The West of England’s first-ever Good Employment Charter has been launched by Metro Mayor Dan Norris as part of a push to develop good jobs, deliver opportunities for workers to progress and help local and regional employers succeed.
First to sign up is the world famous, four times Academy Award winning animation studio Aardman. Others already pledging their support include Visit West as well as Bristol’s Wake the Tiger, Bath’s Storm and Stoke Gifford’s Service Robotics.
The Charter has been designed by trade unions, employers and employees from across Bristol, Bath and South Gloucestershire.
Local firms big and small will be supported by the West of England Combined Authority, led by the Metro Mayor, to raise standards across a number of areas, including regarding recruitment and worker engagement, with a two-tier approach to help them progress.
The two tiers of the West of England Good Employment Charter are:
Tier 1: Supporters – working with aspiring organisations to help them take steps to improve their own practices, including through a personalised action plan, workshops and other events, raising employment standards across the whole region, to meet the requirements of accreditation.
Tier 2: Membership – requiring employers to demonstrate excellent practice in key characteristics of employment practice. These are:
Businesses receiving funding through the West of England Combined Authority’s investment funds will also now be required to become Charter supporters, confirmed the Metro Mayor.
Currently more than 15% of West of England workers take home less pay than the Real Living Wage, while an estimated 111,000 in the wider South West are on zero-hours contracts.
Metro Mayor Dan Norris said: “I’m delighted to see this manifesto pledge fulfilled. No matter what job you do, everyone deserves dignity at work, fair pay and secure work in a safe workplace with clear opportunities to progress and develop. I want to praise the brilliant employers we have in our region such as Aardman.
“Recognising those good employers and seeking to persuade everyone else to do the right thing is what this is all about. We know that employers who are best at properly supporting their employees are usually the most successful. So this a win-win for employers and employees. I welcome the employers ego have started the journey with us today, and I’ve no doubt that many, many more will join them soon.”
Aardman Managing Director Sean Clarke said: “We’re really pleased to support the Good Employment Charter and feel that improving employment standards is crucial for staff wellbeing, retention, engagement and productivity. Many policies such as the Real Living Wage and Secure Work have been in place for some time, which has already made a positive impact to the business.
“As an employee-owned business we are always looking to expand and improve engagement with the ‘partners’ in the studio and have various forums for partners to have a voice on the how the studio is managed and our business planning and priorities. Aardman is committed to providing a workplace where people and their ideas can really thrive.
“We believe that implementing these standards helps us to nurture our most important asset – our people – and ensures we are well placed to attract and retain our talent in an increasingly competitive talent market.”
Employers interested in signing up to the West of England Good Employment Charter should email [email protected]
Access Creative College, Condense and LocalGlobe have teamed up to offer Bristol students a Metaverse Development Scholarship to bring more diversity to tech.
Access Creative College, the UK’s leading games, music and media college, metaverse specialists Condense and venture capital fund LocalGlobe are offering up to eight fully funded scholarships to start in September.
To coincide with the launch, leading Bristol artists Lebo, Dread MC and Badliana were invited into Condense’s cutting edge metaverse environment on 26 July to perform.
Using a state-of-the-art 360-degree camera rig constructed by Condense, the three artists each stepped into a virtual landscape to record their own performance. It is the creation of these virtual landscapes and their live-streaming capabilities which Access Creative College are now offering the chance for students to study.
Jackson Armstrong, executive head of marketing at Access Creative College, commented: “What better way to celebrate the launch of this new scholarship programme than by having some of Bristol’s brightest upcoming artists perform in the metaverse, which our scholars will be working to produce.”
Kicking off in September, successful scholars will learn how to stream live events into one of the world’s most exciting new technologies, the metaverse. The successful applicants will take part in a 12-week programme, full of rich and intensive study, completely funded through the scholarship.
Jackson Armstrong continued: “When it comes to board positions within leading tech companies in the UK, the statistics are deeply concerning with the lack of gender split and those from ethnic minority backgrounds.
“We’re excited at the prospect of helping to change that through this new scholarship programme and we’re currently on the lookout for applicants to apply online.”
Scholars will learn digital graphics, 3D modelling, photogrammetry and textures, realtime VFX, plugin integration, in game/venue scaling and enhancing virtual worlds, enriching virtual worlds, interactions, spatial sound, player movement and networking basics.
James Tong, head of people at Condense, added: “You should apply for this scholarship because while everyone has a story to tell, not everyone has the same opportunities in life.
“This is an incredible opportunity to carve out a career in engineering and metaverse content creation. It’s a 12 week fully-funded intensive course, so you will meet other people with similar interests and ambitions, and it could even lead to a permanent job with Condense.”
Applications for the course are now open, and can be made through Access Creative College here.
Over the past few years, we’ve seen a departure from overtly sexist and misogynistic advertising.
The #MeToo movement and the rise of “fempowerment” are just some factors that have caused advertisers to look at their campaigns and adapt their content in order to show women in a more powerful and positive light.
That doesn’t mean sexist advertising has ceased to exist.
Today, far too many brands are using outdated, harmful, and offensive female representations in their advertising. And yes, while we need to acknowledge that misogynistic marketing has improved, forms of sexism still exist in the marketing world.
And there’s a new term for this form of subtle sexist advertising – sneaky sexism.
Jane Cunningham and Philippa Roberts – former members of the leadership teams at Ogilvy and DDB, London, and now founders of PrettyLittleHead (PLH) – coined the term.
In their book ‘Brandsplaining: Why Marketing is (Still) Sexist and How to Fix It’, they explain that sneaky sexism is a form of “brandsplaining”.
For those unfamiliar with this term, brandsplaining occurs when brands believe they are in the driver’s seat when it comes to the relationship between themselves and their customers.
Essentially, it’s when brands feel they are in control of their customers’ needs and desires.
When it comes to sneaky sexism, Cunningham and Roberts define it as a type of sexism that is subtly added to advertising in a way that avoids offense and backlash from their audience.
As the name suggests, sneaky sexism is more covert. For example, think back to when diet pills were first introduced.
You may think that these pills have been discontinued or fallen out of fashion due to the fact it pushed unhealthy ideals that women need to lose weight to be considered attractive. But these pills are still out there, but they’re now advertised as “wellness” products.
Another key example to keep an eye on is the way brands phrase the “fix it” narrative.
Back in the early 1930s, brands would suggest women need to change their physical appearance to adhere to society’s version of beauty. Today that narrative has changed, and women are now being instructed to change their characteristics.
Women are now told to be bold, confident, and love who they are. And while this may be a step in the right direction, this narrative still has negative connotations for women.
We are still telling women what they need to be like in order to be accepted by society. And if women don’t fit certain then they are still viewed as failures.
Until the 21st century, most advertising targeting women was created through what is known as the male gaze. In essence, women were mainly sexualised and/or portrayed as inferior to men.
In many cases, female advertising was created using the perfectionist narrative. At its core, this narrative would suggest that women are not good enough and need to improve their looks or how they run their household and look after their families.
The perfectionist narrative stuck around throughout the 20th century, but the idea of the perfect woman changed with the times and turned into the “good girl” phenomenon.
But what attributes does the “good girl” possess? Well, she would need to be subservient, skinny, pretty, and white, and women who featured in ads back in the 20th century would predominantly fit this mould.
You may think that we have moved past forcing this ideal onto women… but we haven’t. Today, 25% of ads that feature women are still sexualized, and 85% of these women adhere to the good girl phenomenon.
Unfortunately, sexism is still a pressing problem all over the world, including in marketing. Just look at the myriad examples of gender bias in AI…
Sexist advertising, in particular, can be incredibly impressionable and promotes harmful and misogynistic ideals for global audiences.
To prove the damaging impact of sexist advertising, Cunningham and Roberts spent 15 years researching and surveying 14,000 women in 14 countries across four continents to understand their thoughts on women in advertising.
And the results were telling…
While we may have left the worst of overtly sexist marketing in the past, sexism still exists, and we need to do something about it.
As consumers become far more aware of overtly unethical and discriminatory practices in advertising and marketing, poor behaviour is quickly retreating to the verges, where it often continues to thrive. Just look at the persistence of “Rainbow-Washing” around Pride Month.
We need to create ads that women want, and ads that truly represent who they are on the inside. Now is the time to ditch this outdated depiction of women once and for all.
The IPA has named Bray Leino Media Manager, Kandice Quain, on the iList 2022. The list, published annually, recognises 30 exceptional individuals championing diversity within the UK advertising industry.
The iList celebrates trailblazers from across UK advertising driving diversity and inclusion within our industry and beyond. As advertisers, we are in a position of responsibility, influencing people’s day to day lives. And the consequences of change within our industry are far-reaching, with the potential to effect wider, real world progress.
Kandice has been recognised for her work as part of Open House, our internal ED&I team made up on individuals from across the Agency. Since joining Bray Leino in 2021, she has established herself as the lynchpin of our diversity and inclusion agenda – at the heart of initiatives to transform our team make up, culture and our work. In the space of a year she’s managed virtual work experience days, scoped out ED&I partnerships, been a strong voice at board-level meetings, devised an inclusive internship and apprenticeship programme, completed IPA courses on ED&I, and educated us with her wider reading on diversity, inclusion and implicit bias, all the while doing a brilliant job as a Media Manager and mentor to an apprentice.
Kandice says: “I’m so proud to have been recognised on the IPA iList for the contributions I’ve made to Open House since joining Bray Leino. I’m massively passionate about D&I and making a positive change. Seeing that real-world impact take effect has been incredibly fulfilling.”
CEO Kate Cox says: “I’m very proud of the great progress we have made to create a more diverse and inclusive Agency. “Along with the wider Open House team, Kandice has been fundamental to helping us drive positive change. Her sensitivity to our culture, combined with incredible knowledge and passion makes her a real force for good. We are absolutely thrilled the IPA have recognised her in this way.”
Every business’s D&I position is unique. Bray Leino was founded in rural Devon nearly 50 years ago and we have built a strong record for senior female leadership, high employee retention means our age profile is more representative of the UK working age population than the industry average, and we are laying the foundations across all areas of diversity, including neurodiversity and disability. But we have identified particular challenges – namely our ethnic diversity given our geographic location. One of our strategic objectives – which work is well underway on – is to address and improve the ethnic diversity of our people. This year, Open House is focused on enhancing our gender equality and improving ethnic diversity and Kandice’s work in this area has been instrumental.
A lot of people ask me where to start with their #newwaysofworking journey. The answer is often frustrating to hear – there is no ‘one right way’ – sorry! It is something that teams need to figure out for themselves and build on through constant experimentation, doing more of what works, and less of what doesn’t. You are closest to the information, so I cannot tell you where is best to begin, nor can anyone else.
What I can share with you are the patterns found in progressive organisations, and this is what I’ll do with my new series: Do try this at work. I’ll be sharing just one at a time, with the hope that you give it a go in your team before the next newsletter arrives in your inbox. First up we have the wonderful circle meetings which are a definite favourite of mine (and the perfect training wheels for consent decision-making!).
Imagine a meeting with no interruptions and no one voice dominating… 😍 Well, you don’t have to imagine…
There is a pretty broad consensus that most meetings are a drag at best and a waste of time at worst – it needn’t be this way! Circle meetings offer us an alternative and are super simple. They teach us to become better listeners and to be more vulnerable. Vulnerability requires candour, and people trust this. Good relationships are built on trust, and circle meetings help us to build this. You’ll hear less from the usual suspects and more from the quieter voices, whose fab ideas and contributions will surprise you.
Given that most of us are fed up with meetings, most groups are open to trying a new meeting structure when it’s suggested. So pop a brave pill (I know this is scary stuff!) and try a few circles meetings where you work. I bet you’ll be surprised by how powerful such a simple structure is.
The more you talking you do in meetings, the more you need to try these!
Below, you’ll find step by step instructions on how to hold a circle meeting and underneath those, you’ll find an awesome how-to video demo created by my friend Tim Shand.
I’d love to hear what you notice after trying these in your team. And don’t forget to ask your team what they noticed after using the circle meeting structure. If their feedback is positive – and I’m sure it will be – then do more!
Good luck! And head here to signup for receiving these by email: https://newwaysofworking.substack.com/
Launching in May 2022, YOU. is a unique community leadership programme designed to support young changemakers and business leaders in the creative industries through peer-to-peer coaching.
YOU / Culture & Creativity is one of two industry specific cohorts launching on 5th May. The programme runs over 8 weeks with all participants learning coaching skills together, combined with real-world leadership experience by coaching and being coached to support each other’s individual challenges.
The commitment is only 2 hours per week to attend online group coach training sessions with an additional 1 hour for peer to peer mentoring sessions arranged at your convenience.
Peer to peer mentoring ‘pairs’ (one business leader matched with one young changemaker) will provide a positive space for mutual learning to practise and refine coaching skills and support each other’s individual challenges and opportunities.
The programme is being delivered by Tomorrow and North Somerset Enterprise Agency, with all places fully funded through the UK Community Renewal Fund.
CHANGEMAKERS. Young people (18-35yrs) who are looking to make a change. Maybe explore a business idea, learn skills to develop a creative project in their community and currently living in communities in the North Somerset region.
ORGANISATIONS. Employees who are purpose-led leaders, managers or supervisors who are looking to improve their leadership skills with the tools to adopt a coaching approach in their work.
We are looking for 15 creative leaders who are looking to make a positive impact in their organisation or team culture; and 15 creative young changemakers who are exploring future creative careers.
In a rapidly changing world, entrepreneurs, changemakers and leaders of the future will need to be able to coach. Coaching skills form a valuable part of any leader’s repertoires of management tools, aiding effective working relationships with diverse teams and individuals. A coaching approach can enhance performance, improve working relationships and develop communications skills for the benefit of any future leader.
So, if you are an individual who is looking to break into the creative industries; or you are a business within this sector, looking to make a positive change, this programme is designed for you.
For full details, to contact us or apply now via www.youbethechange.co.uk
Inequalities in the UK arts and cultural sector have been exacerbated by the coronavirus pandemic and lessons must be urgently learnt, a new report has claimed.
In what is described as one of the world’s largest investigations into the impact of COVID-19 on the cultural industries, the Centre for Cultural Value said “the impact of the pandemic has aggravated and accelerated existing inequalities and longer term trends across the arts and cultural sector”.
The report found that the impact on the sector’s workforce was not experienced evenly with individuals already under-represented more likely to leave cultural jobs in 2020. Younger workers, women and people from ethnically diverse backgrounds were among the hardest hit in terms of lost work and income.
Freelancers also suffered significantly, the report found. They constituted 62% of the core-creative workforce before the pandemic and only 52% by the end of 2020.
Researchers acknowledged that the Cultural Recovery Fund was crucial for ensuring the survival of cultural organisations, but they were critical of the funding for not reaching all affected freelancers, despite them making up the majority of the arts and cultural workforce.
“Perhaps the most significant finding from our study is…that we need to better understand the vital role that freelancers play in the cultural industries,” the report said.
“Our research has highlighted the need to identify freelance cultural workers in a much more robust and nuanced way so that we can map the sector more accurately and appreciate its complex infrastructure.”
Such an approach, it said, would ensure freelancers do not fall between the gaps in emergency support during any future crisis.
The pandemic saw a huge increase in digital content as cultural organisations that were forced to close turned to the internet to share performances and art collections.
This made content cheaper and more accessible but the report found it failed to significantly diversify audiences with roughly the same type of people engaging with cultural content as before the pandemic.
A digital approach did transform the experiences of many people with an established interest in the arts though, especially disabled audiences and older people living away from major urban centres.
The pandemic also made organisations rethink the way they engage with local communities by communicating through social media when closed and continuing a hybrid approach after reopening. It paid off for some with increased footfall from the immediate area and more spending per head at certain venues.
The crisis also highlighted the key role culture plays in the UK economy. “The importance of the cultural and creative sectors to animate and stimulate night-time economies and town and city centre high streets was keenly felt, and cultural investment was made a key priority for the first round of ‘Levelling Up’ funds and in many locally led recovery plans,” the report said.
In addition, schools and community groups benefitted from the shift by museums, galleries and theatres to local engagement and social media initiatives such as the #CultureInQuarantine and #MuseumAtHome campaigns attracted thousands of people. “In general, audiences were most drawn to content that privileged empathy, intimacy, community, locality and nature,” the study found.
Another positive was the value of culture for wellbeing. The majority of audiences believed digital culture had a positive effect on their mood and managing anxiety, while most people who increased their digital engagement during lockdown intend to continue doing so.
The report said these developments show that digital is worth investing in for cultural organisations. However, to have a positive impact and reach diverse audiences, it advised that online content must be “embedded in a long-term strategy of audience and school engagement”.
The research said networks played a key role in supporting the cultural sector through the crisis. Organisations came together to find solidarity, co-discover new ways of working, find new business models and lobby policymakers for additional support.
Networks can build long-term resilience, the study added, but it warned “there is a real risk that this effective mode of working, which briefly united what is traditionally a fragmented sector, might disappear post-pandemic without targeted support”.
The report warned that the UK’s cultural sector is “at an inflection point and facing imminent burnout alongside significant skills and workforce gaps”. As a result, “regenerative modes of working” need to be “urgently” adopted, it said.
“This approach would carve out time for all of the positive initiatives that we witnessed across the cultural sector during the pandemic: revisioning and restrategising, professional and network development, reflection and evaluation, play and innovation.
“But regenerative models involve sacrifices: less producing and production, less product and income, less hidden labour and overworking, less solipsism and introspection. This vision can only be realised if the cultural sector keeps working together as a joined-up ecosystem and doesn’t rupture at the seams.”
We’re the membership network uniting Bristol and Bath’s creative industries behind a common cause, driven by the belief that we can achieve more collectively than alone. Join as a member and benefit from industry expertise, training, leads, curated news, kudos and more.
Having worked closely with the Epilepsy Society for the past few months, we’re delighted to announce the launch of unFlash, an AI-powered tool that detects and helps prevent the spread of flashing images on social media that in turn could trigger seizures.
The first-of-its-kind plug-in allows specific users to report examples of flashing images that appear on their Twitter feed, which are then captured as part of a dataset used to train a Machine Learning model.
unFlash’s aim is to eventually teach the AI how to effectively detect and block media that falls within the photosensitive range. This would prevent harmful imagery with the potential of triggering a seizure in people with photosensitive epilepsy from being shared online.
“Social media is a global platform, and the only true way to protect people from seizure-triggering content is to turn off the tap at its source. That’s why we are so grateful to the team at Gravitywell for their commitment to developing unFlash. We are hopeful for what the AI can contribute to the protection of people with epilepsy online.
However, small companies such as Gravitywell who have donated their time to protect people should not burden the responsibility of protecting Twitter’s users; the social media giants must be held accountable for protecting vulnerable people with disabilities on their platforms.” — Epilepsy Society
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.