Tom Gerrard likes to keep it simple. That means minimal colours and leaving a background of exposed grain on the wood panels he paints on. And it means thinking away from the hustle of Melbourne.
Gerrard’s series ‘The Burbs’, which is currently showing at The Royals offices in Sydney and Melbourne, is a celebration of suburban life. The drawings the pieces were based on were done in the high-country towns of Benalla and Bright.
“I love getting out of town and searching out ideas for future paintings. I find it easier to think away from the hustle and bustle of Melbourne,” Gerrard says.
His career started as a street artist in mid-90s Melbourne. And his work has become known globally for its stripped-back approach to characters, architecture and nature.
For ‘The Burbs’, he kept the palette basic as a way to modernise the older, more traditional subject matter.
“Colours are an important part of my art practise. Being that I rarely paint in more than five colours, each colour is considered. I would like people to feel as though they are looking at a modern painting,” Gerrard says.
“My suburban paintings are a documentation of scenes that are disappearing from our landscape.”
Gerrard returned to Australia in 2016 after eight years travelling the world, and began focussing his work exclusively on Australian life, suburban culture and his natural surroundings.
Beaten into submission for being a fake-tanned, sexist pig that was stuck in the past, professional wrestling has emerged victorious from the jaws of defeat. The Royals’ Content Tag Team Champions, Dan Michael Jones and Dave Rood, get in the ring to find out why.
“It’s like watching professional wrestling,” US Congressman Tim Ryan tweeted after President Trump’s State of the Union speech in early February. And he was right.
Trump orated with the subtlety of a hyped-up ‘Macho Man’ Randy Savage cutting a promo. House Speaker Nancy Pelosi tore up a copy of the speech as soon as she was sure her gesture would be picked up by the bank of cameras at the back of the room. It was exactly like watching professional wrestling — as it should be. Theatre, spectacle, competing plot lines. And against all odds, wrestling is back in the zeitgeist. The world is ready to rumble. But why?
Two golden ages, then a gap
In the late 80s, over 90,000 people packed into the Pontiac Silverdome to watch Hulk Hogan take on Andre The Giant for the World Wrestling Federation (WWF) championship at Wrestlemania III. During the ‘Attitude Era’ of the late 90s and early 2000s, close to 10 million Americans would tune in to each week to watch The Rock, The Undertaker and ‘Stone Cold’ Steve Austin battle it out live on cable TV.
Nostalgia for times like these has meaning because it’s our way of finding meaning in our memories of them. Here’s what growing up in these golden ages means to our authors:
The 1980s: Dave ‘The Rood Awakening’
I have two vivid sporting memories of 1987. Sobbing when Jim Stynes ran over the mark. And pure elation when Hogan body slammed The Giant in Wrestlemania III. The Giant — billed as the 8th Wonder of the World — had turned on Hogan during the lead up. Good became evil. The build-up was epic. 1:55 mins in and that commentary line comes: “The irresistible force meeting the immovable object”.
(Turns out Andre the Giant, who was on his last wrestling legs, was calling out ‘slam, slam’ as an instruction to Hogan). If you haven’t watched it already check out the HBO documentary Andre The Giant).
I grew up on the cartoon, WWF wrestling of that time. It was all glam and fake tan and well trodden story tropes — babyface versus villain, the fall and redemption. Pile drivers and clotheslines and ‘King Kong Bundy off the top rope’. The injustice of referees turning their heads at precisely the wrong/right time was real. The plot lines stay with me: Bobby ‘The Brain’ Heenan slapping The Giant. The break-up of Hogan and ‘Macho Man’ Randy Savage. ‘Hacksaw’ Jim Duggan winning the first Royal Rumble. Jake ‘The Snake’ Roberts, mullet in full sweaty flow with his snake Damien curled in a bag in the corner of the ring waiting to be thrown theatrically over Roberts’ victim. It was pure vaudeville and pure escapism.
The 1990s: Dan Michael ‘Jone$town’
I was blessed enough to come of age during the Attitude Era. Announced on-screen by WWF chairman Vince McMahon in December ’97, the era eschewed much of the G-rated glitter and spandex of the 80s WWF, and replaced it with more realistic and violent combat, heavy metal music and four-letter words.
At the time, my grandparents had a subscription to this thing called Optus Vision. It was a cable TV station — Netflix for the ’90s — and each week, my grandma would tape both WWF Monday Night Raw and the rival WCW Monday Nitro for me.
The best thing about it all? ‘Stone Cold’ Steve Austin — a bald, goateed Texan — who strode to the ring accompanied by the sounds of breaking glass, threw up middle fingers at his opponents, and double-fisted cans of cheap beer anytime he won.
I was always way more into all the extraneous bullshit surrounding the matches — backstage promos, intro songs, dramatic interludes, fireworks, pyro and personalities — than the wrestling itself. That hasn’t changed.
But something had changed outside of wrestling during the Attitude Era. The world got consumed by ‘realness’. 9/11 snapped the western world out of its bubble. It was the era of street press and Vice Magazine. The internet had made it so we could all be famous at once. Anyone could be a superstar. The WWF — which had rebranded as World Wrestling Entertainment (WWE) following a lawsuit in 2002 — was failing to catch up. Not even a Wrestlemania’s 23 in-ring appearance from Trump himself could help.
Mixed martial arts — a freeform combat sport with only a few rules — was ‘real’. The outcomes weren’t planned in advance. There weren’t dramatic, scripted scenes bookending the fights. WWE was soap opera on steroids. MMA was televised violence that often left competitors in hospital. It got bigger and bigger, and wrestling lost its relevance. Some of the WWE’s biggest stars crossed over to MMA. ‘Real’ had a firm grip on the championship belt.
Socialism at the smackdown
It’s no secret the WWF/WWE has always been a dictatorship. Nothing is approved for live events or TV broadcasts without the express permission of the chairman, Vince McMahon. He and his family run the show behind the scenes, and have all “gotten over” — industry slang for being given airtime and heavily marketed — on screen, time and time again.
“His stories constantly revolve around authority figures having more power than wrestlers, with the McMahons and the WWE brand itself being framed as the real stars of the show,” Todd Martin wrote in the LA Times in October last year.
“McMahon makes up his mind on wrestlers, undermining wrestlers fans react well to but that he doesn’t like as much while going strong with wrestlers fans reject. And wrestlers up and down the cards are put in comedy sketches built around McMahon’s unique and often childish sense of humor.”
But new leagues like All Elite Wrestling (AEW) — which is proving to be the first real threat to WWE market share since the early 2000s — pride themselves on giving creative control back to the wrestlers. In 2019, AEW signed a cable TV deal with TNT.
Jon Moxley, one of AEW’s breakout stars who had an eight-year career at the top of the WWE talent pool, left McMahon’s stable after becoming fed up with the things he was being forced to do on TV — like getting fake vaccinations for rabies before a match, or making fun of a fellow wrestler’s real-life cancer battle as part of a promo video.
“The first time I sat down to talk with them, it was like, ‘Okay, this is what I want to do. Does that match up with your goals and what you’re gonna do?’ and it does. So, we’re off to the races,” he told Fightful at the end of January.
“I pop up awake in the middle of the night going “Oooh!” with ideas and stuff, and I like to just go to the ring sometimes with no ideas and just see what happens on the fly… every day is a fucking vacation.”
Suplexing the glass ceiling
When Hulk Hogan held the WWF championship belt during the late 80s, women in the industry were relegated to being love interests and ‘valets’ who’d carry the blokes’ belts to the ring. During the sexed-up Attitude Era, females had a bigger part to play, but their representation was just as misogynist — if not more.
Female performers during this period were marketed as ‘divas’, mostly used as props to enhance the male wrestlers’ masculinity, and often competing in ‘lingerie’ and ‘bikini’ matches where clothes were designed to come off.
Thankfully, things have changed. Female wrestlers have literally fought for equal representation for years. And it’s working. GLOW, the 2017 Netflix series based on the 1980s wrestling league of the same name is a huge hit. While Shimmer Women Athletes — a female-only league founded in 2005 — has seen several of it’s stars go on to much, much bigger things.
Take Becky Lynch as an example. Born Rebecca Quin in Limerick, Ireland the year Hogan took on The Giant at Wrestlmania, Lynch spent much of her teens and young adult life working towards a career as a professional wrestler. After nearly a decade in indie leagues in the UK and US, Lynch got a spot with the WWE’s development network, NXT.
Becoming part of a group of equally tough-as-nails female wrestling that included Charlotte Flair (daughter of 80s legend ‘Nature Boy’ Ric Flair), Lynch spearheaded the rise of women in wrestling — from the minor leagues to a headline victory against former MMA fighter Rhonda Rousey at 2019’s Wrestlemania 34.
“We’ve been constantly breaking through glass ceilings. We’ve been burning down the house, building up new ones, tearing them down … building up a whole new planet,” she told Sports Illustrated in January.
“Now the possibilities are endless.”
Treating fans like tag partners, not cash cows
Wrestling is like Santa Claus. It’s a collective hallucination that makes life way more fun if you close your eyes a little, open your mind a lot, and just roll with the fact that in some bizarro universe it’s totally not fake.
The big leagues, like WWE, call their die hard fans “marks” — the same term con artists and hustlers call their victims. And it’s long been a case of ‘you’ll watch whatever we broadcast, and you’ll like it.’
But more and more, independent leagues and breakout promotions are letting fans have a say in the direction that characters and plotlines take — listening in to the discussions on popular wrestling forums like Reddit’s SquaredCircle.
“Last week, I put out a statement on my social media channel saying ‘Give me the feedback’. If anyone can take it, I can take it. The good, the bad, the why, everything,” AEW Wrestler and Vice President Cody Rhodes told IHeartRadio in October.
“I want to know because we’re not going to pretend we have all the answers. I got a great education for wrestling and I’m excited about these shows we have ready, but I’m ready to hear what the people think too.”
And they’re making changes, and dropping references to show that Rhodes isn’t all talk, either. In a recent match, Jon Moxley had his eye gouged by another wrestler (not really, of course) and has been wearing an eye patch in the ring since.
Online fans noticed the resemblance between the wrestler and another eyepatched character — paramilitary leader Big Boss from the video game franchise Metal Gear — and started making memes of the two side by side.
Cue Moxley’s entrance during the February 5 episode of AEW. He’s striding to the ring like he owns the place, dressed in military fatigues. “It’s Big Boss Moxley,” the commentator says, while half-a-million SquaredCircle subscribers struggle to decide between cheering and laughing.
The art of interviewing is useful long after the ‘on air’ light dims. The Royals’ Emerald Cowell shares what she’s learned about asking the right questions of others during four years of hosting her radio show.
It’s 7.45pm on a Saturday. I’m standing outside a yellow brick warehouse on the corner of Blyth and Nicholson Street in East Brunswick, Melbourne, waiting for Steve Cross to buzz me in.
Steve’s the presenter of a radio show called Beat Orgy and the founder of Remote Control Records. Waiting for him to let me into the RRR studios is a pretty familiar routine. After all, I’ve presented a show — Tomorrow Never Knows — on the station for nearly four years.
But there was something a little different about this particular Saturday night. I had a pre-recorded interview with Ed Simons packaged up and ready to put to air. Ed’s one of the world’s most respected music producers — one half of The Chemical Brothers.
Only a few months earlier, I was standing in a sweaty pit of thousands of flare-waving fans, witnessing Ed and bandmate Tom Rowlands lay down an electrifying set at Glastonbury.
I’ve been volunteering in community radio for over six years. And it’s taught me a whole bunch. But one thing that’s really stuck with me — something I’ve been able to apply to all facets of my life — is the art of interviewing, getting over nerves and getting the best out of people.
Being a good interviewer takes a set of skills. There’s no one simple way to do it right. But there are ways to make sure you get some bloody good answers.
Lesson 1: Know your shit
The Chemical Brothers are electronic music legends who have collaborated with some of the world’s best. So when the opportunity came up to interview Ed Simon before The Chemical Brothers brought their Glastonbury set here to Melbourne, I had to know my shit.
Interviews like this are coordinated through the record label. An agent blocks out an hour or two for back-to-back phone calls to radio stations and media in all the places a tour will visit. And that means artists get asked the same questions again and again. So, how do you ask a question that surprises and gets a response the world hasn’t heard before?
Answer: You know your shit. Like knowing that The Chemical Brothers met at uni and quickly became a musical duo trying to find their break. They’ve been at it ever since, so I knew it was worth asking what they’d pass on to up-and-coming local producers.
Ed’s response echoed Block Rockin’ Beats, one of The Chemical Brothers’ breakout hits:
“There’s always a party to be had. Electronic music works best when it’s the catalyst for people having fun together. Find a crowd. Rock your block.”
Lesson 2: Make the subject feel comfortable
Before the interview
Being on the radio can be quite daunting, let alone being asked questions by someone you don’t feel comfortable with. It’s important to take the time before your interview to learn a bit about the person, including how to pronounce their name and what their pronouns are.
Simona Castricum has been producing dance music in Melbourne for 20 years — but she’s also an academic and architect. After I interviewed her, she said I made her feel relaxed enough to really open up about her experiences because I made a real effort to understand the relationship between her music and her academic practice.
“I’m interested in how we can take those principles from the dance scene and apply it to other places. There’s things we have done down at [Melbourne music venue] The Tote that have made their way to parliament,” she told me on air.
During the interview
Guide the subject with positive body language, like a smile or a nod. And don’t feel like you have to fill every silence. Breaks in the sound can make for good radio. Give them space and time to think about their answers, so they can respond with confidence.
Female Wizard is one of the most skilled DJs in Melbourne. They told me they’d never had the opportunity to talk so openly about their work like on my show, because they felt comfortable, not rushed. We talked about what they were trying to offer their audience: “an experience of reception and participation”. Sounds like how I want the people I interview to feel.
Lesson 3: Don’t be afraid to ask the hard questions
The first CD my mum ever gave me was the 1986 album Infected by The The. If you’re a fan, then you know why they’re considered one of the seminal post-punk bands of the era. If you’re not, take a listen to This Is The Day. I’ve already picked it to be played at my funeral.
Getting told that I could interview lead singer Matt Johnson ahead of the band’s 2018 Australian tour gave me the sweats. And not just because he’s one of my musical heroes.
It was because — even though I’ve been a massive fan since the age of 13 — I knew nothing about his life outside the songs. I had to do my homework. So I went deep. I read articles, listened to radio interviews and watched everything about the band I could find — including Matt’s appearance on the ABC’s Rock Arena in 1986.
And I learned that in the late 80s — at the peak of The The’s commercial and critical success — Matt’s youngest brother Eugene suddenly passed away. He dissolved the band and began a 20-year hiatus away from the music industry. Losing his oldest brother Andy in 2016 prompted him to return to music.
Having done my research, I felt confident to ask Matt a pretty tough question: “Your new single is such an incredibly powerful tribute to your older brother. What did it mean to write that song?”
His response: “It was a song that had to be written. I was compelled to write it. We have a huge fear of life and death and that song really represents the cycles of nature and letting go. It’s about not taking things for granted on one side, but also having an acceptance of the natural order of things and not fearing death — which is just a gateway to somewhere else.”
Lesson 4: Don’t set the narrative, start it and listen instead
Stop thinking about your next question. Listen to your interviewee and let the narrative happen organically. Sure, it pays to know your shit, go in with a plan and ask the hard questions, but you should make them conversation starters — not checkboxes you’re ticking off as you go.
I learnt this through interviewing legendary producer Josh Davis, who is better known to the world as DJ Shadow. He’s got a reputation for creating music from samples, sometimes of well-known songs by well-known bands — like Metallica’s Orion and Bjork’s Mutual Slump.
“So, do you want to shake up that expected behaviour of DJs and producers using obscure samples by choosing to sample more obvious songs?” I asked him.
I anticipated a straight up “yes”, based on previous interviews I’d heard. But stopping and letting Josh navigate the conversation allowed him to open up, and reveal more than I’d expected.
“Sometimes people get a little too caught up in this idea of me in a dusty basement with a hoodie on listening to old records,” he said.
“Yeah, it’s an important piece of who I am as an artist, but a small piece of where I get my sounds. I want to show my peers that obscurity in itself is not a virtue, it’s what you do with those sounds.”
Just like each musician’s approach to their art, every person you speak with will be different. But knowing your shit, making people feel comfortable, not being afraid to ask the hard questions and making an effort to listen should help you navigate the challenge of having a conversation with anyone, interview or not.
After airing the Chemical Brothers interview that Saturday night, I got to witness their show again in Melbourne only a few weeks later. Watching them drop Block Rockin’ Beats at the end of their set, again drenched in sweat from a crowd ecstatically jumping up and down, I thought back to the interview with Ed and how he was right — there’s always a party to be had.
The strange phenomenon known as the Mandela Effect has a thing or two to say about memory, truth and what ‘real’ really means. Dan Michael Jones, The Royals’ resident explorer of the surreal, reports from somewhere down the rabbit hole.
Nelson Mandela died in 2013 at age 95. It was the end of an iconic life for the freedom fighter and Nobel Peace Prize-winner who lived primarily in the public eye – even when he was locked behind bars. Obituaries mourned the loss of a statesman who made lasting change for the betterment of mankind.
But when he died, a whole bunch of people around the world were really confused. Because they’d already seen Mandela pass away. They’d already seen his televised funeral. They’d already read obituaries after he died during the 90s – never able to take his rightful place as the head of a free South Africa.
And they were all convinced that they hadn’t just remembered it wrong. They were sure things had happened that way in their reality, and their reality had changed. One of them was US researcher Fiona Broome, who coined the title “The Mandela Effect” for the strange phenomenon she and others were experiencing.
But it’s not just about Nelson Mandela. The phenomenon has permeated politics and popular culture, and gone beyond the “are you kidding me?” factor. It says a lot about the nature of memory and its ability to be blurred, influenced and reshaped.
I Feel A Change Comin’ On
Google turns up hundreds of other examples of Mandela Effects, and a huge number of people who are convinced of their legitimacy.
In 2015, a Vice article titled The Berenst(E)ain Bears Conspiracy Theory That Has Convinced the Internet There Are Parallel Universes got people outside of the web’s dustiest corners thinking about the phenomenon.
You might remember reading the Berenstein Bears books or watching the cartoon when you were a kid. You might have read the books or watched the series with your own kids. Are you 100% convinced Berenstein is spelled s-t-e-i-n like Einstein? Turns out in this universe we’ve been spelling it Brenstain (with an “a”) all along.
Then in 2016, New Statesman published an article about people convinced that there were two films in the 90s about kids befriending genies. Both starred tall dudes with one-word names that start with an “s”. Both have a “z” in the title. Kazaam, staring the NBA star known as Shaq was real. Shazam, starring the comedian known as Sinbad wasn’t.
But New Statesman spoke with Mandela Effect-ed fans of Shazam, including Don, who worked at his uncle’s video store as a teenager in the 90s:
“I had to handle the two copies we owned dozens of times over the years. And I had to watch it multiple times to look for reported damages to the tape, rewind it and check it in, rent it out, and put the boxes out on display for rental. It feels like a part of my childhood has now been stolen from me. How does a movie simply vanish from our history?”
Fiona Broome suggests that these aren’t simple errors in memory. Rather, they’re reconstructed incidents (or sequences of events) from the past.
“They exceed the normal range of forgetfulness,” she says.
And she credits the multiverse for these shifts. As in our universe is just one in an infinite series of universes in which every possible combination of events and outcomes can and will happen. Sometimes they just meet at the edges and bleed into each other a little.
Further Down The Rabbit Hole
Mandela Effect theorists and fanatics (and there are plenty) have taken Broome’s initial hypothesis a whole lot further. They place the blame squarely on CERN – the European Centre for Nuclear Research – and the centre’s famed Large Hadron Collider.
The planet’s largest and most powerful particle accelerator and the largest machine in the world, the Collider is housed in a 27km circular tunnel beneath CERN’s headquarters on the Franco-Swiss border just outside Geneva. And it’s there to try and replicate the conditions of the Big Bang, the event that led to the creation of the universe.
Many who believe in the Mandela Effect say that every time the Large Hadron Collider is used – ie. every time the conditions of the birth of the universe are recreated – it shifts our reality a little.
That shift is not enough so that the fundamental nature of life itself is changed, but enough so that one man’s death occurs differently, or one of the two B-grade 90s flicks about tweens palling about with genies phases out of existence forever.
So that’s the exciting explanation. And it’s a conspiracy theory that supporters attempt to justify with real science about particle physics, gravitational waves, string theory and cosmic inflation. But an accurate explanation might be a less sci-fi and more Freudian than anything Broome et al suggest.
Because truth is, us humans are fallible creatures with imperfect sensory functions that only get worse at their jobs as we age. Our cognitive systems are easily led astray. And our memory centres aren’t high-performance hard drives, they’re biochemical processes that reconstruct past experience into vague representations of “what really happened”.
Losing The Memory Wars
Elizabeth Loftus is a cognitive psychologist at the University of Washington. And she’s an expert in reconstructive memory who has provided expert testimony about the falliabily of recall in a number of high profile court cases – including the O.J. Simpson murder trial, the trial of the LAPD officers accused of beating Rodney King and the litigation of Michael Jackson for child sex charges.
In a study Loftus undertook during the 1970s, she asked participants to recall details of a simulated car crash they were shown by asking half “How fast were the cars going when they hit each other?” and half “How fast were the cars going when they smashed each other?”. And that small change in wording made a big difference in the results.
When the researcher asked the question using the world “smashed,” participants recalled that the cars were travelling at higher speeds compared to when Loftus asked them with the word “hit.” The word “smashed” caused eyewitnesses to recall broken glass at the scene even though none existed. Their memories changed due to the changing of one word in a question.
This work can help explain many examples of the Mandela Effect as simply contaminated or distorted memories. Like the way – spoiler alert – Darth Vader’s line in The Empire Strikes Back has been misquoted over and over as “Luke, I am your father,“ even by the character’s voice actor James Earl Jones (for those playing at home, the actual line is “No, I am your father.”)
But this wasn’t enough for Loftus, who was convinced it is possible to implant entirely false memories in people. She developed the ‘Lost in the Mall’ technique during the 1990s. Participants of a study were each given four short stories describing events from their childhood, supplied by their family members, and later asked to try and recall them.
What participants weren’t told was that one of the stories – describing a time when the subject was lost in a shopping centre – was false. The fake narrative incorporated plausible details provided by the relative. In this initial study, 25% of the participants reported to be able to remember this event even though it never actually happened, and many were able to provide embellishing details that were not supplied to them.
Fake is the New Real
“This is a dangerous time. Moving forward, we need to be more vigilant with what we trust from the internet,” says Barack Obama in a powerful 2018 PSA about the mind-bending potential and inherent risks of AI-driven deepfake videos.
Only it’s not Obama talking. Sure, it’s his face, but the mouth and the voice are a spot-on impersonation by Get Out director Jordan Peele. In a world that’s divided by “fake news” and “inconvenient truth”, we need to be more vigilant about who and what we choose to trust.
The Mandela Effect shows that not only are our brains and memories fallible, they’re highly susceptible to influence. And as fakes get more and more lifelike thanks to machine learning and AI, the implantation of false memories will only get easier and easier.
Recently, a deepfake video of House Speaker Nancy Pelosi – a stringent critic of Donald Trump – made its way across the web. The video was an obvious fraud, slowed down and then pitch-corrected to make it look and sound like Pelosi was drunk and incoherent at several news conferences and public events.
But despite being faked, Twitter and Facebook declined to remove it. Trump’s lawyer Rudy Giuliani shared the clip, and then the President himself sent out a “PELOSI STAMMERS THROUGH NEWS CONFERENCE” missive which embedded the video and was pinned to the top of his Twitter feed.
Scary stuff. And perhaps scary enough for us for all to rekindle our long-term relationships with the truth once and for all. Otherwise, I’m moving to Geneva. So that next time they fire up the Large Hadron Collider, I get Mandela Effect-ed over into another timeline.
This excerpt originally appeared in iknowho and has been shortened for length.
Early 2018 saw in the AdNews People and Culture Award, founded by iknowho. We wanted to sit down with returning finalists The Royals and hear more about their consecutive nomination.
As Dan Beaumont, Managing Partner, says: ‘Culture is everything at The Royals, it’s genuinely at the centre of who we are.’ We caught up with Dan and Kristy Camarillo, Talent Manager at The Royals to discuss their motivations, challenges and initiative successes.
What motivated you to enter this year’s People and Culture Award? Dan – Our culture is our number one priority in the business. We know that if we get that right, everything else flows from there. If you haven’t got that right, I would argue that it’s more difficult to do great work for clients, win business and build a great agency.
It’s important for us to establish a reputation of valuing our culture and our people. We need to signal to the market very clearly that The Royals is a great place to work and we value people, irrespective of ethnicity, gender or age. That’s why we enter culture awards.
Kristy – Ultimately, awards not only attract clients but also talent. I think being recognised for something we’re heavily invested in, which has been our People and Culture, has allowed us to attract the right talent and to retain those people.
Being finalists 2 years in a row has shown consistency from your People and Culture initiatives. How do you stay on top of your game?
Dan – It’s consistent because we haven’t changed our priorities. The way we manage the agency is like an operating system; a little bit like the operating system on your smartphone. We upgrade our OS constantly; we fix bugs, add functionality and make the system operate better – that’s how we approach The Royals. So when it comes to our culture, the way we have managed it evolves and we strive to ‘get better at getting better’.
Kristy – Our engagement surveys measure the strength of our culture & drive our our employee initiatives for the year ahead. These come from the bottom up, not the top down. We want to ensure that the voice of all of our Royals is represented, listened to and considered.
Which People & Culture initiative do you think has created the biggest impact to the business?
Dan – Lots of little things we do have a big impact on our business. We have an unwritten rule particularly with the five partners: we give before we take.
A Christmas draw
Every Christmas we throw a name in the hat for every year each person has worked at The Royals. We draw a name and that person gets and all-expenses paid trip to SXSW Festival in Austin; this is a real celebration of the staff.
The unconference is an away weekend, which is 3 days and 2 nights across both offices, Sydney and Melbourne. We have been to Hobart, Byron Bay and last year we all climbed to the top of Mount Kosciuszko, where we had our first values awards presentation. We have 3 values – Audacity, Camaraderie and Revelry. Nick, our Creative Partner, has created patches for each of these values, and we award them to people who demonstrate those values. The unconference is a chance for all of us to get away together and do something we have never done before. This year we went glamping in King Valley and enjoyed everything the vineyards there have to offer, and then some.
Monday Morning Assembly
Every Monday morning we have an all-staff meeting with both offices connected across video conference, where we talk about the week ahead. It’s about transparency, where staff can ask questions about what is going on in the business, then we have a presentation on something that is inspiring and interesting – staff members are responsible for this. It’s a big part of kicking off a successful five-day sprint in the agency.
Most Interested Day
It’s easy to get caught up in our busy day-to-day work so each month we give one Royal the day off, to get out of the office and take part in an ‘interested’ activity – it might be an advanced driving course, trapeze lessons, how to manage a beehive. The aim is to change up people’s daily working days and stretch them a bit – get them out of their comfort zone.
So it’s not just one initiative but all the little things, and everything contributes to our daily working lives and the overall culture of the business.
The Royals are known for looking for talent from a range of backgrounds, what impact has this diversity had on the business?
Kristy – We do not have a separate diversity policy, it’s just ingrained in everything we do. A lack of diversity in our business is a lack of relevance. We have people from a range of backgrounds – a marine biologist, lawyers, accountants, military psychologists, individuals from 15 countries that speak 12 languages and span three generations. Bringing such diverse perspectives and experiences to our work allows us to create better, more effective work for our clients and it drives our business forward.
As The Royals have offices in Melbourne and Sydney, what challenges do you face for the culture spanning two locations? How do you overcome these challenges?
Dan – The rivalry between Sydney and Melbourne is very much alive, not just at The Royals. We move people around a lot as they work in projects in each office. This facilitates our single agency mindset; we called it ‘1 egg with 2 yolks’. We don’t enter NSW or Victorian Agency of the Year for that reason. Some publishers try and pull us apart, but we have one P&L and that’s how we manage the business across the board. Operating as one agency/ one culture means we don’t need to duplicate services in both cities.
Kristy – We share resources, we cast projects appropriately (based on skills and experience). We try to come together as much as possible – face to face, Hangouts, phone to maintain collaboration – which is a cornerstone of The Royals.
Thank you to The Royals for another great award entry. Check out what was discussed in last year’s interview here.
You’ve probably experienced multiple workplace inductions before; the introduction to the kitchen, location of the toilet, finance processes and latest office gossip. But what if you could be inducted in a fun, interactive virtual reality experience instead?
We recently set out to create just that – a virtual reality experience we could immerse new employees in. The objective was to steer clear of the conventional workplace induction training video, and create a sense of The Royals culture and values in a dynamic, engaging environment.
Using virtual reality provided an opportunity to create a highly immersive, interactive and other-worldly experience not possible on other mediums. We chose the HTC Vive as our virtual reality device, favouring its room-scale tracking and reliable controller interactions. Starting with a limited knowledge of Unity3D, I eventually implemented fun, unexpected interactions with 3D assets, created a large customisable terrain with a height map, and programmed the ability to teleport through the terrain. We also explored combining mediums within the experience; adding a two-dimensional video to be watched within the experience, and recording a radio piece to play in the background.
Creating the experience wasn’t without its challenges. Some aspects of Unity present a bit of an uphill battle, and designing for a virtual experience was complex and intertwined in many disciplines. Similarly, testing the experience constantly resulted in more testing, as it seems no two virtual reality tests are ever the same.
The final product is a polished, engaging virtual reality experience providing new employees a fresh, interesting start to life at The Royals. If there’s anything here for you, you might get to see it!
I’ve been asked a lot of questions about my recent trip to SXSW. Many involve just a fleeting “How was it?”, while others invest a little more with “What’s the coolest tech you saw?”, while others get quite pointed “Did you find BBQ?”.
It’s tricky to give a decent response to these types of questions over the coffee machine. So, here is me breaking it down to be about the questions I wish I got asked about my trip to SXSW 2018 (self-tailored to be about my favourite sessions, gigs, comedy acts or masterclasses).
What was the idea that you wish you’d thought of? Sickboy. It’s a podcast by three Canadian mates, one of whom looks like the lead singer of Maroon 5. That guy has cystic fibrosis. That guy is also very funny. So, he thought it would be a great idea to breakdown the complexities of serious illness and all the complex foreign terms that are thrusted at you when you’re diagnosed using humour and by removing all pretentiousness. On this day of recording they were interviewing the strongman Andrew Palmer who was suddenly diagnosed with very acute Leukemia. This recording was aptly names Leukemia Sucks: http://sickboypodcast.com/blog/2018/3/12/sickboy-does-sxsw
Sickboy is just a really good idea stemmed from the insight to break taboos, raise hope and build a sense of community via the power of positive thinking.
What was the question(s) you wish you’d asked? Sometimes a conversation, sometimes a talk, sometimes with presentations, sometimes without. Every time though, there was question time at the end. It’s incredible for these speakers to answer questions on the fly. Some hard hitting, some people just wanting to share their appreciation.
I snuck into the Spike Lee masterclass about appropriating film for a Netflix series. It was so interesting to hear from a community that had been so touched and influenced by his 1988 film ‘She’s Gotta Have It’. The most interesting Q&A was how he’s tweaking his original script to reflect today’s current dating/love/sex and young adult culture to ensure it is relevant, if not as provocative as his original was.
Esther Perel, the relationship therapist and successful podcaster of ‘Where shall we start’ was asked “how do I make sure I don’t lose my identity in a relationship?” A question that was instantly rewarded with an applause before Esther could even respond. SHe then referred back to what she had said all along, that “the quality of our relationships determines the quality of our lives.” These days we seem to put so much pressure on our partner to provide the emotional and physical resources that we actually need a community to provide. That community should include friends, colleagues, sports, arts, music ets so that we don’t need to rely solely on one.
Then there was a bright spark after a NASA panel (of 3 boss female scientists) who asked “Is there a risk that when you send anything to space that you are in fact contaminating the area in which you land?”. *Mind blown* why had I never thought of that? Of course the answer is that there is a very very slight risk that they may have free loading microorganisms that hitch-hike their way but to date they have not. It’s definitely something that they’re cautious of and very wary to avoid as best they possibly can before launching.
As you can imagine, no-one leaves when the questions begin as there’s potentially still so much to learn (or snigger at).
What was the wankiest term you heard over there? LOCALVIST. It was on day one, in the first session I heard. I’d be lying if I said I wasn’t worried about what this whole thing was about. This term is not only painful to say, read and use… but most painful is that we should all become familiar with it.
The localvist is a community warrior. They believe in local activism, possess a distrust in large institutions, buy local goods and services because they want to make an impact in their world. They don’t believe in storytelling, want brands to stand-up for something and love (the idea of) cryptocurrencies because they can track the beginning to end of every transaction.
For me the advertiser, this audience is such a great challenge and makes us ask so many new questions like how can we create a genuine brand that stands-up for issues that affect them? How can we serve their community? How can we work with BitPay?
What was the most surprising talk? To my surprise it wasn’t a NASA talk, or Spike Lee masterclass or hearing from the head of activations at Louis Vuitton or the Irish PM. For me, my mission for the trip was to not go to anything that I would find familiar. So I went along to hear Janet Echelman, an artist who I had never heard of. Janet specialises in turning public spaces into desirable places because “a public space is only a space without an engaging experience.” What is so interesting about her techniques are the materials she utilises which are the same fibres of NASA spacesuits which are weaved and knotted like Balinese fishing nets and are formed off data from within the local area for example on the movements of the wind or clouds or timely sunsets or foot traffic.
Plus, have you ever heard of a piece of art being able to withstand a tornado? She has one in Phoenix that can do just that and it’s called “Her Secret is Patience”. It was tested in a gravity and wind simulator! Of course it’s not just Janet, she works closely with a team of engineers, aeronautical engineers, sculptures, designers, steel engineers and more to create her visions. It was so inspiring to see data come to life in such a beautiful as well as tried & tested way.
What’s some new music I should listen to? Definitely Shamir. Try and get the live version because the intro’s to each song makes it so much better because of the angst. The few that I remember went a little something like “This song is about the friend you never want to introduce to your mother because you know your Mum will hate them”, “This one is called dead inside, it’s an autobiography” and “This one is called straight guys because if you’re straight and a man we don’t trust you”.
All my favourite gigs were at Mohawks. If you’re ever in Austin be sure to catch a gig there.
After a whole day in sessions, a few hours at Mohawk’s, and a burger stop-off we found ourselves heading to an amazing theatre just outside of downtown Austin. Here we queued, as you do, for Max Richter. A modern composer. I was about 4 people from the front when one of the volunteers stopped the line to say “sorry folks you’ve missed out the beds”. At the time, I thought I was okay with that. That was until I realised I had walked into an 8-hour overnight performance called “Sleep”. This must be how the filthy rich sleep, with Max Richter playing them about 6 chords on repeat for 8 hours straight. Whilst the performance wasn’t for me, I’m impressed with the dedication to his art.
What was the security like? The most dialled-up security I saw was for the politicians. The Irish PM and Senator Bernie Sanders. Leo Varadkar, Taoiseach, is one of the most progressive leaders in the European Union, if not the world. He’s a 39 year-old, half-Indian half-Irish Catholic man who is openly gay and is a medical doctor, with experience in that field. He thinks that career politicians are in trouble because of ongoing distrust from communities. Bernie Sanders touched on that too. Bernie’s number one mission ahead of the 2018 election is to get more people registered to vote because he believes that Americans are disgusted with the current political climate. Thankfully each time, the high level security wasn’t needed.
Can you riff some tidbits for me?
17% of the Irish population were not born in Ireland.
Twitter isn’t dead.
Matte black,vegetarian meat, multitasking mirrors, animal alternatives (pineapple leather) will all be trending within the next 6-12 months.
The quality of our relationships determines the quality of our lives.
Ireland will stop using coal by 2025.
Would you go to SXSW again, and again? Absolutely. This is the most inspiring and exciting festival I have been to. It brings people from all over the world who are so excited to be part of something with such scale and that is reflective of those that speak, present, act, perform and cook for all the attendees. The whole event is what you make of it and I think me and my crew (Zoe, Lee, Kenny, Antuong and the ring-ins along the way) covered some ground that helped fulfil my mind, soothe my itchy feet and renew my level of excitement to be #mostinterested.
Well-credentialed, and oft-liked Royals creative, Lee Spencer-Michaelsen, hit up the Melbourne International Film Festival recently. We asked him to consider writing a review. And he did that. But he did more. Much, much more. Behold, Lee’s Beowulf-like appraisal of his festival experience..
We are a bunch of thinkers, makers, hackers, and misfits with the occasional genius sitting quietly in the corner. If you meet someone from our industry there is more often than not an instantaneous connection. Somehow we are all trying to achieve the same thing. We all fight the same battles and often have very similar beliefs.
And that is why the Royals have been having such great success with our new Say No to No campaign.
I was recently lucky enough to escape the Melbourne Winter and head to Sydney for Vivid Ideas 2017. On top of some incredible light shows and witnessing one of the best live performances I’ve ever seen from French music duo, Air, I had the opportunity to attend a number of thought-provoking events as part of Vivid Ideas.