MarkLives.com • Page 96 of 579 • Independent industry news for marketing, advertising & media execs

Media Design: John Coltrane — 1963, Pansy, Phases, WURM

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

Commercial print: John Coltrane — 1963: New Directions features new work from iconic graphic designer, David Carson
Independent print: Pansy challenges the traditional idea of ‘man’, running parallel to the female zeitgeist
Online: Phases presents great photography from across the globe in the most-unadulterated manner
Iconic: WURM followed dadaist tradition to create an alternative literary history for Afrikanerdom

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

Print

John Coltrane — 1963: New Directions (US), 2018

Iconic graphic designer, David Carson — known for classic album cover designs for historic bands such as Nine Inch Nails and Bush, and trendsetting magazine covers for Volkskrant, Same Old, Wallpaper, Émigré, Blue, Speak, Raygun, and much, much more — sets yet another standard with his latest album cover design. Planned for release on 16 November this year by the legendary jazz label Impulse! Records, “1963: New Directions” is a five-LP vinyl box set that showcases Carson’s now-iconic grunge aesthetic, distilled, evolved, and matured. Noteworthy here are Carson’s succinct collage works, poetic in their craftsmanship and placement, not dissimilar to contemporary designer Mike McQuade. This album will be sought-after, if not for its considered packaging design, definitely for the fact that 1963 was a pivotal juncture where Coltrane deviated from his previous jazz masterpieces and took the genre into a completely experimental direction.

Pansy (South Africa), issue 1, October 2018

Originally published as an online-only menswear magazine, Pansy has recently published its first limited-edition print version. Its aim? To deconstruct masculinity, running parallel to the spirit of the female zeitgeist, effectively redefining what it means to be a ‘man’ today. Focused on men’s fashion, Pansy combines the creative forces of fashion, photography, and modelling to craft aesthetically pleasing stories that challenge the status quo. It’s graceful in its own idiosyncratic form of protest, where popular narratives surrounding traditional notions of ‘man’ are brought into an arena for debate. It contrasts strict classifications of masculinity with dated notions of femininity, crafting a critical discourse that’s uninhibited by established ideals, and free to express fresh perspectives and alternative avenues. Importantly, mainstream ideas about gender are questioned through tasteful, bold and considered forms of representation, fashion being the core, supported by photography, flanked by modelling. Hopefully this edgy publication will be seen on the newsstand next to Men’s Health sometime soon.

Online

Phases (international), October 2018

An uncluttered platform that invites open submissions with no set guidelines, Phases is an online magazine that showcases contemporary photography from across the globe. A selection of three portfolios is published each week, showcasing the work of established and emerging photographers from around the world and celebrating the simple beauty of photography with no hifalutin ornamentation or layered navigation — allowing one to simply enjoy the art form for what it is.

Iconic

WURM (South Africa), 1966–1970

WURM was a Pretoria-based periodical with a penchant for avant-garde tendencies, thanks largely to an eclectic group of contributors, most of whom where outcast from the mainstream and were rejected by most-established publications. WURM existed under the political radar, and didn’t pursue political transformation, seeking rather to incite cultural change by focusing primarily on alternatives to the dull and dogmatic Afrikaans literary orthodoxies of the time. As such, WURM attempted to create an inclusive space for more-pluralistic forms of literary expression, even if that meant submissions of ‘lesser quality’ from contributors. The inclusion of normally silenced ‘outsider’ or ‘alternative’ contributors would later become an approach used by the prolific Stet magazine in the early ’80s, featured in this column earlier this year.

WURM appears to have been influenced by dadaist traditions — particularly when it comes to its experimental treatment of typography and unorthodox literary practices — which culminated in the beat movement epitomised by the work of Allen Ginsberg, Jack Kerouac, and William Burroughs, to name a few (arguably culminating further with punk). As a result, WURM was perceived as a South African avant-garde publication by many, fueled by unusual collaborations between predominantly Afrikaans poets and implementing concrete poetry reminiscent of early avant-garde experiments that SA conceptual artist, Willem Boshoff, would later develop into his publication, KYKAFRIKAANS (1980).

WURM was independent periodical, sans any funding, published in incredibly limited editions. WURM’s name, phallic in association, was inspired by a poem by Eugène Marais, titled “The Soul of the White Ant”, where a worm demolishes the walls of establishment which nourish, in the form of apples, the rotten foundations of Afrikaans literature. WURM openly challenged antiquated literary institutions in SA, defying the accepted norms of established publishers and authors, particularly within the rubric of Afrikanerdom, embracing all that was outsider.

Noteworthy covers include WURM #5, published in 1967 with a cover by legendary SA artist, Walter Battiss, titled “destroying angel”. WURM #9 and #10, both published in 1968, sported a linocut by the enigmatic South African poet and artist, Wopko Jensma, which effectively combined text and visual elements. WURM #11, published in 1969, had contributions from the US, Greece, Czechoslovakia and Belgium, as the quasi-avant-garde nature of the periodical became known to a growing international readership.

WURM ended print in 1970 due to financial and personal reasons for the magazine’s then editor, Phil du Plessis, who has been quoted for saying that Afrikaans literature ‘post-WURM’ had no alternative underground press other than the “wholesale disappointment” of Kol magazine (1968–1969).

References

Shane 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!

Keith Rose — tribute by Graham Warsop

by MarkLives (@marklives) Graham Warsop was one of the speakers at Keith Rose’s memorial service that was held in Cape Town on Monday, 22 October 2018. Warsop recalls his first meeting with Rose in 1988 and tracks key aspects of the film director’s career and achievements, and the impact on the South African commercials industry since. [Note: The Johannesburg memorial service is happening at 3pm today, Thursday 25 October, at Katy’s Palace, Top Floor, 6 Desmond Street, Kramerville.]

Keith Rose tribute

by Graham Warsop. My sincerest condolences go out to Marie Louise, Kerry, Sean, Luke, Roland and all of Keith’s family. I hope it provides a measure of comfort to see so many people gathered here today who loved and respected Keith so much.

(i)

Dear Keith

I’d like to begin, if I may, by sharing a personal recollection. One we often joked about.

The year was 1988.
Les Sharpe, the creative director of Lindsay Smithers FCB, had appointed you to spend three weeks in Europe shooting two new TV ads for SAA Costcutters.
I was the copywriter. We had no storyboard, just a rather loose concept of shooting “preparation” shots — anything that showed that, across Europe, people were waking up a little earlier to prepare their world for you, the visitor from South Africa.
Les had appointed you as director, and me to be the agency’s creative representative on the shoot… a copywriter who’d been in the industry for barely a year and had never been on a shoot before.
David Feldman, your producer, summed it up rather succinctly:
“The biggest agency in the country is shooting the biggest TV ad in its history, and they send me you.”

Unfortunately, on day one of the shoot, Mr Feldman’s worst fears were realised.
The first scene was of young couple walking arm-in-arm across a stone bridge in the middle of the English countryside.
As ‘cut’ and ‘first positions’ were called after the first take, I stood up, walked forward, clapping my hands and shouting in a loud voice:
“Not bad. Now let’s try it again, a little bit more relaxed this time, and then we’ll try one with you walking in the other directon.”

Everyone stared.
David Feldman, your producer, was livid.
I think Peter Jay, the agency producer, went into cardiac arrest.
The set fell silent.

And what about you, Keith? As the director, you had more right than anyone to be angry.
How did you react?
I’d like your family and friends to know, because it was a reaction I will never forget. It was one that says so much about you.
You called me to come over and stand next to you. You invited me to look at the camera.
I was shocked to see it was still running.
“Why would you do that?” I asked.
To continue shooting after calling ‘cut’ seemed like an unconscionable waste of film.
You explained…
“After we call ‘cut’, I know that, if I leave the camera running while the couple return to first positions, I’ll get a relaxed shot of them walking and talking, without them trying too hard to perform for the camera.”
“Genius,” I thought.For the next three weeks, there wasn’t a day that passed where I didn’t have cause to whisper, under my breath, the word “Genius”.

Three weeks later, at the top of a mediaeval Italian tower overlooking the ancient city of Sienna, you told me we’d shot our final roll of film.
It was the hundredth of the shoot. By then I knew enough to know that we’d captured 400 minutes of footage. That’s over six hours’ worth of footage, to make two 90-sec commercials!
I don’t think it’s any exaggeration to say I had the most-educational, -informative and -enjoyable initiation into TV commercials of any advertising practitioner in history…
Three weeks with Keith Rose.
In that time, you patiently answered every question a copywriter, hungry to learn, could think of to ask you. Bless you for that, Keith.

The images you captured in Europe were literally breath-taking.
At the approval, our SAA client said of one of your shots, “But this looks more like a painting.”
“Thank you,” you replied.Needless to say, Les had been proved right to insist you shot the commercials, Keith. As next year’s Loeries was to prove.

A month before those Loeries, I started The Jupiter Drawing Room. And though our agency was tiny, it was a silent wish that one day I’d be able to shoot another ad with you.
Twenty years later in 2010, when The Jupiter Drawing Room had the honour to be voted Joint Advertising Agency of the Decade, and I ceased to be head of the creative department, it was with enormous pride that I could look back and say, not just that I got to shoot another ad with you, Keith, but that in my career I shot more ads with you than with any other director.
Not all those ads made it onto your show reel.
But every one of them made it on to mine.

(ii)

Whilst you were fastidious about every frame of the commercial, you never felt the need to be overly complementary about the product we were shooting.

Once when we were about to shoot a liquid product shot, you were looking through the camera lens and you called out the instruction, “Bring in the gunk.”
Horrified, the client asked me if you were referring to his product.
In desperation, I had to pretend that, in cinematography terminology, the word “gunk” was used to denote the object that would be the main product focus in the commercial.
You and I were amused at the prospect of this client spending the rest of his career asking directors on shoots, “When will we be doing the gunk shot?”

(iii)

We shouldn’t allow your individual achievement, as a director par excellence, to overshadow another major accomplishment…

You were the founding partner of the most-successful production house to ever exist in South Africa.
We’re an industry that relies on talented directors, and the production and post-production teams around them, to take our ideas and bring them to life in a way that exceeds our highest expectations.
Velocity’s directors delivered time and time again.
Our first experience of working with many talented directors, including Greg Gray, now a Hall of Famer himself, was based on introductions you made.

(iv)

Turning to Keith, the director:

The 1990s was South Africa’s breakthrough decade into world advertising. At the start of it, international recognition for our work was virtually non-existent.
But all that changed with a Mercedes ad you shot for Willie Sonnenberg and D’Arcys, that featured Christopher White’s car plunging over a cliff.
Yes, it was a big idea, but it was the way it was bought to life that was so masterful.
That was to pave the wave for an avalanche of Lions, in all disciplines, for South Africa.

It’s said that sometimes the difference between nought and one is greater than the difference between one and a hundred.
Well, I suggest that’s true of that TV Gold Lion for South Africa in 1990.
The Italian Renaissance was founded on confidence.
That first Gold Lion gave our industry the confidence to believe in ourselves as credible players on the world stage.
Well, that first Gold Lion turned us all into believers. It inspired us.
Directors and production houses were inspired…
Art directors and copywriters were inspired…
Creative directors, and agencies, whether they were small, young independents or the South African arms of global networks…
all were inspired to believe that, no matter that we were at the end of the African continent,
from this beautiful country we could compete in the toughest category in our industry
against the best in the world
and win.

(v)

It’s one thing to make a profound impact on an industry, Keith; it’s a significantly greater achievement to continue to do so.

Thirty years after you started shooting commercials, you still approached each job pushing for more — more interesting voiceover deliveries, a more-unexpected sound track or more-distinctive end titles.
You never lost interest, never became jaded or cynical.
You kept a boyish enthusiasm that combined a master’s eye, with a child’s wonder.

It’s revealing, isn’t it, that you have shot at least one defining ad for every one of your fellow Creative Circle Hall of Famers.
Brian, Willie & Terry, Robyn, John, Mike, Alistair and myself… you helped all of us shine.

(vi)

Last week on YouTube I once again watched the speech you made at the Design Indaba in 2009.

Other than your charm and modesty, one was struck not just by the brilliance of the work you included — one was also struck but by how much brilliant work you left out.
Ads that many directors would have given pride of place on their showreels simply couldn’t be fitted into your 45‑min presentation.
And as I look at so many of your ads, I have to believe if you had all the time and all the money in the world, it would be hard to know how they could be improved.
I don’t believe they could be.
Few of us have any idea how hard it is in this life to seek to create anything that good.
Not once, but time and time again.
In some respects, your work can be compared to that of Karl Faberge and his exquisite commissions for the Russian royal family.

It has been said that each one of Faberge’s Eggs are as close to perfection as it is possible to get. And that behind each one of those masterful creations lies a poignant belief that:
If the jewels were rare enough…
and the craftsmanship without equal…
change would be kept at bay,
time stopped,
death’s inevitably denied.
I read those words, and I think of you.
Because the reality is, Keith, you have not died.
You live on in in every frame of every film you ever shot.

Today, I would like to make you a pledge that we will preserve your legacy.
To inspire future generations and to serve as a lasting testament to the ultimate craftsman.
On that SAA Costcutters shoot, I thought you were a genius.
Thirty years later, I know you are.
In the firmament of South African directors, you shine brightest.
You were truly the first. Truly the best.

Rest in peace, Keith.
After all you have achieved, you surely deserve to.

Fair Exchange: Marketing glitz & glam vs accounting & accountability

theater-cinema-curtain-stripes courtesy of Pixabay

by Erna George (@edgeo23) The action of doing things on one’s own to prove one’s worth is a treacherous path, as a process is often enhanced with the right contributors who offer different skills and roles. Woe betide the marketer who believes they must lead first and foremost without capability or the weight of the right metrics and accountability.

I have a little (no, actually, a big) frustration with the marketers who, without the benefit of experience or taking accountability, want to go it alone — be in charge or (the well-used term) empowered to make decisions. The number of times I’ve heard in an interview that “I’ve not really ‘owned’ a project from start to finish, so couldn’t show my ability.” Why not, may I ask?

Always someone more senior

The reality is that there’ almost always someone more senior than you in the system that you either need permission from, need to consult with or keep informed of (a RACI). In addition, I don’t subscribe to the thought that leadership or strong thinking is only possible from one who’s in charge; you can reflect leadership or leading-edge thinking at any time. Just because it’s not always acknowledged doesn’t mean it’s not noticed.

All brand activity fits within a portfolio, as well as within a broader plan. With finite resources, there are investment trade-offs made and, unless you have line of sight and responsibility for the whole, you can’t make decisions in absolute isolation. Unless you’re exposed to the discussion at exco level or justification of spend, and ROI review at year-end, your context may be imperfect.

I understand the frustration and that this seems like red tape. I’ve been (and still can be) frustrated by a roadblock or another justification conversation — and I ‘get’ the other side also. I’ve been fortunate to be exposed to and feel torn by the full context. All I can suggest is seek to understand so, when the lay of the land is known, you learn where your project fits in and how to navigate effectively.

Built over time

Trust and capability are built over time. You prove yourself by demonstrating ability and, with each demonstration, trust is built. I wouldn’t entrust a new grad with R1m without providing direction and hand-holding to teach them, but a seasoned senior brand or marketing manager can consult or keep me informed. That’s just the way it is (and needs to be) to manage the inherent risk involved. What may feel disempowering is actually the process of being empowered. The great thing is that, by your hand being held, you learn the ins and outs, opportunities and pitfalls within a safe environment. At this stage, soak it up; learn, learn and learn so that, when you’re given the opportunity to take more of a lead role, your capability is strong. While many want to roll their eyes when us ‘oldies’ reflect our experience or are an added tier of authority, if I had 10c for the times teams have said to me, “How did you see that?” or “When will I be able to do that…?” I’m by no means a genius but practice of a process does build proficiency and teaches what to look or ask for — be patient or be a fast learner.

The lack of commitment or desire to follow process, get into the detail and know the numbers concerns me. Teams will come to see me with the glitz of a new idea or tactic, their eyes bright and smiles even brighter. Then I ask how does this contribute to the brand objectives from the brand plan, fit the brand or meet the performance requirements with the budget — and I see the brightness fade away. A shiny idea is alluring but it can only make you famous if it works properly. The due diligence required to ensure executional effectiveness can’t be skipped. I appreciate that good ideas can be watered down so you must focus on not letting this happen (again, practice means easier navigation for you so you can focus on protecting the idea). Learn this process or the options for this due diligence; then you will be ahead of the game, pre-empting the questions and sowing the seeds of confidence in your capability and ability to see the whole.

The money you are spending is real, not just figures on an excel sheet. If you treat it as your own, you will be more efficient and effective:

Have you considered the risks to the brand?
Is the activation constructed well and efficiently eg the store list is reviewed based on outlets that offer the best value to the category?
Have you compared this to other opportunities to check optimal investment and ROI?

Specific and measurable

As always, target-market consumer needs must be at the heart, so please don’t only look at reach in numbers; consider the quality of that reach in terms of your audience. Match to what the brand needs to deliver, the objectives to the brand plan. Ensure data-centricity and establish good metrics. Not a fluffy metric, like ‘we want to engage with consumers’. Every brand wants to engage — what does this mean for your brand in real terms? A specific and measurable format. Metrics provides a way for performance and progress to be reviewed, and this delivers a way for the business to evaluate ROI and this delivers accountability for the marketing function.

Are you a little scared by the output or consequences? If you are, you’re potentially on the right track for two reasons:

big and/or relevant new ideas that can make an impact may create a sense of nervous anticipation (that tingle inside), and
we have a healthy concern for the investment we are entrusted with.

If you’re not scared, beware of over-confidence or arrogance, as then you won’t be open to the possibilities of even better or seeing potential pitfalls.

Seek and be open to feedback so you may gain a unique perspective to unlock something new. Some of my best innovation enhancements and activation ideas have come from unpretentious and insightful observations from manufacturing or merchandisers.

Consumer and customer wants

If you get too busy with the glossiness or puffery, you won’t see or deeply reflect what the consumers and customers want. Remember the only reason consumers keep using your brand is that you have made an annoying problem go away or left them feeling amazing. RACI can assist with keeping on track and that the right eventualities are covered. Ensure the roles are clear, as this keeps the process robust and smooth.

Unless you have perfect information to own, develop and measure the process and are feeling confident enough to take full accountability:

Maintain a healthy perspective and respect for the process and rules of RACI — that way you learn the rules and know how to best stretch the right boundaries
Keep brand plan and objectives at the heart at the start and to evaluate at the end. Metrics to select and measure the approach deliver credibility
While you get frustrated with the chain of command (RACI), either respond proactively and close gaps or ignore and then be willing to accept the consequences if something goes awry

Think, assess and then act — and none this has to slow the process down. Use the process and decision-makers well and then you can circumvent the process while managing risk and reward. Glitz and accounting sorted!

After starting at Unilever in a classical marketing role, Erna George (@edgeo23) explored the agency side of life, first as a partner at Fountainhead Design, followed by the manic and inspiring world of consultancy at Added Value. She has returned to client-side, leading the marketing team in the Cereals, Accompaniments & Baking Division at Pioneer Foods. Her monthly “Fair Exchange” column on MarkLives concerns business relationships and partnerships in marketing and brandland.

Market Research Wrap: Media Inflation Watch reveals declining exposure

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

Media Inflation Watch Q2 2018 released
The rise and rise of Uber SA
Sorghum beer category saturated

Problematic overall performance

Media Inflation Watch Q2 2018 has been released, covering advertising rates and performance trends, plus an MIW Index (a Cost Per Thousand calculation), and revealing a problematic overall performance. This is according to Mike Leahy, Media Manager managing director.

Very different pictures continue for the two categories of TV. Although the average rates are +7.41% Jan–Jun 2018 on Jan–Jun 2018, free-to-airs are +15.92% compared to pay TV’s -10.62%.

Leahy notes, “Quite simply, the SABC need[s] the cash; DStv Media Sales and others on its platform are repositioning themselves in the bigger world of video on demand. Plus there is still the uncertain [effects]s of the migration of the analogue TV signal to digital on free-to-air TV viewership.”

Rate increases for print are at the lowest level ever recorded, and the rate of performance decline of circulation of many dailies/weekends and consumer magazines does appear to be softer. The MIW Index (CPM), however, is still +12.76%. The overall rate increase for radio has moved to +9.17%, mainly on SABC-owned stations (+15.67%). In addition, many stations appear to have lost audience, some significantly. Out of home again continues flat, compared to competing media platforms, but much depends on the contractor, format, advertiser demand and location — a good format unit in a prime position will be in demand and command a premium rate. A schedule of top online sites reflects a calculated increase of +7.40% although, in real market terms, negotiations would negate most or all of this increase.

Says Leahy, “The overall performance change of -4.13%, pushing the MIW Index to +11.69%, is the second-highest first six-month number in the last 10 years. It means that, unless advertising budgets increased by 11.69% or buyers negotiated even better this year, compared to previous years, exposure went backwards.”

• For more, go to Media Manager Online.

Uber meets growing needs

Written by Brandon de Kock, WhyFive Insights director, this second in a selection of interesting insights from the 2018/19 BrandMapp survey looks at the rise and rise of Uber South Africa.

by Brandon de Kock. By the beginning of 2018, Uber had around 1m active riders in SA, with over 12 000 drivers using the app — not bad for a niche service that only launched in 2013. In BrandMapp, for the last three years, we have tracked total usage with a simple question: Which of these travel apps or platforms do you regularly use? And the growth has been staggering.

For the middle class (people living in households earning between R10 000 and R40 000 a month), usage has risen sharply from 14% to 26% and now 44% in that time and top-end usage (those living in R40 000+ households) has similarly risen noticeably from 27% to 38% to 44%.

So, while the top-end seems to be reaching saturation, it’s extraordinary that the middle class has caught up to similar levels of association with one of the world’s leading disruptive enterprises. Between sensible users avoiding drunk driving, urban dwellers making relatively short trips, spouses and their children using the same accounts and students ride-sharing on a weekend, there are almost more people who now consider themselves to be Uber users than there aren’t.

So, while it’s an amazing story about how successful technology-driven services can be when allied to a basic human need, more importantly, it might well be having an effect on the automotive industry. Over the past few years, although we’ve seen a massive increase in the middle class of this country, motor-vehicle ownership percentages have been dropping.

From parking hassles in major centres to car repayments and insurance —and add petrol approaching R20 a litre — you start wondering how many Uber miles you have to do in a month before being a carless driver isn’t a very, very sensible option.

• For more, go to WhyFive Insights.

Sorghum beer demand drops

The sorghum beer industry is a well-established one, operating within a very competitive space, and a recent BMi Research report, “Sorghum in South Africa”, suggests the market has reached saturation in terms of supplying demand.

Given the target market of lower-to-middle LSM consumers, it’s hypothesised that the category is very price-sensitive, and even limited increases in price may harm sales.

From a demand point of view, sorghum beer is seen as a traditional African beverage and is limited to particular market segments. In this context, the category is facing mounting competition from alternative beverage categories, such as craft beers and lagers, which may be seen as more attractive, modern options and a natural alternative.

In times where sorghum beer pricing increases, it’s believed that consumers are increasingly tempted to seek out other clear, alcoholic beverage categories, particularly given the underlying price sensitivity for the category.

• For more, go to BMI Research.

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.

#Marketers: Carmen Mohapi, marketing director, Heineken SA

by Julie Pughe-Parry (@pugheparables) Carmen Mohapi, the recently appointed marketing director of Heineken South Africa, doesn’t believe that the rise of craft beer poses much of a threat to the traditional beer brands.

South African consumers have been under substantial financial pressure as of late. With an increase in VAT and ever-climbing petrol prices, the average citizen is left with less room in their budget for play. Yet, even in this period of economic distress, many South Africans still choose to spend a portion of their disposable income on the nation’s favourite alcoholic beverage: beer. However, with less to spend, consumers have become more selective in their purchases, opening a door for the craft beer market locally.

New experiences

Craft beer has become increasingly available since the rise of the industry in 2011. More recently, the craft-gin craze has been sweeping through SA, with new labels appearing on the shelves at every visit to the liquor store. Craft-alcohol products are likely to come with a higher price tag, as they’re not able to be produced at the same scale as mainstream industries. Craft culture also involves an array of unique flavours and processes, offering the consumer a new experience with each drink.

But the trend for premium products in both the beer and spirits industries has proven a particularly difficult nut to crack for big beer producers, according to new research released by MarketLine, with almost all significant growth in the industry coming from craft producers.

Mohapi feels that the movement towards craft shows the consumer’s growing appreciation for complex flavours and tastes, and that this presents new opportunities for the Heineken brand. “Consumers are wanting to try new things and experiment a little bit more; that keeps us on our toes and makes sure that we stay relevant,” she says.

Igniting love

Heineken is also realising that it’s about more than just relevance; it’s about igniting a love for the brand and finding a place for said brand in the hearts and lives of SA consumers. To achieve this, she stresses that brands must begin understanding their consumers, anticipating their needs and following through on the promises made to them.

Before making the move to Heineken SA, she had gained experience working within SAB and Unilever. She left her position as skin care lead for Africa at Unilever to re-enter the beer market with Heineken SA — and she’s not looking back. Drawn to the unique challenges and the dynamic quality of the SA alcohol industry, she’s is ready to take the brand into its next chapter.

Along with Mohapi as marketing director, Heineken SA has also welcomed a new managing director (Gerrit van Loo), a new HR director (Mandisi Feni), and a new corporate affairs director (Millicient Maroga) to the team. With such big changes happening at the top, some worry has arisen among long-time employees and those on the ground floor. The leadership team strives to move forward by building on the foundations already established by the brand and by recognising the importance of addressing employee concerns. “As leaders, it’s about ensuring that we continue the momentum and provide clarity to our people internally,” says Mohapi.

New dawn

With a new vision for the brand and much on the horizon, it’s a new dawn within Heineken SA. Consumers might be counting their pennies and tightening their purse strings, but the rise of the craft industry shows they still appreciate great flavour. With high-quality products crafted with the most-discerning palates in mind, Mohapi is confident about going forward with the Heineken SA brand: “It feels like we’re on the wave of something that’s going to be really interesting. Being a part of that is what is so exciting to me,” she says.

Julie 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.

#Immersion: John Mwanza, Dentsu Aegis Network Zambia

by Moonga Mkandawire. Just over a year ago, Mojo New Media in Zambia signed an affiliation agreement with Dentsu Aegis Network (DAN). In this interview, we chat to John Mwanza, Mojo New Media managing director, about the give and take involved in the affiliation and eventual merger, the opportunities and resources it’s brought, the Zambian digital TV market, and more.

Moonga Mkandawire: First, congratulations on the Dentsu Aegis Network affiliation agreement for Mojo New Media. What does being an affiliate agency for the Zambian market mean practically on a day-to-day basis?
John Mwanza: Mojo New Media was initially an affiliate from early 2016 but we merged in late 2017 and, as such, we are a wholly owned entity, trading as Dentsu Aegis Network Zambia (DANZ). I am the MD of the operation in Zambia, as well as a 25% shareholder. We have seen enormous growth since the merger and the team’s hard work and passion to meet and surpass our clients’ expectation is a major contributor to that. Mojo was purely driven by innovation and creativity and this, coupled with DAN’s strength in media, created a strong foundation for our current operation.

On a day-to-day basis, we spend a lot of time analysing market and media trends. We realise that we can’t successfully engage with the market if we don’t understand the people, their daily lives, their struggles, hopes, dreams and aspirations. This is our daily workout and this is what we bring to the table, along with creative ideas and innovative media strategies.

MM: When did the idea to work together come about and how did it progress to becoming an official agreement?
JM: From its inception, I always wanted Mojo New Media to branch out into international markets. When the opportunity to partner with DAN presented itself, we had two other opportunities with international agencies to consider. The question I had to ask myself is what I wanted the future of the agency to look like. I needed support in my areas of weakness and media was one of them. We had done well with the creative and production, we [had] a state-of-the-art music and television production studio in house, but we were not able to provide the full scope of services. This was due to challenges we had with media buying, planning and strategy. We simply weren’t very strong in this area and, with delayed payments by local clients, it became very tricky to run an operation without accumulating massive debt with media houses.

Through the affiliation, we [have been] able to access a wealth of training tools, in country support, as well as access to top clients. The affiliation process was fairly painless to be honest, but the merger did require a lot of back and forth. It was a game of give and take. I had to sacrifice my name (Mojo) in order to get to where I needed to be. This was perhaps the toughest thing of all. I had built Mojo from scratch on an old broken laptop and so I was very attached to the brand. I had to go through a process of letting go.

MM: How much room will your merger with DAN give you to grow your content business? We will see more music or perhaps films in the future?
JM: DAN has a company called Storylab; [it has] done some amazing things in the UK and we will definitely be continuing with production. There is a huge opportunity with sponsored and branded content in the market and we plan to take full advantage of this. The relationship with DAN has already given us the opportunity to grow and transform the kind of content we put out. The resources that we have at our disposal by being part of the network have given us the ability to successfully serve a number of top-end clients in Zambia.

MM: Digital migration has seen the introduction of several new TV stations in Zambia. What impact has this had for advertisers and do you think the Zambian market can sustain 41 TV stations in the long run?
JM: Absolutely. I am glad that, for once, we seem to be ahead of other key markets in Africa in terms of the digital migration. With new players introducing digital television to the masses via low-cost subscriptions, we suddenly have a bigger audience. Digital transmission is a two-way communication model so now we can track viewership and market uptake in a way that was impossible previously. This means more-accurate data, thanks to more-efficient feedback mechanisms, and, as a result, better campaign alignments and better strategies. As an advertising agency, it gives us an opportunity to create more content for the local and international market.

The exciting thing about digital migration is that it is bound to increase brand engagement, which in turn creates stronger competition among brands and this means an elevation in the quality and approach to production. The 41 stations present choice and, with the greater choice, engaging content becomes a must in order to remain relevant. In my opinion, the Zambian market is capable of sustaining more than 41 stations; the more niche these stations become, the easier it gets to target very specific audiences.

MM: The consultancies, according to Ad Age’s Agency Report 2018, make up five of the Top 10 largest agency companies globally and in a very short space of time. Do you see the Zambian consultancies entering the advertising and marketing services space and competing effectively?
JM: We are at a slight disadvantage, given our population and social economic set up. Countries like Nigeria with huge populations have been able to make significant strides and achieve recognition on an international level, given the massive consumer base. The work we do in Zambia is always going to be affected by the market size and consumer power; this determines budget allocations as well as reach.

For example, radio remains king in Zambia due to the fact that we still have very low television and internet penetration. Mass-market product brands have to seek out alternative ways to engage with consumer markets that live of less than US$10 and are in such far flung areas that mainstream media can’t reach. But still, while these restrictions can’t change overnight, it creates an opportunity for us to find alternative ways that work. So, if judged purely on an innovation and creativity platform, we can certainly compete on a global level.

Moonga Mkandawire is a writer, editor and analyst. Born in Kitwe, Zambia, he moved to South Africa in 2001 and, with a background in both actuarial science and music, he founded SPARK Gatherings, a communication platform which serves up fresh perspectives on the intersection of urban development, real estate and the creative industries. He contributes the new column, #Immersion, which explores African market dynamics through executive profiles, to MarkLives.

Only Connect: The future of influencer marketing

future-time-letters-scrabble courtesy of Pixabay

by Bradley Elliott (@BradElliottSA) What will the future of influencer marketing look like? Will celebrities still rule the roost, what role will technology play, and what will influence the future of influencer marketing?

Influencer marketing has come a long way since US silent movie star, Roscoe Conkling ‘Fatty’ Arbuckle, was paid by Murad cigarettes in 1905 to promote that brand’s product. Given this marketing practice was born out of celebrity endorsement in a broadcast age, it comes as no surprise that the first wave of social influencers were stars who successfully embraced digital, like Kim Kardashian and Selena Gomez, or, in South Africa, the likes of Bonang Matheba, who cut her teeth on TV — SABC 2 — at the tender age of 15.

Five predictions

Here are my five predictions for the future:

Value interrogation

In SA, influencer marketing is evolving in a recessionary environment, which naturally drives value interrogation. But, as with any maturing marketing discipline, as measurements, technologies and strategies mature, so too will the understanding of what value is. Expect movement from intrinsic value (the value the players set for themselves) to more fair market value.

Here come the rules

Across the pond, the US Federal Trade Commission has put clear guidelines in place for social influencer marketing, and the crackdowns have begun. Down under, the Australian Association of National Advertisers has followed suit. Locally, influencer marketing falls under the Consumer Protection Act (CPA) 68 of 2008 and the Advertising Standards Authority’s (ASA) Code of Advertising Practice [since this column was written, the ASA has gone into liquidation — ed-at-large]. The latter stated that “advertisements should be clearly distinguishable as such, whatever their form and whatever the medium used”. The Interactive Advertising Bureau of SA has clear guides for Native Advertising, too, but as influencer marketing becomes more mainstream, these guides could well turn into regulations if influencers aren’t more transparent or compliant.

Measurement matures

Reach has been a dominant metric in influencer marketing, because of advertising’s broadcast legacy, but digital technologies and algorithms have yielded more-sophisticated measures. Engagement, resonance and relevance will smartly supplement reach. Also, as technology automates and becomes more sophisticated, data — and its analysis — will reveal how true influence in networks happens.

Networks of influencers

The first iteration of influencer marketing has been all about individual celebrity influencers, but this will change as technology enables brands to identify and group networks of individuals who may be engaged as social brand influencers. Technology will enable brands to harness groups of influencers, and to work with them, yet maintain one-to-one relationships with those influencers.

From endorsement to participation

Influencer marketing 1.0 was all about endorsement. But technology enables more, and this will drive greater collaboration between brands and influencers. Expect to see influencers getting involved in the creation of products, and the broader marketing of brands.

The founder of Continuon and Platinum Seed, Bradley Elliott (@BradElliottSA) is a serial entrepreneur who’s created a number of businesses in the digital and technology sectors. He believes that marketing needs to be reinvented so that it becomes more useful to humans and brands. He’s also a collector of fine whiskey. Bradley contributes the monthly column, “Only Connect”, which focuses on influencer marketing, to MarkLives.com.

SA TV Ratings: DStv — primetime top 30 for Sep 2018

South African TV Ratings Top 20 shows 2018

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

DStv, September 2018

Top 30 Programmes All Adults 15+ & DSTV Adults
September 2018 Prime Time 5.30pm—10pm

Adults 15+ years U:34978 S:8319										Digital DSTV U:19077 S:4903
Day	Date	From	To	Station	Programme title	Genre	AR	Viewers	Share	AR	Viewers	Share
Thur	06/09/2018	2102	2130	MZAN	The Queen	Movi	3.9	1364428	12.8	8.5	1624407	26.9
Sun	16/09/2018	1901	1958	MZAN	Our Perfect Wedding (Mag)	Maga	3.2	1103225	9.6	7	1344488	19.8
Sun	16/09/2018	1700	1859	MZAN	Idols SA	Real	2.9	1007610	10.9	6.4	1221771	21.5
Sun	16/09/2018	2001	2056	MZAN	The Herd	Dram	2.8	988744	8.5	6.4	1225595	18.3
Thur	06/09/2018	2031	2100	MZAN	Isibaya	Dram	2.7	935678	7.5	5.8	1104264	16.3
Mon	10/09/2018	1959	2026	MZAN	Lockdown (Drama)	Dram	2.1	740706	5.7	4.9	937778	13.1
Thur	06/09/2018	1931	1958	MZAN	Isithembiso	Dram	1.7	585473	4.6	3.5	671684	9.7
Tue	25/09/2018	1600	1700	MBIO	Ilungelo	Dram	1.5	540437	8.8	3.5	665440	16.2
Tue	25/09/2018	1703	1759	MBIO	Imibongo	Dram	1.4	491451	6.9	3.2	619825	13.8
Tue	04/09/2018	2000	2028	MZAN	Utatakho	Real	1.4	490990	3.8	3.1	587285	8.5
Sat	15/09/2018	936	1131	SUP1	Castle Lager Rugby Championship:New Zeal	Spor	1.4	489908	9.4	2.7	521626	13.5
Sat	01/09/2018	2017	2210	SUP4	Mtn 8 Kaizer Chiefs vs Supersport United	Spor	1.4	473174	5.3	2.9	549301	10.6
Sat	29/09/2018	1600	1927	SUP1	Castle Lager Rugby Championship:South Af	Spor	1.3	468328	6.1	2.7	514252	10.6
Sat	08/09/2018	1150	1356	SUP1	Castle Lager Rugby Championship:Australi	Spor	1.3	453018	8.2	2.6	493656	12.8
Sat	15/09/2018	1135	1146	SUP1	Captains Interviews	Spor	1.3	449578	8.4	2.6	487355	12.7
Tue	18/09/2018	1000	1030	MZAN	The Queen-R	Dram	1.2	436328	8.4	2.4	466794	16.6
Sat	15/09/2018	2015	2236	SUP4	Absa Premiership Orlando Pirates vs Supe	Spor	1.2	431096	5.3	2.7	508235	10.4
Wed	05/09/2018	2000	2028	MZAN	Uyang’thanda Na?	Vari	1.2	402799	3.2	2.6	487743	7.2
Sat	15/09/2018	1654	1726	SUP4	S/Sport:Studio Chat	Spor	1.1	401337	5	2.2	425500	8.6
Sun	30/09/2018	1730	1758	MWET	Isibaya – R	Dram	1.1	390658	5	2.6	492741	10.1
Mon	17/09/2018	1900	1929	MZAN	The Throne (Drama)	Dram	1.1	387495	3.2	2.4	458060	7.1
Tue	18/09/2018	2102	2255	SUP3	Uefa Champions League:Liverpool Fc vs Pa	Spor	1.1	384850	5.1	2.3	444655	9.8
Sat	22/09/2018	1800	1955	SUP4	Absa Premiership Kaizer Chiefs vs Amazul	Spor	1.1	384767	4.3	2.5	470626	8.7
Fri	21/09/2018	1930	2348	SSEL	Wwe Pay-Per-View Specials 2018	Spor	1.1	381743	4.3	2.3	441096	8.8
Tue	11/09/2018	1930	1958	KYKN	Binnelanders	Soap	1.1	377623	2.8	2.1	409146	5.9
Thur	20/09/2018	1031	1059	MZAN	Isithembiso -R	Dram	1.1	374610	7.7	2.1	408809	14.4
Fri	28/09/2018	2000	2218	SSEL	Wwe Wrestling Raw	Spor	1	364985	3.3	2.2	425760	6.8
Sat	15/09/2018	2010	2015	SUP4	Soccer Build- up	Spor	1	363708	3.1	2.2	422965	6
Tue	04/09/2018	1900	1929	KYKN	E-Nuus	News	1	360612	3	2	387384	6
Fri	28/09/2018	1625	1759	MBIO	Peace Order	Movi	1	360178	5.8	2.3	441671	10.4

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.

The 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.

#AgencyFocus: 27-year-old agency dances with winds of change

Mortimer Harvey: Kelly-Page Howell, Ntsiki Nukwa and Katlego Moutlana

by Sabrina Forbes. Almost three decades on, Mortimer Harvey remains proudly independent and has, over several years, undergone an evolution from a BTL shopper marketing agency to a full-service, omnichannel marketing and communications company.

https://youtu.be/XAo5t5m3Xw4

Organic transition

Driving this transition, according to Andrew Fradd, group managing director, is that the 27-year-old agency has always focused on building long-standing and sustainable relationships with its clients. “As a result of this ethos of mutual trust and delivery, clients began extending their TTL requirements to the agency as well, creating greater efficiencies and more integrated campaigns”, he says. The transition was organic with existing clients, which afforded the agency “the opportunity to acquire or outsource the requisite skills gradually. This provided for considered structuring as the service offerings deepened within our clients”, he adds.

Passionate, creative, a little crazy, a little off the wall, a little bit of drama queen. These are just some of the terms the team at Mortimer Harvey use when describing themselves. Not clients, not friends, not even friends-of-friends. This is who they are and they’re happy to admit it.

According to Katlego Moutlana, the newly appointed director and shareholder who continues on as head of strategy, the agency has gone through many changes in the past year and has been working hard to shift how clients and the greater industry view it.

Partial renaming

Mortimer Harvey (MH) Absa CIB OOH Gautrain branding — Gautrain branding

Part of the change of services is the partial renaming of the agency from Mortimer Harvey to simply “MH”. The team and its clients already refer to the agency as such when in conversation. “Our clients often refer to us by the acronym and one client even stated that MH actually stands for ‘Miracles Happen’. It has therefore been a natural evolution, although we will not currently drop the full name from our branding,” says Fradd.

The transition over the past year hasn’t come without teething issues. “The lessons were numerous but the resultant opportunity to create greater depth of delivery and traction within our clients and attract new business proved invaluable. There was moderate trauma along the way as the agency experienced accelerated growth which required careful management and structuring,” he says.

“We’re still developing from within while changing the perception of those outside our family,” says Kelly-Paige Howell, head of digital integration.

Best example

The best example of where the agency is going, according to Moutlana, is the ATL campaign MH recently did with Absa Corporate and Investment Bank (CIB). The bank needed to reposition itself post the sudden departure of Barclays Group from the country and reaffirm to everyone that Absa is, and always has been, a truly pan-African bank. The Absa CIB campaign, “I want to make that”, has already yielded strong results with its enhancement of Absa Retail Bank’s new positioning and branding with “Africanacity”. The campaign is about the “purity of the human spirit”, explains Andrew Ambrogioni, chief creative officer, and speaks to all Africa’s “unbridled potential for creative, inspiring, innovative thought and action”.

Another client that’s set to experience the new 360-degree inspired approach is Blue Ribbon Bread. This category is highly competitive and the need to breathe new life into an established brand such as Blue Ribbon became a priority. Ntsikelelo (Ntsiki) Nukwa, newly appointed executive creative director, makes mention of how spaza shops are undercutting big bread brands with their homemade breads. For Nukwa, the bread market is tough and has to evolve. MH is currently finalising its work for Blue Ribbon.

For Moutlana, having clients like Absa CIB alongside Blue Ribbon shows that MH delivers effective work all the way from bread to wealth. This can be done because, at every touchpoint, there’s a human at the other end, and speaking to humans is what the team does. “Because of the mix of the agency, our experience, and our new blood, we have a great ability to speak to the masses as well as the top 100 wealthiest people in the country,” she says.

Mortimer Harvey (MH) Absa CIB print TIME magazine_297x210 — Print ad

Friends, the family you choose

When questioned about the work culture at MH, it doesn’t take long for the term “family” to be mentioned by Moutlana, Nukwa and Howell. It’s this ideal that, when you work at MH, you’re really part of the family which has trickled into all elements of the company and the way it does business. Howell’s belief that teams need to work together on every part of a brief or execution shows that, by getting everyone involved in everything, you’ll likely get the best results. For her, good work can’t just come from just beautiful creative or just intelligent data; they have to work well together.

“We’re not precious about where the idea comes from,” says Moutlana, with Nukwa adding: “The entire company works to come up with solutions together.”

When you want to work at MH, more than just your immediate superior will interview. You’ll be put in front of members of departments very different to the one you’re interviewing for. This ensures that the next hire fits into the ‘heart and smart’ ethos the agency pushes.

Fast-tracked black ownership

MH’s recent appointments to the agency leadership has fast-tracked its existing target of becoming 51% black-owned by 2019 to 2018. The majority-shareholding composition lies between Imvula Education Empowerment Trust, which acquired 26% in 2012, and Moutlana, with her shareholdering and directorship.

“It is an exciting milestone for the business and adds significantly to celebrating 27 years as a home-grown, independent, South African agency — somewhat rare in the industry and a story we are proud of,” says Fradd.

The agency and its team have dramatically evolved the past year, becoming more representative of the SA community. “We’ve changed from an older, more-experienced and white team to a younger, blacker team,” says Moutlana, with Howell sharing that they still have a “fierce captain [Fradd] who keeps everything together”. The two founders, David Mortimer and Gerald Harvey, are still part of the family and continue to be involved in the business but have begun stepping back and letting the team take on more responsibility. “They’re very trusting of everything we do but it’s been a weaning process,” says Howell.

https://youtu.be/9GrttYWGFL0

Ahead of the curve

From BTL shopper marketing to a full-service ATL offering, MH shows how staying ahead of the curve and knowing when it’s time to change up is always going to be worth it in the end. Nukwa sums it up perfectly:

“The advertising world is constantly evolving with new creative and digital platforms. We have to stay ahead of that evolution, by being proactive and unafraid of challenges. Having said that, I see the advertising landscape as a dancefloor, a place where brands and consumers go toe-to-toe, a place where there’s nowhere to hide. We have to listen to, learn from, live with and love the consumer. Brands must learn to overcome evolutionary obstacles and that is MH’s new outlook on the world that we dance in.”

mortimerharvey.com • Ramify

Office locations: Joburg, Cairo
Revenue band: R80–R100m
Staff count: 55
Key clients: Absa Bank, Western Union Africa, RCL Foods (Ultra Dog), Philafrica Foods, Scania Trucks South Africa, Blue Ribbon Bread
Services: Full service (ATL, BTL, CRM, digital, direct, loyalty, shopper)

Sabrina 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.

Media Redefined: The future of TV is live

camera-old-vintage-film-lens courtesy of Pixabay

by Martin MacGregor (@MartMacG) There are two kinds of people in the world, those who approach problems from A-Z and those who start somewhere in the middle, and then jump around forwards and backwards. The result is usually the same, although, being an A-Z person myself, I always suspect that the more-random approach leads to a better quality outcome. I don’t understand how these people work but I am secretly jealous!

Linear vs non-linear viewing

TV viewing habits have settled into two similarly distinct camps as well. Linear viewing, or watching content live as it’s presented, or non-linear viewing, watching at time suitable to the viewer, not the broadcaster, with the ability to stop and start at a whim.

What’s consistent with both is that the “anywhere” no longer matters; both are watched on the big screen in the lounge, the laptop in bed or on the phone in the taxi. This distinction is around time and timing.

One of the favourite topics of conversation at the moment is about whether or not your DStv subscription has been cancelled. I’ve had a few incredulous looks when I state uncategorically that I’ve not cancelled and for me it’s worth every cent. This is because it depends on what you enjoy. I am a news junkie and love sport and, right now, DStv more than satisfies this appetite. I’m a part-time series-watcher, so whatever it offers is a bonus.

TV’s main pull

I think this has always been TV’s main pull — the ability to deliver live content, and package and unpack it in a way that maximises interest. When TV started, that’s what it was. Movies (the series of today) belonged in the movie house. The interesting shift that’s happening in the “live” space is that it’s no longer owned by the traditional broadcasters.

The recent announcement by Facebook that it had secured the broadcast rights to Barclays Premier League games in parts of Asia really shifts things. Social media platforms have always considered themselves as the new broadcasters and this really hits home the point.

The interesting next step for Facebook is how it tackles news. The recent debate around its independence seems to point to a similar approach to a DStv, where it is just the neutral platform for a wide range of news outlets — from eNCA to the now-defunct ANN7. I don’t think it will become a news provider itself.

Incredibly intriguing

What’s undeniable is the pull a live event has and its ability to attract very large audiences. Whether it’s a Springbok/All Black test match or watching US judicial Senate Hearings on CNN, there’s something incredibly intriguing in watching content that’s unpredictable and the outcome unknown to anyone.

The definition of what TV is shifts constantly but I think its essence has always been, and will always be, the live product. Where and on what it’s viewed is really immaterial.

Martin MacGregor (@MartMacG) is managing director of Connect, an M&C Saatchi Company, with offices in Johannesburg and Cape Town. Martin has spent 18 years in the industry, and has previously worked at Ogilvy and was MD of MEC Nota Bene in Cape Town. He contributes the monthly “Media Redefined” column, in which he challenges norms in the media space, to MarkLives.com.