#BrandFocus: The power of OneDayOnly deals

by Sabrina Forbes. “I didn’t wake up wanting to buy a R5 000 camera. But there I was, trying to buy it. This is powerful stuff,” says Maurits Vermeulen, co-founder of South Africa’s biggest daily-deal website, describing his first encounter with a similar platform in the Netherlands — the site that ultimately gave him and founding partner, Chris Oberhofer, the idea to create OneDayOnly.

Ten years ago

OneDayOnly subscriber campaigns collageIt was 10 years ago when Vermeulen and Oberhofer began talking about the concept of OneDayOnly. With no outside funding or partners, the duo began working on the business part-time while remaining at their day jobs, Vermeulen in corporate finance and Oberhofer in legal. Their first hurdle was trying to find external fulfillment people to help manage the processes of their site, which in its infancy offered only one deal on one product a day. They soon made the decision to bring staff in-house.

OneDayOnly currently has four directors, four shareholders, and approximately 200 full-time staff members, with headquarters in Cape Town. Leadership is made up of Vermeulen and Oberhofer, who are in charge of the brand and its vision going forward, while Laurian Guy heads up sales and marketing and Bernard Oberhofer manages finance and operations.

After a career in fashion design and retail, Guy joined OneDayOnly six years ago, when the only other people working at the business were Vermeulen and Chris Oberhofer. This began the shift offering more than one deal on one product a day. Guy realised there could be scalable options to the business but recalls how the shift to multiple products brought with it its own plethora of challenges.

Control over CX

OneDayOnly now offers up to 150 deals on products every day. It also manages the packaging and distribution processes of the thousands of units sent out per day. Once an order has been placed and confirmed, suppliers send the relevant product to its packaging warehouse for distribution. This way, the brand has control over the consumer end-point and the experience a OneDayOnly customer gets each and every time. Each package is also delivered with a “funky OneDayOnly surprise element”, says Guy.

The “monumental” (according to Vermeulen) growth the brand has experienced over the past two-to-three-years means they’ve had to learn to be nimble and optimise consistently. “We had to improve the operations of our distribution and customer service very quickly,” says Vermeulen.

“We learned that, if we grow quickly, we have to respond quickly in the rest of our business,” adds Guy.

Another challenge the team experienced was the spike in open rates in the morning with a very steep decline throughout the rest of the day. People simply weren’t returning to their morning emails. The introduction of the lunchtime deal that ‘heroed’ products not featured that morning vastly increased the clickthrough rates and purchases of OneDayOnly deals. The team learned that a morning-and-midday email drive worked, and this remains the structure of the business today. Plus, every last Thursday of the month, an email blast is sent with the previous month’s best sellers on special once more.

Marketing challenges

Because, every night the website is wiped clear, new deals and products are loaded, and the cycle begins again, marketing a platform like this comes with its own challenges. Unlike an online retailer that sells the same thing every day with little change, the OneDayOnly team starts from scratch every morning with its first email blast and social media updates, having only 24 hours to push the daily deals. Once the day is done, so is the marketing. Rinse and repeat.

Vermeulen admits that in the beginning, they really didn’t know what they were doing when it came to brand identity and CI   . As they’ve grown the brand’s look and feel is simple but functional. “It’s bright, bold, and in your face at the same time. And, on social media we always try to add in a fun, quirky element,” says Guy. “We’ve got confetti on most of our posts,” adds Vermeulen.

Vermeulen set the brand’s tone of voice at the very beginning of its journey and did a lot of the original copywriting for the brand, his aim being to create a persona that people easily recognise and become familiar with. “OneDayOnly is a person, not just a company. A lot of people open the emails just to read the copy,” he says.

Relevant time-sensitive copy

Each email sent has relevant, time-sensitive copy that relates not only to the top deals of the day but also cleverly brings in references to current affairs and social culture. One such example is an email trying to sell a chair:

You might want to sit down for this

The world isn’t exactly rainbows and butterflies at the moment. Britain gave the EU the old heave-ho and went off in search of a better life on its own, and that’s just the start.

America has to decide between Hillary Clinton or the Trumpinator for their next pres, which is like playing Super Mario Bros and being given the choice of Luigi and Luigi. Trump’s (third) wife Melania had to resort to nicking her latest speech word-for-word from Michelle Obama — which admittedly, is as hilarious as it is worrying.

We face the very real prospect that, despite having three teams in the four quarter-finals, no South African teams will make the semis of this year’s SupeRugby campaign. And to cap it all off, we accidentally deleted our recently-PVRed Orange is the New Black without having watched a single episode of Season Four.

But on the bright side, here’s a chair with unrivalled comfort and style to match.

To sell a powerbank, the copy turns to a real-life experience almost everyone has had: the impending decline of a phone battery at a time you most need it to cling on:

So you have an interview for your dream job

12:17 Just under two hours until game time. You have a killer outfit selected, you’ve brushed your teeth and hair, and courtesy of a quick Facebook stalk you know exactly how to butter up your potential new boss.

13:08 You’ve only been driving for two minutes, but you have a sneaking suspicion you’re going to get lost. Probably nerves. Google Maps is just a few swipes away but you notice your cell phone only has 7% battery left. You decide to trust your powers of recall.

13:29 Turns out that was the wrong decision.

13:37 With your phone GPS now guiding you you’re heading in the right direction, but you’re running dangerously late. 3% battery left.

13:54 Traffic is much worse than expected. You’re never going to make it. You try call ahead to let the company know you’re on you’re way but after two rings your phone dies. And your chances of the job go with it.

See how spending R299 today can actually make you money in the long run?

Relationships the most important

From the outset, the OneDayOnly leadership team agreed that building solid, open, and honest relationships with suppliers was the most important thing for the business, and it continues to be something the entire company focuses on every day. “A large part of what we do is keeping up relationships with our suppliers,” says Vermeulen.

That’s not to say the relationship with customers is viewed as any less important. It’s a key part of what the team focuses its time on as it consistently listens to insights and looks at the behaviour of its subscriber base. By doing this, the business model can easily be tweaked to suit what customers want, and this can be done fast. “This is a self-funded business, therefore the ship can change direction very quickly. It keeps the corporate staleness away. We can decide to make a change and then so it immediately,” says Guy.

Looking forward in 2019, the brand aims to keep on its current track of increasing not only its subscriber base but also its supplier list, all with the aim of increasing sales. “We’re coming close to the end of where we can see what a proper company is supposed to look like,” says Vermeulen, adding that another challenge of its exponential growth in the past few years means it’s had to hire people for jobs never even thought needed. Examples include HR resources, business analysts and development testers.

When asked what the 5–10 year plan is, both agree on the continuous focusing on growing sales while only offering the best quality products, and both are dead set in their focus to making OneDayOnly the best daily deal site in the country.

 

Sabrina Forbes“#AgencyFocus/#BrandFocus” is an ongoing weekly series updating the market on ad agency performance and brand, including innovation, initiatives, the work, awards, people and business performance.

Sabrina Forbes (IG) is an experienced writer covering the food, health, lifestyle, beverage, marketing and media industries. She runs her own full-stack web/app development and digital-first content creation company. For more, go to moonwrench.com. She is a contributing writer to MarkLives.com.

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Agency Life: Everybody’s favourite target audience

by TJ Njozela (@tj_njozela) If you’ve ever wondered what it means to have diamonds crushed up in your face, you’re probably an older millennial. If you don’t even know the song that’s referenced, you’re probably a silent gen or baby boomer. If you’re thinking “I luh that song, no cap”, chances are you’re a gen Z. This whole generation shandies can be confusing, but it really helps brands talk to the right group to get them to cop their product (that means buy).

At the moment, pretty much urrbody’s tryna get into the millennial (aka gen Y) and gen Z (aka iGen, aka centennial, aka post-millennial) headspace. Being the two generations who have some spending power, on top of defining what is or isn’t cool, it’s a no-brainer. You gotta know what they’re into. Oviaas. But, more importantly, you gotta know why they’re into it. Here are a few common themes that’ll help you understand gen Ys and Zs a bit more.

Intentional identity

Whooo shem. A lot of brands have been seeing flames because they were tryna be provocative but just ended up being offensive or controversial. Why? Because they don’t know how important identity is to mills and cents, and how misrepresentation is a big no-no. Whether it’s gender, race or social identity, you’ve got to understand that anybody who grew up with colour TVs or the internet don’t want to be told who they are, what they should or shouldn’t be, or even worse, how to behave.

These generations are intentional about how they choose to identify, whether they’re a racial minority or part of the LGBTI community. If you’re still thinking that kids these days are just weird and need to calm their farm, think again. Gone are the days when life goals were starting a family with two-and-a-half kids in a nice neighbourhood with a white picket fence, and a family holiday every year. There’s nothing wrong with any of that, if it’s what you want. Not everybody identifies with that, though. So, when you’re targeting millennials and centennials, you’ve got to always keep their passion points in mind.

Being the goat

Young bloods these days have a very different aspiration to everybody before them. Instead of aspiring to be whatever they want to be, or put their minds to, they wanna be GOATs. Not the rock-climbing, bleating kind that doesn’t need beard oils. They wanna be the greatest of all time. This doesn’t mean flood them with success stories, idealistic dreams of living the high life, or making them feel like, if they have product x, they’ve made it. Nope. Being a GOAT doesn’t mean being rich or famous (though neither of those would hurt). All it means is that they want everything they do, have, or engage with to be the best.

So, don’t try to sell them on how cool you are. Let them know what you’ve got to offer that no one else does. After all, if you have to say you’re cool, you probably aren’t. Harde.

Connectivity is life

We can blame gen X and baby boomers for this one. They live on the internet, smartphones, social media and the rest of that jazz. Now those same gens are the ones talking ’bout “You spend too much time on your phone” or “You’ve got to disconnect and experience real life”. But here’s the rub: for mills and cents, most of life is on the device. It’s how they connect with friends, family, current affairs, increasingly shop, and translate what Trevor really said at the Oscars.

Instead of trying to get them off their devices to engage with your products in other channels, get your product onto their devices and engage with them where they are. Unless, of course, you’ve discovered the perfect way to get tens of millions of people to change their lifestyle because of your product.

~•~•~

There’re a lot more nuances to gen z’khipani and I-don’t-give-a-damillennials (just made that up) that maybe understood with a bit more digging. Instead of just labelling them as 18–35-year-olds with a male/female skew, why not think of them as a fluid age group with an approach that’s gender non-binary? You don’t have to put that in your ‘target market’ slide, but thinking like that will help you to see ’ennials’ as collective individuals, which in turn will help to connect with them in a real way.

 

TJ NjozelaTJ Njozela (@tj_njozela) is a creative director at MetropolitanRepublic. With several years of experience in the advertising industry, he’s more than a writer; he is also a reader, a thinker, and an avid liker of things. He once walked from Joburg to Cape Town in 30 days to raise funds to buy wheelchairs for people in need. #30Days30Wheelchairs. TJ contributes the regular “Agency Life” column, in which he gives career advice for working within the advertising industry, to MarkLives.

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Winners: Bookmarks 2019

by MarkLives (@marklives) One hundred and forty-two winners were announced last night, Thursday, 28 March 2019, at the 11th Annual Bookmarks, which rewards excellence in digital and recognises the powerful impact interactive has on the overall marketing mix. Daily Maverick’s Pauli van Wyk was crowned with the inaugural title of Best Online Journalist, and Mortimer Harvey and the Road Accident Fund received the Pixel for Purpose for its #Always Remember campaign — both Special Honours Black Pixels.

Comments Jerry Mpufane, Bookmarks jury president, “The work awarded at the Bookmarks this year not only celebrates the winning work and leading talent in South Africa, it also becomes a showcase of the go-to case studies and inspiration for up-and-coming talent across the country, as the benchmark for digital excellence”.

Leon Mwandiringa of Clockwork Media walked away with Best Digital Youngster. Raphael Janan Kuppasamy and Jenny Groenewald from Vega School were crowned Best Digital Students. Digify Africa took Best Contribution to Transformation in the Digital Industry and Best Individual Contribution to Digital was awarded to Carmen Murray, founder of Boo-Yah.

Says Paula Hulley, IAB SA CEO, “South Africa’s fresh talent and most memorable campaigns were recognised, illustrating how far the digital industry has come and continues to set the benchmark and light the path for future innovation. This is why we celebrate digital excellence.”

Winners were determined by 68 judges out of 750 entries across 76 categories. The results-based awards show was hosted at the campus | the forum in Bryanston, Johannesburg.

All the winners

Special Honours

Prize

Category

Entity

Company

Black Pixel Best Digital Student Raphael Janan Kuppasamy and Jenny Groenewald VEGA
Black Pixel Best Digital Youngster Leon Mwandiringa Clockwork Media
Black Pixel Best Marketer Holly Meadows Editor in Chief, Cosmopolitan
Black Pixel Best CTO Clinton Bosch Afrozaar
Black Pixel Best Contribution to Transformation in the Digital Industry Digify Africa Digify Africa
Black Pixel Pixel for Purpose Road Accident Fund #Always Remember Mortimer Harvey
Black Pixel Best Online Journalist Pauli van Wyk The Daily Maverick
Black Pixel Best Individual Contribution to Digital Carmen Murray Boo-Yah!
Black Pixel Best Agency King James Group
Black Pixel Best Publisher 24 a Division of Media24
Black Pixel Best Brand Sanlam

Campaign

Prize

Category

Entry agency

Brand

Title

Product

Gold Content Strategy King James Group & 42 Digital Sanlam Conversations with Yourself Sanlam Financial Products
Gold Content Strategy VML South Africa American Swiss Jewellers Drop the Hint Engagement Rings
Gold Content Strategy Ogilvy KFC Make a Meal of it. Streetwise 2
Gold Content Strategy Ogilvy Philips & The Nelson Mandela Foundation #ShaveToRemember Philips
Silver Content Strategy King James Group Sanlam 2 Minute Shower Songs 2 Minute Shower Songs
Silver Content Strategy King James Group Sanlam The 200 Year Old Sanlam Financial Services
Silver Content Strategy Hellocomputer, FCB Africa Western Cape Government Raise your voice. Not your phone. Department of Education
Silver Content Strategy ENGAGE et al, a member of the et al GROUP AVBOB The AVBOB Poetry Competition
Silver Content Strategy King James Group Sanlam Lives of Grace Sanlam My Choice Funeral Plan
Silver Digital Strategy VML South Africa American Swiss Jewellers Drop the Hint Engagement Rings
Silver Digital Strategy King James Group Sanlam The 200 Year Old Sanlam Financial Services
Bronze Digital Strategy TBWA\Hunt Lascaris Johannesburg Joburg Ballet Breaking Ballet Joburg Ballet
Bronze Digital Strategy King James Group & 42 Digital Sanlam Conversations with Yourself Sanlam Financial Products
Silver Digital Integrated Campaign King James Group Sanlam 2 Minute Shower Songs 2 Minute Shower Songs
Silver Digital Integrated Campaign VML South Africa American Swiss Jewellers Drop the Hint Engagement Rings
Bronze Digital Integrated Campaign TBWA\Hunt Lascaris Johannesburg MTN Mic Drop MTN Brand
Silver Mobile Campaign Ogilvy Vodacom Shake Every Day Brand
Bronze Mobile Campaign Ogilvy Vodacom Super Proposal Facebook Canvas Network: Super 4G Coverage
Silver Integrated Mixed Media Campaign Ogilvy ABInBev #NoExcuse Carling Black Label
Silver Integrated Mixed Media Campaign King James Group Sanlam Conversations with Yourself Sanlam Financial Products
Silver Integrated Mixed Media Campaign VML South Africa Africa Absolut One Source Live Absolut Vodka
Bronze Integrated Mixed Media Campaign King James Group Sanlam 2 Minute Shower Songs 2 Minute Shower Songs
Bronze Integrated Mixed Media Campaign Retroviral M-NET Outwit. Outplay. Outdoor M-NET Survivor
Bronze Integrated Mixed Media Campaign King James Group Sanlam Sanlam 100 Years | Integrated Campaign Financial Services

Channel

Gold Online Video Series TBWA\Hunt Lascaris Johannesburg Joburg Ballet Breaking Ballet Joburg Ballet
Silver Online Video Showmax & Sketchbook Studios Showmax Tali’s Wedding Diary Tali’s Wedding Diary
Silver Online Video Publicis Mercedes-Benz Hey Mercedes A-Class
Silver Online Video Net#work BBDO Mercedes-Benz Return to Chapman’s Peak S-Class
Silver Online Video Ogilvy KFC Make a Meal of it. Streetwise 2
Silver Online Video Eclipse PR & King James Group NETFLIX MAN IN A VAN NETFLIX
Bronze Online Video King James Group Sanlam On Life and Planning Sanlam Financial Savings products
Bronze Online Video King James Group Sanlam On Life and Surprises Sanlam Disability products
Bronze Online Video Hellocomputer/FCB Africa South African Tourism Bheki The Mbhaco Maker South African Tourism
Bronze Online Video TBWA\Hunt Lascaris Johannesburg Nissan Nissan Intelligent Mobility 6 second ads Nissan Intelligent Mobility
Bronze Online Video Ogilvy ABInBev Raising Champions – Mother’s Day Carling Black Label
Bronze Online Video Ogilvy ABInBev Raising Champions – Father’s Day Carling Black Label
Bronze Online Video VML South Africa Absolut vodka Africa on Fire Vodka
Bronze Online Video King James Group Sanlam Sanlam 100 Year | Online Video Campaign
Gold Social Paid Advertising King James Group AB InBev Not that Newlands Newlands Spring Brewery
Silver Social Paid Advertising Hellocomputer, FCB Africa Netflorist #LoveEveryone Netflorist Online Delivery
Gold Use of CRM, Loyalty Programs & Gamification Ogilvy Vodacom Shake Every Day Brand
Gold Use of CRM, Loyalty Programs & Gamification Ogilvy Volkswagen #Marco #Polo Polo
Silver Use of CRM, Loyalty Programs & Gamification Mobitainment, ARC South Africa, Asakhane MARS Africa Royco Rewards Royco
Silver Organic Search Marketing Rogerwilco WesBank Dialling Down the Call Centre
Silver Branded Content TBWA\Hunt Lascaris Johannesburg Joburg Ballet Breaking Ballet Joburg Ballet
Silver Branded Content Net#work BBDO Mercedes-Benz Return to Chapman’s Peak S-Class
Silver Branded Content King James Group Sanlam Lives of Grace Sanlam My Choice Funeral Plan
Bronze Branded Content King James Group Sanlam On Life and Bucket lists Sanlam Investments
Bronze Branded Content King James Group Sanlam On Life and Longevity Sanlam Investments
Bronze Branded Content King James Group Sanlam On Life and Planning Sanlam Investments
Bronze Branded Content King James Group Sanlam On Life and Surprises Sanlam Investments
Bronze Branded Content King James Group Sanlam Kwesta – Boomshakalaka 2 Minute Shower Songs
Bronze Branded Content King James Group Sanlam The 200 Year Old Sanlam Financial Services
Silver Innovative use of Media VML South Africa American Swiss Jewellers Drop the Hint Engagement Rings
Silver Innovative use of Media TBWA\Hunt Lascaris Johannesburg Tiger Brands The Most Annoying Banner Doom
Silver Innovative use of Media BrandTruth & Sprout & Ad Dynamo (SnapChat) First National Bank, South Africa FNB App 6.0 Snap Lens FNB
Bronze Innovative use of Media Joe Public Connect South African Breweries Your Business In Lights Billboard SAB Entrepreneurship
Bronze Paid Search Marketing The MediaShop Fishaways Food for thought… Fishaways
Bronze Paid Search Marketing VML South Africa Nando’s Nando’s Ecommerce Shopping Ads Full Chicken, Burgers, Chicken Platters
Bronze Native Advertising King James Group Sanlam The 200 Year Old Sanlam Financial Services
Bronze Email, Direct & Inbound Marketing Gorilla SA Natural Products Survivor Tree- Email Bio-Strath
Bronze Use of Programmatic Media VML South Africa American Swiss Jewellers Drop the Hint Engagement Rings
Bronze Channel Innovation VML South Africa American Swiss Jewellers Drop the Hint Engagement Rings

Community

Silver Use of User-Generated Content VML South Africa Nando’s #GetItTogether Full chicken and 4 sides
Silver Social Media Campaigns TBWA\Hunt Lascaris Johannesburg Joburg Ballet Breaking Ballet Joburg Ballet
Silver Social Media Campaigns VML South Africa Nando’s #GetItTogether Full chicken and 4 sides
Silver Social Media Campaigns Ogilvy KFC KFC Black Fried-Day KFC
Bronze Social Media Campaigns Showmax & Sketchbook Studios Showmax Tali’s Wedding Diary Tali’s Wedding Diary
Bronze Social Media Campaigns Showmax Showmax The Comedy Central Roast Of Somizi The Comedy Central Roast Of Somizi
Bronze Social Media Campaigns Publicis Mercedes-Benz Hey, Mercedes A-Class
Bronze Social Media Campaigns Ogilvy Volkswagen #Marco #Polo Polo
Bronze Social Media Campaigns Ogilvy Castle Lite #HoldMyBeer Castle Lite
Silver Influencer Marketing Ogilvy MultiChoice Watch It Your Way DStv Premium
Silver Influencer Marketing VML South Africa Africa Absolut One Source Live Absolut Vodka
Bronze Influencer Marketing Ogilvy Nimue #NoMakeUpBride Nimue
Bronze Influencer Marketing Publicis Machine Martell Cognac Martell VSSD Influencer Packs Influencer Packs
Bronze Social Communities Publicis Mercedes-Benz Mercedes-Benz Social Platforms
Bronze Social Communities Retroviral RocoMamas Smashing Social
Bronze Use of User-Generated Content Publicis Mercedes-Benz Hey Mercedes A-Class

Craft

Craft Gold Craft – Software, Coding & Tech. Innovation VML South Africa Nando’s Nando’s App iOS and Android App
Craft Silver Craft – Software, Coding & Tech. Innovation Publicis Machine Stones Stones BOT Bottle Operated Table
Craft Gold Craft – Online Video Production King James Group Sanlam Conversations with Yourself Sanlam
Craft Gold Craft – Online Video Production VML South Africa Absolut vodka Africa on Fire Vodka
Craft Silver Craft – Online Video Production TBWA\Hunt Lascaris Johannesburg Joburg Ballet Breaking Ballet Joburg Ballet
Craft Bronze Craft – Online Video Production King James Group Siemens Fabric
Craft Bronze Craft – Online Video Production Net#work BBDO Mercedes-Benz Return to Chapman’s Peak S-Class
Craft Silver Craft – News or Feature Writing 24.com a Division of Media24 News24 News24 Land of Thirst Land of Thirst: a 360 degree video experience by News24
Craft Silver Craft – News or Feature Writing 24.com a Division of Media24 Netwerk24 The Steinhoff scandal Netwerk24
Craft Silver Craft – Interface Design Hellocomputer, FCB Africa Absa – L’Atelier L’Atelier 2018 L’Atelier art competition
Craft Silver Craft – Strategy TBWA\Hunt Lascaris Johannesburg Joburg Ballet Breaking Ballet Joburg Ballet
Craft Silver Craft – Strategy King James Group Sanlam Conversations with Yourself Sanlam Financial Products
Craft Silver Craft – Strategy VML South Africa Cipla South Africa Bronki Boosters Asthma Inhaler Casings, Comic Book, Animated Series, Instructional Videos.
Craft Bronze Craft – Strategy Hellocomputer/FCB Africa Unilever Sunlight Since Since Sunlight Laundry Bar
Craft Silver Craft – UX Hellocomputer, FCB Africa Absa – L’Atelier L’Atelier 2018 L’Atelier art competition
Craft Silver Craft – Social Media Community Management VML South Africa Nando’s Bazothi “Azishe”
Craft Bronze Craft – Social Media Community Management Retroviral RocoMamas Smashing Social
Craft Silver craft – Interactive Design Publicis Machine Stones Stones BOT Bottle Operated Table
Craft Bronze Craft – Marketing Copywriting Showmax Showmax Tali’s Wedding Diary Tali’s Wedding Diary
Craft Bronze Craft – Marketing Copywriting Hellocomputer/FCB Africa South African Tourism Bheki The Mbhaco Maker South African Tourism
Craft Bronze Craft – Digital Media VML South Africa American Swiss Jewellers Drop the Hint Engagement Rings

Emerging digital technologies

Gold Customer Experience Design Accenture Nedbank Nedbank Smart Geyser
Bronze Customer Experience Design Hellocomputer, FCB Africa Absa – L’Atelier L’Atelier 2018 L’Atelier art competition
Gold Internet of Things Accenture Nedbank Nedbank Smart Geyser
Bronze Bots, Messaging & Dark Social King James Group Sanlam Lives of Grace Sanlam My Choice Funeral Plan
Bronze Interactive Mixed Media King James Group Sanlam 2 Minute Shower Songs Press Springbok Nude Girls 2 Minute Shower Songs
Bronze Interactive Mixed Media King James Group Sanlam 2 Minute Shower Songs Press Mi Casa 2 Minute Shower Songs
Bronze Interactive Mixed Media King James Group Sanlam 2 Minute Shower Songs Press Kwesta 2 Minute Shower Songs
Bronze Interactive Mixed Media Retroviral M-NET Outwit. Outplay. Outdoor M-NET Survivor
Bronze Interactive Mixed Media Associated Media Publishing Ready To Shop Ready To Shop Ready To Shop

Platforms

Gold Brand, Commercial & Retail Websites King James Group Sanlam Conversations with Yourself Sanlam Financial Products
Silver Brand, Commercial & Retail Websites Arc Interactive Cell C Girl Cell C Girl Website
Silver Brand, Commercial & Retail Websites Hellocomputer, FCB Africa Absa – L’Atelier L’Atelier 2018 L’Atelier art competition
Silver Microsites Hellocomputer, FCB Africa Absa – L’Atelier L’Atelier 2018 L’Atelier art competition
Bronze Microsites King James Group Sanlam Shop for Good Blue Ladder Schools
Bronze Microsites King James Group Sanlam Sanlam 100 Year | Microsite Financial services
Silver Public Service & NPO platforms Arc Interactive HIVSA Choma Website
Silver Mobile Apps Arc Interactive Dis-Chem Dis-Chem Mobile App
Silver Mobile Sites Mobi Media Vodacom Soccer SA’s Best Football Platform
Bronze Brand, Commercial & Retail Websites TBWA\Hunt Lascaris Johannesburg Tiger Brands Make Them Stop Doom
Bronze Public Service & NPO platforms Hellocomputer, FCB Africa Western Cape Government Raise your voice. Not your phone. Department of Education
Bronze Platform Innovation Mobi Media Vodacom Soccer SA’s Best Football Platform
Bronze Platform Innovation Mobitainment, ARC South Africa, Asakhane MARS Africa Royco Rewards Royco

Publishing

Gold Online News Video Tiso Blackstar Group TimesLIVE Mapping the murder of Hannah Cornelius MultimediaLIVE
Gold Podcasts & Audio Streaming Primedia Broadcasting Eyewitness News Poisonous Bullets News
Silver Online News Video 24.com a Division of Media24 News24 News24 video: Breaking news. First – and in video News24 video
Silver Online News Video Primedia Broadcasting Eyewitness News The Zimbabwe Elections News
Silver Online News Video SABC SABC News SABC News YouTube channel Online news videos
Silver Live Event Coverage 24.com a Division of Media24 News24 #ANCVotes Live Event Coverage
Silver News Innovation 24.com a Division of Media24 News24 News24 Land of Thirst experience by News24
Bronze Publisher Sites 24.com a Division of Media24 Business Insider South Africa Business Insider South Africa Business Insider South Africa
Bronze Electronic Newsletters 24.com a Division of Media24 Business Insider South Africa Business Insider South Africa Business Insider South Africa

For more, go to thebookmarks.co.za.

 

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An Accountant in Adland: Who should be brave? [S1 E2]

by Siwe Thusi (@Siwe_Thusi) The word “brave” has come up lot in the professional conversation circles I’ve found myself in, trying to forcefully manias1 its way into my career. I think it’s even my rent-a-word for the year. And, so, just who is being ‘brave’ so early in 2019? And who should be brave?

Being brave — the startup agency

I recently had the opportunity to invest time helping out a group of talented creatives who’d decided to leave traditional big agency life and forge their own business path as a content creation agency.

Accountant brain

After years of leaving the pure accounting world, it was ironically refreshing to be able to flex-stretch my fingers before opening up a blank Excel spreadsheet to build a series of financial statements from scratch (the brilliant basics — general ledger; trial balance; income statement, cashflow statement and the gawd-of-all: the balance sheet2 ). So many Excel cells to fill in with formulas that will tell this new business’s success story using numbers. It was g-o-o-d.

But, outside of those cells, b-a-d came into play as I had to assume the position of bad cop. The excitement of starting a new creative company came with the excitement of creative rockstars-with-the-business-credit-card. This outweighed the excitement of running a business. The bad cop always had to rein in her creatives, because the second highest expense line item, food and entertainment, reined in the profit. Therefore, the mission was this: for the next reporting period, slash all food and entertainment budgets in half. Period.

Strategist brain

But the bad cop needs to think about this. In the world of creative agency… how far does that food and entertainment line item go to fuel the creative end-product?

In mid-Feb this year, an article about a food-wastage campaign came out. This was a clever awareness poster campaign for the Adfest 2019’s upcoming Young Lotus contest, highlighting the state of the food culture in agencies. Fun fact: South Africa has a R10bn food-wastage problem, on average, every year. I’d be interested to know what of that proportion belongs to all the SA ad agencies combined. That aside, for me it poses the question: How big of a motivator is food and entertainment for the creatives, post the era of the MadMen rockstars? Especially if most of it gets wasted.

The correlation of creativity and food is an interesting one. When bad-cop-me asked about the necessity of spending so much on food, the response from my startup client was: “If food is taken care of, then I can show up at work and be my best creative self.” Finding the balance, between food-that-won’t-be-wasted, hangry3 creatives and clients, and while still breaking even for a startup, is tough. But it’s a long game that must be played because the creative end-product demands it. And, as a startup, bravery is in playing the long game.

Should be brave — creative award shows

Four years into the adland game and, still, when a new panel of creative awards judges is announced, I rush to scroll pass distinguished names, hoping to hover my curser over “XYZ, Head of Strategy/Strategic Planner at ABC”. Still hoping…

Accountant brain

The A-brain sat this one out. Besides the cost that comes with years of experience or being a recent, standout creative newbie, I couldn’t really think of a price point attached to being picked for a jury. It’s a classic case of a qualitative/quantitive data mix.

Strategist brain

There’s not enough strategic planner presence on these juries… and I’m still yet to be convinced of the creative purist argument or stance of ‘strategic planners can’t judge creative work’. The argument becomes very interesting because it leads to the following contention: whether the judgement of creative work is learned and earned… or instinctual. Strategists rely on the facts, as well as on what feels right as a consumer. This is what moves the creative dial.

Interbrand London’s creative director, Sue Duan, once said: “Cannes’ judging criteria is 30% strategy, 30% application, 20% innovation, and 20% impact and results. However, the work needs to be appropriate to the category (too often you see work entered into multiple categories that is simply not appropriate to the entry). It also has to be compelling enough to stop you in your tracks. Work that has impact far beyond its initial intention or that creates a category shift is work that stands out.”

If strategy at 30% (and one would argue application as core to the strategist’s skillset) forms part of the judging criteria for one of the industry’s highest honours, then why aren’t we seeing more and more strategists being included in most creative juries? I guess the jury is still out on that one…

More inclusivity in our creative juries does take the bravery of trusting that everyone can judge creative awards.


Next time on An Accountant in Adland

My growing fascination currently is with the relationship between marketing and advertising. Where does marketing start and where does it end? One thing that has stuck out for me is an undertone of frustration that the pure marketing scope of work is subtly spilling onto the advertising agency’s plate. But, then again, ‘true scope of work’ lives in the detail of the pitch contracts that are signed by our head honchos. Or does it…?

“Super Bowl: If creativity is a muscle, shouldn’t we be working it more than once a year?” is a headline that also grabbed me in that last few weeks. And now that the Super Bowl budgets have been spent and the space for Super Bowl learnings is up, I have some words — a Cannes of words for Episode 3.


1 A South African dance
2 Disclaimer: IFRS (International Financial Reporting Standards) uses new terminology for these documents so, in a bid to use layman speak for this article, I’m a ’lil out of accounting fraternity order. Hashtag, brave.
3 A millennial term that combines hungry + angry.

 

Siwe ThusiSiwe Thusi (@Siwe_Thusi) is a qualified South African chartered-accountant-turned-creative-strategist at FCB Africa and a working photographer. Since mid-2015, she’s been in strategic planning, working on some of South Africa’s big brands in different categories and industries in the ATL space. She contributes the monthly column “An Accountant in Adland” — exploring where, when and how the two ‘disciplines’ overlap… and why they should! — to MarkLives.com.

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Media Design: COLORS, Design 360°, Kagenna, Urban Omnibus

Shane de Lange (@shanenilfunct)’s weekly analysis of media design from South Africa and around the world:

  • Commercial print: COLORS seems to be undergoing a reboot/rebirth, with the first touchpoint for a presumably new campaign launched on Instagram
  • Independent print: Design 360° effectively builds a bridge between occidental and oriental perspectives on design, linking the dots between concept and craft
  • Iconic: Kagenna was an eccentric and alternative counterculture magazine, produced just before the dawn of democracy in South Africa
  • Online: Urban Omnibus produces discourse on architecture, new and old, in New York City; perhaps the most-influential built environment on earth.

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


Print

Heart-Love-Polygon-Geometric-Flat-Design-Icon-Illustration by lekkyjustdoit courtesy of FreeDigitalPhotos   Colors (Italy) March 2019

Colors Magazine, Reboot Issue 1, March 2019 Colors Magazine, Reboot Issue 1, March 2019 — Instagram
Previously thought to be defunct, legendary COLORS magazine seems to be having a rather covert rebirth. As detailed previously, COLORS was a prolific and subversive quarterly magazine, based in Italy and originally founded in 1991. As implied by its strapline, “a magazine about the rest of the world”, every issue was supported by a theme that dictated the flow of reportage from an international perspective, as opposed to the dominant occidental, Eurocentric and/or American point(s) of view.

Although there doesn’t seem to be much information out there about this reboot, all of the above still seems to apply. There is only a semblance of a cover to be found online, with the iconic COLORS masthead, and the little yellow star stating “new formula”. It appears that Instagram is the first touchpoint for this perceived relaunch campaign. Themed “disintegration”, issue #1 seems to be solely available on Instagram at present, with the cover puzzled together 12 twelve separate posts. Each post has its own visual and literary content, titled accordingly with haphazard post-it-like titles, which collectively seem to comprise the entire issue or, at best, acts as a taste of what is to come.

 

Heart-Love-Polygon-Geometric-Flat-Design-Icon-Illustration by lekkyjustdoit courtesy of FreeDigitalPhotos   Design 360° (Hong Kong), issue #79, March 2019

Design 360 Magazine, Issue 79, 2019Design 360° is a magazine about all kinds of design: graphic design, industrial design, fashion design, illustration, etc. Focused on concept as the precursor to craft, Design 360° introduces international trends to an Asian audience, and grants its international audience access to designers and design institutes from across Asia. In essence, Design 360° is a bridge between the predominantly Chinese design community who forms the backbone of the magazine’s readership, and the broader design community across the globe. Interestingly, the magazine uses three different formats, acting as variable section dividers with slightly differing contents and approaches, while maintaining synergy as one publication.

Issue #79 is themed “Illustration and Media”, and emphasises the role that illustration has as a vital branch within the overall rubric of visual communication, particularly when it comes to the happy marriage of concept and craft, and the narrative power of illustration as a discipline.

 

Online

Heart-Love-Polygon-Geometric-Flat-Design-Icon-Illustration by lekkyjustdoit courtesy of FreeDigitalPhotos   Urban Omnibus (US), March 2019

Urban Omnibus, online, March 2019First released in 2009, the New York-based magazine, Urban Omnibus (UO), is an online publication made possible by the Architectural League of New York. Dedicated to observing and comprehending the multifaceted architectural dimensions of New York City, one of the most-impressive built environments on earth, UO investigates and documents creative output that actively produces culture, advancing the collective efforts needed to keep building this ever-evolving metropolis. The site is easy to interact with, thanks to its uncluttered, user-friendly navigation, supported by its accessible and pleasant aesthetic, and approachable content. At the juncture where design and technology meet, UO is developed by fellow New Yorkers, Athletics, which is a cross-disciplinary creative agency also geared towards the cultivation of culture. Likeminded, collaborative, creative communities and cultural entities such as these keep the world ticking, the more the merrier.

 

Iconic

Heart-Love-Polygon-Geometric-Flat-Design-Icon-Illustration by lekkyjustdoit courtesy of FreeDigitalPhotos   Kagenna (South Africa), 1989–1993

Kagenna Magazine, Issues 1, 2 and 3 - Nat_ ardrew - Issue 4, Issue 5 - Jane Thompson - Issue 6 - Alwyn PetersonDeriving its name from the San word, “!Cagn”, referring to the mantis god of the !kung, a high-ranking spiritual being in San culture — a deceitful, shapeshifting deity who could assume many forms, from a snake to an ordinary San — Kagenna was an alternative, underground, counterculture magazine published during the transitional years just before independence and the birth of democracy in SA. Its title also refers to the Jewish word for hell, “Gehenna”, suggesting the provocative, somewhat-mischievous, nature of the publication. Riffing off the energy of liberation brewing at the time, Kagenna was a collective creative inquiry based in Cape Town, inspired by the fall of the Berlin Wall in 1989 and focused on ecology, art and technology. On surface reading hyperbolic, Kagenna was an analogy for a belief that stood at the heart of the San people’s religion, describing the spiritual connectivity between human beings and animals — an archetype for the essential link between body and soul, consciousness and the universe.

Kagenna contained reportage by activists and anarchists alike, subversive to the tee, considering that it was technically published during the apartheid era. With a print run of 2000 copies per issue, the early editions had bespoke printed covers and experimented with different printing techniques. The cover for issue #1 was a mix of silk-screened and Xeroxed components, hand-crafted. Consecutive editions evolved, and became more sophisticated, eventually developing into a successful press.

Kagenna’s strapline, “The Ecology and Culture Frontier”, broadly associated the publication with the then growing “technogaian” movement (loosely related to transhumanism) and tied it to older counterculture roots, notably quasi-hippiedom or borderline bohemia, rather than true avant-garde tendencies. The magazine only produced six issues but each was filled with edgy material that pushed the envelope, arguably being a tad subjective, idealistic, and overtly romanticist at times.

Issue #2 also had a silkscreened cover; #3 followed the theme “Plastic Propaganda” (perhaps more relevant today) and contained a poster made by Beezy Bailey; #4 contained an article titled, “Do You Have to be White to be Green?”, by Albie Sachs; #5 emphasised the survival of the San people and eco-architecture; and #6 was accompanied by a text titled “Cyberpunk” by Timothy Leary (the infamous American psychologist notorious for his support of the therapeutic potential of psychedelic drugs). The final issue, designated #7, seems to be a 10-year anniversary re-issue which was published digitally in 1993, likely the first of its kind in SA. The influence of rave culture is clearly evident in this last issue, particularly with the choice of design aesthetic, which looks like a warehouse party invite, and the change in tone of voice suggested by the introduction of another strapline: “Intergalactic Culture and Funky Ecology”.

Sources

 

 

Shane de LangeShane de Lange (@shanenilfunct) is a designer, writer, and educator currently based in Cape Town, South Africa, working in the fields of communication design and digital media. He works from Gilgamesh, a small design studio. Connect with him on Pinterest and Instagram.

Media Design is a regular slot deconstructing media design, both past and present.

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BREAKING: Distell appoints Publicis Groupe as well

by MarkLives (@marklives) Publicis Groupe has won the account for the second tranche of Distell brands, with Miles Murphy, Publicis Groupe Africa chief operating officer, to head up the team working with Distell. As integrated communications partner, the group will manage all aspects of the marketing mix, including advertising, digital, social, PR, media and activations for Bernini, Extreme, Count Pushkin, Gordon’s, JC Le Roux, Klipdrift, Olof Bergh, Richelieu and Three Ships.

“Elite team of specialists”

Says Murphy, “We can’t wait to get working with the Distell team to turbo charge this group of brands. We have pulled together an elite team of specialists from all marketing disciplines within our Groupe, including experts from Saatchi & Saatchi (advertising and marketing), Digitas Liquorice (digital and social), MSL (public relations), Starcom (media) and The Creative Counsel (activations and route to market). The team will work in an integrated manner driving world-class marketing, innovation and efficiencies for Distell.”

“We are thrilled with this appointment,” says John Dixon, Publicis Groupe Africa CEO. “Distell has taken a bold move to consolidate this group of exciting South African brands into a single agency partnership with Publicis.”

Comments Donovan Hegland, Distell global marketing director, “Having got to know the Publicis team and their offering during the pitch process, we are very keen to have them on board to look after this batch of iconic brands and look forward to a fruitful relationship.”

First tranch

This announcement follows the February 2019 news that Distell had consolidated its account and appointed a new bespoke WPP agency, Team Liquid, to handle the first tranche of brands: Savanna, Hunter’s, Amarula, Viceroy, Bain’s, Scottish Leader and Hunter’s Edge.

 

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The Martini Shot: The balancing act of negotiation

by Bobby Amm. One of the important activities of industry associations is to facilitate negotiations between their respective members. This is especially relevant in an industry which comprises thousands of freelancers, is subject to the pressures of supply and demand, and requires detailed and accurate quotes to be sent to clients at short notice.

Talent rate guideline

The Commercial Producers Association of South Africa (CPA) recently reached an agreement with the National Association of Model Agents (NAMA) and the South African Performing Artists Managers Association (SAPAMA) on a guideline to change the way the service industry pays day rates and usage fees to talent —an important step in ensuring the sustainability of the industry, as international clients have long complained that SA’s talent rates make the country uncompetitive. NAMA and SAPAMA were very responsive to this concern and, with invaluable input from the casting directors, came up with the new proposal.

After some tweaking, the guideline, which essentially increases day rates while simultaneously reducing usage fees, has been welcomed by the industry and, so far, the feedback from production companies and clients has been very positive indeed. Although artists may be losing out on higher usage fees, the increased day rates (and hopefully greater number of international jobs incentivised to come to SA as a result of this deal) should act as a strong incentive to artists looking for a more-consistent income. It is hoped that this will also help to attract newcomers to the industry, thereby growing the talent pool.

Negotiations between industry associations are notoriously challenging, and require give and take on both sides; however, there is a certain satisfaction in finding a solution that works for everyone and, most importantly, is good for the business. Negotiations do, though, come with a natural expectation that everyone concerned should abide by the outcome, which is impractical in SA’s free-market system that outlaws price fixing and market manipulation.

Competition law

While guidelines assist production companies to pitch and quote confidently and crew and talent to expect rates that are market-related and fair, the CPA’s position is that everything must remain negotiable and robust competition between competitors is essential for the promotion of a healthy and sustainable industry. From a legal perspective, competition law dictates that an agreement between parties in a vertical relationship (clients and suppliers) is prohibited if it has the effect of substantially preventing or lessening competition in a market.

For this reason, it is important for industry associations involved in negotiations between vertical supply chains to make it very clear to all concerned that their recommendations are in no way binding and that negotiation on costs is strongly encouraged in all circumstances. Associations and their members must also be able to show that their relationship is beneficial to the economy and that there are gains that outweigh any anti-competitive effects, as the onus will be on them to prove this, should accusations of impropriety arise.

SA’s growing legislative framework places more pressure on our industry to do things by the book; however, it’s encouraging that associations are still in a position to engage in constructive discussion on how to move forward in the collective best interest of the industry and in good faith. It’s something we hope to see more of in the future.

 

Bobby AmmBobby Amm is chief executive of the Commercial Producers Association of South Africa (CPA), the trade association of production companies that produce television, cinema and internet commercials for the local and international market. After a brief stint in journalism, she began her career in the industry at the Consultative Committee for the Entertainment Industry in the early 1990s. She first joined the CPA in 1997 but left three years later to join a production company. After finding that she missed the big-picture perspective of the CPA and the interesting issues which continuously perplex the production industry, Bobby returned to the CPA in 2003. She contributes “The Martini Shot” column monthly, covering developments, trends and insights into the commercial production and film services industries in South Africa, to MarkLives.

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Market Research Wrap: Mini wireless earbuds driving growth

by MarkLives (@marklives) Our weekly wrap of the latest market and consumer research:

  • Global wireless headphone market
  • Looking ahead for department stores

Millennials boost demand

Arizton True Wireless Headphones Market 2019-2014
Click to enlarge.

The global wireless headphones market is estimated to generate revenues of approximately US$15bn by 2024, with the introduction of innovative and miniature wireless earbuds driving the growth, especially among fitness and sports activity enthusiasts. This is according to “True Wireless Headphones Market — Global Outlook and Forecast 2019–2024”, recently published by Arizton Advisory and Intelligence. [Cheryl Hunter]

The forecast covers a detailed overview of various growth enablers, restraints, and trends that promise to affect many markets and products.

Rapid globalisation and an increasing number of mass media channels have made the millennial generation aware of a wide range of cultures and music genres, boosting the demand for new devices in the market. Some vendors have even created real-time language translation capabilities that work both with and without networks.

Smart devices dominated the total market share in 2018, redefining the genre of wearables by integrating features of various electronic devices into the tiny space of earbuds.

The increasing number of ecommerce portals and online direct-to-consumer stores, such as Amazon, eBay, Best Buy, Alibaba, and JD.com, is contributing to the growing demand in this segment, with two-thirds of sales taking place online in 2018. Major vendors in the market are Apple, Sony, Bragi, Jabra and Samsung.

  • Request a sample or buy the full report at Aritzon.

 

Brick-and-mortar futures

Forrester logoNew research from Forrester, “The Future Of Department Stores: AD&D Imperatives”, distils opinion on the options such stores have for thriving and surviving, the capabilities that will bolster their chances of success, and the tools application development and delivery (AD&D) teams must either build or buy to prosper. [Cheryl Hunter]

All retailers are trying to navigate the gap between profits, dividends, and technology-mediated relevance to customers, but department stores — historically brand showcases — now face special challenges as sales move online, unless they are able to materially enhance customers’ experiences. Going forward, department stores will focus less on transactions and more on convenience, novelty and entertainment, focusing on service rather than sales, personalised interaction, customer retention and unique merchandise.

 

This weekly “Market Research Wrap” column offers an overview and critique of the latest market and industry research.

Cheryl HunterCheryl Hunter (@cherylhunter) has written for the South African media, marketing and advertising industries for more than 15 years. A former editor of M&M in Independent Newspapers and contributor to Bizcommunity, AdFocus, AdReview and the Ad Annual, she has also produced for various television networks and currently consults on communication strategy and media liaison.

— One subscription form, three newsletters: sign up now for the MarkLives newsletter, including Ramify headlines; The Interlocker, our new monthly comms-focused mailer; and Brands & Branding, launching soon!

Young, Gifted & Killing It: Nkululeko “Legend” Manqele

by Veli Ngubane (@TheNduna) Pietermaritzburg-born Nkululeko “Legend” Manqele (@legendmanqele) shares his entrepreneurial journey with us, from senior sales rep for a clothing store to founder and CEO of The BarLeader Group, with recent accolades including being one of GQ’s Most Influential Men of 2018 and an eThekwini Wenze Kahle Award.

Legend Manqele
Legend Manqele

Veli Ngubane: Tell us more about yourself: where did you grow up and what did you want to be when you were growing up?
Legend Manqele:
I was born and raised in Pietermaritzburg, reared by the matriarchs of our family, being my grandmother and my mother. A boy cultivated into manhood at the hands of women always makes for life experiences filled with good intentions, inevitable mistakes and the will to persevere. It’s only befitting that, growing up, I always knew that I wanted to be a storyteller — there was so much that this type of family setup allowed me to explore within myself. Listening to my grandmother telling us kids ancient folktales, I would get lost in my imagination and vividly see the characters and sometimes create my own ending to the story.

VN: How has your upbringing and culture influenced your creative journey and perspective?
LM:
At 29, just three months shy of the milestone year of 30 [at the time of the interview], I find myself identifying as a man proud that the bloodline of Shaka kaSenzangakhona runs through my veins during a time where I can thrive in any environment. That wasn’t a possibility for my grandmother or my mother, even. I’m proudly African with a global appeal and appreciation. As a citizen of the world, I feel just as comfortable with the New York City skyline behind me as I am in the heart of KZN [KwaZulu-Natal], where nature forms the best view before me. That’s a privilege I’ve earned which I don’t take for granted. Its emerged from me being the middle child between two brothers; the middle-child syndrome has its perks, surprisingly. Most of the time I was left alone to my own devices; as a teenager I quickly developed the ability to become deep in my thoughts for hours which continuously clarified my perspective about my life and the world in which I live. I believe this greatly influenced my creative approach to television.

This allowed me to become independent early on in my life. The community played a huge part in our lives as our home was always filled with family and friends, with family time often being centred around the television set. Far from causing disconnection, the TV set was a huge influence in connecting not only mine but many black families across South Africa, who appreciated seeing themselves being reflected in such a celebratory way. I was always excited after watching my favourite shows as my friends and I could replay some of our favourite scenes — unbeknown to me, this laid the seeds for what would lead me into my destiny.

VN: Please explain what you actually do and how an average day looks for you?
LM:
I am the founder and CEO of The BarLeader Group. The group comprises The BarLeader, a premium production company, and thebar, an online publication platform, and various other businesses I am involved with in my capacity as a venture capitalist.

I am eternally grateful that no two days are ever alike, apart from the key things that begin and end my day. I start my day early, at around 4.30am, where I kick off my day with a solid run in the presence of a huge energy-driver of mine — nature. Running is a must for me to kickstart my day, as it often allows for a great environment for reflection and meditation. A great run reminds me of the importance of setting the right foundation for any day or year or even business, as it always reminds me of the truth that the will to win means nothing without the will to prepare. I often incorporate my meditation during my run. When I get back home, my workday [consists] of me straddling between boardrooms, film and television sets and team meetings. I manage to get lunch in between meetings and pitches, and often conduct many meetings in the car as telecons en route to another engagement — it’s the nature of the business and I’m here for it, so I just manage it on a day-to-day basis. This also includes speaking engagement requests for corporate and industry platforms, which I rarely turn down, because teaching is part of the process — I wouldn’t be where I am today, had it not been for the many industry practitioners who taught me.

My day usually ends up with me winding down by dedicating all my attention to prayers that will impact those people and things that matter to me the most — friends, family, colleagues, business associates, the businesses and myself. I never place my head on the pillow without placing my hands in prayer.

VN: Tell us about your journey: how did you get into production and content creation?
LM:
The passion for content creation has always been a memorable part of my life. What complemented my TV and family moments was my involvement in the arts and drama classes during primary school. However, this involvement really took shape during the latter period of my formative years as a student at New Forest High School. I was very active in pioneering many of the drama productions we had at school. Later on in my life, as my path become clearer, I abandoned the ‘security’ of permanent employment, as a senior sales rep for a clothing store, in pursuit of my passion. This resulted in me applying for a junior position at a production company, where I spent many of my days learning about the industry while on the job — an opportunity which I will forever be grateful for.

This opportunity came after months of me walking 15km to and from the Urban Brew Studios in Randburg from my apartment which I shared with industry colleagues in Hillbrow. The hunger in me was real and I’ll forever be grateful to myself for feeding it at best, from nothing. It was the foundation which taught me to keep my eyes focused on the promise for my life and not the process I found myself in, which ultimately was cocooning me to make the reality of my life now, manifest. From those humble beginnings at Urban Brew Studios, the rest is history.

VN: Tell us more about BarLeader: where is it now and what are the plans for the company in future?
LM:
The company was born really from me having this urge to produce the type of content I believed that this continent had the capability of producing. As is the case with many entrepreneurial journeys, I had started to feel jaded at the production company I was working at. [While] eternally grateful for the opportunities it afforded me and all those I had worked for previously, I knew I had to journey into the next phase.

The BarLeader is a truly urban African multimedia film and television business, which I founded in 2014 after I realised that I was the solution towards creating the type of content I wanted to see. It is the spirit of authentic creativity that makes BarLeader the production house of choice for brands [which] are committed to growing the African media landscape through telling our stories with dignity and pride. As such, our goal is to educate and collaborate with worlds different from ours through a consistent commitment of delivering premium productions.

We’re at the stage now where we have defined production-focus areas. The BarLeader focuses on film and TV production and thebar focuses on online content production. Within BarLeader, we focus on reality TV, docu-series, finite frama series, music productions and live productions. Within thebar, we focus on online content which will expand into experiential platforms from this year onwards.

VN: Transformation in the industry is still slow; what do you think needs to be done to fast-track transformation in your industry?
LM:
Well, I quite like the thinking of spiritualist Richard Rohr, who says, “Transformation is often more about learning than unlearning.” That’s my take on it — for me to experience the benefits of it, I have to facilitate the unlearning of those who have enjoyed the monopoly in order to allow for a more-inclusive industry that allows for previously marginalised groups to not just have access to opportunities but also to take advantage of each and every opportunity by adding long-term value. This process of facilitating unlearning is three-fold.

Firstly, it involves me creating a production company that facilitates employment; I keep a full-time employed staff complement, which has its challenges sometimes but ensures a consistent premium production handwriting in all that we do. The unlearning here is that black-led and -staffed production companies cannot deliver on the best content consistently. This leads to the learning that, actually, we can.

Secondly, I’m committed to dispelling the myth that, in this industry, women are valuable in front of the camera only and cannot have an impact behind it. In my company, women hold executive and senior positions in operations, senior management and production. I even go as far as encouraging the women whom I work on productions with to own a stake in the productions they star in by encouraging them to set up their own production companies. Further to this, I am in the process of setting up an educational institution which will become the launchpad for many young industry practitioners who have the talent and do not need to be delayed by structural challenges. This learning institution is in the process of being accredited as an educational institution.

Lastly, there is still a need for bigger production budgets and better financial models that generate more revenue for the practitioners which make the content a reality. Our industry contributes well over R5bn to the GDP of the country — that’s a significant amount and the purpose of the online platform, thebar, is to ensure that we bring this to light and actively grow that number.

VN: You have produced popular shows such as Being Bonang. What’s next? What projects are you working on?
LM: It is an exciting time at BarLeader as we know, without a matter of a doubt, that 2019 is already and will continue to be a fantastic year. We have managed to retain our two flagship reality TV shows and as such are full-steam ahead into production for Being Bonang Season 3 and Living the Dream with Somizi Season 4. We have new exciting shows which are a first for South African television, which we know will capture, the hearts and minds of our audiences — one falls under our reality TV division while the other falls under our newly formed docu-series division.

When it comes to live television, we [were] busy with production elements for the 13th Annual South African Film & Television Awards [SAFTAs] and the venture capitalist in me has us preparing for the fruits of our labour, geared towards expanding and positioning the business where it should be. thebar is only seven issues [at the time of the interview] in but is already shaping up nicely and we’re excited to take it to the next level of experiential content.

VN: Where and when do you have your best ideas?
LM:
Ralph Waldo Emerson once said, “Adopt the pace of nature: her secret is patience”. I draw inspiration from nature. Whether I am taking a walk or jogging, nature fuels me so much that my creative juices get these sparks of inspirational light. Emerson’s perspective has also taught me to be present in each moment and patiently wait for my heart to realise these sparks of inspiration and for my mind to turn them into ideas that work.

VN: What advice can you give to young creatives wanting to get into the business?
LM:
The industry today is not what it was when I started in it 11 years ago. Then, I had to physically be in the presence of industry structures — production houses, people, sets etc. Today all it takes is a smartphone, great wifi and some inspiration for young creatives to produce, launch, share and promote their own content. Nollywood films made off of smartphones rake in millions. The advice is really to showcase your talent and the industry will be here to receive it — we’re all on our phones, anyway, so you’re more likely to get a response from work submitted via a tweet than a physical CV. Social media is your biggest opportunity as a launchpad, so use it.

Also, remain hungry, remain interested and connected. We need young creatives to drive the newness of the industry and not wait to just replicate what happens abroad. Through digital, we have all become globally accessible so abroad is as much “here” as “here” is “here”. You never know who is looking for an idea you may have and would want to collaborate with you.

VN: Tell us something about yourself not generally known.
LM:
I’m a really great cook and have a collection of cookbooks, which is growing. Anything from uphuthu to a pasta dish you’d have to get a Jamie Oliver to put together, I can do. I enjoy a home-cooked meal done really well and often hook one up for myself or friends who come over to hang-out. I enjoy a really great dinner where the conversation complements the menu — I have a tight selection of restaurants where I’m a regular at because of the great food and service. I need a wholesome experience so I’m willing to seek it at eateries which I love or create one myself.

VN: What are the three things you wish you knew that you know now that you would have loved to know on your business journey?
LM:
Firstly, that business has a tricky scale one always needs to balance — It doesn’t always make room for the ‘nicest’ part of you, yet in essence, no one likes to do business with people they don’t like. It’s tough to balance but worth it in the end.

The second one [leads] from this. If your reputation/name is a house, then relationships are the foundation on which the house stands on and consistent excellent delivery are the materials that make that house what it is. Relationship-nurturing is probably what I do with the majority of my time, which is why my management team [is] key for ensuring that the company runs. Lastly, I heard something great once which I really love, which is that you have to have your heart in your business and your business in your heart. As strange as it sounds, business is a heart game and I’m a guy with a big heart so it works for me, but I have to constantly manage to protect it. You have to love what your business is about, what it does for others and what it does for you — if you don’t see the value in it, you will never be driven enough to see it succeed. The educational CSI wing which I’m setting up [is a] response to these aspects of business learning and so many others.

VN: Please would you supply two or three pieces of work you have been involved in?
LM:
Most-recent work:

  • Winnie Mandela funeral 2018 (production elements: BarLeader)
  • Akhumzi Jezile funeral 2018 (programme design: TriLab; production elements: BarLeader)
  • SAFTAs 2019 (red-carpet production: BarLeader; main broadcast awards and technical awards: TheBar)
  • Living the dream with Somizi
  • Being Bonang
  • VUZU: Rich Kids

 

Veli NgubaneVeli Ngubane (@TheNduna) entered the world of advertising with a passion after completing his BSocSci (law, politics and economics) at UCT and a post-graduate marketing diploma at Red & Yellow, where he’s currently advisory board chairman. He also sits on the IAB’s Transformation & Education Council, is a DMA board member and Loeries, APEX, Pendoring, Bookmarks and AdFocus. He is the group MD of AVATAR, one of the largest black-owned and managed integrated agency offering in South Africa. In his monthly column “Young, Gifted & Killing It”, he profiles award-winning, kick-ass black creative talent in South Africa.

— One subscription form, three newsletters: sign up now for the MarkLives newsletter, including Ramify headlines; The Interlocker, our new monthly comms-focused mailer; and Brands & Branding, launching soon!

Gestalt: How to become truly, madly, deeply customer-obsessed

by Leeya Hendricks (@LeeyaHendricks) It’s a fact of business that customers are more inclined to want to deal with you if you’re customer-focused — or, as some in the know call it, “customer-obsessed”.

Think about the implications of that: every time you frustrate your customer’s expectations, they have reason and opportunity to go to the competition instead. That is why there’s a direct link between your customer relationships and your sales and profits.

Customer-focused marketing

So, how do you become customer-obsessed? It begins with identifying the customer’s needs, wants and problems — the essence of customer-focused marketing. This uses customer data to guide and drive development of the company’s products or services (aka devising solutions to customer problems).

But even a customer-obsessed culture may err when it focuses too narrowly on specific touchpoints in the customer experience (CX).

In such cases, businesses are too close to the problem, and their attempts to problem-solve and transform are doomed to failure. Don’t solve for a specific touchpoint without considering the bigger picture of business objectives and customer needs. Individual touchpoints are, in any case, not always the cause of negative customer experiences. Customers are often not dissatisfied with one particular experience but with a range of unsatisfactory interactions with a business.

What does this mean organisationally?

Bringing about customer-obsessed transformation begins with getting buy-in, not just from organisational leadership but also from all the relevant project stakeholders.

A team armed with knowledge about what they’re seeking to achieve and the tools to achieve it is central to successful customer engagements, since it’s tasked with implementing the executive’s customer-centric vision. Without a change towards a customer-focused culture, organisations won’t be able to make the shift to customer-centricity.

In a sales environment, being customer-focused requires sellers to put themselves in customers’ shoes and see things from their perspective. This is difficult as it means ceding control to the customer and letting your sales focus be determined by customer needs, desires and ambitions — none of which will come naturally or be easily understood.

Why be customer-obsessed?

It’s simple: viewing things from the customer’s perspective helps us better understand customer needs and what products and services would work for them. It also helps us to support them better, and a customer can always sense an honest attempt to do so.

When there’s a problem, customer focus creates a rewarding mutual engagement between you and the customer: a project to solve their problem that is also a bonding experience. This means focusing on developing and instilling the right mindset and behaviour in your people. Is your main objective to help your customer and act in their best interests? Above all, it’s important to be sincere and genuine.

Activating this mindset involves putting your own priorities second and even your sense of self-importance. Ask yourself how best to service the customer. Think about what you would want in the customer’s situation to increase their level of satisfaction. Train yourself by making the most of service encounters in daily situations, no matter how big or small.

Become extraordinary

When done right, customer focus can help transform a company into an extraordinary one.

Enable customer obsession in your organisation by starting from the inside out. As Tim Hoskins put it, “Successful businesses usually have one thing in common. Every employee is obsessed with creating a positive experience for their customers. As an ideology, customer obsession means recognising that the people who have direct contact with your customers on a daily basis are closest to their successes and their failures.”

 

Leeya HendricksLeeya Hendricks (@LeeyaHendricks) is a designated chartered marketer, global marketing strategist, digital driver and a Women in Tech leader. She holds a BA degree in fine arts, a BA honours degree in brand marketing management, an MBA in business management and is completing her PhD in management sciences, focusing on the customer and business transformation. She is now director of customer first marketing at ORACLE UKI, responsible for driving customer success through customer advocacy, and building strategic partnerships focused on emerging technology and the changed customers’ buying behaviour. Leeya contributes the monthly column “Gestalt”, about putting customers first for sustainable business success, to MarkLives.

— One subscription form, three newsletters: sign up now for the MarkLives newsletter, including Ramify headlines; The Interlocker, our new monthly comms-focused mailer; and Brands & Branding, launching soon!

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