Does the #DASO campaign make good advertising?

by Johann Schwella The new poster released by the Democratic Alliance Student Organisation (DASO)has, to put it mildly, caused a stir. Many commentators have quoted race, sex, and countless other reasons as to why this is a good or a bad advert. I’m going to try and stay away from the obvious ‘traditional’ South African tensions and dissect this from a brand and advertising point of view.

Firstly, let us look at Brand DA. The DA has gone to great lengths to sell itself as an all-inclusive, equal brand that avoids controversy, ignores racial lines and targets supporters of all creed and colour. It’s very much evident in their most recent election campaign slogans “Service Delivery for ALL.” The focus being on ALL. This viewpoint is constantly reinforced by Helen Zille, arguably the party’s most vocal mouthpiece. To avoid drawing negative attention to the party, Zille, and by extension, the DA, has been reluctant to get involved in petty racial debates for the sake of debating.

Furthermore, the DA, as analyzed by local strategic design agency, Coley Porter Bell, in their “Visuals Futures” project from 2009, has been using international design trends of Hope and Optimism to spur their extended stance of equality and inclusivity.

With this in mind, let’s look at the piece of communication that was produced:

The poster features a semi-naked inter-racial couple in a suggestive embrace with the tagline – In OUR future, you wouldn’t look twice.

Obviously a piece of communication that was distinctly made with the mission to shock. Or to “get young people talking” as the DASO admits. This intention to shock implies that the DASO believes that the majority of viewers are not comfortable with the inter-racial image and de facto implying that we are all mostly racists (and they are not), thus proving their point of a split and racist nation and hence why the DA is required – in my view a self fulfilling prophecy as well as one about 15 years too late.

So why is this wrong in an advertising context, and why is it wrong in a Brand DA context?

Media and Advertising agencies have unprecedented power over the masses, and its ability to influence both our values and our viewpoints is an extremely potent and profitable one. Their main product to their clients is to influence the public to make certain choices and have certain opinions, and they get paid to do this every day. As such one of the top creative directors I worked with in my career said “It’s our job to inspire the world through creativity to get people to consider our clients products.”

This advert does not inspire. In fact, it does the opposite – it further polarises. You just have a look at the close to a thousand comments on the image, defeating the purpose of good advertising.

This advert has belied the crux of the brand that the DA has been building for years. Pushing a campaign that is sensationalist and attention-seeking in its thinking and in its execution, reeks of ANCYL tactics. We are a country with problems, we all know that, but instead of focussing on the problems (AIDS, crime, etc), how about we focus on the good and extend that to give a message of hope? – One that Brand DA has been pushing all along.

A simple way to have avoided all the minefields would have been to show an inter-racial couple holding hands, or a inter-racial group of friends drinking beers together, with a tag line reading “A nation working together is better for ALL.” Still not a great ad, but at least not shaking the tree to see what falls.

When attempting to affect change, it’s easier shock than to inspire, but where would we be if everyone took the easy road.

Be Better.

Johann Schwella is the co-founder of 10and5.com where he has been showcasing and curating South African creativity for over 4 years. Johann has also spent the past six years working in and is currently employed by 140 BBDO. Image Source: 10and5.com

Martin MacGregor, ex-MD of Nota Bene CT, joins M&C Saatchi Abel

by Herman Manson Martin MacGregor, the former MD at Nota Bene MEC Cape Town, has joined M&C Saatchi Abel as managing partner: connection (we’ll get to that in a moment). MacGregor joins the agency as it turns two years old this February and follows an announcement that M&C Saatchi Abel is increasing its head count to 100 by the end of Q2 2012. Revenues have reached R50 million.

MacGregor (@MartMacG) had started his career at TBWA before landing a job at Ogilvy alongside M&C Saatchi managing partner Mike Abel (@abelmike). MacGregor joined Nota Bene MEC in 2003, heading up the Brandhouse account, and became MD of Nota Bene MEC Cape Town in 2007.

MacGregor says he has been viewing the changing media and marketing landscape with interest and have come to believe that in future media’s impact on consumers will become smaller and smaller.

More interested in looking at business challenges

The days of making big TV ads and thinking it’s going to achieve business success is long gone, but is still the bread and butter of many agencies, says MacGregor, who has become much more interested in looking at business challenges and identifying and supplying real business solutions to organisations.

Here, media is only part of a larger mix, and he believes he has found the synergy in vision at M&C Saatchi Abel, which positions itself as a consultancy supplying business communication solutions, rather than an ad agency in the traditional sense.

MacGregor says his new position will allow him to imprint the importance of all the various consumer touchpoints to brands.

MacGregor says media agencies separated out from agencies (media buying used to be part of the ad agency process until not too many years ago) because agencies were often justifying making the ads that would make them more money, rather than servicing client needs. He believes media agencies have not been evolving fast enough in terms of attracting the breadth of skills required in the modern media environment with its many consumer touchpoints.

Strategy is moving back into agency domain

MacGregor also says that media agencies are good at negotiating volume deals for clients at good prices but that strategy is moving back into the domain of the agency/communications consultancy. Media planning has also been focused on paid-for media, rather than owned (eg retail outlets) or earned (social conversations) media.

MacGregor says measurement has been left to media companies when he firmly believes it has become an indispensable part of any communications company – after all, how else will they prove that their solutions offer a real return to their clients? He will focus on increasing measurement capacity at M&C Saatchi Abel.

Going back into a communications consultancy environment will allow him to work with a diverse range of specialists which MacGregor believes will allow him to write proper touchpoint/connection (note the job title!) strategies grounded in real knowledge and based on a diverse skills base.

Offers a strategic advantage

Mike Abel says having somebody like MacGregor look at retail/in-store touchpoints offers a strategic advantage to his business and its clients. Abel says ad agencies have traditionally focused on a single P in the marketing mix, namely promotion, while it is clearly only one element of a brand strategy.

The consultancy model, says Abel, adopted by M&C Saatchi Abel (he compares its structure to that of a law firm of partners) has helped reorient its thinking away from advertising to offering business solutions.

Abel mentions two of his clients, the recently relaunched Mr D (formerly Mr Delivery) and online retailer Takealot.com, as an example of how his group seeks, business rather than purely ad-driven solutions:

While Mr D had peak delivery hours during lunch and supper times, the rest of the day saw little for its drivers to do. Takealot.com was looking for better and quicker distribution solutions. Abel and his team brought the two together – helping Mr D make better use of its delivery infrastructure outside peak hours and giving Takealot.com a new and competitive distribution strategy.

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 blogger MediaSlutZA.

INTERNATIONAL
Maclean’s, 23 January 2012


The coverline reads ‘Veils, who are we to judge?’ (a story which makes for an interesting read all on its own) but the cover image is what made me think twice about the face-value differences, especially with the black line covering the naked girls face. Maclean’s is a Canadian publication which I’m sure was the design-inspiration behind NewsNow. Decide for yourself.

O Magazine (US), February 2012

Most O Magazine (Oprah Winfrey) magazine covers are a rather boring – same old thing over and over. This one however is different and FUN. It’s the first cool cover since Ellen featured alongside Oprah in 2009. I wonder if the whole ‘School Blackboard and chalk’ thing had anything to do with her first class at her school all matriculating…

LOCAL

ZigZag, January/February 2012

The lighting, the texture of the water, the colours, the mood, the timing… everything just comes together to make this cover one of their best so far.

ELLE South Africa, February 2012

If this cover image seems familiar it’s because it was used for the November 2011 issue of the US edition of ELLE. The South African version of Elle is using it to celebrate Valentines Day. Still love it!

Sports Illustrated, February 2012

Here is something you don’t see everyday – my favourite sporting heros cleaned up and shot professionally. Now that is something for me to look at twice – or three times in the instance of Sports Illustrated February 2012

– 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

Print designers need to adapt for digital age

Eva Csernyanszky explains how publishers may make the leap into digital publishing

Print design often follows a complex design and editorial workflow process – with the end goal of generating compelling and informative magazines, newspapers, catalogues and product guides. With the rising popularity of mobile devices and tablets, designers are now challenged with creating both print and digital reading experiences. To do this, designers frequently hand off design assets to an online team, which results in an online experience that fails to convey the same aesthetic and brand qualities inherent in the original print design. All too often, the brand experience is lost in translation.

Step up

As digital publications appeal more to younger, techno-savvy consumers, what this means for print designers is that they have to adapt to the times – or risk dying out. Print designers, especially those who have been in the industry for more than a decade, and who perhaps were reluctant to go the web route because of coding, will find the transition to digital publishing quite easy as emerging tools automate the process to a large degree.

While solutions from vendors such as Twixl media and Aquafadas offer seemingly more attractive initial pricing structures, in my experience the reporting services and hosted online tools offered by Adobe’s Digital Publishing Suite cannot be beaten – especially for larger publishing houses.

Adobe’s cutting-edge software opens up a brand new communications medium to South African advertisers and publishers, enabling them to publish digital content with an interactive dimension on tablet devices such as the Apple iPad, Blackberry PlayBook, Samsung Galaxy Tab and Motorola Xoom.

Suite life

Using Adobe’s Digital Publishing Suite, layout designers can add interactive elements to a client’s message. Traditionally, the consumer’s experience of an advertisement would be a static image with a tag line, but digital publishing provides an opportunity to draw the user into a product by bringing the ad or entire publication to life, allowing him to navigate through the content and choose his own experience.

This offers advertisers, in particular, the chance to break through the advertising clutter currently bombarding consumers on a daily basis, and even keep readers coming back for the experience. The immersive nature of the experience makes the user feel more connected to a brand, which in turn creates more brand loyalty.

This has been corroborated by studies carried out at the University of Connecticut in Stamford, USA, which have shown that those who engage with a brand in this way have a heightened awareness of that brand afterwards.

It’s still layout

Simply told, the process starts with Adobe InDesign CS5 or CS5.5. Extensions and plug-ins, which are free to download from the Adobe website, provide designers with the tools to create, preview and bundle digital documents for mobile devices and tablets.

The key components are the Overlay Creator panel, the Content Viewer for Desktop, the Folio Bundler and the Folio Producer, which is an online tool available for Digital Publishing Suite (DPS) account holders only. The Overlay Creator enables designers to directly insert interactivity into layouts destined for tablets.

Interactivity includes panning and zooming of images, panoramic views, 360-degree rotation of objects and the integration of HTML5 content and more.

The Content Viewer for Desktop, an Adobe AIR-based application, enables designers to preview layouts and interactivity before outputting them for publication, while the Folio Producer panel provides DPS account holders with access to the full range of online hosted services of the Digital Publishing Suite.

Choose a version

Making the choice between the Professional and the more comprehensive Enterprise Digital Publishing Suite account will depend entirely on the scope of a publication’s distribution – and whether or not the online services for managing, selling and distributing a digital publication to online market places such as the Android Market, BlackBerry App World and Apple iStore are required.

Subscribing to a DPS account can be a tough decision, especially for smaller organizations, as the upfront costs seem extravagant at first, due to the fact that account fees must be paid a year in advance before a single online publication is sold.

However, one only has to examine costs of printing and transportation of the printed product (and consider the additional advantages of distributing the content digitally) to realize that these may far exceed the the initial investment.

While there are significant differences between print and digital publications, choosing a digital medium has definite advantages, not only to the bottom line. Digital magazines consume no paper, ink or chemicals, nor do they end up in landfills. Today, only a small percentage of printed publications are recycled from home, according to the Magazine Publishers Association.

Contemplate that a magazine of 68 pages, offering a small circulation of 20 000 copies, for example, would consume around 12 tons of paper, with transportation adding to the environmental burden. Furthermore, digital magazines can be indexed by leading search engines, providing an additional way in which to draw new readers to the publication.

Digital magazines are simple to update, can be viewed online, downloaded for off-line reading or archived and retrieved for future enjoyment. Long leads times are a thing of the past, too, as digital magazines can deliver breaking news faster than most print publications.

Agency model

Should either of the available account types not suit, organizations can take advantage of a newly introduced ‘agency model’ now on offer from Adobe Solution Partners such as Realm Digital in Cape Town.

This model is well suited to advertising agencies who wants to use DPS on behalf of their advertising clients, who service multiple corporations, publishers or clients or printing companies who offer DPS services on behalf of multiple publishers.

(At the time of going to press, Adobe had announced the Adobe Digital Publishing Suite Single Edition which, according to the company, allows freelance designers and small design firms to publish interactive content on the Apple iPad. With a fee of US$395 per application, Single Edition offers an affordable and flexible end-to-end workflow for the publication of brochures, highly-visual books, annual reports or personal design portfolios as an
application for the iPad. – Ed)

Folio Producer Service

The Folio Producer Service facilitates the upload of the .folio publication file to the online account to assemble and reorder content, add .folio article metadata and refine the final .folio file as it will appear in published form on tablet devices.

An Enterprise account offers the Viewer Builder Service to create the branded look-and-feel of a distinct publication, and the Distribution Service stores and hosts the digital content and distributes it across tablet devices and desktops, as well as seamlessly notifying readers within the branded Content Viewer when a update or new content is available for purchase or download.

The E-commerce service, also for Enterprise account holders, facilitates the sale and distribution of content from the publisher’s website or through online marketplaces.

The final offering, by no means the least, is the Analytics Service, a tool highly valued by advertisers in that key data reports, including total ad views and customer engagement with interactive content, can be viewed at any time to measure the effectiveness of ads and reach of the publication.

Tough choices

You also have to consider that online market places will charge for every download in addition to paying for the bundles of downloads bought from Adobe, and Apple retaining a significant 30% of revenue from sales – but global reach should make that lighter to bear.

With local magazines already signed and many more in the pipeline, all that remains is to take the creative leap by getting in touch with your regional Adobe partner and ensuring that your content remains innovative and accessible.

_Eva Csernyanszky – Friends of Design Academy of Digital Arts

Reprinted from Enjin magazine with permission.

Behind the Zines

A new book explores the culture of self-publishing expressed in the zine.

Behind the Zines
Published by Gestalten
128 pages
$60


Twenty-volume folios will never make a revolution. It’s the little pocket pamphlets that are to be feared. —Voltaire

Social networks are dominating today‘s headlines, but they are not the only platforms that are radically changing the way we communicate. Creatives such as designers, photographers, artists, researchers and poets are disseminating information about themselves and their favourite subjects not via predefined media such as Twitter or blogs, but through printed or other self-published projects – so-called zines.

Those who publish zines are mostly interested in sole authorship, namely that all components including text, images, layout, typography, production and distribution are firmly in the hands of one person or a small group. At their best, the results convey a compelling and consistent atmosphere and push against the established creative grain in just the right way. They provoke with surprising and non-linear food for thought.

With a cutting-edge selection of international examples, Behind the Zines introduces the broad range of zines that exists today. These include zines that function as a new kind of project-oriented portfolio to showcase a self-profile or document an exhibit. While some act as (pseudo) scientific treatises to call the reader‘s attention to a specific topic, others serve as playrooms for creatives to run riot and express themselves and communicate with each other in a space that is free from editorial restrictions.

The book examines the key factors that distinguish various zines. It introduces projects in which the printing process significantly influences aesthetics or in which limited distribution to a small, clearly defined target audience becomes part of the overall concept. Behind the Zines not only documents outstanding work, but also shows how the self-image of those who make zines impacts the scene as a whole. Through interviews with people involved in zine production and distribution, the book sheds light on various strategies for this evolving media form.

Reprinted from Enjin with permission.

The TV set reinvented

by Arthur Goldstuck One of the highlights of the annual Consumer Electronics Show in Las Vegas last week was the dramatic strides made in TV technology.

Every year, for a week in January, the future of TV is redefined in the middle of an American desert. That’s when the Consumer Electronics Show (CES) comes to Las Vegas, the unlikely entertainment capital in the middle of arid Nevada.

There may be a water shortage in this part of the world, but there is never a shortage of innovation. It was at CES that the era of the flat-panel TV was ushered in, where LED for the lounge first came to light, and where the Internet-connected TV was first publicly plugged in.

But at the show last week, rather than merely showing the next step up in the ever-moving race for a lead, TV took a leap into the future.

The charge was led by Samsung, which first launched LED sets at CES several years ago, and introduced the Smart TV last year. This year, it got a lot smarter. The new E8000 range includes built-in cameras with motion and voice control, as well as face recognition, allowing the user to control the TV in the same way that gamers have been controlling devices like the Microsoft Kinect.

That’s not what makes the devices Smart, however. It has more to do with what these TV sets have in common with smartphones: apps. Samsung now has a TV app store with more than 1 400 apps tailor-made for the large screens.

“A TV only needs a handful of strong applications to be successful, because the prime purpose of the device is still watching TV,” said Justin Shaw, head of audio-visual products at Samsung Electronics SA, while at CES. “In South Africa we already have 250 apps available for Smart TV.”

The TV apps also represent the beginning of a transition of the very role of the TV set.

“We can’t assume the TV set will always have pride of place in home, but it is unique in that role at present,” says Shaw. “For now, it is our favourite shared screen and content for the TV must be created with that in mind.”

Some of the early content includes fitness apps, kids’ apps and family-oriented apps for sharing content or chatting, via the TV, with others who have the same apps on their TVs in other locations. The apps have been downloaded almost 20-million times so far.

Even that, however, is not a revolution. The real leap into the future is the concept of Smart Evolution – the idea of future-proofing the TV. A hardware and software kit in the TV set will manage future updates of firmware, the software that runs an appliance and usually cannot be altered.

“People are investing in a high-end item, and they don’t want product to be outdated within a year,” says Shaw. “With a simple set-top box, the TV can automatically be reborn every year.”

All of this comes at a time when it is widely expected that Apple will announce its own re-entry into the TV market, with a device that will be driven by extensive content options. That raises the stakes for market leaders like Samsung and LG, which will find themselves competing on both a design and content level. Apple is unlikely to overtake their screen technology, however.

At CES 2012, rivals like Panasonic, Sharp, and several other manufacturers unveiled TV sets using a new screen standard called 4K2K, a name that represents 4000 lines by 2000 lines on a TV screen, doubling current screen definition.

LG unveiled a large-screen TV using OLED – organic LED, a super high-resolution screen technology first seen at the show in a tiny prototype four years ago. At the time, its cost prevented it even being used on a phone screen. Since then, OLED and its big brother, AMOLED, have become common on smartphones.

Samsung added Super OLED to the mix, showcasing a 55” device that raises the bar even further, with vivid picture quality on both 2D and 3D.

The new Smart TVs will arrive in South Africa in April and the Super OLED screen in the second half of 2012. For once, when the future arrives, we won’t be far behind.

* 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.

Naspers to benefit from Facebook IPO

by Arthur Goldstuck Forget the Mayans. The real apocalypse in 2012 will come via Facebook, and Naspers will be laughing all the way to the bank.

In 2012, the world as we know it will come to an end.

But first, let’s qualify that statement. In Internet circles, the world as we know it is the one in which social media dominates most of our online activity, and every business is told it must be part of it. Yet no one knows what it’s really worth, how to work it to maximum advantage or how important it will be in a few years’ time.

In 2012, some of that uncertainty will be dispelled by one single event. It will be the year of Facebook being listed on the stock market, in what the Americans call an Initial Public offering, or IPO.

Speculation on its likely market value has been raging.

In October 2007, when Microsoft announced it would buy a tiny 1.6% share of the company for $240-million, Facebook was given a firm value for the first time: a cool $15-billion. At that point, it had made a mere $150-million for the year, largely from advertising revenue. Microsoft were betting big on the future, with little idea of when that future would arrive.

A little less than two years later, Russian Internet entrepreneurs Digital Sky Technologies (DST) bought 1.96% of Facebook for $200-million – instantly suggesting a value of about $10-12-billion, and also that Microsoft had overpaid. Over the following year, DST carried on accumulating Facebook shares, buying them directly from Facebook employees. They were able to build up to a 10% share, revealing the impatience of Facebook staffers who were tired of waiting for what would inevitably be a lucrative IPO.

There was a strong South African interest in this process. Local media group Naspers owned a 39.3% stake in DST’s main asset, a Russian Internet company called Mail.ru. In 2010, Naspers traded its Mail.ru shares, along with a $388-million investment, for a 28.7% direct share in DST. In effect, that means Naspers owns around 3% of Facebook – or at least has an economic interest in Facebook worth close to 3% of the company’s value.

During 2010, an attempt was made to value Facebook based on the value of an equivalent company: Chinese social networking giant Tencent. The coincidence was that Naspers owned a major stake in this company too: a 35% share in an outfit with a market capitalisation, then, of $32-billion. Today that value is $42-billion, revealing the huge potential growth that lies in wait for early investors in similar operations.

In the meantime, though, Facebook’s user base has grown from 500-million to 800-million, and such values are regarded as hopelessly conservative. In 2012, it’s user number is likely to reach the 1-billion mark.

The value indicator that is now getting the most attention is a secondary shares market called SharesPost, where holders of shares in private companies can trade them as if they are publicly listed. The current value of a Facebook share is around $32, and about 2.5-billion shares are in issue. That gives the company a value of $82-billion.

The consensus is that the IPO will aim at raising $10-billion, and value the company at $100-billion. That will make it the 6th largest IPO ever in the United States. To many, these numbers represent proof that we are in the midst of an Internet bubble – and the Facebook IPO will be the final pinprick that bursts the bubble. That, in turn, will spark an apocalyptic meltdown of the world’s stock markets.

However, Facebook’s reported advertising revenue seems to justify the numbers. Last year it was believed to have made around $5-billion, which could double this year. But even those figures are mere speculation. As with rival social network Twitter, they reflect both the secretiveness and the mystique around the real value of such companies.

All will be revealed when Facebook files its IPO in the first half of this year. And, as psychologist Judith Ancer pointed out in a recent column, the original meaning of the word “apocalypse” was to reveal or uncover.

For Facebook followers, then, 2012 is truly the year of apocalypse.

* 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. Photo: Jim Merithew/Wired.com under CC licence.

News censorship never ends well for governments, says CNN exec

Tony Maddox, the executive vice president and MD of CNN International, is responsible for CNN’s international news and information portfolio. Maddox, who is based at CNN’s Atlanta headquarters, is responsible for five CNN services in English; CNN en Español; CNN-IBN, CNN Turk and CNN Chile.

Maddox also oversees international newsgathering, editorial and programming oversight. Under Maddox’s watch, CNN has expanded its editorial operations to Kabul, Afghanistan; Lagos, Nigeria; Nairobi, Kenya; Mumbai, India; and Abu Dhabi in the United Arab Emirates (UAE). Maddox joined CNN International in 1998 after 13 years with the BBC.

Here Maddox shares his views on social media and ‘citizen reporting,’ the recently signed ‘secrecy bill’ and CNN’s editorial operations in Africa.

Herman Manson: Tell us more about the size and scope of CNN International’s operations in Africa.
Tony Maddox: Africa is a big part of CNN and I think will continue to grow. We have invested in a hub in East Africa and Lagos and have also increased our investment in our Johannesburg bureau. All of this means we are better able to respond to stories across the continent, such as those emerging from Somalia at the moment. If you look at an event like the COP17 conference in Durban, our Johannesburg bureau [was] able to cover it in real depth, and [we] also invested a great deal in the Ecosphere initiative that monitored social media during the conference. These… really helped bring our audiences close to the story on the ground.

Manson: Is this a market that is becoming viable commercially for international broadcasters such as CNN?
Maddox: Africa has always had an enormous amount of potential, but I think it is beginning to realise that potential to the full. African companies in areas such as banking and telecoms are genuine global players now. The infrastructure is improving, people’s prospects are better and investment is coming into the continent from all over the world, including the likes of China and Russia. Many of our African advertisers – people like Glo, MTN, Zenith Bank, UBA and South Africa Tourism – have long-term relationships with CNN. I think Africa is absolutely commercially viable for CNN, and the entrepreneurial culture on the continent will only make it more so.

Manson: Will MEA operations ever gain enough scale to be run from outside Europe (ie be run from within the MEA region)?
Maddox: Atlanta is the hub of our operation and I’m sure that will remain the case, but we have always used regional hubs to give us a sharper focus throughout the world. For example, we made an important investment in our Abu Dhabi bureau, which has made a fantastic contribution to our coverage in the Middle East – and given a lot to our audiences throughout the world. Our Africa bureaux are already a very important part of the CNN global jigsaw, and the investment we made and continue to make in them is recognition of Africa’s importance. As Africa changes, I’m sure our investment in our Africa operation will change in tandem.

Manson: CNN has worked hard to integrate social media and ‘citizen reporting’ into how it covers news. Tell us about that process and why CNN felt it was an important one to embark upon?
Maddox: I think social media is exciting and important for newsgathering, and it is here to stay. The proliferation of devices like camera phones and the rise of bloggers and media such as Twitter mean that information flows in a different way now. Very often the first reports from the scene of a news event come from eyewitnesses, and these spread very fast.

All this is impossible for news organisations to ignore, but it also presents challenges for audiences. How can they know what’s real and what’s not? Who can they trust? That’s why it’s important for social media to be part of what we do. By embracing it, but also by rigorously checking, acting as curators, and applying proper journalistic standards to that content we can make it work for us and our audiences.

With iReport, our citizen journalism platform, we have also built a community of close to a million people who have enriched our reporting and our content enormously.

Manson: And how has social media impacted on your news cycle?
Maddox: I think speed of information is clearly the key impact. Many stories are broken on social media now, including from our own journalists. This means we have to be faster on our feet, but also wary. Accuracy is the absolute cornerstone of newsgathering and always will be, and that puts pressure on a newsroom when a story breaks via social media.

We cannot have people everywhere and nor can any news organisation, but we can ensure we check our sources, corroborate everything and make absolutely certain that we do not mislead our audiences by taking social media at face value. So the news cycle is much faster now, and there is more information around, but the principles of good journalism still apply. If anything, more than ever.

Manson: How interactive will TV (and specifically TV news) eventually become?
Maddox: I think that you’re already seeing a very interactive relationship between CNN and our audiences through social media and initiatives such as iReport. Where this will eventually lead I think may be partly determined by technology, but it’s great to have a close relationship with our audience and to get many perspectives on a story, as well as instant feedback on what we do. What won’t change are the professional standards, principles and techniques that underpin that, because that’s where we’re bringing value to our audiences.

Manson: You are positioned as a non-partisan news channel in terms of domestic politics in the States but you definitely have a pro-American image in the rest of the world. Would you agree? And does that offer any particular challenges?
Maddox: I think our audiences know us as impartial and trust us to deliver a non-partisan viewpoint. I actually think any perception of bias comes from people who are unfamiliar with our output. Impartiality is at the core of what we do and always will be, and I challenge anyone to find bias in our content.

We are an American company, and we’re proud of that, but look around CNN International’s offices all over the world and you’ll find many nationalities, faiths and political persuasions represented; but what you’ll find they have in common is a desire to find the truth, and that’s the most important unifying principle at CNN.

Manson: 24-hour news channels have become mainstream and the market is getting increasingly competitive. What shifted culturally to take it from quite a niche segment to boom?
Maddox: I think the world has become smaller and people see how it is interconnected. I’m certain that CNN has played a role in that process, but equally I think it’s a result of globalisation, of the fact that people recognise the importance of international events in their everyday lives, their jobs, and their futures. The global financial crisis, the Arab Spring, the Japan Tsunami – these events affect pretty much every corner of the planet in some way, and CNN helps people make sense of them.

Manson: In terms of the English-speaking African markets you compete primarily with BBC World News, Sky News, Al-Jazeera and eNews. Who of these guys are getting it mostly right in your mind, and why?
Maddox: I think CNN has a really strong offering for audiences in Africa, with some great content across TV, online and mobile that’s dedicated to African stories, alongside an international perspective they can’t get from domestic broadcasters. But I don’t think anyone can rest on their laurels in a continent like Africa. I respect all of our competitors, but I think what’s more important than looking at other broadcasters is to look closely at the way audiences are changing in Africa.

Not so long ago the dominant medium across Africa was shortwave radio; nowadays there’s incredible progress in areas such as streaming video on mobile phones. The pace of change in Africa is exhilarating and means that we need to keep pace with what audiences want. The minute you sit back and say that you’re satisfied, you’re in trouble. We can always improve.

Manson: So a big story breaks and you need a team on the ground on the other side of the world. Can you take us through the process and logistics of getting them deployed and broadcasting?
Maddox: [Last] year [was] like no other in the sense that [we] had so many long-running stories that require continuous commitment from us. The stories in Syria, Libya and Egypt have all extended out over months. We’re able to plan a rotation around those and move crews in and out, using people on multi-week assignments. Then if one of those stories gets bigger, we can easily draft more resources into it.

But there have also been stories that have rumbled along steadily and then suddenly got louder and louder, like the debt ceiling in the US and the global stock market fluctuations. A big factor in that story has been what is happening in Europe with the Euro crisis, where the story has moved from Greece to Ireland to Italy and so on.

Our Asian operation has been very important for that coverage. As Wall Street closes and people track those stories, Asia just goes to work and you see our people like Kyung Lah in Tokyo going on to Piers Morgan’s show and giving people a sense of what is going to happen the next day and where we are in the cycle.

David McKenzie, in our Nairobi bureau, has also been in and out of Somalia and they did a lot of great setup work ahead of Anderson Cooper and Sanjay Gupta’s arrival. That allowed them to go into what is the definition of a very anarchic and chaotic situation. They’ve been able to immediately hit the ground running and broadcast live with great material. It is very much to Cooper and the team that they chose the week of launching their new show to actually put the flag in the sand there in Somalia.

Manson: Journalists often face persecution and harassment on the continent. How do your own teams deal with issues like these?
Maddox: We take safety very seriously and the security of our correspondents is always our first priority. All personnel on duty in potentially dangerous places have extensive hostile environment training and we make sure we have an exit strategy in case a situation becomes too difficult. But the safety of journalists in hostile environments is, sadly, becoming a bigger issue all the time, so it’s something we are always looking at.

Manson: Where do you think South Africa is heading in terms of media freedom given the passing of the recent ‘Secrecy Bill‘ and other proposals such as a media tribunal? Does it surprise you that it is happening here and what do you think is the motivation behind legislation like this?
Maddox: I think a free press is the best sign of a good healthy democracy and a stable country. I’m sure the government have their reasons for the Secrecy Bill. But a free press shows a mature government that isn’t afraid of criticism. As frustrating and annoying they might find it, I think any government is better off with free press than trying to impose news censorships; that kind of thing never ends well.

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

– Updated 16 Jan 2012. An earlier version of this story incorrectly stated that Maddox was in South Africa at the time of this Q&A.  We apologise for the error.

Magazine mindset undermines tablet opportunity

by Herman Manson The rush by media owners to embrace tablets borders on the unseemly. And who can blame them given the continued decline of print revenue and resistance by folk to pay for content on the internet. Tablets, we are told, are much closer to print magazines than to the free-for-all interwebs.

Publishers like tablets because they bring people back into “closed” environments through apps. Closing the circle and getting people to “stick” around on one media property was also the purpose of the mega-portals from the 90s.

Pull people in, monopolize their attention, and revenue must follow; the argument went. Of course people didn’t stay — their reading habits had already evolved to include multiple resources. Portals meanwhile could not offer the specialised content niche sites could, while stiff competition meant inventory could not be fully utilised and ad rates stagnated.

Publishers also like tablets because they bring technology back into the magazine comfort zone — we are able to design content to look like it does in magazine form — from pages you can flip, right down to breaking a screen into two to fit two “pages” next to one another. Preferably with a full “page” ad on at least one of them.

Finally, the argument goes, if a tablet magazine looks like a print magazine people will react to it as they do to print publications — like be prepared to pay for the content they use.

It is understandable that publishers want to take what works in one medium and replicate it as closely as possible on another and then hope to duplicate the business model minus a good chunk of the costs.

But it is a strategy unlikely to be successful because it takes an antiquated view of our reading behaviour, namely insisting the magazine formatted reading experience is as relevant as it was 15 years ago when clearly it is not.

Take the research coming out of the Pew Research Center’s Project for Excellence in Journalism, a collaboration with The Economist Group, which shows that while 77% of tablet owners use their tablet daily, and 53% read news on their tablet every day, only 14% have paid for content on their tablet.

And here is the crunch number for publishers — 78% of tablet owners said that content accessed from a tablet is worth exactly the same as it is elsewhere — and on the web that is free. Only 17% felt it was worth more. Ouch.

And the closed environment publishers have been hoping for? The Pew research shows that 36% of tablet owners don’t even have any news apps loaded — 40% still prefer accessing their news via web browsers, 31% makes use of web browsers and apps equally and only around 21% prefers using apps.

People also prefer accessing their news from reliable sources — i.e. a brand they already like the NY Times or CNN. Even so 65% of tablet users access up top three different news resources via their tablet on any given day.

Finally, while the use of social media is rising on the Web, and 39% of tablet users use social media daily on these devices, social sharing via tablets is disappointing, with 16% of tablet users regularly sharing news on social networks (up only 3% to 19% with the younger 18-29 year old set). Couple the disappointing social sharing rate with indications that people download apps from news brands they trust and this environment becomes closed to publishers rather than to consumers.

A positive for publishers seems to be that people are enjoying the reading experience more on tablets than on either the web or in print. This might well serve as incentive to spend on content in the future as news use on tablets mature and people get used to the reading experience they offer. App stores are in themselves doing a great job in schooling people to shop via their tablet devices. But on balance the Pew research suggest tablets, at this stage at least, isn’t the panacea publishers hoped would rid them of financial decline.

Digital replicas of print products have their place but unless media companies decide to explore the potential of tablets beyond the flip magazine products and gimmicky “interactive” page design we see today they will, like with the web in its early days, leave the space for innovative start-ups to grab the attention and the audiences.

First printed in Memeburn.com

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