy is done online. There’s no reason why you shouldn’t be able to communicate with your client, no matter where they are in the world.

If you feel as though the manner in which you’re having to communicate with your client is impeding your ability to do the work, then perhaps you need to reassess your ways of working. Some people have a personal problem with talking on the phone and prefer email or text and, more often than not, you’re going to find a client who likes to do the exact opposite of what you prefer. Should you bend and break to accommodate? No. Rather discuss your needs, as well as theirs, and agree on an environment in which you can both communicate most effectively.

Too much, too soon, TMI

The challenge with people is that no two are alike. So, what happens when it completely swings the other way and a client is overly communicative? First, count your blessings because it’s rare, but also manage the line between effective communication and waffle.

Overly communicative clients have the makings of both the best and worst kind of relationship. Managing an overly communicative client typically looks like this: client sends email, client sends WhatsApp regarding email, client phones to discuss email, client emails notes as per telephonic conversation. So, how do you communicate with an over-communicator? It all goes back to managing emotion.

Perhaps clients feel insecure about their day-to-day activities and isn’t receiving the support they need internally so they look elsewhere for reinforcement and approval. Perhaps they overstep the boundary about personal information; sometimes it’s acceptable, sometimes it isn’t. You’re not a punching bag. You’re not the school nurse. Remember your role and find active ways to reinforce your part of the relationship when things become too much.

Crouching tiger, hidden agenda

Being a supplier and business partner provides you with a limited lens through which to view and engage with your client. What you may not be aware of is the continuous political requirements and navigations that a client is making internally to appease, squash, manoeuvre and protect their own professional career.

Even if an environment isn’t political, some people bring that type of energy into a situation. If you’re faced with one of these political players, here are a few short ways to make their ways of working work for you.

  • Don’t allow yourself to become their confidant: Clients that mental load on their suppliers do so to unburden themselves and, at the same time, share their agenda, which more often than not is an unhealthy one. It might seem like harmless over-sharing at first but this can quickly become an entangled mess.
  • Be forthright and ask about their career agenda: You would be surprised how many people, especially in a highly charged environment, will respect radical candor. If you haven’t heard of this philosophy before, radical candor is not brutal honesty; it’s about challenging directly while caring personally. Download the book by Kim Scott on Kindle here or listen to it on Audible here. Eliminating the waffle and getting straight to someone’s end goal can solve many issues.
  • Being political doesn’t get the work done: The problem with a political client is that they always seem to be trading off one action for another gain. This may affect your delivery because they’re never 100% with you in the room or on the project. The best way to navigate this is to simply address the deliverables and actively avoid discussing anything outside of these. If all else fails, request support from seniors in your business. The engagement of senior members often dampens the politburo in even the most politically charged individuals.

We all have jobs to do. We all have our own agendas. But that doesn’t mean they should be the same thing. As a supplier, you should really be considering mapping an engagement strategy with your existing clients: define who they are, what motivates them, what opportunities can they unlock for your business, what are their individual nuances, what interests them and how they like their coffee. All of this gives you a framework in which to approach, engage and get the most out of your clients without having to sacrifice the human side of yourself.

The time to see and treat each other as occasionally fallible — and sometimes irrational — human beings is now more important than ever before.

 

David AlvesDavid Alves (@TheDavidAlves) is a business director and consultant at Acceleration South Africa, a Wunderman Thompson company, and an accomplished digital marketing specialist with over 12 years of entrepreneurial, digital agency and corporate experience, ranging from multinationals to bespoke SMEs. With specialities within the consumer and customer experience, relationship management environment and technical experience across multiple CRM suites, David’s blended experience is bedded in digital strategy, campaign planning and business development.

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

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Mission: Make work matter

by Tom Fels (@thomasfels) Oh my, it seems we’ve hit a collective stumbling block, where the future we’ve all been building for ourselves has proven fundamentally unsustainable, given the resource constraints of our planet —and, to make matters worse, is an imminent threat to our very existence.

While some, like Elon Musk, are looking beyond Earth’s borders for solutions, many business leaders, scientists, consumers and otherwise spirited individuals the world over are baying for radical economic change to avoid our looming demise. They’re probably right, given the first five threats in the 2020 World Economic Forum (WEF) risks report for the coming decade are all related to the climate crisis; so, while the scale of it is beyond daunting, we must act now.

Many of the answers to address the pending tipping point and stay under the 1.5C to 2C global-warming target of the Paris Agreement have been available to us for some time. It’s only in very recent weeks and months that the global media machine has spun the story to such dizzying heights that the world’s most-influential capitalists have been stirred to action.

Catalysts for change

Among the leading activists, “TIME’s Person of the Year” Greta Thunberg has been the spark for what’s likely the largest climate strike in history, with over 6m people having gathered in streets around the globe in September 2019 alone. Love her or hate her, she is asking the tough questions of today’s regime.

In response to the pressing paradigm shift, Larry Fink, CEO of the world’s largest asset manager, BlackRock, recently made a firm statement in an open letter to CEOs, asserting that we’re on the “edge of a fundamental redefining of finance”, and that “in the near future — and sooner than most anticipate — there will be a significant reallocation of capital.” In short, he’s saying that climate risk is finance risk; our ecosystem is our economy. And we can’t afford to wait.

Inevitable shift

What politicians have failed to successfully do through policy creation and enforcement, consumers are demanding must be done. In the middle of the two lies an unfathomably powerful vehicle for pressing change home: our business sector.

Capitalism has long been the most-effective, -productive and -innovative form of exchange — the lifeblood of human advancement. But it’s clear to see that the system is now broken. According to Global Footprint Network, humanity is currently using nature 1.75 times faster than our planet’s ecosystems can regenerate, equivalent to 1.75 Earths per year. Global leaders in Davos have now been asked by WEF to set a nett-zero target for carbon emissions. The writing is on the wall.

What happens next

What we’re entering into is an era of two radical shifts to our economy, past the fourth industrial revolution (4IR), characterised by rapid technological transformation (the information technology age) to the fifth industrial revolution or Society 5.0 (a term coined by the Japanese government), in which production, consumption and life will be oriented towards a sustainable (even regenerative), inclusive existence powered by digital technology.

This fundamentally alters the way that organisations view value creation and distribution, stakeholder-orientation and the kind of leadership culture that’s required to guide this transformative change.

Our responsibility

Every active businessperson is both a cause of the crisis (calculate your own carbon footprint here) and a cog in the solution. What we do inside and outside of our businesses can and will change the status quo. It’s a problem that extends far beyond marketing, to the very fabric of organisational philosophy, construct and operation. Yet marketing can help; it can be the mouthpiece of brands manifesting change and championing the underserved, of embedding hope in the consciousness of society and creating purpose-led futures.

We are indeed entering an age of more-human, -conscious capitalism that will better serve the world, all stakeholders and, ultimately, our existence.

This is a defining time in our collective history where every little bit counts; it’s time to do work that matters to us all.

Sources

  • The Guardian.com
  • NBCNews.com
  • Weforum.org
  • Unesco.org
  • Global Footprint Network
  • Carbonfootprint.com
  • Blackrock.com

 

Tom FelsTom Fels (@thomasfels) is a mission-driven brand expert, keynote speaker and an evangelist for conscious business. Recently CEO at Singita and Nurun and group MD of Publicis Machine (now Machine_), he’s overseen local and global award-winning communications, digital and hospitality businesses. With experience in guiding some of the world’s top brands across the areas of business strategy, digital transformation and marketing, Tom is currently an independent strategic advisor, focusing on creating visionary, high-growth futures for change-making organisations. A past MarkLives.com contributor, his new monthly column, “Mission”, will offer perspectives that motivate a more-conscious approach to business and inspire change.

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Surviving the court of public opinion — the new age of crisis

by Candice Luis (@candicedl) A new age of crisis is upon us — it’s social, it’s political, it’s ethical — driven by changing ways of doing business. Is South Africa ready for the fundamental ‘epic-ness’ of brand fallout? Have companies considered their potential crises and are they truly ready to deal with the biggest crisis trajectory of all time: the court of public opinion?

The truth is that you can never be ready. Prepared, yes, but ready… never!

Years ago, planning for crisis was simple really: a key media list, a tight spokesperson policy and a comms team that was methodical in its approach. Today it’s a different story. While the same fundamental principles apply, we’re dealing with the apocalypse of crisis communications, the reality that ‘everyone is a journalist’: the court of public opinion.

A practical look at business in crisis

A brand finds itself with dodgy business dealings. It has one or two key media channels unpack this and delve into the system. Fact-finding and legal consultation begin and, without hesitation (despite critical scrutiny on what to say), a very direct, fact-based statement is released. What this brand hasn’t considered is what will people say, how will it make them feel, what are the reputational consequences and, most importantly, what emotion will it evoke? It’s these very questions that are often unanswered before responding and, right there, the social brand fallout begins, creating a compelling read and setting the tone for what the market believes.

The court of public opinion is out on this one, with their views, their opinions and, most damaging, their influence. Whether right or wrong, what they set the rhetoric to be it will become, if the initial voice of the business weren’t considered at the outset. Yes, you have facts; yes, you have legal risk; but so, too, do you have an obligation to the very people that your business serves to speak with compassion, empathy and heart — backed by clear facts and balanced with legal risk.

How is social media changing opinion polls and rhetoric?

South Africa’s court of public opinion is driven by some citizens who’re fed up, ignited around humanitarian issues and aren’t about to let ‘another corporate’ get away with wrongdoing. This means a few things: they’re emotional and sometimes revengeful, and social media may intensify their ability to voice their opinions. There’s no longer room for brands to do wrong — only for the right type of ‘apology’ and, while it doesn’t have to be a “sorry”, it does have to be transparent, authentic and relevant to SA’s current climate and culture.

Without a strong thought process behind what a brand says, in that very first communication to market, the court of public opinion won’t let go of you. I find many brands saying, “No matter what we say, they’re going to attack us”. Yes, this is true: a company can no longer get away with wrongdoing but there’s definitely a way to better weather the storm, to manage the rhetoric in your favour and to get the real hard-hitters in your corner — the ones who have power to form a collective public opinion.

Fundamentals to more effectively weathering the storm

No brand in crisis today can ‘make it go away’ unless they’re willing to play dirty. So, while upholding further ethics, brands need to keep a few fundamentals in mind:

  • Transparency is critical: Provide as much information as possible at the outset, remaining transparent and ensuring that what you are saying is aligned to not only your side of the story but also with public requirements
  • Take ownership: Accountability is critical. Recently, a brand made a less-than-favourable t-shirt. It took a public knock, apologised unrefutably and took immediate, decisive action. This type of response demonstrates ethics and provides a level of comfort to the public that the brand has taken it seriously.
  • Balancing facts and empathy: By now, the legal folks reading this are cringing! I’ve had my fair share of legal interaction when it comes to crisis and I get it… legal consideration is critical. However, when dealing with reputation, you need to balance the risk with the heart — but more about this next time.
  • Don’t try win all favour: Not everyone is going to agree with what you say. This is where authenticity, transparency and accountability play a key role — to balance the opinion, to ensure that the public see you in the most-favourable light possible. Second to this, you should defend your most-important base first. Whose opinion matters most? Make sure that you’re tapping into these audiences; the rhetoric that you want to portray to this audience is what you need to consider as your way to market.
  • Not everyone who speaks matters: Brands get so tied up in what everyone is saying online that they try and meet expectations and set agendas around the ‘all’, instead of around the ‘important’. Don’t break your back over random comments that people make who’ve no real influence over your business, industry or future — decide who matters and evolve your strategy around the most-important sentiments.

Crisis management today is more of a fine balancing act than ever before and, while these are a few key guidelines to navigating the court of public opinion, there are larger, strategic areas that need consideration. But, for now, let’s just consider what a whole country on your shoulders can feel like as a brand and then decide how important this court of public opinion is.

 

Candice LuisCandice Luis (@candicedl) is an experienced crisis specialist, marketing and communications consultant and business director who is digitally inclined and strategy-prone. She has spent the better part of 13 years harnessing the power of communications, and brand crises make her tick.

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

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King James, Odd Number’s big plans for Groundswell

by Herman Manson (@marklivesThe Odd Number Group and King James Group have big ambitions for Groundswell, their new joint-venture agency announced last week. This is according to James Barty, King James Group co-founder and CEO. With Groundswell, the four co-founders — Xola Nouse, Sibusiso “Sbu” Sitole, Alistair King plus Barty — are recognising the importance of collaboration between independent agencies.

Tapping into key resources

Groundswell is the response of the two independent groups to a need networks are already accessing. Barty points to Liquid, the bespoke agency created by WPP for Distell, as another example of how network agencies are tapping into key resources from various agencies to satisfy key client needs.

The Odd Number logoIn 2015, CEO Nouse and CCO Sitole co-founded The Odd Number, which was recently voted MarkLives #AgencyLeaders2019’s One to Watch in 2020 in South Africa and which sits in the R40m–R50m revenue band; major clients include Game, Panado and Cricket South Africa (for Mzansi Super League). Mid-2018, The Odd Number bought into Hoorah Digital, which in turn has been on the acquisition trail. According to Nouse, his team has found partners in King James “whose business and creative philosophies mirror that of our own — our collective independence and entrepreneurial flair resonates with the clients and markets we serve.”

King James Group South Africa logoIn 1997, group CCO King and Barty co-founded ad agency King James. Now the King James Group SA, it was crowned MarkLives #AgencyLeaders2019’s Runner-up Most-Admired Ad Agency in SA, with Barty taking 2019 Most-Admired Ad Agency Boss and King 2019 Most-Admired Creative Leader. According to the MarkLives Agency Revenue Rankings 2019, the group’s revenue band sits between R200m–R250m; major clients included Pick n Pay, Sanlam, TymeBank, Santam and AB InBev. It’s also been acquiring agencies and, earlier this month, launched KingJames34° in Kenya.

Majority black-owned

Barty says the new agency, which will be majority black-owned, will soon be appointing a managing director and will make use of key resources in King James and The Odd Number, as per client requirements. It offers a unique opportunity for collaboration, allowing a five-year-old ad agency to draw on the resources and scale of a 23-year-old agency, says Barty, while giving the older one access to young, creative talent. It will house conflict work for both agencies while also offering a vehicle for clients wanting a more-diverse range of talent backed up by scale. Both agencies have strong creative credentials.

According to Barty, he expects brands will find the proposition offered by Groundswell compelling and attractive, given the combination of skills and talent, youth and experience. It might well be used as a vehicle for future acquisitions, or could bring in other independents keen on its collaborative nature. Independents have needed a stronger voice in the South African agency landscape, and Barty believes this agency could be part of the answer.

“We all believe that the future belongs to local, independent agencies that are interested in shaping our country’s creative narrative. We aim to achieve this by finding, nurturing and arming young creative South Africans with the confidence and ability to showcase their work and compete at a global level,” adds Sitole.

 

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

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Flugelbinders & other harsh copywriting realities

by Wendy Shepherd (@thewordshepherd) I’ve spent the last five years fighting for copywriters — as a lecturer, as a member of the industry and as a copywriter in my own right. At this point, I’m baffled. Copywriting has been a well-sung and honoured career for over 50 years — why do I find myself constantly defending it and, worse, explaining it to people?

I’ve written several articles about it. I’ve been in meetings where I nearly punched people for being obtuse about it. There’ve been countless days when marketing sat me down and announced that “we need to do something about copywriting”. I’ve nurtured, pushed and lifted young copywriters into the industry, only to find that there’s not the hungry stream of ingénues I was hoping for, waiting in my college reception to be admitted to the course. I’ve been tackled by executive creative directors in pizza restaurants, at student exhibitions, on strident phone calls and through passive-aggressive emails about what’s happening to the craft.

People, PEOPLE, I don’t have all the answers. All I can do is tell you what I’ve discovered in the last half-decade and leave it with you, the shadow-boxers of advertising, to run with.

It’s a South African problem

Copywriting is alive and well in London, New York, Tokyo, Berlin and almost any other commercial capital you care to name. Everyone knows what it is, and lots of people are doing it, studying it and taking up the ubiquitous jobs on offer. This curious paucity of talent flow is only happening in South Africa. There are numerous reasons for this, some global, some local.

One of the problems is English. All copywriters in SA are expected to be able to write proficiently in English — as our only international language, that’s the reality — and the depressing answer is that English is very poorly taught in the majority of schools. The prospect of having to write around corners, up walls and through the looking glass is intimidating for English mother-tongue speakers. For those who have grown up not hearing English at home, it can feel insurmountable. Not surprising, then, that a career as this kind of writer would have very little appeal. That millions of people grow up polyglots seems to be irrelevant. It shouldn’t be.

Then there’s the fact that the ad industry isn’t getting into schools like it used to. Many of my fellows and students alike first heard about copywriting because an ad agency gave a presentation at their school and ran a workshop with them. Those same ECDs who repeatedly rattle their sabres at me should shelve their malfeasance in this area and go to schools that need to hear them. Forget Camps Bay and Rondebosch. The kids who really need to know there’s an incredible copywriting career waiting for them on the other side of hard work and a little industry sponsorship are in areas without gloss and electric fences. Go there. They’re waiting for you.

Life is hard. Education is harder.

Taken in a South African context, nobody needs any education in this territory, so why are we still charging an eye-watering premium for copywriting courses? What’s stopping us from offering cheap, accessible courses to young people, who can write the ass off a donkey, except the privilege economy?

How about taking some of that disproportionate wealth and putting it into a revolutionary industry initiative to bring new copywriters into the fold? Education can be made infinitely more accessible if it’s tackled with design thinking and ingenuity. instead of hubris. If the vast majority of prospective students can’t begin to afford the exorbitant fees, what kind of transformation are you hoping for? Bursaries are great but they only scratch the tiniest of itches. It’s got to be bigger than that.

It’s a stupid word

The only thing I remember about the movie Cocktail is the flugelbinders. Elizabeth Shue looked at her takkies and pondered what the plastic things on the ends of the laces were called. Copywriting is a dumb name. I don’t know who came up with it — probably some Mad Man in a whisky-tinged moment of ego wanking — but it’s caused more confusion than anything else. I met someone the other week who asked me what I did and then spent a good 10 minutes explaining how much he needed advice on patenting his idea. This kind of unsolicited soliloquy is fairly common, and the blame falls squarely on the name.

I’ve also had a few tedious meetings with various industry people about changing the name. Okay, to what? With the advent of content creation, we probably do need to universally decide to call it something else but, so far, nobody has come up with anything feasible. My money is on copywriting staying copywriting, for better or worse, and us finding a way to make that mean something again.

We left our passion in our other pants

Somewhere ‘woke’ along the way, copywriting turned into a synonym for creative lying. Everyone is so authentic these days, it’s just impossible to imagine we might have to sell something and use our creative minds to make people buy it. Lovey, you’re selling something every time you pout at your selfie stick and present a banging outfit on Insta. We’re all in that dirty business, like it or not, and authenticity isn’t the problem. Some of the most heart-stilling communication ever created has been made by copywriters. Good copywriting doesn’t presume misrepresentation. And it requires the truly pure of heart to survive an industry as dire as advertising.

I’ve said before that copywriters must be like lions. We are born to do this, and we owe it to the people coming after us to make sure it endures. SA needs copywriting. I’ve seen students who come in with no voice, no confidence and no idea how to use an Oxford comma become creative directors because of copywriting. Who better to transform the industry than people who know that words and ideas can change the world?

Let them roar.

 

Wendy ShepherdWendy Shepherd (@thewordshepherd) spends part of her time developing and writing online short courses and accredited full-time programmes in the advertising and marketing environment. She’s also a very happy pharma writer. She’s planning on being a MarkLives columnist once a month and other BHAGS occupy the rest. 

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

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