#Top40TVratings: 27 October–2 November 2014

by SAARF & MarkLives (@marklives) See who made it to the top of our National and DStv charts for the week of 27 October–2 November 2014! A collaboration between the South African Audience Research Foundation (SAARF) and MarkLives, this #Top40TVratings column is a weekly roundup of SA’s TV audience viewership.

Satellite dishWe reveal the best-watched shows of the week before (in this case, 27 October–2 November 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: 27 October–2 November 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 SKEEM SAAM SABC 1 Drama Drama 19.1 8 214 334 62.29%
2 MUVHANGO SABC 2 Drama Drama 13.7 5 880 759 49.84%
3 SOUL CITY SABC 1 Drama Drama 13.0 5 594 418 44.14%
4 STICKS AND STONES SABC 1 Drama Drama 12.2 5 252 333 39.35%
5 KOWETHU SABC 1 Drama Drama 12.2 5 236 503 41.34%
6 MY PERFECT FAMILY SABC 1 Sitcom Sitcom 10.9 4 669 161 36.10%
7 ZAZIWA SABC 1 Variety Variety 10.2 4 385 344 35.62%
8 POWERBALL SABC 2 Variety Variety 9.5 4 077 239 41.47%
9 SELIMATHUNZI SABC 1 Variety Variety 9.2 3 935 331 30.66%
10 SHREDS AND DREAMS SABC 1 Drama Drama 9.1 3 921 264 33.69%
11 XHOSA NEWS SABC 1 News News 8.9 3 797 893 33.00%
12 WHEN WE WERE BLACK SABC 1 Drama Drama 8.7 3 739 895 30.70%
13 SCANDAL e.tv Drama Drama 8.3 3 574 423 28.61%
14 ZULU NEWS SABC 1 News News 8.0 3 436 489 30.61%
15 SPEAK OUT SABC 2 Actuality Actuality 7.6 3 267 236 38.11%
16 1’S AND 2’S SHOW SABC 1 Music Music 7.6 3 250 672 28.19%
17 THE X FACTOR SOUTH AFRICA SABC 1 Reality Reality 6.9 2 979 190 29.77%
18 KHUMBUL’ EKHAYA SABC 1 Magazine Magazine 6.6 2 843 815 25.56%
19 SKEEM SAAM -R SABC 1 Drama Drama 6.1 2 601 083 53.05%
20 VELAPHI -R SABC 1 Sitcom Sitcom 5.7 2 451 849 49.96%
21 RHYTHM CITY e.tv Drama Drama 5.7 2 427 727 24.18%
22 GOLDENEYE e.tv Movies Action/adventure 5.6 2 382 793 28.28%
23 MPONENG SABC 2 Sitcom Sitcom 5.5 2 379 890 20.86%
24 MUVHANGO -R SABC 1 Drama Drama 5.4 2 297 154 47.07%
25 ISIDINGO:THE NEED SABC 3 Soap opera Local 5.3 2 289 782 19.67%
26 MOHLOLOHADI 2 SABC 2 Drama Drama 5.3 2 289 412 25.51%
27 FREE WILLY: ESCAPE FROM PIRATE’S COVE SABC 2 Movies Action/adventure 5.3 2 283 894 26.39%
28 FAN BASE SABC 1 Music Music 5.0 2 147 041 25.49%
29 7DE LAAN SABC 2 Soap opera Local 5.0 2 141 540 21.37%
30 AMAZA SABC 1 Drama Drama 4.9 2 115 218 20.88%
31 WWE WRESTLING SMACKDOWN e.tv Sport Wrestling 4.9 2 103 567 16.07%
32 WIPEOUT SABC 2 Competition Competition 4.8 2 078 047 18.23%
33 ABSA PREMIERSHIP ORLANDO PIRATES VS KAIZER CHIEFS -R SABC 1 Sport Football (soccer) 4.8 2 058 042 24.37%
34 MUVHANGO -R SABC 2 Drama Drama 4.7 2 028 870 31.47%
35 SOCCER ZONE SABC 1 Sport Football (soccer) 4.7 2 010 911 20.18%
36 SKEEM SAAM -O SABC 1 Drama Drama 4.7 1 998 918 29.73%
37 CUTTING EDGE -R SABC 1 Actuality Actuality 4.7 1 995 156 41.26%
38 WWE WRESTLING RAW e.tv Sport Wrestling 4.5 1 914 474 24.87%
39 SUNDAY LIVE SABC 1 Actuality Actuality 4.4 1 895 924 18.03%
40 ISIDINGO -R SABC 1 Soap opera Local 4.4 1 894 140 44.26%

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 SKEEM SAAM SABC 1 Drama Drama 12.2 1 645 757 38.46%
2 MUVHANGO SABC 2 Drama Drama 9.6 1 303 880 33.69%
3 ISIBAYA Mzansi Magic Variety Variety 7.1 962 190 23.23%
4 OUR PERFECT WEDDING (MAG) Mzansi Magic Magazine Magazine 6.8 922 760 22.72%
5 POWERBALL SABC 2 Variety Variety 6.4 864 372 24.88%
6 SCANDAL e.tv Drama Drama 5.6 761 372 18.16%
7 MY PERFECT FAMILY SABC 1 Sitcom Sitcom 5.5 749 366 17.28%
8 ZAZIWA SABC 1 Variety Variety 5.4 723 340 17.52%
9 SPEAK OUT SABC 2 Actuality Actuality 5.2 701 672 24.06%
10 XHOSA NEWS SABC 1 News News 5.1 690 639 17.58%
11 SELIMATHUNZI SABC 1 Variety Variety 5.0 681 284 15.75%
12 7DE LAAN SABC 2 Soap opera Local 4.1 551 478 15.22%
13 KHUMBUL’ EKHAYA SABC 1 Magazine Magazine 4.1 549 088 15.18%
14 RHYTHM CITY e.tv Drama Drama 4.0 546 375 15.06%
15 SOUL CITY SABC 1 Drama Drama 4.0 546 090 12.91%
16 ZULU NEWS SABC 1 News News 3.9 523 723 13.15%
17 ISIDINGO:THE NEED SABC 3 Soap opera Local 3.5 474 764 11.84%
18 STICKS AND STONES SABC 1 Drama Drama 3.5 471 489 11.27%
19 1’S AND 2’S SHOW SABC 1 Music Music 3.2 438 473 11.39%
20 KOWETHU SABC 1 Drama Drama 3.2 436 775 10.37%
21 MOHLOLOHADI 2 SABC 2 Drama Drama 3.2 436 082 13.26%
22 SKEEM SAAM -R SABC 1 Drama Drama 3.2 432 248 24.88%
23 SOCCER ZONE SABC 1 Sport Football (soccer) 3.1 417 325 12.43%
24 THE X FACTOR SOUTH AFRICA SABC 1 Reality Reality 3.1 413 591 11.67%
25 MUVHANGO -R SABC 1 Drama Drama 2.9 391 183 22.60%
26 NATIONAL SECURITY Mzansi Magic Movies Comedy 2.8 375 071 9.76%
27 NEWS e.tv News News 2.7 365 896 10.62%
28 VELAPHI -R SABC 1 Sitcom Sitcom 2.6 356 314 20.55%
29 SES/TSW/SEP NEWS SABC 2 News News 2.6 351 753 8.65%
30 WHEN WE WERE BLACK SABC 1 Drama Drama 2.5 343 034 8.64%
31 SHREDS AND DREAMS SABC 1 Drama Drama 2.5 334 703 8.50%
32 THE BOLD AND THE BEAUTIFUL SABC 3 Soap opera International 2.4 323 866 10.19%
33 BINNELANDERS kykNET Soap opera Local 2.4 322 085 7.67%
34 ISIDINGO -R SABC 1 Soap opera Local 2.3 316 249 20.01%
35 E-NUUS kykNET News News 2.3 315 278 7.96%
36 DIE NATANIEL TAFEL kykNET Drama Drama 2.3 311 243 7.09%
37 BOER SOEK N VROU kykNET Reality Reality 2.3 309 192 7.71%
38 FUNERAL SERVICE OF SENZO MEYIWA SABC NEWS Actuality Actuality 2.3 306 767 10.72%
39 WHEN DUTY CALLS SABC 2 Actuality Actuality 2.2 297 525 9.03%
40 BARBARIAN RUGBY: BARBARIANS VS AUSTRALIA SuperSport 1 Sport Rugby (all) 2.1 288 048 8.83%

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.

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Shelf Life: The nexus of potstill brandy

Louise Marsland (@Louise_Marsland)’s weekly pick of recent product, packaging and design launches:

  • KWV makes bold brand statement with new launches
  • Waterfront Radisson refreshes
  • Coke Light supports breast cancer awareness, and
  • Printstagram hopes to make your Christmas list.

SA’s first Cognac launches

KWV Nexus with handcrafted wooden outer casingKWV Heritage XO Cognac
South Africa’s first Cognac has been launched by KWV in a significant brand positioning for the brandy distiller. Last week, KWV unveiled KWV Heritage XO Cognac, the first to be produced under a South African brand name, as well as 30-year-old KWV Nexus, the world’s first commercially available brand containing potstill up to 42 years old. The name Nexus was chosen to represent the pinnacle of the KWV brand journey.

For KWV’s XO Cognac, KWV formed a collaborative partnership with the French House of Maison Charpentier and developed KWV Héritage XO, created by KWV’s award-winning master distiller, Pieter de Bod, who developed the blend in his brandy cellar in Paarl.

KWV’s marketing director, Peadar Hegarty, explains that KWV is challenging the conventions of the industry with these two additions to its luxury product range.

“Cognac can only be produced in Western France and verification of its authenticity is taken very seriously, protected by an ‘origin appellation’, meaning that in order for the blend to qualify as a cognac, grapes must be sourced and the product must be bottled and matured in the Cognac region in France.”

De Bod describes the KWV XO as rich amber in colour, conjuring up fruity flavours of litchi, cinnamon and fruitcake on the nose, with notes of citrus, mocha and roasted coffee.

And how’s this for a price tag? The KWV Nexus potstill brandy retails at R23 000 for those who want to round off special occasions…

The KWV Nexus 30-year old is described as an exceptional potstill brandy, handcrafted in small batches at the world-renowned KWV cellars in Paarl, using a blend ranging in age from 30 to 42 years old.

This special product has special packaging to match: the hand-blown bottle orb was crafted by glass artist, David Reade. And each individually crafted bottle is sealed with a handmade Baltic Amber stone — a gem with origins that can be traced to tree resins going back some 50 million years — set in copper by award-winning jewellery designer, Maike Valcarcel.

Then there is the handcrafted wooden outer casing, which Hegarty says illustrates KWV’s culmination of a journey of “unsurpassed craft, patience and attention to detail”: “We chose unconventional packaging, as we wanted to showcase the beautiful bottle and the use of all natural products, put together by these artisans, fits beautifully with our ’Finish Great’ philosophy. From vine to glass, this precious blend is the proud fulfilment of an incredible brandy-making odyssey that represents our master craftsmen at their very best.”

Radisson Waterfront revamp

Radisson Blu Hotel Cape Town Waterfront revampRadisson Blu Hotel Cape Town Waterfront revamp 2
The Radisson Blu Hotel at the Cape Town Waterfront has undergone a R10m revamp over the winter months, including new meetings and events facilities. The hotel, which is at the water’s edge next to the marina, has some of the best views in the city, and was voted Africa’s Leading Conference Hotel in the 2014 World Travel Awards.

The newly launched meetings and events facilities can hold up to 300 delegates, as well as 180 guests for gala dining. There’s a Captain’s Boardroom with views of the marina for more intimate meetings for up to 12 delegates.

Each of the 177 rooms was updated with the latest technology in televisions and new amenities. Soft refurbishments also took place in the dining area, the Tobago restaurant; the West Atrium; the Amani African Spa; hotel reception and public areas.

“The upgrade to the Radisson Blu Hotel Waterfront is a natural step on our journey towards enhanced excellence. With our constant development to the property, we promise to deliver our brand ethos and ‘Yes I Can!’ philosophy,” says GM, Debra Siversten.

In the pink

Coca-Cola Light PinkDriveFor Breast Cancer Month in October 2014, Coca-Cola South Africa partnered with Makro in support of PinkDrive, producing pink product for the month. The objective is to raise R200 000 for the charity. Additional partners include ABI, Coca-Cola Fortune, Coca-Cola Shanduka Beverages and Peninsula Beverages.

Coca-Cola has created specially designed six-pack cans of Coca-Cola Light, wrapped in pink packaging, and donated R2 for every pack sold to PinkDrive, a breast-cancer-awareness NGO powering SA´s first mobile PinkDrive Mammography Unit and the PinkDrive Educational Unit.

“Through our mobile clinics, we not only aim to bring testing centres to communities, but also educate women on the disease,” says Noelene Kotschan, founder and CEO of PinkDrive.

The campaign, which started mid-October, will run until the R200 000 target has been reached. The aim is to not only raise funds for PinkDrive, but to encourage women to learn more about breast cancer and the importance of early detection.

Print memories in time

Printstagram wall clockAnother one in time for Christmas is the personalised Printstagram wall clock. It’s targeting happy families, plus hoping businesses will also use them for client gifts.

Printstagram wants to inspire individuals and businesses to create their own photographic memories on a wide range of products, with the brushed aluminium clock as its new offering for this festive season.

“Our online design software and our services make it easy for anyone to create beautiful custom-designed gifts… Our wall clocks are something new and different,” comments Tandi Potgieter, Printstagram MD.

I can see how it might be nice to have my daughter’s pic on a clock in my office (she’s super cut) and maybe your client would like its logo or a pic of its new corporate office? Can’t really see many other corporate uses, though; it strikes me that the best target market would be grandparents — they’re the poor suckers who usually get stuck with blurry pix of their grandchildren on cups, T-shirts, even shopping bags, and feel morally obligated to use them.

 

Shelf Life is a weekly column by Louise Marsland on MarkLives. 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.

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Ad of the Week: In the Great Karoo, a flag visible from space

by Oresti Patricios (@orestaki) Remember 2010? The constant buzz of vuvuzelas, the lost productivity, the South African flag everywhere you cast your eye. The flag — how delighted we all were to see our proud, rainbow-nation, post-apartheid miracle flag up there with the world’s best!

People who saw the flag flying knew intuitively it was a powerful symbol of freedom.



I’m not a big fan of the excesses of nationalism — let’s make that very clear — but there is something to be said for the unifying power of a flag, of the SA flag. And it’s interesting to see how our red, green, yellow, black, white and blue has come to represent the brand that is South Africa for about all its inhabitants.

FCB South Africa video** explaining the Giant Flag concept

But the 2010 FIFA World Cup is now long gone. All the warm fuzzy feelings, that sense of joy and pride in what’s good and local have faded somewhat. How does one get that back – how do you hang on to local pride?

How do countries such as the UK, with its crowds waving the Union Jack at every appearance of royalty, or the US, with its ‘Stars ‘n Stripes’ on every front lawn, get to maintain that sense of pride? What can be learned from other nations who get this right?

Giant Flag in the Great Karoo cropped
Giant flag – concept

Keep flying

Since 2010, FCB South Africa has been promoting the idea to ‘Keep Flying’ the flag. This is a long-term campaign that has encouraged brands and South Africans to incorporate a national flag logo device the agency designed, in advertising.

The latest news from this FCB initiative is an effort to ‘ground’ the campaign in a legacy project. Guy Lieberman, head of FCB’s green and social new business development, came up with the idea for a Giant Flag project.

The big idea here is to create a giant flag in a section of the desert in the Karoo. It will be 66 hectares in size — that’s the size of 66 soccer fields — which means this national icon will be visible from space. Succulent plants will be used for the red, blue, yellow and green, white stone roads for the white stripes, and a 4MW solar array for the black triangle.

Job creation

People from the nearby municipality of Camdeboo are being given the opportunity to apply for work on the project, both in the construction phase, and the maintenance thereafter. It’s estimated that some 700 jobs will thus be created, which will inject capital into the town. FCB maintains that the initiative will also uplift these people by offering them access to training.

Giant Flag 2
Solar array

Camdeboo is a town with an unemployment rate of close on 40%. Census information shows the average monthly income is set at R2 400 but some 21% live off less than R800 a month. For me, the best thing about this campaign is that it creates jobs in an area that’s remote. And here we’re not just talking about ‘make-work’ jobs, but rather the potential for revenue generation.

There are ecological benefits, too. The electricity generated by the solar array will be sold back to the grid, and spinoff projects such as honeybee farming will be created. The project has been vetted by environmental experts, with a focus on carbon, as the plants will be nett carbon negative. The plants should also help to curb erosion and improve the water table in the area.

Endowment fund

Profits from Giant Flag operations will go into an endowment fund, which will be used to develop further opportunities in the local social, green and innovation sectors through micro-loans and skills development. An education fund is also planned to upgrade schools in the area and provide tertiary scholarships.

The idea is that projects will be initiated in years to come – these include algae plants, biogas, and rainwater harvesting.

FCB South Africa crowdfunding video** for the Giant Flag

The project is being crowdfunded internationally, and is already one quarter of the way to full funding. This is how it works*:

  1. Pick a section: After creating a login on www.giantflag.co.za, click on a section (pixel) of the flag to see what that section is made up of. You can then adopt a plant (US$10) from one of the colour sections or a section of the white road. The solar panel (US$250) section will be coming soon.
  2. Adopt: Choose any of the succulents that represent one of the colours of the Giant Flag, or a section of the white road, and adopt.
  3. View your shopping cart: View your plants or your piece of the road in your cart. You may alter the number of items you are purchasing at any time.
  4. Payment: Pay via PayGate and share your adoption via social media, spreading the word so that others can join you.
  5. What’s next? Find out about the next steps you can take in order to help spread the message.

Lesson in clever thinking

It’s a lesson in how clever thinking can make use of resources that would otherwise go unexploited, and it’s a model that should be replicated elsewhere in the country. Obviously, not in the form of flags that can be seen from space, but in projects that provide self-sustaining jobs to lift destitute communities out of the poverty trap by creating value, rather than relying on government handouts.

*Adapted from www.giantflag.co.za/pages/how-it-works

**Videos produced by FCB South Africa in collaboration with Hello Computer and Green Renaissance.

 

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.


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Grubstreet: The Rand Daily Mail brand revived

by Gill Moodie (@grubstreetSA) The news that Times Media Group has brought back the famous Rand Daily Mail brand after almost 30 years is fascinating – and not because of the goodwill and nostalgia associated with the brand, but because the new RDM will be as far as you can get from the old on every level.

Rand Daily Mail logoThe new RDM – which was launched in late Octobe 2014r – will be online only; not print. It will not break news but will focus on opinion and analysis. It won’t even be original content. It will republished content from across the Times Media group from titles such as the Sunday Times, Business Day and the Financial Mail – essentially an aggregator.

The reason for this is that the new RDM needs to work smart because sustainable online revenue is still elusive in this country.

Besides RDM editor Ray Hartley – who is a former Sunday Times editor – there will be few staff members because the content will already be subbed and the existing Times Media online staff will be involved. While keeping costs down, Times Media CEO Andrew Bonamour told Grubstreet recently, the aim is to add another string to the advertising bow that includes Times Media’s existing print, online and broadcasting offerings.

Hartley – who was the launch editor of The Times newspaper, which had a big digital push in the beginning – is himself cautious about the revenue prospects.

“However, it will be a very top-end offering. We will be able to at least define this market pretty closely so advertisers will have a very good idea of who we’re talking to. Whether or not that will lead to revenue, I don’t know.”

Does Hartley see RDM as a direct competitor to Daily Maverick, which was launched in 2009?

“Yes, and no. They do publish in the thought-leadership space and so do we but (Times Media) has been publishing in this space for some time. This is an attempt to do it in a slightly smarter way.

Rand Daily Mail screengrab“I also think there’s a lot of room in the thought-leadership space because South Africans are very interested in the political story as it unfolds and in this kind of thoughtful content, and in business. I think business will be one of our strengths because we will have the Financial Mail, Business Day and Business Times thought-leadership stuff in one place… Although we will have a bit of lifestyle content as well and motoring and sport. We have some very good sports columnists – people like BBK and Telford Vice.”

Daily Maverick CEO Styli Charalambous told Grubstreet that he didn’t see RDM as a direct competitor.

“It’s competition in the sense that anything that competes for the time of our readers and for advertising budgets is but in terms of strict editorial competition, I don’t think so.

“We focus all our resources and energies on producing original feature-length content. The Rand Daily Mail seems to be more of an aggregator of content.”

He added that Daily Maverick has a distinct voice because editor Branko Brkic is so hands-on with the content and writers while he believes Hartley might have a difficult job establishing a unique voice for the RDM because the content will come from across the group.

There won’t be a paywall on the RDM at launch, says Hartley, and there may be an app in the future but he is wary of the experience of The New York Times’s “NYT Opinion” app, that was cut recently because it failed to gain enough audience.

“You’ve got to be very careful. NYT Opinion illustrates the problem that if you load up big costs upfront, you’re setting yourself up for difficulty online because there are no guarantees that you will get the revenue to recoup those costs.

“We are playing it the other way around. We want to establish a revenue stream and then perhaps be expansive otherwise you offer something and then you disappoint your audience by suddenly stopping it or cutting back.

“I do think that one of the beauties of online is that it is scalable. There is a minimum cost that is attached to starting a newspaper whereas with online, you can publish and if the revenue and the audience justifies it, you can scale up quite easily. You don’t have to reinvent your product.”

Charalambous was strident in the recently released State of the Newsroom 2014 report about the growth of digital advertising in SA being held back because of the larger publishers who have been unwilling to embrace digital wholeheartedly.

In the RDM, he says, he sees more of a commercial exercise than a real investment in digital.

“From my understanding of it, it’s a commercial repackaging exercise. But look, it’s not a zero-sum game. If it starts carving out more of a space for analysis and opinion in the marketplace – in terms of what media planners look at – then that’s great for us as well.”

RDM will be offering what proved to be one of the most popular features of NYT Opinion – the ability to follow particular writers so that you get alerts when a new piece by them is published.

“In the thought-leadership space, writers have audiences,” says Hartley. “We have some people who are, I think, a must-read. If you follow politics, you want to know when someone like S’Thembiso Msomi writes a piece.”

Hartley – a highly respected political commentator in his own right – will also be writing original content for the RDM, as will some of the other senior editorial people in Times Media, he says.

There is no resistance from other Times Media editors to the Rand Daily Mail’s republishing of their content, he says.

“This is content which is being a little buried online so all this is doing is bringing it to the surface and making it more accessible in one web site.”

What does he think of the quality of opinion writing in SA today?

“A lot of daily newspapers have abdicated this space and produce speeches by ministers and stuff like that as thought leadership, which with due respect to the ministers has to be taken with a pinch of salt… But it has grown online and I think that’s because the news in ubiquitous.

“It’s everywhere – any number of news websites will give you the Sapa story of the day – so what’s original and fresh is clever thinking about the news. There’s this torrent of information and (as a consumer) you want people to help you navigate it – you want people who can take you through to the essence of it.”

GrubstreetSouth Africa’s leading media commentator, Gill Moodie (@grubstreetSA) offers intelligence on media, old and new. Reprinted from her site Grubstreet. This piece was published first on Journalism.co.za, the website of Wits University’s journalism school.

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Creation: Pitch perfect

by Artwell Nwaila (@artwelln) Pitching is by far the most daunting practice for any new or seasoned creative. We do it when we apply for a job, when we share ideas with the CD and, most importantly, when we want to sell ideas to the almighty client.

the pitchIn this column I’ll focus on the latter, which in turn will help in every other form of pitching. I’m not saying I’m a pro; I’m merely sharing seven lessons that have made me less kak.

  1. Be vibrant and exciting

Clients are sold on confidence, knowledge and excitement. I’ve sat through intensely boring presentations where it felt like I was being taken through a tombstone catalogue; all I wanted to do was shoot someone and skip the border.

I always remind myself before a presentation that I’m not there just to sell a concept but to inspire the pants off the audience.

I refer to the client as the audience because I believe the selling process is a performance. The word ‘client’ makes them seem like soulless planks of wood. I can hear a CD somewhere out there giggling and whispering, “But they are…”

  1. Keep it short and to the point

As much as clients love your company, they have lots of work to do. Cover all angles quickly by telling a focused, detailed story.

The best pitch I ever witnessed was exactly five minutes long. I’m not saying they should all be this short but a 15-minute waffle about how excited you and your team are to have received the brief is not necessary.

  1. Speak it; don’t read it

There is a reason that your kids falls asleep when you read to them… It’s because it’s boring. Do not subject your audience to the same fate.

Monotone reading takes away from the magic of eye contact. It also shows a lack of confidence and uncertainty. I make it my goal to talk through 80% of the presentation and the rest I’ll read if I have to.

  1. Avoid buzzwords/jargon

Personally, if I have to hear words such as “low hanging fruit”, “golden thread”, “blue sky thinking” etc, I’m going to facilitate a citizen’s arrest.

Clients hear such terms daily. It may make you sound smart but definitely not original.

Keep the language simple at all times. Steve Jobs’ presentations were powerful purely because they were approachable. He used simple language and avoided jargon and buzzwords like the plague.

  1. Know the client

I try research whom I’m presenting to well before the meeting. As a creative-director friend of mine always says, “Most pitches that are lost are lost due to lack of connection.”

So, if you’re selling to an older, Barry-Manilo-listening marketing director, act accordingly and prep the performance to his or her tastes.

  1. Leave something behind

We creatives tend to forget that brand managers and marketers have probably sat through five pitches before you and they are exhausted. Leave them with the full presentation so they can fill in any missed gaps.

On that note, make sure your presentation is easy to digest, even when you’re not there.

And finally

We need to keep in mind that, when we pitch, we are proposing a new relationship.

I’ve found that when we win new business, the idea we initially presented isn’t what the client finally rolls out. This is because the client feels a connection and he or she is drawn to the style of creative thinking.

Artwell Nwaila

Artwell Nwaila (@artwelln) is a creative director at Offlimit Communications and publisher of the award-winning creative publication SA Creatives (@thesacreatives). His monthly column on MarkLives, “Creation”, is a humorous take on life in the creative world, seasoned with practical advice based on experience.

 

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WPP statement: Ogilvy & Mather has acquired Gloo Digital Design

WPP statement: “WPP announces that its wholly-owned marketing communications network, Ogilvy & Mather, has acquired Gloo Digital Design, an award winning South African digital design agency, specialising in creative campaign solutions for all sectors across the digital media space.

“Founded in 2005, with offices in Cape Town and Johannesburg, Gloo is one of South Africa’s most awarded digital agencies and has been named Digital Agency of the Year, every year for the past seven years, by Financial Mail’s AdFocus Awards. Gloo’s audited revenues for the financial year ended June 2014 were ZAR 70.5 million with gross assets as at the same date of ZAR 27.5 million.

“This investment continues WPP’s strategy of developing its integrated services in fast-growing and important markets and sectors and strengthening its capabilities including digital media. WPP’s digital revenues (including associates) were well over US$6 billion in 2013, representing almost 35% of the Group’s total revenues of US$17.3 billion. WPP has set a target of 40-45% of revenue to be derived from digital in the next five years.

“In South Africa, the Group (including associates) generates revenues of around US$500 million and employs around 26,000 people. Across the continent of Africa, the Group (including associates) collectively generates revenues of around US$650 million and employs 28,000 people.”

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Tuned: The rise of the creative entrepreneur

by Thabang Leshilo (@Thabang_Leshilo) Encouraged by creative-industry heavyweights, more and more of my peers seem to have extended themselves beyond the traditional ‘advertising’ and ‘marketing’ routes when it comes to a career choice.

This has given rise to a generation of young individuals with real talent looking for additional avenues to express their creativity.

Thabang Leshilo by Jeremy Glyn in June 2014 glynj@fm.co.zaWithout a doubt

But those very same employers who’ve cultivated these opportunities for us are having to think harder about how they retain young creative entrepreneurs because, without a doubt, they intend on doing their own thing someday.

Policy consultant and author John Howkins defines creative entrepreneurs as people who “use creativity to unlock the wealth that lies within themselves. Like true capitalists, they believe that this creative wealth, if managed right, will engender more wealth.”

Howkins goes on to say “[t]hese people instinctively think for themselves, instinctively network, instinctively keep several balls in the air at once. They are the shock troops, not only for new ideas about our culture but for new ideas about working in it.”

Creativity translates into economic value

According the British Council, at the heart of the creative economy are the cultural and creative industries at the crossroads of arts, culture, business and technology. What unifies these activities is that they all trade with creative assets in the form of intellectual property (IP) — the framework through which creativity translates into economic value.

The UK has the largest creative sector of the European Union. In terms of GDP, it is the largest in the world and, according to UNESCO, it is in absolute terms the most-successful exporter of cultural goods and services in the world, ahead of even the US.

The British Council’s Cultural and Creative Economy programme builds upon the UK’s position as a world leader in the development of the creative and cultural economy, and the UK Government’s aspiration to support further growth. This is an economic agenda but it also has a deep social and cultural-relations purpose.

Increasingly recognising its importance

Governments and creative sectors across the world are increasingly recognising its importance as a generator of jobs, wealth and cultural engagement that promotes social inclusion, cultural diversity and human development.

But what of the South African government’s recognition of the importance of the creative industries and economy? With a growing population of optimistic youth, faced with poor educational and economic prospects, should arts and culture not be an imperative avenue to support South African youth and their natural talent?

Mzansi’s creative entrepreneurs see themselves as more than just freelancers. In reality, they are the creative, cultural and thought leaders of our generation, from diverse cultural and socio-economic backgrounds. They own companies, and are investors in up-and-coming talent that’s either their own or other people’s.

Freedom

These are bright and resilient individuals who value their independence above all else. It is the freedom to manage their time and abilities that makes up for the unpredictable nature of their working environment, and the irregularity of their income that makes their work meaningful.

A prime example of a creative entrepreneur, who has defeated many odds and led a movement in SA dance music, is the world-renowned and multi-award-winning record producer and DJ, Black Coffee, as documented by Resident Advisor and Sonos. He and other creatives from all walks of life — such as documentary film makers, photographers, youth culture specialist and many more — are leading this cultural wave, promoting our talent abroad and moving SA forward.

You may not see it, but young South Africans all over the country are working together to create magic and push boundaries by continually asking themselves “What if?” or “Imagine if we?”. Whether it be meeting up in a coffee shop, corner store, or their mother’s kitchen, these creatives are talking, connecting and collaborating to bring their ideas to life.

Co-working

There has also been a rise in a co-working culture, where other creative entrepreneurs have created environments where people can brainstorm ideas and work together. Many of those places have been featured on Between 10 and 5 (another SA creative venture that seeks to showcase creativity through a digital platform).

Interestingly, there are a few brands out there that are acknowledging the significance of the creative economy and are immersing themselves in this space — and they are doing so in order to remain culturally relevant:

Grant’s whiskey recently collaborated with photography trio, I See A Different You, in its #StandTogetherMzansi campaign; Bobbi Brown has also acknowledged young creative women in its #PrettyPowerful campaign; and Levi’s Pioneer Nation seeks to share hundreds of stories of inspiring local and international creative Pioneers. [On a slightly different tack, Coca-Cola South Africa recently announced a formal partnership with the Creative Circle “in a bid to refresh the way the South African business community views creativity” — ed-at-large.]

Be prepared

A word of caution to all brand managers: not all brands can do this credibly. But, if you do, ensure that your brand’s positioning, big idea and intent are well-aligned with that of the creative entrepreneur, and be prepared to allow him or her to be the creative director of your story.

Thabang Leshilo (@Thabang_Leshilo) is a project manager (brand) at strategic marketing consultancy Added Value South Africa. As a ‘next-generation’ marketer with fresh and curious eyes looking into the industry, she has a keen interest for brands that are culturally in tune with and able to integrate and immerse themselves into the everyday realities of the consumer. She contributes the monthly “Tuned” column, sharing marketing insight and analysis, to MarkLives.

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Talking Radio: A sense of community

by Angela Haarhoff () When many of us think about ‘community radio’, we envisage an informal setup in Uncle Pete’s garage, complete with chickens on the roof and illegal electrical connections hanging from the ceiling.

It’s pretty safe to say that we have never seen inside a community station nor listened to one. Therefore, allocating our advertising money to them seems a little scary and unfamiliar. Right? Sure.

old radio transistorUndergoing a change

This has been relatively commonplace due to a general lack of knowledge around such stations, driven by barriers in language, cultural understanding and accessibility.

Our radio landscape is, however, undergoing a change, and community radio stations are stepping up to take more of the limelight. It’s an important trend to note and, as listeners demand more personalised content, these stations are becoming ever more relevant.

Listeners are seeking less mass-targeted media and responding to advertising which adds value to their lives, be it through entertainment or useful information.

Advertising spend on community radio stations

Granted, tracking adspend across community stations can be, and is, challenging but Nielsen data gives us an indication, nonetheless. The January-August figures reflect an amount of over R78m having been spent, equaling 2% of total radio investment (R3.8bn).

Top-spending categories show no surprises, with government, education and health, as well as retail, being responsible for most of the activity. Following these is financial services.

If we break this down by looking at Minor Product category, we see a clearer picture of exact spend. Cellular networks and products see around 9% of overall spend on these stations. Provincial government and food stores both see 7%, while building supplies, natural and alternative medicines also fall into the top 10.

  Top 10 Minor Product Categories Spend Jan-Aug 2014 (Rm) % of Community Radio Spend
1 Cellular networks & products 6 753 618 8.6
2 Provincial government 5 529 173 7.0
3 Food stores supers & hypers 5 528 196 7.0
4 Building supplies 4 825 329 6.1
5 Political parties 3 525 146 4.5
6 Natural & alternative medication 3 128 215 4.0
7 Brand 2 754 808 3.5
8 Specialised training centres 2 706 578 3.4
9 Funeral plans 2 502 429 3.2
10 Local government 2 208 773 2.8

These categories reflect the micro-targeting ability of radio to reach specific areas with specific messages and offers.

In terms of top-spending advertisers on community stations, Nedbank has made good effort to target markets in its immediate environment, as have Vodacom, MTN and Shoprite.

Top 10 Community Advertisers Spend Jan-Aug 2014 (Rm)
1 Nedbank 4 986 561
2 Cashbuild Ltd 4 815 833
3 Government W Cape 4 188 827
4 Vodacom Communication 4 127 801
5 Shoprite Holdings Ltd 3 586 825
6 Government Gauteng 3 308 819
7 Mobile telephone network 2 700 894
8 Mondli Herbal Products 2 664 461
9 Pearson Education SA 2 614 731
10 AVBOB Mutual Ass Soc 2 497 619

The ROI formula

Radio is known to be one of the more effective ROI mediums, and studies done by Nielsen and RAB in the UK support this. Why then is much of the radio advertising we hear not yielding the desired effect?

Purely because of the very careful balance of impactful creative execution, effective media placement and the actual message or offer at hand.

If the strategy has been carefully and seamlessly planned, these factors should result in a winning formula.

Supported by strategic reasons for using radio, marketers of the Noughties also need to consider that listeners have changed and old-school radio rules may not apply to their more sophisticated habits — content should be entertaining or useful and, most of all, relevant in order to spark a response.

The future of community stations

If we think back then to Uncle Pete’s garage, it’s perhaps time to get our hands dirty by immersing ourselves further into this medium, gaining a better insight into its strengths and opportunities.

Community stations go beyond rural or township setups, although this is where the true groundwork has been done. As radio fragments, top-end community stations are being born, again offering listeners a new way of listening and further personalising the content they listen to.

Among the middle class, we see people “hot-footing” between their modern, ambitious lives and their familial roots.

Their listening repertoire includes national urban stations during 9am-5pm while, after hours and at certain times of the year when cross-country migration takes place, community stations become a strong part of this listening list as they return to their roots.

Contrasts and conflicts

We have known for a while that South Africa’s up-and-coming middle class are often caught between the roots and culture of a traditional family structure and the ambitious freedom of a newly independent urban lifestyle. The Unilever Institute detailed these contrasts and conflicts that this market experiences in their 4 Million and Rising research.

The research illustrates that together with financial freedom comes an increased need and demand to support family members while battling the urge to rather enjoy one’s hard-earned money. It also shows that there is a pull between adopting modern cultures and media, and traditional practices and learnings.

Newer research from the Unilever Institute (Connecting with Survivors 2014) confirms that looking at research itself at only one moment in time is irresponsible and this is highly relevant in this market, where we see annual migrations between geographical areas as people move back to their roots over key times of the year.

RAMS August 2014 shows just how well SA’s African Language Radio stations are performing and the lifestyle above may be why.

Rise and change evident

Without running time-shifted research and analysing people’s migratory habits, it is difficult to pin down exact trends. That said, the rise and change of the community station is evident, providing first-language, relevant content to listeners.

Angela HaarhoffAngela Haarhoff () is an analytics and insights strategist at MEC Notabene Johannesburg. A Psychology and AAA Brand Management graduate, her background includes diverse years spent in strategic planning, marketing services and public relations. She contributes “Talking Radio”, a monthly analysis of South African radio listenership figures, to MarkLives.com. Follow @mecnotabene for regular media updates.

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Brand Politics: Everything’s political

by Alistair Mackay (@almackay) When Vermont legalised same-sex marriage, US ice cream brand Ben & Jerry’s celebrated by renaming one of its flavours “Hubby Hubby” with an illustration of two grooms on the tub. A few years later, in support of same-sex marriage in the UK, it changed its “Oh my! Apple pie!” flavour to “Apple-y ever after” and used the same two grooms atop a wedding cake on its packaging.

This isn’t the only brand to have come out loudly in support of gay marriage. American Apparel has a range of “Legalize Gay” t-shirts, and brands as diverse as Absolut Vodka, Bud Light and Goldman Sachs have either campaigned for or openly supported gay marriage. In a context as vicious and polarised as the American “culture wars,” it shows remarkable guts on the part of these brands to take a position and stick to their principles.

Nando's diversity ad
Nando’s diversity ad

Not surprising

It seems to me that South African brands are much less inclined to venture into cultural and political debate. It’s not surprising, given our cultural diversity and fears of offending people, and our track record of angrily shutting down debate.

But it’s not great for building meaningful brands, either. When brands actually believe in something, consumers are so much more likely to care that they exist.

SA brands can’t avoid being drawn into politics, no matter how timid and risk-averse they may try to be. Woolworths, for example, has recently been targeted with protests, boycotts and social media fury because it stocks Israeli products. Virgin Active was caught up in a social media storm when it failed to react sufficiently strongly to incidents of racism taking place in its gyms.

In both cases, these brands were dragged into political debates they didn’t want.

No aspect is off-limits

No brand is safe and no aspect of the brand is off-limits. Consumers can be enraged or delighted by everything from product sourcing and value chains to how employees are treated and the causes that a brand supports. As Skin from Skunk Anansie famously sang: “Yes, it’s f*cking political. Everything’s political.”

Brands can’t avoid social, cultural and political issues — these are the context in which the brand and its employees operate, and the context through which consumers interpret the world.

And in South Africa we have some hugely important, pressing social and political problems. Imagine brands were progressive forces that led these debates, rather than trying to hide from them. Gay marriage may be a relatively middle-class concern, but what about structural exclusion or wealth redistribution? Imagine a wine farm that positioned itself on the working conditions of its labourers. Imagine a bank that campaigned for and financed large-scale public-housing developments.

Enormous emotional pull

The emotional pull that these brands would exert on members of the public would be enormous.

And just like voting isn’t the only way of making your opinion heard in politics, purchasing isn’t the only way of making your opinion heard as a consumer. Positive word of mouth is a huge asset to brands. Boycotts, negative remixing of ads, social media rants and indifference can be hugely damaging.

Here are a few ways to build socially progressive brands that consumers really care about:

  1. Understand what’s important to the public — don’t just think about the needs within your category; look at the broad priorities, gaps and anxieties of the market.
  2. Support the underdog — have a strong point of view on social issues, and take action that’s empathetic to the under-dog. SA still has huge structural exclusion. How can your brand fight that?
  3. Don’t wash — greenwashing, whitewashing and pinkwashing won’t work in this age of transparency. Your business will need to genuinely commit to the beliefs and principles of the brand in every touch-point and process. It’s not just about clever campaigns.
  4. Think about how you employ people. The distinction between employer brand and consumer brand is falling away. Brands need to appeal to people — in all of the various roles they occupy throughout the day. If you can find ways to employ more people and treat those who work for you well, the brand love that that generates will spread well beyond the people that directly benefit from it.

A much deeper relationship

By identifying the social causes, beliefs and principles that consumers really care about, and pioneering ways to bring about social change along those lines, brands can carve out a role for themselves that really matters to the people they are trying to engage. It’s a much deeper relationship with consumers that brands which simply make good products and services can ever hope to enjoy.

Alistair MackayAlistair Mackay (@almackay) is marketing manager and head of content at Yellowwood, (@askYellowwood) a leading marketing strategy and brand development consultancy. He has experience both as a brand strategist and as the digital media manager for the Democratic Alliance, and believes that innovative, insightful and generous marketing is both good for business and social change in South Africa. He contributes the monthly “Brand Politics” column, exploring lessons brands can learn and apply from politics, to MarkLives.

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Digify attempts to address diversity, digital-skills gaps in adland

by Herman Manson (@marklives) Digify, a new project launched by Livity Africa in association with Google and the IAB, is helping to address both the digital-skills gap and lack of diversity in the supply of digital-savvy youngsters joining ad agencies and marketing departments.

Livity Africa is best known as the publishers of Live SA — a youth publishing initiative run as a social enterprise — that created opportunities for unemployed young people who wanted to enter the magazine industry. The project has now morphed from print to a digital-only platform but continues to train interns for the media industry.

Digify takes disadvantaged young people with a propensity for technology and trains them in digital marketing and advertising.

Pilot project

Google is funding the pilot project. The aim is two-fold — to get the kids’ paid internships after their three-month training course — and to help the ad industry address diversity issues and lack of digital skills in the workplace.

The first set of female Digify graduates 2014. Pic: Livity Africa.
The first set of female Digify graduates 2014. Pic: Livity Africa.

The first group of fifteen 18-to-25-year-olds tested the formula in a course that kicked off in Gauteng in June 2014 — and all of them have since been recruited into agencies, mostly digital-centric outfits.

The curriculum is responsive as the digital marketplace is forever changing. The idea is to train students in the most current and relevant digital skill sets. Ad agencies are involved in the delivery of the course, including setting out regular briefs for students as part of their training; this also allows them to scout for talent while giving the students early exposure to agency life.

Even presented to clients

In the first round of training, Quirk, Native VML, Net#work BBDO, Retroviral and 42 Engines have all been involved  and, in certain cases, the students have even been allowed to present their ideas to clients in certain cases.

The first set of male Digify graduates 2014. Pic: Livity Africa.
The first set of male Digify graduates 2014. Pic: Livity Africa.

Digify aims to run in both Cape Town and Johannesburg three-to-four times a year, says founder, Gavin Weale. That means as many as 150-200 digital savvy youngsters will be pushed into the marketplace, hopefully all with paid internships to get them going.

While the initial focus has been on digital agencies in terms of recruitment, that is now expanding to all agencies plus marketing departments. Courses will also be expanded into streams for further learning and specialisation, including coding and video production.

Spark and determination

Students are recruited through Livity platforms such as Live SA and candidates need to have a passion for digital (so they must show that they have been using social media or been blogging, for example, as well as demonstrating spark and determination, to be taken into the programme). Candidates also need to be computer-literate and the project is focused on candidate needs (it’s not for those who can afford to study).

Since it aims to address diversity in the workplace, gender and race are obvious considerations.

Weale is impressed with the take-up form the industry so far — especially with the 100% placement rate the first body of students achieved. The media-internship initiative only placed about half of its graduates.

Significant interest

The project, Weale believes, is only scratching the surface in terms of where it can go and what it can achieve. Funding remains an issue, although there is significant interest in ensuring this skills-initiative continues.

With proof of concept now in place, Weale is certain Digify can effectively assist the industry in addressing two core issues it’s spent years and a lot of money talking about!

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