In SA Samsung tablet sales figures are closing in on iPad numbers

by Arthur Goldstuck The days of the iPad’s dominance of the tablet market are numbered. Until recently, more than two thirds of tablets sold across the world have been made by Apple. That has afforded the manufacturer the luxury of dictating the direction of the market, from size to functionality to case studies of ideal uses.

But that is all about to change. And the South African market offers a good indication of the coming shift in the balance of tablet power.

The launch of a range of new tablets in Cape Town last week, along with new statistics on the size of the tablet market, mark the beginning of the next big shift.

It’s not bad news for Apple, however: figures compiled from retailers show they have sold 205 000 iPads to South Africans since the device was  launched in April 2010. Of those, 20 000 were sold on the “grey” market by unofficial importers or bought on overseas trips. Since then, official distributors have sold 150 000 iPads in stores, while First National Bank alone have moved another 35 000 through a massively successful special offer to their own customers.

These huge volumes have stunned the market, but have also obscured the rise of Apple’s most formidable competitor in both the smartphone and tablet market: Samsung Electronics.

Until now, most of Samsung’s sales have been left out of the tablet equation due to lack of clarity on their numbers. MTN SA head Karel Pienaar has confirmed 100 000 tablets on their network, of which close to 40 000 are Samsung tablets. Vodacom CEO Pieter Uys has confirmed it has about 120 000 tablets on its network, with a high proportion being iPads. However, these numbers only include 3G devices, as WiFi-only tablets are not active on mobile networks – and these make up half the market.

Now, Samsung has shared its tablet sales figures, and reveals that their impact on the market has been every bit as dramatic as Apple’s.

Their answer to the iPad, the Galaxy Tab 10.1, sells around 20 000 units a month in South Africa. In combination with a 7-inch option, it’s coming close to total iPad sales. According to Samsung’s Chief Operating Officer for Africa, George Ferreira, they have moved 180 000 of the devices in South Africa since the beginning of 2011 – about the same as Apple have sold through official channels. Most of Samsung’s sales have come through contracts and bundles with the mobile networks.

If one makes a modest assumption that other brands have accounted for only another 5 000 or so tablets (HTC, Asus and Acer have not revealed numbers), that makes for total tablet sales of 400 000, with Apple taking just over 50% of the market and Samsung just under 50%.

At current growth rates, the half-million figure of tablets sold in South Africa will be reached before June 2012.

And a tipping point may well have arrived by then. At the annual Samsung Africa Forum in Cape Town last week, the Korean giants unveiled the new Galaxy Tab 2 range, with both 10.1” and 7” models running the new Android 4.0 operating system created by Google.

Along with these, Samsung also formally launched two in-between models, a 7.7” and an 8.9” tablet. If that isn’t enough of a choice, the 5.3” Galaxy Note straddles the gap between the smallest tablet and the largest smartphone. At the top end, the 10.1 is now joined by a Galaxy Note 10.1 – a subtly different device to the Tab 10.1 in that it comes with a stylus and is geared towards artistic uses.

And then, to top it all, Samsung have quietly released the Series 7 Slate PC, which looks like a tablet with an accessory wireless keyboard. In reality, it is a fully-fledged Windows computer with an 11.6” screen, but designed for both portability and versatility. When used on the desktop, the tablet part rests in a small dock while you type on the keyboard or use a stylus on the touchscreen. When travelling, you can use the device as a tablet computer, but with the full functionality of a Windows device.

The Slate will be upgraded to Windows 8 the moment Microsoft release the new version of their operating system – probably by October this year –  but is already evidence of the coming of Microsoft to the tablet market. When the software behemoth arrives in full force across other tablet brands like Acer, Asus, Lenovo, and HTC, the momentum may finally push Apple below 50% of the local tablet market, and eventually across the globe as well.

Of course, the imminent release of the new third generation iPad, which have gone on sale in Apple’s 10 priority markets at the same price as the previous version, will give Apple a huge boost. And with the price of the iPad 2 slashed at the same time, even sales of the older model will accelerate.

Clearly, this is a story that will still have many a twist in the plot.

* A more conservative total for the South African tablet market was reported in memeburn last week, but these excluded updated figures from Samsung and Vodacom.

* Arthur Goldstuck heads up World Wide Worx (www.worldwideworx.com) and is editor-in-chief of Gadget. Follow him on Twitter on @art2gee. Reprinted from Gadget.

Tracking #DesignIndaba

The annual Design Indaba conference remains a calendar highlight for the local design community. In a bid to gauge its impact and popularity MarkLives.com teamed up with reputation management firm BrandsEye to track social media discussions around the event right prior to, during and immediately after the conference and expo, which took place at the Cape Town International Convention Centre in early March 2012.

BrandsEye tracked 20078 mentions of the event via numerous social media platforms. Some 92% of social media feedback was generated by consumers, 4% by businesses (for example where tweets originated via brand feeds) and 4% by the press.

Seventy-nine percent of the conversations were carried via Twitter and only 3% via Facebook. BizCommunity.com produced 2% of all mentions and psfk.com 1%.

The conversation cantered on South Africa with 55% of commentary originating here while 19% of conversations were produced via accounts registered in the US, 6% from UK based accounts, 3% from the Netherlands and 2% each from Italy, Germany and Canada. Ninety-two percent of tweets were in English.

Interestingly 42% of those active in discussions were found to be male and 58% female. Sentiment was largely positive or neutral (listing quotes, links etc. without expressing an opinion).

Magazine covers we love (this week)!

MarkLives.com runs a regular slot featuring the best local and international magazine covers every week. We recognise well thought out, powerful and interesting (and hopefully all three in one) magazine covers and celebrate the mix of pragmatism, creativity and personal taste that created each of them. By media bloggerMediaSlutZA.

Playboy South Africa, April 2012

The Jenzen twins are the first twin-Playmates of South Africa, in celebration of Playboy SA’s 2nd year in the market. I love the “Double Vision” theme that seems to be through-out the issue, and I’m sure that the twin-fantasy will get many a man hard up NOT to buy this issue.

SARIE, Woman & Home, Women’s Health, April 2012

All three titles that feature Charlize Theron this month (April 2012) deserve some recognition. It’s always funny when two magazines feature the same model/actress on their covers, not to mention 3, but at least they are all in completely different markets, within the Women’s Interest category. But at the same time, all three of them are stunningly beautiful with the colours, Charlize and everything just working together.

Where It’s At (Design Indaba), 2012

Many publishing houses (and advertising agencies) have tried to re-invent the term “magazine” and make it “creative” and something “different”. But then they fail. Design Indaba, with the help of creative genius Richard Hart, has produced a truly magnificent project, without losing the feel of magazine, or coffee table book. The truly smart part is the cover that folds out to a beautiful map of Africa with the word “Where It’s At”. And if it’s folded back, “HERE” is spelled out. With 88 text pages, 28 gatefold posters designed by some of the best artists and graphic designers, this one is a keeper.

Men’s Health, April 2012


I think this is fun and smart, and well executed by the Creative Director Rob Cilliers; you can choose whether you want to have a clothed, or half-naked Marc Buckner on your cover. Everyone has a preference, so I think this is really smart, and something Men’s Health can do with every issue…[Sorry for the poor quality on the one cover – it was tweeted to us]

– The (for now anonymous) blogger behind MediaSlutZA knows way too much for his own good about media in South Africa. Magazines in particular. His mission is to show when South African magazines might fail, but most importantly, succeed. If you’re looking for a library about South African magazines and news, your one-stop pitstop is MediaSlutZA. #MagazinesForTheWin

– Find a cover we should know about? Tweet us @marklives and @mediaslutza

Mike Barnwell says agency language should change

by Herman Manson (@marklives) Mike Barnwell, the recently appointed ECD at Draftfcb Cape Town, wants agency language focused on compartmentalising the communications trade to go. Instead of below-, above- or even through-the-line thinking, he wants his agency to talk about strategically sound solutions instead.

Barnwell aims to take ideas and extrapolate them across relevant channels, as he did with some of the innovative campaigns he helped create at Publicis Mojo Auckland, where he spent the past year and four months.

One, “Ghost Birds” for Greenpeace, has drawn international attention. The campaign aimed to force government debate about proposals for deep-sea drilling off New Zealand’s shores. It broke in the wake of a container ship disaster and resultant oil spill when the MV Rena ran aground on the Astrolabe Reef on 5 October 2011 in what has been described as one of the worst environmental disasters in New Zealand’s history. The spill killed an estimated 20 00 birds.

Of course, the Deepwater Horizon disaster in the Gulf of Mexico is also still fresh in the minds of many and helps illustrate the dangers of deep-sea drilling.

Barnwell and his team at Mojo took oil-covered birds that died in the spill and oil recovered from the site to create hundreds of posters and 10 pieces of canvas artwork using imprints created from the oiled bodies of the dead birds. The simple idea took off as the team created a powerful video ad, direct mailings to journalists and celebrities, posters and a pop-up gallery called “oil on canvas.” The price of entry to the gallery was simply to sign the petition – which over 100 000 people signed.

In another campaign, Barnwell and the Mojo team conceptualised Kenneth, an automated “little fundraiser on wheels” built on the concept that sometimes we all need a little help.

Faced with disaster-appeal fatigue from the New Zealand public, who had witnessed the destruction of large parts of Christchurch and a global recession, the Auckland City Mission had to find an innovative new way to appeal to public charity. Kenneth was sent into the streets of Auckland to pull on heart-and-purse strings, and a social media, outdoor, print and video campaign quickly sprung up around him.

He garnered huge attention in the New Zealand press and in the end raised NZ$288 055 in a city of just over one million people. His final drive back to the mission’s headquarters was streamed live online.

Barnwell studied at Wits and landed his first job at Net#work BBDO shortly after it opened its doors in 1994 under Keith Shipley and Mike Schalit. He also met Brett Morris, now the chief creative officer at Draftfcb South Africa, there.

Barnwell joined FCB Johannesburg in 1999 and stayed with the agency for six years as senior art director and creative director. He followed this with a five-year stint at Grey South Africa as ECD. He managed to turn an agency that did OK into the number one creative agency in the Grey Network within a year.

In 2010 he decided to accept an opportunity to go overseas. His stay at Lowe Sydney as ECD lasted only three months before he decided to leave for Publicis Mojo Auckland.

It was here that Morris called him when Draftfcb became aware that its then ECD Francois de Villiers was on his way out. De Villiers recently joined Haas Collective, where he helped secure it the Spur account.

Barnwell says Publicis Mojo Auckland saw him do some of his best work on brands such as Panasonic and Subway.

According to Barnwellm he is glad to be back in familiar surroundings, especially after Australia, which he says is culturally so different from SA he could have just as well have gone and lived on Mars. That said, his arrival in Cape Town – rather than a return to Johannesburg, where he had been based in the past – represents a continuation of “an adventure” for Barnwell, who landed from Auckland on a Friday and started his new job the following Monday.

Barnwell admits that Draftfcb CT has become known for quite iconic, if traditional, work – a heritage he would like to retain while also moving the work forward. He says 60% of the work on Draftfcb CT’s books would be considered BTL, and a lot of his focus goes into activations and new media.

This is one of the reasons he wants to the agency to unlearn some of the language siloing work in a trade biased towards above-the-line (ATL) work. Amalgamated teams sit together to share thought and strategic processes, rather than have one or the other come up with an idea which the others simply transfer onto their ‘designated’ media. One integrated team for a campaign ensures a coherent process, says Barnwell.

It’s part of a process which, says Barnwell, gives the agency ‘licence to think’ outside the traditional agency box.

Barnwell and agency MD Godfrey Morley seem likely to complement each other well. Morley is known for championing the “rise of creativity beyond traditional advertising” and the decentralising of management power within the agency environment.

Bizcommunity Originally published on Bizcommunity.com Marketing & Media | South Africa – click to see more comments.

Letter from NY: How ad schools are losing our industry’s talented thinkers

by Matthew Bull (@StixBull) Our industry is losing talented thinkers. An open letter.

A letter from New York.

I just got back from my annual golf tour – 17 years now – with my best mates. It was special to see them as always, and good to be in South Africa.

I spent a bit of time chatting to my one buddy who is in advertising and that was pretty depressing. But that was compounded by the article I read in Financial Mail about the dearth of talent in South Africa.

This is not a local phenomenon. I’ve run agencies in SA, London, and now New York. I’ve been the global chief creative officer of one of the world’s largest agency networks, and the story is the same everywhere. No writers.

Really though, we have to change the paradigm here. The reality is what we need more than ever is people that think like writers, not writers per se. There is so little writing in advertising now (certainly when it comes to work consumers see, as opposed to decks clients see) that the skill of actually writing prose is seldom needed.

So what do I mean by the way writers think? Well, we tend to have a glimpse of the end game and work in short sharp bursts to get there.  We’re like the sprinters of the business. Whereas art directors tend to be the marathon runners.  Writers have the ability to think spontaneously and rapidly – they see a visual thing and articulate it into words, be they verbal or written.

There is a misnomer that copywriters are conceptually stronger than art directors – that’s just not true. Some of the greatest conceptual creative people I have worked with were art directors. Writers are just more conceptually prolific simply because we have more time to think conceptually than those poor bastards that slog away for hours bringing ideas to life visually.

So I believe we need to re-categorise creative people into being thinkers that express themselves visually, (visualthinkers) and those that express themselves with the written word or verbally (wordthinkers). You will find the pool of talent increases exponentially if you do that. A wordthinker doesn’t even need to know how to spell, or be grammatically correct to be a brilliant ideas person. They just need to be brilliant at expressing what comes out of their head.

What schools have done to our business is to close the door on wordthinkers simply because they try and turn them into being brilliant writers. So we are losing many talented thinkers to, well, to who knows what simply because they don’t write good essays.

The advertising industry needs to broaden its mind about the kind of people it wants to attract. We need to stop being so stereotypical in our categorization of people and what they do in our business.

And we must never forget that many of the great “writers” of our business, like Sir David Abbott in the UK, or John Hunt and Robyn Putter in South Africa, received no formal training in writing at all.

They could just think beautifully with words.

Matthew Bull
Wordthinker.

Matthew Bull (@StixBull) is a partner at The Bull-White House in New York. Before that, he served as chief creative officer/chairman of Lowe & Partners/Lowe Bull and chief creative officer at Lowe Worldwide. Matthew contributes the regular “Letter from New York” column to MarkLives.

— MarkLives’ no-bull round-up of top ad and media industry news and opinion in your mailbox every three work days. Sign up here!

Global skill, cultural exchange Toffie Pop Festival’s aim

by Herman Manson (@marklives) Starting on Friday 30 March and ending Sunday 1 April 2012, the annual Toffie Pop Festival, a festival/conference hybrid that celebrates contemporary popular culture, publishing, design and art, is once again taking place at the Cape Town City Hall.

Speakers range from Penny Martin, editor-in-chief of The Gentlewoman magazine from the UK, and Omar Sosa, co-founder and art director of the indie design bible Apartamento. Dutch designer Roel Wouters, who is active in the field of interaction and media design will be presenting, as will illustrators Juan and Alejandro Mingarro, of Brosmind Studio in Spain, who have done work for clients such as Nike, Microsoft, Virgin, Gillette, Honda, Land Rover and Volkswagen.

Internationally acclaimed South African performance artist Athi-Patra Ruga will be a speaker, as well as will fashion blogger Malibongwe Tyilo of Skattie, what are you wearing fame. Other locals include filmmaker Christopher Bisset and musician/DJ Sibot.

The festival is being organised by The President – the design studio run by Peet Pienaar and Hannerie Visser.

Visser says the aim of the festival is a global exchange of skills and culture, and to create a platform for learning for both local and international designers that is accessible and affordable.

Apart from the main conference, delegates will also have access to Small Talks (15-minute talks), workshops and several parties on Saturday and Sunday. A designers’ craft and food market with 50 stalls, as well as an exhibition by the speakers and a selection of local designers and artists, is also open to the public (500-1000 people are expected through the venue daily), and look out for the ‘Occupy’ movement inspired text exhibition, where 30 local designers will each have an exhibition inside 30 tents.

The conference itself won’t be a portfolio show-and-tell – each speaker has been briefed to share knowledge. The Small Talks have been moved to a quieter section of the building after last years’ rather noisy start to proceedings. Long tables and more seating will be provided to create a more sociable environment, hopefully encouraging conversation between visitors.

Delegates will be encouraged to explore City Hall, with a hidden ice cream machine and a secret room where they can participate in blind tastings encouraging them to step off the beaten path and outside the norm.

Six teams from six countries – including South Africa, Spain, the Netherlands, Switzerland, the UK and Argentina – will participate in a creative showdown that consists of a conference talk, workshops and Small Talks:

  • Team Argentina consists of Juan Frontini, head of the World Design Office for MTV; Ignacio Gil, an art director at the MTV Buenos Aires World Design Studio; Javier Lourenco, the Buenos Aires-based creative director of visual studio Flamboyant Paradise and founder of TheUncoolHunter; and Marco Camacho.
  • Team UK will consist of Tomas Roope, technical and creative director at The Rumpus Room; installation-artist Emma Gibson; Simon “Sanky” Sankarayya, creative partner and co-founder of interactive design consultancy AllofUs; and Will Hudson, founder of the website and magazine It’s Nice That.
  • Team Spain will consist of graphic designer Alex Trochut, graphic designer Michele Angelo, ceramicist Xavier Mañosa and Dvein Animation Studio.
  • Team Switzerland is made up of artists and designers Bastien Aubry and Dimitri Broquard, designer Jonas Vogeli and Guy Meldem.
  • The Dutch team is made up of Rob Schroder, Yuri Veerman and Ruben Pater of The Sandberg Design Dept.
  • Team SA consists of graphic designer, dancer and rapper from Dirty Paraffin, Smiso Zwane; art director and DJ at Dirty Paraffin, Zamani Xolo; photographer Paul Shiakallis; and Manti Ribane.

Tickets are on sale now for R750 for the full three days; students get in for R500; and 20-person workshops with conference speakers go for an extra R250. The festival can accommodate 900 people and tickets are 80% sold out.

In an innovative ‘Pay as you go’ system, you can still make a plan to quickly go see your design hero by buying a single-entry ticket for that one speaker. Some seats have been reserved for this purpose at a cost of R200.

Bizcommunity Originally published on Bizcommunity.com Marketing & Media | South Africa – click to see more comments.

Magazine covers we love (this week)!

MarkLives.com runs a regular slot featuring the best local and international magazine covers every week. We recognise well thought out, powerful and interesting (and hopefully all three in one) magazine covers and celebrate the mix of pragmatism, creativity and personal taste that created each of them. By media bloggerMediaSlutZA.

Here’s the latest trends taking off in the magazine world; going retro/vintage in cover design. From fashion to décor & interiors have gone retro but but magazines are only now feeling comfortable enough now to play around with it as a design concept. And they’re definitely doing it well.

INTERNATIONAL
Newsweek, 26 March 2012 (or 1965)

Newsweek fans immediately noticed something is odd on this cover, but on a closer inspection, I believe this is probably one of the best and smartest cover executions in a long time. Newsweek has dedicated their whole special double-issue of 26 March 2012 to the Mad Men-era of 1960’s (to celebrate the launch of Mad Men’s 5th season). They have ‘recreated the sleek, iconic look of the magazine during the swinging ‘60s, but with all original content.’ Even the advertisers played along, and recreated their ads in the 1960s style! It’s worth picking up a copy just to view the ads. For more details see BreakingCopy.com.

GQ Style, Spring/Summer 2012 (UK Edition)

GQ Style magazine created a cover with the retro-looking Channing Tatum for their Spring/Summer 2012 issue and showing off some retro clothes in a shoot in the magazine.

LOCAL
By (Supplement to Die Burger, Beeld & Volksblad), Saturday 24 March 2012

I know that the By-supplement to the Afrikaans newspapers isn’t a magazine in the traditional sense, but it deserves recognition for being one of the first publications in South Africa to catch up with the retro trend. If you know the Mark Condor books, and all those other little A5 photo-story-books, you will also agree that this front-page is really smart and well-targeted.

NewsNow, 29 March 2012

Sometimes weekly news magazine NewsNow get their covers right, and sometimes just plain wrong. This one falls into the “right” category! The visuals are really strong, smart, and work well with the “It’s getting HOTTER” headline.

rooi rose, April 2012 (70th Birthday issue)

For a magazine to turn 70 in today’s competitive and economically tough environment and is a fantastic milestone! rooi rose magazine is celebrating their 70th issue with the April 2012 issue, with a  very bright and striking pink cover, and they also have a 2-page-gatefold that features some stunning (Afrikaans) South African woman who are each dressed in a specific style each era since rooi rose’s start. A great accomplishment and a great celebratory issue!

– The (for now anonymous) blogger behind MediaSlutZA knows way too much for his own good about media in South Africa. Magazines in particular. His mission is to show when South African magazines might fail, but most importantly, succeed. If you’re looking for a library about South African magazines and news, your one-stop pitstop is MediaSlutZA. #MagazinesForTheWin

– Find a cover we should know about? Tweet us @marklives and @mediaslutza

Old friends, young talent at new agency

by Herman Manson (@marklives) Young talent from disadvantaged backgrounds, given a hand up and gaining real commercial experience so as to make them attractive in a competitive job market. This is the aim of three old(er) hands in advertising with a new commercial venture, Old Friends Young Talent (OFyt), that hopes to help transform the ad industry from the bottom up.

OFyt is led by Jono Shubitz, a former ECD of Ogilvy Cape Town and chairman of OgilvyOne and Ogilvy Interactive SA; Gary Leih, a former

L-R: Paul Newman, Gary Leih and Jono Shubitz.
L-R: Paul Newman, Gary Leih and Jono Shubitz.

group MD of Ogilvy South Africa, co-founder of ad agency The White House, chairman and CEO of Ogilvy Group UK and an Ogilvy Worldwide board director, as well as president of the European Advertising Association; and Paul Newman who, after a career in banking at Barclays in London and with Banque Nationale de Paris, served as marketing director at Nationwide before launching his own ad agency Amperzand.

Amperzand forms the basis of the OFyt, which is headquartered in the old Post Office in Muizenberg, Cape Town, close to the beach and the train station. Clients include security firm ADT and Henry Tayler & Ries, a player in the southern African alcohol distribution market.

Shubitz, Leih and Newman have known each other for decades and have worked together on and off for many years. The trio felt, as many South Africans do, that BEE has failed in its task of economic transformation by keeping the money circulating at the top, with little benefit tickling down below senior management and shareholder level.

Shubitz is frank when he says they are building a legacy with OFyt – one that will see them playing a meaningful role in transforming the advertising industry beyond shareholdings by the rich and connected.

The idea for OFyt was inspired by their involvement with Learn to Earn, a non-profit skills development and job creation organisation which trains unemployed people from socially and economically disadvantaged backgrounds in in market-relevant skills.

One such course is a foundation course in graphic design – taught in Khayelitsha – with curriculum assistance from the University of Stellenbosch. The challenge has been to take these design students and train them to operate effectively in a professional agency environment.

OFyt offers one-year internships where the youngsters gain experience in a commercial agency environment, working on real projects for real clients with real deadlines, after which they should have the skills required to seek employment in any agency in South Africa.

“We give them a background in a commercial environment,” says Newman. “They are already good designers.”

Interns are assessed in their second month, after which a stipend of R2000/pm kicks in, plus travel costs; after four months the stipend increases to R4000/pm; and after six months to R6000/pm.

The agency has taken on eight interns, works closely with four freelancers and has a permanent professional team of 10, including the three founders. Clients put their project briefs into the agency system, the interns are split into groups and, under the guidance of the full-time OFyt team and a selection of well-established freelancers, come up with strategic and creative solutions. This is then fine-tuned and goes into production under direction of the senior staff members.

OFyt has also partnered with companies such as Quirk and Lange PR to collaborate as needed on different projects.

OFyt Trust, created at inception of the agency, will hold 26% of the equity of OFyt in perpetuity, and proceeds will be used to educate and support young, historically disadvantaged talent on an ongoing basis. A profit scheme runs on top of the trust to ensure all staff members benefit from employment at OFyt.

The young talent is infusing their work with township culture, which will contribute to developing a South African identity and flavour for locally produced advertising, moving it away from its current European and US bias towards something more regionally authentic as was developed in South America or India, says Leih.

Shubitz agrees, calling the SA industry an “advertising colony” stuck on winning awards in New York or London, when consumers would much rather engage with messaging based in their own culture.

Client feedback on the initiative has been positive, says Shubitz, and while the project is ambitious, the founding partners believe their business objectives remain realistic.

Shubitz, Leih and Newman are building their legacy, but also, none of them has an urge to sit at home twiddling their thumbs, and what’s more, they want to work and have fun.

Young talent requires guidance and nurturing – something that often falls away in the fast-paced world of advertising. Who better then to provide this than old friends, whose passion for what they do still burns strong and whose entrepreneurial spirit will hopefully inspire young guns to follow in their footsteps and do it for themselves?

Bizcommunity Originally published on Bizcommunity.com Marketing & Media | South Africa – click to see more comments.

What won’t change?

by Mike Abel, Chief Executive Partner, M&C Saatchi Abel Reading the latest Economist we are clearly in better shape than we may have originally thought. Last week I read that Avian flu may not be mike abelthe grim-reaper that awaits us all (and thank heavens for that, as a month prior I read that Tamiflu may not work either). This week I read about flying cars being on our roads by 2020 like the Transition or Trek (can see the launch headline already – The Great Trek). Is this a good thing? Imagine the Easter sky carnage, as taxis and inebriated flyers fight for airspace over unsuspecting suburban hoods.

The mind boggles – but it’s here. Almost as unexpected and interesting as Blackberry finally stumbling onto the potential of the Tablet market. Seems like Rip Van Winkel has been running the former Canadian tech wonder-company. How do you go from “inventing” the smart phone to eh, well, let’s ask Nokia that question too.

Another new-fangled invention I unpleasantly learnt about comes from those charming people heading Iran. UHPC (Ultra-High Performance Concrete). That ought to get Uncle Sam scratching his head. It is logical really, to build impenetrable bunkers when you are up to no good. There’s apparently a shopping cart out there, being filled with intercontinental rockets. Best someone in the old USSR check that 70’s inventory.

While man takes to the sky in his family station-wagon (now needing to possibly avoid rockets too), cars are apparently soon going to be driving themselves on our roads – because us drivers are simply too unreliable. We’re not that far from it either… I drove my wife’s Audi Q5 from Century City to Sea Point the other day on virtual auto-pilot. This genius car now uses its sensors (the park-distance control ones) to slow itself down, literally to a stop at a traffic light without me even touching the brake. It then speeds itself up, to the original speed, while maintaining the perfect distance from the other cars on the road. It tells you all of this with lovely, simple graphics on the dashboard. Until I tinkered with the little stalk on the steering wheel a few weeks back, I didn’t even know our “chitty-chitty bang-bang” from Ingolstadt could do this. I must try it in my A5 this weekend. Probably does the same.

Going back almost thirty years, as we hurtled down the appropriately named Target Kloof Rd in Port Elizabeth, dodging all sane citizens, my brother and I were known (much to my parents embarrassment) as “the Mad Abels”.  Well, how else was an 18 year old to drive his Alfa Veloce Sprint? Today, I’m thrilled at the prospect of my sons’ cars (the eldest is currently 11) driving him, Miss Daisy-like, to varsity one day. Although I’m sure they’ll find a way to hack the system and get it up to at least 60km/h by then. I am however reminded of that great quote by the philosopher Blaise Pascal who said, “the heart knows reason, reason knows nothing of”. And while products get more sophisticated and refined, there still has to be that throaty roar that appeals to the senses, that adrenalin rush, that visceral something that is ultimately, more heart than head.

So, I read all about these exciting changes but how does it apply to our world of marketing and communication? Well, if your car drives you, what will you be doing? Watching something, connecting, working or gaming. Brands will no doubt find natural opportunity here. It’s already going the intuitive and predictive route. Apparently soon enough we wont carry “phones” at all but will just have an earpiece. You’ll supposedly hold up your hand in a signal and a keypad from the nearest “eye” will be projected onto you – and you’ll simply type the number against yourself and hey presto. While this might seem very Jules Verne, I remember reading Richie Rich comics in the 70’s where you could see someone on the other end of the phone – well Skype and mobile handsets have already made those futuristic face-to-face options look outdated.

What won’t change? The human condition – the need to be loved, feel secure, hopeful, successful, primal, engaged – and that is where brands will always find fertile soil to sustain themselves. Today and into the future, relevance remains the key factor. Innovation is all about anticipating and sustaining relevance. Our Canadian friends at Blackberry can tell you all about that – the hard way.

So, what’s on the innovation menu for you today?

Reprinted from the blog of Mike Abel.

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