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biznatch 04-03-2005 05:12 PM

My 11 yr old sister just watched "The girl next door" like a week ago...Jesus Christ!
It has all these sexual issues in it... lets see..penis size, popularity, breast size, sexuality...
I hate it. They feed this heap of shit and it makes kids think a certain way, act a certain way, its really horrible.
All these teen movies corrupt the kids.

Cynthetiq 04-13-2005 07:39 AM

You can't buy this kind of advertising... or can you?
Quote:

TV close-up of hesitant golf ball scores for Nike
By Michael McCarthy, USA TODAY
It was an unforgettable moment that held Tiger Woods and TV viewers in suspense Sunday — and likely made rival golf ball maker Titleist cringe.

A chip by Tiger Woods at The Masters hangs on the edge of the cup at the 16th green before rolling in.
CBS

As Woods' key chip shot rolled toward the 16th hole during CBS' final round coverage of the Masters tournament, viewers got a close-up of his prototype Nike One Platinum ball rolling ever so slowly toward the hole.

The ball poised agonizingly on the lip, then — with the Nike swoosh prominently visible in the close-up — the ball dropped into the cup.

As sports fans discussed Woods' fourth Masters win on Monday, Madison Avenue was abuzz about one of the best product placements since E.T. and Reese's Pieces. Nike launches the One Platinum in the fiercely competitive $4-billion-a-year golf market next month. Countless replays of Woods' magic moment have been the kind of exposure money can't buy. "It was a hole-in-one," says Mitch Kanner, a Los Angeles-based product placement expert.

With Woods' chip shot taking 17 seconds to bounce and roll into the hole, the footage seems ready-made for use in a 30-second TV spot. Chris Mike, director of marketing for Nike Golf, said Monday he's working on several possible commercials.

A possible sand trap? The footage is owned by Augusta National Golf Club, the notoriously finicky owner of the Masters, not Viacom's CBS. "We have a great relationship with the folks at Augusta National. I just got off the phone with them a half-hour ago, and they were great," said Mike, who declined to elaborate.

Woods earns an estimated $25 million a year to endorse Nike Golf, which has challenged established golf ball and equipment makers such as Callaway, Taylor Made, Cobra and Titleist the past three years.

The swoosh got its money's worth in the 2005 Masters. An estimated 15 million U.S. TV viewers on Sunday saw Woods win with the new 460cc Nike Ignite driver, Nike irons and the One Platinum. Mr. Nike also was clad head to toe in his signature Nike golf duds.

"It was one of those magical moments you can't script," says Mike, who points out Woods used a 60 degree Nike wedge to hit the historic shot.

Mike predicts the "Tiger Effect" will boost sales for the One Platinum, which will have a suggested retail price of $54 per dozen. After Woods smashed a 3-wood 300 yards at the Ford Championship in March to beat rival Phil Mickelson, Nike's fairway woods "flew" off the shelf, he says. "We expect there will be a lot of pent-up demand for One Platinum" says Mike.

But Jim Andrews, editorial director of the IEG Sponsorship Report questions whether the chip heard round the golf world will translate into any more sales. "Was there anybody watching who doesn't recognize the Nike swoosh? Or know that Nike makes golf balls? These things can get overstated."

Cynthetiq 04-13-2005 07:55 AM

Quote:

GM to put corporate badge on its vehicles
By Sharon Silke Carty, USA TODAY
DETROIT — George Fowler is ready to get out his heat gun and start making some adjustments.

GM will be placing these chrome badges on some of their 2006 models.


Fowler, who owns a Pontiac, Buick and GMC dealership in Dearborn, Mich., is sick of all the shiny metal badges attached to the cars he's selling. So he wasn't thrilled to hear Tuesday that General Motors (GM), which makes those three brands, plans to add two more chrome logos to the side of new cars.

The new badges are simple boxes advertising that the car is made by GM. The carmaker is attempting to make consumers aware of all the brands it manufactures and will put the badges on some new cars starting this month.

"It's the most ridiculous thing I've ever heard of in my life," Fowler says. "These cars have enough badging on them now. People want clean-looking vehicles. They don't want cars that are badged up."

GM says people want to know who makes their cars. GM sells eight brands in the USA: Buick, Cadillac, Chevrolet, GMC, Pontiac, Saturn, Hummer and Saab.

"Research tells us that many of our most outstanding segment-leading vehicles are not associated by the customer to be part of the GM portfolio," Mark LaNeve, GM's North American vice president of sales, service and marketing, said in a statement.

GM has been struggling to figure out how to encourage buyers to purchase its vehicles without big rebates. The carmaker has heavily relied on large cash rebates since the Sept. 11 terrorist attacks. The strategy has lost its effectiveness over the past year, and GM's sales are down 1.3% this year.

The company said its research shows a growing desire among consumers to know more about the companies behind their favorite products. Its recent "Only GM" commercials highlight its OnStar technology, which connects drivers to a live operator when air bags are deployed or when someone pushes a button inside the car.

The announcement runs counter to what GM has said its marketing plans are. The company has said it plans to do a better job differentiating its brand lines.

Eric Noble, president of consulting firm The CarLab, says consumers have a hard time juggling two brand names for one product.

The GM badges are "the sort of strategy that makes sense when viewed from the inside," Noble says. "Consumers operate in a world where time is their scarcest resource. You're lucky if they can remember one of your brands. To hope or plan for them to remember two is unrealistic and, therefore, a bad use of resources."
Badges badges everywhere... the make of the car, the model of the car, the special edition of the car, the dealership... how many more badges need to be put on there?

Seeker 04-13-2005 05:10 PM

Quote:

Originally Posted by DJ Happy
I think you're reading too much into this.

Quote:

Originally Posted by Charlatan
The fact that our subconsious is being purposely manipulated is what is being argued in this thread...

Creating awareness is not necessarily 'reading'... I don't think awareness is an arguement - this whole thread from my understanding is about awareness. Something I have been aware of for some time now. This very thread is the reason I did a complete U-turn on society... I wanted to head to the hills to escape all this saturation. Ultimately, it exists and I exist, to hide from it is unreasonable - my struggle is to exist within it yet not get lost in it, this is my challenge.

Quote:

Originally Posted by Cynthetiq
that is correct. most people do not ever use ANY critical thinking in their lives. They allow someone else to do it for them and then associate themselves with such personas, groups, tribes, sectors, etc.

This was another reason for me to run to the hills... it is very prominent in my area. But again unreasonable...

Quote:

Originally Posted by ARTelevision
Questions about the human mind, perception, cognition, and awareness are the most complex questions we can ask. Personally, I've only begun reading into all this. I'll be continuing to read as much into these subjects as possible. I find them endlessly fascinating.

The heart and core of my own hunger - I share an affinity with your inquisitive nature, and I really appreciate being able to view your thoughts. Thankyou.

Cynthetiq 04-15-2005 06:31 AM

Quote:

HEADLINE: RIGHT GUARD TIES WITH MTV SHOWS

BYLINE: By Samuel Solley

BODY:

Right Guard Xtreme is aiming to broaden its appeal to include 16- to 24-year-olds and is making its TV sponsorship debut by backing MTV's Dumbass programming strand.

The nine-month deal will support the recent update of Right Guard's deodorant and body spray packaging, which included the addition of a side trigger on its Total Protection variant, enabling an upward spray.

The Gillette-owned brand will run start and end credits across the Dumbass shows, which include Jackass, Wildboyz and Punk'd, using the strapline 'Nothing's worth sweating over'.

Gillette developed the vertical spraying system for its deodorant cans last year. Earlier this year, Right Guard's Total Protection and Xtreme won one of the inaugural Product of the Year awards (Marketing, 9 February).
Shedding some light on how tightly media and advertisers make and create.

Cynthetiq 04-15-2005 09:38 AM

I stumbled upon this. I haven't read the whole thing but it's very interesting on first pickup.

Quote:

Moss Kendrix was a public relations pioneer who left a lasting legacy and a major imprint on the way African Americans are portrayed through the power of advertising.

During his lifetime, he designed countless public relations and advertising campaigns that promoted African-American visibility for news organizations, entertainers, and corporate clients including Carnation, the Ford Motor Company, and the Coca-Cola company.

He educated his corporate clients about the buying power of the African-American consumer, and helped to make America realize that African-Americans were more complex than the derogatory images depicted in the advertising of the past.

Cynthetiq 04-21-2005 06:47 AM

Quote:

HEADLINE: CONSULTANT'S CORNER: THE TIVO EFFECT

BODY: Dem pollster Mark Mellman writes in The Hill, political
advertising "is based on a principle well known to con artists
worldwide: bait and switch." Viewers turn on their TVs to watch
"CSI" and "we pull a switch, giving them a political ad
instead." By '08, "if not before, technology is likely to
render that model obsolete." People may dislike the ads, "but
they use them. ... However, their impact has already begun to
wane." The options available with cable and satellite, as well
as the remote control and "our national penchant for
multitasking" have limited advertising's influence, but "these
changes are nothing compared to the 'big one' about to hit."
DVR's like TiVo "are taking off." One of the chief reasons
people buy DVRs is to skip commercials. Only 5% of households
have them now, but the phenomenon "is growing exponentially."
Estimates suggest that 40% of Americans will have DVRs in 4
years. "Empowered viewers can elude bait and switch. ... Many
will only see the political ads they want to watch, while
avoiding those we want them to see" (4/18).

In a follow up Mellman writes that advertisers are
responding to this challenge by focusing on "three dimensions:
ubiquity, quality and targeting." Ad makers are "struggling to
make their work interesting enough that viewers actually want to
see it. They are then putting it in every possible channel from
the Internet to word of mouth." And they're using "the superior
targeting capabilities of cable to focus their resources on
audiences most likely to yield results." BMW, the "most
celebrated success of the new marketing paradigm," spent $15M on
short films. Campaigns spend $18K or less on the average
positive spot. It's possible to make compelling films cheaply,
but "it doesn't happen very often." Also, product marketing
begins with an audience that wants a product and is interested
in the brand. "The parts of our base we need to mobilize ..
are, almost by definition, not interested in politics." In the
next 10 years, "we will likely see more changes in campaign
communication than we have in the past four decades combined"
(4/20).
Interesting statements about people arming themselves to not watch commercials and what the industry is pondering to do about that...

Supple Cow 04-21-2005 07:58 AM

Trends like the TiVo effect are probably why companies like GM are becoming ever more annoying with their advertising tactics... like slapping badges all over their cars. I wonder what other kinds of companies are doing to combat the TiVo effect. Not all companies have the luxury of attaching big, extraneous hunks of metal to their product in order to advertise.

Cynthetiq 04-21-2005 08:19 AM

a few things going on in the industry at the moment...

Tivo has started "billboard ads" which when you fast forward will pop up another small computer generated ad. It only will do this if they advertiser has paid for it to Tivo, so it's not a blanket thing where it's on all adverts.

Cable channels are combating this in two ways. First is product placement endorsement. Direct placement within the show or even about the show. How much of Victoria Secret's Lingerie Show was commercial and how much was really show? Children's TV is very much one big long commercial advertising toys.

The second method is via the banner or bug adverts on the bottom 1/3 of the screen. I've got good information that those things that you see advertising the new hot show coming up next or next week, is going to start being normal product advertising. It's just a matter of time and acceptance.

ARTelevision 04-24-2005 12:39 PM

Living The NASCAR Life
 
The brand loyalty of NASCAR fans is well-known, well-researched, and well-documented in the ad industry. Nascar fans are three times more likely than fans of other sports to buy products of sponsors. If NASCAR still exisits on the periphery of your consciousness, it will be encroaching quite soon toward front and center. NASCAR just ran it’s first prime-time race last night, covered flag to flag by FOX Sports. And it has sewn up contracts with suppliers of just about everything to be on the long list of NASCAR-licensed products.



http://www.sportingnews.com/experts/...20050418b.html

Living the NASCAR life
April 18, 2005

Matt Crossman
Sporting News


Just past midnight, in the wee hours of Friday morning, I started to doubt the wisdom of basing my entire existence on using nothing but NASCAR products. Bristol Motor Speedway is a long way from my house in St. Louis, and I was sick of driving, even though I was riding in style in a tricked-out 2005 Ford F-150 (official pickup truck). Making matters worse:

I was 530 miles into a 500-mile trip.

I was lost.

I didn't have a map.

And my cell phone was dying.

As I white-knuckled the mammoth truck through a switchback, I remained intent on proving my hypothesis: Over a race weekend, I could eat, wear, consume and buy nothing but NASCAR products.

It would be just like "Super Size Me," only without the health risks and weight gain.

I finally found my Best Western (official hotel), and the next day I started the NASCAR routine. For the next four days, my mornings consisted of putting on Old Spice (official deodorant), using an Oral-B toothbrush and toothpaste (official oral care products), shaving with Gillette (official shaving products) and putting on a NASCAR golf shirt and Levi's (official jeans). To answer your next question, Fruit of the Loom is a sponsor for Robby Gordon.

Because there is no official NASCAR milk and I didn't want to put Powerade (official sports beverage) on my Kellogg's (official cereal), I ate breakfast at McDonald's (team sponsor) every day. Leaving the F-150 at the hotel, I drove a 2005 Chevrolet Monte Carlo (official pace car) to and from the track.

If you learn nothing else from this story, learn this: I'll do anything for freebies. No, wait -- learn this: NASCAR is not what it used to be.

The days of the sport being solely sponsored by beer, automotive and tobacco companies have been gone for a long time. NASCAR's move to the mainstream was accelerated even further when Brian France became chairman and Nextel became the title sponsor.

It seems quaint that, a year and a half ago, a cigarette company was the title sponsor of NASCAR's top circuit. Nicorette is a sponsor now, and 1,100 companies are involved either with NASCAR or a team. Of those, 102 are Fortune 500 companies.

The cars steal the show

On the way from the hotel to the track on Friday, I filled up at R&S Sunoco (official fuel) in Abingdon, Va. Whatever bad mood lingered from the night before evaporated while I was at R&S. It sounds silly, but this five-minute stop (and two subsequent visits) brightened my trip. You know you've found a good place when the sign outside says, "Coming April 1, Free Gas. Inquire inside."

Raymond Hurd, the owner of the station, was impressed by my Monte Carlo. Did I mention it was painted like the No. 99 Busch Series Best Western car? Trust me; if you want to draw attention to yourself, drive a car that looks like a racecar.

The car represented my most blatant partisanship. Other than that, I didn't favor any one driver, unless you count my Tony Stewart belt, Mark Martin Velcro wallet and just-in-case Dale Earnhardt Jr. flashlight with Duracells (official alkaline batteries).

I drive like a maniac when I cover a race, just like golf writers whisper and baseball writers take steroids. To help, Hurd suggested places to open up the Monte Carlo. Abingdon is in the Appalachians, with highways full of twists, turns, inclines, declines and cops.

Because I would drive the 144-mile round trip from Abingdon to Bristol three days in a row, I needed to know about the local law. A cop wouldn't bust me in this fake racecar, would he? "Not unless he's by himself," Hurd said, "or with somebody."

Thanks, Raymond, but I'll handle the jokes around here.

My NASCAR-logoed vehicles were great icebreakers all weekend. The Ford F-150, customized NASCAR style by American Specialty Trucks, got this: "That's one pimp-ass truck, for real," from a tongue-ringed guy at a Chevron (team sponsor) in Indiana. Dave Baker of Fremont, Ohio, who saw me pull the Monte Carlo up to the hotel, told me he painted his wife's 1987 Thunderbird like Davey Allison's Texaco car. I gave two guys a ride to the track in the 99 car after they hooted at me. They said to call them "two nitwits from New Hampshire." As those Nextel (official series sponsor) commercials say: Done.

Fully vested

Friday was qualifying day, which doesn't get much attention at most tracks. Bristol is not most tracks. It's the Lambeau Field of NASCAR, only more than twice as big.

On race weekend, eastern Tennessee is a NASCAR petri dish. I was living the NASCAR life on a lark -- I mean, a Serious Journalistic Investigation -- but many fans live the NASCAR life, too, albeit on a smaller scale.

They wear drivers' shirts and hats and use the products drivers endorse. The result: endlessly ringing cash registers. NASCAR says the sport's average fan spends $700 a year on tickets and merchandise. And that's just the NASCAR stuff. Fans line up in front of drivers' merchandise trailers week after week.

NASCAR and the sponsors won't say how much an official sponsorship costs, but one source puts the figure at $3 million to $5 million. The numbers are elusive because sponsors don't want competitors to know how much they're spending. And NASCAR protects its privacy on these matters like a cornered Little E fan protects the last Budweiser (official beer) at the Sunoco APlus (official convenience store).

More is known about how much sponsors pay to be on cars. The cost varies depending on the team and driver, with more prominent teams drawing bigger fees. The major teams -- Earnhardt Jr., Stewart, Jeff Gordon, Jimmie Johnson -- get up to $20 million each from their primary sponsors.

The sponsors pay those fees for exposure -- and access to fans' Velcro wallets. The fans' loyalty, to the sport and to drivers, is legendary. NASCAR says its fans are three times more likely to buy a sponsor's product over a nonsponsor's. "I will not drink a Coke," a Gordon fan told me. "If I go to a fast food restaurant and they do not sell Pepsi, I get water." When she buys gas, she rounds off cents at 24, Gordon's car number.

You won't hear me diss fans, but I will speak truth in love. NASCAR fans buy some stupid things. NASCAR has many official, licensed and sponsor's products that make the world a better place, such as the Domino's (official pizza delivery) pepperoni pizza I ate Friday. But there are a ton of items carrying the NASCAR logo that make you wonder.

Take talking NASCAR bottle openers, which are sure to cause the collapse of the U.S. economy. Talking NASCAR bottle openers are a lot like puffy vests, the kind made famous by Robin Williams in "Mork & Mindy." Just as there's absolutely no reason to buy a coat with no sleeves, there's absolutely no reason to buy a talking NASCAR bottle opener. If you buy either, you have too much money and you're just spending it willy-nilly. That kind of spending always leads to an economic crisis.

These boots are made for hawking

The Busch race at Bristol was rained out Saturday -- April in Tennessee is supposed to be lovely, but it was freezing. I never thought the weather would be so bad, so I didn't have a NASCAR winter coat. At least my feet stayed warm and dry, thanks to my Timberland PRO boots (Busch Series team sponsor).

NASCAR has no official shoe, and there are no major teams with a shoe sponsor. I had never heard of Timberland PRO's deal before, and neither had several NASCAR people I asked as I tried to find shoes.

Jim O'Connor of Timberland says it doesn't bother him that his sponsorship gets little attention; it's more important to him to leverage his NASCAR relationship with retailers. When Timberland PRO runs a big promotion, the retailer is more likely to give it prime space because of the NASCAR tie-in. Similarly, one of the goals of Checkers/Rally's (official burger and drive-through) is to attract franchisees through its connection to NASCAR.

Best Western also multi-tasks its NASCAR relationship. The company sponsors a Busch car, has business-to-business deals with other sponsors and runs numerous programs targeted at race fans, including a website (bestwesternracing.com). Says David Scholefield, vice president of North American sales and motorsports marketing: "You can't enter any sports marketing relationship and pretend to play."

Other companies use NASCAR to promote specific product lines. While getting ready for the weekend, I suggested to Levi's that my regular Levi's would suffice. A few days later, six pairs of Levi's Signature Series arrived on my doorstep.

Free chocolate, bad. Fruit, good.

Saturday brought the weekend's toughest temptation: free food in the media center. Cookies, brownies, all kinds of sugary goodness were laid out in front of me. But eating media center food violated the spirit of this story, so I came prepared to stand against the devil's chocolaty schemes -- with a NASCAR-licensed cooler full of Dasani (official water), Planters peanuts (promotional partner) and even fruit. Yes, NASCAR-licensed fruit.

Jack Bertagna works in sales and marketing for Castellini Group, owner of the fruit and vegetable license. One part of Castellini's NASCAR effort is to sell branded produce at every Wal-Mart Supercenter within 150 miles of a track on race weekend. Before the Daytona 500, during a late-night visit to a Wal-Mart, Bertagna found his bins of potatoes and onions nearly empty. Neighboring bins were full. An incredulous clerk pointed to the NASCAR logo. "The dadgum thing is working," Bertagna says.

If NASCAR-licensed fruit sounds like the new NASCAR, how about a driver shilling hair products? Garnier Fructis sponsors driver Brian Vickers. A Garnier stylist does Vickers' hair before every race so he looks good for appearances. So I had my hair done, too, and I spent the rest of the day finely coiffured ... and in fear that Cale Yarborough would find me and beat the crap out of me.

On Monday, I checked out of the hotel, paying with my Visa (official card). The return drive home went much better. I didn't get lost. The truck drew more praise, first at a Chevron in either Kentucky or Virginia (still no map -- NASCAR has licensed atlases; I was too dumb to get one) then at a Subway (team sponsor) in Illinois.

My driveway was the start-finish line. As I pulled in, I didn't take the checkered flag, and there was no celebration and no crew ready to welcome me. In that way, the end of living the NASCAR life was nothing like the end of a race. But in another way, it was exactly the same: I had a ton of sponsors to thank.



--------------------------------------------------------------------------------
(more)

http://www.roanoke.com/news/roanoke%5C21597.html

An obsessive loyalty

By David Harrison


NASCAR inspires its fans to collect every possible item connected in some way to their favorite drivers.

Like many NASCAR fans, James Martin was initiated early. He remembers sitting outside listening to the races on the radio with his father in Salem when he was 5 years old. His father died when he was 12, but by then, Martin's fascination with auto racing had taken root.

"That's one of the best memories I have is him and me hanging out listening to the races or him taking me to the races," Martin said.

Back then, races were less tightly controlled, drivers were more accessible and ticket prices were lower.

"Back then, one driver would wreck another one and the two would get into a fistfight in the infield and nobody said anything about it," said Martin, 29, who now lives in Vinton.

Still, Martin has remained loyal to the sport as it's grown into made-for-television family-oriented fare drawing millions of fans and turning top drivers into household names.

"I love cars," he confessed one day last week, as the area revved up for today's Advance Auto Parts 500 at Martinsville Speedway. "Just the roar of the engine and the intensity. Driving 190 miles an hour, you know, bumper-to-bumper, is wild."

It is people like Martin, people whose blood is cut with motor oil, that make up the bulk of the market for NASCAR paraphernalia. For some reason, NASCAR can inspire in its fans an obsessive drive to collect every possible item connected in some way to their favorite drivers, said Doug King, manager of the Caution Flag, a NASCAR memorabilia store on Williamson Road in Roanoke.

These include but are not limited to model cars, T-shirts, boxer shorts, jackets, caps, shoes, shoelaces, cereal boxes, board games, commemorative knives, car covers, life-size cardboard cutouts, framed photographs, rugs, bottles of barbecue sauce and soda cans. And if these items are slapped with the corporate logos of the car's sponsors, that makes them that much more authentic.
Die-cast model cars, a staple of any NASCAR collection, cost roughly $60 each but rarer models can run into the hundreds of dollars. Sales of die-cast cars and other NASCAR-licensed products hit $2.1 billion in 2004, said Andrew Giangola, NASCAR's director of business communications.

"It's booming," thanks to Internet marketing and distribution deals with drugstores, department stores and the home-shopping television channel QVC, Giangola said.
But NASCAR still trails the National Football League, which last year generated roughly $3 billion in sales of NFL-licensed merchandise, according to Mike May, spokesman for SGMA International, a Florida-based sports marketing trade association.

However, NASCAR drivers are more accessible to their fans than many other athletes, said King. And that, in turn, breeds the kind of loyalty that sells thousands of collectibles.

"They [the fans] can relate to these stars better than they can in some other sports and they can get closer to these stars than other sports," King said. The drivers, he added, "still remember who's paying their paycheck."
Martin owns about 60 model race cars at one twenty-fourth scale, some of which are exact replicas of winning race cars, complete with all the dents, scratches and tire rubs that were on the original car when it crossed the finish line. He also has 20 to 25 collectible action figures of drivers, NASCAR-themed jackets for him and his wife and other assorted items related to racing. He's working on gathering replicas of cars from the early 1980s.
"I'm trying to collect the ones me and my father used to see," he said.

Originally a niche sport for blue collar workers in the Southeastern states, NASCAR's popularity has since grown so that today it counts doctors and lawyers as fans, King said. But those blue collar roots have cemented the bond between fans and drivers, he said.

"It's part of the heritage," said Leo Ingram, 45, a Roanoke resident who's been following the sport for about two decades. "It's good old Southern heritage."

But Ingram has a more practical reason for his collection, which includes model cars, jackets, caps, commemorative knives and other items.

"Down the road, I got grandkids, and some of this stuff is going to be worth quite a bit of money," he said. "I see it as being a good way to finance college."

Shirley Williams, a 63-year-old widow from Bedford County, owns what may be one of the most comprehensive collections of NASCAR collectibles, mostly devoted to her two favorite drivers, Kasey Kahne and Bill Elliott. Her father introduced her to NASCAR and to the legendary Richard Petty when she was "a little itty-bitty thing" and she's been following Elliott's career since 1985.
"You accumulate a whole lot of stuff in that length of time," she said.

Highlights of her collection include 300 shirts, about 50 model cars, 30 jackets, a full-size replica race car with no engine, a glow-in-the-dark rug, pictures, clocks, mugs, hats, pins, shoes, shoelaces, a ball, a six-pack of Coke, a bottle of barbecue sauce, place mats, scrapbooks, notebooks, towels and a car cover. Most of these items are Bill Elliott themed.

"My son says Bill Elliott lives in this house," she said. "I couldn't part with nothing. It would kill me."
Her collection is so vast, she has to keep some of it in storage.
"I can't help it," she said. "I love my guy."
………………………..

NASCAR is more than a mere collection of related memes. It is a total way of living.

NASCAR is perhaps the first totally commodified environment.

It’s coming for us and it’s gaining ground…

potifar 04-24-2005 08:43 PM

Kudos on the fantastic thread, Art and everyone. What interests me about all this media savvy, is not so much it's broad scope individual successes, as it's penetration.

I'm talking about the fact that I can mention something like, The Quicker Picker Upper and _everybody_ knows what I'm talking about. This ubiquity is what really blows my mind! Like you could ask that of some ridiculous percentage (99%) of Joe Anybody USA and he'd be right on top of it, more or less, right?

It's just good old homogonized american life that we all know and love. We're all living minor variations of this tried and true, beloved and functional method.

Don't get me wrong, we the people are still squeezing some blessed life between these habitual operations.

But we all have this same information about these products, as well as our news, and we're getting it all from these ever-combining mega corporations. I believe this sort of information control and publishing led us into our big war.

I think an enourmous american population that all hears the same thing all the time leaves a very large hole in the idea of diversity of opinion. If we all know that Pert Plus is great, and all want an iPod but are of the opinion that those planes hit those towers because the people who did it 'hate freedom', we are grossly underinformed and led en masse in chosen directions.

Ubiquitous advertising, marketing, mass media in general are our eyes and ears on the world, and if we're ALL locked into this one perspective, we can't see anyone else's side.

Sorry to move this thread towards this delicate issue, but I see them as interlocked and at the more important end of the spectrum.

Cynthetiq 04-25-2005 11:36 AM

I didn't even begin to think about product placement on food shows. I did of course think of the obvious untensils, but not the food itself.

Something to chew on.... literally.


Quote:

The Sponsored Chef
LINK
And our special for the day is... a deal with a veal group. More big chefs are getting paid to pitch everything from shrimp to raisins -- and not telling their customers. Kelly Crow on dining for dollars.
By KELLY CROW
Staff Reporter of THE WALL STREET JOURNAL
April 22, 2005; Page W1

At the Blue Ginger restaurant in Wellesley, Mass., one typical East-West fusion offering is "Miso Risotto with Shrimp Mousse and Roulade of Seared Monkfish." With its fancy name and $28 price tag, diners might expect the seafood is all fresh off the boat.

But the shrimp that gourmet chef Ming Tsai uses in that entree and others is frozen. And that's no coincidence: Mr. Tsai cut a deal with a big supplier of frozen shrimp, which pays more than $550,000 a year to sponsor both of Mr. Tsai's TV cooking shows. The company also sells him frozen shrimp at "below cost." Under the deal, the underwriter asks that Mr. Tsai features shrimp on two or three episodes.

"For me, frozen is a tastier shrimp," says Mr. Tsai, who on occasion buys shrimp fresh from other vendors. "Fresh is not as fresh as frozen, I think."

MEAL DEALS




Famous cooks are increasingly accepting money and freebies from food-industry trade groups and manufacturers in return for promoting their products. Below, some chefs and menu items where the sponsor's food appears0.



And now, a meal from your chef's sponsors. Some of America's most respected culinary stars are signing contracts with trade groups from raisin farmers and avocado growers to canned-good promoters -- and getting cash, discounts and freebies in exchange for using their products. New York chef David Burke pockets $5,000 from a major beef lobby every time he cooks veal on the "Fox and Friends" morning show. In Salt Lake City, chef Ty Fredrickson's restaurant group gets $10,000 a year from an Alaska seafood trade group -- just for putting the word "Alaska" in front of the king crab and halibut dishes on the menu. Charlie Palmer, the high-profile restaurateur, says he is in early talks for a marketing deal with an American caviar maker, and has asked to get paid in fish eggs.

In an era when celebrity chefs sell themselves as artists with unique passions and new approaches in the kitchen, they're also serving diners some old-fashioned marketing techniques. Some could be featuring a food item because a trade group they're working with wants the chef's customers to shop for the item later, or recommend it to friends. On television programs, chefs often cook with appliances and products supplied by sponsors. While there's no outright deception here -- it's more an issue of omission -- some diners who hear about the arrangements say they leave a bit of a bad aftertaste.


Chef David Burke


Helen Stone, a food lover who runs a trade group for landscape architects in Las Vegas, says she "would feel better if there were some kind of disclosure," in cases where chefs are being paid to promote certain foods and products. Betsy Rosen, a regular at Blue Ginger for seven years, only recently learned that Mr. Tsai's kitchen is filled with ingredients and tools from his sponsors. She brought up the matter with Mr. Tsai's wife, but has concluded that Mr. Tsai is just being entrepreneurial. Still, she says, "I was just totally clueless that that kind of thing went on."

Frozen Shrimp, No Labels

Indeed, consumers rarely know about the deals. For instance, Mr. Tsai never uses fresh shrimp on his PBS cooking show, "Simply Ming," and all of his frozen shrimp comes from sponsor Contessa Premium Foods -- with the labels peeled off. He also doesn't mention the sponsorship deal while cooking. (The company's name appears in the credits at the end of the show.) Destin, Fla., chef Tim Creehan, whose upscale eatery emphasizes seafood, also puts up to four pork dishes at a time on the menu, including such cuts as pork belly and pork butt. Not included: the fact he's a paid representative for the National Pork Board. And then there's chef José Andrès, of Washington, D.C., who since signing up with the California Avocado Commission has increased the number of dishes with avocado in them on his menu to eight from two.

Chefs say they only make deals with manufacturers whose products they believe in or that they already use. "We would never put our name on a substandard product just because it's basically free," says Mr. Tsai. "I mean, my livelihood is sitting on the plate." Mr. Creehan says he's always been a pork fan, but "I became more educated on pork, so I'm more apt to use pork now than before." Mr. Andres says he cooked with avocado for years, even before hooking up with the California commission.

French haute-cuisine chef and author Jacques Pepin, the star of the TV cooking show, "Jacques Pepin: Fast Food My Way," agreed last year to add the Canned Food Alliance as one of the show's sponsors. (The Pittsburgh trade group represents the tin-plate industry.) Since then, Mr. Pepin has featured such dishes as a dip made with canned beans on "Fast Food" and appeared at promotional lunches to talk about how canned foods are healthy and easy to use. Says Mr. Pepin, "They asked, 'Do you have anything against cans?' and I said, 'Not at all.' I've tried them all, and I'm not a snob." He adds that he doesn't consider the arrangement an endorsement, since the Alliance's check doesn't come to him personally.


Jacques Pepin


Industry groups and manufacturers who line up chefs say the deals are good marketing -- and less expensive than paying for big advertising campaigns. For example, Contessa says the mere fact that Mr. Tsai uses frozen shrimp on the program helps show its product can be used in gourmet cuisine. "Part of our mission is educating consumers in being more confident to cook seafood at home," says a Contessa spokeswoman. (The company says Mr. Tsai is not contractually obligated to use the shrimp at Blue Ginger.) Similarly, the pork, veal and avocado organizations say that consumers pay more attention when they see big-name chefs serving or using their products.

The marketing can even be used to counter negative publicity. After some critical studies on farmed salmon appeared in January 2004, the fish's sales dropped 22%, according to Salmon of the Americas, a lobbying group. Alex Trent, the group's executive director, decided to enlist some chefs to influence public opinion and to use its products at industry events. One of the first big names he approached was Chicago's Rick Tramonto, the chef of Tru, who has submitted a few recipes to the salmon group's Web site. (While mulling the offer, Mr. Tramonto says he asked the salmon organization for 500 free farmed salmon filets to use at an industry dinner for other chefs.)

The group also signed up chef Graham Kerr, the former "Galloping Gourmet," to vouch for the fish during public appearances and television interviews. Now, according to Mr. Trent, sales are back to $3 billion annually in the U.S, the same as they were in 2003. He credits the efforts of Messrs. Tramonto and Kerr. "We need our chefs to re-educate consumers," says Mr. Trent. "They give us reach and credibility."

Contracts with chefs don't generally create the outright conflict of interest that arises, for example, when television "experts" take fees to mention a company's products during news interviews, without informing viewers of the business relationship. Such arrangements violate journalistic ethical guidelines, under which viewers expect their news to be unbiased. Instead, the arrangements are more like product placement on commercial TV shows or the marketing tactic that has become widely known in Hollywood -- where actors take free clothes from designers in return for buzz and exposure.

Emerging From Behind the Stove

The culinary contracts really got their start with the rise of the celebrity chef. As some big names emerged from behind the stove, industry groups figured they could tap into the glamour quotient, and use the chefs to help their products stand out. Just last year 5,311 specialty-food products were introduced, up 38% from 2003, according to the National Association for the Specialty Food Trade. At the same time, a new crop of business-savvy chefs are looking for new sources of income, especially as the $164 billion full-service restaurant industry struggles with growth in the 2% range.


Ming Tsai


"When something comes my way, when it's something I love and when it gets me a little extra money, I'll do it," says Mr. Andrès, who is currently considering marketing proposals from 20 food companies.

Some chefs have become such huge celebrities they actually get commercial endorsements, much like sports stars, singers or other celebs. Emeril Lagasse is now endorsing Crest toothpaste, Nobu Matsuhisa is pushing Calloway golf clubs, and Mario Batali is promoting plastic wrap. These sorts of deals are relatively new. Just two years ago, when Chicago chef Rick Bayless accepted $300,000 to appear in a Burger King commercial, he was widely criticized by his peers for working with a mass-market food company -- and he eventually donated the money to charity. "We're trying to forge a new area of business here," says Mr. Bayless. "You learn by trial and error what's the right thing to do."

Not all chefs embrace the food-industry sponsorships or endorsements. Julia Child, for example, never cut financial deals with trade groups to use their products or made commercial endorsements, says Geoff Drummond, who produced her PBS show, "Cooking with Master Chefs." Mr. Drummond says Ms. Child, who died in 2004, turned down everyone from fast food chains to butter makers. "She wanted to be tied to food," he says. Chef Roy Yamaguchi, the owner of the national Roy's Restaurants chain, says he won't cut deals with any food companies because it reflects on his creativity as a chef (though he recently accepted a free Sub Zero refrigerator, worth $6,000, from the manufacturer). For its part, PBS has guidelines that require chefs to either remove or obscure the labels of products provided by sponsors, says Suzanne Zellner, head of the television system's sponsorship group.

Sometimes, the mutual back-scratching has limits. Though Mr. Bayless accepts underwriting from V&V Supremo, a Mexican cheese-maker, for his PBS cooking show, "Mexico: One Plate at a Time With Rick Bayless," he doesn't use the company's products at his restaurant, Frontera Grill. When Supremo executives asked him why, he said he preferred artisan cheeses. Now, Supremo has a new artisan-cheese line, but Mr. Bayless still hasn't incorporated the new cheese into his menus. Supremo executives did not return repeated interview requests.

Whether or not chefs are up front about their marketing deals isn't an issue for all diners, of course. Tom Provost, a Los Angeles screenwriter says he doesn't need much truth in menu -- just good food. "I'm a capitalist, so it doesn't irritate me that chefs could be making a little extra money," he says. "If I don't want it, I just won't order it."

Cynthetiq 04-26-2005 10:50 AM

while I don't think it makes you smarter per se, it truly depends on the content. There's lots of mental junk food out there.

Quote:

April 24, 2005
Watching TV Makes You Smarter
By STEVEN JOHNSON

The Sleeper Curve


SCIENTIST A: Has he asked for anything special?
SCIENTIST B: Yes, this morning for breakfast . . . he requested something called ''wheat germ, organic honey and tiger's milk.''
SCIENTIST A: Oh, yes. Those were the charmed substances that some years ago were felt to contain life-preserving properties.
SCIENTIST B: You mean there was no deep fat? No steak or cream pies or . . . hot fudge?
SCIENTIST A: Those were thought to be unhealthy.
— From Woody Allen's ''Sleeper''

n Jan. 24, the Fox network showed an episode of its hit drama ''24,'' the real-time thriller known for its cliffhanger tension and often- gruesome violence. Over the preceding weeks, a number of public controversies had erupted around ''24,'' mostly focused on its portrait of Muslim terrorists and its penchant for torture scenes. The episode that was shown on the 24th only fanned the flames higher: in one scene, a terrorist enlists a hit man to kill his child for not fully supporting the jihadist cause; in another scene, the secretary of defense authorizes the torture of his son to uncover evidence of a terrorist plot.

But the explicit violence and the post-9/11 terrorist anxiety are not the only elements of ''24'' that would have been unthinkable on prime-time network television 20 years ago. Alongside the notable change in content lies an equally notable change in form. During its 44 minutes -- a real-time hour, minus 16 minutes for commercials -- the episode connects the lives of 21 distinct characters, each with a clearly defined ''story arc,'' as the Hollywood jargon has it: a defined personality with motivations and obstacles and specific relationships with other characters. Nine primary narrative threads wind their way through those 44 minutes, each drawing extensively upon events and information revealed in earlier episodes. Draw a map of all those intersecting plots and personalities, and you get structure that -- where formal complexity is concerned -- more closely resembles ''Middlemarch'' than a hit TV drama of years past like ''Bonanza.''

For decades, we've worked under the assumption that mass culture follows a path declining steadily toward lowest-common-denominator standards, presumably because the ''masses'' want dumb, simple pleasures and big media companies try to give the masses what they want. But as that ''24'' episode suggests, the exact opposite is happening: the culture is getting more cognitively demanding, not less. To make sense of an episode of ''24,'' you have to integrate far more information than you would have a few decades ago watching a comparable show. Beneath the violence and the ethnic stereotypes, another trend appears: to keep up with entertainment like ''24,'' you have to pay attention, make inferences, track shifting social relationships. This is what I call the Sleeper Curve: the most debased forms of mass diversion -- video games and violent television dramas and juvenile sitcoms -- turn out to be nutritional after all.

I believe that the Sleeper Curve is the single most important new force altering the mental development of young people today, and I believe it is largely a force for good: enhancing our cognitive faculties, not dumbing them down. And yet you almost never hear this story in popular accounts of today's media. Instead, you hear dire tales of addiction, violence, mindless escapism. It's assumed that shows that promote smoking or gratuitous violence are bad for us, while those that thunder against teen pregnancy or intolerance have a positive role in society. Judged by that morality-play standard, the story of popular culture over the past 50 years -- if not 500 -- is a story of decline: the morals of the stories have grown darker and more ambiguous, and the antiheroes have multiplied.

The usual counterargument here is that what media have lost in moral clarity, they have gained in realism. The real world doesn't come in nicely packaged public-service announcements, and we're better off with entertainment like ''The Sopranos'' that reflects our fallen state with all its ethical ambiguity. I happen to be sympathetic to that argument, but it's not the one I want to make here. I think there is another way to assess the social virtue of pop culture, one that looks at media as a kind of cognitive workout, not as a series of life lessons. There may indeed be more ''negative messages'' in the mediasphere today. But that's not the only way to evaluate whether our television shows or video games are having a positive impact. Just as important -- if not more important -- is the kind of thinking you have to do to make sense of a cultural experience. That is where the Sleeper Curve becomes visible.

Televised Intelligence

Consider the cognitive demands that televised narratives place on their viewers. With many shows that we associate with ''quality'' entertainment -- ''The Mary Tyler Moore Show,'' ''Murphy Brown,'' ''Frasier'' -- the intelligence arrives fully formed in the words and actions of the characters on-screen. They say witty things to one another and avoid lapsing into tired sitcom cliches, and we smile along in our living rooms, enjoying the company of these smart people. But assuming we're bright enough to understand the sentences they're saying, there's no intellectual labor involved in enjoying the show as a viewer. You no more challenge your mind by watching these intelligent shows than you challenge your body watching ''Monday Night Football.'' The intellectual work is happening on-screen, not off.

But another kind of televised intelligence is on the rise. Think of the cognitive benefits conventionally ascribed to reading: attention, patience, retention, the parsing of narrative threads. Over the last half-century, programming on TV has increased the demands it places on precisely these mental faculties. This growing complexity involves three primary elements: multiple threading, flashing arrows and social networks.

According to television lore, the age of multiple threads began with the arrival in 1981 of ''Hill Street Blues,'' the Steven Bochco police drama invariably praised for its ''gritty realism.'' Watch an episode of ''Hill Street Blues'' side by side with any major drama from the preceding decades -- ''Starsky and Hutch,'' for instance, or ''Dragnet'' -- and the structural transformation will jump out at you. The earlier shows follow one or two lead characters, adhere to a single dominant plot and reach a decisive conclusion at the end of the episode. Draw an outline of the narrative threads in almost every ''Dragnet'' episode, and it will be a single line: from the initial crime scene, through the investigation, to the eventual cracking of the case. A typical ''Starsky and Hutch'' episode offers only the slightest variation on this linear formula: the introduction of a comic subplot that usually appears only at the tail ends of the episode, creating a structure that looks like this graph. The vertical axis represents the number of individual threads, and the horizontal axis is time.

A ''Hill Street Blues'' episode complicates the picture in a number of profound ways. The narrative weaves together a collection of distinct strands -- sometimes as many as 10, though at least half of the threads involve only a few quick scenes scattered through the episode. The number of primary characters -- and not just bit parts -- swells significantly. And the episode has fuzzy borders: picking up one or two threads from previous episodes at the outset and leaving one or two threads open at the end. Charted graphically, an average episode looks like this.

Critics generally cite ''Hill Street Blues'' as the beginning of ''serious drama'' native in the television medium -- differentiating the series from the single-episode dramatic programs from the 50's, which were Broadway plays performed in front of a camera. But the ''Hill Street'' innovations weren't all that original; they'd long played a defining role in popular television, just not during the evening hours. The structure of a ''Hill Street'' episode -- and indeed of all the critically acclaimed dramas that followed, from ''thirtysomething'' to ''Six Feet Under'' -- is the structure of a soap opera. ''Hill Street Blues'' might have sparked a new golden age of television drama during its seven-year run, but it did so by using a few crucial tricks that ''Guiding Light'' and ''General Hospital'' mastered long before.

Bochco's genius with ''Hill Street'' was to marry complex narrative structure with complex subject matter. 'Dallas'' had already shown that the extended, interwoven threads of the soap-opera genre could survive the weeklong interruptions of a prime-time show, but the actual content of ''Dallas'' was fluff. (The most probing issue it addressed was the question, now folkloric, of who shot J.R.) ''All in the Family'' and ''Rhoda'' showed that you could tackle complex social issues, but they did their tackling in the comfort of the sitcom living room. ''Hill Street'' had richly drawn characters confronting difficult social issues and a narrative structure to match.

Since ''Hill Street'' appeared, the multi-threaded drama has become the most widespread fictional genre on prime time: ''St. Elsewhere,'' ''L.A. Law,'' ''thirtysomething,'' ''Twin Peaks,'' ''N.Y.P.D. Blue,'' ''E.R.,'' ''The West Wing,'' ''Alias,'' ''Lost.'' (The only prominent holdouts in drama are shows like ''Law and Order'' that have essentially updated the venerable ''Dragnet'' format and thus remained anchored to a single narrative line.) Since the early 80's, however, there has been a noticeable increase in narrative complexity in these dramas. The most ambitious show on TV to date, ''The Sopranos,'' routinely follows up to a dozen distinct threads over the course of an episode, with more than 20 recurring characters. An episode from late in the first season looks like this.

The total number of active threads equals the multiple plots of ''Hill Street,'' but here each thread is more substantial. The show doesn't offer a clear distinction between dominant and minor plots; each story line carries its weight in the mix. The episode also displays a chordal mode of storytelling entirely absent from ''Hill Street'': a single scene in ''The Sopranos'' will often connect to three different threads at the same time, layering one plot atop another. And every single thread in this ''Sopranos'' episode builds on events from previous episodes and continues on through the rest of the season and beyond.

Put those charts together, and you have a portrait of the Sleeper Curve rising over the past 30 years of popular television. In a sense, this is as much a map of cognitive changes in the popular mind as it is a map of on-screen developments, as if the media titans decided to condition our brains to follow ever-larger numbers of simultaneous threads. Before ''Hill Street,'' the conventional wisdom among television execs was that audiences wouldn't be comfortable following more than three plots in a single episode, and indeed, the ''Hill Street'' pilot, which was shown in January 1981, brought complaints from viewers that the show was too complicated. Fast-forward two decades, and shows like ''The Sopranos'' engage their audiences with narratives that make ''Hill Street'' look like ''Three's Company.'' Audiences happily embrace that complexity because they've been trained by two decades of multi-threaded dramas.

Multi-threading is the most celebrated structural feature of the modern television drama, and it certainly deserves some of the honor that has been doled out to it. And yet multi-threading is only part of the story.

The Case for Confusion

Shortly after the arrival of the first-generation slasher movies -- ''Halloween,'' ''Friday the 13th'' -- Paramount released a mock-slasher flick called ''Student Bodies,'' parodying the genre just as the ''Scream'' series would do 15 years later. In one scene, the obligatory nubile teenage baby sitter hears a noise outside a suburban house; she opens the door to investigate, finds nothing and then goes back inside. As the door shuts behind her, the camera swoops in on the doorknob, and we see that she has left the door unlocked. The camera pulls back and then swoops down again for emphasis. And then a flashing arrow appears on the screen, with text that helpfully explains: ''Unlocked!''

That flashing arrow is parody, of course, but it's merely an exaggerated version of a device popular stories use all the time. When a sci-fi script inserts into some advanced lab a nonscientist who keeps asking the science geeks to explain what they're doing with that particle accelerator, that's a flashing arrow that gives the audience precisely the information it needs in order to make sense of the ensuing plot. (''Whatever you do, don't spill water on it, or you'll set off a massive explosion!'') These hints serve as a kind of narrative hand-holding. Implicitly, they say to the audience, ''We realize you have no idea what a particle accelerator is, but here's the deal: all you need to know is that it's a big fancy thing that explodes when wet.'' They focus the mind on relevant details: ''Don't worry about whether the baby sitter is going to break up with her boyfriend. Worry about that guy lurking in the bushes.'' They reduce the amount of analytic work you need to do to make sense of a story. All you have to do is follow the arrows.

By this standard, popular television has never been harder to follow. If narrative threads have experienced a population explosion over the past 20 years, flashing arrows have grown correspondingly scarce. Watching our pinnacle of early 80's TV drama, ''Hill Street Blues,'' we find there's an informational wholeness to each scene that differs markedly from what you see on shows like ''The West Wing'' or ''The Sopranos'' or ''Alias'' or ''E.R.''

''Hill Street'' has ambiguities about future events: will a convicted killer be executed? Will Furillo marry Joyce Davenport? Will Renko find it in himself to bust a favorite singer for cocaine possession? But the present-tense of each scene explains itself to the viewer with little ambiguity. There's an open question or a mystery driving each of these stories -- how will it all turn out? -- but there's no mystery about the immediate activity on the screen. A contemporary drama like ''The West Wing,'' on the other hand, constantly embeds mysteries into the present-tense events: you see characters performing actions or discussing events about which crucial information has been deliberately withheld. Anyone who has watched more than a handful of ''The West Wing'' episodes closely will know the feeling: scene after scene refers to some clearly crucial but unexplained piece of information, and after the sixth reference, you'll find yourself wishing you could rewind the tape to figure out what they're talking about, assuming you've missed something. And then you realize that you're supposed to be confused. The open question posed by these sequences is not ''How will this turn out in the end?'' The question is ''What's happening right now?''

The deliberate lack of hand-holding extends down to the microlevel of dialogue as well. Popular entertainment that addresses technical issues -- whether they are the intricacies of passing legislation, or of performing a heart bypass, or of operating a particle accelerator -- conventionally switches between two modes of information in dialogue: texture and substance. Texture is all the arcane verbiage provided to convince the viewer that they're watching Actual Doctors at Work; substance is the material planted amid the background texture that the viewer needs make sense of the plot.

Conventionally, narratives demarcate the line between texture and substance by inserting cues that flag or translate the important data. There's an unintentionally comical moment in the 2004 blockbuster ''The Day After Tomorrow'' in which the beleaguered climatologist (played by Dennis Quaid) announces his theory about the imminent arrival of a new ice age to a gathering of government officials. In his speech, he warns that ''we have hit a critical desalinization point!'' At this moment, the writer-director Roland Emmerich -- a master of brazen arrow-flashing -- has an official follow with the obliging remark: ''It would explain what's driving this extreme weather.'' They might as well have had a flashing ''Unlocked!'' arrow on the screen.

The dialogue on shows like ''The West Wing'' and ''E.R.,'' on the other hand, doesn't talk down to its audiences. It rushes by, the words accelerating in sync with the high-speed tracking shots that glide through the corridors and operating rooms. The characters talk faster in these shows, but the truly remarkable thing about the dialogue is not purely a matter of speed; it's the willingness to immerse the audience in information that most viewers won't understand. Here's a typical scene from ''E.R.'':



[WEAVER AND WRIGHT push a gurney containing a 16-year-old girl. Her parents, JANNA AND FRANK MIKAMI, follow close behind. CARTER AND LUCY fall in.]
WEAVER: 16-year-old, unconscious, history of biliary atresia.
CARTER: Hepatic coma?
WEAVER: Looks like it.
MR. MIKAMI: She was doing fine until six months ago.
CARTER: What medication is she on?
MRS. MIKAMI: Ampicillin, tobramycin, vitamins a, d and k.
LUCY: Skin's jaundiced.
WEAVER: Same with the sclera. Breath smells sweet.
CARTER: Fetor hepaticus?
WEAVER: Yep.
LUCY: What's that?
WEAVER: Her liver's shut down. Let's dip a urine. [To CARTER] Guys, it's getting a little crowded in here, why don't you deal with the parents? Start lactulose, 30 cc's per NG.
CARTER: We're giving medicine to clean her blood.
WEAVER: Blood in the urine, two-plus.
CARTER: The liver failure is causing her blood not to clot.
MRS. MIKAMI: Oh, God. . . .
CARTER: Is she on the transplant list?
MR. MIKAMI: She's been Status 2a for six months, but they haven't been able to find her a match.
CARTER: Why? What's her blood type?
MR. MIKAMI: AB.
[This hits CARTER like a lightning bolt. LUCY gets it, too. They share a look.]

There are flashing arrows here, of course -- ''The liver failure is causing her blood not to clot'' -- but the ratio of medical jargon to layperson translation is remarkably high. From a purely narrative point of view, the decisive line arrives at the very end: ''AB.'' The 16-year-old's blood type connects her to an earlier plot line, involving a cerebral-hemorrhage victim who -- after being dramatically revived in one of the opening scenes -- ends up brain-dead. Far earlier, before the liver-failure scene above, Carter briefly discusses harvesting the hemorrhage victim's organs for transplants, and another doctor makes a passing reference to his blood type being the rare AB (thus making him an unlikely donor). The twist here revolves around a statistically unlikely event happening at the E.R. -- an otherwise perfect liver donor showing up just in time to donate his liver to a recipient with the same rare blood type. But the show reveals this twist with remarkable subtlety. To make sense of that last ''AB'' line -- and the look of disbelief on Carter's and Lucy's faces -- you have to recall a passing remark uttered earlier regarding a character who belongs to a completely different thread. Shows like ''E.R.'' may have more blood and guts than popular TV had a generation ago, but when it comes to storytelling, they possess a quality that can only be described as subtlety and discretion.

Even Bad TV Is Better

Skeptics might argue that I have stacked the deck here by focusing on relatively highbrow titles like ''The Sopranos'' or ''The West Wing,'' when in fact the most significant change in the last five years of narrative entertainment involves reality TV. Does the contemporary pop cultural landscape look quite as promising if the representative show is ''Joe Millionaire'' instead of ''The West Wing''?

I think it does, but to answer that question properly, you have to avoid the tendency to sentimentalize the past. When people talk about the golden age of television in the early 70's -- invoking shows like ''The Mary Tyler Moore Show'' and ''All in the Family'' -- they forget to mention how awful most television programming was during much of that decade. If you're going to look at pop-culture trends, you have to compare apples to apples, or in this case, lemons to lemons. The relevant comparison is not between ''Joe Millionaire'' and ''MASH''; it's between ''Joe Millionaire'' and ''The Newlywed Game,'' or between ''Survivor'' and ''The Love Boat.''

What you see when you make these head-to-head comparisons is that a rising tide of complexity has been lifting programming at the bottom of the quality spectrum and at the top. ''The Sopranos'' is several times more demanding of its audiences than ''Hill Street'' was, and ''Joe Millionaire'' has made comparable advances over ''Battle of the Network Stars.'' This is the ultimate test of the Sleeper Curve theory: even the junk has improved.

If early television took its cues from the stage, today's reality programming is reliably structured like a video game: a series of competitive tests, growing more challenging over time. Many reality shows borrow a subtler device from gaming culture as well: the rules aren't fully established at the outset. You learn as you play.

On a show like ''Survivor'' or ''The Apprentice,'' the participants -- and the audience -- know the general objective of the series, but each episode involves new challenges that haven't been ordained in advance. The final round of the first season of ''The Apprentice,'' for instance, threw a monkey wrench into the strategy that governed the play up to that point, when Trump announced that the two remaining apprentices would have to assemble and manage a team of subordinates who had already been fired in earlier episodes of the show. All of a sudden the overarching objective of the game -- do anything to avoid being fired -- presented a potential conflict to the remaining two contenders: the structure of the final round favored the survivor who had maintained the best relationships with his comrades. Suddenly, it wasn't enough just to have clawed your way to the top; you had to have made friends while clawing. The original ''Joe Millionaire'' went so far as to undermine the most fundamental convention of all -- that the show's creators don't openly lie to the contestants about the prizes -- by inducing a construction worker to pose as man of means while 20 women competed for his attention.

Reality programming borrowed another key ingredient from games: the intellectual labor of probing the system's rules for weak spots and opportunities. As each show discloses its conventions, and each participant reveals his or her personality traits and background, the intrigue in watching comes from figuring out how the participants should best navigate the environment that has been created for them. The pleasure in these shows comes not from watching other people being humiliated on national television; it comes from depositing other people in a complex, high-pressure environment where no established strategies exist and watching them find their bearings. That's why the water-cooler conversation about these shows invariably tracks in on the strategy displayed on the previous night's episode: why did Kwame pick Omarosa in that final round? What devious strategy is Richard Hatch concocting now?

When we watch these shows, the part of our brain that monitors the emotional lives of the people around us -- the part that tracks subtle shifts in intonation and gesture and facial expression -- scrutinizes the action on the screen, looking for clues. We trust certain characters implicitly and vote others off the island in a heartbeat. Traditional narrative shows also trigger emotional connections to the characters, but those connections don't have the same participatory effect, because traditional narratives aren't explicitly about strategy. The phrase ''Monday-morning quarterbacking'' describes the engaged feeling that spectators have in relation to games as opposed to stories. We absorb stories, but we second-guess games. Reality programming has brought that second-guessing to prime time, only the game in question revolves around social dexterity rather than the physical kind.

The Rewards of Smart Culture

The quickest way to appreciate the Sleeper Curve's cognitive training is to sit down and watch a few hours of hit programming from the late 70's on Nick at Nite or the SOAPnet channel or on DVD. The modern viewer who watches a show like ''Dallas'' today will be bored by the content -- not just because the show is less salacious than today's soap operas (which it is by a small margin) but also because the show contains far less information in each scene, despite the fact that its soap-opera structure made it one of the most complicated narratives on television in its prime. With ''Dallas,'' the modern viewer doesn't have to think to make sense of what's going on, and not having to think is boring. Many recent hit shows -- ''24,'' ''Survivor,'' ''The Sopranos,'' ''Alias,'' ''Lost,'' ''The Simpsons,'' ''E.R.'' -- take the opposite approach, layering each scene with a thick network of affiliations. You have to focus to follow the plot, and in focusing you're exercising the parts of your brain that map social networks, that fill in missing information, that connect multiple narrative threads.

Of course, the entertainment industry isn't increasing the cognitive complexity of its products for charitable reasons. The Sleeper Curve exists because there's money to be made by making culture smarter. The economics of television syndication and DVD sales mean that there's a tremendous financial pressure to make programs that can be watched multiple times, revealing new nuances and shadings on the third viewing. Meanwhile, the Web has created a forum for annotation and commentary that allows more complicated shows to prosper, thanks to the fan sites where each episode of shows like ''Lost'' or ''Alias'' is dissected with an intensity usually reserved for Talmud scholars. Finally, interactive games have trained a new generation of media consumers to probe complex environments and to think on their feet, and that gamer audience has now come to expect the same challenges from their television shows. In the end, the Sleeper Curve tells us something about the human mind. It may be drawn toward the sensational where content is concerned -- sex does sell, after all. But the mind also likes to be challenged; there's real pleasure to be found in solving puzzles, detecting patterns or unpacking a complex narrative system.

In pointing out some of the ways that popular culture has improved our minds, I am not arguing that parents should stop paying attention to the way their children amuse themselves. What I am arguing for is a change in the criteria we use to determine what really is cognitive junk food and what is genuinely nourishing. Instead of a show's violent or tawdry content, instead of wardrobe malfunctions or the F-word, the true test should be whether a given show engages or sedates the mind. Is it a single thread strung together with predictable punch lines every 30 seconds? Or does it map a complex social network? Is your on-screen character running around shooting everything in sight, or is she trying to solve problems and manage resources? If your kids want to watch reality TV, encourage them to watch ''Survivor'' over ''Fear Factor.'' If they want to watch a mystery show, encourage ''24'' over ''Law and Order.'' If they want to play a violent game, encourage Grand Theft Auto over Quake. Indeed, it might be just as helpful to have a rating system that used mental labor and not obscenity and violence as its classification scheme for the world of mass culture.

Kids and grown-ups each can learn from their increasingly shared obsessions. Too often we imagine the blurring of kid and grown-up cultures as a series of violations: the 9-year-olds who have to have nipple broaches explained to them thanks to Janet Jackson; the middle-aged guy who can't wait to get home to his Xbox. But this demographic blur has a commendable side that we don't acknowledge enough. The kids are forced to think like grown-ups: analyzing complex social networks, managing resources, tracking subtle narrative intertwinings, recognizing long-term patterns. The grown-ups, in turn, get to learn from the kids: decoding each new technological wave, parsing the interfaces and discovering the intellectual rewards of play. Parents should see this as an opportunity, not a crisis. Smart culture is no longer something you force your kids to ingest, like green vegetables. It's something you share.




Steven Johnson is the author, most recently, of ''Mind Wide Open.'' His book ''Everything Bad Is Good for You: How Today's Popular Culture Is Actually Making Us Smarter,'' from which this article is adapted, will be published next month.


ARTelevision 05-05-2005 12:09 PM

I read this awhile ago and am only posting it now. I do wonder at what point folks will decide that we are headed ineluctably toward a situation in which the title of this thread is the only way to describe the content of our experience.

It's just a short stretch from the implications of this story:

.................

Brain chip reads man's thoughts

The 'chip' reads brain signals
A paralysed man in the US has become the first person to benefit from a brain chip that reads his mind.
Matthew Nagle, 25, was left paralysed from the neck down and confined to a wheelchair after a knife attack in 2001.

The pioneering surgery at New England Sinai Hospital, Massachusetts, last summer means he can now control everyday objects by thought alone.

The brain chip reads his mind and sends the thoughts to a computer to decipher.

Mind over matter

He can think his TV on and off, change channels and alter the volume thanks to the technology and software linked to devices in his home.

Scientists have been working for some time to devise a way to enable paralysed people to control devices with the brain.

Studies have shown that monkeys can control a computer with electrodes implanted into their brain.

It's quite remarkable

Dr Richard Apps, neurophysiologist from Bristol University

Recently four people, two of them partly paralysed wheelchair users, were able to move a computer cursor while wearing a cap with 64 electrodes that pick up brain waves.

Mr Nagle's device, called BrainGate, consists of nearly 100 hair-thin electrodes implanted a millimetre deep into part of the motor cortex of his brain that controls movement.

Wires feed the information from the electrodes into a computer which analyses the brain signals.

The signals are interpreted and translated into cursor movements, offering the user an alternative way to control devices such as a computer with thought.

Motor control

Professor John Donoghue, an expert on neuroscience at Brown University, Rhode Island, is the scientist behind the device produced by Cyberkinetics.

He said: "The computer screen is basically a TV remote control panel, and in order to indicate a selection he merely has to pass the cursor over an icon, and that's equivalent to a click when he goes over that icon."

Mr Nagle has also been able to use thought to move a prosthetic hand and robotic arm to grab sweets from one person's hand and place them into another.

Professor Donoghue hopes that ultimately implants such as this will allow people with paralysis to regain the use of their limbs.

The long term aim is to design a package the size of a mobile phone that will run on batteries, and to electrically stimulate the patient's own muscles.

This will be difficult.

The simple movements we take for granted in fact involve complex electrical signals which will be hard to replicate, Dr Richard Apps, a neurophysiologist from Bristol University, the UK, told the BBC News website.

He said there were millions of neurones in the brain involved with movement. The brain chip taps into only a very small number of these.

But he said the work was extremely exciting.

"It's quite remarkable. They have taken research to the next stage to have a clear benefit for a patient that otherwise would not be able to move.

"It seems that they have cracked the crucial step and arguably the most challenging step to get hand movements.

"Just to be able to grasp an object is a major step forward."

He said it might be possible to hone this further to achieve finer movements of the hand.


http://news.bbc.co.uk/2/hi/health/4396387.stm

Seeker 05-08-2005 04:32 PM

I can see that there are good intentions of those developing this technology but I wonder where else this could go...

My first impressions, as if we are not already saturated by the matrix, now we can 'plug into it'...

Although helping these individuals regain some control over the aspects of daily life in simple tasks, will we come to rely on this sort of technology to resolve moods or get quick fixes? Interesting.

ARTelevision 05-11-2005 11:28 AM

Yes - it all seems quite inevitable to me.
As you know, I think it has always been thus.

There is still a great deal of attachment to the quaint notion of our individual liberty. I'm sure the all the "noble" struggles to oppose the psycho-cultural imperative will continue. It feels so empowering to think of oneself as a champion, after all.

Cynthetiq 05-17-2005 01:26 PM

Quote:

http://www.calendarlive.com/cl-et-go...,3132771.story

May 17, 2005 Los Angeles Times THE BIG PICTURE

The doctor of audience-ology
Kevin Goetz, head of screenings and qualitative research at OTX, is the Dr.
Phil of Hollywood focus groups.

By Patrick Goldstein
Times Staff Writer

When New Line Cinema had its first research screening of "Monster-in-Law"
last fall in Westlake Village, the air was thick with the jittery anticipation that accompanies the unveiling of a key summer film before a real audience. The romantic comedy, which opened at No. 1 with $23.1 million at the box office this weekend despite pans from many critics, was something of a gamble. The film, about a young woman whose romance is nearly wrecked by her boyfriend's shrewish mother, teamed Jennifer Lopez, still on the rebound from "Gigli," with Jane Fonda, who hadn't made a movie in 15 years.

Having seen a rough cut of the film in the editing room, New Line production chief Toby Emmerich was especially nervous. "I knew there were things that still didn't work, but I'd be lying if I said that I knew how to fix them."

Enter Kevin Goetz, the Dr. Phil of Hollywood focus groups. Unknown to the outside world, Goetz is a familiar figure in the veiled world of movie business market research. The 42-year-old head of screenings and qualitative research at a company called OTX is one of a handful of experts who provide studios with market research about trailers and TV spots as well as tracking information about audience interest in upcoming films. After 16 years at NRG, the industry's best-known research company, Goetz joined OTX in 2003, where he and the company's chief executive, Shelley Zalis, have played a pivotal role in making the company a formidable NRG rival.

He doesn't look the part. Research geeks are supposed to be frumpy and dour from too many hours in front of the computer. Goetz is always in high gear, radiating the amped-up enthusiasm of an actor auditioning for a road company production of "Rent." After "Monster-in-Law" was over, Goetz oversaw a focus group of 20 carefully selected moviegoers who spent roughly half an hour critiquing the movie.

Under Goetz's careful questioning, it soon became apparent that a big chunk of the group found Fonda's character unlikable, and nearly everybody had problems with the ending of the movie. "I never tell studios how to fix the film - I simply interpret what the audience is saying," Goetz explained later. "The movie played well, but it was obvious that the energy started to dissipate at the end. With a comedy, you really need to end in a big way, almost with a punctuation mark."

Persuaded that the film needed work, New Line spent a hefty $5 million doing 10 days of reshoots this January. To make Fonda's character more sympathetic, she is now seen being fired from her job as a Diane Sawyer-ish celebrity TV interviewer; in the original version, she quit in disgust. In the original film, she attempts to poison Lopez, who is allergic to nuts, by putting almond paste in the gravy at dinner. The new footage has the gravy being spiked by accident.

The film's new ending has more emotion and more laughs, with Fonda being humbled by the arrival of her own imperious mother-in-law, a new comic character played by stage veteran Elaine Stritch. Instead of tearing each other's dresses up, Fonda and Lopez share a teary female-bonding scene. When the studio tested the new version this February, everyone breathed a sigh of relief. The ending got an enthusiastic response.

"Kevin's role in helping us find a better ending was invaluable," says Emmerich. "It really makes a difference when you actually hear people say 'I got bored at the end' or 'It didn't feel emotional enough.' "

Even though studios still rely on raw numbers for many of their decisions, there is nothing like the visceral reaction of a focus group - the ultimate jury of a movie's peers - to shape studio thinking about a movie's commercial potential. "The Amityville Horror," released last month, reshot its ending after a focus group voiced dismay that there was no big scare at the film's end. In "American Pie 2," the focus group so vehemently disliked a new character, played by Chris Penn, that the studio essentially cut him out of the movie.

After seeing "Bad Boys 2," an action film that ran a bloated 146 minutes, I asked producer Jerry Bruckheimer why he couldn't get director Michael Bay to cut the film. He said that when the focus group was asked if they felt the movie was too long, too short or just right, they said just right. End of discussion.

In recent years, focus groups have gotten a bad rap. Partly that's because they are often filled with Harry Knowles-style knuckleheads, eager to compare every movie to their favorite Tarantino film. (When I observed an OTX focus group recently, I agreed not to critique the film, yet Knowles' Aintitcoolnews.com posted a review of the screening five hours after it was over, clearly written by someone who had been in the focus group.) But the process has also been undermined by studios who suggest leading questions - "Don't you think the hero could be more likable?" - to pressure filmmakers into buffing away any rough edges in their films. Tom Cruise once introduced a research screening of "Mission Impossible" himself, making it a lot less likely that anyone in the focus group would say, "Geez, Tom Cruise's quips felt a little ... lame."

Goetz insists he is not easily manipulated - or intimidated. Knowing indie filmmakers are especially suspicious of research, he went to Sundance this year to demystify the process for young filmmakers. He and Zalis have been in Cannes this week schmoozing with filmmakers and overseas clients; one of OTX's strengths, along with its Internet research, is its overseas box-office tracking.

The courtship process has paid off. "The talent asks for Kevin by name, which is a real tribute to him," says DreamWorks marketing chief Terry Press. "For filmmakers, the first preview can be a terrifying experience, so having someone like Kevin, who delivers bad news authoritatively but with compassion, can make a filmmaker feel there's hope instead of being plunged into despair."

Goetz's affinity with talent comes naturally. The Brooklyn native was a child actor, appearing in innumerable commercials and stage plays before getting an acting degree from Rutgers. "I was the Domino's pizza boy for two years," he says with genuine pride. He also did off-Broadway theater before moving to Los Angeles in 1986. While he was at NRG, he ran a theater repertory company in San Luis Obispo and produced a number of TV movies.

Even when overseeing a focus group, he remains a performer. Normally journalists are verboten at these events, but New Line let me see Goetz in action at a recent research screening for "Domino," a Tony Scott action thriller that stars Keira Knightley as a Beverly Hills brat turned bounty hunter. After the film was over, Goetz steered a group of 22 young viewers to the front of the theater, where their every breath was closely observed by Scott, the film's producers and the New Line brass. It felt both uplifting and vaguely unsettling to see everyone so apprehensive about the opinions of moviegoers who, by themselves, are at the mercy of every cynical sales tool the industry has to offer but as a group wield considerable power.

Goetz wore a suit with an open shirt and untinted glasses, explaining, "They need to see my eyes so they know I'm sincere and trustworthy. I want them to feel that I'm their best friend." A focus group is supposed to be qualitative research, telling the studio not just what the audience liked or didn't like but why they felt that way. But watching Goetz probe and parry, I felt as if I was watching a therapy session, plumbing the subconscious mind of 22 moviegoers. Goetz's first words to the group - "give me a word that best describes your experience" - seemed less of a question than a hypnotic command.

To all appearances, the calmest person there was Scott. Having made commercials for years, he knows the value of satisfying an audience. But as a final-cut director, he has the freedom to trust his instincts.

Personally, I'm a skeptic about the industry's over-reliance on research - you wouldn't want a focus group dissecting an Almodóvar film. But watching one assess a mainstream movie was an intriguing experience, if only to see how savvy audiences are about modern-day cinematic storytelling. Confronted with a visually striking film - and "Domino" is nothing if not striking - they were eager to embrace its originality.

Goetz was careful not to let any one member overly sway the group, quickly interrupting any long digressions. "If I only get one or two complaints, that I can discard," he says. "But if I get seven or eight people who agree on a problem, then we've got an issue, because you can be pretty sure the entire audience feels that way." Goetz consciously picked focus group members who didn't love or hate the film, but had mixed feelings. "You want people who hesitate, who have something keeping them from rating the film as excellent. That gives us something to solve."

Afterward, Goetz huddled with Scott, offering a brisk instant analysis. It's not surprising that filmmakers would look to Goetz as the therapist with a soothing explanation for their darkest fears. "What I do is diagnostic," Goetz says. "I'm the doctor saying to the patient, 'Here's what you have, and here's what you can do about it.' I think filmmakers appreciate it that I'm an artist first, a business person second. I understand the angst they go through."

Copyright 2005 Los Angeles Times

it's really interesting to see just how much is at stake...

Ustwo 05-17-2005 03:46 PM

The question of course is how EFFECTIVE the manipulation is.

They might fill an add with all the sexual innuendo in the world, but I'm not a big believer in the subconcious. If you don't see it, you don't see it, and the effect is lost. This is a long thread and perhaps I missed some proof of these adds being effective, but there are limits.

If the media were 'in control' fully, Bush would not be president. Obviously most people can still make up their own minds despite spin and manipulation.

Seeker 05-17-2005 06:06 PM

Quote:

Originally Posted by Cynthetiq
it's really interesting to see just how much is at stake...

I think this is really interesting..

I enjoy seeing a movie that challenges me, whether it's the story line, the direction, the ending.. if it's something that's not familiar, it usually scores higher in my books.

If movie producers rely to heavily on a 'focus group', I wonder how much creativity will be stifled.. what if that focus group only has a limited perception of what they wish to see in a movie? Are these focus groups, consisting of only a few people, merely perpetuating something that has been introduced and has been successful in the past?

Goetz's careful direction of these groups also imply that the focus group can be manipulated.. who is actually the director/creator of a movie?

Cynthetiq 05-17-2005 07:18 PM

Quote:

Originally Posted by Seeker
I think this is really interesting..

I enjoy seeing a movie that challenges me, whether it's the story line, the direction, the ending.. if it's something that's not familiar, it usually scores higher in my books.

If movie producers rely to heavily on a 'focus group', I wonder how much creativity will be stifled.. what if that focus group only has a limited perception of what they wish to see in a movie? Are these focus groups, consisting of only a few people, merely perpetuating something that has been introduced and has been successful in the past?

Goetz's careful direction of these groups also imply that the focus group can be manipulated.. who is actually the director/creator of a movie?

good critical thinking.

I've been part of these growing up and still attend some of them here in NYC.

They fill a theater with a diverse group of people, they try to get age/sex during a prescreen when distributing tickets. During the movie, someone is walking about watching the reactions of people, taking notes, sometimes after the show, they have a questionaire, some multiple choice, some open write in. Sometimes they have full cuts of the movies sometimes with special effects (Flight of the Intruder had some blank screens with (Insert Special Effect Here - and a description of the effect), sometimes different cuts for different groups. When I saw The Marrying Man, it was something like 3 hours long and some of the funniest parts of the movie didn't make the released version.

Sometimes they hold back a hand picked group to ask even more questions.
.
But sometimes, the screener is just for creating "word of mouth buzz"...

ARTelevision 05-28-2005 03:21 AM

product placement mind control
 
One of the ways in which we may honor those celebrities we worship is to fill our lives with the products they fill their pretend lives with. The more we know about the unreal world of our celebrity gods and goddesses, the more we are able to aspire to inhabit the media visionary heaven which opens up to us during the miraculous manifestations we are so privileged to receive as divine transmissions from the temples of our faith:

.......................................................
http://www.latimes.com/business/la-f...ck=1&cset=true

Probe of Stealth TV Ads Sought
An FCC official urges his agency to crack down on lax disclosure of fees for product placement.


May 26, 2005

Alarmed by "covert commercial pitches" sneaking into TV news and entertainment shows, Federal Communications Commission member Jonathan S. Adelstein on Wednesday called on the agency to investigate hidden advertising.

Although Adelstein took particular aim at on-air personalities who tout products without divulging that they are paid endorsers, he went an additional step by criticizing the lack of full disclosure in the pay-for-plugs proliferating in scripted and reality TV.

Adelstein lamented the practice, in which advertisers pay to get cars, cellphones, soft drinks and other products prominently featured or mentioned in shows.

"This is becoming so prevalent that people can't escape it by even taking a bathroom break," Adelstein said. "It's OK if the broadcasters do this, but they need to inform the public that it's being done."

Failing to disclose payments, he said, violates a 78-year-old FCC rule requiring broadcasters to clearly identify who provided "valuable consideration" to shows. Adelstein also took a swipe at his agency, which is charged with monitoring the public airwaves, for being lax in enforcing the regulations.

Adelstein's comments mark the strongest words yet from an FCC commissioner about the lack of disclosure in product placement. The Democrat's remarks came in a speech to the Media Institute in Washington and in a subsequent Times interview. Whether other commissioners would support his call for a crackdown was unclear. Network representatives declined to comment.

Advertisers increasingly count on integrating products into shows to reach viewers using digital video recorders, or DVRs, to skip past their traditional commercial spots. The product placement market is expected to swell to $4.2 billion this year, according to Connecticut-based consulting group PQ Media, up from nearly $3.5 billion last year.

Networks are practically hanging "for sale" signs on their most lucrative programs, so much so that the topic was a running theme last week in New York during the kickoff of the TV industry's annual sales drive.

Fox Sports announcer Joe Buck joked to advertisers that he would happily hawk their products during Fox baseball broadcasts, just as he did during the 2003 World Series. During Game 1, Buck chatted with Robin Williams, who was in the stadium watching the game. Viewers were informed the comedian was using a cellphone from Sprint, one of the telecast sponsors.

"Think it up," Buck told advertisers last week. "I'll try it. I have absolutely no pride."

At the presentation for the WB — owned by Time Warner Inc. and Tribune Co., owner of The Times — actress Amanda Bynes said the characters on her comedy "What I Like About You" were becoming increasingly familiar with real-world products.

"This season we found out, like, they eat Pringles and use Herbal Essence shampoo," Bynes quipped. "Next season, we hope to find out what cellphones they're using and what cars they drive."

But Adelstein bemoaned the practice as part of the "bottomless pit of commercialism in today's media." He said that when viewers were left uninformed it amounted to illegal payola.

"Everything from Coke to soap is subliminally hawked in TV programs," Adelstein said. "In today's media environment, product placement has moved beyond Coke tumblers prominently displayed at the judges' table of 'American Idol.' Now, products have even seeped into plot lines."

These days advertisers pay as much as $2 million an episode to get their products featured on NBC's "The Apprentice."

Adelstein said networks needed to go further than inserting a fleeting mention of a paid sponsorship in a show's closing credits, which is how the practice is often handled. On Fox's "American Idol," for example, the closing credits quickly note that Coca-Cola, Ford and Cingular Wireless are paid sponsors.

"A disclosure that appears on screen for a split second during the credits in small type that no one could possibly read without pausing their DVR — and pulling out a magnifying glass — could not possibly qualify," he said.

Gary Ruskin, executive director of the nonprofit Commercial Alert, applauded Adelstein's remarks. His group filed a complaint in 2003 about product placement that the FCC has yet to rule on. Commercial Alert asked that payment disclosures come at the beginning of a show and on screen when an embedded image appears.

"The whole television industry has moved to stealth advertising," Ruskin said. "It's dishonest advertising that sneaks by our critical faculties and plants messages in our brains when we are paying less attention."

*

(BEGIN TEXT OF INFOBOX)

Featured goods

Here are some recent examples of brand-name products being integrated into television shows.

• Teams competing on NBC's "The Apprentice" were required to design a bottle and marketing campaign for Pepsi-Cola North America's new soft drink Pepsi Edge.

• On Fox's "The O.C.," a couple planning a vacation looked up their mileage on AmericanAirlines.com.

• One of the main characters on ABC's "Desperate Housewives" accepted a job at a mall as the spokesmodel for the Buick LaCrosse.

• An episode of the WB's "What I Like About You" revolved around two characters entering a contest to become the new Clairol Herbal Essences Girl.

• On CBS' "Survivor: Palau," tribes used Home Depot tools to construct bathrooms.

Sources: Times research, IAG Research

Cynthetiq 06-08-2005 07:22 AM

more on that advertising creeping into shows via product placement...

Quote:

Story location: http://www.wired.com/news/digiwood/0,1412,67723,00.html

02:00 AM Jun. 03, 2005 PT

Tech product placement is going into overdrive, with several prime-time shows basing plot lines around hip gadgets and gizmos. And soon, thanks to interactive "object-tracking" technology, consumers may be able to buy featured products with a click of the remote.

As consumers turn away from traditional advertising, tech marketers are picking up the slack by weaving lots of gadgets into the fabric of TV shows and movies. The net, video games and ad-skipping DVRs are forcing marketers to focus more attention on "branded entertainment."

Movies like Sony Pictures' Hitch, starring Will Smith, gave prominent placement to several Sony products, as well as the popular BlackBerry e-mail device. The plots of high-energy shows like CBS' CSI franchise, and Fox's 24 and Alias, often hinge on technology. The first season of 24, in fact, made novel use of competing computer platforms to denote the goodies and the villains.

"Nobody watches traditional commercials anymore," said Richard Rizzuto, senior partner and CEO of New York City-based RPR Marketing Solutions."In five years, it's going to be 90 percent branded entertainment and 10 percent traditional advertising."

RSA Security has woven its SecurID security-authentication system into several movie and TV plots, starting with the 2001 Ryan Philippe film Antitrust.

Most recently, RSA worked with producers of the new film The Interpreter, starring Nicole Kidman, as well as the TV show Las Vegas.

"The trend in the last five years is to integrate brands in a more organic way," said Mark Owens, managing director of Ketchum Entertainment Marketing, a branch of the Ketchum PR agency specializing in branded entertainment. "It makes the story ring true."

Soon, product placement could merge with e-commerce itself. New object-tracking technology allows viewers to click an item in the shot of a TV show -- say, the cool cell phone at the lead character's ear -- and find more information about the product or even buy it with the remote control.

"The key is making it something the consumer really wants," said Scott Newnam, CEO of GoldPocket Interactive, which has been pitching its object-tracking technology to cable operators, who are keen to put their digital set-top boxes to interactive uses.

"It's about not making it intrusive," he said. "So far, the focus groups are terrific."

Newnam predicts that object tracking will be widely available to TV viewers by the end of 2006.

"All the technology is there," he said. "It just needs to be deployed."

The technology sector, whose products are often more difficult to explain in 30 seconds, may be especially suited to product placements that are integrated into story lines. After all, a lead character using a tech product can be an onscreen demo for an attentive audience.

"There's a big difference between having something on the table and having somebody talk about it in the scene," said Rizzuto. "You're almost getting an endorsement from that character."

Jeff Greenfield, executive vice president at 1st Approach, a Dover, New Hampshire-based marketing firm, has been shopping Black & Decker's new AutoTape product to TV writers. At the push of a button, the battery-driven AutoTape automatically extends and retracts a measuring tape.

"There's a comedy element to it," he said. "It could poke somebody. There could even be a sexual connotation. It's funny."

Greenfield noted that gadget makers are now sending piles of products to writers and producers to infiltrate their psyches during the all-important brainstorming sessions that determine plot lines for the new TV seasons.

Producers often work products into their stories without even asking for money or under barter arrangements. "Barter still rules the roost in Hollywood," said Ketchum's Owens.

For example, Cisco Systems, whose security-cum-video phones have appeared on 24, has provided networking technology to the show's production team for the past four years, according to Cisco. (The company would not discuss specifics of its product-placement deal.)

Marketers are also being careful not to go too far. "If it's not a true character in the story, people will see it for what it is," said Mark Hughes, CEO of Swarthmore, Pennsylvania-based Buzzmarketing.

Furthermore, "Hollywood is still very much a creative community," said Owens. "No actor or director is going to feel forced to put in a particular brand unless the dynamics of the business change considerably."

Of course, producers understand the game. And they are increasingly lining up sponsorships and product-placement deals before even approaching network honchos with new show ideas.

"That way, you're not trying to shove a show down their throats," said Greg Pate, executive producer at Dog Bite Productions. "You've already got sponsors."

In many cases, marketers can find themselves with the upper hand, especially when producers are trying to raise that last bit of money that could make the difference between the project being a go or not.

"They'll say, 'We're willing to do anything for that money,'" said Greenfield.

For example, a mobile-phone manufacturer might negotiate script changes to highlight its brand better.

"They might offer to work it into the script that (one of the characters) works at the cell-phone company," Greenfield said.


xepherys 08-30-2005 11:52 AM

Quote:

Originally Posted by ARTelevision
CSflim

Great question!

I try very hard to do that.
Do I succeed?
No, because it is not possible to think for oneself in the conventional sense.
I believe it's important not to be deluded.
With my conscious mind, I pose questions about thinking.
I use my thoughts against themselves because I do not trust them.

What I am able to do is to stop all thinking.
That's a hard-earned skill. I spent a lot of years working on it. When I am being myself I am not thinking thoughts.
When I am thinking, my thoughts are the type of thoughts that pose questions.
One of the most frequent questions I ask myself involves this topic.

How much of my thinking is controlled, influenced, manipulated by media?
My own personal answer is most, maybe ALL of it.

Ah, I disagree...

I think believe that you can think for yourself. And easily so. The basis behind which is to only accept input in two forms... educational and entertainment. Note that informational does not exist. In this sense, educational input is that which is a basis for further questioning. Any logistical thinker who believes they know an absoulte answer is not thinking logistically. All knowledge is only as valid as the supporting data. And supporting data changes, not only with the political winds, but also with new data. Therefore, what you know is only what you allow yourself to know... and even that should be taken with a grain of salt. If everything else is entertainment, and is not used in any way to shape or form your life, knowledge or opinions, then you do not leave a door for those who would to control your thoughts.

The most knowledgeable people are those who do not believe, but question. Philosophers make the greatest teachers. If you do not question what you are told as fact, then you are a sheep. If you believe nothing at all, you are nihilistic. If you question what you are told, and believe only what you are satisfied to beleive, you are enlightened. I choose the later!

anti fishstick 08-31-2005 11:13 PM

well I found an ad and immediately thought of this thread so I'll post it here...

http://bb.bebo.com/bb/large/20050822...458852355l.jpg

I was shocked by this ad but I guess Diesel uses the sex thing a lot in their ads. It definitely catches your attention..

barenakedladies 11-19-2005 06:59 AM

I find it interesting that overseas there is a LOT more nudity in advertising and people thing nothing of it.
Here in the states we equate nudity with sex and equate sex with "WRONG" and "BAD FOR THE CHILDREN"

But a naked body over there is a beautiful piece of art... and naked body here is "POLLUTION FOR OUR CHILDREN'S MINDS"

and people who complain about these things also use children way too often as their arguement. What about the children, what about the children. well... what about them?

If we condition them to think that nudity=sex=bad THATS the way they are going to think.

If i child grew up with nuidty all around them, it wouldnt phase them at all.

You can walk down a street in austria or germany and see breasts 50 feet high and luminous on a sign.

Here.. people freak out if they have animated nudity on family guy.

Cynthetiq 03-31-2006 07:08 AM

I have to remember that just the masses themselves can induce mind control. Groups of people have been influencing my thoughts these days more than normal.

ARTelevision 03-31-2006 07:34 AM

Yes - it takes most of a whole unique lifetime to make a dent in the unstoppable force called "peer pressure."

Then there's "social pressure."
I always find it amusing how self-described "rebels" think they avoid this one.

"Cultural pressure" is a nasty one too. Even worse is "subculture pressure."

*
Just a few examples of the many subtle commands we are very uncomfortable admitting we have succumbed to.

ubertuber 03-31-2006 07:53 AM

Nonconformity is the most difficult kind of conforming to watch.

Cynthetiq - thanks for reviving a great thread. This one's always good to go back to.

ngdawg 03-31-2006 08:05 AM

Do we succumb to cultural and societal pressures as the result of being brought up as 'good little obedient children', feelings of guilt if we rebel (might hurt someone's feelings, don'tcha know) or fear of being singled out?
I had a recent conversation with my mother about how, when she would go to my school conferences, she heard the same thing from first grade through seventh about me: "she's a very bright child, but very quietly, she does exactly what she wants, when she wants-she's rebellious in her own way and she doesn't apply herself to do as well as she could".
Obedience to peer pressure, cultural pressure could be measured in degrees. Of course, we don't walk the streets naked, but then there are those who think wearing a store's name across their chest is a status symbol. Do people drink Budweiser because they truly like it or feel the need to support their favorite driver or because their friends drink it?
For the past few years, red hair has been the color of choice. Growing up, it was just another reason to be singled out. Those of us with varying natural shades of red now look like nothing more than part of the mass fad and I know that I, myself, have to answer with a 'no, I DON'T color it' quite often and get the sometime urge to go pitch black or bright purple just to go against the grain a bit.
Ask someone why they chose what they did, and you get the 'because I liked it', but I don't feel that's the whole truth. It should be more of 'well, my friends have it, so, I liked what they did and I did it too". /me shudders

tangledweb 03-31-2006 08:16 AM

My 9 year old son had me beaming with pride after this conversation:

[Logan watching TV] "Dad, why can they do that?"

[Me]"Do what, son?"

[Logan]"Make that commercial like that"

[Me] "I don't understand what you mean"

[Logan] "well, I have that toy that they were showing, and it doesn't do any of that stuff. It isn't even fun"

[Me] "You already know the answer. What did we say that TV commercials are?"

[Logan] "People trying to make you buy something that you really don't need"

[Me] "Does that mean they can tell lies?"

[Logan] "I guess they can, because that commercial was a big fat lie."

I have spent time with both of my kids trying to explain advertising to them and they now have a basic understanding that Media will stop at nothing to bring you over to their way of thinking. I know that lots of people still don't consider that 'mind control' but it sure fits all the definitions that I know.

xepherys 03-31-2006 10:05 AM

I don't quite get a lot of these arguments. I don't try to be a rebel or work consciously to be different. I'm also not a "product of my environment" so much. I grew up with not a lot of money in a single-parent home. My dad was an alcoholic with a drug problem. My mom was a smoker with a drinking problem. Both worked blue-collar jobs as best as they could get. Neither went to college.

I, however, excelled in school. I thought for myself. I don't smoke (well, my hookah and occasional cigar, but not addiction smoking) or do drugs or even drink more than a drink or two a week, and not even always that. I work in a white collar job making decent money and trying to keep my family in the best working order it can be in.

I'm more or less the utter opposite of my parents, and so far in my life I've gone a completely different route. I see commercials on TV. The only thing they provide is either a) entertainment for funny ones, or b) annoyance for stupid ones. I don't buy, even subliminally based on commercials. I don't go out of my way to avoid it, but it just doesn't happen. If I need a new watch, I go to the mall, check out some stores, look for a watch I like. I don't go to store 'x' and buy watch brand 'y' because it was on TV, or is popular, or costs a lot. I buy what I like to look at. If it costs $5 and is made of cheap plastic (none of them are, but..) then great. If it costs $500 and I can afford it and it's what I want, then great! If I get it at the jewelry store or Meijer or Walmart makes no difference to me.

People like to blame advertising for their "bad" decisions, to go to McDonald's or drink Coke or whatever. Why is that? Because Americans, IMHO, either can't think for themselves (what this thread seems to be about) or can't take responsibility for what they do (what I believe is more accurate). Suing McDonald's for making you fat? Are you kidding me? If a commercial makes you go buy a Big Mac mega sized with an extra side of chicken nuggets, and you get fat... that's because you're too stupid to take care of yourself, not because McDonald's advertising is that good. *boggle*

What about sex on TV? As was noted early on in this thread, in Europe there are shows and commercials with naked people. It's art, it's beauty, it's natural. They also have far less (statistically) sexual-related crimes for the most part, and far less taboos on natural phenomena such as sex and nudity. Crazy! You mean people are actually BORN naked? It's a sin I tell ya! *grumble* But this is how Americans feel (even the "liberals" often have this view). Sex sells? Are you serious? So some sexy hot blonde chick talking about her tampon is going to make Tampex the next Microsoft or ExxonMobile? Guys don't buy them... and not all girls have bi-tendencies. Sex is jsut the status quo for commercials these days. I doubt there's any real evidence that it sells much of anything. It probably started with a few companies pushing the envelope to be different... now everyone does it and it's lame, not appealing.

Do I think most Americans are sheep? Yeah, probably! We've learned to not take reponsibility for ourselves or our actions. We tend to blame the government for our misfortunes, big business for keeping us poor, and other countries for dragging us into conflicts. I don't think you can have "mind control" without a sound-working mind in the skull.

ngdawg 03-31-2006 12:37 PM

Yes, we are sheep, at least those who don't make the conscious effort to not fall into traps.
We are a country totally pre-occupied with labelling. You're goth, you're yuppie, you're this or that. And commercialism preys on that. You're not hip if you're not wearing this or driving that. We have Jenny Craig, Curves, Bally Fitness, LA Fitness, Nutrisystems and carb fear, yet we're the fattest nation on earth. We have Aeropastale, Hollisters, Eddie Bauer, American Eagle and Abercrombie labels across our chests and over our ass cheeks, yet we bitch about money. Housing developments are nicknamed 'McMansions' and we go broke trying to buy a new beige house with the two-story foyer. There's only one thing these things have in common: a label that states 'status'.
Being someone who has all her life been called 'different' has its advantages-the main one being that my kids aren't falling into the trap of label-status. My daughter is just as rebellious against that as I am; other kids call her 'goth', but she's unique, definitely not the media-controlled version of it and gets mad over the labels.
I believe it was in this thread, I asked Artelevision why did he buy the truck he bought when there are cheaper ones: the simple reply: aesthetics. This should be our sole reason to purchase anything we need; its utilitarian and personally aesthetic reason. But sheep don't do that-they'd rather go into debt buying the BMW or fully loaded minivan, the beige-sided house and the latest style in sneakers and bitch about their money woes(there's a really good commercial about that, btw, just can't recall what it's for) than make the conscious decision to NOT follow the herd and be even more selfish by doing for themselves and their contentment while staying within their means.

Fly 03-31-2006 12:47 PM

fuckin' sheeple........


i drive a piece of shit 87 4x4......it has like 5 different colours on it,full of rust and is ugly as hell.

you think i care?.............fuck no!!!

when i do need a new one......it'll be one that i utilize in what i do everyday,not cuz of some some commercial tryin to sell thier product.

don't even try that shit with me...........i don't even watch tv anymore cuz "wait there's more.......you can get a....."

.........fuck off.


if people wouldn't give a shit of what other people think of them...they won't buy into this materialistic fucked up world we live in.


i feel really sorry for the next generation and younger kids...the poor children are getting hit the hardest......vulnerable minds and.....these fuckers just keep stuffing it down thier throats.

my kids are allowed a minimal amout of tv time.....i want them to get the hell outside and expierience life first hand.

go do something,learn it on your own....no need to let someone tell you how "it" should be.


i'm done


"do your chores now kids"

ngdawg 06-01-2006 11:36 AM

My fourteen year old daughter wrote this today as a school assignment. Yay, Catherine! :icare:


As a middle school student, I notice trends everyday of my life. Everyone looks like each other. Personally, I don’t get why anyone would want to follow trends, to be just like everyone else in school. School is drowning in sameness and the same thing over and over is boring. It’s like an ocean. How would you feel being surrounded by the same boring water for who-knows-how-long? That’s sameness. It’s a disease and apparently, it’s spreading quicker and quicker. I would rather be immune to it.
There’s so many ways to describe sameness; robots, dolls, etc. But one thing is for sure-I blame pop culture and Paris Hilton.
Everyday I walk through these halls. Every day, I see girls trying to be like the idols they see on TV or hear about online. They show off bodies that half the time should be kept to themselves. All the the time they should be kept to themselves, but don’t try to flaunt what you don’t have. Girls try to be just like Paris Hilton. They dumb themselves down, wear belly shirts, and skirts that would be better off as scarves of some sort. If I have to drown in a sea of sameness, couldn’t it at least be a more interesting sameness? I’d personally not like to enter school doors to an army of knock-off Paris Hiltons.
The guys in school are another story. Either they are all wearing giant shirt and baggy pants or polos.
A part of the Paris Hilton-pop culture trend is brand name-boys’ and girls’. Abercrombie, Hollister and American Eagle are brainwashing my peers, as well as all the other preppy mall stores or overly expensive companies. The way kids adore it is, actually, pretty depressing.
I’m sure they all have their reasons for following the trends. I only wish they were reasons worth hearing about. Apparently, if there was a war between originality and belonging, belonging would crush originality, judging by the majority of the kids.

ARTelevision 06-02-2006 05:12 AM

Thanks ng.

This is a wonderful piece.

I wonder how she came up with these ideas?

I'd like to believe many other kids are critically evaluating things.

*

(I must also imagine she still participates in her own versions of peer-pressured style and behavior. I've never met anyone who doesn't.)

Lady Sage 06-02-2006 06:06 AM

Many valid points have been raised here. Personally, I have not watched tv in 11 years, I listen to the radio only for storm warnings and ignore all sections of the paper with the exception of the funnies and the coupons my dear old mom saves for me. I have no need for senseless advertising nor do I desire to hear people crucifying someone for something they may or may not have done. Instead, I curl up with a nice book, do some crafts or continue to remodel my home.
I am one of those sick twisted individuals who can not wait for the world as we know it to go to *insert unpleasant place here* in a handbasket just to watch the masses and see what they do.
Just my 2 cents.

ngdawg 06-02-2006 09:40 AM

Quote:

Originally Posted by ARTelevision
Thanks ng.

This is a wonderful piece.

I wonder how she came up with these ideas?

I'd like to believe many other kids are critically evaluating things.

*

(I must also imagine she still participates in her own versions of peer-pressured style and behavior. I've never met anyone who doesn't.)

Not to toot my own horn, but I think she came up with those ideas through my influence. I too was the unique one, not catering to any specific look or group. The only difference between me and her is I was ostracized and extremely shy. She is accepted and very outgoing.
It also helped that we were never in a position to say 'ok' just because she and her brother wanted something. Two years ago, she DID want the namebrands until the little light went on and she, through my explanation, realized that that $25 tank top with 'Aeropostale' across it is no better than the $5 one at Walmart-why would I shell out money so she could advertise that company? Yes, she agreed, I won't be a walking billboard.
Her style is quite unique compared to those she is friends with and her circle of friends is extremely diverse, from the 'tomboy' to the 'rich girls' and everything in between.
Catherine now abhors namebrands across her chest; she'll buy plain jeans on sale then do things to them at home, whether draw in marker on them or rip holes and prefers simple black shirts, maybe with small designs. I've heard her music, ranging from Billy Idol to Emo to rap. She'd rather read than watch tv;she devours books like cookies.
She gets called 'goth' at school which upsets her-she happens to be extremely fairskinned with almost black hair and prefers dark clothes, but labels make her angry and she's far from the 'goth' criteria.
It can't be easy for any 14 year-old now. Namebrands, celebrity idolization,
100 cable channels of commercials, the internet, all bombarding them with ideas of what they 'should' look like or 'should' act like. Thirty-plus years ago, no one wore a brand across a hoodie, now they expect you to pay dearly for it. We had magazines and movies. That was it.
I'm proud of Catherine's ability to withstand media pressure and do exactly what she feels is right for herself and I will continue to nourish that level of thought in her.

powerclown 06-02-2006 10:39 AM

I love this thread!

What does it imply...to be different?
What does it imply...to be the same?

Aren't prisons, office buildings, asylums, graveyards, factories, bars, restaurants, hotels, neighborhoods, hospitals, salons, brothels, studios, universities, movie houses, etc...filled with "strange", "different", "unique" individuals? What does this say to the various adjectives we assign people?

Is Rebellion inherently positive/negative?
Is Conformity inherently positive/negative?
Is Inspiration inherently positive/negative?
Is The Mundane inherently positive/negative?
Is Vanity inherently positive/negative?

:crazy:

ARTelevision 06-02-2006 11:11 AM

Good questions. Thanks powerclown.

I can't answer them.

For myself, I know the problem is that I can do nothing other than delude myself and participate in enough socio-cultural illusion and conformity to survive in this world. I suppose the issue has to do with the degree of self-critical awareness we can bring to bear on the subject at hand...

I do not see a way out of the situation though.
It seems to me the problem is with our brains and the way they work - or don't work. They are engines of self-delusion.

ngdawg 06-02-2006 11:49 AM

Quote:

Originally Posted by powerclown
I love this thread!

What does it imply...to be different?
What does it imply...to be the same?

Aren't prisons, office buildings, asylums, graveyards, factories, bars, restaurants, hotels, neighborhoods, hospitals, salons, brothels, studios, universities, movie houses, etc...filled with "strange", "different", "unique" individuals? What does this say to the various adjectives we assign people?

Is Rebellion inherently positive/negative?
Is Conformity inherently positive/negative?
Is Inspiration inherently positive/negative?
Is The Mundane inherently positive/negative?
Is Vanity inherently positive/negative?

:crazy:

I don't think any can be inherently or absolutely positive or negative. Rebellion to what degree, for example? Not wearing red on Valentine's Day (I always hated those types of things) or total rebellion against authority?
A degree of conformity is needed in the business world and academia; on the other hand, working in an office of grey-suited, metal rimmed eyeglass wearing people would probably cause some insanity to set in. ;)

As someone who was always pointed out for being 'different', it's a mental tug of war in many ways of wanting to remain unique going against the desire to be as 'beautiful' or as 'talented' as those around me. And I find that when in one place too long, the 'uniqueness' begins to grate on some, when in the beginning, it was an attribute.
But who or what am I different from? Why are some people labelled 'weird'? And many times by those who could be considered equally 'weird' or different.
The struggle to find uniqueness from the masses is probably inherent to most of us. The problem lies in media telling us what's different, and us buying into that formula because we're only given so many choices to show our 'uniqueness'. I kind of like my daughter's take on it-buy the stuff that's there, take it home, and creatively destroy it to match our vision(I've done it with my car). From sneakers to jeans to tshirts to cars, taking what is offered and making it uniquely our own is a good way to start.

powerclown 06-02-2006 12:23 PM

I wrote out a longer, rambling paragraph, but I'll just post this for the sake of the spirit of this compelling thread. Suffice it to say that bringing people's "blind spots" to their attention usually elicits an uncomfortable emotional response.

One last question if you please: What about those in charge of Mass Media, those who "dream the dreams"? Are they exempt from this type of control, or no?

Thanks ART.

powerclown 06-02-2006 12:43 PM

Quote:

Originally Posted by ngdawg
I don't think any can be inherently or absolutely positive or negative. Rebellion to what degree, for example? Not wearing red on Valentine's Day (I always hated those types of things) or total rebellion against authority?
A degree of conformity is needed in the business world and academia; on the other hand, working in an office of grey-suited, metal rimmed eyeglass wearing people would probably cause some insanity to set in. ;)

As someone who was always pointed out for being 'different', it's a mental tug of war in many ways of wanting to remain unique going against the desire to be as 'beautiful' or as 'talented' as those around me. And I find that when in one place too long, the 'uniqueness' begins to grate on some, when in the beginning, it was an attribute.
But who or what am I different from? Why are some people labelled 'weird'? And many times by those who could be considered equally 'weird' or different.
The struggle to find uniqueness from the masses is probably inherent to most of us. The problem lies in media telling us what's different, and us buying into that formula because we're only given so many choices to show our 'uniqueness'. I kind of like my daughter's take on it-buy the stuff that's there, take it home, and creatively destroy it to match our vision(I've done it with my car). From sneakers to jeans to tshirts to cars, taking what is offered and making it uniquely our own is a good way to start.

I think it's a matter of personal preference and taste...I've always enjoyed projecting the appearance of "conservative-ness". There is something intriguing to me about playing to the largest common denominator. When I see someone trying to be "different", my first thought is "This person is simply the same as the others in trying to appear different." For me, I get a thrill in discovering something cool and interesting behind the ordinary and mundane exterior. This goes for other things beside people. Ordinary looking restaurant serving great food, super-comfortable, unremarkable looking shoes, a simple, elegant photograph, a killer old fishing rod. Discovering the wolf in sheep's clothing, so to speak.

ngdawg 06-03-2006 08:05 AM

Quote:

Originally Posted by powerclown
I think it's a matter of personal preference and taste...I've always enjoyed projecting the appearance of "conservative-ness". There is something intriguing to me about playing to the largest common denominator. When I see someone trying to be "different", my first thought is "This person is simply the same as the others in trying to appear different." For me, I get a thrill in discovering something cool and interesting behind the ordinary and mundane exterior. This goes for other things beside people. Ordinary looking restaurant serving great food, super-comfortable, unremarkable looking shoes, a simple, elegant photograph, a killer old fishing rod. Discovering the wolf in sheep's clothing, so to speak.

I sort of do the same thing, but not consciously in order to 'project' and thereby influence a first impression. I do get many comments from friends, knowing my avocation and commenting that no one would ever guess what I do by just seeing me in public, but not because I play myself down-more that I play myself UP when engaging in it.
A good example of what we choose to project is what car we choose to drive.
I chose one not even available at dealerships at the time; it had to be ordered and waited on for months. The choice was a mix of pure aesthetics and cost. Only after receiving it did I find it to be totally fun and utilitarian as well. There was little if any advertising for it then. (I found it in an auto guide)
Belonging to a group made up of about 98% bikers has shown me a LOT about appearance vs ingrained, influenced perceptions and how erroneous those perceptions can become. Leather-vested, covered in MC patches, riding huge Harleys in groups of 50 or more gets most people thinking 'outlaw',
people to be 'feared'. Marlon Brando in "The Wild Ones", when asked, "what are you rebelling against?", replying, "What've ya got?" You don't think 'lawyers, accountants, IT guys, cops', but in reality, that's who they are.
I believe it's GMAC that runs print ads that show people in various walks of life dreaming of a car totally unlike their outward appearance; the 'biker dude' wants a minivan, the old lady wants a Corvette, etc.
I think the hardest part of dealing with perception is rejecting what has literally been beaten into our brains by media influence and 'they' continue to do it right down into the news. Would it be as newsworthy if some Godfearing middle Americans took to countering fanatical anti-military protestors or is it more newsworthy because the ones that are doing the countering are leatherclad gruff-looking bikers? Would Paris Hilton be on tv at all if she was a slightly overweight brunette with a Harvard degree?

Cynthetiq 07-17-2006 06:24 AM

advertising on my eggs.... jeez.

Quote:

July 17, 2006
Advertising
LINK
For CBS’s Fall Lineup, Check Inside Your Refrigerator
By DAVID S. JOACHIM
IN September, CBS plans to start using a new place to advertise its fall television lineup: your breakfast.

The network plans to announce today that it will place laser imprints of its trademark eye insignia, as well as logos for some of its shows, on eggs — 35 million of them in September and October. CBS’s copywriters are referring to the medium as “egg-vertising,” hinting at the wordplay they have in store. Some of their planned slogans: “CSI” (“Crack the Case on CBS”); “The Amazing Race” (“Scramble to Win on CBS”); and “Shark” (“Hard-Boiled Drama.”). Variations on the ad for its Monday night lineup of comedy shows include “Shelling Out Laughs,” “Funny Side Up” and “Leave the Yolks to Us.”

George Schweitzer, president of the CBS marketing group, said he was hoping to generate some laughter in American kitchens. “We’ve gone through every possible sad takeoff on shelling and scrambling and frying,” he said, adding, “It’s a great way to reach people in an unexpected form.”

Newspapers, magazines and Web sites are so crowded with ads for entertainment programming that CBS was ready to try something different, Mr. Schweitzer said. The best thing about the egg concept was its intrusiveness.

“You can’t avoid it,” he said. He liked the idea so much that he arranged for CBS to be the only advertiser this fall to use the new etching technology. •The CBS ads are the first to use imprinting technology developed by a company called EggFusion, based in Deerfield, Ill. Bradley Parker, who founded the company, wanted to reassure shoppers that egg producers were not placing old eggs in new cartons, so he developed a laser-etching technique to put the expiration date directly on an egg during the washing and grading process.

EggFusion, which was founded in 2001, started production last year with one egg company, Radlo Foods, which has since produced 30 million Born Free brand farm-raised eggs with etching. In May, EggFusion landed its first large grocery chain, A.& P., which will use the imprints on 400,000 America’s Choice conventional eggs sold each day in A.& P., Waldbaum’s, Food Emporium and Super Fresh stores from Connecticut to Maryland. Mr. Parker, whose family runs a chicken farm in North Carolina, knew that the way to get egg producers to cooperate was to make it worth their while. His answer was advertising on eggs.

“It’s unlike any other ad medium in the world, because you are looking at the medium while you are using it,” he says.

Egg producers, distributors and retailers all share in the ad revenue. EggFusion is selling the ads on its own, but plans to enlist the help of advertising agencies, company executives said.

As EggFusion sees it, consumers look at a single egg shells at least a few times: when they open a carton in the store to see if any eggs are cracked, if they transfer them from the carton to the refrigerator, and when they crack them open.

Mr. Parker said the destination of eggs was tracked so precisely that he envisioned being able to offer localized advertising, even aiming at specific ZIP codes, to promote events like local food festivals and concerts. He is setting aside a portion of the ads for charities, too, he said. The imprint is applied in the packaging plant, as the eggs are washed, graded and “candled,” or inspected for flaws, when the eggs are held by calipers and moved along a production line at 225 feet a minute. Right before an egg is packaged, laser light is applied to the shell, giving it the etching. Each imprint takes 34 milliseconds to 73 milliseconds, so the processing of eggs is not appreciably slowed down, Mr. Parker said.

The etching is ultrathin, to a depth of 50 to 90 micrometers, or 5 percent of the shell’s thickness. The imprint cannot be altered without breaking the shell, Mr. Parker said, in contrast to Europe, where ink is used to apply expiration dates on eggs.

“Ink is alcohol dye, so it can be wiped off. And ink splatters,” he said.

•A similar process to EggFusion’s has been used on a limited scale in the United States with fruits and vegetables, but mostly for replacing the price stickers used by grocers to track inventory and ring up an order.

It is not clear how commonly old eggs are placed in new cartons to appear fresher than they are. Repackaging is illegal, said Al Pope, president of the United Egg Producers industry group, and he says he believes it is rarely done. However, “If a consumer feels that having a date on the egg has some value, then it’s up to the consumer,” he said. “We believe in choices.”

Shaun M. Emerson, EggFusion’s chief executive, said: “I’m not sure you could ever know” how often repackaging old eggs occurs.

EggFusion has technicians assigned to each egg plant, and it owns the equipment and the freshness data, to ensure that no tampering occurs, the company’s executives said.

The eggs also carry a code that can be checked on a Web site, www.myfreshegg.com, to find out where the egg originated, the date it left the plant and the names of the distributor and retailer.

Both Radlo and A.& P. pay for the etchings — they will not say how much — but because A.& P.’s eggs will carry the CBS ads, it will also share in the ad revenue. But is egg-vertising an idea with staying power, or will the novelty expire after a few dozen bad puns?

“At this point it’s too early to tell,” Mr. Schweitzer of CBS acknowledges. “I think it’s like you know good ideas when you see them.”

the puns are just tiresome already...

ngdawg 07-17-2006 07:18 AM

I think someone's got scrambled eggs for brains on that one....
The paranoid would just freak opening a carton of eggs to see a dozen eyes staring back at them (giggle).
I think they should do this instead: Implant a die with the CBS eye into their chickens' vaginas or whatever chickens have and as the eggs develop and pass through, they're stamped with the logo. Think of the time saving!!

xepherys 07-17-2006 08:27 AM

Quote:

Originally Posted by ngdawg
I think someone's got scrambled eggs for brains on that one....
The paranoid would just freak opening a carton of eggs to see a dozen eyes staring back at them (giggle).

I was thinking it'd be even better if the eyes glowed in the dark, but you won't likely see egss in the dark much. Still, pretty funny thing to envision...

tangledweb 11-15-2006 09:27 PM

An entire US Election season passed and not a single new post here in MM/MC. How sad. Let's get back at it because there is truly no better example of Mind Control than the US Political Process!

Did anyone notice the upped ante on the Mud-slinging ads this year. This year, for the first time I can remember, I saw commericals that were 100% hack/slash with no positive affirmations whatsoever. I'm sure there have been a few before but I couldn't get over the fact that so many political commercials now don't even advertise their candidates - they just tell you what a slimeball/douchebag the other guy is and then let our wonderful bi-partisan system take control.

I really watch very little TV and take no printed news media but I still couldn't get away from it. Now that the internet has become a primary news outlet for many people, it is more difficult than ever to avoid getting 'paid for' notions of who should be elected and who should not. Having said that, here is my question:

How do you stay 'fair and impartial' and avoid being swayed by paid advertising? Is there such a thing as an 'unbiased' opinion in this day? Do you research your own candidates? Do you trust certain groups to feed candidates records to you? Do you vote for a candidate if you don't know the difference? Basically, I am interested in how you form your opinions on voting more than the actual politics.

Cynthetiq 11-28-2006 06:42 PM

a blog I started reading had this and found this nytimes article because of it:

Quote:

According to new market research published in the New York Times, Americans are continually mentioning brands in everyday conversations.
A typical example cited in the story was a 29 year-old grad student who mentioned 17 brands in 21 conversations in the course of 1 day.

The article lists the average number of times consumers mention a specific brand in various categories each week. Media and entertainment (primarily movies and television) are mentioned 8.6 times per week, food and dining 7.5 times, travel services 6.6 times shopping and retail 6.5 and automotive brands are mentioned 5.6 times per week.

While you probably don’t have the time to keep track yourself, ask a family member or friend to keep track of their conversations for a few days it wouldn’t take long to confirm the results of the18,000 consumer diaries used for the study.

In the meantime, remember that every customer contact becomes fodder for the word-of-mouth gristmill. Make sure your employees understand this and keep it in mind every time a customer calls, writes or walks in the door. While you can’t control what someone says about your business, you have nearly total control of how you do business and treat your customers.
Quote:

November 24, 2006
Advertising
What We Talk About When We Talk About Brands
By LOUISE STORY
One day last June, a 29-year-old graduate student in South Dakota had more than 21 conversations as she scurried through her day. She discussed Donald Trump’s wealth with her boyfriend and suggested to her best friend that she should audition for “The Apprentice.” Old Navy clothes, she complained, were cut rather large. And during a phone conversation, she told her mother she would really like her to buy more Crystal Light rather than Coke. During the course of this daily chatter, the woman discussed 17 brands.

Consumer brand companies have long wished they could find a way to eavesdrop (legally) on customer conversations. Marketers can easily read Internet blogs, chat rooms and social networking sites, but what people say over coffee or across their cubicle remains largely unknown.

“The majority of word-of-mouth happens in areas devoid of microphones or cameras or any other means of actually tracking conversations,” said Jamie Tedford, senior vice president of media and marketing innovation for Arnold Worldwide, an advertising agency owned by Havas. “It’s the biggest challenge in the industry.”

A new word-of-mouth research firm, the Keller Fay Group, is attempting to demystify chatter in the offline world. Since April, the firm has interviewed 100 different people a day, including the South Dakota graduate student. In return, the participants receive points that can be redeemed at places like stores and restaurants.

Keller Fay asks people to keep a diary of conversations that mention products or brands and later asks them to recount details. Six months and more than 18,000 people later, Keller Fay is marketing its data to companies as a unique window into consumers’ heads.

“When you talk about engagement, as a lot of marketers are, people talking about your brand is the ultimate engagement,” said Ed Keller, the chief executive of Keller Fay and also president of the Word of Mouth Marketing Association.

Word-of-mouth marketing has grown in popularity in recent years. But most of it focuses on generating buzz among consumers — often by distributing free products. Keller Fay aims to understand what customers are saying on their own.

On average, Keller Fay finds that people discuss about a dozen brands each day. The most discussed brands are media and entertainment products like movies, TV shows and publications. But many people also discuss food products, travel brands and stores. Target, K-Mart, Sears, J. C. Penney, Gap, Victoria’s Secret and Wal-Mart rank among the retailers most frequently mentioned.

More often than not, people have positive things to say about products, usually after being asked for a recommendation, Mr. Keller said. People most often say positive things about personal care and household products. The most often criticized are financial services firms and telecommunications companies.

The diaries, while often brief, provide a glimpse of the world that might be useful to sociologists and future historians. Wal-Mart figures prominently.

A 44-year-old woman in Ohio said in her diary: “We refilled my prescription and then went shopping for a new grill at Wal-Mart.” A Michigan woman in her mid-60s said she chatted about Wal-Mart over lunch one day when her friend was “showing off her cheap purse.”

In upstate New York, a 21-year-old woman went shopping at Wal-Mart for “the new baby.” And, in April, a 41-year-old woman in North Carolina said, “let’s go to Wal-Mart to get your stuff for Iraq.”

While some people said they wished Wal-Mart would stop opening more stores, others defended the discount retailer. A 42-year old man from northern California said, “the anti-Wal-Mart people are missing the big picture.”

Those who listen in on conversations should be willing to tolerate criticism. Many companies avoid hearing what customers are saying because they do not want to hear complaints, said Todd Tweedy, chief executive of BoldMouth, a word-of-mouth marketing agency in Charlottesville, Va. “Some advertisers just aren’t ready to be more customer-facing,” Mr. Tweedy said.

BoldMouth has joined with a software company, BuzzLogic, to create a product available in January that will help companies monitor what people say about them on Internet sites. Tracking consumer chatter, though, does not always provide companies with solutions, said Heather Dougherty, senior retail analyst for Nielsen/NetRatings.

“Everyone knows that word of mouth is important, and it’s something that goes on all the time,” Ms. Dougherty said. “But being able to really harness it can be very difficult.”

Word-of-mouth research shows that ads do generate consumer attention. About half of the people who mention products also mention an ad, promotion or article they saw about that company. People say, though, that their conversations with their friends are more credible than advertisements.

Product mentions come up seamlessly in Keller Fay’s records. When people were not busy proclaiming, “I love my iPod,” they were often debating whether young people really need iPods. One 14-year-old boy noted that he wanted a green or silver iPod, but he had to have his name on the back, “just in case it gets stolen.”

The cost of a gallon of milk led a 41-year-old mother in Flint, Mich., to say that “the kids prefer Kraft cheese, particularly macaroni and cheese.” A 21-year-old woman in Pennsylvania talked about a Kraft online fitness and meal plan.

Many consumers keep it simple when discussing brands. In Michigan, an 18-year-old man said last spring: “Easy Mac is good and fast.” But sometimes larger and more complex issues come into play. In May, a 45-year-old woman in Pennsylvania started talking with a co-worker about Kraft and ended up discussing “the pros and cons of genetically modified foods and the lack of accountability of these companies to educate the consumers of our country.”

Mr. Keller said that companies could use word-of-mouth research to guide their advertising process. For example, he said, Keller Fay recently ran a search through a database of diary entries for a luxury goods company to see what consumers were saying about it. It turned out that people with high incomes were not talking about the brand, but people who made less money were talking about it a lot. The luxury goods company, which Mr. Keller would not identify, now plans to refocus its advertisements to reach wealthier customers.
Interesting I'll have to pay attention to how many "brands" I speak during the day. Being with a media company we talk brand all day long...

ngdawg 11-28-2006 07:12 PM

Interesting. I never noticed if I do that or not. Then again, I work retail, so maybe I do there.
In one of my graphics classes, the teacher claimed we are hit with over 1,000 brand names/advertisements a day, from the coffee on your desk to a keychain. Sneakers, coffee cups, the local candy store, that little leather patch on your jeans....

Cynthetiq 12-04-2006 12:00 PM

Quote:

December 04, 2006

Kids see too many anti-impotence ads: doctors



By Andrew Stern
LINK
CHICAGO (Reuters) - Children should be exposed to fewer television ads for anti-impotence drugs and more for birth control, and need to be shielded from an advertising onslaught in general, the leading U.S. pediatricians' group said on Monday.

The American Academy of Pediatrics, in a new policy statement, urged doctors, parents, legislators and regulators to limit children's viewing of television and access to the Internet, move some TV ads to later hours after bedtime, and restrict how alcoholic beverage makers promote their products.

"If we taught kids media literacy, you can essentially immunize kids against advertising," said statement author Dr. Victor Strasburger, a pediatrician at the University of New Mexico in Albuquerque.

The average American child is bombarded by 40,000 product advertisements a year in all media ranging from television to billboards created by the $250 billion U.S. advertising industry, said Strasburger, adding that children younger than 8 years are especially gullible.

He said advertisers and broadcasters bear a responsibility to teach and not just exploit child consumers.

"We'd like to see more birth control ads," Strasburger said, "and less ads for erectile dysfunction drugs because it makes sex seem like a recreational activity."

He said there was no evidence that advertising birth control products would increase promiscuity.

The pediatricians group urged the U.S. Congress or government regulators to restrict the airing of erectile dysfunction drug ads until after 10 p.m. when fewer children are watching television.

"I would like to see parents energized and more sensitive to the impact of media on kids," Strasburger said. "If they observed (American Academy of Pediatrics) guidelines to allow children no more than two hours of entertainment media a day, that alone would limit exposure."

Studies have shown a direct relationship between advertising exposure and youths who try smoking or drinking alcohol, he said.

Children who watch more television -- presumably exposing them to ads for fast food, snacks, soft drinks and candy -- are more likely to be obese, although no studies show a direct correlation between advertising and obesity, he said.

"If we can make the airwaves healthier, and make advertising healthier, then it makes more sense than putting 50 million children on a diet," Strasburger said.

An advertising-industry spokesman said food companies and advertisers already have responded to the obesity epidemic by promoting healthier products and by following recently revised guidelines for commercials directed at children.

"It's not like the industry is out there ignoring this," said Jim Davidson of the Advertising Coalition. "Everyone in the food industry knows we have a challenge in childhood obesity."

Tobacco and hard liquor have long been restricted from advertising on television and Davidson noted brewers have pledged not to advertise on TV programs where children make up more than half of viewers.

The statement, published in the academy's journal Pediatrics, also sought to limit televised ads for alcoholic beverages to show just the product and not bikini-clad women or cartoon characters, and to ban tobacco advertising of any kind.

Australia has banned all tobacco advertising, Strasburger said, and Sweden and Norway have barred TV ads directed at children aged 12 years or younger.
I didn't ever think about this... quite interesting insights.

hmmm interesting to see yet another article about kid fears...

Quote:

Study: Tobacco promotions in ads, films snare youth
By Reuters | December 4, 2006

Hundreds of thousands of youngsters under the age of 18 start using tobacco each year as a direct result of it being featured in films, videos, advertising and give-away samples, a report said Monday.

Such exposure more than doubles the odds that any given youth will become a tobacco user, said the report from the University of Massachusetts Medical School and Fitchburg State College in Massachusetts.

"A ban on all tobacco promotions is warranted to protect children," concluded the study published in the Archives of Pediatrics and Adolescent Medicine.

It was based on an analysis of 51 studies conducted since 1981 covering 141,949 people. It examined exposure to tobacco advertising, promotions and cigarette samples, as well as pro-tobacco depictions in films, television and videos.

"Approximately 1.4 million children under age 18 in the U.S. begin smoking cigarettes each year, and half of these do so as a direct result of their exposure to tobacco advertising," said Dr. Robert Wellman, a co-author of the study.

Wellman said advertising today "fills the pages of magazines whose youth readership exceeds 20 percent, and tobacco use in movies is as pervasive as it was in the 1950s." REUTERS
bostonglobe.com

Cynthetiq 12-26-2006 10:46 AM

Now this is a really interesting article from the NYTimes.com
Quote:

December 24, 2006
What’s Wrong With Cinderella?
By PEGGY ORENSTEIN
I finally came unhinged in the dentist’s office — one of those ritzy pediatric practices tricked out with comic books, DVDs and arcade games — where I’d taken my 3-year-old daughter for her first exam. Until then, I’d held my tongue. I’d smiled politely every time the supermarket-checkout clerk greeted her with “Hi, Princess”; ignored the waitress at our local breakfast joint who called the funny-face pancakes she ordered her “princess meal”; made no comment when the lady at Longs Drugs said, “I bet I know your favorite color” and handed her a pink balloon rather than letting her choose for herself. Maybe it was the dentist’s Betty Boop inflection that got to me, but when she pointed to the exam chair and said, “Would you like to sit in my special princess throne so I can sparkle your teeth?” I lost it.

“Oh, for God’s sake,” I snapped. “Do you have a princess drill, too?”

She stared at me as if I were an evil stepmother.

“Come on!” I continued, my voice rising. “It’s 2006, not 1950. This is Berkeley, Calif. Does every little girl really have to be a princess?”

My daughter, who was reaching for a Cinderella sticker, looked back and forth between us. “Why are you so mad, Mama?” she asked. “What’s wrong with princesses?”



Diana may be dead and Masako disgraced, but here in America, we are in the midst of a royal moment. To call princesses a “trend” among girls is like calling Harry Potter a book. Sales at Disney Consumer Products, which started the craze six years ago by packaging nine of its female characters under one royal rubric, have shot up to $3 billion, globally, this year, from $300 million in 2001. There are now more than 25,000 Disney Princess items. “Princess,” as some Disney execs call it, is not only the fastest-growing brand the company has ever created; they say it is on its way to becoming the largest girls’ franchise on the planet.

Meanwhile in 2001, Mattel brought out its own “world of girl” line of princess Barbie dolls, DVDs, toys, clothing, home décor and myriad other products. At a time when Barbie sales were declining domestically, they became instant best sellers. Shortly before that, Mary Drolet, a Chicago-area mother and former Claire’s and Montgomery Ward executive, opened Club Libby Lu, now a chain of mall stores based largely in the suburbs in which girls ages 4 to 12 can shop for “Princess Phones” covered in faux fur and attend “Princess-Makeover Birthday Parties.” Saks bought Club Libby Lu in 2003 for $12 million and has since expanded it to 87 outlets; by 2005, with only scant local advertising, revenues hovered around the $46 million mark, a 53 percent jump from the previous year. Pink, it seems, is the new gold.

Even Dora the Explorer, the intrepid, dirty-kneed adventurer, has ascended to the throne: in 2004, after a two-part episode in which she turns into a “true princess,” the Nickelodeon and Viacom consumer-products division released a satin-gowned “Magic Hair Fairytale Dora,” with hair that grows or shortens when her crown is touched. Among other phrases the bilingual doll utters: “Vámonos! Let’s go to fairy-tale land!” and “Will you brush my hair?”

As a feminist mother — not to mention a nostalgic product of the Grranimals era — I have been taken by surprise by the princess craze and the girlie-girl culture that has risen around it. What happened to William wanting a doll and not dressing your cat in an apron? Whither Marlo Thomas? I watch my fellow mothers, women who once swore they’d never be dependent on a man, smile indulgently at daughters who warble “So This Is Love” or insist on being called Snow White. I wonder if they’d concede so readily to sons who begged for combat fatigues and mock AK-47s.

More to the point, when my own girl makes her daily beeline for the dress-up corner of her preschool classroom — something I’m convinced she does largely to torture me — I worry about what playing Little Mermaid is teaching her. I’ve spent much of my career writing about experiences that undermine girls’ well-being, warning parents that a preoccupation with body and beauty (encouraged by films, TV, magazines and, yes, toys) is perilous to their daughters’ mental and physical health. Am I now supposed to shrug and forget all that? If trafficking in stereotypes doesn’t matter at 3, when does it matter? At 6? Eight? Thirteen?

On the other hand, maybe I’m still surfing a washed-out second wave of feminism in a third-wave world. Maybe princesses are in fact a sign of progress, an indication that girls can embrace their predilection for pink without compromising strength or ambition; that, at long last, they can “have it all.” Or maybe it is even less complex than that: to mangle Freud, maybe a princess is sometimes just a princess. And, as my daughter wants to know, what’s wrong with that?



The rise of the Disney princesses reads like a fairy tale itself, with Andy Mooney, a former Nike executive, playing the part of prince, riding into the company on a metaphoric white horse in January 2000 to save a consumer-products division whose sales were dropping by as much as 30 percent a year. Both overstretched and underfocused, the division had triggered price wars by granting multiple licenses for core products (say, Winnie-the-Pooh undies) while ignoring the potential of new media. What’s more, Disney films like “A Bug’s Life” in 1998 had yielded few merchandising opportunities — what child wants to snuggle up with an ant?

It was about a month after Mooney’s arrival that the magic struck. That’s when he flew to Phoenix to check out his first “Disney on Ice” show. “Standing in line in the arena, I was surrounded by little girls dressed head to toe as princesses,” he told me last summer in his palatial office, then located in Burbank, and speaking in a rolling Scottish burr. “They weren’t even Disney products. They were generic princess products they’d appended to a Halloween costume. And the light bulb went off. Clearly there was latent demand here. So the next morning I said to my team, ‘O.K., let’s establish standards and a color palette and talk to licensees and get as much product out there as we possibly can that allows these girls to do what they’re doing anyway: projecting themselves into the characters from the classic movies.’ ”

Mooney picked a mix of old and new heroines to wear the Pantone pink No. 241 corona: Cinderella, Sleeping Beauty, Snow White, Ariel, Belle, Jasmine, Mulan and Pocahontas. It was the first time Disney marketed characters separately from a film’s release, let alone lumped together those from different stories. To ensure the sanctity of what Mooney called their individual “mythologies,” the princesses never make eye contact when they’re grouped: each stares off in a slightly different direction as if unaware of the others’ presence.

It is also worth noting that not all of the ladies are of royal extraction. Part of the genius of “Princess” is that its meaning is so broadly constructed that it actually has no meaning. Even Tinker Bell was originally a Princess, though her reign didn’t last. “We’d always debate over whether she was really a part of the Princess mythology,” Mooney recalled. “She really wasn’t.” Likewise, Mulan and Pocahontas, arguably the most resourceful of the bunch, are rarely depicted on Princess merchandise, though for a different reason. Their rustic garb has less bling potential than that of old-school heroines like Sleeping Beauty. (When Mulan does appear, she is typically in the kimonolike hanfu, which makes her miserable in the movie, rather than her liberated warrior’s gear.)

The first Princess items, released with no marketing plan, no focus groups, no advertising, sold as if blessed by a fairy godmother. To this day, Disney conducts little market research on the Princess line, relying instead on the power of its legacy among mothers as well as the instant-read sales barometer of the theme parks and Disney Stores. “We simply gave girls what they wanted,” Mooney said of the line’s success, “although I don’t think any of us grasped how much they wanted this. I wish I could sit here and take credit for having some grand scheme to develop this, but all we did was envision a little girl’s room and think about how she could live out the princess fantasy. The counsel we gave to licensees was: What type of bedding would a princess want to sleep in? What kind of alarm clock would a princess want to wake up to? What type of television would a princess like to see? It’s a rare case where you find a girl who has every aspect of her room bedecked in Princess, but if she ends up with three or four of these items, well, then you have a very healthy business.”

Every reporter Mooney talks to asks some version of my next question: Aren’t the Princesses, who are interested only in clothes, jewelry and cadging the handsome prince, somewhat retrograde role models?

“Look,” he said, “I have friends whose son went through the Power Rangers phase who castigated themselves over what they must’ve done wrong. Then they talked to other parents whose kids had gone through it. The boy passes through. The girl passes through. I see girls expanding their imagination through visualizing themselves as princesses, and then they pass through that phase and end up becoming lawyers, doctors, mothers or princesses, whatever the case may be.”

Mooney has a point: There are no studies proving that playing princess directly damages girls’ self-esteem or dampens other aspirations. On the other hand, there is evidence that young women who hold the most conventionally feminine beliefs — who avoid conflict and think they should be perpetually nice and pretty — are more likely to be depressed than others and less likely to use contraception. What’s more, the 23 percent decline in girls’ participation in sports and other vigorous activity between middle and high school has been linked to their sense that athletics is unfeminine. And in a survey released last October by Girls Inc., school-age girls overwhelmingly reported a paralyzing pressure to be “perfect”: not only to get straight A’s and be the student-body president, editor of the newspaper and captain of the swim team but also to be “kind and caring,” “please everyone, be very thin and dress right.” Give those girls a pumpkin and a glass slipper and they’d be in business.



At the grocery store one day, my daughter noticed a little girl sporting a Cinderella backpack. “There’s that princess you don’t like, Mama!” she shouted.

“Um, yeah,” I said, trying not to meet the other mother’s hostile gaze.

“Don’t you like her blue dress, Mama?”

I had to admit, I did.

She thought about this. “Then don’t you like her face?”

“Her face is all right,” I said, noncommittally, though I’m not thrilled to have my Japanese-Jewish child in thrall to those Aryan features. (And what the heck are those blue things covering her ears?) “It’s just, honey, Cinderella doesn’t really do anything.”

Over the next 45 minutes, we ran through that conversation, verbatim, approximately 37 million times, as my daughter pointed out Disney Princess Band-Aids, Disney Princess paper cups, Disney Princess lip balm, Disney Princess pens, Disney Princess crayons and Disney Princess notebooks — all cleverly displayed at the eye level of a 3-year-old trapped in a shopping cart — as well as a bouquet of Disney Princess balloons bobbing over the checkout line. The repetition was excessive, even for a preschooler. What was it about my answers that confounded her? What if, instead of realizing: Aha! Cinderella is a symbol of the patriarchal oppression of all women, another example of corporate mind control and power-to-the-people! my 3-year-old was thinking, Mommy doesn’t want me to be a girl?

According to theories of gender constancy, until they’re about 6 or 7, children don’t realize that the sex they were born with is immutable. They believe that they have a choice: they can grow up to be either a mommy or a daddy. Some psychologists say that until permanency sets in kids embrace whatever stereotypes our culture presents, whether it’s piling on the most spangles or attacking one another with light sabers. What better way to assure that they’ll always remain themselves? If that’s the case, score one for Mooney. By not buying the Princess Pull-Ups, I may be inadvertently communicating that being female (to the extent that my daughter is able to understand it) is a bad thing.

Anyway, you have to give girls some credit. It’s true that, according to Mattel, one of the most popular games young girls play is “bride,” but Disney found that a groom or prince is incidental to that fantasy, a regrettable necessity at best. Although they keep him around for the climactic kiss, he is otherwise relegated to the bottom of the toy box, which is why you don’t see him prominently displayed in stores.

What’s more, just because they wear the tulle doesn’t mean they’ve drunk the Kool-Aid. Plenty of girls stray from the script, say, by playing basketball in their finery, or casting themselves as the powerful evil stepsister bossing around the sniveling Cinderella. I recall a headline-grabbing 2005 British study that revealed that girls enjoy torturing, decapitating and microwaving their Barbies nearly as much as they like to dress them up for dates. There is spice along with that sugar after all, though why this was news is beyond me: anyone who ever played with the doll knows there’s nothing more satisfying than hacking off all her hair and holding her underwater in the bathtub. Princesses can even be a boon to exasperated parents: in our house, for instance, royalty never whines and uses the potty every single time.

“Playing princess is not the issue,” argues Lyn Mikel Brown, an author, with Sharon Lamb, of “Packaging Girlhood: Rescuing Our Daughters From Marketers’ Schemes.” “The issue is 25,000 Princess products,” says Brown, a professor of education and human development at Colby College. “When one thing is so dominant, then it’s no longer a choice: it’s a mandate, cannibalizing all other forms of play. There’s the illusion of more choices out there for girls, but if you look around, you’ll see their choices are steadily narrowing.”

It’s hard to imagine that girls’ options could truly be shrinking when they dominate the honor roll and outnumber boys in college. Then again, have you taken a stroll through a children’s store lately? A year ago, when we shopped for “big girl” bedding at Pottery Barn Kids, we found the “girls” side awash in flowers, hearts and hula dancers; not a soccer player or sailboat in sight. Across the no-fly zone, the “boys” territory was all about sports, trains, planes and automobiles. Meanwhile, Baby GAP’s boys’ onesies were emblazoned with “Big Man on Campus” and the girls’ with “Social Butterfly”; guess whose matching shoes were decorated on the soles with hearts and whose sported a “No. 1” logo? And at Toys “R” Us, aisles of pink baby dolls, kitchens, shopping carts and princesses unfurl a safe distance from the “Star Wars” figures, GeoTrax and tool chests. The relentless resegregation of childhood appears to have sneaked up without any further discussion about sex roles, about what it now means to be a boy or to be a girl. Or maybe it has happened in lieu of such discussion because it’s easier this way.

Easier, that is, unless you want to buy your daughter something that isn’t pink. Girls’ obsession with that color may seem like something they’re born with, like the ability to breathe or talk on the phone for hours on end. But according to Jo Paoletti, an associate professor of American studies at the University of Maryland, it ain’t so. When colors were first introduced to the nursery in the early part of the 20th century, pink was considered the more masculine hue, a pastel version of red. Blue, with its intimations of the Virgin Mary, constancy and faithfulness, was thought to be dainty. Why or when that switched is not clear, but as late as the 1930s a significant percentage of adults in one national survey held to that split. Perhaps that’s why so many early Disney heroines — Cinderella, Sleeping Beauty, Wendy, Alice-in-Wonderland — are swathed in varying shades of azure. (Purple, incidentally, may be the next color to swap teams: once the realm of kings and N.F.L. players, it is fast becoming the bolder girl’s version of pink.)

It wasn’t until the mid-1980s, when amplifying age and sex differences became a key strategy of children’s marketing (recall the emergence of “ ’tween”), that pink became seemingly innate to girls, part of what defined them as female, at least for the first few years. That was also the time that the first of the generation raised during the unisex phase of feminism — ah, hither Marlo! — became parents. “The kids who grew up in the 1970s wanted sharp definitions for their own kids,” Paoletti told me. “I can understand that, because the unisex thing denied everything — you couldn’t be this, you couldn’t be that, you had to be a neutral nothing.”

The infatuation with the girlie girl certainly could, at least in part, be a reaction against the so-called second wave of the women’s movement of the 1960s and ’70s (the first wave was the fight for suffrage), which fought for reproductive rights and economic, social and legal equality. If nothing else, pink and Princess have resuscitated the fantasy of romance that that era of feminism threatened, the privileges that traditional femininity conferred on women despite its costs — doors magically opened, dinner checks picked up, Manolo Blahniks. Frippery. Fun. Why should we give up the perks of our sex until we’re sure of what we’ll get in exchange? Why should we give them up at all? Or maybe it’s deeper than that: the freedoms feminism bestowed came with an undercurrent of fear among women themselves — flowing through “Ally McBeal,” “Bridget Jones’s Diary,” “Sex and the City” — of losing male love, of never marrying, of not having children, of being deprived of something that felt essentially and exclusively female.

I mulled that over while flipping through “The Paper Bag Princess,” a 1980 picture book hailed as an antidote to Disney. The heroine outwits a dragon who has kidnapped her prince, but not before the beast’s fiery breath frizzles her hair and destroys her dress, forcing her to don a paper bag. The ungrateful prince rejects her, telling her to come back when she is “dressed like a real princess.” She dumps him and skips off into the sunset, happily ever after, alone.

There you have it, “Thelma and Louise” all over again. Step out of line, and you end up solo or, worse, sailing crazily over a cliff to your doom. Alternatives like those might send you skittering right back to the castle. And I get that: the fact is, though I want my daughter to do and be whatever she wants as an adult, I still hope she’ll find her Prince Charming and have babies, just as I have. I don’t want her to be a fish without a bicycle; I want her to be a fish with another fish. Preferably, one who loves and respects her and also does the dishes and half the child care.

There had to be a middle ground between compliant and defiant, between petticoats and paper bags. I remembered a video on YouTube, an ad for a Nintendo game called Super Princess Peach. It showed a pack of girls in tiaras, gowns and elbow-length white gloves sliding down a zip line on parasols, navigating an obstacle course of tires in their stilettos, slithering on their bellies under barbed wire, then using their telekinetic powers to make a climbing wall burst into flames. “If you can stand up to really mean people,” an announcer intoned, “maybe you have what it takes to be a princess.”

Now here were some girls who had grit as well as grace. I loved Princess Peach even as I recognized that there was no way she could run in those heels, that her peachiness did nothing to upset the apple cart of expectation: she may have been athletic, smart and strong, but she was also adorable. Maybe she’s what those once-unisex, postfeminist parents are shooting for: the melding of old and new standards. And perhaps that’s a good thing, the ideal solution. But what to make, then, of the young women in the Girls Inc. survey? It doesn’t seem to be “having it all” that’s getting to them; it’s the pressure to be it all. In telling our girls they can be anything, we have inadvertently demanded that they be everything. To everyone. All the time. No wonder the report was titled “The Supergirl Dilemma.”

The princess as superhero is not irrelevant. Some scholars I spoke with say that given its post-9/11 timing, princess mania is a response to a newly dangerous world. “Historically, princess worship has emerged during periods of uncertainty and profound social change,” observes Miriam Forman-Brunell, a historian at the University of Missouri-Kansas City. Francis Hodgson Burnett’s original“Little Princess” was published at a time of rapid urbanization, immigration and poverty; Shirley Temple’s film version was a hit during the Great Depression. “The original folk tales themselves,” Forman-Brunell says, “spring from medieval and early modern European culture that faced all kinds of economic and demographic and social upheaval — famine, war, disease, terror of wolves. Girls play savior during times of economic crisis and instability.” That’s a heavy burden for little shoulders. Perhaps that’s why the magic wand has become an essential part of the princess get-up. In the original stories — even the Disney versions of them — it’s not the girl herself who’s magic; it’s the fairy godmother. Now if Forman-Brunell is right, we adults have become the cursed creatures whom girls have the thaumaturgic power to transform.



In the 1990s, third-wave feminists rebelled against their dour big sisters, “reclaiming” sexual objectification as a woman’s right — provided, of course, that it was on her own terms, that she was the one choosing to strip or wear a shirt that said “Porn Star” or make out with her best friend at a frat-house bash. They embraced words like “bitch” and “slut” as terms of affection and empowerment. That is, when used by the right people, with the right dash of playful irony. But how can you assure that? As Madonna gave way to Britney, whatever self-determination that message contained was watered down and commodified until all that was left was a gaggle of 6-year-old girls in belly-baring T-shirts (which I’m guessing they don’t wear as cultural critique). It is no wonder that parents, faced with thongs for 8-year-olds and Bratz dolls’ “passion for fashion,” fill their daughters’ closets with pink sateen; the innocence of Princess feels like a reprieve.

“But what does that mean?” asks Sharon Lamb, a psychology professor at Saint Michael’s College. “There are other ways to express ‘innocence’ — girls could play ladybug or caterpillar. What you’re really talking about is sexual purity. And there’s a trap at the end of that rainbow, because the natural progression from pale, innocent pink is not to other colors. It’s to hot, sexy pink — exactly the kind of sexualization parents are trying to avoid.”

Lamb suggested that to see for myself how “Someday My Prince Will Come” morphs into “Oops! I Did It Again,” I visit Club Libby Lu, the mall shop dedicated to the “Very Important Princess.”

Walking into one of the newest links in the store’s chain, in Natick, Mass., last summer, I had to tip my tiara to the founder, Mary Drolet: Libby Lu’s design was flawless. Unlike Disney, Drolet depended on focus groups to choose the logo (a crown-topped heart) and the colors (pink, pink, purple and more pink). The displays were scaled to the size of a 10-year-old, though most of the shoppers I saw were several years younger than that. The decals on the walls and dressing rooms — “I Love Your Hair,” “Hip Chick,” “Spoiled” — were written in “girlfriend language.” The young sales clerks at this “special secret club for superfabulous girls” are called “club counselors” and come off like your coolest baby sitter, the one who used to let you brush her hair. The malls themselves are chosen based on a company formula called the G.P.I., or “Girl Power Index,” which predicts potential sales revenues. Talk about newspeak: “Girl Power” has gone from a riot grrrrl anthem to “I Am Woman, Watch Me Shop.”

Inside, the store was divided into several glittery “shopping zones” called “experiences”: Libby’s Laboratory, now called Sparkle Spa, where girls concoct their own cosmetics and bath products; Libby’s Room; Ear Piercing; Pooch Parlor (where divas in training can pamper stuffed poodles, pugs and Chihuahuas); and the Style Studio, offering “Libby Du” makeover choices, including ’Tween Idol, Rock Star, Pop Star and, of course, Priceless Princess. Each look includes hairstyle, makeup, nail polish and sparkly tattoos.

As I browsed, I noticed a mother standing in the center of the store holding a price list for makeover birthday parties — $22.50 to $35 per child. Her name was Anne McAuliffe; her daughters — Stephanie, 4, and 7-year-old twins Rory and Sarah — were dashing giddily up and down the aisles.

“They’ve been begging to come to this store for three weeks,” McAuliffe said. “I’d never heard of it. So I said they could, but they’d have to spend their own money if they bought anything.” She looked around. “Some of this stuff is innocuous,” she observed, then leaned toward me, eyes wide and stage-whispered: “But ... a lot of it is horrible. It makes them look like little prostitutes. It’s crazy. They’re babies!”

As we debated the line between frivolous fun and JonBenét, McAuliffe’s daughter Rory came dashing up, pigtails haphazard, glasses askew. “They have the best pocketbooks here,” she said breathlessly, brandishing a clutch with the words “Girlie Girl” stamped on it. “Please, can I have one? It has sequins!”

“You see that?” McAuliffe asked, gesturing at the bag. “What am I supposed to say?”

On my way out of the mall, I popped into the “ ’tween” mecca Hot Topic, where a display of Tinker Bell items caught my eye. Tinker Bell, whose image racks up an annual $400 million in retail sales with no particular effort on Disney’s part, is poised to wreak vengeance on the Princess line that once expelled her. Last winter, the first chapter book designed to introduce girls to Tink and her Pixie Hollow pals spent 18 weeks on The New York Times children’s best-seller list. In a direct-to-DVD now under production, she will speak for the first time, voiced by the actress Brittany Murphy. Next year, Disney Fairies will be rolled out in earnest. Aimed at 6- to 9-year-old girls, the line will catch them just as they outgrow Princess. Their colors will be lavender, green, turquoise — anything but the Princess’s soon-to-be-babyish pink.

To appeal to that older child, Disney executives said, the Fairies will have more “attitude” and “sass” than the Princesses. What, I wondered, did that entail? I’d seen some of the Tinker Bell merchandise that Disney sells at its theme parks: T-shirts reading, “Spoiled to Perfection,” “Mood Subject to Change Without Notice” and “Tinker Bell: Prettier Than a Princess.” At Hot Topic, that edge was even sharper: magnets, clocks, light-switch plates and panties featured “Dark Tink,” described as “the bad girl side of Miss Bell that Walt never saw.”

Girl power, indeed.

A few days later, I picked my daughter up from preschool. She came tearing over in a full-skirted frock with a gold bodice, a beaded crown perched sideways on her head. “Look, Mommy, I’m Ariel!” she crowed. referring to Disney’s Little Mermaid. Then she stopped and furrowed her brow. “Mommy, do you like Ariel?”

I considered her for a moment. Maybe Princess is the first salvo in what will become a lifelong struggle over her body image, a Hundred Years’ War of dieting, plucking, painting and perpetual dissatisfaction with the results. Or maybe it isn’t. I’ll never really know. In the end, it’s not the Princesses that really bother me anyway. They’re just a trigger for the bigger question of how, over the years, I can help my daughter with the contradictions she will inevitably face as a girl, the dissonance that is as endemic as ever to growing up female. Maybe the best I can hope for is that her generation will get a little further with the solutions than we did.

For now, I kneeled down on the floor and gave my daughter a hug.

She smiled happily. “But, Mommy?” she added. “When I grow up, I’m still going to be a fireman.”

Peggy Orenstein is a contributing writer for the magazine. Her book “Waiting for Daisy: A Tale of Two Continents, Three Religions, Five Infertility Doctors, An Oscar, An Atomic Bomb, A Romantic Night and One Woman’s Quest to Become a Mother” will be published in February by Bloomsbury.



Xell101 12-27-2006 08:05 AM

Making defunct our humanity feels necessary if we are to survive our inequities. It feels like an assault vector against which the only defense is really transcending one's own dynamics, as though the soul is merely a collection of adaptive systems too well quantified for safety.

Ourcrazymodern? 01-07-2007 08:48 AM

Quote:

Originally Posted by Xell101
Making defunct our humanity feels necessary if we are to survive our inequities. It feels like an assault vector against which the only defense is really transcending one's own dynamics, as though the soul is merely a collection of adaptive systems too well quantified for safety.

This sounds curiously like doublespeak: Could it be zen?:D

Willy 01-07-2007 09:20 AM

I hate it when advertising "works" on me. Usually food ads are the most effective for me. I see an ad for some new sandwich at a fast food place and just have to try it. Luckily the actual sandwich usually bears little resemblance to the one in the ad so it usually only works once. The best example was once I saw an ad on TV for Kit-Kat bars and I was actually walking out the door to go get one when I realized that I was totally responding to the ad, and I'm not all that crazy about Kit-Kats anyway, so I went back and sat down. Fast food ads or even the Food network are death on me when I'm hungry.

Ourcrazymodern? 01-07-2007 04:30 PM

Hence their massive profits? But we can't outlaw making money until we come up with an alternative. Since you had the strength to go sit back down, I'm thinking there is hope!:lol:

naef014050 01-19-2007 04:38 PM

i really need to get a life

Ourcrazymodern? 01-22-2007 08:41 PM

You explore instead.
The realm expands and flows.
get a copyright.

Heh...

ARTelevision 01-24-2007 07:47 AM

I thought I'd repeat my position on the basic questions above.

Because the collective power over decades of scientifically sophisticated research and billions of dollars of privately-funded consumer-behavior-motivation studies are overwhelmingly more powerful than any single human individual's ability to defend him/herself against the onslaught, we are in no way able to make decisions for ourselves in any sensible way. This is because our self images, behaviors, and relationships are wholly molded by these gargantuan powers of manipulation.

To disagree and claim some ability to resist or detach oneself from the influence of external decisionmaking is to appear simply naive and dangerously uninformed.
As for free-will - it is something with which we flatter ourselves and wish very dearly that it might exist.

Ourcrazymodern? 01-25-2007 07:42 PM

...our self-images, behaviors, and relationships are wholy molded by ourselves under the influence of the outside. Think individual packaging, sir! Manipulation rarely works unless you let it!
Cloacas.

Cynthetiq 01-28-2007 10:18 AM

Quote:

Originally Posted by Ourcrazymodern?
...our self-images, behaviors, and relationships are wholy molded by ourselves under the influence of the outside. Think individual packaging, sir! Manipulation rarely works unless you let it!
Cloacas.

yes, but more often than not, you don't realize you are being manipulated.... that's the point of this thread. If you think you aren't susceptible to being manipulated, you're fooling yourself.

Quote:

January 28, 2007
Spending
24 Rolls of Toilet Paper, a Tub of Salsa and a Plasma TV
By JULIE BICK
SHOPPING at Costco often goes something like this: Customer comes to buy bulk necessities like toilet paper and dish detergent. Customer buys those items, as well as a pack of giant muffins, three cashmere sweaters and a power tool.

It’s more than impulse buying. It is a calculated part of the company’s business plan. Call it the Costco effect.

“We always come out with too much,” said Linda Curtis Schneider, who lives in Nashville. “It’s hard to get out of there for under $200.”

Even when they are on vacation, the Schneider family seeks out the nearest Costco to gas up their rental car, grab a familiar lunch and browse for local specialties to bring back home. They have bought cases of chocolate-covered macadamia nuts from a Costco in Hawaii, gallon-sized salsa in Tucson, Ariz., and a crate of ruby red grapefruits in Marina del Rey, Calif.

The Costco Wholesale Corporation, based in Issaquah, Wash., aims to offer an inviting mix of necessities and indulgences — bulk detergent and megapacks of yogurts, stocked along with giant plasma TVs and crystal stemware.

From its first Seattle warehouse in 1983, Costco has grown to more than 500 warehouse stores worldwide and finished the 2006 fiscal year with its highest-ever sales, $58.96 billion. Costco is the largest player in the warehouse market. The rival Sam’s Club, a division of Wal-Mart Stores, operates more than 670 warehouse clubs worldwide, with a sales volume of approximately $40 billion.

Richard A. Galanti, Costco’s chief financial officer, said that while a grocery store might stock 40,000 separate types of items, and a Wal-Mart might stock 100,000, Costco will stock only the 4,000 most popular items it can find. “We try to figure out what people really want,” he said.

So, along with purchases of jumbo packs of paper towels and other supplies, impulse buying can be a big part of the Costco experience, because only the most well-liked, trendy, and fast-moving items are stocked.

Those items include iPods, individually wrapped cheese sticks to put in a child’s lunch box, as well as a few of the latest fashions.

Recently, Ms. Schneider and her college-age daughter were excited to find Ugg boots, Smashbox makeup in leather cases and Seven jeans at their Costco in Nashville. “Costco seems to go for the upper crust in taste,” she said.

Some offerings rotate in and out of the warehouse based on the season, sales volume and other factors. As a result, people may go to Costco more often than necessary to see what is new, said Steve Hoch, a retail professor at the Wharton School of the University of Pennsylvania. “When they see something they want,” he added, “they’ll be likely to go ahead and buy it, because next time they return, the item may be gone.”

While most consumers become annoyed when something they expect to find at a store is out of stock, a Costco shopper is likely to think, “I should have gotten it last time,” Professor Hoch said.

Other retailers may also seek to entice shoppers by setting limits and creating scarcity. For example, Target offers limited-edition designer clothing and home furnishings that are unique to its stores, and that are often stocked for a period of only 60 to 90 days.

And at BJ’s Wholesale Club, customers may come for their everyday grocery items, “but if they spot some jewelry or the new capri pants at a great price they will be happier,” said Teleia Farrell, a company spokeswoman. BJ’s uses items like 42-inch televisions and topaz rings to turn “ho-hum shopping into an exciting environment,” she said.

It is the same at Sam’s Club, where “members enjoy looking throughout the club for unexpected deals,” said Susan Koehler, a spokeswoman for the company.

Temporarily stocked surprises are also a calculated part of the Costco shopping experience. “We try to have hundreds of items that are different each time a customer comes to the warehouse, to create a treasure-hunt atmosphere,” said Joel Benoliel, a senior vice president. “We’ll always have the same staples — the cereal, the detergent — and then we add in the ‘wow’ items.” But at the same time, there can be a comforting sameness to each cavernous location.

Psychological factors can strongly influence buying behavior, according to Pamela N. Danziger, author of “Shopping: Why We Love It and How Retailers Can Create the Ultimate Customer Experience” (2006). Shoppers can experience an emotional thrill when they spot a deep discount, or find a particular item before it disappears from the shelves, she said, and creating those kinds of feelings has helped Costco. “Shopping is recreational there,” she said. “People seek out this psychological reward.”

Ted Reisdorf, 43, chief executive of Paragon Custom Homes of Scottsdale, Ariz., goes to Costco once every month or two and stocks up on household supplies, to save him more frequent trips to the grocery store. Once he is there, however, he walks up and down every aisle to see “what jumps out” at him. Mr. Reisdorf usually adds some books, DVDs or baked goods to his cart. “I always buy stuff I don’t exactly need,” he said.

Everyone seems to have an opinion about the Costco shopping experience. Some say they avoid going there because they always spend too much money. Others say they do not mind overspending at Costco because the company treats its workers well. A typical full-time cashier will earn $40,000 a year plus benefits after four years with the company.

Others, however, decry the essence of Costco. Teri Franklin, a mother of two in Seattle, said that Costco fed American consumerism and waste. “Instead of a single board game, you’re offered seven shrink-wrapped together,” she said. “You’ll probably end up playing with a couple and the rest will sit in the closet. But you really only wanted one.” She said she was not tempted to buy anything beyond bottled water and diapers at Costco. “How many things do you need 42 of, really?” she asked.

FOR those who want to minimize impulse buying, consumer experts say, it is helpful to shop as infrequently as possible, to arrive at the store with a list and a budget, and to walk down only the aisles that contain an item on the list. Conventional wisdom would also say that it is a good idea not to shop when hungry.

But those are not the types of shoppers who have made Costco successful. Professor Hoch said that increasing impulse buying or the number of items bought per visit was crucial to the company’s success.

Costco makes the bulk of its profit by charging an annual membership fee for access to its stores, he noted. A larger membership allows the company to buy items in bigger quantities and to pass along savings to customers. Customers who buy more items may feel that the membership fee is worth paying, because the cost is spread over all the products they buy.

Current annual membership rates are $50 for an individual, couple or business, and $100 for an Executive Membership, entitling the customer to other services.

“People laughed at the idea of charging someone to shop at your warehouse, but our membership fees are north of $1 billion a year,” Mr. Benoliel of Costco said. The company has more than 24 million member households in the United States and Canada.

Crucial to the company’s continued growth will be people like the Schneiders, who find shopping at Costco both utilitarian and serendipitous. “I might be going in for lettuce,” said Ms. Schneider, who on the spur of the moment once bought a $2,000 baby grand electronic piano at Costco, “but if I come out with other things, I don’t mind.”

Ourcrazymodern? 01-28-2007 10:34 AM

Yes, ma'am, I am fooling myself. Thankyou for clarifying that.
I only wish I'd get manipulated more often and more effectively.

tangledweb 01-28-2007 11:35 AM

Quote:

Originally Posted by Ourcrazymodern?
Yes, ma'am, I am fooling myself. Thankyou for clarifying that.
I only wish I'd get manipulated more often and more effectively.

I don't think that it is possible for the average person to be manipulated more effectively. Our entire society screams the Battle-Cry, "We are unique, We are special!" Then after asserting our uniqueness, statistics show that we go and buy all of the things that we are told we HAVE to have in order to be unique, beautiful or special. Some are more resistant to this manipulation than others, but no one is completely impervious to it.

I see it kind of like the old church adage about Satan. "The greatest trick Satan ever pulled was convincing the world that he wasn't real." Well, the greatest trick that media has ever pulled is convincing us that we are free-thinking and unique. You know, snowflakes and all of that...

Cynthetiq 01-28-2007 12:11 PM

Quote:

Originally Posted by tangledweb
I don't think that it is possible for the average person to be manipulated more effectively. Our entire society screams the Battle-Cry, "We are unique, We are special!" Then after asserting our uniqueness, statistics show that we go and buy all of the things that we are told we HAVE to have in order to be unique, beautiful or special. Some are more resistant to this manipulation than others, but no one is completely impervious to it.

I see it kind of like the old church adage about Satan. "The greatest trick Satan ever pulled was convincing the world that he wasn't real." Well, the greatest trick that media has ever pulled is convincing us that we are free-thinking and unique. You know, snowflakes and all of that...

I was reading and article the other day about Apple and the motto, "Think Different" being contrasted by the idea that it's really "Think Like Steve Jobs." What interested me about this article was recently I saw the 1984 commercial again, and they play that to be the IBM crowd, but in my mind I see the Apple followers, blindly following Apple.

Ourcrazymodern? 01-28-2007 02:25 PM

Oh, what a tangledweb we weave...

I'm sure our individual packaging gives us uniqueness, at least. According to 562 we don't even make up our own minds, and I think we can't help but.
The entertainment we get out of others becomes part of it, of course, but I don't think you can claim that our thinking all comes from the outside...

ngdawg 02-07-2007 03:51 PM

M&M Mars Changes Its Marketing to Kids
 
In today's Star Ledger:
Quote:

Mars Inc., the maker of M&Ms and other top-selling candy and snack brands, has decided to stop marketing its core products to children under 12 by the end of this year.

That not only goes for M&Ms, but also for kiddie favorites like Snickers, Milky Way candy bars, Twix, Skittles and Starburst.

"It's a global commitment," said company spokeswoman Marlene Machut. The policy, she said, came about after the European Union authority DG Sanco asked the company about its ads targeting children. DG Sanco, similar to this country's FDA, oversees health and consumer protection in countries belonging to the EU.

Last week, Mars sent a letter to DG Sanco saying it would halt advertising to the under-12 set by the end of this year, both in the U.S. and abroad.

How deeply the move would cut into the Mars company's sales is not clear. Buying candy on the way home from school is an age-old American institution.

Justin Brody, a 12-year-old from Westfield interviewed on his way home from school yesterday, said he often stops at Baron's Drug Store on East Broad Street with his friends to satisfy his cravings.

Justin is a Reese's Peanut Butter Cup and Snickers man. A buddy, Chris Walsh, said he likes Peanut Chews, while pal Alec Romano said he favored mint truffles from Brummer's Chocolate, a local gourmet shop.

Justin said his tastebuds, not advertising, drive his spending.
Rest of Story
A nutritionisted commented: "It would be very good if they could get away from the adorable M&M characters."
I've eaten M&M's and other candies since I was a toddler. My first memory is being handed a sheet of candy buttons while sitting in my stroller(I was about 18 months old).
While Saturday morning cartoons are normally inundated with commercials touting junkfood, it is ultimately the parents who buy the stuff and make the decisions about what goes into their kids. I just got home from grocery shopping. This is the snackfood list: 4 boxes of cupcakes, 3 bags of cookies, 3 boxes of brownie mix, 2 containers of jelly hearts, 2 containers of ice cream. I will eat a lot of this and it will probably last this family of four about a week. I am aware they are not healthy choices-I didn't need a commercial to make me buy them and the lack of said commercial is not going to prevent me from doing so.
I also don't get the cut-off age of 12...so a commercial aimed at a 14 year old won't be seen by younger kids?

ARTelevision 02-19-2007 04:55 PM

Ourcrazymodern?

You've reinvigorated the discussion and thank you for that.
I'm sure you and many others with interest in this subject will find some value in reviewing some sizeable portion of the large amount of material that buttresses my point of view:

http://www.regainyourbrain.org/regai...les%20list.htm

ngdawg 02-19-2007 10:01 PM

The article about Bhutan and the impact of introducing television to that country is....I was going to say disturbing, but it's not surprising.
Quote:

Bhutan's isolation has made the impact of television all the clearer, even if the government chooses to ignore it. Consider the results of the unofficial impact study. One third of girls now want to look more American (whiter skin, blond hair). A similar proportion have new approaches to relationships (boyfriends not husbands, sex not marriage). More than 35% of parents prefer to watch TV than talk to their children. Almost 50% of the children watch for up to 12 hours a day. Is this how we came to live in our Big Brother society, mesmerised by the fate of minor celebrities fighting in the jungle?
Everyone is as yet too polite to say it, but, like all of us, the Dragon King underestimated the power of TV, perceiving it as a benign and controllable force, allowing it free rein, believing that his kingdom's culture was strong enough to resist its messages. But television is a portal, and in Bhutan it is systematically replacing one culture with another, skewing the notion of Gross National Happiness, persuading a nation of novice Buddhist consumers to become preoccupied with themselves, rather than searching for their self.
Kind of makes me question what's civilized about civilization...here was a nation, for all intents and purposes, as civilized and enlightened as one should be without outside influences and tv comes in and it all goes to hell....

ARTelevision 02-23-2007 08:21 AM

Good contributers to this thread,

As a result of several server changes and a crash or two, some of the initial material in this thread is incomplete.

Here is a piece with the original argument:

http://www.artelevision.com/styrofoa.../blogindex.htm

The rest of the source items I used to construct the original version of the thread are here:

http://www.artelevision.com/styrofoamheads/index2.htm

bobby 02-23-2007 07:17 PM

cut and paste...no work?....xoxoxoo

ARTelevision 02-26-2007 12:37 PM

bobby,
after several melted drives - from lightning strikes, I can only slowly recreate the relevant items.

There is a large volume of material referenced in this thread - most of it is still online.

ARTelevision 02-28-2007 05:45 AM

Neuromarketing
 
http://img.timeinc.net/time/daily/20...euroz_0129.jpg

Here's a link for those of you who are convinced that you're stronger than the 8 billion bucks of private research money spent annualy on influencing your behavior:

http://www.time.com/time/magazine/ar...580370,00.html

The Coke/Pepsi experiment is a good one - indicating we favor things more for brand loyalty than for their intrinsic qualities.

The entire issue presents many articles on the human brain and mind. And it presents up-to-date information.

No matter what your position on all this, I think you'll find it a fascinating issue...

You know... "metathinking" (thinking about how we think).


***************************************************************


Here's a cool example of a subliminal quick cut.




After the first two shots we are inside a high-rise apartment looking out from behind a beige couch.

For an instant, there's an unclothed leg and a bare arm slouching, slinking, and dangling sexily over the edge of the couch. They are almost the same tone as the couch.
Our attention is diverted and we view the Ford Edge vehicle swiftly moving past their front window.

After that, we're back to the straight commercial narrative.

Cynthetiq 02-28-2007 06:29 PM

fascinating article...
thanks art!

Ch'i 03-01-2007 12:37 AM

Marketing is the home of modern day poetry.

Jetée 04-01-2007 01:47 PM

Quote:

Originally Posted by Ch'i
Marketing is the home of modern day poetry.

There is more truth in this statement than one cares to address directly.

Poetry is meant too swat the emotions and offer a ne perspective on an ideal that might otherwise be not readily available to the audience.

What commercilization does is basically the same thing, but it seeks to not utterly confound and leave you thinking, yet rather always leave a lasting impression that can be triggered time and time again.

Cynthetiq 05-03-2007 01:58 PM


http://savemanny.blogspot.com/2007/0...e-is-fake.html
perfect manipulation....

Everything you see is fake

Cynthetiq 05-14-2007 07:52 AM

another good vid about manipulating video via editing choices


Cynthetiq 06-15-2007 07:19 AM

voluntary curbing on marketing to children or more media manipulation for perception?
Quote:

June 14, 2007
Kellogg to Curb Marketing of Foods to Children
By ANDREW MARTIN
LINK
Froot Loops’ days on Saturday morning television may be numbered.

The Kellogg Company announced today that it will phase out advertising its products to children under age 12 unless the foods meet specific nutrition guidelines for calories, sugar, fat and sodium.

Kellogg also announced that it would stop using licensed characters or branded toys to promote foods unless the products meet the nutrition guidelines.

The voluntary changes, which will be put in place over the next year and a half, will apply to about half of the products that Kellogg currently markets to children worldwide, including Froot Loops and Apple Jacks cereals and some varieties of Pop Tarts.

The president and chief executive, David Mackay, said those products would either be reformulated to meet the nutrition guidelines or would no longer be advertised to children.

“It is a big change,” Mr. Mackey said. “Where we can make the changes without negatively impacting the taste of the product, we will.”

But if the product cannot be reformulated, Mr. Mackey said, the company will either market it to an older audience or stop advertising it.

The policy changes come 16 months after Kellogg and Viacom, the parent company of Nickelodeon, were threatened with a lawsuit over their children’s advertising by two advocacy groups, the Center for Science in the Public Interest and the Campaign for a Commercial-Free Childhood, and two Massachusetts parents.

Because of the changes by Kellogg, the groups said they would not proceed with the lawsuit against the company. Viacom was not part of today’s announcement.

“Kellogg’s position has really evolved over those months from pretty much ‘no way’ to acceptance of some nutrient criteria,” said Michael F. Jacobson, executive director of the Center for Science in the Public Interest. He said he hoped the Kellogg announcement would lead its competitors to adopt even tougher standards for food advertising to children.

Susan Linn, the co-founder of the Campaign for a Commercial-Free Childhood, said Kellogg’s decision to stop using licensed characters on sugary food was particularly significant. “Until now the industry has absolutely dug in their heels,” Ms. Linn said.

In the last several years, health officials have repeatedly warned that the steady stream of food ads aimed at children is contributing to the number of overweight or obese children, which has soared over the last four decades.

Some countries have banned advertising of nutritionally questionable food to children altogether, and some members of Congress have suggested that federal regulation may be needed in the United States, too. The food industry has promised to bolster its own self-regulation.

Last November, for instance, 10 of the largest food and beverage companies, including McDonald’s, General Mills and Kellogg, vowed that at least half of their advertising directed at children under the age of 12 would promote healthier foods or encourage active lifestyles.

The companies also agreed not to advertise in elementary schools and to reduce the use of licensed characters to promote food. Those companies are expected to complete individual plans for how they will address the guidelines in the next 60 days or so.

But like Kellogg, a few companies have already unveiled tougher standards for advertising to children. Last October, for instance, Walt Disney said it would allow its characters to be used in food advertising only if the products complied with nutritional standards.

And in 2005, Kraft Foods announced that it would stop advertising to children products that did not meet specific nutrition guidelines.

Under Kellogg’s new guidelines, food advertised on television, radio, Web sites and in print that have an audience that is 50 percent or more children under the age of 12 will have to meet the new nutrition standards. Kellogg already had a policy of not aiming advertising at children younger than 6, so the new guidelines apply to children 6 through 11.

Kellogg officials said about 27 percent of its advertising budget in the United States aims at that age group.

Under the new nutrition standards, one serving of food must have no more than 200 calories, no trans fat and no more than 2 grams of saturated fat, no more than 230 milligrams of sodium (except for Eggo frozen waffles) and no more than 12 grams of sugar.

Cocoa Krispies cereal would not qualify because one serving has 14 grams of sugar. But Kellogg could still advertise Frosted Flakes to children because it has 11 grams of sugar. Shrek cereal does not meet the criteria either because it has 16 grams of sugar per serving and uses a licensed character.

In a related initiative, Kellogg said it would introduce new Nutrition at a Glance labels on the top right-hand corner of cereal boxes this year to make it easier for consumers to glean nutrition information.

Already a hit in Europe and Australia, the new labels will take information from the Nutrition Facts panel on the side of the boxes, which are mandated by the federal government, and highlight important facts on the front of the box.

The new labels will show consumers the percentage of calories, total fat and sodium in a single serving, based on a 2,000-calorie daily diet, and it will also display grams of sugar and specific nutrients like fiber and calcium.


ARTelevision 09-09-2007 03:55 AM

1 Attachment(s)
This advert is unique in these annals.

Very illuminating, I think.

ARTelevision 09-10-2007 07:01 AM

Quick Method of Getting Up to Speed on this Thread
 
The following page URL contains an additional overview of this subject and links. =
http://www.subliminal-message.info/

I have presented the view that advertising and consumer culture is nothing more than a collection of liminal and subliminal attempts to influence our behavior; these attempts have been entirely successful; and we are mere automata.

Opposing points of view by good members here take up just about 50%$ of the thread as well.

Your thoughts?

Fearless_Hyena 11-02-2007 07:43 PM

This thread is one of my favorite ones ever posted on any internet forum I've seen. :D

I have a question for you all -- do you think this mass media thing is inherently negative? I mean, sure it can be bad in certain contexts. It can also be entertaining. It can also be very fascinating to think about how it shapes our lives. It's also an insight into our collective psyche, relative to where you're from and what types of media has influenced you.

I've learned to recognize propaganda from a relatively early age. I really tend to associate that with mass media mind control. I guess the bad part of it can come from when people don't realize they're being taken for a ride. For me, it can be fascinating and totally hilarious at times, too.


Also it can be nostalgic:

(Compilation of 80's TV commercials -- I remember almost all of them, reminds me of my childhood)

I love seeing that shit again!!


(Hello Ladies!)
Smoking sure is sexy! A sure winner!!
http://img.waffleimages.com/9040ce54...hioned-ad3.jpg




(Watch, Ride, and Report!!! Completely ridiculous, but I actually had seen this poster on the Brunswick line (DC-area light rail in Maryland))
http://www.mdrails.com/images/marc_marshal.jpg


Does anyone think that sometimes the mass media intentionally goes over the top, either a) just to see who falls for it; b) maybe for a purpose that appears to be legit, either political or monetary -- whatever theirs may be; or c) just for comedy purposes? Is their intention really to take advantage of us, harm us, or perhaps provide entertainment for the people who "get it"?

It really seems to me that a lot of the creators of this material almost know what our different reactions are going to be beforehand.

If I was in mass marketing, I think I'd go for the comedy option just to see how much I'd get away with. Remember, 9 out of 10 doctors smoke Camels!

ARTelevision 11-05-2007 08:53 AM

Thank_You_F_H,

As it is an 8 billion buck annual business - (privately (corporate) funded research into behavioral modification - focused on the single goal of influencing consumers, I do not see such a thing as "over the top" in relation to media - unless it's understood it has been an over-the-top-business for years and decades.

Again, I find the saddest and most counterproductive situation to be the fact that individuals persist in believing they can be free of media influence in some way - i.e. that one person can withstand the onslaught of billion buck behavior mod research....

As evidenced by some comments here - there are many very good people who hold this (virtually impossible) belief.

As for whether we live actual lives or live within thoroughly mediated realities and mindsets:

http://www.breitbart.com/article.php...show_article=1

Your comments are much appreciated.
Thanks,
Art

ngdawg 11-10-2007 10:43 AM

The tactics of media are so inclusive that we actually use what the've taught us. Even having garage sales, we know enough to saturate the neighborhood with ads.
I work for a photography studio. A good part of the business is school and sports leagues photography; my boss does portraiture. We recently including flyers toting her half of the business into the packages going to the schools. There's no way we would get 1,000 families coming in, but if we get even 10 as a direct result of those flyers, we did well. Since she has a degree in marketing, she knows full well the impact of saturation; that even if someone doesn't immediately react, now it's in their head that "Hey, XXX studios might be able to do this.....". And that's the crux of mass media-to make us think that we're not reacting when, in fact, we always are.
I notice that grocery stores always put up some major named product on their endcaps with "Sale" signs....yet more often than not, those sales are more money than a competitor's. I'm cheap enough to take a look at the competition, but more likely than not, many just grab the endcap product as an afterthought. Mission accomplished.
Another smart move: Things like Coke Points. I like both Pepsi and Coke, even RC, but what do I buy? Coke....and their points are only 3 per cap and the items are cheezy for anything under 1,000 points. So we buy more Coke.

EyeCeyE 11-13-2007 09:10 AM

Subliminal Advertising
 
The problem with modern day marketing is to not be melo-dramatic, but to utilise subtle techniques that become gradually repeated as a running commentary without the consumer being consciously aware of it occurring. So most people give the response that ' I am not taking in by advertising', 'I have my own mind, my own opinions.' This is true, but it is not just a matter of time spent with these media tools, but the way in which it is delivered. The proof is in the pudding. Why else would the advertising slots in between the SuperBowl final, or the World Cup final be most expensive, because thats when they can double or triple their profits. A good book to read is, 'Can't buy my love', cant think of the author off the top of my head, but it also addresses how alcohol, cigarettes, and other valuable commodities have been manipulated in society, just take the difference of the public opinion on cigarettes just twenty years ago, and now....it is not about the knowledge that it is unhealthy, it goes much deeper. Governments could apply the same techniques to alcohol, obesity and oil, but where the money in that!:no:

ARTelevision 11-23-2007 06:52 PM

Every so often I go on an extended hunt for mind-influence-related material - I enjoy sifting through results to the very last returned page. Using Google, it can take 40 pages or more to turn up something entertaining and/or insightful. YouTube, being less ad stuffed, takes a few clicks on the subject of mass media mind control to discover something interesting. The problem is they are generally less significant. So it's a six-of-one deal.

In any event... The last few posts here are moving us in this direction, so...

I'll enter some of my own noteworthy recent finds from various sources to inspire us to continue the hunt...

<object width="425" height="355"><param name="movie" value="http://www.youtube.com/v/0Vy7h97AOsw&rel=1"></param><param name="wmode" value="transparent"></param><embed src="http://www.youtube.com/v/0Vy7h97AOsw&rel=1" type="application/x-shockwave-flash" wmode="transparent" width="425" height="355"></embed></object>


The real nature of this thread is more exploratory than decisive. Some examples are patently absurd (yet interesting still). Some however are truly mind-manifesting, and so forth.

ARTelevision 02-17-2008 10:29 AM

A close reading of this thread indicates I'm not promoting a narrow definition of the term "subliminal." I use the word to delineate the fact that a large part of what we experience (actually the largest part) is perceived unconsciously.

So it's not always about looking at an ad or any other piece of propaganda and discovering hidden messages or meanings. Many times it is simply the kind of implicit messages that are being received., to wit: The many implicit messages relating to our perception of men and women.

The following story focuses on the "offensive to women" aspect of ads but an ad that is offensive to women is also offensive to men. Stereotypical males are often portrayed in the ads and the woman-as-sex-object theme objectifies male sexuality as well. All in all though, the story plus the photos accompanying it are illuminating.

*
text follows:

Quote:
I was reading an article on MSNBC.com (http://www.msnbc.msn.com/id/17490782/site/... /)on Dolce & Gabbana having to pull some of their ads because womens' groups thought they were inappropriate and, one in particular, promoted rape. Knowing D&G as I do, I've seen their ads through the years and don't think much of them because, well, it's D&G - their ads follow along in the mode of Helmut Newton and other "risque" photographers. Or am I being too tolerant? I'm not really sure.

As I read further in the article, there's also an interview with Kim Gandy of NOW and a link to the ads they promote as "Offensive To Women" (http://loveyourbody.nowfoundation.org/offe... ). Now, I'm all for more realistic models being used in advertising and fashion and don't like blatantly abusive ads - but I'm not sure I'm offended by each of these ads. I'm going to hold off saying anything more specific until others have weighed in - and that's my question: are these ads really offensive?

I would certainly say that some are stupid - and, yes, the Calvin Klein ad just makes me want to feed her. But, beyond that, are you offended by these ads? Is it really about ads that are offensive against women or more about the fact that, for the most part, Madison Ave. treats us like we're drooling morons? I've seen some advertising that might be pretty offensive to men too (including a similar one with all men from D&G). Are they getting upset over nothing? Or over the wrong thing? Or are they correct in labeling these as offensive? I'm curious to see what other women (and men too!) think.
End Quote.

*

The images can be found here: http://journals.democraticunderground.com/AZBlue/6

ngdawg 02-17-2008 10:54 AM

I would certainly say that some are stupid - and, yes, the Calvin Klein ad just makes me want to feed her. But, beyond that, are you offended by these ads? To an extent, yes, but it's the nature of the game. The ads are meant to provoke and therefore bring the product to the subconscious. It is not unlike the child who acts bad to get attention because acting good got him nothing.
Is it really about ads that are offensive against women or more about the fact that, for the most part, Madison Ave. treats us like we're drooling morons? Both. "Let's get these spending stupid males to think buying our product will make them cool. And everyone knows cool guys treat their women like shit. Real women like that.:rolleyes: I've seen some advertising that might be pretty offensive to men too (including a similar one with all men from D&G). Are they getting upset over nothing? Or over the wrong thing? Or are they correct in labeling these as offensive? My view is that they are offensive to everyone, women because of the overt submissiveness/subservient role they're placed in and to men because it's assumed that that is what is desired from them. But, like the quote says, when all else fails, insert sex.
This all makes me sound prudish, something I could never be accused of. But, I find that ads such as these, that don't even attempt to be subliminal, are an insult to any reasonable adult. But, here we are, talking about them, so, really, they've accomplished at least partly what they set out to do. 1 point=media.

ARTelevision 03-21-2008 04:34 AM

two women - one crotch
 
We3 happened to notice this sub independently. It's an ON flyer we recently received. As it fell out of the Sunday paper, I glanced at the bottom of the ad and read it as a spread-leg open crotch shot. After a moment I realized there were two ladies involved. The image is so posed that I must hypothesize that it did not just slip by the professional photographer who chose it from hundreds of shots, the art director who selected it as the front cover image, the ad execs who had it pinned to their walls, and the editorial staff who does something for a living.

Later sus was walking by the flyer - it was draped over a hammock - as flyers sometimes are. Its lower edges were prominent and she mentioned her first reading of the image, which was the same as mine.


http://www.artelevision.com/images/t...girlcrotch.jpg


*

I have hundreds of this sort of images. It's always fun to see a new one and pick it out from among the thousands of images that pass our eyes each week.



Now that we're a bit farther down the page, here's the most curiously posed detail section of the ad:


http://www.artelevision.com/images/t...tch_detail.jpg

ngdawg 03-23-2008 08:46 AM

Of course it's intentional. I've learned from my new line of work that every single minute detail is looked over and looked over again and while some things "might" get missed, odds are what's left is intentional. Whether it's to get one to do a second take when seeing the ad-which I am inclined to think-or to get a chuckle in the production room, I don't know....
Guess I'll have to look at the ads in the Sunday paper a little more closely, just for such things.

SSJTWIZTA 03-26-2008 03:43 AM

im liking this thread just as much as the "subliminal messages in advertising" thread you had years back.

i guess its pretty much the same thing, here. but point is, im liking it.

ARTelevision 03-26-2008 04:11 AM

SSJTWIZTA , Thanks.

Your insights are valued. How do you come to terms with the daily doses of manipulation we are exposed to?

I think we can help each other by sharing ideas on how best to keep our minds free of all this - at least as much as it is possible to be.


*

In other words, how best to contribute to the RESISTANCE?

SSJTWIZTA 03-26-2008 04:19 AM

Well thanks, art.

I have not one idea as of now. But then again im lacking sleep and feeling rather brain dead.

my first thought is:
simply ignore it.

but thats not very effective, now is it?

oh, i almost forgot.

i found this quite interesting. Is this actually an advertisement?

the only thing that comes to mind seeing this is "no way."

Quote:

Originally Posted by ARTelevision
This advert is unique in these annals.

Very illuminating, I think.


tisonlyi 03-26-2008 04:31 AM

This isn't a perfect fit, but I think this text:

The Society of the Spectacle, by Guy Debord back in 1967.

I believe it's totally in the spirit of what ARTelevision calls THE RESISTANCE, as is the greater idea which The Situationists followed - and led directly to punk.

Beware, heavy concepts (many radically leftist) and vocabulary (much Marx terminology regarding political economy, etc) are deployed therein.

As ever, your mileage may vary.

SSJTWIZTA 03-26-2008 04:35 AM

Oi!

i need to read that after i catch some Z's

tisonlyi 03-26-2008 10:51 AM

Derren Brown (wiki bio) is an expert in NLP and other manipulative techniques and uses them as an entertainer in the UK.

This following video (~7mins) is from a show glorifying him, so take it with a fair amount of salt if you would like to comfort yourself with it, but to anyone moderately interested in psychology, it shouldn't be surprising.

Subliminal Advertising

To me, I think that we as individuals are exposed to this unconscious manipulation almost every waking second of our lives not just when we're conscious of our exposure (lets skip the memory-organising aspect of sleep which doubtless reinforces the messages).

We need to carefully select the propaganda we want to expose ourselves to and attempt to rebalance the propaganda that we are conscious of our exposure to.

Question everything.
Read and watch nakedly propagandist material from sources which are in opposition to those you are aware of your exposure to.
Stop believing in absolutes.

Before you buy or buy into anything, question even your own motives.

I think living in a country without understanding the language at all can give you some clear breathing space after some time, too. (i've done this - by accident, not design - for most of my adult life)

Sounds taxing, but there's a lot of effort that goes into our manipulation, so it stands to reason that there's no quick fix to it.

(Just because you're paranoid, doesn't mean they're not after you. *bites nails down to wrist*)

ARTelevision 04-24-2008 07:48 AM

Thanks, tisonlyi.

DB is one of my favorite dudes using NLP in the media to expose mass-media techniques.

*

Here is a set of images. The first is taken from my buddy Cynthetiq's journal. The second is a detail of the ice cubes and drink glass. The third is the same image with highlights I quickly added to zero in on what I noticed upon inspection of the scene. The third is an animated gif of the previous images in sequence.

http://www.artelevision.com/images/t...Beam_Girl0.jpg

http://www.artelevision.com/images/t...eam_Girl02.jpg

http://www.artelevision.com/images/t...eam_Girl03.jpg

http://www.artelevision.com/images/t...mGirl_anim.gif

sapiens 04-24-2008 08:23 AM

Quote:

Originally Posted by ARTelevision

Isn't this akin to finding the face of Jesus on a piece of burnt toast?

Even if the image is actually there and was placed there intentionally, do you think that such vague imagery has an effect on purchasing?

ARTelevision 04-24-2008 08:54 AM

sapiens, thanks for your sensible comments.

My intention here is to simply show the images - point out the possibilities - ask the same types of questions you are asking. These are the general positions I've taken throughout the thread. I'm fine with people making up their own minds - based on their own knowledge, research, experience, insight - and their reading of this thread.

Given my MFA training and experience working within art, ad, and marketing contexts, I have experienced these techniques being commonly known, discussed, and often employed. They are also frequently dismissed as paranoid fantasy and/or ineffective at best.

An image that has been created as a part of a million-dollar-plus media campaign has been pored over for weeks. It has been pinned to the walls of many professionals (from art and production people to consumer researchers, marketing reps, and corporate execs) well-trained and well-paid in utilizing techniques to influence consumer behavior in every way.

No matter what one decides one sees here, this is in no way similar to a random image found in burnt toast.

Probably the most interesting thing to me about the topic in general is just what occurs in our lives that can be termed "conscious," "unconscious," or "subconscious" activity.


To make categorical statements about the veracity of particular claims of intentionality really doesn't interest me. I enjoy pursuing the subject and have been engaged in this study for decades. I find it alternatively amusing, entertaining, fascinating, and potentially illuminating. I present the material in the hope that it may hold some similar interest for others.

sapiens 04-24-2008 09:37 AM

Art:
Regarding the ad you posted, I don't really care about the intentionality of the advertisers either. I wouldn't be surprised if advertisers manipulate images in such ways. I would be surprised if such subtle stimuli impacted consumer behavior. I've seen studies suggesting that priming people with images just below the level of conscious perception (very briefly) can affect people's conscious judgments of the valence (positive or negative) of following ambiguous image (Murphy & Zajonc, 1993). Such effects don't typically last much longer than the experimental session. I haven't seen convincing research that suggests that you can actually affect consumer behavior with such types of information. (I haven't read through this entire thread in a long time. So, someone might have cited something. I would welcome such references). The fact that the images are pored over by people who get paid a lot of money to influence consumer behavior doesn't convince me.

That said, I don't doubt the impact of mass media on our psychologies. For example, Kenrick & Gutierres (1980) demonstrated empirically that viewing images of attractive women affected men's judgments of their commitment to their long-term mates. Other studies have found that looking at pictures of attractive women changed men's reported career interests - biasing them toward higher earning careers (I don't recall the reference off the top of my head). Other studies I'm familiar with (and I'm sure others are as well) have suggested that unrealistic body images presented in the media affect women's perceptions of their own attractiveness. If brief exposure to such images has effects, what kind of effects can we expect from constant exposure throughout our daily lives? So, I do agree that mass media can have rather insidious effects on our lives. Generally, I also think that media education by parents might help to inoculate kids against some of the effects.

A little off topic, but regarding your interest in what occurs in our lives that can be termed "conscious," "unconscious," or "subconscious" activity. Have you ever read The Illusion of Conscious Will by Dan Wegner. He has a done a lot of interesting research on the effects of thought suppression - making a decision to avoid thinking about something actually increases the frequency that people think about the suppressed topic. His book covers conscious will more generally. I especially like the research he cites that suggests that when you reach for a can of soda on a table the areas of the brain responsible for controlling the motor movements involved are activated before the areas of the brain responsible for making the conscious decision to grab the soda. How that relates to the coke ad, I'm not sure.

ARTelevision 04-24-2008 12:29 PM

sapiens, that was the kind of thoughtful response I hope for when posting here. Thanks! It adds just the sort of critical-thinking dimension I would encourage we develop for the express purpose of staying as media-manipulation resistant as possible. I'm a bit more along the way than you in deciding that the billions of bucks spent on private corporate (and "secret" governmental) research into the fine points of how to influence and manipulate our consciousness and behavior have achieved stunning success. I see evidence of it all around me in the culture in general, in my friends, and in myself.

Yes, I admire the work of Daniel M. Wegner. I've quoted at length from his research in other venues where I publish. As to what it may have to do with public and private applications of the science of behavior modification, I'd say that if the conscious mind can be effectively demonstrated as bypassed in the processes of behavior, then a more powerful kind of control is achievable.

Cynthetiq 05-16-2008 03:48 PM

Quote:

View: Can a Dead Brand Live Again?
Source: NYTimes
posted with the TFP thread generator

Can a Dead Brand Live Again?
Can a Dead Brand Live Again?
By ROB WALKER
Do you remember Brim?

The coffee brand? Perhaps you recall its advertising slogan: “Fill it to the rim — with Brim!” Those ads haven’t been shown in years, and Brim itself has been off retail shelves since the 1990s. Yet depending on how old you are, there’s a fair chance that there’s some echo of the Brim brand in your brain. That’s no surprise, given that from 1961 to around 1995, General Foods spent tens, if not hundreds, of millions of dollars to get it there. But General Foods disappeared into the conglomerate now known as Altria, which also acquired Kraft, maker of Maxwell House. With much smaller sales than that megabrand, Brim soon disappeared — except, perhaps, for a vague idea of Brim that lingered, and lingers even now, in the minds of millions of consumers.

What’s that worth? A small company in Chicago, called River West Brands, figures that it’s definitely worth something, and possibly quite a lot. The firm did its own research a year or so ago and claims that among people over the age of 25, Brim had 92 percent “aided national awareness.” What this means is that if you ask people anywhere in America if they have ever heard of Brim, about 9 out of 10 will say yes. If true, that’s potentially a big deal. Building that level of recognition for a new brand of coffee — or anything else — from scratch would involve an astronomical amount of money, a great deal of time, or both.

Marketers like to talk about something called brand “equity,” a combination of familiarity and positive associations that clearly has some sort of value, even if it’s impossible to measure in a convincing empirical way. Exploiting the equity of dead or dying brands — sometimes called ghost brands, orphan brands or zombie brands — is a topic many consumer-products firms, large and small, have wrestled with for years. River West’s approach is interesting for two reasons.

One is that for the most part the equity — the idea — is the only thing the company is interested in owning. River West acquires brands when the products themselves are dead, not merely ailing. Aside from Brim, the brands it acquired in the last few years include Underalls, Salon Selectives, Nuprin and the game maker Coleco, among others. “In most cases we’re dealing with a brand that only exists as intellectual property,” says Paul Earle, River West’s founder. “There’s no retail presence, no product, no distribution, no trucks, no plants. Nothing. All that exists is memory. We’re taking consumers’ memories and starting entire businesses.”

The other interesting thing is that when Earle talks about consumer memory, he is factoring in something curious: the faultiness of consumer memory. There is opportunity, he says, not just in what we remember but also in what we misremember.

River West is a young company, and few of its ideas have been directly tested in the marketplace. The revival of Brim, for instance, has yet to crystallize into a plan with real manufacturing and distribution partners. But River West is starting to bring some familiar names back into the consumer realm. It is thanks to River West that you can buy Nuprin again at CVS. The firm has also played a role in the return of Eagle Snacks to some grocery-store aisles. In late January, Drugstore.com began accepting orders for Salon Selectives, which is also making its way into 10,000 stores, including every Rite Aid in America and grocery chains like Winn-Dixie and Pathmark. And by way of a deal with River West, Phantom, a Canadian hosiery manufacturer, is pushing a new version of Underalls to department-store and boutique clients in the U.S.

Whether these brand-reanimation efforts pan out as a successful business strategy or not, they offer an unusual perspective on the relationship between brands and the brain. By and large, examinations of successful branding tend to focus on names like Harley-Davidson, Apple or Converse, which have developed “cult” followings. Such cases are misleading, though, because they are not typical of most of what we buy. A great deal of what happens in the consumer marketplace does not involve brands with zealous loyalists. What determines whether a brand lives or dies (or can even come back to life) is usually a quieter process that has more to do with mental shortcuts and assumptions and memories — and all the imperfections that come along with each of those things.

River West’s offices, on the 36th floor of the Chicago Board of Trade Building, are sprinkled with the bric-a-brac of obscure products: a Quisp cereal box, Ipana toothpaste packages, Duz detergent bottles. On a wall of Paul Earle’s office is a framed, five-foot-by-three-foot sheet of uncut “Wacky Packages” stickers — those 1970s trading-card-size brand-parody images that rendered the word Crust in the style of the Crest logo, for example. Earle has a Midwestern everyman quality about him: he’s compact, with a big and friendly let’s-get-along voice and a penchant for deadpan jokes. Only his designer-eyeglass frames deviate from his overall demeanor.

Earle loves brands. They are not mere commercial trademarks to him, but pieces of Americana. He seems not just nostalgic but almost hurt about the fate of the “castoff brands” of the world. “If commerce is part of the American fabric, then brands are part of the American fabric,” he said to me on one occasion. “When a brand goes away, a piece of Americana goes away.”

Earle’s professional entanglement with branding began at Saatchi & Saatchi, where he was a cog in a gigantic ad agency working for gigantic clients, like General Mills and Johnson & Johnson. That was in the mid-1990s, and he saw what happened as conglomerates merged: brands that didn’t have the potential for global scale got squeezed to the bottom shelf, or out of existence. He was attracted to the idea of working with “noncore” brands, but when he figured out that big-agency economics made it impractical, he left Saatchi and went to the Kellogg School of Management at Northwestern University, and then took a brand-management job at Kraft.

At Kraft he observed the same mergers-and-consolidation process from a different angle, and he seems to have found it equally frustrating. “These are American icons with loyal consumers,” he says. “It’s not their fault a $40 billion company doesn’t like them anymore. Consumers like them.” He sees reviving brands as “a civic mission” of sorts. “If it weren’t my job,” he said, “it would be my hobby.” He says this in a way that sounds not just plausible but hard to doubt.

Even so, he has set out to make this particular civic mission turn a profit. While he recognizes that a given brand might not be able to survive in the portfolio of a multinational, different sorts of business models might work to sustain it. As surely as the ownership of brands has consolidated through one megamerger after another, the consumer market seems to be moving in the opposite direction, with an individualism-fueled demand for almost unlimited variety. Earle’s theory is that such demand means room for brands like the ones River West owns, and his idea is facing its most significant test to date, by way of the reanimation of Salon Selectives.

Helene Curtis began selling this line of shampoos in 1987, and sales shot past the $100 million mark within a year or so. It was, one Wall Street enthusiast claimed at the time, “probably the most successful hair-care launch in the history of the universe.” Heavily advertised, the brand was a pioneer of the sales pitch, now routine, of a “salon” product available for home use. Unilever bought Helene Curtis in 1996, acquiring a new batch of cosmetic, shampoo and deodorant brands that had to be integrated into those the conglomerate already offered.

It’s often hard to pin down the exact moment a brand disappears, because a product can linger on retail shelves for quite a while before it’s sold down or otherwise liquidated. But by the early 2000s, Salon Selectives had become a casualty of brand-portfolio consolidation. A few years later, River West acquired what was left of it: intellectual property like the trademarks and the original formulas.

River West’s partner in the Salon Selectives effort is called SSB, which has five full-time employees coordinating the efforts of various subcontractors (manufacturers, package-makers) out of River West’s offices. Selective Beauty is run by Gene Zeffren, a former top executive at Helene Curtis with a Ph.D. in chemistry. Earle and Zeffren are partly motivated by the belief that there is a core of Salon Selectives fans out there who miss their product and are eager to buy it again. You would think, then, that the goal would be to give those consumers their old brand back, just as it once was. And sure enough, when I visited Anne West, the chief marketing officer of the new Salon Selectives, there was an array of pink plastic bottle samples in her office, part of an attempt to match the old color as closely as possible. She showed me a video in which a surprising number of randomly confronted Chicagoans, asked if they remembered Salon Selectives, responded by singing the jingle.

Then she showed me storyboards for new Salon Selectives ads, which were not much like the original ones at all. She went on to explain that while the bottle color would be the same, its shape would be different. The reintroduced line also includes a number of new products, and the products are now more aggressively marketed as “customizable” (by hair length, thickness, texture, etc.) than they were in the earlier incarnation. Then there’s the apple scent. West said fans of the brand in its heyday frequently cited that signature smell as one of the things they missed most about the shampoos. So the new version will have an apple scent — but even that was being tweaked and “updated.” The bottom line is that Salon Selectives isn’t coming back just as it used to be, but sort of as it used to be.

West figures that fans of the brand who are nostalgic for their long-lost product just need to know that it’s back. But the real point now is to attract younger customers who probably never used the stuff. The name “Salon Selectives” might sound familiar to them, so the strategy must balance that familiarity with something that makes the product seem fresh and novel. Later West sent me the new Salon Selectives ads, now running on VH1, Lifetime and other cable networks. The spots do not announce the return of a favorite old brand, or even allude to the fact that Salon Selectives was ever gone. In one, a woman escapes from prison and immediately washes her hair. The cop who confronts her admits that she doesn’t look like an escaped con but (punch line) as if she “just stepped out of a salon.” This is followed by glimpses of the (pink) bottles and a quick “mix and match” pitch and then, at the very last second, a snippet of the familiar old jingle, rerecorded. West calls this snippet a “button,” and it clearly aims to function as the slightest mental nudge: this is something you know about.

Among River West’s various projects, this is actually one of the more conservative in testing the boundary between the positive associations of a familiar memory and the attractions of novelty. There’s less room to test that boundary because Salon Selectives hasn’t been “dormant” all that long: At least some fans of the old apple scent are going to have opinions about the “updated” version. Much will depend on specific associations with a product — which is not the same thing as a brand. Brands aren’t quite so tangible, so quantifiable. That’s what’s interesting about them.

One of Paul Earle’s professors at Kellogg was John F. Sherry Jr. (now at Notre Dame), who has devoted some study to “retromarketing” and “the revival of brand meaning.” In 2003 he wrote an article (with Stephen Brown of the University of Ulster and Robert V. Kozinets of Kellogg) on the subject for The Journal of Customer Behavior. “Retromarketing is not merely a matter of reviving dormant brands and foisting them on softhearted, dewy-eyed, nostalgia-stricken consumers,” they asserted. “It involves working with consumers to co-create an oasis of authenticity for tired and thirsty travelers through the desert of mass-produced marketing dreck.”

I wasn’t entirely sure what that meant, but Sherry turned out to be more straightforward in conversation. “There’s no real reason that a brand needs to die,” he told me, unless it is attached to a product that “functionally doesn’t work.” That is, as long as a given product can change to meet contemporary performance standards, “your success is really dependent on how skillful you are in managing the brand’s story so that it resonates with meaning that consumers like.”

The holy grail example of brand reanimation is the Volkswagen Beetle, which a few years ago rose from dormancy and became a hit all over again in an updated form that was both nostalgic and contemporary. The reintroduced Beetle layered “nostalgic reassurance” over modern functionality. “It’s a brand that’s memorable for a lot of different reasons,” Sherry said. “But largely because it evokes this past that never was — that was morally superior or simpler, an era of better craftsmanship. That kind of thing.”

Such abstract notions are much on display at the Licensing International Expo, an annual event at which the owners of cultural properties — TV shows, movies, cartoon characters — meet with makers of things and try to negotiate deals granting them a paid license to use the properties to add meaning and market value to whatever things they make. It is a good place to contemplate the business potential of “the brand” in free-floating form, unmoored to any product or company that may have actually created it. A surprising number of the symbols represented at the expo held last summer in New York were simply brand logos. Spam, for instance, had its own booth. IMC Licensing was there on behalf of its clients Oreo, Altoids, Dole and Oscar Mayer. At one point I encountered a person dressed up as a can of Lysol, which is represented by the Licensing Company.

Another firm that represents a number of consumer brands is the Beanstalk Group, which staked out a rather large chunk of floor space at the expo, complete with a coffee bar and about 20 tables. Owned by Omnicom Group, Beanstalk is the licensing firm for a wide range of cultural properties, from Harley-Davidson to Andy Warhol to the United States Army. None of these are dead brands, of course, but Beanstalk’s track record with converting brand meaning into revenue is the reason Paul Earle was at the licensing expo. Beanstalk was exploring strategies to revive the Coleco and Brim brands as, essentially, licensing fodder.

Michael Stone, the president and chief executive of Beanstalk, has a refined sense of the licensing business, and how consumer brands fit into it. He knows what many people think the business boils down to: I make plastic lunchboxes and you own the rights to reproduce images of Spider-Man. How about a Spider-Man lunchbox? Stone cheerfully explained to me that this is merely a “decorative” form of licensing, and that’s not his game. As a point of contrast, he told me about Beanstalk’s involvement with Stanley Works, the venerable maker of hand tools.

Stanley hired Beanstalk about nine years ago. Stanley conducted “consumer permission research” to try to determine where the Stanley brand could go. “I remember looking through the focus-group tests, and there was a guy who absolutely swore that he had a Stanley ladder in his garage.” Stone paused. “Stanley never made ladders.” This is an excellent example of what “brand equity” really means in the marketplace.

In contrast to the fanatical-devotion theory, part of the point of most branding is very specifically to circumvent conscious thought. Psychologists use the word “heuristics” to refer to the mental shortcuts and rules of thumb that allow us to resolve the various routine problems of everyday life without having to make a spreadsheet for every trivial decision. Brand owners want a way into your purchase heuristics. Often it is not so much a matter of, say, a Stanley Works fanatic seeking out all products bearing that trademark; it’s a matter of looking for a product and choosing one with a particular trademark that, for whatever reason, we find acceptable. This is not brand loyalty. It’s brand acquiescence.

We’ve all seen the Stanley name, for instance. And by and large, we trust it. We have a general idea of Stanley that fits into our hardware-store purchase heuristics. But there is a great deal of imperfection and vagueness in these thought processes, and that is good news for a licensor. It suggests that there’s potential — or “permission” — for the Stanley name to migrate onto new products.

What Beanstalk did not do when it took on Stanley as a client was recommend investing in a ladder-production facility and hiring a bunch of workers, plus a sales force to blitz potential retail channels. Stanley Works, as a company, has actually been moving in the opposite direction, closing factories and outsourcing its manufacturing since the 1980s. Instead, Beanstalk worked out a licensing deal with Werner, which was already the biggest maker and distributor of ladders in the country. “They needed another brand because they couldn’t expand the Werner brand anymore,” Stone said. So Werner started making and selling ladders with the Stanley name on them. This gave Werner a way to get more shelf space, reach more consumers and make more sales. What it gave Stanley was its name on a new product and a licensing fee. Beanstalk has worked out many such deals, hooking up the Stanley brand with manufacturers of work gloves and boots, power generators and a variety of other things that Stanley never made (and does not make now).

Too many such deals, or the wrong kinds, can boomerang: this happens with some regularity in the fashion world, when a famous designer name gets spread over so many products, with so little regard to quality, that the entire image of the brand sinks. Still, if you see a ladder made by Stanley, you may well think, Well, there’s a name I can trust. What you’re trusting, though, isn’t Stanley workers in Stanley factories upholding Stanley traditions and values under the watchful eye of Stanley managers. What you’re trusting is Stanley’s recognition that a badly made ladder with the Stanley name on it could be highly damaging to the Stanley brand. You are trusting Stanley’s recognition of the value of its brand and its competence in defending that value.

We circled back around to Beanstalk’s ideas for River West’s brands, particularly Brim. Stone mentioned White Cloud. White Cloud is a brand of toilet paper once owned by Procter & Gamble. P.& G. also owned the Charmin franchise, so eventually it let the trademarks on White Cloud expire. These were then acquired by an entrepreneur, who worked out a licensing deal with Wal-Mart to make White Cloud an exclusive Wal-Mart product. It became, essentially, a store brand, but infused with equity of mass-market familiarity. It’s very doubtful that the typical White Cloud buyer is aware that the product is available only at Wal-Mart. It’s also very doubtful that P.& G. (which would surely prefer that its Charmin didn’t have to compete against a brand that P.& G. itself created) will let anything like that happen again if it can possibly help it.

This is essentially the situation that River West brokered with the Nuprin brand, which was a dead line of ibuprofen painkillers (once upon a time backed by the widely known “Nupe it” ad campaign). Its trademarks were acquired by River West and sold to CVS, where it is back on the shelves as a stealth store brand. (And presumably enjoying better margins than it would if, like a traditional store brand, it competed solely on low price, not trustworthy-brand familiarity.) My read was that this is what Stone thought should happen to Brim — and that Earle had mixed feelings, believing, perhaps, that Brim could come back as something bigger. Even Stone seemed at least somewhat intrigued with the possibilities of licensing a brand that was familiar but dead. “With Stanley we have to be careful — this is a famous brand; we have to do everything right and mitigate all the risks,” he says. “But with Brim, the risks. . . .” He paused. “There really are no risks.”

This brings us to Earle’s ideas about the potential upside of faulty consumer memory. Maybe, for instance, you’re among those who remember Brim. But do you also remember that it was a decaf-only brand? That’s actually why you could “fill it to the rim.” River West’s research found that many who recall the Brim brand have forgotten the decaf detail.

The relationship between brands and memory (faulty or no) is a specialty of Kathy LaTour, an associate professor at the University of Nevada, Las Vegas. In one of her most interesting studies, she worked with Elizabeth Loftus, a memory specialist and now a professor at the University of California, Irvine, and a third researcher, Rhiannon Ellis, to take the issue to its logical extreme: What if, for example, an advertising campaign “implanted memories into consumers of things that never happened?”

The researchers found that subjects presented with a fake Disney World ad inviting them to “remember the characters of your youth: Mickey, Goofy . . . ” were significantly more likely to say they recalled that as children they had met “a favorite TV character at a theme resort” than those who didn’t see the ad. The fascinating thing was what happened when they repeated the experiment, tweaking the ads to include Bugs Bunny, who, of course, is not a Disney character at all. About 16 percent of subjects subsequently claimed that, as children, they shook hands with Bugs Bunny at a Disney theme park. Repeated fake-ad exposure apparently led to higher false-memory rates. In a separate study, Loftus asked subjects with Bugs in their memories what, exactly, they recalled about this incident; of these, 62 percent recounted shaking Bugs’s hand, and more than a quarter specifically recalled him saying, “What’s up, Doc?”

Earle says that this imperfection of memory can be used to enhance whatever new Brim he comes up with. This is “a benefit of dormancy,” he says. The brand equity has value on its own, but it can be grafted onto something newer and, perhaps, more innovative. “Consumers remember the kind of high-level essence of the brand,” he says. “They tend to forget the product specifics.” This, he figures, creates an opening: it gives the reintroduced version “permission” to forget that decaf-only limitation as well and morph into a full line of coffee varieties. “ ‘Fill it to the rim with Brim’ stands for full-flavored coffee,” Earle says, with a chuckle. “Fill it to the rim — it’s great stuff!”

Finding the deceased brands that consumers are likely to remember — sort of — is a process that can begin, of all places, in the library. Earle spent hours going through old issues of People, Time, Glamour and other magazines, “looking for brand names that sounded familiar but that I hadn’t seen lately.” This results in many, many possibilities that don’t work out for one reason or another. But every so often the process yields an Underalls.

Earle was intrigued with Underalls. Produced by Hanes from about 1975 to the mid-1990s, Underalls was once a prominent brand, advertised aggressively. (“O.K. America — show us your Underalls!”) It spawned “flanker” brands like Summeralls, Winteralls and Slenderalls. It was unique and memorable: a good brand. “You see the memorabilia on eBay,” Earle says. “That’s usually a good indicator.”

By way of MarketTools, a research company, River West asked 1,000 women ages 25 to 54 to answer an online survey about hosiery brands. About 850 did so, and among these, 72 percent had heard of Underalls. Among those who recognized the brand, about three-quarters remembered the “Show us your Underalls” tagline. Promising. But River West needed a partner to actually manufacture and distribute whatever the new version of Underalls might be.

It found that partner in Phantom, a hosiery maker based in Toronto. Phantom’s main product line is called Silks, the dominant hosiery brand in Canada. The company also manufactures a number of store brands. Phantom wanted to get into the crowded U.S. hosiery market, says Svetlana Sturgeon, vice president of sales and marketing for Phantom, and it made a certain amount of sense to leverage a name far more familiar to American consumers than Silks would be. Sturgeon jokes that, at first, she did not want to admit at meetings that she remembered the brand (“I’m much too young for that!”). But she did.

The point of the original Underalls was that they combined panties and stockings into one undergarment. (“They were the pioneers in the whole idea of eliminating panty lines,” is how Sturgeon puts this.) In early brainstorming sessions, Phantom and River West tried to come up with “the most expansive but credible definition” of the brand, Earle says. In this case that turned out to be “intimate-apparel solutions,” which means anything you wear under something else that’s “functional and fashion-forward,” Sturgeon says. This includes camisoles and bras and other things the original Underalls never sold. The San Francisco design firm Thinc came up with a new graphic identity and packaging ideas that referenced classic elements of the old ads, but radically updated them. New slogan: “Lovely underneath it all.” With the prototypes complete, Sturgeon has begun the process of meeting with boutique and department-store buyers, in the hope of getting products into stores, at least on a test level, in the fall.

Brand familiarity alone guarantees nothing. Sears owns several well-known brand names — Kenmore, Craftsman, DieHard, the Sears name itself — and is viewed by Wall Street as a basket case. Multinationals routinely go through cycles of acquiring and creating brands and then paring back when, inevitably, some underperform. A tiny number of hard-core loyalists not only doesn’t mean a whole lot when reviving a brand, it might be a problem because those people do remember. A number of the more cultish devotees of the VW Beetle, in fact, forthrightly rejected its reanimated version as a fraud. In that case, those consumers were marginalized by a far wider buying public who weren’t such sticklers.

And really, something like the Beetle is actually a special case: it wasn’t just a well-known product, it was a cultural icon on a level that very few products or brands ever achieve. River West is trying to reanimate brands that are sort of familiar but don’t have anything like a VW level of built-in cultural capital to draw on. If there is a cult of Brim out there somewhere, it’s pretty small and very quiet.

What River West really wants is to bring back these brands in a way that not only builds on their former popularity but also manages, via the skillful management of what we do remember and what we don’t, to transcend it. This would be quite a trick. A few months after he returned from the licensing expo, Earle more or less dropped the strategy of turning Brim into a glorified store brand. These days he’s talking about finding a “really innovative” coffee-manufacturing partner who could make the Brim brand an umbrella for groundbreaking (but unspecified) coffee advances that would work in the general market, not just one chain. He sounded almost protective of the Brim idea, and possibly a bit frustrated that he hadn’t hit on the way to bring it back. “Brim is, within our company, one of our best-known brands,” he said to me at one point. “In fact it’s our absolutely best-known brand. So expectations are high.”

Later he added: “The strength of a dormant brand is we can remake this however we want. The challenge is we can remake this however we want.”

Eventually, Earle introduced me at his office to Scott Lazar, chief executive of another River West partner, Reserve Brands, which is overseeing the revivification of Eagle Snacks. I’d never heard of the brand, but I was assured that plenty of Midwesterners knew it. Eagle had once been owned by Anheuser-Busch and was the beer maker’s way into the salty-snack market dominated by Frito-Lay. Its most well known product, it seems, was the honey-roasted peanut, particularly in tiny bags given out as snacks on airlines. Anheuser-Busch eventually pulled the plug, selling its equipment to Frito-Lay and the trademarks to Procter & Gamble in the mid-1990s. Lazar said that while the new Eagle has acquired those trademarks, the new and expanded product line consists largely of snacks that the old Eagle never made, with names like “Poppers!” and “Bursts!” These are rolling out in a variety of grocery stores across the country. Lazar tried to give me about six large bags of samples, but I demurred on account of limited luggage space.

I ended up with two bags, which Earle and I took downstairs to the bar at the Ceres Cafe. It was crowded and loud, filled with big Chicago men who in some cases had spent the day screaming on the Chicago Board of Trade floor and who in all cases were not shy. We found a place to sit, plopping the Eagle snacks in front of us. And one man after another leaned into our space and pointed at the bags and boomed, “Eagle!” Big hands reached toward the bags to get a scoop of snacks that the old Eagle had never made, and at the time were not in stores, and big voices declared, “I remember those!”

Rob Walker writes the Consumed column for the magazine. His book, “Buying In: The Secret Dialogue Between What We Buy and Who We Are,” will be published by Random House next month.
I was reading the NYTimes and found this article. It really is interesting to know that Brim was killed. I didn't know it, but I did know the brand and just suspected that it wasn't available in my markets. But I know the brand very well, I can even see the coffee cans in my head.


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