The Ad Contrarian: Social media and the end of the brand ‘conversation’

ad contra

by Bob Hoffman (@adcontrarian), San Francisco Bay It seems like only yesterday we couldn’t turn on the TV, open a magazine, or go to a website without someone exhorting us to “join the conversation.”

“The conversation” was the physical manifestation of the marketing industry’s fascination with social media. The idea was that people were highly interested in our brands and would be eager to chat and share their enthusiasms on line with other people.

The philosophical seeds of this conviction were planted in the mid-1990’s when it was postulated that the “interruption model” of advertising had run its course.The theory went something like this: consumers were no longer responsive to advertising messages like TV spots, radio spots, and magazine ads which interrupted their activities. Instead, marketing was transitioning into a period in which the “permission model” would dominate.

The “permission model” posited that in order to be effective, marketers had to stop bothering people with advertising, and instead gain their permission to market to them.

The way you got permission was to engage consumers with useful, interesting messages (currently known as “content”) that gave consumers value instead of sales pitches. If you did this, they would trust you, like you better, and permit you to market directly to them. In marketing terminology, they would “opt in” to your marketing programs.

Best of all, they would share their passion for your brand with their network of friends and followers who would, likewise, share with their network. A multiplier effect would be born.

There was only one problem with this wonderful proposition. It misinterpreted consumer behavior by substantially overestimating consumers’ fervor for brands, and concomitantly misjudging consumers’ inclination to share their presumed fervor.

Believers in this ideology assumed that a person’s use of a product was a demonstration of enthusiasm for the brand. Sadly, in the vast majority of cases, it is merely an indication of habit, convenience, or mild satisfaction. It is not proof of devotion or enthusiasm.

Regardless of the time, energy and money we spend “differentiating” our brands, most people see very little difference between our brand and our closest competitors. While there are some brands that people do have great loyalty to, and some categories that people are truly interested in, these are the rare exceptions. In most cases people will change brands with very little bother if it turns out to be convenient or otherwise beneficial.

Most people will gladly switch from Skippy to Jif if they can save a buck or two. If the ballpark doesn’t serve Coke, most people will happily return to their seats with a Pepsi.The idea that social media would become a channel in which consumers would share their strong enthusiasms by having “conversations about brands” has turned out to be largely a delusion.

Most brands are finding that their social media programs are more time-consuming, more expensive, and less capable of driving sales growth than was promised. Consequently, they are abandoning the “permission model” and reverting to the “interruption model” in their online advertising.You can see this most clearly on Facebook. Facebook calls itself a social medium, but its advertising model is good old-fashioned paid advertising plastered all over the page. Compare the number of paid ads you see on your Facebook page with the number of “conversations about brands.”

YouTube calls itself a social medium but it sticks pre-roll (mostly recycled TV spots) everywhere it can.

The reason is clear: marketers are finding that they can get more value out of these websites by treating them as avenues for advertising, not conversations.

And, just a reminder, Facebook, YouTube, Twitter, etc., don’t make money from us having conversations about yogurt. They make money the old-fashioned way — they sell ad space.

Social media are quickly evolving into just another channel for delivering traditional interruptive advertising.

It is also not surprising that the social media lobby has learned another lesson from traditional paid advertising. When you point out to them that they’re not very good at generating sales, they default to the universal excuse for failed advertising — it’s not about sales, it’s about branding. Whatever the hell that means.Social media is not going to die or go away. It will continue to grow. But the fantasy of consumers having conversations about brands and sharing their passion for brands — and the claim that this will replace or surpass traditional paid advertising — is simply collapsing as the evidence rolls in.

The “conversation” was a nice idea. It would be lovely if consumers were as eager to share their enthusiasm for our brands as we are. Sadly, they have other things on their minds.

It turns out that “the conversation” has been mostly a monologue.

The Ad Contrarian is Bob Hoffman (@adcontrarian), the author of The Ad Contrarian and 101 Contrarian Ideas About Advertising. This column has been republished from his blog The Ad Contrarian.

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Heroes & Zeros: Andy Rice’s best & worst ads of the week

Andy Rice (@ricecommaandy) talks about his best and worst adverts of the week with Jenny Crwys-Williams (@jcwLIFE) during The Ad Feature on Talk Radio 702 (@Radio702). Find out which brands feature in this week’s Heroes & Zeros webisode.

For a fresh look at the world of advertising, Jenny Crwys-Williams of 702 Talk Radio chats to advertising critic Andy Rice on The Ad Feature, every Wednesday 2.30pm — 3pm. The filmed Heroes & Zeroes will appear on MarkLives every Thursday morning as a webisode.

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Media Future: Game development back on in SA thanks to Kickstarter

by Arthur Goldstuck (@art2gee) Toxic, the gun-slinging coffee addict bunny who starred in South Africa’s first successfully exported computer game 18 years ago, is back. An updated version of the game has been released by Celestial Games as Toxic Bunny HD, for Windows 8 and Windows Phone, and will soon be available on the Android platform for Gamestick. A PS Vita version is also in the works.
Toxic Bunny
After its release in 1996, the game sold 150 000 units in German, English, French, Dutch and Polish. In South Africa, it briefly became the best-selling game in most stores where it was available.

“There was a lot of hard work but in the end there was also a lot of luck involved,” says Travis Bulford, one of four developers who spent two years creating the game. “We were not the first company to release a computer game in South Africa – we were second by a month or two – although arguably we were the first to do so successfully.”

It has taken almost two decades for that early success to evolve into a local game development industry. But, suddenly, the game developer rock stars are everywhere.

On Kickstarter, the crowd-funding platform for start-ups to get financial backing for their ideas, an adventure game called Stasis has raised $132 000 after setting a target of $100 000. The funding means that Stasis’s creator, Johannesburg 3D artist Christopher Bischoff, can focus full-time on developing the game.

A Cape Town game development studio, Pleasant Company Games, set a more modest target of $10 000 on Kickstarter, yet raised $27 000 to fund Ancient Terrible Things a “pulp horror dice game”.

In the years between Toxic Bunny and Stasis, says Bulford, South Africa has seen a steady increase in the number of games coming out and, more important, the local teams getting recognition on international platforms.

“What hasn’t happened yet is that same measure of recognition and support from local platforms. Ultimately it was the support of a local company, Vision Software, which was later bought out by Electronic Arts, that got Toxic Bunny into the international market. We desperately need local business to support the growing games development industry.”

That’s one of the missions of a developer community called Make Games SA, an association of “professional, indie, hobbyist and student game developers, artists and designers”. It has an objective to “assist game developers in establishing sustainable businesses in South Africa … and promote proper game development education.”

Bulford points out that a successful game has the potential to bring millions of dollars to the local economy, and “can do that in a day”.

“My feeling is that the South African games development community is on the verge of just such an event. The skills are there; the local community is mature and hungry enough to do the hard work needed. The technical and artistic support structures are in place. We just need a killer local game that gets exceptional international attention.”

Some of the most recent South African games success stories include:


Desktop Dungeons – QCF

Desktop Dungeons won the excellence in design award at the 13th Independent Game Festival in San Francisco in 2011. The game was officially released on Steam, one of the world’s largest online gaming communities, with more than 40-million users, in November 2013. Mobile versions of the product are now in development.
Bro Force – Free Lives

Bro Force has been “greenlit” for inclusion on the Steam distribution platform. Being greenlit means that Steam’s owner, Valve Corporation, works with the developer to bring the game to the Steam marketplace. The demo version of Bio Force, funded from sales of a previous mobile title, has been downloaded more than a million times. The game will be ready to ship in the next few weeks.

Viscera Cleanup Detail – Runestorm



Viscera Cleanup Detail was created in 10 days as an internal team jam, and the game was greenlit in record time. Since then, another RuneStorm game, Rooks Keep, has also been greenlit.

Pixel Boy – Giant Box Games

Pixel Boy started out as a matric project by programmer Dominic Obojkovits and artist David Nickerson and has been developed to the point where it has been greenlit on Steam. Giant Box Games has also secured a publishing deal with Nintendo to bring the game to the Wii U later this year.

Tasty Poison Studio

“Tasty Poison has too many titles to choose just one success story,” says Bulford. Their successful games include Pocket RPG, Rhino Raid, Neon Shadow and Dig! With new PC titles on the way and their own development kits for Sony’s PS Vita, it is regarded as one of the most successful game studios in South Africa.

Bladeslinger – Luma Arcade/Karosene Games

Bladeslinger, developed locally by Luma Arcade, was featured by TouchArcade, which covers iOS gaming, as one of App Users’ Top Ten Most Anticipated Upcoming Games, and named one of the best games of 2012.

“There are in fact many other games and success stories,” says Bulford. “These show the various ways we are tackling the market and how diverse our young games development industry is.”

Arthur Goldstuck heads up World Wide Worx (www.worldwideworx.com) and is editor-in-chief of Gadget. He is a consulting editor to MarkLives and our media tech columnist. Follow him on Twitter on @art2gee.

This article has been republished from Gadget.

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Shelf Life: Inspirational products from #designindaba

by Louise Marsland (@Louise_Marsland) Here are some of the products and designs showcased at Design Indaba Conference & Expo worth highlighting as they are not only about aesthetics but also innovative ways for using design to solve problems:

  • Little Sun shines in Africa
  • Phonebloks limit mobile waste
  • Innovation winner: Shonaquip
  • Bags with a narrative
  • Design Indaba MBOISA (Most Beautiful Object in South Africa)

A Little Sun goes a long way

Little Sun retailerLittle Sun: solar-powered portable LED torch

Little Sun is a socially responsible business that is both functional and beautiful.

It is a solar-powered portable LED torch, essentially, designed to look like a sun but, more importantly, provides three hours of light after five hours of sun exposure and runs for three years before needing a battery replacement. Users can wear it around their necks, clip it to themselves or to their bicycles to power up. It has also created a host of small business opportunities for resellers of the brand across Africa and other developing countries. It’s so stunning, I want one!

Designed by artist Olafur Eliasson and engineer Frederik Ottesen, it was launched at the Tate Modern in 2012.

As Nigerian-born MD of Wolff Olins London, Ije Nwokorie, says: “Little Sun is a work of art that works in real life. Our goal is to put it into the hands of the 1.6 billion people in the world who don’t have power.”

Wolff Olins helped launch the product.

‘A phone worth keeping’

Phoneblok

Phonebloks is more of a movement than a product, developed by a 25-year-old, recently graduated industrial designer from The Netherlands, Dave Hakkens, who spoke as part of the Pecha Kucha team at Design Indaba this year. He launched Phonebloks in 2013 as a concept of interrelated parts for a smartphone that could be replaced as they wear out, without discarding the entire phone.

Hakkens started an online platform at Phonebloks.com and managed to garner enough support for the idea to get the attention of companies such as Google and Motorola.

He turned Google down and persuaded Motorola to work on the first prototype of this modular phone in a uniquely ‘open-source’ way: by sharing progress online and using the online community’s feedback in the development.

Hakkens wants to “try to make the world better by making things”.

Design Indaba Innovation Award

Shonaquip

The Design Indaba 2014 Innovation Award went to Shonaquip, a mobility- and seating solutions social enterprise committed to improving the quality of life of people living with severe disabilities through appropriate seating devices and services.

Shonaquip’s in-house design department continues to innovate and develop a range of mobility and postural support devices that are locally produced and hand-assembled at its factory in Cape Town. The team was awarded a cash prize of R50 000 from sponsor, Adams & Adams.

‘Take a story with you’

Wren Design bag

This was a media giveaway at the Fine Brandy by Design launch of the winning bar design at the Design Indaba Expo, but we liked it so much we thought it worth mentioning, too.

The tablet cover is made from recycled paper that is bonded to fabric for strength. It is coated with nano liquid glass to be water resistant and hand-printed by Wren Design, a range of bags inspired by the “possibility of materials and their stories. The brand started out of a want for a bag that had a story, was beautiful and was not mass-produced.”

Wren Design was born in 2008 by designer Wrendren. Materials that inspire are those which have already had a life (for example, the coffee sacks that have transported coffee beans all around the world or the antique linen grain sacks woven between 1880 and 1910).

Almost all the main materials have natural beginnings and, where possible, organic and/or natural fabrics are used to compliment them. No fabrications or fabricated stories here.

Most Beautiful Object in SA


Steam 1886 Fashion Film from Adrian Lazarus on Vimeo.
And the winner for Most Beautiful Object in South Africa 2014 is the short film, Steam 1886, directed by Adrian Lazarus and Nicky Felbert, produced by Mercury Productions.

Steam 1886 is a short fantasy video showcasing the fashion, hats, gadgets and lifestyle that could have been the future of 19th century steam culture [also known as steampunk — ed-at-large]. It portrays the decadent nature of the steam era with “strong gun-slinging women and rough grizzly men”.

An ominous presence is felt throughout the video until attack strikes, where the only thing that remains is the elaborate fashion.

This outcome evokes the idea that generations disappear but fashion lives on forever, according to Design Indaba.

The film is shot inside of one Cape Town’s creative hotspots, the steampunk-inspired Truth Coffee.

 

Louise MarslandShelf Life by Louise Marsland is a weekly column on MarkLives. Tweet new product, packaging and design launches to @louise_marsland or 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 19 of her more-than-25-year career as a former editor of magazines AdVantage, Marketing Mix and Progressive Retailing, as well as websites Bizcommunity.com and FMCGFiles. She currently edits the weekly Wednesday Media & Marketing Page for The New Age newspaper and is the publishing editor of industry trendwatching portal, TRENDAFRiCA, for consumer insight, research and trends in Africa.

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SAARF/MarkLives #Top40TVratings: Absa Premiership game scores

by SAARF & MarkLives (@marklives) The week of 24 February 2014 — 2 March 2014 saw a number of shows switch positions on our SAARF/MarkLives #Top40TVratings chart: Amaza crept into second place; the Mamelodi Sundowns vs Orlando Pirates game of the Absa Premiership scored into our Top 5; and the MetroFM Music Awards hit the 17th slot on our national table while landing in fourth spot on our DStv one.

Satellite dishThis weekly roundup of South Africa’s TV audience viewership, a collaboration between the South African Audience Research Foundation (SAARF) and MarkLives, reveals the best-watched shows of the week before, where it ran and how many South Africans tuned in to watch.

We offer two tables, the first covering all households — free-to-air viewing (the various SABC channels and e.tv) as well as the DStv platform — and the second charting the best-watched shows on the DStv network of channels only.

SAARF/MarkLives #Top40TVratings Chart: 24 February 2014 — 2 March 2014

National (include all households — free-to-air viewing and DStv platform)

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 SABC 1 Soap opera Local 20.4 8 172 962 65.69%
2 AMAZA SABC 1 Drama Drama 15.3 6 117 651 49.43%
3 LOXION LYRIC SABC 1 Drama Drama 13.8 5 520 275 43.03%
4 ABSA PREMIERSHIP MAMELODI SUNDOWNS VS ORLANDO PIRATES SABC 1 Sport Football (soccer) 11.8 4 713 864 38.56%
5 INTERSECTIONS SABC 1 Variety Variety 11.2 4 489 284 39.06%
6 TASK FORCE(DRAMA) SABC 1 Drama Drama 11.1 4 470 796 37.43%
7 MUVHANGO SABC 2 Drama Drama 11.0 4 417 673 37.85%
8 BIG MOMMA’S HOUSE e.tv Movies DRAMA 10.8 4 350 997 40.31%
9 ZULU NEWS SABC 1 News News 8.9 3 585 634 30.13%
10 SCANDAL e.tv Drama Drama 8.8 3 546 555 29.65%
11 ZIYAWA SABC 1 Drama Drama 8.7 3 473 352 30.20%
12 SINGLE GALZ SABC 1 Sitcom Sitcom 7.6 3 044 390 27.85%
13 RHYTHM CITY e.tv Drama Drama 7.4 2 967 531 31.77%
14 XHOSA NEWS SABC 1 News News 7.1 2 837 661 25.69%
15 BAD BOYS 2 e.tv Movies Action/adventure 7.0 2 804 182 32.98%
16 LESILO RULA 4 SABC 2 Drama Drama 6.9 2 778 566 25.86%
17 METRO FM MUSIC AWARDS SABC 1 Variety Variety 6.9 2 778 505 27.46%
18 WHITE CHICKS e.tv Movies Comedy 6.7 2 697 466 28.80%
19 WWE WRESTLING RAW e.tv Sport Wrestling 6.7 2 667 846 29.02%
20 FRIENDS LIKE THESE SABC 1 Variety Variety 6.4 2 581 857 26.63%
21 ABO MZALA SABC 1 Sitcom Sitcom 6.4 2 570 260 26.38%
22 STOKVEL SABC 2 Sitcom Sitcom 6.3 2 519 127 27.29%
23 KHUMBUL’ EKHAYA SABC 1 Magazine Magazine 6.2 2 487 161 24.04%
24 EKASI OUR STORIES:GREED e.tv Drama Drama 6.0 2 400 025 23.29%
25 MUVHANGO -R SABC 1 Drama Drama 5.9 2 385 417 50.41%
26 POWERBALL SABC 2 Variety Variety 5.9 2 350 491 23.41%
27 NEWS e.tv News News 5.7 2 285 666 21.72%
28 GENERATIONS -R SABC 1 Soap opera Local 5.6 2 255 231 50.20%
29 MR BOX OFFICE SABC 1 Sitcom Sitcom 5.4 2 167 259 21.63%
30 NOTHING FOR MAHALA SABC 1 Movies Movies 5.4 2 152 749 22.96%
31 CUTTING EDGE SABC 1 Actuality Actuality 5.3 2 134 396 24.96%
32 LOTTO DRAW LIVE e.tv Competition Competition 5.3 2 133 466 20.83%
33 7DE LAAN SABC 2 Soap opera Local 5.2 2 082 393 22.45%
34 MOESHA -R SABC 1 Sitcom Sitcom 5.0 1 994 053 45.24%
35 IZOSO CONNEXION SABC 2 Sitcom Sitcom 4.9 1 958 138 18.06%
36 MUVHANGO -R SABC 2 Drama Drama 4.7 1 886 949 31.63%
37 ISIDINGO -R SABC 1 Soap opera Local 4.6 1 840 895 45.30%
38 YOU DESERVE IT. e.tv Reality Reality 4.6 1 826 587 18.68%
39 DI WELE MAKGOLELA SABC 2 Variety Variety 4.6 1 825 843 20.48%
40 WWE WRESTLING SMACKDOWN e.tv Sport Wrestling 4.5 1 824 472 14.74%

DStv platform only

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 SABC 1 Soap opera Local 13.6 1 589 270 42.03%
2 MUVHANGO SABC 2 Drama Drama 8.5 993 743 27.84%
3 INTERSECTIONS SABC 1 Variety Variety 5.8 676 599 18.99%
4 METRO FM MUSIC AWARDS SABC 1 Variety Variety 5.8 675 151 20.57%
5 SCANDAL e.tv Drama Drama 5.8 671 808 18.14%
6 BIG MOMMA’S HOUSE e.tv Movies DRAMA 5.6 655 162 19.10%
7 RHYTHM CITY e.tv Drama Drama 5.3 614 857 18.85%
8 ZULU NEWS SABC 1 News News 5.0 578 590 15.49%
9 LOXION LYRIC SABC 1 Drama Drama 4.7 541 676 14.48%
10 ABSA PREMIERSHIP MAMELODI SUNDOWNS VS ORLANDO PIRATES SABC 1 Sport Football (soccer) 4.6 536 325 14.41%
11 NEWS e.tv News News 4.5 521 216 14.79%
12 AMAZA SABC 1 Drama Drama 4.3 504 681 12.85%
13 ISIBAYA Mzansi Magic Variety Variety 4.3 495 763 18.83%
14 7DE LAAN SABC 2 Soap opera Local 4.0 463 155 14.28%
15 TASK FORCE(DRAMA) SABC 1 Drama Drama 3.9 459 886 12.91%
16 LESILO RULA 4 SABC 2 Drama Drama 3.9 448 644 13.30%
17 KHUMBUL’ EKHAYA SABC 1 Magazine Magazine 3.8 439 218 14.22%
18 GENERATIONS -R SABC 1 Soap opera Local 3.7 429 243 27.52%
19 POWERBALL SABC 2 Variety Variety 3.6 416 453 13.23%
20 XHOSA NEWS SABC 1 News News 3.5 410 413 11.45%
21 WWE WRESTLING RAW e.tv Sport Wrestling 3.4 394 111 12.18%
22 MUVHANGO -R SABC 1 Drama Drama 3.3 388 509 23.65%
23 CARTE BLANCHE M-Net Actuality Actuality 3.2 373 295 10.10%
24 BAD BOYS 2 e.tv Movies Action/adventure 3.1 362 846 13.67%
25 STOKVEL SABC 2 Sitcom Sitcom 3.1 359 510 12.88%
26 NUUS SABC 2 News News 2.9 342 883 9.97%
27 LOTTO DRAW LIVE e.tv Competition Competition 2.8 327 613 10.23%
28 WHITE HOUSE DOWN M-Net Movies Movies 2.8 326 555 9.75%
29 THE BOLD AND THE BEAUTIFUL SABC 3 Soap opera International 2.8 323 105 11.28%
30 WHITE CHICKS e.tv Movies Comedy 2.8 321 548 10.20%
31 ZIYAWA SABC 1 Drama Drama 2.7 317 321 8.71%
32 CUTTING EDGE SABC 1 Actuality Actuality 2.6 307 879 11.37%
33 ISIDINGO:THE NEED SABC 3 Soap opera Local 2.6 305 228 8.22%
34 CAF CONFEDERATION CUP :KAIZER CHIEFS VS LIGA MUCULMANA SABC 3 Sport Football (soccer) 2.6 304 736 8.57%
35 SOCCER ZONE SABC 1 Sport Football (soccer) 2.4 284 981 9.03%
36 VODACOM SUPER RUGBY 2014 STOMERS VS HURRICANES SuperSport 1 Sport Rugby (all) 2.4 282 216 7.94%
37 FRIENDS LIKE THESE SABC 1 Variety Variety 2.4 281 088 8.35%
38 VODACOM SUPER RUGBY 2014 BULLS VS LIONS SuperSport 1 Sport Rugby (all) 2.4 280 285 8.96%
39 ISIDINGO -R SABC 1 Soap opera Local 2.4 277 123 19.38%
40 SPEAK OUT -R SABC 2 Actuality Actuality 2.3 271 305 11.39%

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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Indy Ad Exec: Make magic before you meet — some tips

by Tom Fels (@thomasfels) As an agency, attracting new clients is vital to both survival and success. And, for marketers, the prospect of selecting an agency is as exciting as it is daunting.

Tom FelsIn many cases, the process allows for only a handful of meetings between the two parties before a decision — and therefore a commitment — must be made.

If that journey were better structured and better informed, I have no doubt you would see longer-lasting client relationships, founded on solid compatibilities that extend beyond the chemistry meeting and creative pitch. And as for the work, well, that can only prosper.

Borrow from shopper strategy

Agencies have a lot to gain from a strategic approach to winning new clients. But where to start?

The answer may be to borrow from shopper marketing, which is built on the premise that, by deeply understanding shopper mentality, we can leverage key points in the path to purchase in order to effect a sale.

Applying the same strategy, agencies that consider client motivation and construct experiential journeys to provide the right information at the right times may convert better-suited clients, more often.

Practically, for an agency, your website, social media, advertising, PR, capabilities and culture should speak with one voice that aligns seamlessly at the first face-to-face meeting. Know that, in this age, this may well be the fourth or fifth interaction with your brand.

How you craft your information highway to surprise and delight prospective clients prior to that is your own magic in the making.

Marketers, communicate your intent

Brand owners on the lookout for a new ad shop may also do well to consciously think about how their approach may help or hinder the pursuit of a perfect fit. Establishing a clear intent is a key indicator to potential agencies that could mean the difference between an unhappy two-month fling or a blissful 20-year marriage of minds.

Responsibly do your part by identifying the kind of agency relationship you wish to engage, your preferred way of working and, indeed, your hunger to do well, together. Be honest about where previous relationships have gone wrong and offer as much information as the agency may need to gain a deep understanding of your requirements. Encourage openness and, above all, be true to your commitments.

Communication is much more than a service business; it’s a trust business.

Does the first mover win?

Appointing an agency or wooing a potential client is a high-stakes exercise for both parties and, just as in retail marketing, buyers’ remorse is just a wrong step away. Therefore, it’s not necessarily the first ‘mover’ for the win but those who choose to embrace a rigorous and strategically well-informed approach to engagement who will reap the long-term benefits.

The sad alternative is an inevitably fruitless expense of time, energy and money, all of which are in short supply right now.

With a decade of local and international experience in leading independent brand consulting, design, shopper marketing and integrated advertising roles, Tom Fels (@thomasfels) has gained a deeply relevant understanding of the dynamics of independent agencies. His skills are put to work daily as deputy managing director of MACHINE.

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Ad of the Week: KFC crosses cultural barriers

by Oresti Patricios (@orestaki) There is something about being abroad, about being alone in a foreign country that intensifies what it means to be South African. Walking solitary through the streets of Bangkok, one catches the unmistakable click of a Xhosa consonant, and it’s a moment of sheer delight. Or strolling through the streets of Paris, one’s ears experience the guttural familiarity of Afrikaans.

There’s nothing that makes South Africans more patriotic than being away from home. When we look into the eyes of one of our fellow countrymen and -women abroad, it’s like falling in love. Perhaps that’s because there’s something undeniably fierce about being South African… about being one of us.

That’s the archetype that Kentucky Fried Chicken, the brand now known as KFC, has leaned heavily upon to promote its ‘finger licking’ fast food.

Ogilvy & Mather Johannesburg TVC for KFC: “Tastes Like Home”

The local fast-food market is incredibly tough, according to David Timm, the chief marketing officer of KFC. That’s not just because of other competitors in the market, he said in a recent interview with Jeremy Maggs on The Red Zone last year.

Brand’s challenges

Timm explained the brand’s challenges: “The biggest worry is disposable income — businesses and consumers are feeling the pinch. Rising electricity cost and fuel, and there’s a lot of talk at the moment about food pricing going up at the moment. There is just an enormous battle for limited disposable income in this country — there’s a big focus on value for everybody.”

“In our upper LSMs the relationship with fast food is a convenience, as you go down into the lower LSMs the relationship with our food and our brand is a lot more than that,” Timm added in the Red Zone interview. “People come to us for an indulgence, for a treat… and for a special occasion.”

The new KFC speaks to this sense of occasion with an ad that talks about how the brand creates bonds across languages and cultures.

KFC Tastes Like Home screengrab 1Opens with dawn

The story opens with a dawn shot of a little South African girl looking out of the window of a tall apartment building. At breakfast, her mother tells her (in Zulu) to get ready for school, and this is the last word we hear that we can understand (unless you speak Thai).

Cut to a montage of the girl with her mother traveling through the streets of Bangkok, on the way to school. Bangkok is portrayed in all its chaotic and colourful glory, and the South Africans seem to stick out.

Judging from the curious looks from the local girls, it’s the SA girl’s first day at school. One of the girls is friendly, instructing her to take her shoes off outside the class, and watching her intently throughout the day. The South African is clearly out of her depth — unable to recite in assembly, having difficulty eating with chopsticks — as you might expect.

KFC Tastes Like Home screengrab 8A familiar sign

But the pretty little Thai girl takes pity on her and approaches her after school. She uses hand gestures to invite the SA girl to eat something and, after a short walk, they arrive in front of a familiar sign: a KFC store.

The girls hurry inside and bond over a bucket of the Colonel’s best, eating with their fingers (of course!) and having fun.KFC Tastes Like Home screengrab 9

The current slogan — ‘so good’ — is glimpsed briefly at the end, as an advertisement on the back of a ‘tuk tuk’ (the Youtube version has a competition call-to-action tacked on at the end, but that takes it beyond 60 seconds).

Sentimental, obvious music

The music (a mournful cello solo) is sentimental, although perhaps it works for the target audience. There’s so much going on in each scene; did we really even need music? I feel that it was obvious, and I’d like to see advertisers start to be more adventurous with their music choices — it’s all getting very samey-samey, in my opinion.

KFC Tastes Like Home screengrab 2The composition of each shot is clever, without being ‘tricksy’. Director Kim Geldenhuys never lets the viewer feel like an intruder on the scene: the camera is placed at a distance, with shoes, vehicles, people, scenery all moving in the foreground. The camera is always moving, which adds to the dynamism of each shot. And the colour grade is — thankfully — not desaturated (like so many of the current crop of ads) but filmic, allowing the vibrancy of Bangkok to shine through.

As in most parts of the world, KFC is a massive brand in South Africa. Based in Louisville, Kentucky in the US, the chain that calls itself the world’s most popular chicken restaurant chain, serves up deep fried chicken in some 500 outlets across southern Africa.

Wonderful diversity

On YouTube, comments about the commercial have been mixed, with offshore commentators expressing the view that this ad is racist. The gripe — mainly from the US — is that the ad plays off the stereotype of ‘black people loving deep fried chicken’.

Perhaps those Americans should come and eat a little KFC in SA. Whether you’re Pedi, Zulu, English or Afrikaans, back home in good ol’ SA we love our deep-fried chicken.

In fact, if you walk into any KFC store, you’ll find us in all our wonderful diversity, licking our fingers and loving the Colonel’s secret original recipe chicken together.

Read more:

  • New KFC commercial from Ogilvy & Mather Johannesburg shot in Thailand at ScreenAfrica.

 

Oresti Patricios

Ad 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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#trendMARK: Nigeria’s retail deathmatch

a trendMARK feature by Gugu Mtshali. Nigeria, with its burgeoning middle class of repatriated professionals, is poised to undergo a sea-change in retail, as South African chains enter the high street, to compete with both the locals and online stores.

I moved to ‘Naijaland’ – the biggest economy in West Africa – in 2005. At first, Lagos was a bit of a blur for me: the flurry of nigeria flagactivity was more than I had ever experienced, let alone anticipated. It was dizzying but exciting at the same time. The energy in the people was palpable: the ongoing business dealings, the crazy traffic, the incessant chatter.

Certain changes in the Nigerian landscape have been apparent — particularly in the retail space, which is most exciting for me. Given these changes, could a fully formal economy be on its way? Whatever happens, Nigeria’s real boom is yet to be realised, and evangelists should take note.

Online Retail

If you ask any Nigerian national about online retail, they will quickly tell you it has always been around — for over a decade possibly. And this is true; but it’s only in the last year or two that it has really taken off. The general Nigerian populace has only recently become more open to using online retail, with increasing numbers of local boutiques opening online stores. There are certain factors that have resulted in this transformation:

Improved Banking Services

With the ups and downs of the Nigerian banking industry, due to countless reforms by different governors of the Central Bank of Nigeria (CBN) — which have lasted over two decades, trust in the banking system has been very low. Dr. Ngozi Okonjo-Iweala’s return to the Nigerian government to serve as the Minister of Finance and Coordinating Minister of the Economy, coupled with the latest reforms from CBN Governor Sanusi Lamido Sanusi, have moved the economy in the same direction: towards a global standard bank with full credit facilities.

This has been a precarious path, with the public being educated about money laundering and credit card fraud. Other facilities brought about by Okonjo-Iweala, Sanusi and their teams include mortgage facilities for buying property, credit card facilities for stores and personal loans. Changing the perceptions of the Nigerian banked and unbanked masses is a long process, and it will be some time before the entirety of the Nigerian population fully trust their banks.

High Internet Penetration

One of the reasons Nigerians give for their claim that online retail has been around for a while, is the fact that Nigeria has long had the high internet penetration. Most Nigerians are connected, many through mobile. For them, online has been a source of news about politics, entertainment and sports — and also a relatively cheap means of connecting with their relatives in the diaspora. This high level of penetration is the very backbone on which on line retail rests; it also provides an opportunity to engage and interact. For brands, the challenge has been in packaging their content and merchandise well enough to encourage consumer participation on that platform.

A Steadily Growing Middle Class

Previously Nigeria was known to have two main population segments: the super-rich and the poor. This income divide was largely blamed on the huge brain drain that took place in the country over the past 30 years. It is no wonder that Nigeria is famous for its huge global diaspora community, many of whom are qualified: doctors, nurses, engineers etc.

But in the last decade there has been a steady trickle of Nigerian nationals back into the country. Many of the people coming back are young, economically active professionals seeking to establish themselves in their homeland. No doubt one thing that is attracting them back home is the economic turnabout from President Jonathan’s administration.

These prodigal sons and daughters of Nigeria are some of the people who now form part of the burgeoning middle class. It’s a middle class that responds to the same market forces as middle class segments in other emerging markets: they have great purchasing power, and an affinity for high quality luxury goods and global standards of living.

High Street Retail Still the Mainstay

Although online has taken off, conventional stores are still generally the mainstay of retail in Nigeria. What struck me, and still strikes me, about the West African state’s economy, is the continued growth of informal trading. Market stalls, street vending and backyard workshops are steady income generators for many of the entrepreneurial population.This section of the market is probably going to be the most challenging to topple for online retail.

It is also interesting to note the rise in formal trading in the last couple of years. South African brands — Game, Foschini, Truworths, Edgars, Milky Lane – have made decisive moves to set up shop in Nigeria, and they are braving the brutal competition posed by informal trade. The Massmarts and Foschini Groups of this world will continue to grow in Nigeria in the upcoming years.

They all bring a new dimension of products and services to the formal trading environment in Nigeria. It will be interesting to see how they incorporate local Nigerian conventions in clothing, food and other retail services. For instance, Nigerian food is very specific to the Nigerian community — what most may consider ‘traditional’. The emergence of such brands as Nando’s did not cause an upset in the category at all, but rather opened up another option for consumers. Needless to say this ‘new option’ became obsolete as the novelty wore off.

In clothing, what many term ‘traditional dress’ is not considered unusual in Nigeria. Every Friday, everyone dresses traditionally – something akin to Casual Fridays. This clothing style is custom-made by tailors who run businesses in their backyards or small shops in the central business districts. This attire is also generally worn on Sundays for church, at weddings, funerals, parties and other family gatherings.It will be interesting to see if the new formal trade outlets consider entering that market currently dominated by informal traders. If they do, it will be even more interesting to see what kind of partnership opportunities they conjure up in order to keep that industry active and continue support for local businesses, formal or not.

Informal Trade Dominates

I am no economist, but I estimate that in the retail sector, informal trading dominates about 80% of all transactions. Nigerians are used to the human engagement—with the option of bartering—when they do business with informal traders. Informal businesses build personal relationships with their regular customers, and this is where the challenge lies for formal trading.

For big brands like Edgars and Game, the opportunity for personal engagement—let alone negotiating for prices—is not possible. There is a serious need for big brands to find a means to counterbalance this personal relationship if they are to survive the Nigerian economy. Could social media hold the answer? Formal trading and online trading command the remaining 10% of the market each. Targeting the growing middle class is one sure way of getting ahead; however, whether this will sustain these businesses and give them room to grow remains to be seen.

The Nigerian economy is changing, and the retail sector is one place where one can monitor these changes. The emergence of online trading offers a novel dimension in Nigerian trade. Formal trading is equally interesting, because for the consumer the choices become widened.How these new dimensions affect the status quo in the coming years will create exciting times for the Nigerian retail sector players. And there will be lessons to be learned that will be relevant for the rest of Africa, for years to come.

This feature first ran in trendMark, the discerning trends resource for African marketers and corporates. Read or download the full magazine via Issuu. For a PDF copy, click here.

Gugu Mtshali heads up is Ornico’s Africa division.

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Design Annotator: Design Indaba wrap-ups, hackathons & floral installations

by Uno de Waal (@Unodewaal) On Design Annotator this week, we’re taking a look at: 10and5logosmall1

  • Field notes from days 1-3 of the Design Indaba conference
  • Absa’s Make Think Become Did initiative
  • MTN’s Seed It campaign
  • The XooXity hackathon, hosted by Hellocomputer and 10and5
  • A catchup with last year’s winners of the Absa L’Atelier competition
  • An interview with Marissa Pretorius about her job at Cape Town-based florist, OPUS
  • The simple, hilarious work of illustrator Jaco Haasbroek
  • The Blink Project by Stefanus Nel, in which he’s travelling using drawings as currency
  • A chat with multi-talented artist Nardstar*

DESIGN INDABA

Field Notes from Design Indaba, days 1-3

Like the years before it, the 2014 Design Indaba conference did not fail to provide a flood of inspiration to all who attended. For those who weren’t able to, we’ve put together field notes from each day of the conference, containing our highlights and favourites out of all the sharings.

On day 1 we saw everything from the Whitney Museum of American Art’s responsive W to Agi Haines’ Transfigurations and Phonebloks by Dave Hakkens:

Design Indaba Field Notes — Day 1

 

Day 2 gave us DJ Stout from Pentagram, the Nestle Chocolate Museum by Michel Rojkind and Films4Peace by Athi-Patra Ruga:

Design Indaba Field Notes — Day 2

 

Finally, on day 3, we saw the works of the legendary David Goldblatt, banana juice packaging by Naoto Fukasawa and The Happy Show by Sagmeister & Walsh:

Design Indaba Field Notes — Day 3

 

Absa | Make Think Become Did

Absa — Make Think Become Did 1

This year, Absa took its sponsorship of Design Indaba to a whole new level by creating a platform to actively stimulate creative inspiration in the country’s designers, and help bring to life their innovative, ground-breaking designs.

To participate in the Make Think Become Did initiative, conference attendees submitted their ideas through the DRD App to be illustrated. A winning idea was chosen on each day of the conference, at the end of which a final winner was chosen.

Read more about Make Think Become Did.

MTN | Seed It

MTN — Seed It

At this year’s Design Indaba, MTN measured all the data usage through its sponsored Wi-Fi, calculated how much CO2 was emitted and set out to offset this. It also tracked the usage of #designindaba and @designindaba on Twitter, and offset the CO2 created by any shares using that hashtag or handle.

Furthermore, any tweets using the above were pinned to tweeters’ handles, and tweeters received a message directing them to the MTN Design Indaba Expo stand to collect seeds for planting in order to offset their CO2 footprint at home.

Read more about MTN’s Seed It.

GOOD TO KNOW

XooXity Hackathon | Hosted by Hellocomputer and 10and5

Xooxity Hackathon invitation

Together with Hellocomputer, we’re hosting a XooXity Hackathon to prototype an interactive and light-inspired project.

The winning prototype will be exhibited at the XooXity tech, music and art festival in Mary Fitzgerald Square, Johannesburg, 2-3 May 2014. You will also have R15 000 to build the final installation.

Techies and creatives, find out more and RSVP here.

Absa L’Atelier | Last year’s winners

Absa L'Atelier: Blood, Sweat and Tears

The Absa L’Atelier is South Africa’s most prestigious art competition. It rewards young artists between the ages of 21 and 35 with the opportunity to develop their talents abroad.

As the deadline for submissions draws near, we touch base with last year’s winners, Pauline Gutter, Jaco van Schalkwyk, Kathleen Sawyer and Mongezi Ncaphayi, to find out what their experiences have been so far.

Find out what last year’s Absa L’Atelier winners had to say.

My Day Job: Marissa Pretorius | OPUS

My Day Job — Marissa Pretorius — OPUS

OPUS is the Cape Town-based florist that specialises in ‘potless gardens’, as well as innovative flower arrangements and floral installations. Started in 2011 as a passion project by Marissa Pretorius, OPUS has blossomed into a fully-fledged and awarded design brand in just these few years.

We chatted to Pretorius to learn more about her path leading her to where she is today.

ART & ILLUSTRATION

Jaco Haasbroek

Jaco Haasbroek — Safe For Work

Jaco Haasbroek is an illustrator and designer living in Cape Town. While refined in his approach, Haasbroek injects his work with an unmistakable sense of liveliness through his clever and humorous play on words.

Here we take a look at some of Haasbroek’s recent work and learn more about him while we’re at it.

The Blink Project | Stefanus Nel is using drawings as currency for his travels

The Blink Project by Stefanus Nel (11)

On 2 March, Stefanus Nel left South Africa to take what he calls “The Blink Project” to South America, through which he aims to travel, using his drawings as a currency to trade for the things he needs to get through the day.

As much as we’d like to tag along with Nel on his trip, we settled for the next best thing by asking him a few questions about his fantastic project.

Street artist (and dinosaur fan) Nardstar*

Nardstar*

We recently got the chance to have a chat with Nardstar*, a street artist whose distinct work graces walls in galleries to walls in communities, from Cape Town and Johannesburg to New York and Connecticut in the US.

Nard’s work is, however, not restricted to murals as it easily finds a home on other media, from skateboards and painting canvases to t-shirts, helmets and sneakers.

Read the interview with Nardstar*.

Uno de Waal

 

Design Annotator is a regular column on MarkLives featuring the top design work from South Africa’s biggest online creative showcase, Between 10 and 5, which is curated by publisher Uno de Waal (@Unodewaal).

 

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Africa Style: Hats off to home-brewed ads and marketing

by Masingita Mazibuko There is something about the familiar that feeds our soul, makes us feel connected, safe and emotionally committed. At the risk of sounding ‘Afropolitan’, I do believe there is something about home-brewed that really moves the needle when it comes to advertising.

Masingita MazibukoOh yes, these quintessential South African marketing messages — whether reflecting a real South African challenge, capturing the tactical grounded soul of Africa or just simple pride in what is South African — get me every time.

There are a handful of such moments on our screens (of all sizes) at the moment; and I just have to pay homage to three of them.

Give that father a Bell’s

The first is the Bell’s ad telling the story of an illiterate father who learns to read so that he is able to consume the book that has been written by his son.

The father’s journey includes adult education classes, intimate messaging between his wife and himself, and moments of triumph shared with friends at each milestone. It ultimately leads to a father-son connection when he is finally able to read his son’s creation.

This ad manages to highlight a key societal challenge while staying true to the brand premise. It makes me cry every time I see it.

I see a different Soweto

The second is an offering from a trio from Soweto (two brothers and a friend). They have managed to capture ‘kasi’ soul through their Tumblr, Facebook and Twitter links, “I See a Different You’.

This is photo-biography that captures the world around them on a daily basis and transports one to a 1960s’ Drum era, resulting in much coverage in various media, and firing pride in my roots whenever I visit the page.

I See a Different You — Welcome to Soweto, 10 December 2011
Welcome to Soweto, 10 December 2011. Source: iseeadifferentyou.tumblr.com.

Finally, there’s Super Diski, an omnibus characterising soccer in SA — ultimately, unashamedly, declaring Diski Mzanzi style. Here is our uniqueness, our soul, our joy; I can’t help but celebrate our passion whenever I experience this brand.

Recreation vs re-emphasising

We marketers work relentlessly, striving to grow our brands.

Unfortunately, boredom sets in far more quickly for us than for our target consumers, and we consequently often change things unnecessarily. At times, this change/tweak/desire for a new expression may lead to recreating the brand, instead of ensuring a core that is intact and re-emphasising the most relevant expression.

At other times, we need to refresh the brand as a result of evolving consumer dynamics or varying strategic perspectives.

Let’s take a look at the controversial new logo for the City of Cape Town.

New City of Cape Town logo

In my opinion, Cape Town’s decision to rebrand in 2014 is a sound one. One, the city has moved on and has a different set of goals and ambitions, and this should be reflected in its imagery. Two, it is 2014’s World Design Capital. That said, whether the rebranding is a success or not is in the detail.

The rebranding is, in my view, not an obsession with the African for its own sake, nor does it lack real definition.  Rather, it is an attempt — and a successful one — to recreate the rich and unique perspective to which this South African city lays claim.

I believe it is critical that that which is created and adopted is a synthesis of something new and unique, thereby contributing to a fresh perspective. I contend that we embrace that which is around us as inspiration — it is how brands contribute and make a real difference.

Rigour and discipline

Focus requires greater rigour and discipline. It demands that marketers be clear about the business issue the brand is encountering, clarity on the experience the brand needs to create and, lastly, deliver the message in a way that shifts the dial. In essence, it is a case of ‘the basics that matter’.

Think of the great artists. To give their best, they need to be able to connect and be comfortable in their skin and what defines them. It is only then the paths of experimentation can begin that will ensure that their art evolves, transcends and becomes breath-taking.

For brands, that is a real understanding of what your brand root strength is.

Masingita Mazibuko, marketing director at Unilever, contributes the monthly “Africa Style” column to MarkLives.com. The views expressed within this column are entirely her own.

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