Consumer magazine circ continues decline, shows ABC Q3 2018

by Herman Manson (@marklives) The Audit Bureau of Circulations of South Africa has released consumer-magazine circulation statistics for the period July–September 2018 (ABC Q3 2018); see our newspaper analysis here.

Magazine overview

  • Total magazine circulation declined by 1% on the previous quarter, and by 13.7% year on year.
  • Consumer magazines declined by 1% on the previous quarter, and by 11.5% on the prior year.
  • B2B Magazines declined by 1.7% on the previous quarter, and by 8.5% on the prior year.
  • Custom Magazines declined by 0.3% on the prior quarter, and by 15.9% on the prior year.
  • Free magazines declined by 0.7% on the prior quarter, and by 11% on the prior year.

The business press

Drum, 8 November 2018Finweek has fallen from 18 746 to 16 569 (total free copies = 2 713) in the corresponding previous reporting period (Q3 2017). Financial Mail has declined slightly from 13 266 to 13 134.

Your Business Magazine has declined from 9 367 to 7 572; Forbes Africa has fallen from 19 282 to 13 621 (total free = 6 663); Entrepreneur has decreased from 14 579 to 13 165 (the publisher just announced it would cease publication of the print edition, to focus on digital); and Noseweek is down from 11 405 to 10 283.

Landbouweekblad has fallen from 28 567 to 24 279 and Farmer’s Weekly has declined from 12 138 to 10 617.

Biggest-circulating business magazines in terms of paid-for (sales, bulk and subscriptions) circulation

  1. Finweek: 13 856  +1
  2. Entrepreneur: 13 165  -1
  3. Financial Mail: 13 134
  4. Noseweek: 10 283
  5. Forbes Africa: 6 958
  6. Your Business: 6 268

Biggest-circulating business magazines in terms of total circulation

  1. Finweek: 16 569
  2. Entrepreneur: 14 883
  3. Forbes Africa: 13 621
  4. Financial Mail: 13 134
  5. Noseweek: 10 283
  6. Your Business: 7 572

Position movement relative to Q2 2018.

Leading declines (YOY)*

Forbes Africa: -29.36%
Your Business Magazine: -19.16%
Finweek: -11.61%
Noseweek: -9.84%

Entertainment & celeb news

Drum, 8 November 2018Taalgenoot has grown from 136 854 to 138 222. People has seen its circulation decrease from 34 840 to 26 752. TV Plus (Afrikaans) is down from 30 385 to 24 111 and the English edition has slid from 16 773 to 12 306.

Bona is down from 70 895 to 59 291 in the previous corresponding reporting period. Drum has continued its collapse from 40 680 to 28 865; Huisgenoot has fallen from 190 586 to 177 393; and YOU has fallen from 97 506 to 88 080.

The Big Issue has fallen from 10 290 to 8 780.

Leading declines (YOY)*

Drum: -29.04%
TV Plus (English): -26.63%
People: -23.21%
TV Plus (Afrikaans): -20.65%
Bona: -16.37%

Home & gardening, leisure

Condé Nast House & Garden has fallen down from 32 595 to 27 462 (total free =7 128). Food & Home Entertaining has fallen from 23 208 to 17 660 (total free: 2 726). Tuis Home has climbed from 80 101 to 87 040 (total free has jumped to 8 620) and VISI has gone up from 15 703 to 17 305. MyKitchen (TFG) has grown from 98 017 to 110 201 (it recently moved from the custom category to consumer but, for some reason, has now been moved back to custom). Easy DIY has increased from 11 618 to 13 020.

House & Leisure has declined from 19 698 to 16 986. Woolworths TASTE, listed as a custom magazine, has grown from 24 662 to 29 170 (total paid = 25 669). SA Home Owner is down from 38 536 to 30 958 (total free: 6 449), and SA Garden and Home has fallen from 47 227 to 41 261 (total free: 3 845). Idees/Ideas has grown from 17 155 to 19 497.

ELLE Decoration has grown from 15 885 to 18 302 (total free = 4 670), following a frequency change.

Leading declines (YOY)*

Food and Home Entertaining: -23.91%
SA Home Owner: -19.66%
Conde Nast House & Garden: -15.75%
House & Leisure: -13.77%
SA Garden and Home: -12.63%

Leading gains (YOY)

Idees/Ideas: 13.65%
Easy DIY: 12.07%
Tuis Home: 8.66%

Men’s market

Men's Health South Africa, November 2018Very Interesting has inched down from 18 209 to 18 157 (total free = 5 397) in the previous corresponding reporting period, while Men’s Health has crept down from 27 602 to 27 580 (total free: 4 033). GQ has changed frequency.

Popular Mechanics has grown from 27 482 to 29 729 (total free jumps to 5 819); but Stuff is down from 13 925 to 12 352 (total free jumps to 2 146).

Destiny Man has fallen from 13 259 to 12 572, following a change in frequency (total free = 2 176).

Hitting the road

Leisure Wheels has climbed from 14 381 to 17 285 (total free = 4 046), while CAR has increased from 62 130 to 64 948 (total free = 4 658). Speed and Sound has jumped from 24 232 to 29 412 but SA4x4 has fallen from 14 881 to 12 991. Caravan & Outdoor Life / Kamp & Karavaan has grown from 18 166 to 20 125. Driven has fallen from 17 902 to 16 255.

Leading declines (YOY)*

SA4x4: -12.70%
Driven:  -9.20%

Leading gains (YOY)

Speed and Sound: 21.38%
Leisure Wheels: 20.19%
Caravan & Outdoor Life / Kamp & Karavaan: 10.78%

Weg!/Go! has grown from 53 897 to 59 508 (total free = 5 471) but Getaway has declined from 42 590 to 41 077 (total free = 11 760). SA Country Life has decreased from 29 743 to 28 080 (total free = 2 902). Weg!/Go! Platteland has fallen from 32 729 to 29 176.

Woman’s general

Elle South Africa, November 2018ELLE has fallen from 22 422 21 810 (total free = 6 988), but True Love has grown from 27 693 to 33 137 (total free = 5 405) and Sarie has increased from 57 272 to 63 835 (total free = 9 078).

Glamour has changed frequency, and has fallen from 45 478 to 35 081 (total free = 8 601).

Fair Lady has grown from 32 975 to 34 749 (total free: 4 014), Destiny Magazine has increased from 25 125 to 26 033 (total free: 5 599) but Cosmopolitan has dropped from 37 128 to 34 089 (total free = 3 382).

Good Housekeeping/Goeie Huishouding has grown from 37 753 to 41 542 (total free: 4 089). Move! has fallen from 70 062 to 56 846. Vroue Keur has dropped from 48 528 to 43 806. Woman and Home is down from 73 294 to 60 236 (total free: 7 446).

Kuier has declined from 91 672 to 87 262, Rooi Rose has decreased from 63 825 to 57 663. Essentials has declined from 25 888 to 19 467. Fitness Magazine has fallen from 21 194 to 17 872.

Your Family is down from 29 802 to 23 146, and Women’s Health has decreased from 31 520 to 28 431. Marie Claire has fallen from 22 077 to 16 712; its publishers recently announced it would cease publication in South Africa.

Leading declines (YOY)*

Essentials: -24.80%
Marie Claire: -24.30%
Your Family: -22.33%
Move!: -18.86%
Woman and Home: -17.82%
Fitness Magazine: -15.67%

Leading gains (YOY)

True Love: 19.66%
Sarie: 11.46%
Good Housekeeping / Goeie Huishouding: 10.04%

The MarkLives’ Big Magazine list**

Q3 2018

  1. Huisgenoot: 177 393
  2. Taalgenoot: 138 222  +7
  3. YOU: 88 080  +2
  4. Kuier: 87 262  +3
  5. Tuis/Home: 87 040 +1
  6. CAR: 64 948  reentry +4
  7. Sarie: 63 835 +2
  8. Woman and Home: 60 236  reentry +3
  9. Weg/Go!: 59 508  reentry
  10. Bona: 59 291  reentry +4

Rooi Rose: 57 663
Move!: 56 846

Notes: Sports Club (TFG), Kids Super Club (TFG), MyKitchen (TFG) and Foschini Living Space all moved back to custom magazines, and therefore automatically fall out of our ranking.

*Year on year. Only titles covered in this feature, not all titles in ABC category, excludes titles with recent frequency changes.
**By total circulation. Must have a cover price. Annuals excluded.
Movement on the Big Magazine list compared to Q2 2018 data.

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!

Newspaper circ Q3 2018: Sunday Sun, City Press lead losses

by Herman Manson (@marklives) The Audit Bureau of Circulations of South Africa has released newspaper-circulation statistics for the period July–September 2018 (ABC Q3 2018); see our consumer magazine ABC analysis here.

Newspaper overview

  • Total newspaper circulation declined 2.9% the previous quarter, and by 4.0% on the prior year.
  • Daily newspapers declined by 2.2% on the previous quarter,and by 13.6% on the prior year.
  • Weekly newspapers increased by 8.7% on the previous quarter, but declined by 9.6% on the prior year.
  • Weekend newspapers declined by 1.5% on the previous quarter, and by 8.3% on the prior year.
  • Local newspapers declined by 3.5%on the previous quarter, and by 8.3% on the prior year.
  • Free newspapers declined by 3.9% on the previous quarter, and by 1.2% on the prior year.

Biggest declines*

  1. Sunday Sun  -31.81%
  2. City Press  -24.04%
  3. Sunday World  -21.26%
  4. Daily Sun  -21.71%
  5. Mail & Guardian  -16.98%
  6. Son (Daily)  -15.67%
  7. Son op Sondag (formerly Sondag Son)  -14.71%
  8. Daily Dispatch Weekend Edition  -14.24%
  9. Burger, Die Saturday  -14.19%
  10. Daily Dispatch  -14.17%
  11. Soccer Laduma  -11.25%

*Circulation compared to corresponding previous period (Q3 2017); excludes regional editions.

Daily papers

City PressIn Gauteng, Pretoria News has grown from 12 570 to 13 033 (copy sales = 7 126) in the corresponding previous period (Q3 2017). Beeld has fallen from 37 560 to 34 677. The Star has gone from 75 288 to 76 418 (sales below 50% = 10 282). Sowetan is down from 73 650 to 70 188.

In the Cape, Die Burger (Eastern and Western Cape editions) has declined from 46 379 to 42 363. The paper recently announced it would end the daily Eastern Cape edition, instead publishing a weekend newspaper on Fridays; the regional edition subsequently saw its circulation fall -46.94%.

The Cape Argus has decreased from 27 640 to 27 348 (3 508 to PMIE), while the Cape Times has inched up from 29 608 to 29 626 (3 145 to PMIE). Son has fallen from 66 645 to 56 199.

In the Eastern Cape, Daily Dispatch has fallen from 18 086 to 15 523, and The Herald from 18 172 to 16 395.

In KwaZulu-Natal, the Daily News is down from 23 283 to 23 153 (1 547 = sales below 50%) but The Mercury has hardly budged, up from 25 129 to 25 130 (1 487 = sales below 50%). The Witness has declined from 11 888 to 11 057.

The Citizen has fallen from 44 216 to 41 898 (single copy sales falls to 26 363) but Business Day has inched up from 20 030 to 20 084. The Daily Sun has continued its decline, from 155 845 to 122 011. Isolezwe has fallen from 85 807 to 78 220.

Volksblad has declined from 14 259 to 14 023. Diamond Fields Advertiser has decreased from 7 563 to 7 401 (863 = sales below 50%).

The MarkLives Big Daily Newspaper List*

  1. Daily Sun: 122 011
  2. Isolezwe: 78 220
  3. The Star: 76 418
  4. Sowetan: 70 188
  5. Son: 56 199
  6. Die Burger: 42 363
  7. The Citizen: 41 898
  8. Beeld: 34 677
  9. The Cape Times: 29 626
  10. Cape Argus: 27 348

Weekly & weekend papers

Daily SunPretoria News Saturday has declined from 7 530 to 7 302 (sales below 50% of cover price: 1 454); the Saturday Star from 44 929 to 44 124 (sales below 50% of cover price: 4 076); the Weekend Argus Saturday edition from 33 464 to 32 852; but Independent on Saturday has grown from 35 092 to 35 281 (sales below 50% of cover price: 6 815).

Saturday Beeld has fallen from 36 962 to 35 775; Saturday Burger from 59 048 to 50 669 and Daily Dispatch Weekend Edition (formerly Saturday Dispatch) from 16 372 to 14 041.

City Press has fallen from 62 962 to 47 824 (in Q1 2014, total circ stood at 118 676) and Rapport from 115 818 to 110 441 (in Q1 2014, total circ stood at 177 016). The Sunday Times has declined from 260 781 to 250 368 (in Q1 2014, total circ stood at 405 458).

Sunday Tribune has declined from 51 510 to 50 514 (sales below 50% = 9 050). Sunday Sun has collapsed from 75 906 to 51 758 and Sunday World has also dropped from 54 836 to 43 178.

Ilanga Langesonto has declined from 37 746 to 35 160 and Isolezwe ngeSonto has fallen from 67 499 to 63 809. Isolezwe ngoMgqibelo has grown from 65 213 to 66 117.

In terms of the weeklies, The Post has increased from 36 703 to 37 692 (sales below 50%: 2 584) as Ilanga has fallen from 63 718 to 57 652. The Mail & Guardian has declined from 27 766 to 23 052. Soccer Laduma is down from 281 950 to 250 231.

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!

#Campaigns: Reappropriating words of prejudice, paternalism

by MarkLives (@marklives) This week we feature insight into the brief, creative idea, production challenges and results of the “Breaking the Stereotypes” campaign for PPS from Promise.


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Client: PPS for Professionals
Ad agency: Promise Brand Specialists
Title: Breaking the Stereotypes

PPS Professional Women 1-8 by Promise
Click to enlarge

Information supplied by Promise.

 

Brief

The aim was to create a brand campaign that would resonate with professional women by delivering on PPS’s core proposition of “success is better, shared” in order to build long-term equity in this often-overlooked segment.

Objectives

  • Brand awareness of PPS among professional women (reach)
  • Brand favourability among professional women (engagement/sentiment)

Creative summary

Imagine if the words used to devalue women actually reflected their value, potential and power. This campaign aims to reappropriate phrases of prejudice and paternalism to challenge the stigma surrounding working women and open a dialogue around gender stereotypes.

Production

Notable to the campaign is that the models featured in the adverts are actual PPS members and established South African professionals. This gave the campaign legs to stand on, when we were questioned, “Are these even real professionals, or just advertising models?” It’s crucial when doing purposeful work that the output is honest, genuine and credible.

Resources

The social media launch of the campaign took place at the end of August 2018 so as not to fall within the clutter of Women’s Month. The intention was always for the campaign to live longer than a month — women’s empowerment is not only important in August. In partnership with Mashabela, we were able to secure key out-of-home sites, including billboards and Gautrain TV screens, to further boost what was being seen online.

 

Measurement

The campaign exceeded expectations across every metric:

  • Over 44m estimated media impressions
  • Average Twitter engagement rate increased by 1067%, seeing our Twitter following more than double
  • Over 212 000 people across the world joined the conversation
  • The campaign was featured in major publications, including Vogue (Poland), Cosmopolitan (Ukraine) and Publico (Portugal)
  • The campaign even sparked a social media movement in Russia

But, more importantly, we have empowered professional women around the world by contributing to breaking the stereotypes they are forced to confront every day.

Credits

Brand

PPS
Client: Ayanda Seboni, Dawn Ngwenya, Praneet Chhiba

Agency

Promise Brand Specialists
Creative director/Strategist: Robert Jameson
Art directors: Antoinette Raman, Kevin Radebe
Copywriters: Robert Selmer-Olsen, Tyler Lambert
Client service: David Sutherland, Lebo Mocwane
Producer: Sherilea Gaspar
Additional credits: Thato Simelane, Morgan Griffiths, Jolanda van Rooyen, Alexi Vontas, Caitlyn Lewis.

Production

Photographer: Jono Wood
Photographer’s assistant: Twiza
Makeup Artist: Nakita Oosthuizen
Stylist: Chanel Vlok

 

MarkLives logo#Campaigns is the new weekly MarkLives column featuring insight into the brief, creative idea, production challenges and results of South African communication campaigns, both ongoing and recent. Have a campaign worthy of being featured in #Campaigns? Submit a short motivation to 2mark and we may well be in touch. Please include links to campaign material, when it ran/is running and why you believe it should be featured.

— 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: Online retail trends in Africa

Cheryl Hunter (research at marklives.com)’s weekly wrap of the latest market and consumer research:

  • Online retail in South Africa
  • Crypto- or cryptic-currency?

Retailing in Africa

Online Retail in South Africa 2019World Wide Worx, Visa and Platinum Seed partnered in 2018 to deliver insights into South African digital shopping, and shoppers, withOnline Retail in SA 2019” showing that SA online shopping has grown consistently since the last survey in 2016 and is set to pass the R14bn mark this year, marking 1.4% of total retail. Lead researcher, Bradley Elliot of Platinum Seed, identifies for Market Research Wrap the top five trends that will continue to shape online retailing in Africa.

Africa is ripe for opportunity, with a growing middle class and a huge increase in smartphone penetration. It’s expected that, by 2020, half of all African adults will have a smartphone and that, by 2025, consumer spending will reach US$2.1tn.

1. Welcome to the bazaar

Wherever you go in Africa, you will find traders gathered in one place. Building on this model, African ecommerce retailers will most likely feature a multitude of traders gathered on one platform to vie for the same customers. Most Africans connect to the internet via their smartphones, so mobile-first is a priority for online retail if it’s to reach the maximum number of consumers.

2. Master delivery

Africa struggles with infrastructure, and this is a real obstacle to logistics. Innovative brands need to find smart ways to get the package delivered cost-effectively and on time. As African consumers see their overseas contemporaries getting same-day delivery, they will expect the same service.

3. Proudly African

While the west has always had a certain design allure, Africa has something else to offer that its inhabitants also value — think shweshwe materials and Mandela shirts. Fresh and vibrant designs aren’t only coming back into vogue locally; they’re also an export opportunity.

4. Caring is crucial

African customers have not always been well-treated by merchants, and this bad behaviour was tolerated due to a combination of scarcity and not knowing any better. Modern citizens won’t tolerate bad treatment, as they’re being educated by media and ‘returnees’ — people who work overseas for a period and return — reporting on conditions in the diaspora.

5. Touch me at the right point

Savvy retailers will find touchpoints that resonate with customers, using data analytics to target — but at the right time and place.

• Buy the report at onlineretail.co.za

 

Getting the facts

BrandMapp logoWritten by Brandon de Kock, WhyFive Insights director, this fourth in a selection of interesting insights from the 2018/19 BrandMapp survey examines the results of a recent study commissioned by crypto-merchants, Luno, claiming that “29% of South Africans own cryptocurrency”.

by Brandon de Kock. While a handful of well-edited portals have included all the facts, some cut-and-paste specialists simply hung the headline out to dry without context — leaving us to believe that 29% of adult South Africans, more than 11m people, own virtual money. Where correctly reported, however, the survey was clearly positioned: conducted online, with 1000 respondents, mostly middle-class-and-up, more than 80% of whom earn at least R15 000 per month.

At that income level, National Treasury’s most-recent budget review data pegs its maximum possible universe at just less than 5m individuals. And 29% gives us 1.4m adults who’ve wagered their hard-earned cash on one of the most-volatile financial ‘instruments’ of the disruptive era. What it really means is that “[l]ess than 4% of South Africans own cryptocurrency”. That’s hardly the kind of motivational story to make you pull your life savings out of unit trusts and rush off to a virtual piggy bank.

In a similar vein to the study in question, BrandMapp aims to paint pictures of the estimated 12.5m middle-class-and-up adults living in households earning R10 000 per month or more. And here’s what the results of our 2018 survey of more than 25 000 respondents shows:

  • In total, 14% of respondents ticked a box to say they’ are likely to buy cryptocurrency in the next year’. Interestingly, that percentage remains the same for the upper class, those living in R40 000+ households.

And so, bearing in mind that the 12.5m number is all adults, not just the earners, we can take 14% and arrive at a maximum number of (drumroll, please) about 1.7m potential players looking to roll the dice in the virtual currency gambling den. It’s intriguingly close to the 1.4m we got to earlier and feels like a reasonable number.

• For more, go to WhyFive Insights.


Cheryl Hunter

Cheryl 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. She now does the new weekly “Market Research Wrap” column for 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

The Martini Shot: Ethics not a county next to Sussex

by Bobby Amm. Part of the Commercial Producers Association (CPA)’s mandate is to promote professional and ethical business practice in the production sector and this is becoming more imperative than ever before, thanks to the downturn in the industry and the resultant pressure on companies now competing harder than ever for a piece of the shrinking pie.

Commissions of inquiry

With the Zondo and Nugent commissions of inquiry in the news these days, there’s been a lot of talk generally about what constitutes corruption and how prevalent the practice really is in South African life. People tend to think corruption happens only in government. The reality is that it’s not confined to politicians and bureaucrats but occurs regularly in business, too, particularly in SMEs which tend to be particularly vulnerable to its scourge as they usually don’t have the proper protocols in place to identify and deal with the problem.

In an industry based very strongly on the power of relationships, it might be tempting, for example, to thank your agency client with a bottle of champagne or a lunch following a successful shoot. Is this type of relationship-building permissible or could one of your competitors accuse you of trying to influence your client to award you the next job as, well rather than considering one of your competitors? And what about a scenario where one of your production manager’s favourite suppliers, which has recently fallen on hard times, offers a cash reward for all future business brought to their company? Is that ethical or would your PM be engaging in a corrupt relationship if they were to agree?

Legislation

South Africa has specific legislation that deals with the thorny subject of corruption: the Prevention and Combating of Corrupt Activities Act (no. 12 of 2004). This says that corruption occurs when one party gives another party anything of value with the purpose of influencing them to abuse their power.

Although an expensive gift given to a client may seem a lot more incriminating than a bunch of flowers, the value of the ‘gratification’ isn’t important. What’s significant is the intent to improperly influence the client to act in your favour now and in the future.

Questions to ask

Because much of this may seem subjective, the legal experts recommend that you ask yourself the following questions if you find yourself in a position where you are unsure:

  1. Am I trying to make the person indebted to me with the gift, or is it just a small token to ensure my company is remembered?
  2. Am I trying to buy influence with expensive entertainment or does it merely provide an opportunity to network?
  3. How would I feel if one of my competitors did the same thing? Would I be comfortable if they found out what I did?

If you think that you may lose the job you are pitching on or any future work if you don’t provide the gifts and entertainment, the warning signs of corruption are already there.

Person soliciting is guilty

It’s also important to remember that a person soliciting a gift, favour or any other type of gratification may also be guilty of corruption, so it’s advisable never to request these from a supplier — even in a humorous way — as this could very easily be interpreted as inappropriate, particularly if your other suppliers are in the habit of giving you expensive gifts but this particular company isn’t. A supplier should never feel obligated to provide a gift in order to land a contract or to secure repeat business.

Most larger companies and corporates will usually have guidelines around what’s acceptable when it comes to the exchange of gifts and favours; however, some people, such as government officials and procurement officers, have a higher standard to which they must adhere as their conduct is legally regulated thorough codes of conduct. As a result, it’s never advisable to engage in any activity that could be perceived to be corrupt with anyone in the public sector.

It’s advisable for all companies to encourage a culture of ethical behavior, as corruption (together with its associated crimes: fraud, facilitation, price fixing and extortion) is bad for business and the economy and, more insidiously, it erodes morality and unravels the fabric of society. We need to do more to step up and reverse the trend or our industry will be all the poorer for it.

Steps to follow

The CPA encourages every member, client and supplier to implement the following steps to stamp out corruption and unethical practices in our industry:

  1. Commit to ethical business practice

It’s important for management to lead by example and inform everyone that they want to work in an ethical and legally sound environment.

  1. Talk to your employees

Your employees are best placed to identify unethical or corrupt practices within your business or the industry. Talk to them to understand where the threats lie.

  1. Make rules and communicate them

Work together with your employees to draw up a code of ethics for your business. Encourage them to use it when the need arises. The best response is really simple: “My company’s rules don’t allow that and I could lose my job.”

  1. Make it part of everyday business practice

Change established practices that may encourage unethical practices such as kickbacks. Find other ways to incentivise and reward staff. Ensure that all freelancers are familiar with the way things work and subscribe to your company policy.

  1. Have an open door

Encourage your employees and associates to communicate with you regarding any concerns or questions they may have, even if they wish to do so anonymously. Encourage debates around ethics to increase awareness about what’s ok and what’s not.

  1. Apply discipline

Act when your code is transgressed. To do otherwise sets a bad example.

  1. Recognise ethical behavior

Uphold your company values by recognising people for exemplary behavior. You might award them with trophy or special mention which recognises that they are the person who best exemplified the company’s business values.

  1. Report corruption

The best way to stamp out corruption is to report it to the relevant authorities. It’s also worth bearing in mind that, if you’re in a position of authority and know of corruption involving R100 000 or more, it’s a crime not to report it to the police.

  1. Consider collective action, if necessary

In some environments, corruption is endemic and, to deal with this, collective action may be required. It’s far easier if companies work together to end corrupt practices within an industry.

 

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.

— 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 1 — primetime top 20 for Sep 2018

by MarkLives (@marklives) The hottest primetime shows on SABC 1 in South Africa revealed: TV ratings for September 2018.

SABC 1 logoSABC 1, September 2018

Top 20 Programmes All Adults 15+
September 2018 Prime Time 5.30pm—10pm
Adults 15+ years U:34978 S:8319

Day

Date

From

To

Station

Programme title

Genre

AR

Viewers

Share

Tue 25/09/2018 2029 2059 S1 Uzalo Dram 29.3 10251231 74
Tue 25/09/2018 1959 2029 S1 Generations the Legacy Soap 25.1 8794392 65.2
Tue 11/09/2018 1829 1859 S1 Skeem Saam Dram 21 7338249 61.8
Tue 11/09/2018 1900 1929 S1 Xhosa News News 13.2 4618443 36
Wed 12/09/2018 1859 1929 S1 Zulu News News 12.6 4408840 36.3
Sun 09/09/2018 2002 2059 S1 Side Dish Dram 11.2 3901920 36
Tue 11/09/2018 1931 1957 S1 Selimathunzi Vari 10.8 3775275 29.5
Sun 30/09/2018 1930 2001 S1 Ikani Dram 10.4 3647979 33.6
Sun 16/09/2018 1958 2100 S1 Emjindini Dram 10.3 3604926 31.5
Sun 09/09/2018 1930 2002 S1 The Groom’s Price Dram 10.3 3590449 31.6
Mon 17/09/2018 1929 1958 S1 Thandekas Diary Real 10.3 3587060 29.3
Wed 26/09/2018 1932 2000 S1 Mina Nawe Dram 10.2 3582191 29.5
Thur 20/09/2018 1931 2000 S1 Throwback Thursday Musi 10.2 3570459 28.6
Fri 14/09/2018 1929 2000 S1 Live Amp Musi 9.6 3373716 29.2
Tue 11/09/2018 1800 1829 S1 Nyan Nyan Real 9.6 3349331 34.7
Wed 12/09/2018 2100 2159 S1 Khumbul’ Ekhaya Maga 9.5 3314172 31.9
Sun 02/09/2018 1929 2000 S1 Sabc/Nfvf Black Woman Year 2: Sena Dram 9.4 3284579 30.5
Sun 16/09/2018 1929 1958 S1 Sabc/Nfvf Black Woman the Sisters -R Dram 9.2 3223831 28
Sun 23/09/2018 1930 2000 S1 Blackwoman Dram 9.1 3183058 31.1
Sat 15/09/2018 1800 1858 S1 Friends Like These Vari 8.6 2999846 33.5

Source: BRCSA September 2018

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.

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#AgencyFocus: The Unit — from clubbing to brandland

by Sabrina Forbes. South Africa’s entertainment-based collective, The Unit — founded by well-known DJ and club-owner, Shaun Duvet — has become an important player in the South African branded-entertainment category.

Connected hub

The Unit is made up of lead agency, Anything Goes, specialising in branded entertainment, with Salute (event solutions), Amplicon (public relations), Bella Bookings (artist and model staffing), Souk, Gold Bar and Coco (Cape Town nightlife), Ultra and Corona Sunset (festivals), and Bridges for Music (local music NGO). Together, the business collection works as a “connected hub of entertainment agencies never before seen in South Africa — a collective engineered to deliver spectacular events to the youth market,” says Kate Thompson-Duwe, Amplicon group managing director. “Their combined track record speaks for itself.”

Each agency in The Unit has its own leadership team and financials, with Duvet calling a catchup meeting at least once a week to find out where everyone is and what’s going on. As businesses, they run independently but, when they come together, that’s the real magic happens. “The Unit basically offers a broad approach to everything eventing, with each agency having the best interests of group at heart in everything they do,” he says.

Duvet began DJing at 15 years old and, by the time he moved to Cape Town almost 16 years ago and opened his first venture, The Bang Bang Club, he remembers that branded entertainment didn’t really exist in the local market and was only just beginning globally. So, in 2007, he partnered with Olmeca Tequila and began to develop concepts that would ultimately set the brand up to become synonymous with electronic dance music (EDM) and remain the “DJ’s tequila”. The Unit still has a very close relationship with the brand today.

Ultra South Africa stats

Organic structuring

Managing and running The Bang Bang Club unknowingly created the organic structuring of the first of The Unit’s agencies, Anything Goes. Duvet often wore two hats, that of club owner/manager and marketer, dealing with alcohol brands and their specific marketing requirements or campaigns.

What started small has grown into an agency group that owns the franchise rights of Ultra in Africa, one of the biggest EDM festival brands in the world. South Africa was the third marketing globally to launch an arm of Ultra, with The Unit front and centre in its planning and execution.

In 2012, dance music exploded and, being in the industry, Duvet was at the forefront of this genre that has continued to expand year-on-year. David Guetta and The Black Eyed Peas are just two examples of dance catalysts that have shaken up the world stage. Up until then, all the events that Duvet had managed, such as bringing Fatboy Slim to play at The Bang Bang Club, were done with a collection of unofficial partners. This early combination of marketing, PR, event, and talent management strengths is what served as the inspiration for The Unit.

Massive show

The Unit’s first massive show was with deadmau5. After two years of negotiation, in 2012, the agency delivered its first massive three-city, 30 000-people show, presented by Olmeca, of course. This led to future shows with hugely popular acts such as Hardwell, Skrillex, Tiesto, Afrojack, Alesso, and Nicky Romero.

A festival like Corona Sunsets demonstrates how each agency within The Unit pulls together. “All these businesses work in tandem with one another; everything just feeds into each other,” says Duvet. In this case, Anything Goes works with lead creative agency, King James, on the festival’s promotion and artist bookings; Salute manages all production and logistics; Bella Bookings manages artists and staff on the day; and each venue in The Unit gets involved with hosting pre-parties to deliver on building up the hype. It’s the perfect example of how the whole really is greater than the sum of its parts.

An untapped market for The Unit is the corporate events space, one which Duvet and the leadership team in each of the separate agencies are looking into. A recent corporate win for the group is the launch of the new smokeless, heated tobacco unit, IQOS, from Philip Morris International. The agency group will work together to produce and execute the launch along with lead brand agency, Leo Burnett.

Group projects

Two more group projects are the upcoming summer 2018 Corona Chasing Sunsets and The Music is King. For the former, key beaches from Plettenberg Bay to Cape Town will become Corona-branded sunset festivals with international DJs. “The Unit, in terms of a collective, will manage and produce the shows,” says Duvet. On 15 December 2018, The Unit will also partner with Soulistic Music and Universal Music to deliver the latter show for up to 20 000 people, with Black Coffee as headline DJ. “Branded entertainment is very much exactly what it is that we do,” says Duvet.

Brands like Samsung and Standard Bank are currently sponsors of Ultra South Africa. Both don’t typically come to mind when you think of dance music but they’re ahead of the curve enough to understand that there’s a captive audience at their fingertips. The way each event The Unit produces gives brands data metrics down to the individual, where they were, what they drink, how long they are there. We’re talking 60 000 18–25-year-olds at a single event. That’s a lot of data.

To stay ahead of the curve and local competitors, the team constantly watches and takes note of what artists around the world are doing and what trends are coming from other music festivals in terms of branded entertainment and stage design.

Branded entertainment potential

From the beginning, Duvet saw the potential for branded entertainment and now works with some of South Africa’s biggest brands to bring them to life: “We know how to produce, market, and manage a festival. Bringing a brand to life is a space we really play in the most.”

Anything Goes logo
theunit.groupRamify

  • Office locations: Cape Town (but operate nationally)
  • Revenue band: R20m–R30m (without Ultra)
  • Staff count: 15 full-time, 50–100 part-time
  • Key clients: Samsung, Standard Bank, PMI, AB InBev, RGBC, BAT, Distell, Investec, Pernod Ricard, Diageo
  • Services: Full service (digital, PR, design, production, and branded entertainment — events, artist bookings, and sponsorship)

 

Sabrina ForbesSabrina Forbes (IG) is an experienced and published 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.

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

— 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!

The CX-Files: Is your brand ready for a youthquake?

by Julia Ahlfeldt (@JuliaAhlfeldt) A lot has been written about millennials, that elusive, hard-to-engage generation which sent brands scrambling in an effort to woo them. But millennials are growing up and marketers have begun to crack their consumer code. Focus has now shifted to the under-20s, the so-called Generation Z (Gen Z) or the generation that will become the largest group of consumers by 2020.

Unique subset

In South Africa, 26.8m people, or 46% of our population, are youth under the age of 25.

While millennials were the first generation to adapt to and adopt new technologies, for Gen Zs, it’s innate. Born after 1992, they’ve entered a world in which mobile phones are mainstream (the first cellphone was launched by Vodacom in SA in 1994) and today use social media as a primary way to connect with friends, as well as brands. In SA, they’re also the first generation to have been born into democracy, making them a unique subset of this society.

So influential is this new age of consumers that the Oxford Dictionary announced its 2017 word of the year as “youthquake”. This refers to the most-important term or phrase used in the public sphere during a specific year; examples of previous words are “fake news” (2016) and “hashtag” (2012).

Of course, Oxford’s ‘words’ are far more than an audit of everyday speech; they are a linguistic yardstick of the day. Tremors of a “youthquake” have been felt around the world and are significantly influencing how brands and businesses are evolving.

Implications for brands

For starters, Gen Zs expect a seamless service. They don’t care how they interact with a brand (on or offline) but they do expect that every touchpoint is simple and accessible. Don’t offer an omnichannel experience? Can’t easily enable in-store product reviews or don’t have a collection point for orders made online? Sales may suffer.

They’re more collaborative and like to help create things, too. What does this mean? Brands might want to consider a more-open process to developing products, or change the way they leverage customer feedback to let customers know that they’ve been truly “heard”.

Gen Zs also constantly engage in conversations online, interacting with others, sharing and consuming at a breakneck speed. Does this, then, mean that brands will have to change the way they communicate? Brands will likely need to be faster, more-responsive and produce content that commands attention in a world that is saturated with conversation. These are just a few key considerations brands need to make when developing or tailoring a product for this discerning audience.

Important questions

Then there’s the issue of security. As the ‘guinea pig’ generation for social media and the digital world, millennials engaged with technology as it was evolving, and before consumers really understood the implications of sharing their data. Where millennials have been more likely to give out their personal details willy-nilly, Gen Zs, though, are far more guarded. Having grown up during a time of major data breaches, and the exploitation of personal information, they are more aware of the risks associated with having their data fall into the wrong hands. Gen Zs will likely demand data security from the companies they choose to do business with, and may view their data as an asset that brands have to ‘earn’ access to, rather than something that is given away with each loyalty card.

These are all important questions needed to be asked by brands intent on crossing the consumer chasm from those born after 1992 to those born before. As a first step to engaging this new generation of customers, they should put themselves in their shoes and ask, “Is this the easiest way to access our product? Have we provided a channel to engage in conversation? Do we have a clear purpose which aligns to theirs?”

Those that do will find the crossover from one generation to the other more seamless, while those who ignore the youthquake signs may remain the domain of Gen Xs and Baby Boomers, and gradually fade away as Gen Zs age.

 

Julia AhlfeldtJulia Ahlfeldt (@JuliaAhlfeldt) is a certified customer experience professional (CCXP). For more must do’s and don’ts on how to keep customers returning again and again to buy from your brand, listen to her podcast, Decoding the Customer. She contributes the monthly column “The CX-Files”, which looks at current issues from a CX perspective, 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!

Media Design: Empire, IZWI, Nowhere to Hide, Space Matters

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

  • Commercial print: Empire showcases the movies that defined 2018, with an emphasis on the blockbuster film, Avengers: Infinity War
  • Iconic: IZWI filled the vacuum that WURM left behind, providing an alternative understanding of Afrikaans literary history valid to this day
  • Independent print: Nowhere to Hide uses illustration to highlight how reckless we are with the environment, and how little regard we have for the creatures we share our planet with
  • Online: Space Matters is an interactive digital atelier where influential women in fashion share their ideas

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   Empire (UK), December 2018

Empire, December 2018 - subscriber vs public coversAs 2018 slowly comes to an end, Empire’s December 2018 issue looms with much anticipation. As is traditional, Empire’s annual review of the year will be released with this edition, and it’s no surprise that Avengers: Infinity War fills the top rank by a large margin. There are two covers for this issue, one for subscribers (a special edition of sorts), and another for the non-subscribers to purchase off the shelf. As the theme suggests, Empire looks back on the films that defined 2018. The subscriber’s cover has been designed by prolific digital illustrator, Jacey, known for his iconic combination of photography and illustration using digital means. The cover image is unmistakably that of Thanos’s Infinity Gauntlet, with the six Infinity Stones attached. A homage to the film, with the Empire masthead tuning to ash, much like many the key characters at the end of the film, the image is poetically complimented by the phrase “snap!” in typical comic-book fashion. The non-subscriber’s edition is impressive, too, with Thanos, Captain America, Iron Man, Black Panther, Thor, Black Widow and Shuri all depicted on the cover, emulating the photomontage style of the original Star Wars films, which has come to be a common feature on many Empire covers.

 

Nowhere To Hide, 2018 - limited editionHeart-Love-Polygon-Geometric-Flat-Design-Icon-Illustration by lekkyjustdoit courtesy of FreeDigitalPhotos   Nowhere to Hide (South Africa), issue 1, October 2018

Nowhere to Hide (NtH) is self-initiated zine published by Studio Kronk. The theme of this passion project covers the relationship between man and nature, particularly the reckless and ignorant way that we tend to treat nature. Blind over-consumption and shallow materialist desires are at the core of the destruction of the environment, and the impact that humankind has is clear to see, yet not much is being done to remedy the situation. NtH explores the lives of the creatures living in nature, all unsuspecting victims of humanity’s obsession with oblivion. Produced entirely in black and white, this is the first zine that Studio Kronk has published, showcasing the work of Kronk, Pamela Potgieter, and “young gun”, Gavin Morison. An extremely limited edition of 10 signed copies exist, but Studio Kronk is busy financing an open edition which will be released soon.

 

 

 

Online

Heart-Love-Polygon-Geometric-Flat-Design-Icon-Illustration by lekkyjustdoit courtesy of FreeDigitalPhotos   Space Matters (Sweden), October 2018

Space Matters, online, 2018Space Matters is an interactive, online style library of sorts, a digital atelier where influential women in fashion share their ideas. An inventive source of inspiration, women in fashion are invited to guest-edit and personally curate their own posts. As a result, Space Matters has crafted a network that has allowed several important female voices in fashion to be more accessible to the world, fostering fruitful creative relationships which have developed into a kind of international sisterhood. At worst, it’s an unconventional space that brings people and ideas together — the site is playful and accessible. Even if fashion isn’t of interest, the site’s been designed to maintain a pleasant experience.

 

Iconic

Heart-Love-Polygon-Geometric-Flat-Design-Icon-Illustration by lekkyjustdoit courtesy of FreeDigitalPhotos   Izwi (South Africa), 1971–1974

IZWI, issue 1 Casper Schmidt 1971, issue 2 Wapko Jensma 1971, issue 3 Christo Coetzee 1972, issue 6 Peter Clarke 1972In last week’s column, WURM, an experimental South African publication edited by Phil du Plessis was highlighted, particularly for its quasi-avant-garde tendencies. Izwi, also known as “Stem” or “Voice”, was du Plessis’ answer to the vacuum that was left behind after WURM found its demise. Albeit a meager influence on the power of the apartheid regime, Izwi unified many writers and artists who existed outside the accepted norms of the time, most of whom came from diverse cultural and ethnic backgrounds.

Izwi was a bimonthly, and intentionally adopted an inexpensive format in case censorship or political intervention affected the finances of the publication. Forty pages in length, the magazine was hand-crafted and tended to avoid conventional, more ‘tastful’, literary standards; it opted for younger writers who were hungrier and rawer, as opposed to the pretentions of establishment. Twenty issues were published between 1971 and 1974, with 150 contributors and 50 artists showcased throughout its lifetime.

Izwi was under constant attack from authorities, and Du Plessis, alongside co-editors Stephen Gray and Wilma Stockenström, were often accused of being involved with anti-Afrikaans factionalism, in support of more subversive tribalism, liberalism, and other progressive entities. It challenged literary and political views in SA, and all involved with the magazine were regularly pressured by apartheid authorities for inclusive, pluralist, and experimental views. Staying true to its name, Izwe stood for the equality of all human beings supported by its manifesto, which challenged the apartheid regime’s perspective: “Izwi is the voice of All Africa”. At all times the right to freedom of expression was defended.

Notably, from its first issue onwards, Izwi included original, signed and editioned artwork. As a result, the magazine has become quite valuable and highly collectable, with certain editions including important pieces by Walter Battiss, Casper Schmidt, Alexis Preller, Wopko Jensma, Christo Coetzee, Norman Catherine, Peter Clarke, and Cecil Skotnes, to name a few. Izwi stopped publishing in December 1974 with a flourish, printing a final double issue. It purposefully wanted to subvert the Afrikaans literary, and by proxy, political status quo.

Magazines such as WURM and Izwi were incredibly influential because they went against the grain of literary orthodoxy, especially in the context of Afrikanerdom, providing a refreshing alternative understanding of Afrikaans literary history valid to this day.

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, and is a senior lecturer in graphic design at Vega School in Cape Town. Connect 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!

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