#MagLoveTop10: Best international magazine covers of 2014

by MediaSlut (@MediaSlut) Last week, we published our list of the 10 Best South African Covers of 2014, with British Airways High Life (South Africa) taking the no. 1 spot with its their September 2014 crossword-inspired cover. This week, we’re looking at the 10 Best International Covers of 2014 that were featured in my weekly MagLove column this past year (for last year’s selection, click here).

Our #MagLoveTop10 magazine cover series include:

#10. WIRED, October 2014

WIRED, October 2014This issue made me think. It’s creative, but you do have to take some time to make sure you’re actually reading it right.

This is how I read it: WIRED – The Design Issue. And then: Wrong Theory – The Power of Imperfection.

It’s not as obviously done as I’ve seen with some other titles, but that’s part of the appeal that I think makes this quirky and smart. Read the article in question here.

#9. ShortList, 20 February 2014

Shortlist, 20 February 2014Last year, ShortList received the no. 2 spot with its ‘gun-carved-out-of-desk-cover’, and this year it gave us all wood again when it looked at “[w]hy men are ditching flatpack hell and turning back to physical labour”.

#8. STYLIST, 12 March 2014

STYLIST, 12 March 2014When I wrote about this cover in March 2014, I started it with “Oh my…! Love this cover for a number of reasons!”, and I still completely feel like that…

The main story (“The new religion – Why women are swapping sermons for self-help”) has been taken and illustrated it with a design element all of us can relate to churches, and it’s done brilliantly and realistically! Read read the article here.

#7. Volkskrant Magazine

Volkskrant MagazineI when “what…?” when I first saw the cover but, when I figured out that the cover is about what men’s sexual preferences, it made a lot of sense, and is brilliant (even if vulgar…).

Volkskrant Magazine had a survey where it looked at different aspects that turn on different guys, and it seems the belly button also made the list (or could the belly button be a reference to something else…?).

#6. MARK, June/July 2014

MARK, June/July 2014In case you didn’t know, MARK is the architectual counterpart to FRAME magazine, “focusing exclusively on the world of contemporary architecture”.

So it’s very fitting, and extremely striking and effective, that it celebrated its 50th issue by setting it in stone…

Brilliant!

#5. TIME

TIME, 31 March 2014TIME, 4 August 2014I’m including two TIME covers as they fit together for me, telling a story of major events that happened in 2014 which were both also related to Malaysia Airlines.

The first is the 31 March 2014 cover — the mysterious disappearance of Malaysia Airlines Flight 370 (still a mystery till today) — and then second is the 4 August 2014 cover — illustrating brilliantly how flight MH17 follows Putin like a shadow…

#4. Thursday Magazine, 10 April 2014

Thursday Magazine, 18 April 2014Following TIME is this “TIME to make TIME” cover. Don’t be confused. It’s actually a spoof of TIME, done by Times of Oman’s supplement Thursday Magazine

How right or wrong it is, I’m honestly not sure, as it can clearly be mistaken for a TIME cover as it includes all the iconic design elements.

Either way, it’s the best possible concept it could have thought of to illustrate its cover story (and TIME should see it as a big compliment)!

#3. J/M, November 2014

J/M, November 2014A big fat round of applause to J/M for this cover…

The cover story on Netherlands’ J/M magazine is about “fat kids” and the question being asked is “who’s fault is it?” with a brilliant and clever illustration that’s not just a chubby kid plonked on the cover!

J/M magazine is a magazine for parents of children between the ages of 4 ad 16 years old.

#2. Time Out (London), 22 July 2014

Time Out (London), 22 July 2014The creative team at Time Out London must have smoked something special, because their covers the past year have really rocked, creativity-wise, but this one takes the (cheap) cake!

For this Cheap issue, this little gem was produced. I highly recommend that you do yourself the favour and read it all…

What I wouldn’t give to sit in one of their planning meetings, just to see how they come of up with these concepts…

#1. The New York Times Magazine

The New York Times Magazine, 19 January 2014The New York Times Magazine, 20 April 2014The New York Times Magazine, 31 August 2014 New York Times Magazine, 16 November 2014Week after week, The New York Times Magazine illustrate covers that capture the theme of the cover story. For its consistent creativity and editorial brilliance, I’m awarding it the no. 1 position!

To illustrate why, I’m including the following four covers: 19 January (Bully), 20 April (‘I Do’), 31 August (Abortion by Mail) and 16 November (Failure).

I’m not going to go into detail with each cover as each one speaks for itself, and offers something everyone in the publishing industry can learn from!


Find a cover we should know about? Tweet us at @Marklives and @MediaSlut.
Want to view all the covers at a glance?
See our MagLove Pinterest board!


MediaSlutMagLove by @MediaSlut is a regular slot featuring the best local and international magazine covers every week, recognising well thought-out, powerful and interesting (and hopefully all three-in-one) covers and celebrating the mix of pragmatism, creativity and personal taste that created each of them. The (for now anonymous) blogger behind MediaSlut knows way too much for his own good about media in South Africa, magazines in particular. His mission is to show when SA magazines fail but, most importantly, also when they succeed. If you’re looking for a library about SA magazines and news, this is your one-stop pitstop.

— MarkLives’ round-up of top ad and media industry news and opinion in your mailbox every Monday and Thursday. Sign up here!

#ShelfLifeTop10: Best product, packaging & design launches of 2014

by Louise Marsland (@Louise_Marsland) These are some of our favourite designs, launches, activations and new products, featured in Shelf Life during 2014, in the FMCG and marketing communications industry in South Africa… (in no particular order).

Exclusive Books

New Exclusive Books logo by SwitchOne of the most high-profile rebranding exercises was that of Exclusive Books, by Switch, following upon the sale of Exclusive Books to a consortium led by Global Capital. In August, the iconic brand launched its new brand identity, interior and exterior store branding, as well as the new in-store coffee shop brand, the EB. Café.

New Exclusive Books café design by Switch
The stated vision for the book retailer is to create bookstores that are destinations in their own right. Switch developed a design that was inspired by the idea of the colophon, the printer’s logo that appears on the spine of books.

Made by You and Cavendish

Made for You and Cavendish pop-up store

Native VML’s pop-up store at Cavendish Square shopping centre in Cape Town in October, contained usable goods and resalable art created from the shopping centre’s waste. ‘Made by You and Cavendish’ was the name of the store and the experiential campaign from Native for client, Cavendish Square. The idea was to make shoppers part of sustainable product design by letting them know the kinds of things that their rubbish can produce that have value.

Tashas Dubai

Tashas Dubai ceiling paper art installation by Elonah O'Neil Reid from Studio Meer in South Africa

Trendy Tashas from Famous Brands went global with its first international restaurant in Dubai a few months ago. Specialist hospitality interior design agency, Design Partnership, was responsible for the latest addition, which again featured Tashas famous paper ceiling-art installations, commissioned for each site with a unique theme for each store. The installation in Dubai was created by Elonah O’Neil Reid from Studio Meer in South Africa.

Primedia Broadcasting

The new Primedia Broadcasting logos, September 2014An important rebrand took place on 1 September when Primedia Broadcasting unveiled new brand identities for all five of its commercial brands: 947, 702, KFM, CapeTalk and EWN plus Crime Line, as well as a refreshed logo for the broadcaster itself. The brand refresh was aimed at distilling the core values of each media platform, following upon research by Yellowwood Brand Architects.

Chaplon Tea

Chaplon Full Moon TeaChaplon Earl Grey TeaChaplon Black & Green Quince Tea
International sustainable tea brand Chaplon Tea launched into South Africa, announcing in September that it would be on shelf in SA in November. Sourced from sustainable plantations in Sri Lanka, the brand was founded in 2003. Flavours include Full Moon, a sweet blend of Green and herbal tea, which can be used as a hot and an iced drink; Ceylon Single Estate; Earl Grey; Quince flavour, which is produced from leaves harvested in spring along with Quince oil; and a specially crafted Christmas blend for the festive season. Additional flavours such as Mint and Mountain Flower will be launched in SA in 2015.

Johannesburg Stock Exchange

JSE logo

The new Johannesburg Stock Exchange (JSE) brand identity, courtesy of the team at Interbrand Sampson De Villiers, caused a strong debate on social media when the new logo was unveiled earlier in the year. The objective was to make the JSE brand more relevant to all stakeholders and a truly African brand.

John Brown South Africa’s new office

John Brown office 2John Brown office 1
We really love the functional and designer ‘nest’ private pause area at John Brown SA’s new creative office space in Cape Town, created by Inhouse Brand Architects and unveiled in November with a host of quirky spaces and places.

Peppadew pasta sauces

PEPPADEW Pasta Sauce range

The Peppadew brand branched out and launched a range of pasta sauces mid-year, in addition to the popular pickled peppers that made it famous globally. The pasta-sauce range has a shelf life of a year and comes in: Piquanté Pepper and Garlic; Piquanté Pepper and Olive; a Green Pepper and Garlic sauce; Tomato and Basil; and a Tomato and Jalapeno Chilli sauce.

Nedbank ice bed

Loyiso Bala on Joe Public's Nedbank ice bed

Joe Public launched the coolest brand activation — literally — with the Nedbank supersize ice bed set up at Melrose Arch in Johannesburg in June for the 2014 Nedbank Winter Campaign to encourage the donation of blankets to the less fortunate.

Oreo in 3D chalk

OREO Catherine Grenfell with her child at the 3D Oreo sketch

Billed as a “world-first”, Oreo launched its 3D chalk Oreo display in June to promote its partnership with Paramount Pictures for the global release of director Michael Bay’s Transformers: Age of Extinction. The impactful 3D sketch was created in collaboration with local artist, Mak1One, at The Zone @ Rosebank, Johannesburg.

Shelf Life will return in January 2015

Shelf Life is a weekly column by Louise Marsland. Tweet new product, packaging and design launches to @louise_marsland Louise Marslandor email her at louise.marsland at gmail.com. Want to sponsor Shelf Life? Contact us here.

Louise has written about the FMCG, media, marketing and advertising industry for 20 years as a former editor of magazines AdVantage, Marketing Mix and Progressive Retailing, as well as websites Bizcommunity.com and FMCGFiles. She also edited the weekly Wednesday Media & Marketing Page for The New Age newspaper. She is currently the publishing editor of industry trendwatching portal, TRENDAFRiCA, for consumer insight, research and trends in Africa; a regular industry columnist and speaker; a consultant on content strategy; and contributing editor to Fast Company South Africa magazine, which has just launched in South Africa.

— MarkLives’ round-up of top ad and media industry news and opinion in your mailbox every Monday and Thursday. Sign up here!

#Top40TVratings: Generations back on top

by SAARF & MarkLives (@marklives) And Generations is back on top of our National and DStv charts for the week of 1–7 December 2014, toppling Skeem Saam out of the Top 10!

Satellite dishA collaboration between the South African Audience Research Foundation (SAARF) and MarkLives, this #Top40TVratings column is a weekly roundup of SA’s TV audience viewership.

We reveal the best-watched shows of the week before (in this case, 1–7 December 2014), where they ran and how many South Africans tuned in to watch.

We offer two tables:

  • The first covers all households — free-to-air viewing (the various SABC channels and e.tv), as well as the DStv platform.
  • The second charts the best-watched shows on the DStv network of channels only.

SAARF/MarkLives #Top40TVratings Charts: 1–7 December 2014

National

Market Target Activity
National Total Indv (incl guests) Live + VOSDAL
Counter Description (grouped) Channel Level 1 Level 2\variable (r) AMR % AMR SHR %
1 GENERATIONS THE LEGACY SABC 1 Soap opera Local 18.6 7 994 660 65.61%
2 KOWETHU SABC 1 Drama Drama 16.4 7 053 200 51.53%
3 SOUL CITY SABC 1 Drama Drama 14.8 6 336 014 48.62%
4 MUVHANGO SABC 2 Drama Drama 12.7 5 460 386 47.06%
5 MUTUAL FRIENDS SABC 1 Drama Drama 12.4 5 333 447 41.82%
6 MY PERFECT FAMILY SABC 1 Sitcom Sitcom 11.3 4 852 129 39.47%
7 SHREDS AND DREAMS SABC 1 Drama Drama 9.8 4 216 590 43.24%
8 SELIMATHUNZI SABC 1 Variety Variety 9.5 4 089 943 33.22%
9 POWERBALL SABC 2 Variety Variety 8.7 3 752 917 39.31%
10 ZULU NEWS SABC 1 News News 8.3 3 570 196 35.53%
11 ZAZIWA SABC 1 Variety Variety 8.3 3 553 951 33.64%
12 SKEEM SAAM SABC 1 Drama Drama 7.7 3 302 420 36.39%
13 TASK FORCE(DRAMA) SABC 1 Drama Drama 7.5 3 219 940 29.09%
14 JIKA MA JIKA SABC 1 Music Music 7.5 3 206 099 36.06%
15 SKEEM SAAM -R SABC 1 Drama Drama 7.4 3 183 522 55.69%
16 XHOSA NEWS SABC 1 News News 7.1 3 060 695 33.52%
17 ABSA PREMIERSHIP ORLANDO PIRATES VS KAIZER CHIEFS SABC 1 Sport Football (soccer) 6.9 2 951 018 44.92%
18 SKWIZAS -R SABC 2 Sitcom Sitcom 6.8 2 918 842 29.68%
19 SCANDAL e.tv Drama Drama 6.8 2 900 057 25.89%
20 EMZINI WEZINSIZWA -R SABC 1 Sitcom Sitcom 6.6 2 816 885 50.01%
21 THE MECHANIC e.tv Movies Action/adventure 6.5 2 780 667 31.36%
22 SPEAK OUT SABC 2 Actuality Actuality 6.5 2 778 793 32.31%
23 MUVHANGO -R SABC 1 Drama Drama 6.4 2 757 695 48.13%
24 THE X FACTOR SOUTH AFRICA SABC 1 Reality Reality 6.1 2 621 106 36.62%
25 ROOTS SABC 1 Music Music 5.9 2 550 221 37.44%
26 GENERATIONS THE LEGACY -R SABC 1 Soap opera Local 5.7 2 433 282 44.18%
27 KHUMBUL’ EKHAYA SABC 1 Magazine Magazine 5.6 2 418 236 22.49%
28 MOPHEME SABC 2 Drama Drama 5.4 2 332 578 27.67%
29 ISIDINGO -R SABC 1 Soap opera Local 5.2 2 233 759 46.02%
30 IT’S GOSPEL TIME -R SABC 2 Music Music 4.7 1 998 446 29.18%
31 SUNDAY LIVE SABC 1 Actuality Actuality 4.6 1 965 800 21.48%
32 THE BOX OFFICE (FPB) SABC 1 Magazine Magazine 4.5 1 924 135 33.27%
33 WWE WRESTLING RAW e.tv Sport Wrestling 4.4 1 894 073 27.20%
34 LIKE MIKE e.tv Movies Comedy 4.4 1 885 557 22.04%
35 ISIDINGO:THE NEED SABC 3 Soap opera Local 4.2 1 796 873 17.78%
36 THE LINK (MAGA) SABC 1 Magazine Magazine 4.2 1 781 208 23.07%
37 7DE LAAN SABC 2 Soap opera Local 4.1 1 776 802 19.81%
38 90 PLEIN STREET SABC 2 Drama Drama 4.1 1 765 795 18.68%
39 WWE WRESTLING SMACKDOWN e.tv Sport Wrestling 4.1 1 759 422 13.97%
40 TEMPY PUSHAS -R SABC 1 Drama Drama 4.0 1 723 521 36.10%

DStv

Market Target Activity
DStv Total Indv (incl guests) Live + VOSDAL
Counter Description (grouped) Channel Level 1 Level 2\variable (r) AMR % AMR SHR %
1 GENERATIONS THE LEGACY SABC 1 Soap opera Local 12.6 1 697 742 42.24%
2 MUVHANGO SABC 2 Drama Drama 9.0 1 221 775 31.58%
3 MY PERFECT FAMILY SABC 1 Sitcom Sitcom 6.1 824 946 19.77%
4 KOWETHU SABC 1 Drama Drama 5.8 785 120 18.67%
5 ISIBAYA Mzansi Magic Variety Variety 5.5 743 387 18.54%
6 POWERBALL SABC 2 Variety Variety 5.0 670 389 20.15%
7 SOUL CITY SABC 1 Drama Drama 4.9 655 461 14.78%
8 SELIMATHUNZI SABC 1 Variety Variety 4.8 652 659 15.75%
9 ZULU NEWS SABC 1 News News 4.7 631 195 17.62%
10 SPEAK OUT SABC 2 Actuality Actuality 4.5 609 105 20.84%
11 SCANDAL e.tv Drama Drama 4.3 585 485 15.37%
12 JIKA MA JIKA SABC 1 Music Music 4.3 576 442 17.64%
13 SKEEM SAAM SABC 1 Drama Drama 4.2 571 988 17.37%
14 ZAZIWA SABC 1 Variety Variety 3.9 531 749 15.86%
15 SKWIZAS -R SABC 2 Sitcom Sitcom 3.9 523 518 16.45%
16 SKEEM SAAM -R SABC 1 Drama Drama 3.8 518 229 26.30%
17 SHREDS AND DREAMS SABC 1 Drama Drama 3.8 512 092 15.15%
18 7DE LAAN SABC 2 Soap opera Local 3.8 510 335 15.64%
19 THE GIFT Mzansi Magic Documentary Documentary 3.7 493 351 15.08%
20 MUTUAL FRIENDS SABC 1 Drama Drama 3.6 488 771 11.24%
21 OUR PERFECT WEDDING (MAG) Mzansi Magic Magazine Magazine 3.6 482 950 14.14%
22 XHOSA NEWS SABC 1 News News 3.2 430 002 13.30%
23 MUVHANGO -R SABC 1 Drama Drama 3.1 412 669 21.28%
24 ABSA PREMIERSHIP BIDVEST WITS VS KAIZER CHIEFS SuperSport 4 Sport Football (soccer) 3.1 412 426 10.04%
25 WWE WRESTLING RAW e.tv Sport Wrestling 2.8 383 979 13.55%
26 ABSA PREMIERSHIP ORLANDO PIRATES VS MARITZBURG UNITED SuperSport 4 Sport Football (soccer) 2.8 376 341 9.13%
27 EMZINI WEZINSIZWA -R SABC 1 Sitcom Sitcom 2.8 374 150 18.83%
28 ABSA PREMIERSHIP ORLANDO PIRATES VS KAIZER CHIEFS SABC 1 Sport Football (soccer) 2.7 370 037 16.25%
29 KHUMBUL’ EKHAYA SABC 1 Magazine Magazine 2.7 369 928 10.00%
30 MOPHEME SABC 2 Drama Drama 2.6 358 031 12.29%
31 ISIDINGO:THE NEED SABC 3 Soap opera Local 2.6 356 751 10.06%
32 BOER SOEK N VROU kykNET Reality Reality 2.5 333 929 9.17%
33 THE BOLD AND THE BEAUTIFUL SABC 3 Soap opera International 2.5 333 313 11.87%
34 TASK FORCE(DRAMA) SABC 1 Drama Drama 2.4 329 235 9.06%
35 THE X FACTOR SOUTH AFRICA SABC 1 Reality Reality 2.4 324 309 12.43%
36 GENERATIONS THE LEGACY -R SABC 1 Soap opera Local 2.4 321 286 17.14%
37 RHYTHM CITY e.tv Drama Drama 2.4 319 318 9.80%
38 ROOTS SABC 1 Music Music 2.3 311 062 12.44%
39 SOCCER ZONE SABC 1 Sport Football (soccer) 2.3 306 342 8.72%
40 NEWS e.tv News News 2.2 302 827 8.96%

How to read the tables

AMR% refers to the number of people in a target market who were watching an event ie programme, expressed as a percentage of the population for that demographic: “On average, 16.3% of adults aged 15+ who watched TV from 28 Jan-3 Feb 2014 watched Society on SABC 1”.

AMR is the number of people in a target market watching a specific event ie programme per minute, expressed in absolute figures: “On average, 1, 541, 066 adults aged 15+ who watched TV from from28 Jan-3 Feb 2014 watched Society on SABC 1”.

Share % (SHR %) is the share or proportion of the available audience (people watching TV at that time) that a specific channel/programme has achieved at that time: “Society achieved a share % of 52.59% from 28 Jan- 3 Feb 2014 on SABC 1″.

saarf 150SAARF is the name by which the South African Audience Research Foundation is familiarly known. SAARF’s main objective is to direct and publish media audience and product/brand research for the benefit of its stake-holders, thereby providing data for target marketing and a common currency for the buying and selling of media space and time. SAARF has thus the responsibility to measure the audiences of all traditional media such as newspapers, magazines, radio, television, cinema and out of home media.

— MarkLives’ round-up of top ad and media industry news and opinion in your mailbox every Monday and Thursday. Sign up here!

#AdoftheYear: Best South African Ad of 2014 — #getmeto21

by Oresti Patricios (@orestaki) I’m a big fan of digital, social media and viral campaigns that work well. That’s why I’ve decided to award this year’s #AdoftheYear to a campaign that has already made a tremendous impact upon people’s lives, and promises to do more as it continues gathering momentum.

Asking for a donation is a hard sell. Asking people for organ donation is even harder. There’s nothing in it for the donor, apart from the knowledge that — in the tiny eventuality that you are involved in a fatal accident — your body will be harvested for the ‘spare parts’ that will make someone else’s life better.


#AdoftheYear: Top 10 Best South African Ads of 2014 [ads 10–6]
#AdoftheYear: Top 10 Best South African Ads of 2014 [ads 5-2]

See our #AdoftheWeek Pinterest board!


Statistically speaking, most people will live to a decent old age and die of natural causes, so the Organ Donor Foundation (ODF) needs to sign up a large number of people to be assured of having enough donors for the people who could benefit from a replacement heart, lung, liver, kidney or pancreas. These are the life-saving organs that thousands of people are waitlisted for.

If we count the people waiting for cornea replacements, there are around 4 300 people who are awaiting this type of surgery in South Africa, but less than 600 operations are being done each year.

#1. Fighting apathy with empathy

#getmeto21The drive for more donors to sign up was given a ‘personality’ in the form of 19-year-old Capetonian Jenna Lowe, who needs lung-replacement surgery.

She suffers from a rare condition known as Pulmonary Arterial Hypertension. Basically, it means that the veins in her lungs become progressively more constricted and don’t allow proper blood-flow. The result is decreased oxygen in the blood, and enlargement of the heart due to the increased strain of pumping blood through the lungs.

While severity of cases vary, in Lowe’s case the choices are limited. Medical treatments are palliative but, in the long run, she will need a lung transplant.

The campaign, that has come to be known by its hashtag #getmeto21, has taken Twitter and Facebook by storm. But creating a ‘buzz’ is not what it’s all about. Getting ‘likes’ and click-throughs don’t mean a thing unless there is a practical outcome.

Easy and powerful way to engage

The benefit of social media is that it provides an easy and powerful way to engage with interested parties, and converting to a sign-up is far more assured than a campaign that uses conventional means.

The smart thing about this campaign is the way in which Lowe has become a voice and face that most people can relate to. She is young, optimistic and personable.

On her microsite, www.getmeto21.com, one is greeted by a video of her, talking directly to camera. She has an oxygen line under her nose, and she seems to have a little trouble breathing. But she is upbeat and engaging. She tells us she is 19, and she’s planning her 21st birthday party.

The basic message is that she’s inviting you to the party (whoever you are), if you sign up for organ donation — she finishes off by saying, quite simply and without pathos, “Because, in order to make it to 21, I’m going to need new lungs.”

What turning 21 symbolises

It’s a message that cleverly hooks onto something that teenagers and adults can relate to: turning 21 symbolises adulthood, independence and the potential of making one’s own way in the world.

For Lowe, this is not currently possible. She earned seven distinctions in matric, but was forced to quit university because of the physical toll it was taking on her body: the more she exerts herself, the more strain it puts on her heart. She needs a full-time nurse to help with her care, she takes various ‘cocktails’ of medication throughout the day, and she is always on oxygen.

There is a ticker on the site, and since writing about this campaign at the end of October, when the number was at 3000, over 1000 more people have signed up. There is still a long way to go, however, as the ODF set the target of signing up 50 000 people this year to meet the need; to date, some 31 000 have signed up.

Notable growth

It’s notable that in the months that the #getmeto21 campaign has been running, there has been a growth — from an average 1 500 per month in the first half of the year to an average 4 100 new sign-ups per month from July to November. I imagine this is at least in part due to the campaign, although the ODF also runs recruitment drives, campaigns and Public Service Announcements of its own.

Jenna Lowe tweet featuring Helen Zille
Even the Western Cape Premier is lending her support. Helen Zille visited Jenna last week, 5 December 2014, to lend her support to the campaign.

#getmeto21 has so far been featured on eight radio stations, four TV programmes (including the news) and 18 print publications. Numerous bloggers and online publications have also highlighted the campaign, and according to Liza-Jane Webb of Match Creative, who is handling the PR and publicity for the campaign, the total value of this exposure has been in excess of R10 million.

“Many non-profit organisations approach social media without a plan, and simply hope for the best,” says Webb, adding: “But the truth is that in order to create impact and awareness or mobilise people, you need to have a plan, and a smart one, too, in order to capture their attention and break through the overload of information out there. This campaign has been incredibly powerful in digital persuasion.”

Credits

Lowe + Partners Cape Town’s talented team, led by Kirk Gainsford, originally came up with the idea for the campaign, and Sascha Ruppert and his team at GSDH conceptualised the microsite and built it. Egg Films assisted with the video production. Lowe + Partners CT is also the agency for the Organ Donor Foundation.

Well done to all, to Lowe, her family and to all those behind the scenes who contributed, and continue to give their time to this worthy cause: may you continue in strength.

Ad of the Week will return in January 2015.

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.


— MarkLives’ round-up of top ad and media industry news and opinion in your mailbox every Monday and Thursday. Sign up here!

Motive: A chocolate by any other name is not a jam

by Gail Schimmel (@GailSchimmel) According to a recent press release from attorneys Adams & Adams, Italian confectionery giant, Ferrero S.p.A., has initiated legal proceedings against local jam producer, Roscherr’s Fine Foods.

Here’s the story:

Ferrero Rocher and Rocher are trademarks, registered in Category 30, covering foodstuffs such as sugar, spices, baking powder, yeast, ice, treacle, honey, cocoa, and chocolate confectionery, to name only some of the goods.

The Ferrero Rocher trademark looks like this:

Ferrero Rocher logo with chocolateFerrero Rocher logoAlong comes one Zelda Roscherr from Montagu in the Western Cape. She makes nice jam, and it has grown into a family-owned business which created a trademark that looks like this:

Roscherr's logoRoscherr’s Fine Food registered this trademark in Class 29, relating to “Jams; preserves; dried fruit; nuts”.

Applied for cancellation

In August this year, Ferrero applied for the cancellation of the Roscherr’s logo trademark. People, it believes, will be confused and think that Roscherr’s jam comes from Ferrero Rocher, makers of chocolate. Um, okay.

Roscherr’s Fine Foods is taking a fighting stance and defending its trademark and launching a counter-application for the partial cancellation of the five registered trademarks relied upon by Ferrero. The basis for the counter-attack is that Ferrero registered its trademarks without the intention of using them in relation to any goods in class 30, other than chocolate confectionery — specifically chocolate pralines — and, in addition, that the trademarks have not been used in relation to any other goods in the last five years, if at all.

The real issue here is, of course, not so much the law and the precedents it will set (interesting as they are to us IP lawyers), but the psychology of the matter.

Topple empire

Does confectionary giant Fererro Rocher really believe that Ms Roscherr from the Western Cape is going to topple its empire with her jam? Does it think that sales of jam will somehow damage sales of chocolate — because, you know, when you’re craving chocolate, you often replace it with jam?

It’s clear that it DOES think that the people of South Africa, while being sophisticated enough to enjoy its chocolate, are not sophisticated enough to distinguish two completely different marks, and will buy the jam thinking that it has something to do with the chocolate.

So the biggest damage that exists here is that Zelda Roscherr and her community-enriching business will make a few bucks extra because of a few, rather inane, people becoming confused.

Small-mindedness, old-fashioned

The legalities are irrelevant — what this case does for me is to display a small-mindedness in big business that is, with respect, old-fashioned. The giant chocolate empire attacking the local jam maker shows a lack of grasp of the modern consumer and the modern market place that is worrying.

I love the story of how Waterstones Books in the UK turned the disaster of locking a customer in its shop for two hours after closing into a highly successful marketing strategy, where lucky consumers were… locked in its shop overnight. That’s the type of out-of-the-box thinking that marketers need to be using in this day of consumer power.

It’s a different situation, but maybe Ferrero Rocher could have made itself the hero of this story, instead of the great towering Goliath threatening an almost inconsequential David.

“Get over yourselves, already,” is what I want to tell them.

 

Gail SchimmelGail Schimmel (@GailSchimmel) is an expert in advertising law. Her text book on the subject, Advertising Law: A Guide to the Code of Advertising Practice, has just been released by Juta. Go to www.clearcopy.co.za for more.

“Motive” is the new 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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Smart Africa TV: Calabar Carnival — Africa’s largest street party

by Russell Southwood (@BalancingActAfr) In this video interview, we talk to Efa Imoke, managing director of STRATA Management and Technologies and deputy president of the Calabar Chamber of Commerce, about the Calabar Carnival — Africa’s largest street party.

The interview covers:

  • the origins of the Festival
  • how many people participate in the event and where they come from
  • the larger month long Festival of which it is the culmination
  • the levels of participation
  • and inviting the winners of the Brazilian carnival in 2013.

Smart Monkey TV logoRussell Southwood (@BalancingActAfr) is the founder of Balancing Act and the web TV channel Smart Monkey TV (@SmartMonkeyTV), and has been an analyst in telecoms, internet and broadcast in Africa for the last 15 years. Smart Monkey TV aims to capture the energy at the crossroads between African culture and technology. MarkLives is syndicating content from Smart Monkey TV on a weekly basis for the column “Smart Africa TV”.

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Media Report: The beauty of effective OOH advertising in Africa

a The Media Report 2014 feature by Lyn Jones. Research shows that the returns to brands from outdoor advertising is not only booming, but that urban consumers across the continent think that this media beautifies their suburbs and neighbourhoods.

For many global companies Africa represents a significant market. For others who face sales declines in the credit-crunched markets of the developed world, Africa represents the next wave of opportunity and growth. The continent’s middle class is growing rapidly while more African governments are opening their economies and moving away from state-control.

Media Report: out of home graphicThe rise of the African urban consumer is another factor that will fuel long-term market growth. Today, 40 percent of Africans live in urban areas, a statistic close to that of China’s burgeoning consumer market. Research shows that the urbanisation of Africa’s consumers is set to continue. The number of households with discretionary income is projected to rise by 50 percent over the next 10 years, reaching 128 million. By 2030, the continents’ top 18 cities could have a combined spending power of $1.3 trillion, say McKinsey & Company.

Effective medium

The out-of-home (OOH) medium is one of the most effective for advertisers in Africa and studies show that many Africans feel that OOH enhances their environment, according to studies by Millward Brown, TNS Mauritius and ZAMPS. This is supported by advertisers and marketers who claim that OOH is key to their media plans as illustrated in a recent survey to major brands throughout Africa conducted by Continental Outdoor. Many studies done by different organisations throughout the continent show the effectiveness of the medium as it relates recall and the awareness of OOH media, along with the positive perception billboards (both static and digital) have on the average consumer.

Outdoor advertising has one of the longest histories in reaching and influencing people. In many ways, it is the last ‘true’ broadcast medium. Out of Home advertising cannot be avoided. Unlike other media it cannot be turned off, zapped or the page turned over. OOH reaches everyone within the catchment area of a billboard and is not impacted by fragmentation or media choice by consumers. It’s also a medium that has continued to evolve and has increased in sophistication – both in terms of how it reaches, as well as impacts, audiences.

Cost-effective

The challenges facing the medium remain universal. Marketers want to see that Outdoor Advertising is more accountable and delivers a solid return on investment. Recent global research conducted by BrandScience found that for each dollar spent on out of home advertising, an average of $2.80 was received in sales. Television and print advertising have a lower ROI, yet receive a greater share of the dollars in the average media mix. The study also confirms that using Outdoor Advertising in combination with other media improves the decay rate, or time it takes for a person to forget a campaign’s advertising message. This works particularly well for TV and online advertising. When Outdoor is included, the retention rate increases by several days.

A recent study by TNS Mauritius revealed that (via 500 face-to-face interviews) 68% of consumers mentioned that they recall having seen a billboard the day before. Large billboards had the highest recall with 81% of consumers. Billboards are noted to contribute to the aesthetics of the environment with 69% of consumers agreeing that, ‘Billboards make the environment look colourful’. In addition, 50% of consumers agreed that they trust a brand or product that is advertised on a billboard.

High recall

The PAMRO 2013 country reports revealed that in Botswana, consumer recall of OOH media for large billboards is high, at 60%. Street poles follow closely with a recall of 49%. In Namibia, consumer recall for large format billboards carrying advertising is 42%. This high recall shows sensitivity to the medium. Large billboards in Zambia also have high recall, with 49% of the consumers having seen a billboard within the last 7 days.

The Zambia All Media Products Survey 2011 (ZAMPS) revealed that on average, 8 out of every 10 people have ever seen a type of either fixed or mobile advertising media. Billboards have high penetration and visibility followed by adverts on the side of vehicles and adverts on buses. Overall, 6 out of every 10 people can recall a brand advertised on the different types of OOH type they have come across.

With regards to the overall perception 9 out of 10 people are of the opinion that billboards make the environment colourful, 8 find the brand or product information on billboards useful and 7 trust the brand that is advertised on billboards.

The Continental Outdoor Media Tanzania Millward Brown Study showed that nearly 15% of the day is spent travelling. This presents a significant opportunity for OOH media. Out of all the campaigns tracked in the study, OOH media had consumer recall of 68%. The relative impact of OOH media in Tanzania is stronger than in most other developed markets in the world, however follows the trend within Africa.

Overall, consumers believe that digital and static billboards add positively to the immediate environment and are aesthetically pleasing. These multiple research projections highlight the true value of OOH Advertising.

Future growth

The future growth of OOH is expected to come from Digital Outdoor Advertising. Continental Outdoor is leading the way in paving South Africa and sub-Saharan Africa’s roads, commuter and consumer convergence areas with Digital advertising screens. It is fast expanding its network across Africa into airports, malls, on escalators, bars and restaurants, and onto roadside! A key benefit of the networks is that marketers are now able to plan, by day-part, or region, across Africa.

 

the media report: independence graphic

Lyn Jones is the marketing manager of Continental Outdoor Media, a leading billboard advertising company which operates in 14 countries in sub-Saharan Africa. Contact her by emailing lynj@continentaloutdoor.com or by calling her on + 27 11 514 1610.

This feature first ran in The Media Report 2014, which is published by Ornico with MarkLives.com as its official media partner. Read or download the full magazine via Issuu.

Visuals used are licensed through Creative Commons. Attribution and gratitude go to: Reporters Without Borders and the Give Dictators The Finger campaign; r2hox, who documents urban and street art; Rebel Mouse Digital artist, Surian Soosay; Khalid Albaih, founder of Freestock.ca; Nicolas Raymond, print buyer, and photographer, Karen Roe; photographer SandisterTei; and author, scientist and occasional photographer, Duncan Hull.

— MarkLives’ round-up of top ad and media industry news and opinion in your mailbox every Monday and Thursday . Sign up here!

Interview: Vicki Myburgh on media revenue growth in SA, Nigeria and Kenya

by Herman Manson (@marklives) In this interview, Vicki Myburgh, entertainment and media industries leader for PwC South Africa, talks about the highlights from PwC’s recently released “Entertainment & Media Outlook: 2014-2018” report.

Vicki Myburgh
Vicki Myburgh

MarkLives logoWhat are your key findings and expectations in terms of media revenue growth in South Africa, Nigeria and Kenya respectively?
Vicki Myburgh:
South Africa’s entertainment and media (E&M) market is forecast to be worth R190.4bn in 2018, up from R117.1bn in 2014, increasing at a compound annual growth rate (CAGR) of 10.2%. By far the largest segment will be the internet. Within the internet segment, mobile internet access spending will take in the most revenue, adding over R40bn to E&M spend over the forecast period. This will be driven by the increasing number of South Africans who are becoming mobile internet subscribers — forecast to rise from 15 million in 2013 to 35.2 million in 2018.

Mobile internet access will also prove to be a great enabler for growth in other segments, such as consumer spending on online games and digital music downloads.

Television, however, remains very popular and will remain the second-largest segment. A growing middle class with greater disposable income will lead to a rise in pay-TV households. This, along with the perennial popularity of television as a mass medium for advertisers, will account for the forecasted 5.2% CAGR.

Nigeria’s E&M revenues will reach an estimated US$8.5bn in 2018, more than doubling the 2013 figure of US$4.0bn, at a CAGR of 16.1%. This represents one of the fastest growth rates in the world. As in SA, internet will be the key driver for Nigeria, in a country where the number of mobile internet subscribers is forecast to surge from 7.7 million in 2013 to 50.4 million in 2018.

Mobile internet access alone will add more than US$2.2bn over the forecast period, while mobile also dominates internet advertising revenue. Outside of internet access, the star of the consumer market is video games, and mobile gaming revenues in particular. The video-games segment is forecast to grow at a 20.1% CAGR to 2018. One major driver of this, of course, is the rapid growth forecast in the number of mobile internet subscribers, but another major facilitator is the nature of mobile and online gaming.

Consumer revenues in Nigeria are hampered by piracy. In the book-publishing industry for instance, the photocopying of books is widespread, while the World Bank estimates that 90% of DVDs in circulation are pirated, which prevents filmed entertainment revenues from taking off further.

Kenya recorded US$1.7bn in E&M revenues in 2013, and this is forecast to rise to US$3.1bn in 2018, as mobile internet access, in particular, moves from being a luxury purchase to an affordable essential for the country’s growing middle class.

Kenyan pay-TV households are forecast to double to 2018, but the bulk of television growth will come from advertising on terrestrial channels. Television and radio will account for R1bn plus of revenues in Kenya at the end of the forecast period.

Kenya’s internet access market provides an example of the challenge that emerging markets worldwide face: to grow adoption beyond a wealthy, but relatively small, niche, operators and digital-media providers must make services considerably more affordable, while remaining profitable.

MarkLives logoWhile print ad revenue continues to grow, you note that SA newspapers have had limited success in generating similar amounts of ad revenue online. Do you believe paywalls are an effective revenue generator? Take-up seems to be so limited that they seem to be getting increasingly ‘leaky’.
VM:
The newspaper-publishing business has endured significant challenges in recent years. The rise of digital media, spurred by the increased adoption of smartphones and tablets, has seen the content market flooded with competition for consumers’ media time. In many parts of the world, the newspaper industry — which once enjoyed high-profit margins and esteemed status — has been in prolonged decline. New digital modes of consumption and entirely new demands for consumers’ media time have significantly disrupted newspaper publishers’ traditional business models.

In emerging economies, such as SA, improving education, consumer-spending power and an increasing thirst for need-to-know news are driving a steadily growing demand for newspapers. Advertisers are following, eager to bring word of their products to this previously untapped group of consumers. SA’s relatively low broadband penetration means that publishers are, to an extent, less disrupted by the digital disruption seen elsewhere.

Digital circulation revenues globally seem to be slowly taking off but, despite a few individual publishers reporting improved fortunes, these won’t prove transformational. Publishers rightly welcome the addition of new paid digital consumers where there were previously none. The digital payment’s tipping point is, however, not on the horizon globally, and very [far] from it in SA, ensuring that publishers will want to continue to develop and maintain both digital and print revenue streams well into the next decade.

MarkLives logoWhat are your expectations in terms of the satellite-TV market and online VOD services in the countries you covered?
VM: In SA, despite the perceived threat of OTT services delivered via the internet and the changes in consumer behaviour that these services are promoting, the subscription-TV business continues to successfully build its subscriber base and increase its revenues. As the new middle class emerges, so does the opportunity for operators to sell subscription-TV services, especially those that are adapted and improved to meet changing consumer expectations.

The SA TV sector has seen growth rates slow down since 2010, although both subscription and advertising revenues continue to rise, although at more modest rates. The value of the TV sector reached R30.7bn in 2013. It is expected to fall just short of R40bn in 2018, representing a CAGR of 5.2% over the forecast period. The outlook for pay-TV remains bright as incumbent TV services have moved quickly and successfully to counter the potential threat of OTT and other disruptive influences.

OTT services in SA remain nascent due, in no small part, to issues with broadband penetration. Satellite TV continues to dominate the TV market with limited IPTV presence due to a lack of infrastructure and low broadband penetration. While competition to satellite at present comes from pay-DTT services, these remain in their infancy.

OTT video has been gaining ground across the developed world and although SA has not yet been shaken up by the service, companies should be, and indeed have been, adapting to the world of on-demand content.

The number of pay-TV households in Nigeria more than doubled since 2010 to reach 2.2 million in 2013. This equates to pay-TV penetration of just under 20%. Pay-TV penetration is forecast to reach 24.4% by 2018, with pay-TV households expanding at a 6.9% CAGR to pass the 3.0 million mark in 2018.

The proliferation of more advanced TV services, such as multiscreen and VOD, will continue to be limited by the low broadband penetration. Although significant progress will be made, by 2018, fixed broadband penetration is projected to be just 13.2%. Mobile internet adoption will continue to grow more rapidly, and certain operators have responded by making some of their content available via mobile phones.

Despite growth to around 300 000 households, the Kenyan pay-TV market had a subscriber penetration of just 10.1% in 2013. However, a rise in competition should send this figure up to 16.8% by 2018, with the number of pay-TV households scheduled to roughly double to reach approximately 600 000 by the end of 2018, a CAGR of 16.3%.

As with many African markets, satellite TV remains the leading pay-TV platform. The focus of growth will be satellite TV, while paid DTT services are expected to make an impression from 2014 and offer a viable alternative to cable and satellite, serving a round 200 000 by 2018.

MarkLives logoYou expect tremendous growth in the money people will be spending on data. How did you get to these figures and what are we cutting back on to fit it into our budgets?
VM:
Despite operator concerns that the likes of Google and Facebook will take the lion’s share of the value from the internet opportunity, consumers will still need internet access to use their services. As more and more aspects of their social and working worlds are conducted online, consumers will increasingly view access as a necessity.

As a result, consumer spend on internet access will continue to grow until 2018 to generate more revenue than any other single media product or service over the next five years. For the most part, it’s a simple equation: thousands of households and millions of people will subscribe to services for the first time.

Mobile-internet access revenues and subscribers will far outpace those from fixed broadband, both in terms of growth and overall size. The central challenge for operators in emerging markets will be financing costly infrastructure rollouts, and then making devices and services affordable enough for vast numbers of lower-income consumers, while remaining profitable.

A concern for content providers is that spending on internet access may be taking share away from spending on content and services. This reflects the fact that, while internet access is primarily an enabler, for some consumers it is almost a substitute for spending on entertainment and media content — with a resulting impact on revenues.

In SA, as is the case in Kenya and Nigeria, mobile broadband services are still expensive for consumers. In SA, nearly 0.5% of a SA consumer’s average GDP per capita goes towards mobile-broadband services. Operators need to continue to assess their pricing strategies for broadband services, which impacts negatively on growth.

MarkLives logoWere there any stats that took you by surprise?
VM
: Although there is a dramatic change in the way consumers spend their money, digital revenues remain relatively small and, outside of internet-access revenue itself, digital revenues will still only account for a fraction of the overall E&M market in 2018. Without internet access included, digital-consumer revenues will increase from 2.1% of total consumer revenue to 2.7% in 2018.

The future may well be digital in SA, as with the rest of the world, but progress will be gradual and there are still plenty of opportunities for ‘old’ media yet.

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The Sell: The Christmas that marketing made

by Mimi Nicklin (@MimiNicklin) As I write, I’m planning my annual trip for Christmas to the UK and it occurs to me that the most powerful pull towards a “white” (aka European) Christmas is the ‘Christmas spirit’ that is waiting for me in London town. What is ‘column-worthy’ about this, however, is that, when you delve a little deeper, nearly everything I describe as “Christmas spirit” is nearly 100% created by either retail activation or marketing magic of some kind.

Entirely a long-term trick

Those nostalgic feelings for winter mornings, steaming hot chocolate, carol singers, and the overwhelming desire to run head on into Bond Street to spend my hard-earned rands is, in fact, all entirely a long-term trick that marketers have been embedding into my consumer psyche each and every year to date.

The Selfridges window displays; the Starbucks limited-edition Christmas mugs filled with spiced, spruced and scented coffee; the John Lewis annual TVC and this year’s combination of “Christmas Hits 2014” — all a very clever, and truly commercialised, collection of Christmas cheer and festive celebration, collated by brands in every category.

In this final month of the year, I therefore pose to you a question. In 2014, isn’t the Christmas spirit we crave and celebrate really the “Christmas spirit that marketing made”? When we truly review the icons, emotions, soundtracks and snow trucks — aren’t these beautifully festive and compellingly cosy hooks no more than the marketing fraternity’s best-ever incentive to buy?

The proof:

  1. Amazon is opening a shop. Yes, I know it is one of the world’s biggest retailers already, but this Christmas it is opening a pop-up bricks-and-mortar, real-people, real-product store. It got me thinking. For all its wonderfully convenient and catalogued shopping online, perhaps it’s realised there is something just a tad more special about Christmas shopping that one can see, touch, and engage with in the ‘real world’. People were always going to shop on Amazon this year but, with a touch of Cliff Richard on the sound system and mince pies at the tills, Amazon can own the Christmas (shopping) Spirit on a whole other level.
  2. Window-display designers are paid salaries of an all-time high. They may be the oldest retail-merchandising trick in the book but these windows tell Christmas stories and sell product benefits all in one — perfect testimony to the fact that these imagination-capturing and ‘feet in the door’ driving media are 100% marketing’s tactics to project the Christmas spirit we recognise onto city streets worldwide. Creative. Festive. Inspiring. And, yes, all a great plan devised by marketing directors everywhere.
  3. Retail activation and retailer TVCs. There is surely no one who hasn’t seen and already fallen in love with this year’s John Lewis ad? Last year, it was the enduring friendship of a Hare and a Bear that melted our hearts.
    Twelve months on, John Lewis hopes the bond between a boy and a penguin will similarly capture our Christmas imaginations. The retail activation that supports the TVC is further evidence that if, when you head in store, even the mannequins appear to be celebrating Christmas cheer (or have turned into penguins!), the countdown to the 25th has probably begun! A perfect example of marketer’s creativity to build from a TVC and continue storytelling in the store, and create Christmas spirit that drives purchases you would never have previously considered.

    John Lewis Monty the Penguin 4John Lewis Monty the Penguin 1John Lewis Monty the Penguin 3John Lewis Monty the Penguin 2
    Photos: Business Insider and John Lewis
  1. Festive product innovation that convinces us to shop “just because it’s Christmas”. Whether it’s limited-edition stock or festive naming, there are marketers worldwide convincing us to buy products we never normally would.Christmas limited-edition products
  2. And, finally, in-store design and POSM. If it feels like Christmas when you are doing your shopping, it probably is! It seems that, at Christmas, the point-of-sale design and in-store teams suddenly realise that, versus the rest of the year, it is worth creating stories and displays that go beyond promo messages or prize communications — the final piece of proof that we marketers may indeed have created the entire packaging of what we know as “Christmas spirit” and convinced every retailer, mother and child that they love it!
    Christmas point-of-sale displaysReferences: Kristina Fick's Visual Merchandising on Pinterest; Suchandra Bullock's Visual Merchandising on Pinterest; www.lecreuset.co.za

So, back to the original question, dear reader: Is Christmas really all about people, and family, and —dare I say it — religious celebrations, or is it actually an example of the best marketing campaign of all time?

I shall leave you to ponder until we meet again in 2015. Happy Christmas!

Mimi NicklinMimi Nicklin (@MimiNicklin) followed her passion and experience in the consumer, retail and shopper space from regional roles in Europe and Asia, to South African shores in 2010. Having led global brands through the line for Procter & Gamble, and two of London and Hong Kong’s top agencies, her background gives her an international perspective to add to her depth of SA understanding. She serves as strategic director and a partner at 34 Group. Mimi contributes the monthly “The Sell” column concerning shopper marketing to MarkLives.

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Media Report: The press freedom ‘hit parade’

a The Media Report 2014 feature by Jon Pienaar. Media freedom and open information are hallmarks of democracies. But even states that refer to themselves as democratic have resorted to curtailing press freedom in the name of ‘security’.

Due at least in part to WikiLeaks and the Edward Snowden ‘affair’, governments around the world are trying to create legal impediments to the free flow of information.

First, the bad news

Media freedom is under attack — that’s the headline finding of the World Press Freedom Index, the second global study that ranks press freedom by Reporters Without Borders (Reporters Sans Frontières, or RSF). Media freedom is on the decline in all continents except Asia, where the indicator remains unchanged. The Middle East and Africa showing the worst decrease in media transparency.

Vladimir PutinIn Africa, 2013 was notable for a rise in physical attacks against media workers. “Terrorists,” the report states, “do not feel bound by the Geneva Conventions, which protect civilians, including journalists, during armed conflict.” In fact, journalists are “high-value targets in an ‘information war’.”

Reporters Sans Frontières (RSF) blames Somalia’s Islamist militia Al-Shabaab, for most of the 45 murders of journalists in that country since 2007, making Somalia the deadliest country for media personnel.

The Index highlights how conflicts have impacted on freedom of information, through “a tendency to interpret national security needs in an overly broad and abusive manner to the detriment of the right to inform and be informed,” according to the report. There is a “growing threat worldwide” that endangers freedom of information in countries that count themselves as democracies.

Constricting information flow

The World Press Freedom Index compares the 2014 rankings with the previous year, and Mali and the Central African Republic (CAR) have fallen considerably in the rankings. Both countries are embroiled in armed conflict. The CAR dropped from 65th place to 109th, losing a massive 43 places. Mali dropped 22 places in the ranking, from 99th position on the list, to 122nd. This, out of a total of 180 countries surveyed worldwide.

Burundi is also singled out, having dropped to position 142 in the rankings, partly due to the senate passing a law restricting freedom of journalists in the run-up to the presidential election. Kenya had a considerable drop of 18 points to 90th place, following the way in which the government responded to the media’s coverage of the Westgate Mall attacks, and a law that created a special court to judge audio-visual content.

Countries with rankings that were unable to improve their standing included Somalia, unchanged at 176th; and Nigeria, at 112th – mainly as a result of “the activities of guerrillas and terrorist groups.” Democratic Republic of Congo (DRC) at 151st, has been unable to contain the internecine violence that has destabilised the country and also threatens freedom of information.

The report on the Index has a section entitled “Descent Into Hell Continues In The Horn Of Africa” which finds that poverty and authoritarianism are highest in these East African countries (Eritrea, Djibouti, Somalia and Ethiopia), and that “civil liberties are collateral victims.” Eritrea has the distinction of having “the biggest prison for the media. A total of 28 journalists are currently detained.”

Central Africa, while generally not as dire as in the east, is flagged as “continuing decline” in the report, with Chad, Cameroon and DRC criticised for using dubious legal methods, such as defamation laws, to persecute journalists.

Angola also fell under the spotlight for arresting journalist Rafael Marques de Morais over his book ‘Diamantes de Sangue: Corrupção e Tortura em Angola’ (Blood Diamonds: Corruption and Torture in Angola).

Some good news

It’s not all doom and gloom, however. South Africa’s president Zuma received a thumbs-up from the RSF assessors, as he has “refused to sign a law that would have endangered investigative journalism” – bringing the country up 11 points in the rankings to 42nd place.

Technology is also a factor in democratising information: traditional media are being supported or replaced by new types of news and information providers, as was first witnessed in the “Arab Spring”, when citizen journalists and Tweeters filled in the gaps where mainstream media was constrained.

Namibia is ranked 22nd in the world, which puts it in the same league as the Nordic countries, Central Europe and New Zealand.

Reporters Without Borders (Reporters Sans Frontières, or RSF) is both an advocacy group and aid organisation for journalists throughout the world. Based in France, the non-profit organisation provides material, financial and psychological assistance to journalists assigned to dangerous areas, and promotes free and open media throughout the world. RSF has released its second annual World Press Freedom Index, wherein it ranks countries according to their levels of press freedom.

Read more

Download the report from Reporters Without Borders: http://rsf.org/index2014/data/index2014_en.pdf
For a comprehensive summary, read: http://rsf.org/index2014/en-africa.php

 

the media report: independence graphicThis feature first ran in The Media Report 2014, which is published by Ornico with MarkLives.com as its official media partner. Read or download the full magazine via Issuu.

Visuals used are licensed through Creative Commons. Attribution and gratitude go to: Reporters Without Borders and the Give Dictators The Finger campaign; r2hox, who documents urban and street art; Rebel Mouse Digital artist, Surian Soosay; Khalid Albaih, founder of Freestock.ca; Nicolas Raymond, print buyer, and photographer, Karen Roe; photographer SandisterTei; and author, scientist and occasional photographer, Duncan Hull.

— MarkLives’ round-up of top ad and media industry news and opinion in your mailbox every Monday and Thursday . Sign up here!

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