Please note: Since publication this crowdfund has closed. £988,776 was raised in 28 days with Yuup reaching 131% of its desired fundraising target.
Yuup, the Bristol-based online local experiences marketplace, has been offering the city’s creative community a platform to generate income through hosting experiences since it was founded in September 2020.
In just a year company has grown from supporting just under 40 experience hosts to now being a community with over 270 people and small businesses and 500+ experiences to enjoy throughout Bristol city.
On Yuup’s platform you will find anything from unicycle lessons to rum tasting, wild winter swimming to hot air balloon rides, and pottery making to fresh pasta making masterclasses. Each one of these unique experiences is hosted by a local person that can’t wait to share their skills and passion with new people.
The platform has seen side-hustlers and hobbyists turn their favourite thing to do into a business and their main source of income. In the past year, Yuup has generated over £450k of income for local people and small independent creative businesses in the Bristol and Bath region.
Maria Fernandez, from Healing Weeds, hosts foraging workshops in Bristol. Her experiences teach guests how to identify seasonal wild produce and how to make balms, medicines, cordials, and elixirs from the foraged harvest. Using Yuup, Maria was able to change her career in order to properly pursue the thing she loves. She said:
“Yuup helped me turn my hobby into a business and Healing Weeds is now my main source of income.”
Since launching in the middle of a pandemic, Yuup has been used by Bristol creatives to help their income streams and businesses bounce back from lockdown and the effects of the pandemic.
The drop in economic activity within the UK in response to the pandemic impacted SMEs and the self-employed significantly in comparison to their larger business counterparts.
Local businesses were forced to adapt in order to survive. For indie businesses that could facilitate experiences, Yuup provided a platform that allowed alternative revenue streams to the local businesses that were struggling to achieve their pre-pandemic footfall.
Alice from Trylla shop on North Street joined Yuup early on in order to use the platform as a kickstart to her business’ post-pandemic recovery. Her pottery making experiences have been so popular that Alice has since hired new staff to help support the demand for her pottery classes on Yuup.
Yuup’s positive social impact extends to platform support, marketing, and a ticketing system for charity events and fundraisers. Yuup’s recent collaboration with Belly Laughs comedy festival 2022 raised over 22k for charity and generated over 10k of revenue for local restaurants and bars. The company have also recently supported grassroots charities such as MAZI Project and KASK’s Ukraine Fundraiser.
At the start of February 2022, Yuup announced that the business will be opening up investment to the public to allow for the company’s scaling up operations this year. There are a number of ways that you can join the Yuup community. As an investor, as a Yuup host, by introducing a Yuup host, or as a customer.
How to join the Yuup community as an investor: Yuup’s crowdfund is open until March 31st, and the funds raised will go towards reaching hundreds more potential experience hosts in Bristol and Bath, generating income and jobs for locals and the communities that need it most.
Yuup will also be launching in its second city this summer, connecting creatives, makers and dreamers from another UK city to the Yuup community.
You can join the crowdfund from as little as £20. You will own a part of Yuup and participate in the financial rewards of share ownership. Your investment will support local independent businesses whilst helping even more people to discover incredible things to do in their local area. Visit the Yuup crowdfund webpage to watch the investment film and find out more here: https://invest.yuup.co/
How to join Yuup as an experience host: If you are a creative or passionate local person, you could turn that love of something into an experience for others to enjoy. Yuup helps people create, promote, and host experiences.
It’s free to join the platform, and you get simple tools, a host portal, and marketing support and investment. A small commission is taken from each sold experience, so Yuup only makes money when you make money.
The scope for experiences is almost boundless. From food and drink tours to cooking classes, craft workshops to cinema nights, outdoor adventures to indoor wellbeing sessions. If you love it, why not share the experience? Get in touch with the Yuup team about your future experience here: https://www.yuup.co/pages/join
How to introduce an experience host: Do you know a wicked weaver? A crowd-pleasing cook? A passionate painter? A cool climber? Refer your friend to the Yuup team and help them turn their passion into a business. Refer an experience host here: https://www.yuup.co/host_referrals/new
How to join the Yuup community as a customer: Just browse yuup.co and pick something that you would love to do! Alternatively, you can also buy experiences as gifts, purchase gift cards, or use Yuup’s experiences in your employee rewards scheme.
The Green Claims Code has come into force, meaning companies making sustainability announcements should review their claims. Marketing and PR teams will need to take notice of what the Green Claims Code means for their communication work.
The code has been introduced to stem the tide of greenwashing, the process of conveying a false impression or providing misleading information, presenting a company’s products as more environmentally sound than they truly are.
Companies that are found to be greenwashing may end up in the firing line of the Competition and Markets Authority (CMA). They are breaking consumer protection law.
It’s therefore imperative that sustainability information distributed by your company is accurate and true.
Development of the Green Claims Code
The Code comes after the CMA’s discovery that around 40% of businesses’ claims around their environmental work were misleading for consumers. More and more companies are adding green or positive environmental claims to their products and services.
Claims include suggesting a reduction in packaging pollution or that your item was produced more sustainably than your competitors’ product. Consumers have seen these announcements in all areas, from cleaning products to tech services to beauty supplies.
The CMA has found that these statements are often unsubstantiated or inflated.
This video from the CMA has more information about the Green Claims Code.
The Green Claims code guidance
The CMA’s is focusing on fashion and fast-moving consumer goods to start. Don’t think that other businesses can wait. The Green Claims Code guidance applies to every company. Non-consumer facing and services businesses also need to check their claims that relate to sustainability. Every business should review their green claims and ensure that they are meeting their obligations.
What does the Green Claims Code mean for my business’ PR campaigns?
CMA’s criteria states that all environmental claims must be truthful and accurate; unambiguous; substantiated and consider the full life cycle of the product or service.
If businesses are comparing themselves to similar companies, then any comparisons of services and products must be fair.
Your business cannot fall foul of the CMA’s requirements. Here are some steps that could be helpful as companies seek to change their operating models and principles to become more sustainable.
Look inwards and understand just how sustainable your business really is. Review the claims made by your company relating to the environment, sustainability, carbon emissions or socially responsible actions.
This should be thorough and cover every part of the company, from packaging, marketing materials, website copy and encompass visual representations as well as text. If you use a recycling icon to illustrate a product when the entire product is not recyclable, the icon could be an infringement as it creates a misleading effect for the consumer.
B2B companies should be wary of using words such as ‘green’, ‘sustainable’ or ‘eco-friendly’. The Code states that terms such as these may suggest that a product or service has a positive environmental impact or “at least no adverse impact”. To meet the Green Claims Code, words and claims such as these must be true and can be proved. Otherwise, the company might not meet legal obligations.
Once you understand how sustainable your business is, ensure the information shared with your audiences uses the right language. As mentioned above, all claims must be substantiated. Add a single click-through link to provide clarifications for the claims.
Review all links in your business’s communications that relate to sustainable and environmental work, products or services. Proof points are needed to substantiate all the claims made and so this may require new designs, marketing materials and potential retractions.
Ensuring compliance with the Green Claims Code is not a one-off process. Across any sector, the number and nature of references to sustainability will change over time. Invest in training for all employees and check they understand the requirements regularly. It is not enough for senior leadership to understand the importance. Marketing, communications, compliance, product development teams should understand it too.
Preparing for the CMA’s Green Claims Code may appear daunting. However, consider this as part of your wider ESG and Sustainability strategy, as well as part of legal compliance. Accreditation via cross-sector schemes such as BCorp and membership of industry-specific organisations can help you to ask the right questions about your green claims.
The introduction of the Green Claims Code is also an opportunity to refresh your ESG & sustainability messaging, so also consider outside ESG communications support to ensure your PR strategies are fit for purpose.
Find all resources and relevant information about the Green Claims Code here.
Mental health issues do not discriminate. They can affect anyone at any time, and reflecting on the last two years, it comes as no surprise it is being experienced by more and more people.
In the UK alone, 1 in 4 will be affected by a mental health problem of some kind each year. Leaving more and more people searching for support from charities, the NHS and healthcare providers.
For the second year in a row, we have decided to raise awareness and help fundraise for a chosen charity by donating our Christmas Card video.
We did lots of research into which charity we wanted to raise money for, and the decision wasn’t easy. There are so many organisations fighting for important causes, and that’s just in Bristol and South Gloucestershire alone.
The chosen one
We finally came to an agreement on OTR, a mental health movement for young people in the region.
Their mission?
To defend, promote and support the mental health of people between the ages of 11-25. This incredible organisation focuses on breaking the stigma around mental health and their aim is to get people talking about it.
Their approach?
OTR runs a number of workshops, 1:1 therapy sessions, support projects and much more.
They run Resilience Lab workshops, helping young people develop the tools to manage stress.
And host Acts of Activism sessions, where young people can go to socialise, express their frustrations about inequality and come together to encourage small and big acts of activism.
They also hold a 6-8 week Nature Works project, which teaches young people the importance of nature for their mental health, and how connecting with it can be a very beneficial tool for stress-relief.
And their work doesn’t stop there.
OTR works tirelessly to make mental health an aspect of life that people can talk about without any feelings of shame. They believe in the power of partnerships and collaboration and that the world around us, also impacts our wellbeing.
Ultimately, they provide a help and support network so that young people can develop tools to cope with day-to-day life and the challenges that may come their way.
The OTR fundraising video
We worked closely with OTR to develop a video that represents their personality, demonstrates their mission, and spurs people to get talking (and donating).
And once you’ve watched the video, we hope you can help. With your donation, you can help a young person gather the tools they need to shape their own futures. You can help change the game.
A wellbeing pack is just £5. But the self-esteem it brings is priceless. Please donate what you can here.
What’s the purpose?
It can be hard to find meaning in what you do.
It doesn’t matter if you’re a digital strategist, a dog walker, a traffic warden, or a chef. If you don’t feel connected to your work – if you don’t feel a sense of purpose – it can be hard to stay engaged or committed.
Purpose is a big deal right now. The advertising and marketing industries have been accused of reckless greenwashing, in a bid for products and services to appear more appealing. They’ve been accused of promoting overconsumption and wastefulness. It’s even been said that we’re driving the climate crisis.
And at Proctors, we’re not blind to those concerns. (It’s why we’re so selective with our own campaigns, clients and partners.)
But we’re also firm believers in the merit of our own, ‘personal’ purpose. A purpose which is as simple as helping others, by using our time, talent and resources wherever possible to create a better world.
So we do this by giving back to our communities: whether local, global or simply like-minded. From sponsoring the local Easton women’s football team, to running the annual South West Design + Digital Student Awards, to ensuring our office is eco-friendly and self-sustainable, and by fundraising for chosen local charities.
Because for us, our Corporate Social Responsibility is just another part of our work. And we treat it with the seriousness and dedication it deserves.
Raising money for cancer research, Business Beats Cancer West of England
Our Founder and Chairman, Roger Proctor MBE, is passionate about ensuring Proctor + Stevenson do our part.
As a board member for Business Beats Cancer West of England (BBCWoE) – Cancer Research UK’s Business-facing arm in the region – Roger offers both our services and the personal commitment of Proctors employees to their cause.
Throughout our partnership with BBCWoE, we’ve created awareness campaigns complete with copy, design and marketing support, and assisted with event promotions year-round. And, of course, we got stuck in to raise some of those all-important funds ourselves.
Firstly, we took part in ‘The Big Hike,’ where a group of brave Proctorians hiked 26.5 miles through the Brecon Beacons on a beautiful, brisk Saturday, raising an impressive £1,832 for cancer research.
As if that wasn’t enough, even more Proctorians then took on ‘The Big Ride Cycle Challenge’ – a 79.2-mile loop starting from our offices in Easton and continuing through Cheddar Gorge, Wells, and the surrounding areas. With thighs of steel, our amazing team raised another £815 – a storming success.
If you’re a friend of Proctors, you’ll know every Christmas we create a ‘Christmas Card video’, treating our clients, friends, and family to a behind-the-scenes look at our team which will lift spirits and spread a little hilarity, too.
But when the COVID-19 saw us all locked down last year, the team agreed we should do something different.
We took a step away from the dressing up and hijinks, and instead approached a local charity to offer some help instead.
Caring in Bristol are a local charity working towards an incredible goal: to end homelessness in Bristol, for good. But during the pandemic homelessness tripled in Bristol, reflecting a nationwide trend. And it left the team with an even bigger task ahead.
So, our incredibly talented team of animators, copywriters and our marketing team got to work to produce a video which would get Bristolians digging deep for the cause.
The result? More than £20,000 of donations in just under two weeks, absolutely crashing through the Caring in Bristol team’s targets – and deservedly so.
It goes without saying, but the entire Proctors team was so proud of what we achieved for such a brilliant cause. So much so, you may want to watch this space…
If you’re an aspiring Philanthropist, looking for a cause to get stuck into, or are a charitable cause looking for support, Quartet Community Foundation are your answer.
They bring people together who want to work on community projects in the west of England, supporting hundreds of thousands of people through local frontline charities and voluntary groups.
We’ve been working with the team at Quartet for years, and have developed real, personal friendships with them. So when we heard they had begun a Coronavirus 2020 relief fund, we wanted to help in any way we could – which, as it turns out, meant hosting a virtual ‘Quarantine Quiz’!
We used the quiz to raise money for the foundation – and along the way, we experienced a real boost to our own morale too.
Babbasa are a Bristol-based organisation who work with young people, businesses, and the local community to address inequality in all its forms, and produce a fairer city. They offer advice on recruitment policies, and work with organisations to explain how they can diversify their workforce, as well as providing potential candidates.
So we partnered with them to get their advice on our own recruitment policy, to ensure we’re doing everything we can to create an inclusive culture – and actively work towards creating a fairer city.
Purpose is what you make it
Whoever you are, and wherever you work, it’s important to feel you’re doing the things that align with your values.
And at Proctors, we do that by ‘doing good’ and giving back wherever we can.
As you’ll see, it’s not all about big, transformative gestures. But about the things we can all do as a team to make the world just a little bit brighter.
So we’ll carry on doing what we can by working closely alongside charities and organisations to help those in need – both locally and further afield. We’ll continue to ensure we’re cultivating a sustainable office environment, and remain a place where employees feel valued and appreciated for their hard work.
To see more of what Proctor + Stevenson are involved in, have a look at our CSR page on our website. Or if you’d like to do some good of your own, contact us at [email protected].
Over the past few years, we’ve seen an increase in the number of brands demonstrating their social stance. And today, these brands are choosing to buy their media from a diverse range of creators and ethical sources.
However, businesses are under pressure to show they are a brand of integrity and fear their advertisements might feature next to other content that could be detrimental to their reputation.
Brand integrity is of the utmost importance. 54% of consumers said they would think negatively of a brand that runs ads alongside content designed by others whose morals don’t align with theirs.
You can see why brand safety is such a hot topic in marketing, and this is especially apparent in the programmatic world.
If you’re unsure of what brand safety includes, it essentially encompasses all the measures advertisers implement to protect their brand from the potential backlash they could face by running ads next to harmful content.
Over-blocking content can actually be doing more harm than good. A vast majority of businesses still adopt a cut-throat approach when it comes to protecting their brand’s reputation.
However, this overprotective approach has led to a great proportion of content being excluded, even when it’s safe and suitable for your brand. We’ve seen this happen in many negative keyword lists and blocklists.
Industry-standard blocklists contain a vast array of terms related to race, ethnicity, and sexual orientation. So, it’s clear to see that…
“Industry standard advertising practices [are] unfairly penalizing content creators within various groups, including the LGBTQ+, BIPOC, and API communities, as well as content relating to important aspects of the human experience, including social issues, mental health and wellness, and identity.”
[Taken from Channel Factory, Conscious Project, 2021]
In 2019, CHEQ’s ‘How Keyword Blacklists are Killing Reach and Monetization’ report looked at what type of content has been excluded from an industry-standard blacklist of 2000 keywords.
The report found that 57% of articles that were safe, were incorrectly flagged and blocked from serving ads. This was taking place because brands had been using overprotective negative keyword lists and blocklists.
These lists are incredibly harmful to creators and publishers, as they are unable to monetise their own content.
Other statistics the CHEQ study uncovered included:
Most companies do not update blocklists regularly, which is why a great deal of suitable content is deemed harmful.
Times are changing and have been changing quite drastically over the past few years. Our lists of negative keywords may have been necessary in 2017, but today they could be absolutely pointless.
Unfortunately, these outdated blocklists are harming marginalised communities across the globe, which is unfair, to say the least.
And this is a problem that needs urgent attention from our industry.
This overwhelming fear has led brands into the trap of unethical exclusion. What we mean by this is that brands and agencies are blocking all content related to marginalised groups and communities.
Therefore, content related to gender, sexual orientation, race, ethnicity, social issues, identity (to name a few) should be monetised.
Positioning yourself in the market as a diverse and inclusive business has never been more important. Today, 60% of consumers prefer to associate themselves with companies that actively show they are committed to creating an online experience that is inclusive for all.
Of course, it’s important to focus our attention on brand safety. But as an industry, we need to think of new ways to implement brand safety without excluding creators based on their sexual orientation, race, or ethnicity.
This new approach needs to be one that can monetise positive content, which will, in turn, benefit the wider society.
Your blocklists and negative keywords need to be tailored to your brand and checked frequently. Don’t just keep adding new words, remove the unnecessary ones.
It’s always worth checking over your brand safety processes. You can then remodel a new brand strategy that encourages inclusivity.
You should always search for and connect with brands and creators that share your values. Once you have added them to your whitelist, they can assist in the monetisation of positive and inclusive content.
Working with a third-party brand safety and brand suitability partner can help with your brand safety measures. These third-party partners usually opt for human input, which ensures content is categorised with diversity in mind.
As an industry, we need to get embrace the needed changes to brand safety measures to ensure we are not excluding words, phrases, or languages that could exclude minority groups.
All voices should be represented in your content, not just a select few. By monetising your content, you can create new and improved content, which highlights diverse and marginalised communities.
It’s time you move forward with your approaches to brand safety because when you do, you will be actively creating an online world that promotes positivity and inclusivity.
Workforces in the creative industries are at risk of becoming more unequal unless efforts are made to improve diversity and inclusion.
That’s the warning by the All-Party Parliamentary Group for Creative Diversity following an 18-month research project with King’s College London and the University of Edinburgh.
The resulting report, Creative Majority, publishes a framework of five guiding principles which it says will lead to immediate and long-lasting change. It also makes a series of recommendations to the government and businesses.
The UK’s creative industries remain unrepresentative of the population as a whole, the report says.
Straight, able-bodied, white men living in London are only 3.5% of the UK population, it highlights, but “this small minority still dominates the creative sector, and in particular occupy a vast number of the most senior creative roles”.
Chi Onwurah MP, co-chair of the APPG for Creative Diversity, said the coronavirus pandemic has deepened this issue with fewer creative organisations and job opportunities for diverse talent.
Disabled people, younger workers, those not engaged in higher education and mothers are among the employees hardest hit by the pandemic. Individuals from a minoritised racial group have also been hit hard. Employment in the arts and entertainment sectors for women in those groups has fallen by 44%, more than any other group in any industry.
“Without action, we risk exacerbating inequalities further in the creative industries and an entire generation of talent – the future of the sector – could be lost,” Onwurah warned.
As part of the research, roundtables were conducted to gather evidence about diversity and inclusion in the creative industries. Among those participating were Sam Friedman, associate professor of sociology at London School of Economics and commissioner at the Social Mobility Commission, who said:
“In most of these industries there’s a kind of historical legacy of who’s done this kind of work in the past and how they’ve been able to embed, even institutionalise, their own ways of being that still, in the present, are able to shape taken-for-granted ideas about who is appropriate to promote and progress, and that’s basically the legacy of white, privileged men in this country in almost every elite industry.
“What’s being valued is a misrecognition of merit that tilts in favour of behavioural codes and forms of self-presentation that dominant groups and yes, people from privileged backgrounds but also this is hugely racialised and gendered, around acceptable ways of being in the workplace.”
Robert Adediran, EDI consultant and former executive director at London Music Masters, said:
“There’s a strong sense that everyone who is at the top is there because they are the best people for the role and that’s very damaging because it prevents us from looking for talent elsewhere.
“In music, particularly classical, there’s a sense that the art form has reached a pinnacle, that it could not possibly get any better than it already is. Again, that is very dangerous because it robs one of the key drivers for diversity and inclusion, which is to make the art form better. There isn’t the drive to bring new people in to change things and to push a more creative output or a better creative output.”
Miranda Wayland, BBC head of creative diversity, said:
“We can’t really be effective until we tackle the question of what ‘good’ really looks like. I can sit here and come up with different metrics about how diversity of thought and diversity of inclusion in our recruitment practices are really at the heart of it, but if those people who are making decisions aren’t really thinking about what good looks like, no initiative, no scheme, no target that we’ve all been imbedded in supporting over the last 10, 15, 30 years, is going to make a difference.
“We need to break the illusion that ‘good’ only comes in a certain package, from a certain background, with a certain title and a certain destination.”
The report said the creative industries have many lessons to learn from how society has adapted to big changes in the way people work.
Working from home, collaborating remotely and new safety measures show that “change, on a massive scale, is possible in a short time frame”, the report said. “The same momentum now needs to be applied to equity, diversity and inclusion (EDI).”
The report publishes five principles as a framework for good and effective practice that it says should act as benchmarks for anyone wanting to see results in EDI.
The five principles are:
Read more detail about the framework in the full report.
The report also makes a series of recommendations to policymakers and creative organisations.
It says: “This report represents a challenge and represents a demand. It offers a chance for policymakers, along with organisations and businesses, to step up and to lead.
“We need bold and visionary leadership to support diversity in the creative economy. As our report shows, the challenges are great. Yet, bold and visionary leadership will reap the rewards of a diverse workforce and audience. It is a challenge to which we need policymakers to rise.”
The recommendations to government include:
The recommendations to creative industry businesses and organisations include:
This event is a practical series of five virtual sessions to set you on the right track with your diversity & inclusion (D&I) efforts. It will help you make sense of what D&I means for your business, why it matters, and how to turn the conversation into action. You’ll get insights, tools and techniques to help you overcome any fears and obstacles, before starting to develop a plan.
The first session has already taken place but book the remaining four sessions by 9.30am on 6 October and you’ll be sent a recording of the first session along with the presentation slides.
Sign up here. Bristol Creative Industries members get £75 off the ticket price.
ADLIB certified as a B Corp in September 2019. As we approach our 2nd anniversary, it has become abundantly clear that certifying is the start of the journey. A starting point from which to measure, guide and improve.
As a B Corp Ambassador, and the person that introduces B Corp to each of ADLIB’s new starters, I’m continually reminded of the complexity and breadth by which a business and its stakeholder group are measured. There isn’t a light switch you flick on and become a B Corp, it’s a living and breathing thing which fundamentally comes down to considering each and every stakeholder that comes into contact with your business and the planet we live on. If that care is authentic, the rest will fall into place through good practice, impact measurement and using business as a force for good.
We’re immensely proud of being one of the first recruitment businesses to achieve B Corp certification. From conversations with several CEOs / MDs of well-respected digital and technology recruitment firms over the past 12 months, we should be seeing more certifications imminently, a very positive move for the industry.
Becoming a B Corp has also positively progressed our client proposition, we’re fortunate to work with an ever-growing portfolio of purpose driven organisations, with which we share underlying beliefs in personal and life values. We’re also proud to have turned away clients from the defence and gambling sectors.
It’s our belief that B Corp should become a normal part of every company’s everyday business. We know that an inclusive workplace brings engagement, and creating an environment of involvement, respect, and collaboration ultimately drives more business value. This has proven itself beyond words for ADLIB as we stand here today readying for recertification in 2022.
This article was originally published on the ADLIB Blog.
Atomic Smash is pleased to announce the sponsorship of a desk space at Spike Island Workspace – the same co-working space where Piers Tincknell and David Darke, co-founders of Atomic Smash, first set up shop as WordPress and WooCommerce specialists over a decade ago.
Atomic Smash will cover the full desk space costs for 12 months so that the recipients can concentrate on developing their business, with the option – but no obligation – to continue as users in Spike Island Workspace after the sponsorship ends.
Spike Island Workspace is the perfect location for emerging or micro-businesses who are ready to develop and establish themselves further. Working from the space expands your connections and opportunities for growth, as you join a dynamic and diverse community of artists and creative businesses.
This sponsorship is aimed at:
The sponsorship is open to all creatives who would benefit from the opportunity and we welcome and encourage applications from people of all backgrounds.
Through your application, you will be able to tell us how this opportunity could make a significant difference to your future. Please also describe any access requirements you may have within your application.
Recently refurbished, Spike Island Workspace is located close to Bristol harbourside and in a busy building offering art exhibitions, artists’ studios, offices, production facilities and a café. Find out more about the space.
Monday 18th October 2021: Application closing date
Monday 25th and Tuesday 26th October 2021: Interview dates
Friday 29th October 2021: Spike Island Workspace visit
Monday 8th November 2021: Sponsorship start date
Friday 4th November 2022: Sponsorship end date
Would you benefit from this opportunity? Apply here!
What’s the one thing Siri, Alexa, Cortana, and Google Assistant have in common?
In short, they’re all female.
At first, this may seem a harmless coincidence, but if we scratch the surface, the domination of the female voice in AI is far more problematic than it may appear.
Today, almost 3 billion people are currently using voice automated software to assist with daily tasks such as setting alarms, checking the weather, or even texting a friend. And the number of people opting to use voice assistants is not expected to decrease.
Yes, we all know this form of AI is beneficial for our ever-evolving digital world, but are these voice assistants causing more harm than we realise?
A greater number of consumers are starting to question the gender bias in voice automation, as they are starting to understand that opting for a female voice can reaffirm the social ideals that women are obedient, should do as they’re told, and most importantly, are here to serve the needs of others.
And because of these observations, many AI creators are now facing criticism for opting for female voices.
With all this in mind, we were intrigued as to why so many companies opt for female voices. Throughout this article, we uncover why there is such a strong gender bias in AI and map out the key steps we can take toward changing this bias.
The lack of male data is the most common reason most programmers opt for female voice when creating voice automated AI, and this is a problem that has been building for some time.
To create voice automation, you need to have a rich set of voice recordings within your text-to-speech system, and most text-to-speech systems have been trained using female recordings. Therefore, it’s much easier and cheaper to create female voice assistants.
So, why do we have so many recordings of female voices available to use?
Up until 1878 telephone operators used to be a solely male-dominated workforce, but they were often heavily criticised for being rude, abrupt, and unhelpful. In response to this Alexander Graham Bell suggested hiring a woman to see if her voice was better received.
Emma Nutt made history and became the first woman to be a telephone operator. Customers responded so well to her voice that she sparked an industry-wide overhaul, and by the end of the 1880s telephone operators were exclusively female.
It’s because of this industry-changing decision we now have hundreds of years of tried-and-tested female audio recordings available to us to create new forms of voice automated AI.
And this leads us on nicely to our next point…
This is probably the most contentious reason why AI programmers opt for female voices – we prefer the sound of female voices.
Many studies have suggested that our preference for the female voice begins when we are in the womb, as these sounds would soothe us even as a fetus.
Another reason why some researchers argue this preference exists is that women tend to articulate vowel sounds more clearly, making female voices easier to hear and understand than male voices.
An example of this can be seen as far back as World War II. Female voice recordings were used in aeroplane cockpits as they were easier to hear over the male pilots.
Up until now, this idea that female voices offer more clarity than a male voices remained unchallenged. Today, many researchers heavily dispute this claim and have found that the many studies that claim female voices are easier to hear when using small speakers or over background noise are simply not true.
There’s even more evidence to show that many people criticise women for their vocal ticks. For example, if you type into Google search “women’s voices are” the top suggested search will finish this sentence with the word “annoying” …
Clearly, AI programmers currently face a difficult challenge when asked to create male voice automation, and Google is a prime example.
Google Assistant was first launched in 2016, and many people were wondering why this AI product was not assigned a gendered name. The reason behind this choice was because Google wanted to launch its new voice assistant with both a male and female voice.
Unfortunately, Google’s text-to-speech system is what ended Google’s desire to launch a virtual assistant with a male and female voice.
Google’s initial text-to-speech system worked by joining segments of audio together from recordings, by using a speech recognition algorithm. It would add markers in different places in sentences to teach the system where certain sounds would begin and end.
As the text-to-speech system was trained using female data, Google Assistant performed better with female voices.
The global engineering manager for text-to-speech at Google, Brant Ward, explained why it was so hard to create a male voice for Google Assistant.
He said that the markers used in their text-to-speech system were not placed accurately for male voice recordings, this meant that it was more challenging to create a male voice assistant of the same quality as the female counterpart.
As it would have taken over a year to create a male voice for Google Assistant, the team at Google decided to run its Google Assistant with only a female voice.
As you can now see, the gender bias in voice automation has become an unshakeable paradigm because of a lack of data and societal acceptance over the preference of the female voice.
When a whole industry is stuck in its ways, even the notion of creating male voice automation can feel like an uphill battle.
It’s time we changed our approach to male voice automation, and there are some simple things we can do as an industry to eliminate the gender bias in voice automation and throughout the AI industry.
1. Inclusivity Is Key
Perhaps it’s obvious to say, but this is an issue that needs to be highlighted. Full stop.
Currently, “women make up an estimated 26% of workers in data and AI roles globally, which drops to only 22% in the UK”. And this percentage drops even further when you look at the number of people in AI who are transgender or non-binary…
It’s disappointing stats like these that show we need to do much more to encourage people of all genders to pursue a career in AI. We want our AI development teams to be more diverse, and this won’t happen if we don’t act.
Once we have a more diverse workforce, we will be able to pinpoint and resolve complex gender issues before and during the production stages of new AI products. Now, in order to attract more diversity, we need to start looking at ways to encourage all genders to follow a career path in AI in higher education.
This can be easily achieved by creating a strong educational foundation, with multiple learning channels available to all students, no matter their gender orientation.
We also need to encourage people of all genders to take an active role in the development of AI course materials. When students see they are being represented in courses they are studying, they are more likely to continue in further education.
2. Develop New Machine Learning Technology
Machine learning technology has come on leaps and bounds in the past few years, and there are now new text-to-speech systems available that create naturalistic male and female voices for AI.
After Google struggled to create a male voice for its virtual assistant, the tech giant joined forces with AI specialists DeepMind to develop a more advanced text-to-speech algorithm that significantly reduced the volume of recordings needed to simulate human voices.
Now known as WaveNet, this algorithm allowed Google to create a more naturalistic voice for all genders, which were then added to Google Assistant in 2017.
Today, America’s version of Google Assistant comes programmed with 11 different voices, and new users are assigned one of two basic voices – one male and one female – at random.
3. Industry-Wide AI Standards Need to Be Made
The domination of AI is not expected to slow down any time soon. In fact, the global market value of AI is expected to reach $267 billion by 2027!
When you think about how AI is becoming an integral part of our society in one way or another, it is shocking to think that there are still no standards in place concerning the humanization of AI.
To this day, most tech companies develop virtual automated systems with a female voice, and this can still enforce the stereotype that women are “assistants”. In order to combat this, we need to have AI standards in place to ensure our products are far more inclusive.
To create these industry-wide standards we must include people of different genders, sexual orientations, races, and ethnicities in the decision-making stages.
With a more diverse group of individuals, we can work together to define what “female,” “male,” “gender-neutral” and “non-binary” human voices sound like and when it’s appropriate to use such voices.
These industry standards should also include a basic set of protocols. Companies would then need to adhere to these rules when creating text-to-speech algorithms to ensure AI products are unbiased and sensitive to potentially harmful gender stereotypes.
It looks like voice assistants will be a part of our lives for the foreseeable future, and because of this, we need to address the gender bias surrounding this type of AI technology now.
Just by opening a discussion about gender representation in voice automation, we can actively begin to create a future of AI that’s more inclusive for all.
We all know how important it is to encourage equality through our culture in the workplace. But it’s no secret that women are underrepresented in senior leadership positions.
It’s everyone’s shared responsibility to become not only advocates, but champions of women from diverse backgrounds within their organisations – and in their lives at large. And in the creative sector, if we want to truly do our part to help women stake their claim, it means businesses taking ownership of their own equality scores in a number of ways – not least, by appointing women to the senior leadership positions we need them to be in.
At Proctor + Stevenson, we’re one of the UK’s longest-established independent marketing agencies. Despite this, we’ve never been conformists, and we’re a good step ahead of your traditional London-based agency in more ways than one.
Our Founder and Chairman, Roger Proctor, has always been an outspoken industry figure. He’s championed diverse young creative talent from the South West of England and Wales – an often neglected region for the arts – throughout his career.
Back in 1979, he laid in our bold and independent foundations in Bristol. And the rest is history. We’ve been challenging inequities and hiring diverse talent ever since – such as through hosting the South West Design + Digital Student Awards (which saw a particularly high volume of entries from young female designers this year).
In short, the talent is there. So what changes are being made?
At the start of 2021, Roger and the senior team restructured Proctor + Stevenson by splitting the larger brand into three companies: P+S Creative, P+S Technology and P+S Strategy, all overseen by the P+S Group (you can read more about these changes here). And this change marked a new milestone for the P+S team.
Our restructuring was the perfect opportunity to progress our own equality targets across the team at Proctors. It was at this point in our journey that we ensured the P+S Group met a target of 50/50 male-to-female directorship.
So, without further ado, meet our board…
· Joy Locke is our Company Secretary. She applies her 20+ years’ experience with us to take lead of everything operations, finance, accounts, and administration. She ensures that we were keeping on track with budgets.
· Ailsa Billington is one of our Directors. She leads our client services operations and takes charge of directing major global campaigns for our multinational portfolio of clients. She directs over all teams in the P+S Group to make sure that we deliver the best campaigns to transform our clients’ businesses for the better.
· Nikki Hunt is our Financial Director. CIMA-qualified, Nikki brings a wealth of experience in management accountancy, HR, payroll, and health and safety to our business, keeping us running efficiently and safely.
· Roger Proctor is our Chairman. He founded P+S in 1979 and has continued to lead its transformation ever since. Under his leadership, the business has grown from 2 people to more than 70, plus a network of freelance talent, and has won a global portfolio of clients such as Panasonic, National Grid, Saudi Arabian Airlines, and much more. He is passionate about the power of creativity to make positive change and is also heavily involved in strengthening the links between the creative industries and education.
· Mark Jamieson is another of our Directors. He helped establish our presence in the Middle East and is an expert in developing, building, and maintaining positive client relationships in across all sectors.
· Steve King is the final member of our current team of Directors. He leads our large-scale digital projects on everything concept creation, development, and project delivery. He’s worked on many innovative and world-first technology projects.
At Proctors, we’ve always taken equality and diversity extremely seriously. Because when we celebrate and empower women in business, it benefits everyone.
We strive to nurture careers amongst our female talent, building them up into more senior roles within our business. And we want to continue to progress further. We’re currently building a broader, transparent picture of our teams, our diversity, and our biases to discover how we can do better.
There’s lots more to be done to help narrow the gap between women in leadership across the UK. It’s a fact that only 5.6% of women in the UK run their own business and women only account for 33.8% of positions as directors on business boards in the UK, with only 16% of creative directors reported to be female.
We’ve just launched the first instalment of our Women in Business interview series. In it, our own Marketing Manager, Becca Peppiatt, sits down with Peaches Golding OBE CsJT, Her Majesty’s Lord-Lieutenant of the County and City of Bristol. This interview, like the rest of the series, delivers insight into the female perspective of working in business, so aspiring young women can see themselves represented in leadership roles. Stay tuned for more instalments of the series, coming soon.
We can all do our part to progress the important conversations which need to be had about an industry that is in many ways stuck in the past, ignoring some of its blatant inconsistencies. There’s lots more to be done and we intend to continue to work hard to narrow some of the gaps that exist. We need to think intersectionally about how we hire, and how we can create healthy, fair environments for women to succeed in.
For more information about Proctor + Stevenson, or to discuss our services or teams in more detail, please email us.