The Media i Awards, recognising media sales excellence, were announced last night at a sold-out awards ceremony in Sydney at The Ivy ballroom.
Voted by peers, the Media i Awards acknowledge the important role media sales representatives play in the continual pursuit of media advertising excellence.
Introduced in 2011, the Media i Awards are the only awards dedicated to recognising the contribution of media owners. This year more than 2,100 media agency professionals voted across three categories:
•National Sales Team of the Year;
• Sales Team of the Year by Market (NSW, Victoria, Queensland, Western Australia & South Australia); and
• Sales Person of the Year by Category by Market (NSW, Victoria, Queensland, Western Australia & South Australia)
Charles Parry-Okeden, CEO Media i, spoke at the ceremony of the importance of collaboration between media agencies and media partners.
“These awards not only recognise the professionalism and excellence of sales individuals and teams, but the success they achieved for clients in collaboration with media agencies.
“We are extremely proud of tonight’s event. The response from our finalists has been overwhelming, reinforcing the significance of this initiative to sales teams and individuals across the country. We would like to congratulate all of tonight’s winners on their fantastic achievement,” said Chris Winterburn, managing director Media i.
Run by Media i, the awards are sponsored by the Media Federation of Australia (MFA), and supported by category sponsors: Carat, Initiative, IPG Mediabrands, OMD, PHD, Posterscope, Starcom, The Media Store, UM, Vizeum and Wavemaker.
This year saw the six team awards presented to sales teams representing five different media channels (newspapers, radio, outdoor, digital and television).
Overall the awards were hotly contested with Nine the most awarded media company on the night receiving six awards, followed by ARN and MCN with five awards apiece, News Corp Australia and Bauer both with four awards, and APN Outdoor with three awards.
Nine (Digital) was presented with the National Sales Team of the Year award by MFA CEO Sophie Madden and board member of the Media Federation of Australia and CEO of IPG Media Brands Australia Danny Bass.
GQ Australia has celebrated its 20th anniversary and the 12th annual GQ Men of the Year Awards. Twenty awards were presented at a black tie gala at The Star in Sydney, with winners appearing in the special GQ Men of the Year issue, now on sale.
The GQ Men of the Year Awards, presented by major sponsor Audi for the second year, recognise and honour extraordinary men and women who lead by example, striving for positive change and achieving great success in their chosen field.
International stars walking the GQ red carpet in Sydney for an excited media pack included: GQ Man of the Year Joel Edgerton, Naomi Watts, who presented an award to GQ Creative Force recipient Cameron Bloom, GQ International Man of Style Lucky Blue Smith, GQ International Woman of the Year Emily Ratajkowski plus GQ Actor of the Year Keiynan Lonsdale and TV Actor of the Year Dacre Montgomery.
The evening started with welcomes from News Corp Australia’s publisher of the News Prestige Network, Nicholas Gray, and the editor of GQ, Michael Christensen.
They had plenty of colleagues in the audience including the chairman of the Herald & Weekly Times Penny Fowler, the editors of The Australian Christopher Dore and The Daily Telegraph Ben English, and the new CEO of Sky News Paul Whittaker. Executives from the magazine side of the business included editorial director of Conde Nast titles Edwina McCann, editor-in-chief of delicious. Kerrie McCallum and director of communications Sharyn Whitten.
Two former Australian magazine editors-turned-publishers visiting from their overseas posts were Nick Smith, now CEO of Buro Global, and Grant Pearce, editorial director GQ Asia Pacific.
Other guests last night included models Jarrod Scott, Jordan Barrett and David Jones ambassador Jessica Gomes, GQ Legend Michael Clarke, GQ Sportsman of the Year Robert Whittaker, actors Jonathan LaPaglia, Ryan Corr, Rodger Corser, Jackson Gallagher and Ben Mingay, GQ Media Personality of the Year Todd Sampson, Nova’s Ryan “Fitzy” Fitzgerald and Michael “Wippa” Wipfli who joked about presenting an award so late in the evening, GQ Sporting Icon Kurt Fearnley, Adam Goodes and Michael Klim, comedian Joel Creasey, band The Rubens who performed three tunes, Atlassian’s Scott Farquhar and Mike Cannon-Brookes, multimedia journalist and social media influencer Melissa Hoyer and #hotAlbo Anthony Albanese MP.
Winners of the 2018 GQ Men of the Year awards:
• GQ Man of the Year in association with Audi Joel Edgerton
• GQ Woman of the Year Elizabeth Debicki
• International Man of Style Lucky Blue Smith
• International Woman of the Year Emily Ratajkowski
• Actor of the Year Keiynan Lonsdale
• TV Actor of the Year Dacre Montgomery
• Creative Force Cameron Bloom
• Sportsman of the Year Robert Whittaker
• Team of the Year Australian Invictus Games Team
• Sporting Legend Kurt Fearnley
• GQ Legend Michael Clarke
• Media Personality of the Year Todd Sampson
• Breakthrough Sportsman of the Year Ben Simmons
• Social Force Andy Ridley
• Breakthrough Fashion Brand of the Year Double Rainbouu
• Special Humanitarian Award Walk Free Foundation
• Outstanding Achievement in Journalism Hedley Thomas
• Breakthrough Artist of the Year Jamie Preisz
• Innovation Award in association with Audi Seabin Project
• Breakthrough Chef of the Year Josh Niland
• Supporting partners of the 2018 GQ Men of the Year Awards include David Jones, Grey Goose, Paco Rabanne, Qantas and The Star.
This week Southern Cross Austereo’s (SCA) client creative services team The Studio announced an exclusive partnership with the global leaders in audio benchmarking, Veritonic.
The partnership combines The Studio at SCA’s audio creativity with Veritonic’s ability to test and benchmark audio assets.
SCA’s national head of radio sales Nikki Rooke (pictured) said, “In an increasingly audio-connected world, many brands are realising the importance of having a consistent audio approach to capitalise on the increasing time people are spending with audio.
“What we’re able to offer with Brandsound is an emotional match to a brand’s visual assets. This means greater attribution of any advertising assets back to the brand, increasing brand fame and fluency across platforms.”
The Brandsound process uses a mix of artificial intelligence technology referencing millions of data points provided by Veritonic, and audience panel testing from SCA’s own pool of almost 400,000 respondents.
The Studio at SCA’s national head of creativity Matt Dickson said, “This has been a conscious effort from The Studio at SCA to create a world class audio branding offering.
“We use a mix of psychology, creativity, data, and insights to position brands precisely in the new world of audio. New content, platforms and offerings have increased audio consumption right across Australia, with smart speaker usage also climbing quickly. The time for brands to enter the audio space is now.”
So far, many brands have taken The Studio up on its unique offering, including SPC Baked Beans and Spaghetti.
Pacific has announced the appointment of Scott Henderson (pictured) as Men’s Health editor and content director.
Gereurd Roberts, CEO, Pacific, said: “With his experience, Scott brings a deep insight into what truly engages and motivates men to action when it comes to health and lifestyle.
“This, coupled with his drive to extend the brand and focus on the build of new products, audiences and revenue streams, makes him the perfect candidate to spearhead Australia’s number one healthy lifestyle brand for men. We’re delighted to promote him to the role.”
Henderson joined Pacific in 2017 as digital editor of Men’s Health and during this time he has grown Men’s Health Australia’s digital audience to record levels.
With an extensive digital background, his previous roles include co-founder and creative director for Australia’s first dedicated active/swimwear brand, All I Sea, as well as several leadership roles with health PR and marketing agencies.
Henderson said: “I’m incredibly grateful to [former editor] Luke Benedictus and the entire Men’s Health team for the work they have done in positioning Men’s Health for an exciting future, to continue to grow and evolve with our readers.
“I couldn’t be prouder to be part of a brand that has been so crucial in supporting Australian men for more than 21 years. To be given the opportunity to now lead the ongoing expansion and innovation of Men’s Health is a huge honour.”
Henderson will report to CEO Gereurd Roberts, and will commence the role from Monday November 19.
As part of its new MH Live series, later this month Henderson will lead Men’s Health in a new partnership with famed 98 Gym to deliver the inaugural Men’s Health Elite – a niche seminar for the Men’s Health audience, exploring the science behind peak athletic performance.
Nine Entertainment Co chairman Peter Costello started the AGM in Sydney yesterday talking about the company’s audience growth on its various platforms. He also discussed the investment in Stan and 9Now.
But it was the Fairfax Media plans shareholders wanted to hear about and he eventually got to that, noting that early this year Nine approached Fairfax with the merger proposal.
He didn’t have much detail ahead of the Fairfax Media shareholder vote next Monday but he did say: “The combination of our businesses and our people will position us to deliver new opportunities and further innovation for our shareholders, staff and customers in the years ahead – effectively accelerating the actions we’ve been taking over the past few years to build the media business of the future.”
Chief executive Hugh Marks then had a little more detail about what the business should look like very soon:
The new Nine will have four principal areas of business, all of which are complementary to each other and all of which can work together to deliver better results than they can in isolation. Those segments are:
Broadcasting: A television business that has both successfully reshaped our relationships with advertisers through state of the art technology and innovative, premium offerings while repositioning our cost base to give us flexibility to respond to changes in the market.
Domain: With Nine’s proven ability as a brand builder, and Domain’s position in the property vertical, we believe that together we can take Domain to the next level. And while there are cyclical headwinds through this current property downturn, Domain continues to build a strong digital business with all of the key fundamentals now in place to rapidly grow market share with the commercial support and exposure Nine can bring. Nine has proven the power of its reach in building digital businesses in the past, and we will do it again with Domain.
Video On Demand: Nine’s VOD properties are both positioned in the segments of the market that are growing the fastest not only in Australia but globally. Video On Demand barely existed three years ago and Nine has done a great job to build two significant businesses across this period – one advertiser-backed and the other subscription.
9Now continued to grow its revenues in excess of 50% in the year to-date, with advertisers recognising the value of engaged audiences in a premium content environment, with non-skippable and now addressable advertising propositions. 9Now is already a scale business.
Stan is a domestic business that is the envy of our traditional competitors. The opportunity to consolidate ownership of 100% of Stan places Nine in a very strong position to take the next steps critical to accelerate.
Publishing: Fairfax has done a great job in moving its metro publishing business to a revenue model now driven more by subscription and circulation revenue than by advertising. And when combining the digital revenues of the existing Nine digital businesses (ex 9Now) and Fairfax’s digital revenue base, the combined publishing business will reach 8.1 million Australians each day and have a revenue base of more than $500 million – a proposition that from an advertising perspective will be very competitive with Facebook in the Australian market, but through a premium-content, brand-safe environment supported by world-class measurement.
With the benefits of Nine’s recent investments in Pedestrian, CarAdvice and Future Women, Fairfax’s new Google relationship driving revenue and profit growth into the future, and aided by clear synergies that will benefit this part of the business, the publishing arm of the merged entity will be a substantial business at scale.
Marks then revealed: “Our two companies have been working tirelessly behind the scenes since we made the initial announcement to ensure we will be able to hit the ground running before the end of this calendar year.”
“I can report to you we have responded positively with a renewed focus on improving our core business with stronger TV ratings, revenue and cost savings.
“This program also demanded that we reduce debt, unfortunately requiring us to suspend our dividends throughout the course of the year.
“However, all of the initiatives have delivered tangible results for you, our shareholders, with the group’s net debt reduced by $90 million from $725 million to $635 million. Meanwhile our cost savings program delivered a net reduction in costs of $21 million, which offset increased AFL rights fees and spectrum charges during the period.
“Despite these necessary cost measures, Seven continues to dominate the television sector, achieving our 12th consecutive year as Australia’s number one TV network, lifting our share of every key demographic segment of the market.”
CEO Tim Worner followed the chairman and continued on the theme of cost management and detailed some of the savings:
“Throughout the year we maintained that firm focus on our costs, driving operational efficiencies, and reducing headcount by 7%. We have outsourced some activities not crucial to our competitive advantage and achieved $61m in savings. When you factor in the AFL uplift and spectrum charge, we delivered a net reduction of $21 million.
“With the mantra of ‘collaborate on technology, compete on content’ we also partnered with our counterparts to launch a joint venture for our respective playout operations. Not only does this deliver savings, it will now provide a new revenue stream.
“And we are currently completing the move of our Sydney teams in Jones Bay to Media City. As this falls within our existing tenancy, it will further reduce costs, as well as foster greater collaboration.
“The West and Pacific also continue to work hard to deliver savings.
“Our new SWM WA CEO Maryna Fewster and her team in Perth are pushing further forward with a cost-out program that reduced costs by 4.4% last year and will achieve at least another $10m in savings in the current financial year.”
In his outlook, Worner first addressed criticism about Seven’s record audiences:
“[This year] we will deliver the biggest share of any network in the history of Australian TV ratings.
“Our competitors do their best to dismiss our achievements by saying our audience is old.
“In fact, there are more young people watching Seven than any other network by some margin, and this year we will not only win all the key demographics that are so important to our commercial partners, we will have our highest ever share of the key 16-39 and 25-54 demos.
“To our outlook in a little more detail, and if we take the market as a whole, the first quarter was flat with a softer September and October partly due to a pullback in spend from banking and insurance given the royal commission as well as government spend. Off the back of that successful cricket take-up we expect Seven’s metro FTA revenue share to grow in the second quarter and first half. The market performance in the second half is expected to be stronger driven by increased ad spend from a number of sectors including election money.
“Overall we expect the metro TV ad market to be broadly flat in the financial year, but for Seven to increase share.”
• Bride narrowly out-rates Bachelorette, but Ali wins the demos
• Hard Quiz an easy choice for viewers: #1 non-news again
By James Manning
Home And Away is repeating its regular overnight pattern with the midweek episode on 580,000 after starting the week on 676,000. Regular viewers are no doubt migrating to catch-up viewing to keep up to date with the soap.
Bride & Prejudice then dipped a little after two nights close to 660,000. The third episode of the week did 623,000.
9-1-1 was then on 498,000, up from 454,000 a week ago.
Optus was getting a close-up last night on A Current Affair after telling some customers to go elsewhere. The episode did 718,000, up from 694,000 on Tuesday.
Three episodes of Young Sheldon featured a new episode on 522,000 and then two repeats pulling 450,000 and then 462,000.
The US drama Manifest then got the double episode treatment with the first on 291,000 and the second on 195,000.
The great Kerry O’Brien joined the team with a spot at the desk on The Project with 460,000 watching after 7pm, which is the biggest audience so far this week. A guest on the show was another TV great – Louis Theroux. Todd Sampson was interviewed from the red carpet at the GQ Awards.
The penultimate episode of The Bachelorette managed to rank #1 for the night under 50 and in the key demos, as well as winning its timeslot. The episode did 619,000 after 601,000 on Wednesday last week.
The new US drama series A Million Little Things then launched with 116,000, taking over the slot from Playing For Keeps.
The channel has had its best three consecutive Wednesdays since Gruen was on air in the first half this year. The channel’s midweek primary share has pushed close to 14% for each of those nights.
Hard Quiz again led the way as the third most-watched show nationally and in metro markets, as well as being #1 non-news show. The audience of 710,000 was as strong as last week’s 776,000 though.
Mad As Hell also had a good night with 703,000, down a little from last week’s 742,000.
After two nights just over 200,000, the third episode of Child Genius was on 198,000.
|ABC 2||2.8%||7TWO||3.7%||GO!||4.2%||10 Peach||3.5%||VICELAND||0.9%|
|ABC ME||0.4%||7mate||3.5%||GEM||2.9%||10 Boss||3.4%||Food Net||1.3%|
|ABC||Seven Affiliates||Nine Affiliates||10 Affiliates||SBS|
|ABC ME||1.3%||7mate||3.9%||GEM||5.0%||ELEVEN||2.1%||Food Net||1.2%|
|ABC NEWS||1.7%||7flix||1.7%||9Life||1.7%||Sky News on WIN||0.7%||NITV||0.1%|
|WEDNESDAY METRO ALL TV|
16-39 Top Five
18-49 Top Five
25-54 Top Five
Shares all people, 6pm-midnight, Overnight (Live and AsLive), Audience numbers FTA metro, Sub TV national
Source: OzTAM and Regional TAM 2018. The Data may not be reproduced, published or communicated (electronically or in hard copy) without the prior written consent of OzTAM
The owner and publisher of a New Zealand business weekly newspaper and website says he has a billionaire-backed consortium that is eager to buy The Australian Financial Review or, failing that, Fairfax Media’s Kiwi assets.
Todd Scott, who purchased The National Business Review in 2012 via a management buyout from NZ Rich Lister Barry Colman, said he was part of a consortium which was looking to test Nine Entertainment’s appetite for selling the Financial Review, should Fairfax shareholders vote in favour of a merger with the Australian free-to-air broadcaster on Monday.
“Our motivation is to amalgamate the AFR, NBR and a Japan affiliate to focus on the tradition of business news,” Scott told the Financial Review.
Despite Scott’s interest, sources said the Financial Review was not one of the assets Nine was looking to sell should its merger with Fairfax be successful.
NBR is a relatively small publication with just over 5,000 individual subscribers with about 74,000 unique browser visits online per week, and over 100 enterprise subscriptions.
It was a case of “don’t mention the share price” at the Nine Network annual meeting on Wednesday, as both chairman Peter Costello and CEO Hugh Marks waxed very enthusiastically about the now all but certain coming merger with, or takeover of, Fairfax Media.
Only Fairfax shareholders get a vote on the proposal. They will grab it with open arms next week even though the – always highly theoretical – 94c supposedly being offered for their shares has long since vanished into the ether.
Indeed, that 94c had a half-life of exactly one day. The merger announcement immediately sent the Nine share price down 26c, cutting the value of the virtually all-Nine paper offer terms for each Fairfax share to 83.5c. And it’s just been down, down, like the Coles jingle, since.
In his first interview about the decade-long duping – one of the largest corporate misappropriations in Australian history – Seven’s former commercial manager has revealed why he did it and how he was caught.
John FitzGerald was overseeing an annual budget of $400 million in 2005 when he began not only creating but approving invoices to two companies of which he was owner and sole director.
“When I started you knew you weren’t meant to do it but it wasn’t written anywhere,” FitzGerald told News Corp’s John Rolfe.
In NSW Supreme Court action, Seven alleged the invoices were fake and no work had been done. But FitzGerald told News Corp a bookkeeping service was in fact being provided. “I’m not claiming that I’m this innocent person,” FitzGerald said.
FitzGerald said in the months after Seven filed its action he kept negotiating with the network’s commercial director Bruce McWilliam: “We were sorting it out.”
Because the money was there to be repaid.
It hadn’t been frittered away on a lavish lifestyle. It was in assets such as multimillion-dollar properties and shares. The plan was to retire early.
FitzGerald’s cooperation with Seven ended after he consulted a financial adviser who was also a solicitor.
“He said ‘hang on mate, why are you giving in?’,” FitzGerald said.
So a defence was lodged.
“In hindsight that didn’t gain us anything,” he said. “Seven got their money and the lawyers got a bucket load.”
The court action was resolved by consent earlier this year.
QMS has launched The Bayside, a new site in one of Melbourne’s fastest-growing coastal suburbs and gateway to the Mornington Peninsula.
Strategically situated on the Nepean Highway, one of Melbourne’s primary connector arterials, The Bayside captures the attention of traffic along the shore of Port Phillip Bay.
Located at the gateway to the Mornington Peninsula, The Bayside reaches the affluent areas of Mt Eliza and Mt Martha and leads to popular tourist destinations and key holiday locations such as Sorrento, Portsea and Red Hill.
QMS Australia CEO John O’Neill said, “We are so proud to add The Bayside to our premium portfolio of digital billboards. Frankston is rapidly transforming into a key bayside hub for greater metropolitan Melbourne and we are excited to be a part of the area’s development. We look forward to giving our clients the opportunity to deliver more effective and targeted outdoor media campaigns to people as they journey to the beautiful Mornington Peninsula region.”
A Federal Court judge yesterday reaffirmed the right of a mystery witness who was excluded from the Geoffrey Rush defamation case – and who has made allegations of a “sexual” nature against the actor – to tell her story, independent of the court proceedings, reports The Australian’s Rosemary Neill.
This followed an unsuccessful bid by Rush’s lawyers to tighten non-publication orders relating to the allegations made by the woman – dubbed Witness X – in an 85-page confidential affidavit.
While the judge placed a non-publication order on Witness X’s identity and allegations, he revealed that incidents allegedly involving her and Rush occurred years ago and “could broadly be said to be sexual in nature”.
Justice Wigney reiterated that his intention was to allow anyone who learned of Witness X’s allegations “independently” of the court case to publish or tell the media about them, if they wished. “If Mr Rush or anyone else wants to take it further, it’s a matter for them,’’ he said.
He instituted new orders, which suppress the identity of Witness X, along with portions of the affidavit and sections of a defence document relating to her claims. However, the new orders do not prevent publication of the allegations contained in the affidavit, provided the source had nothing to do with that document, the Daily Telegraph’s defence or the court case.
The Financial Times is automatically warning its journalists if their articles quote too many men in an attempt to force writers to look for expert women to include in their pieces, reports The Guardian.
The media organisation found that only 21% of people quoted in the FT were women, prompting the development of a bot that uses pronouns and analysis of first names to determine whether a source is male or a female. Section editors will then be alerted if they are not doing enough to feature women in their stories.
The paper, which covers many male-dominated industries, is keen to attract more women readers, with its research suggesting they are put off by articles that rely heavily on quotes from men.
The proportion of female opinion writers on the newspaper increased from 20% to 30% between March and August.
The cable news giant is betting that a US$5.99 subscription service for superfans will quickly scale up: “We’re going to be giving fans what they want in a more intimate, fun way,” reports The Hollywood Reporter.
Fox News Channel – with a graying audience that is pushing 70 – knows that it needs to reach younger viewers. But will its new streaming service extend its linear brand dominance? Network executives are spending big to try.
Fox Nation, the company’s on-demand subscription service, launches November 27 with a roster of programming that features current stars (Laura Ingraham, Jeanine Pirro) and up-and-comers (Tomi Lahren, recently of Glenn Beck’s The Blaze; Britt McHenry, a social media flamethrower and former ESPN reporter). The platform is entering an increasingly busy over-the-top market. But unlike many legacy news brands, Fox News is mounting a digital offering that will eschew news in favour of the kind of opinion programming that has swelled the Fox News audience to more than 2.8 million viewers in primetime in the Trump era.
“Does anybody need another OTT service where it’s just people sitting behind a desk reading headlines all day? I don’t think so,” notes John Finley, Fox News senior VP development and production.
Andy Lee has had an unlikely debut on US late-night television, all thanks to an impromptu introduction from Hugh Jackman, reports Fairfax Media’s Robert Moran.
Jackman was the booked guest on Stephen Colbert’s Late Show on Tuesday night to promote his new Oscar-touted role in The Front Runner.
But the interview kicked off with a surprising twist when the actor spotted Lee’s familiar face in the front row and walked off-stage to greet the radio star and his partner, model Rebecca Harding – with Colbert quickly following suit.
“Sorry, that was very rude… Andy, in Australia, is almost as famous as you, he and Hamish,” Jackman explained to Colbert, also referring to Lee’s comedy partner Hamish Blake.
“I wake up every morning,” Alan Arkin says in the new television series The Kominsky Method, “and my first thought is, what part of me is not working today?” reports The Wall Street Journal’s John Jurgensen.
On a typical sitcom, this joke might come from an elder on the periphery, exchanging zingers with his young co-stars. In The Kominsky Method, set to premiere Friday on Netflix, the line underscores a bond between its lead characters, played by Arkin, 84 years old, and Michael Douglas, 74.
The buddy comedy, about friends navigating both the absurd and sobering realities of life in their golden years, is part of a deepening niche of TV about seniors that includes Fox’s new series The Cool Kids, CBS’s rebooted Murphy Brown and Netflix’s Grace and Frankie, which kicks off its fifth season next year. In all of these shows, actors in their 60s and older are the stars, not the supporting players.
Seniors are having a moment as TV producers explore a wider range of characters and settings, filling out more programs and places to watch them. The influence of ad-free subscription television is a factor, too, allowing platforms like Netflix to target narrative niches and underserved audiences.
In addition, viewers 65 and older spend twice as much time watching TV a week as 18- to 34-year-olds, according to Nielsen, prompting networks to pay closer attention to their interests.
The British edition of UK lifestyle magazine Esquire will move from a monthly to publishing six issues a year under new plans from owner Hearst UK, with each new issue costing £6 – a cover price hike of 38% reports Press Gazette.
The change to a bimonthly publishing frequency will come into effect from February 2019, when the first issue of the new print edition will go on sale.
Esquire UK currently costs £4.35 and has a total circulation of just under 60,500, of which roughly half (28,500) are given out free, according to circulation figures for the six months to the end of June this year.