#Marketers: Prof Elaine Rumboll & the pursuit of creativity

by Julie Pughe-Parry (@pugheparables) According to Prof Elaine Rumboll (@elainerumboll) the only way to overcome the double-edged nature of creativity is to embrace uncertainty. Once this has been done, marketers will have more success in tackling the challenges that arise in the everchanging landscape of adland.

Transferability of creativity

The founder and MD of The Creative Leadership Consultancy, Rumboll will be keynote speaker at this year’s Nedbank IMC Conference in Johannesburg — testament to the transferability of creativity across industries and disciplines, a principle well-acknowledged by her in her teachings. Rumboll’s own career has been shaped by this: not only is she a keen and driven academic, she is also an exceptional blues singer and an internationally published, award-winning poet.

Rumboll started out by hosting creative workshops at maximum security prisons before moving into the education sphere, where she held high-ranking positions such as dean of Damelin Management School and director of Executive Education at the UCT Graduate School of Business.With her experience in education and her passion for creativity, in 2011 she founded The Creative Leadership Consultancy.

Through masterclasses and focused workshops, the consultancy addresses the uncertainty within creativity by inspiring participants through play, agility, curiosity and energy. One method is Lego Serious Play, a process in which individuals are able to reflect on their decision-making through the act of play in a controlled environment.

“What is so interesting is that it’s often the people who are the most brilliant [who] go into that place of over-seriousness. To them, it matters so much that the work they do is considered incredible that they end up being alienated, burnt out, cynical, disengaged and actually incapable of creating things that are extraordinary anymore,” says Rumboll. “What play does is create a space where you can just laugh and try again.”

Advanced Creative Entrepreneurship Programme

At the moment, the consultancy is accepting applications to its Advanced Creative Entrepreneurship Programme later this year, which is specifically designed to help businesses overcome their sense of over-seriousness and to help them embrace play as a solution.

But it’s not only entrepreneurs who’ve grown out of touch with creativity; it’s something that’s experienced in all industries, especially in marketing. With ‘creativity’ finding its place among advertising buzzwords, Rumboll stresses the importance of maintaining its true meaning. “I think it’s something that is absolutely critical. Everything I do is in the service of creativity. They say that creativity won’t change the world but the world will change because of creativity and I just think that matters so enormously.”

In looking at South Africa’s marketing landscape, she explains that we need to shift from the idea that creativity is only for the creatives to acknowledge that creativity is for everyone.

#NoExcuse

Of several campaigns that she feels have carried the creative spirit she so endorses, the most poignant is the #NoExcuse campaign by Carling Black Label in 2018.

https://youtu.be/waYOMcXOCZo

With the insight of domestic violence often being worsened by alcohol consumption, the classic beer brand responded by actively advocating against domestic violence — during the Soweto Derby, where excessive drinking often occurs. The advertisers were able to take the data and information at their disposal, and create a campaign with the potential to effect change.

This campaign has also reminded her of the importance of bravery in marketing. “When you bring on authenticity, spontaneity and vulnerability, you build trust. And what happens when you have trust? You have the capacity to create massive impact,” she points out.

Advice for marketers

Apart from embracing creativity and dispelling the fear of uncertainty, Rumboll has one more piece of advice for marketers: “Stop giving yourself a hard time. Stop beating yourself up. Sometimes, just pat yourself on the back a bit… because, really, you are our visionaries.”

See also

 

Julie Pughe-ParryJulie Pughe-Parry (@pugheparables) graduated from Vega Cape Town with a BA in creative brand communications in 2017. A copywriter by day and freelance content writer by night, she continues to pursue her passion for the craft of written word.”

MarkLives profiles South African marketers in its regular #Marketers column.

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#AgencyLeaders2018: Most admired ad agency boss in Cape Town

by Herman Manson (@marklives) Cape Town’s ad execs have spoken — today we reveal which agency bosses were most admired by their peers in Cape Town during the course of 2018!

Every year since 2012, MarkLives has been polling South Africa’s top ad agency leaders to find out what they think of their competitors, whom they see as effective managers and great creative leaders, and where they believe their future competition is likely to come from. Next week will be the Joburg results, followed by the national results in two weeks’ time, and then our remaining categories.

The most-admired agency boss in Cape Town

James Barty
Co-founder & chief executive
King James Group CT

Jame Barty 2019James Barty is our most-respected agency boss in Cape Town for the fourth year running. Over the course of the last year, the King James Group CT agency revenue in Cape Town grew by 24%. Staff count is also up.

MarkLives logoHow would you describe your leadership style?
James Barty: Alistair and I have often described ourselves as “benevolent dictators”. However, I am probably more of a consensus-seeking leader but always with a strong perspective.

MarkLives logoWhat’s the best advice you could give new agency entrepreneurs?
JB: Focus on the immediate task at hand. Do not allow yourself to become caught up in ‘building castles in the sky’. And above all — cashflow, cashflow, cashflow!

MarkLives logoWhat’s the best advice on leadership you ever received/ read/ heard?
JB: Real leaders are those [who] recognise that they are in service of something greater than themselves — a vision, a team, a moral code or a culture.

Previously

Barty took the top spot in 2017, as well as in 2016 and 2015. In 2014, it was Adrian Hewlett, then CEO of Publicis Machine; in 2013, it was Gavin Levinsohn, ex-MD of Ogilvy Cape Town and, in 2012, our inaugural poll, Claire Cobbledick (then MD of The Jupiter Drawing Room Cape Town), tied with Barty for the top spot.

 

The runner-up

Wayne Naidoo
Founder/CEO
DUKE

Wayne NaidooBeing small, experienced and independent has paid dividends for Cape Town agency, DUKE. Under the guiding hand of founder Wayne Naidoo, the agency uses a small core team of senior execs, flanked by senior freelancers. Apart from winning business and awards, DUKE has also achieved spectacular growth over the last two years: growth in the 2017 financial year stood at 186% and, in 2018, it exceeded 70%.

According to Naidoo, the agency works collaboratively with like-minded specialist agencies while building its product around clients’ needs, rather than retrofitting processes or structures.

“Integrating strategy more closely with creative provide insightful, workable, creative growth solutions for clients that deliver great results,” he says.

Previously

In 2017 our joint runners-up were Andrew Brand, 99c MD, and Jason Xenopoulos, then VML South Africa CEO and CCO. In 2016, our runner was Mike Abel, founding partner of M&C Saatchi Abel. There were no runners-up in 2014 or 2015. In 2013, Barty was runner-up; in 2012, it was Gavin Levinsohn, ex-MD of Ogilvy Cape Town.

 

How the poll works

In November 2018, we invited a panel of 120 agency executives — creative and management, and ranging over a wide spectrum from small- and medium-sized to network agencies — to nominate their most-admired agency and agency leaders regionally (for Johannesburg or Cape Town) and nationally (South Africa). Execs couldn’t nominate their own agencies or staff members. All the nominations were then tallied up for the final result. The editors of MarkLives held two votes in the final poll.

Note: Runner-up(s) will only be named if they achieved a good nomination tally relative to the winner’s position. Contenders are named if they stand out significantly above other nominees but weren’t able to close in on the winner’s tally. The most-admired agency of the year is disqualified from the One to Watch category; votes cast in its favour in this category are discarded.

See also

 

Herman Manson 2017Herman Manson (@marklives) is the founder and editor of MarkLives.com.

— 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!

SA TV Ratings: SABC 2 — primetime top 20 for Dec, Nov 2018

by MarkLives (@marklives) The hottest primetime shows on SABC 2 in South Africa revealed: TV ratings for December and November 2018.

SABC 2 logoSABC 2, December 2018

Top 20 Programmes All Adults 15+
December 2018 Prime Time 5.30pm—10pm
Adults 15+ years U:35679 S:8278

Source: BRCSA December 2018

Day

Date

From

To

Station

Programme title

Genre

AR

Viewers

Share

Mon 10/12/2018 2059 2129 S2 Muvhango Dram 17.2 6 123 433 50.2
Thur 27/12/2018 2057 2100 S2 Behind the Scenes:16 Days of Activism Docu 7.2 2 553 936 15.2
Fri 21/12/2018 2056 2100 S2 Music Musi 6.6 2 362 247 13.1
Mon 10/12/2018 1800 1830 S2 7De Laan Soap 6.4 2 277 539 23.7
Fri 21/12/2018 2131 2201 S2 Tlharantlhope Dram 5.3 1 877 108 21.2
Thur 13/12/2018 2131 2200 S2 Speak Out Actu 4.1 1 474 208 16.2
Tue 04/12/2018 2130 2159 S2 90 Plein Street Dram 3.6 1 300 181 14.5
Thur 27/12/2018 1830 1900 S2 Nuus News 3.5 1 247 891 14.1
Tue 18/12/2018 2057 2101 S2 The Vodacom Show Quiz 3.4 1 225 425 15.1
Wed 12/12/2018 2130 2159 S2 Hillside Dram 3.1 1 100 877 10.2
Wed 26/12/2018 2056 2100 S2 Lotto Draw Live Quiz 3 1 082 901 10.8
Sun 09/12/2018 1859 1955 S2 50/50 Docu 2.8 987 639 9.8
Thur 27/12/2018 1900 1956 S2 Noot Vir Noot Musi 2.7 970 696 9.9
Sat 29/12/2018 1859 1955 S2 American Ninja Warriors Vari 2.7 969 757 10.3
Sat 22/12/2018 2029 2055 S2 Ke Ba Bolelletse Sitc 2.7 966 410 11.2
Sat 22/12/2018 2000 2028 S2 Ses/Tsw/Sep News News 2.7 950 823 11.1
Sat 01/12/2018 2027 2055 S2 Ga Re Dumele Sitc 2.6 938 600 11.2
Mon 31/12/2018 2029 2059 S2 Leihlo La Sechaba Actu 2.6 933 739 9.9
Fri 28/12/2018 1730 1759 S2 Venda/Tsonga News News 2.5 885 899 11.4
Mon 24/12/2018 2127 2220 S2 Gospel Classics Musi 2.4 854 664 12.6

 

SABC 2 logoSABC 2, November 2018

Top 20 Programmes All Adults 15+
November 2018 Prime Time 5.30pm—10pm
Adults 15+ years U:35679 S:8540

Source: BRCSA November 2018

Day

Date

From

To

Station

Programme title

Genre

AR

Viewers

Share

Thur 22/11/2018 2100 2130 S2 Muvhango Dram 16.14 5 760 047 46.6
Wed 14/11/2018 1801 1830 S2 7De Laan Soap 7.48 2 669 590 27.9
Fri 23/11/2018 2130 2159 S2 Tlharantlhope Dram 5.56 1 984 576 20.1
Thur 22/11/2018 2131 2201 S2 Speak Out Actu 4.74 1 692 033 19
Sun 25/11/2018 2000 2215 S2 SABC Crown Gospel Music Awards Actu 4.55 1 622 501 16.9
Thur 01/11/2018 1830 1900 S2 Nuus News 4.3 1 533 300 13.5
Sat 24/11/2018 2027 2056 S2 Ga Re Dumele Sitc 3.88 1 385 295 13
Sat 10/11/2018 2056 2100 S2 Lotto Draw Live Quiz 3.84 1 368 950 12.2
Tue 06/11/2018 2056 2100 S2 The Vodacom Show Quiz 3.56 1 268 946 9.7
Mon 12/11/2018 2129 2159 S2 90 Plein Street Dram 3.4 1 213 100 16
Sat 17/11/2018 2000 2026 S2 Ses/Tsw/Sep News News 3.34 1 191 049 10.7
Sat 10/11/2018 1900 1954 S2 American Ninja Warriors Vari 3.21 1 144 680 10.8
Sun 25/11/2018 1900 1958 S2 50/50 Docu 3.21 1 143 686 10.6
Thur 15/11/2018 1859 1958 S2 Noot Vir Noot Musi 3.11 1 108 471 8.9
Wed 07/11/2018 1729 1759 S2 Venda/Tsonga News News 3.09 1 100 790 13.6
Wed 14/11/2018 2129 2156 S2 Hillside Dram 3.08 1 097 921 11.6
Sun 04/11/2018 2028 2058 S2 Skwizas Sitc 2.98 1 063 389 9.8
Sat 10/11/2018 1954 1959 S2 Music Musi 2.93 1 046 655 11.7
Sat 17/11/2018 1600 1750 S2 Everyone’s Child Movi 2.83 1 009 809 13
Thur 15/11/2018 2159 2229 S2 When Duty Calls Actu 2.52 900 373 15

In 2016, the Broadcast Research Council of South Africa (BRCSA) changed its policy about giving away TAMS and now only monthly reports, highlighting the top 20 or 30 primetime shows on several popular channels, are available.

 

Broadcast Research Council of South AfricaThe Broadcast Research Council of South Africa (the BRC) is a non-profit, industry body that was incorporated in 2015 to cater to the audience research needs of the radio and television industry 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!

#AgencyLeaders2018: Most admired creative leader in Cape Town

by Herman Manson (@marklives) Today we kick off our annual Agency Leaders poll with the agency creative leaders who were most admired by their peers in Cape Town during the course of 2018!

Every year since 2012, MarkLives has been polling South Africa’s top ad agency leaders to find out what they think of their competitors, whom they see as effective managers and great creative leaders, and where they believe their future competition is likely to come from. Next week will be the Joburg results, followed by the national results in two weeks’ time, and then our remaining categories.

The most-admired creative leader in Cape Town

Tseliso RangakaTseliso Rangaka
Executive creative director
Ogilvy & Mather Cape Town

2018 was a breakthrough year for Rangaka in our Agency Leaders’ poll, having been the runner-up in 2017. In his own words, “2018 [was] a tough year in a lot of respects but also a good one for us.

“Our teams managed, under tremendous pressure, to produce really breakthrough work for our clients,” says Rangaka, “the most notable being the evolution of Carling Black Label into a purpose-led brand, championing modern masculinity. The #noexcuse campaign against gender-based violence is a really brave move by our AB InBev client and it was great to see this rewarded with the first-ever Cannes Grand Prix for both agency and client.

“I’m also really proud of the KFC work that’s come out this year. ‘Make A Meal Of It’ was a fun idea led by a strong insight around soccer and the [FIFA] World Cup. It was well-produced, perfectly timed and the internet loved it. The result was great PR for our client and a 20% increase in sales — proof yet again that great creative work yields great business outcomes.

https://www.youtube.com/watch?v=j3L1Pb_RF-I

https://www.youtube.com/watch?v=SP14zlGmvSQ

“I also really love the OMO Dirt Book. It is innovative and yet subverts mindless tech at some level. It’s also a good manifestation of the brand’s Dirt Is Good platform. It couldn’t have been done for anything else. There is a lot more-noteworthy work than there is time to mention and I believe we’ve finally clicked into our new groove as an agency. The biggest highlight from 2018 for the team was seeing our work actually make a real impact out there,” he continues.

“Personally, I’m grateful to have been surrounded by the extremely talented, deeply passionate and lovably dysfunctional people [who] make up Ogilvy Cape Town,” concludes Rangaka.

Previously: Between 2017 and 2015 Alistair King, Founding creative partner King James Group, took the title consequetively for three years running. In 2014, King and Justin Gomes, founding partner and ECD at FoxP2, tied for the top spot. In 2013, it was Chris Gotz, then chief creative officer of Ogilvy & Mather South Africa. In 2012, our inaugural poll, it was King yet again.

 

The runner-up

Alistair King
Founding creative partner
King James Group CT

Alistair KingBetween 2017 and 2015, King took the title for three consecutive years; this year, he is our runner-up in what was a closely contested poll.

During the course of 2018, King was inducted into the Creative Circle Hall of Fame, and King James Group SA also listed as the third most-awarded agency at the 2018 Loeries Awards.

“Could be the mountain, could be the air, could be the ebb and flow of Cape Town life, but this city has always had the perfect energy for us creatively,” notes King. “Because we started here, it’s always been important that we be a world-class agency in Cape Town, [as] that’s what stops our business sector from looking further afield. I’d like to think we’ve contributed to building the creative standards of the entire country and not just our little corner of the world.”

Previously: Rangaka was our runner-up in 2017 and it was Justin Gomes, ECD of FoxP2, was in 2015. There were no runners-up in 2014. In 2013, Gomes was a joint runner-up, together with Graham Lang, then CCO at Y&R South Africa. In 2012, our inaugural poll, Gomes was also runner-up.

 

How the poll works

In November 2018, we invited a panel of 120 agency executives  — creative and management, and ranging over a wide spectrum from small- and medium-sized to network agencies — to nominate their most-admired agency and agency leaders regionally (for Johannesburg or Cape Town) and nationally (South Africa). Execs couldn’t nominate their own agencies or staff members. All the nominations were then tallied up for the final result. The editors of MarkLives held two votes in the final poll.

Note: Runner-up(s) will only be named if they achieved a good nomination tally relative to the winner’s position. Contenders are named if they stand out significantly above other nominees but weren’t able to close in on the winner’s tally. The most-admired agency of the year is disqualified from the One to Watch category; votes cast in its favour in this category are discarded.

See also

 

Herman Manson 2017Herman Manson (@marklives) is the founder and editor of MarkLives.com.

— 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!

Masterclass Notes: What marketers are looking out for in 2019

by Johanna McDowell (@jomcdowell) Six leading marketers and representatives from 21 agencies attended the first Masterclass for 2019 on Tuesday 29 January in Sandton. The session was very interactive with many, many questions which the marketers were more than willing to answer.

Organisations represented included: Coca-Cola, Absa, Ascendis Health, JSE, PPS and Interwaste. It was a record turnout for this highly anticipated session and certainly got our programme for 2019 off to a great start. Here are the highlights.

Biggest challenge faced in 2018

Before talking about the future, we quickly reviewed the past and asked the marketers to define their biggest challenges from 2018. These challenges ranged included:

  • Persuading company founders of the value of changing their logo
  • Streamlining the number of marketing suppliers for greater levels of efficiency
  • Ensuring that the brands were relevant and understood
  • Managing a number of agencies
  • Managing the rapid changes within the marketing department

2019 budgets —where are we now?

Marketers commented that their budgets for 2019 are now similar in size to those of 2012 or 2014. So, budgets are not increasing. This means that there have to be much greater levels of focus on key brands, as well as solid metrics and deliverables. While in some cases there might be small increases in some budgets, depending on area of the business, these have to be managed carefully in a difficult economy.

Working with agencies — how can agencies work better with marketers in these times?

  • Marketers want their agencies to have a deep understanding of the target audience that the marketer is trying to reach. They also expect their agencies to invest the time in understanding the audience in a far more precise way, given the tools that are available now. Understanding the consumer journey is a vital part of what agencies need to be able to do and to provide input to their clients.
  • Agencies also need to be prepared to understand that an advertising campaign is not always what is needed to reach the target audience and should be prepared to employ other communication methods.
  • Understanding the marketer’s business model should be a critical part of the agency learnings.
  • Marketers have to be able to totally trust their agencies — transparency of thinking and related costs is therefore key. Most marketers have to rely heavily on their agencies and don’t want to have to check every detail all of the time, as this impedes the relationship and slows down the processes.
  • Marketers rely on agencies to ‘bring the outside in’ so that the marketer can always be up to date on innovation and possibilities.

Collaboration among agencies in the marketer’s ecosystem — is it working?

  • There is no silver bullet
  • Marketers want to rely on their partners
  • There is no place for egos
  • The channel will dictate which agency should lead — this is not restricted to the creative agency

A day in the life of the marketer — and how this affects the agencies.

While agencies may spend a lot of time thinking about brands and advertising communications — as that is their business — marketers have many other needs to fulfil within their organisations:

  • Building skills and processes among the marketing teams
  • Strategy and positioning work, creating stories around brands which agencies will be able to bring to life
  • Working with procurement and legal
  • 95% of a marketer’s time is NOT spent with agencies
  • Marketers have to be in constant contact with all of their other business stakeholders

Remuneration — retainers, project fees or a hybrid?

  • Retainers are preferred in most cases but MUST be based on scope-of-work and not calculated on hours and resources
  • The above is the only way that accountability may happen on both sides
  • Output-based scopes of work are the only way that both client and agencies can be measured
  • A hybrid model of a basic retainer for “always-on” work, plus project fees
  • Bonuses are not the norm any longer and, if they are built in, they must be linked to results on a joint basis with client
  • Marketers would love to reward agencies with extra funds, based on agreed KPIs and an upside.

Some final words

In this new era, where social media and online advertising are the norm, creative content for brands is key. It must be fast, creatively relevant to the channel and cost-effective. Defaulting to a TV commercial is not the only option — purpose-led marketing and adverting have become more important.

See also

 

Johanna McDowellJohanna McDowell (@jomcdowell) is MD of the Independent Agency Search and Selection Company (IAS), which is partnered with the AAR Group in the UK. Johanna is one of the few experts driving this mediation and advisory service in SA and globally. She also runs the IAS Marketers Masterclass, a programme consisting of masterclasses held in Cape Town and in Johannesburg. Twice a year she attends AdForum Worldwide Summits.

— 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!

Op-ed: Zibusiso Mkhwanazi on protecting your agency’s brand

by Zibusiso Mkhwanazi (@ZibusisoSays) Every single day of our lives, marketers entrust us with their brands: to protect them and build them. But how many of us stop and think about our own brands — the agencies we have built from scratch?

Tough journey

Many of you know Avatar’s story and the hands-on approach Veli Ngubane and I have had building us up to a 100+ agency over the last six years. Many of you have also been following the development of our next quest, an agency network for Africans, by Africans: M&N Brands.

It has been a tough journey and every pitch has been hard-won. We have set even tougher goals this year for ourselves and our exco around creative awards, efficiencies and culture. We celebrate black talent daily and we defend black talent daily. Every account win, every growth story, every accolade comes with huge responsibility. Responsibility to deliver, to perform and to prove that client was right in risking their brand with a 100% black-owned and -managed agency. Yes, we are sadly still having these conversations in 2019.

But do we marketers ever pause and think about our own brands and how vulnerable they can be? I was reminded of this just the other day when the brand of my very own agency was put into disrepute and we were left very vulnerable.

Reputational quagmire

We aren’t guilty of any wrong doing, but are still caught in a reputational quagmire that may break any good organisation. Without giving too much detail, Avatar is currently facing an onslaught of media enquiries about a former client of ours because we allegedly overcharged them, purportedly using underhanded ways.

Client and ourselves had agreed on a set contract fee and, as per business norms, upon billing client, we added value added tax, as a VAT-registered business.

Unbeknown to us, however, according to this client’s norms, its contract values are always inclusive of VAT. We assumed that we were on the same page with client and added our VAT, for three long years. I don’t need to tell you how much that can be for any-size account. Curiously though, the client paid us our invoiced bills without any query. But, as a state-owned entity, it was subjected to an audit by the auditor general and this discrepancy was discovered.

Responsibility of the client

I am obviously confident that we did nothing wrong, at least not deliberately, and say with certainty that I can stand in front of any court of law and testify that we wouldn’t commit any such ‘crime’ knowingly. In my mind, client should have picked this up very early and called for both sides to correct it. It was responsibility of the client, especially since it drafted the initial contract, and didn’t specify that the fee was VAT-inclusive.

Not only is my conscience clear that Avatar is on safe ground, I am also comforted by the fact, right at the beginning of the account, we committed more human resources than earlier pledged in the bid. This was our value-add to client. I can tell you now that, if it were clear upfront that the fee was VAT-inclusive, although we would have still committed more resources because that’s what good businesses do to go beyond the call of duty, we wouldn’t have committed as many as we did this time.

So, on the basis of facts, we know we did nothing wrong. But that is not the point. As those in public relations will tell you, perception is king. Currently, a perception has been created by some that we are in the wrong and took money that wasn’t due to us.

You can never be over-careful

Which is the point of this article. You can never be over-careful. It’s important that we read and understand our contracts properly, and are in sync with our clients. There mustn’t be any misunderstanding or misinterpretation, however big or small.

Not paying attention to detail may damage your reputation and brand. It’s less likely as a startup or even a small business but, as you grow to medium or big business and your client base grows, your billings get bigger and the contracts become wily and cumbersome, you will need to be extra careful. Because, ultimately, it doesn’t matter who is right or wrong in such cases. What matters are two important things: taking responsibility and morality. No business leader should be found wanting on either.

To bring closure on this matter, we opened our books to a forensic audit on this particular contract. The forensic auditors have exonerated us [see pdf]. But I know one thing: there will never be another contract on my desk that is not read over and over again by as many pairs of eyes as possible.

Advice to young agency owners

As a business, we trade solely on our credibility and integrity. We can’t put those on the line. But we also should do so to protect our clients from their own auditors so that they aren’t also found wanting. Strengthen this side of your business and you will thank me later.

My advice to young agency owners:

  • Develop a thick skin very quickly
  • Build your reputational currency everyday — your integrity and your personal values are wound into your own agency offering
  • Keep everything in writing — email is your friend — every contract negotiation, every extension, every complaint, every compliment
  • Contracts may be tricky things, no matter their size — get legal advice
  • Deliver, deliver, deliver. We take great pride in winning competitive pitches and delivering on scope of work. We aren’t perfect — I own that — but no-one may question our commitment and our open, honest conversations that we have with clients where there are issues.
  • If you are a black-agency owner, understand the extra responsibility you carry, and carry it with grace
  • Surround yourself with a team who can share these burdens and help you navigate past them.

We’ve been caught in this crossfire for nearly nine months now. In those nine months, we’ve continued to win, to work, to grow, and to be humbled. For those who’ve experienced the same, my door is open — I now understand this journey. Keep on keeping on.

 

Zibusiso MkhwanaziZibusiso Mkhwanazi (@ZibusisoSays) is the co-founder of Avatar and the group CEO Of M&N Brands. He is a World Economic Forum Leader and was announced as a finalist in the EY World Entrepreneur Awards 2018.

“Motive” is a by-invitation-only column on MarkLives.com. Contributors are picked by the editors but generally don’t form part of our regular columnist lineup, unless the topic is off-column.

— 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!

Brands & Branding: Positively different vs commercially irrelevant

by Mark Eardley (@mdeardley) Companies competing in the same market may often look like clones. Similar products, similar services, similar propositions. The problem with looking like a clone is that it’s a constant barrier to increasing sales and strengthening margins.

From a customer’s perspective (the only one that matters), if all the available offerings look cast from the same mould, how can customers decide which to buy? Simple. They use price as the differentiator and buy the cheapest. If you’re a clone, the only competitive advantage you have is a low price.


Brands & Branding 2018 — order your copy now!Order your 2018 copy now!


Back in 2000, American marketing consultant, Jack Trout, said that to survive in a world of ‘killer competition’, you may either distinguish yourself from competitors or offer the lowest price. In his blunt opinion, if you can’t meet that low-price imperative, you have two choices: “Differentiate or die.”

Opting for the first choice means building a brand that’s based on something more than price. A brand that creates powerfully positive perceptions in the market.

For B2B buyers, a brand is as influential as a sales team. It seriously matters

You are what the market thinks you are. Brands are created by the perceptions of the markets they seek to serve. Broadly, what your market thinks of your company is your brand.

More specifically, your brand is embodied by the perceptions of the people who influence and make buying decisions. Their perceptions are based on answers to two questions: am I confident that this brand — above all others — will advance my success and the success of my organisation?

The sole goal of a B2B brand is to build that confidence by making and keeping promises which are specifically relevant and credible to each of the decision-influencers.

When selecting a supplier — and issuing the purchase orders that create sales — brand-confidence is highly significant.

A brand can get so much more attention than a sales team. Maybe 10 times more

B2B Buying Today. Source: CEB 2017 Digital B2B Buyer SurveyA 2017 survey of buying decision-makers showed that nearly half of the time taken in the decision-making process is spent in research — independently of sales teams.

For vendors, it’s clear that their brand must feature as prominently and positively as possible in all that research. They need a strongly differentiated brand that’s confidently regarded for the right reasons by the right people in the right places at the right time.

In comparison to the lion’s share of hours allocated to research, buyers spend 17% of their time meeting potential suppliers. That’s not much time.

In reality, it’s likely to be a great deal less: spread equally over, say, four would-be suppliers, it drops to just over four%. If that’s the case, then a strong brand will get more than 10 times the attention of its sales team.

Given that a brand can be so central to winning deals, it makes business sense to invest in developing the brand. It pays to empower the brand.

Judging by the legions of clones in B2B markets, that doesn’t seem to be happening. This is odd because, commercially, the consequences of being visibly undifferentiated are severe.

Empower the brand to deliver ‘evidence of difference’

We are all different. Just as no two individuals are the same, no two companies are the same. To discover evidence of difference, and incorporate it at the core of the brand, it helps to answer three questions that are the foundations for building a differentiated brand that will attract and retain profitable customers:

  • Purpose: What do you do?
  • Process: How do you do it?
  • Promise: Why do you matter to me — the customer?

It might be stating the obvious but the questions need to be answered from a customer’s perspective. Without compelling evidence that proves why any of this matters to customers, none of it matters. If customers can’t clearly see how your brand advances their brand, they certainly won’t pay a premium for your products and services.

Branding the customer experience: safeguard it in the hands of its real custodians

Within B2B organisations, everyone who affects customer experience is involved in branding. They are the custodians of the brand’s promise because they do control how it comes to life.

Since the C-suite comprises the brand’s most powerfully influential custodians, its executives should routinely pose a simple question to the people who influence and make buying decisions: how can we deliver an experience that meets your expectation?

They need to frame the question with specific reference to quality; service; time; price; how accurately their organisation perceives customers’ challenges; and how effectively it responds to them

When acted on appropriately, the discoveries made by such an incisive customer-dialogue are the foundation for ensuring customers have a more-positive perception of your brand than they do of your competitors’. That’s what attracts and retains profitable customers.

Be positively different: it triggers sales and strengthens margins

“Brand building starts with understanding the key attributes of your products and services as well as understanding and anticipating the needs of your customers.” — B2B Brand Management, Philip Kotler & Waldemar Pfoertsch, 2006

Positive differentiation may only be achieved if the brand addresses those motivators. The brand should communicate that it understands customers’ needs and has the ability and commitment to meet them:

“We know what you need, why you need it and we will provide it in the way you need it.”

Positively different or commercially irrelevant? It’s a binary choice.

 

Some elements of this article first appeared on MarkLives.com.

 

Brands & Branding 2018 now available!
2018 edition now available!

Mark Eardley (@mdeardley) advises B2B companies on how to govern their marketing to attract and retain profitable customers; several of his clients have grown to become market leaders. He and Charlie Stewart have written Business-to-Business Marketing: A Step-by-Step Guide (Penguin Random House), which offers practical, actionable advice on how to make marketing make money. His monthly “Back2Basics” column on MarkLives covers how B2B companies and their agencies should manage their marketing.

The article first appeared in the 2018 edition of Brands & Branding in South Africa, an annual review from Affinity Publishing of all aspects of brand marketing — consisting of case-studies, profiles, articles and research — also accessible at Brands.MarkLives.com. Order your copy of the 2018 edition now!

— 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!

Media Design: Frieze, Intern, MK Bruce Lee, Vanity Fair

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

  • Independent print: Frieze celebrates enthusiasm with its 200th issue, in a world plagued by negative socioeconomic and political factors
  • Online: The Intern supports the next generation and the future of creativity
  • Iconic: MK Bruce Lee was a short-lived experimental magazine that helped define a contemporary design vernacular in South Africa during the 2000s
  • Commercial print: Vanity Fair celebrates its 25th annual Hollywood issue, encouraging a respect for diversity and difference

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   Vanity Fair (US), 25th annual Hollywood Issue, January 2019

Vanity Fair, 25th Hollywood Issue, January 2019 - full trifoldA few days after the 2019 Oscar nominations, Vanity Fair announced its 25th Annual Hollywood Issue, with what is likely the most-diverse cast to feature on the cover. The trifold spread comprises a group portrait, starring an assortment of prominent Hollywood talent. In order of appearance are Chadwick Boseman, Saoirse Ronan, Timothée Chalamet, Nicholas Hoult, Yalitza Aparicio, Rami Malek, Regina King, John David Washington, Elizabeth Debicki, Tessa Thompson, and Henry Golding.

The message here is how the lack of representation and disregard for ethnicity and gender in Hollywood is slowly being remedied, answering the frustrations of the 2016 awards season, when there were practically no films featuring people of color. Chadwick Boseman, the star of Black Panther, which was nominated for Best Picture this year, stakes out his turf in the focal point of this populated portrait alongside Saoirse Ronan, who starred in the film, Mary Queen of Scots, and got no nominations this year. With the first superhero movie to bag an Oscar nomination for best picture this year, the kind of films that Hollywood will produce in the future are going to be eclectic, to say the least.

 

Independent

Frieze, issue 200, January 2019¯\_(ツ)_/¯   Frieze (UK), issue #200, January 2019

Frieze showcases emerging international artists in order to develop new narratives and perspectives surrounding more-established artists globally. As one of the leading international contemporary art and visual culture publications, the 200th issue of Frieze is a momentous occasion, sporting the theme “A Tribute to Enthusiasm”. The cover has shelf appeal, with an attractive iridescent holographic background — a trick that is increasingly popular among designers — contrasted by a bold yellow italicised exclamation mark in the foreground that certainly makes a statement about the ‘who’s who’ in the art world.

The subtitle states “200 fan letters to art and culture since 1991” (the year the magazine was founded), 100 published in print, and 100 more online. In a world that currently seems starved of much to be optimistic about, particularly regarding global socioeconomic and political woes, an issue dedicated to enthusiasm might seem to some a tad ‘Rococo-esque’ but, to those in the art world, it’s perhaps a more-defiant gesture. Important artists also pay homage in this issue, to their own inspirations since 1991 such as George Michael, the Large Hadron Collider, and the faculties of a male bonobo. With all its sparkle and rainbow colours, this cover reveals some interesting facts about the state of art and culture in the world today.

 

Online

Heart-Love-Polygon-Geometric-Flat-Design-Icon-Illustration by lekkyjustdoit courtesy of FreeDigitalPhotos   Intern (UK), Online, January 2019

Intern Magazine, online, January 2019

Intern is a platform that has been predominantly print-based since 2013 (published annually, with four editions printed to date), currently evolving into a greater online creative and discursive space. Made by emerging creatives in support of creativity among young people with diverse backgrounds and perspectives, Intern provides tailored tools and training required to secure a fertile creative future for the next generation. The site provides valuable information about issues that young creatives have to deal with frequently, with stories that cover youth-specific topics, such as the dated and counter-intuitive structures of creative institutions, unpaid internships, how to price yourself, and unequal access to job opportunities, to name a few.

There is an emphasis on community and collaboration, with rotating teams of young creatives commissioned to develop layered and pertinent online editorial and social media content. This dynamic and kinetic editorial model allows for an eclectic, somewhat eccentric, array of young voices to share their valuable experiences to a larger audience.

When one observes the editorial design of both Intern’s online and print iterations, it’s clear that independent journalism made by young people is alive and well, with quality favored over quantity at every turn. This is shown by the calibre of design and overall creative output, made mostly by students and graduates. A challenge to industry standards, to say the least.

 

Iconic

MK Bruce Lee, Issue 1 - Karen ZoidHeart-Love-Polygon-Geometric-Flat-Design-Icon-Illustration by lekkyjustdoit courtesy of FreeDigitalPhotos   MK Bruce Lee (South Africa), circa 2000–2010

MK Bruce Lee was an experimental, multimedia, youth culture magazine based in Cape Town during the 2000s. Packaged in the vernacular style of South African children’s Lucky Packets, the publication was designed by Peet Pienaar, with the backing of his prolific creative team, which included many now-established young designers and illustrators. Working from their small, now defunct, studio called The President in Spin Street, MK Bruce Lee was an offshoot of the alternative SA music TV channel MK, and was distributed by Musica. The magazine was also edited by Hunter Kennedy, guitarist and lyricist for the legendary Afrikaans rock band, Fokofpolisiekar.

MK Bruce Lee was a quarterly publication, with every issue produced in a different format, evolving from lucky packets to cereal boxes and containing a variety of printed media and formats that were designed with skill and taste, all combined with clear SA tone of voice. Featured here, one of two covers for the first issue, is musician Karen Zoid as a schoolgirl. The other cover featured a schoolboy portrait of musician Francois van Coke, as the magazine published a ‘Bruce’ for boys and a ‘Lee’ for girls. This issue contained a number of postcards and stickers, a 128-page A-to-Z handbook teaching readers how to start a rock band, and handsigned posters from bands and music artists Van Coke Kartel, aKing and Jax Panik, to name a few.

Due to the nature of the magazine’s format and irregular packaging, it was incredibly disposable and often contained perishables inside, making existing copies very rare. No other publication of this kind exists in SA publishing history, a point that makes MK Bruce Lee iconic. This point is reinforced by the Silver CLIO that MK Bruce Lee won at the 50th Annual CLIO Awards in 2009, for editorial design.

References

 

 

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, formerly Cover Stories and MagLove, is a regular slot deconstructing media cover design, both past and present.

— 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!

Davos’ future digital revolution dreams — what’s SA to do meantime?

by Gavin Weale (@gavinweale) Behind the pantomime of whether US president, Donald Trump, would appear in Davos this year at the World Economic Forum (he didn’t), it’s easy to forget that, at the core of the event, are serious discussions about the world’s most-pressing socioeconomic challenges. Globalisation 4.0 was the 2019 theme.

Globalisation 4.0

Globalisation 4.0 takes an optimistic stance on the opportunities for a planet surfing on the rise of the internet and its transformation of society (otherwise known by the ubiquitous buzz phrase of the moment: “Fourth industrial revolution”). It’s hard to disagree with the sentiment that the digital economy should, indeed, be a force for improving global inequality.

For example, the WEF white paper on New Economic and Social Frontiers is part-crystal ball, part-manifesto, compiling competing narratives around the emerging threats and opportunities that the new digital economy is creating. Some of its tone is downright radical, if not revolutionary, floating such cosmic shifts as “rethinking the fundamental definition of value”.

It talks of the need for a “new social contract” at a time when the global political climate seems to be drifting further into frightening places. Or, in its words, “how can we leverage emerging technologies to advance economic prosperity and human flourishing while keeping in check the host of polarizing forces unleashed by the recent technological transformations?”

Noble sentiments

In another WEF opinion piece called “How Millennials Can shape the Globalization 4.0”, Julia Luscombe, director of strategic initiatives for Feeding America and one of WEF’s contributors, calls for greater investment in the strengthening of local and regional economies, innovating the education system to close skills gaps and focus on more-vulnerable populations, as well as building a movement focused on equity (and, of course, stopping climate change). Again, these are noble sentiments that we can all get behind.

In my almost 20-year career working in development, particularly focused in job creation, I’ve been accused many times of being overoptimistic or idealist. But reading all of this, while I find it hard to disagree, makes me feel that many of these shifts are lightyears away from the reality on the ground. The discourse naturally starts with the sharp end of technological development, and then throws its gaze forward to the utopian future we hope will emerge in the decades to come. My question, therefore, is what happens in between?

This question is particularly relevant to South Africa’s current situation. We have spent years thinking and working around “Enhancing Job Creation”, and the unique opportunity that the fourth industrial revolution has to create more jobs than it kills.

Good news

The good news is that, according to the report, “in 20 key economies, between 2018 and 2022, 75 million jobs may be displaced by a shift in the division of labour between humans and machines, while 133 million new roles may emerge.”

In our work, we see these jobs being created already. Young people, for whom digital platforms have been a part of the majority of their lives, even when they are from limited economic means, are able to progress into valuable digital careers even without a tertiary degree. As every organisation, big and small, grapples with digital transformation, new roles are emerging in SA that are accessible without doctorates or 10 years of experience. This applies to large corporates as much as it does to small businesses.

And while it is the bigger companies which may be leading the hunt for the digital workforce of tomorrow, the informal and SME sector may have the better chance of creating livelihoods that are accessible to all.

Data must fall

If data does indeed fall, and every strata of society becomes connected, new business models and new demand dynamics could generate local digital economies that currently don’t exist. If, for example, every small township business needed to be searchable and attractive online, that creates a need, however small, for someone to teach them how or do it for them. We aren’t there yet, but there’s a clue here in how the benefits of the digital economy may be able to reach beyond the big cities and middle classes.

What needs to happen right now, when countries like SA still seem mired in a high unemployment rate that has changed little in a decade, and may be set to head even further in the wrong direction with industries such as mining and energy in decline?

The truth is that, on the ground, such changes happen slowly and incrementally. In an economy like SA’s, unless some fundamental conditions change, the steps towards the Davos vision of social change will be halting.

Risk of falling behind

Luscombe argues for the need to “innovate educational institutions and aggressively close the skills gap”. If, as she says, by “By 2022, at least 54% of employees globally will require re- and up-skilling”, then surely SA is at risk of falling behind. The lack of basic digital skills education in schools, a condition further hampered by the limited access to technology and limited levels of digital skills among teachers, needs to improve dramatically.

Ramaphoria in SA has brought with it a welcomed focus on the potential benefits of the fourth industrial revolution for this country, and some bold statements of intention from the president, Cyrl Ramaphosa. But, as well as a bold vision of the future, we also need to meet people where they are already.

My team and I have worked across this country and the continent over the best part of the last decade, trying to take alternative educational approaches to upskilling and job creation, and we see some urgent changes that need to happen to unlock the possibilities of WEF’s vision.

First priority

Fixing access (lowering data costs) and introducing basic levels of digital education in schools must be the first priority. Without the digital economy being freely available to all, widely used, and part of basic education, children will be starting out at a huge disadvantage.

Added to this, we need to think of tertiary-level digital education in terms of being demand-driven: an institution that tracks and responds to the changes in key skills (from technical to soft skills), the changing world of work, and the overarching trends in skills shortages, will produce candidates who are ready to work. A university degree, already no guarantee of a job in SA, risks becoming increasingly less valuable against practical experience or skills that can be self-taught free of charge online. Media and marketing degrees, with curricula written many years previously, become redundant as tech trends evolve too quickly for textbooks.

We need to take an economist’s view of future demand and train the future supply of young people who will fill new job roles. This demands that SA employers be proactive and come together to pool their knowledge of future demand for skills in their organisations — something that is far easier said than done in a competitive market. Government could play a key role here by bringing the key players in the supply and demand chains together, and helping corral the often-disparate funding landscape towards specific industries where digital skills shortages are identified. Education and training providers, formal and informal, could be working more in partnership to augment traditional learning with just-in-time skills and practical experience that would give graduates the edge.

Public and private partnerships

We need such public and private partnerships that help organise these dynamics of supply and demand to learn the ropes of the new digital economy. Most importantly, we need the data and insight of the skills shortages and new jobs coming down the line, month by month and year by year.

A vocational-based learning focus tailored to emerging digital skills would allow us to plan the training of future professionals — from coders and analysts to content creators, social media freelancers and user experience designers. These may sound like lofty careers but, through training programmes, we have seen firsthand how young people without tertiary education, given a few months of immersive learning, can occupy and thrive in junior professional roles in all of these growth-area careers.

And by doing all of this, employers would have a direct route to the talent they need in order remain competitive, while tackling unemployment by creating jobs for unemployed youth. This process inevitably adds huge value to the organisations which embrace it, as well as tackling transformation sustainably.

Absolutely reason for hope

There is absolutely reason for hope. You would be insane not to believe in the potential of African youth, given the right opportunities. Our company is built on the premise that young people are a valuable natural resource and the digital economy promises to let them unlock their talent in new and exciting ways. Digital platforms promise to give anyone from anywhere equal access to information and opportunity. This is not the case at the moment in SA, where large swathes of the population have little or no access to the internet.

Until such time as that revolution comes to pass, we have to collectively roll up our sleeves and wrangle for progress on the ground for the millions of unemployed young people who need access to a livelihood now. Otherwise, we risk growing the digital divide, rather than closing it.

 

Gavin WealeGavin Weale (@gavinweale) is an award-winning social entrepreneur and publisher originally from the UK, and a Shuttleworth Fellowship alumni. In 2010 Gavin won the UK Young Publishing Entrepreneur Award for his work on Live Magazine UK, which brought him to South Africa and the launching of Livity Africa (now Digify Africa) as a social enterprise operating across SA. A major project is the digital skills accelerator programme, Digify, in partnership with Google, Facebook, the Rockefeller Foundation and the British Council. Digify has trained almost 85 000 young people in in-demand digital skills in the last 18 months.

“Motive” is a by-invitation-only column on MarkLives.com. Contributors are picked by the editors but generally don’t form part of our regular columnist lineup, unless the topic is off-column.

— 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!

Market Research Wrap: Ad industry still getting gender wrong

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

  • Marketers vs consumers on portraying women in ads
  • Gunn Report rebrands
  • The big story hidden in a little survey

Gender bias persists

Kantar logoAccording to Kantar’s latest analysis of advertising creativity and media effectiveness, 91% of marketers think they are succeeding at portraying women as positive role models in adverts, but almost half (45%) of audiences think women are still being portrayed inappropriately. [Cheryl Hunter]

The “AdReaction: Getting Gender Right” study includes analysis of 30 000 ad tests in the 2018 Link global ad database, survey responses of 450 global marketers, consumer advertising attitudes among almost 40 000 consumers around the world and brand equity analysis of over 9 000 global brands to create an indepth understanding of the role of gender in advertising.

Says Rosie Hawkins, Kantar Insights Division chief offer and innovation, “It is clear that some introspection is required on the part of creative and media agencies and their clients. The failure to meaningfully connect with female audiences is selling brands short and limiting their brand value.”

Natalie Botha, Kantar Millward Brown AME creative development director, told Market Research Wrap that this applies to the local market also: “We see that in South Africa a greater percentage of males vs females install blockers (63% vs 52%). This highlights a low tolerance for certain formats of digital advertising such as mobile app pop ups and in-banner auto play, with males particularly more adverse than females.

“Another interesting point is that looking at Africa as a whole (compared to the globe), we note that females in adverts are portrayed as very aspirational, while men are seen as less caring and likable when compared to their female counterparts.”

The findings include:

  • Gender portrayals in advertising remain stereotyped, with most ads showing women to be “likeable” or “caring”, and only 6% including an “authoritative” female character
  • Adverts led by authoritative female characters outperform other ads
  • The industry struggles to make great ads starring women; ads featuring only women are less impactful overall and less likely to make people feel proud or to generate excitement than ads featuring only men
  • There is no identifiable overall difference in response to ads across gender lines; good adverts are usually good for everyone and bad adverts are bad for everyone — irrespective of intended gender targeting
  • Everyone has a funny bone — humour works well across both genders — but ads featuring only women use comedy less than half the time as ads featuring only men (22% vs 51%)

The ad industry’s failure to portray and target women well impacts the effectiveness of individual adverts and campaigns and, at a high level, means male-skewed brands are missing out on an average of US$9bn in brand valuation.

  • Register to download the full report at Kantar.

 

New WARC Rankings

WARC 2019 logoThe Gunn Report, the global index of creative, effective and media excellence in advertising, has been rebranded as the WARC Rankings, and major changes introduced to ensure its independent status. This followis WARC’s acquisition by global information company, Ascential. [Cheryl Hunter]

The rankings will consist of the WARC Creative 100, WARC Effectiveness 100 and the WARC Media 100. They will continue to showcase the 100 best creative, effective and innovative media ideas in the world, as well as the top-performing agencies, networks, holding companies, brands, advertisers and countries.

The listings will, however, be compiled by analysing the results of the most-important global and regional awards shows in the world as determined by the industry — globally, the Cannes Lions International Festival of Creativity, Clio Awards, D&AD, London International Awards (LIA), The One Show and, regionally, Adfest, Dubai Lynx, El Ojo de Ibeoamérica, El Sol, Eurobest, Golden Drum, The Loeries and Spikes Asia.

The WARC Rankings will be released from late February 2019, with the full listings available to view free of charge for this year at WARC. Also launching in February will be the Gunn Report’s databank 1999–2016, available as an online historical and educational archive accessible to all at no cost.

 

The Eardley Analysis

2019 Demand Generation Benchmark Survey
Demand Gen Report

2019 Demand Generation Surveyby Mark Eardley. This year’s annual survey from DGR shows that “larger chunks of marketing budgets are now being allocated to demand generation initiatives and ABM adoption as the continued goal to drive more revenue grows at an alarming rate.”

The big story in that statement is this. It’s astonishing that any B2B marketer should be alarmed by the goal of driving revenue — let alone an entity such as DGR that’s dedicated to covering, er, demand generation in the B2B space.

Surely, the sole goal has always been to attract and retain profitable customers. Incredibly, it seems that’s coming a big shock to a lot of B2B-ers.

As the 2019 report says, “Last year, it was clear that B2B marketers were expected to support revenue growth as their goals and expectations from senior leadership continued to rise and account-based strategies grew in popularity. However, minimal increases in investment towards the right account acquisition, nurturing and pipeline strategies hindered chances of further development and growth in those initiatives.”

Reading between those lines uncovers the survey’s next two big stories:

  • Budgets aren’t being allocated to do the right things the right way — ie to drive sales and build loyaltyOk, so ‘larger chunks’ are now apparently being wisely allocated to achieve the sole goal, but it makes you wonder what’s being done with the rest of the budget. Betcha it’s being ditched into social media, AI, VR, CX, chatbots and other shiny new, goal-avoiding ‘innovations’
  • Not many marketers are making it to the level of ‘senior leadership’ in their organisation.That’s hardly surprising if they’re not driving revenue and are happy to carry on being the ‘banners-and-balloons’ people. Marketers who demonstrably advance sales, margins and loyalty are always senior leaders in firms where those results matter more than any others.

Bearing in mind that its major insights are to be found between-the-lines, this well-presented, easy-to-read (but in no ways ‘benchmark’) report highlights its key findings like this:

  • Demand generation priorities are leaning towards better campaign analysis to understand how demand is impacting the bottom line
  • The tools being tested and deployed by marketers are aiming to garner deeper insights into target accounts and nurturing efforts
  • Engagement tactics such as content syndication and videos are seeing greater success driving leads into the top of the funnel
  • Marketing through channels such as in-person events, social, online ads and retargeting are creating more demand when and where buyers are actively researching purchase decisions.

The survey collected responses from more than 150 B2B marketing practitioners, with most respondents based in the US. (50% in software/technology, 12% in business services/consulting. Other industries, represented by less than 5% a piece, include financial services, retail, manufacturing, telecom and healthcare.)

Mark’s mark out of ten (is it worth reading?): 7/10
How long: 20 mins
Recommended related read on MarkLives: B2B Revenue Marketing — trick or treat?

 

This weekly “Market Research Wrap” column offers readers a weekly 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.

 

Mark EardleyMark Eardley (@mdeardley) advises B2B companies on how to govern their marketing to attract and retain profitable customers; several of his clients have grown to become market leaders. His monthly “Back2Basics” column covers how B2B companies and their agencies should manage their marketing.

— 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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