Adrants reader Samara Grant writes to tell us she's concerned about Wal-Mart's recent Precious Jewel ad featuring Ashanti. Grant writes, "In her ad she talks about her belief that all young girls are 'precious.' But it is a contradiction to say at the end of ad that her fragrance is a 'sensual' scent. I don't think young girls should wear something that is called "sensual" if they are told in the previous sentence how 'precious' they are. If Ashanti wants to impress young girls and get them as her fans, she needs to put a little more clothes on. It's disgusting and very degrading and is also sending these young girls the wrong message."
Well, like we said in another post, stereotypes are rampant in advertising and so is the urge to grab youth while they are young and vulnerable. Currently, hot pop and Hollywood stars are the way to do it. But, that perpetuates the 12-year-old slut conundrum. Conversely, as Tia Fix writes, at one point in time, youth and sex were quite normal.
Use Me. Abuse Me. I'm An Ad Babe
Feminist Naomi Wolf says that the beauty myth isn't good for men or women. "It prevents (men) from actually seeing women...in suggesting a vision in place of a woman, it has a numbing effect, reducing all sense but the visual..."
That's a fairly poignant statement regarding the numbification of society because marketing images portray impossible-to-achieve beauty and the representation of women as playthings. Granted, marketers are never going to show an ugly slob in an ad because no one wants to see a slob and we all aspire to something greater. But if all we see are unachievable representations of ourselves then certain unhealthy illusions of self are sure to emerge. And have. Just visit a highschool hallway.
About Face, whose mission is "to promote positive self-esteem in girls and women of all ages, sizes, races and backgrounds through a spirited approach to media education, outreach and activism," examines the portrayal of women, specifically, in advertising and comments on how damaging the images can be to the psyche of consumers. Part of the site has a list of the top ten marketers who, in the opinion of About Face, damage society through their imagery of women advertising.
In a Slate article Seth Stevenson ponders the notion Burger King agency Crispin Porter + Bogusky orchestrated the Burger King Halloween mask hype which involved emails inquiring where the mask could be bought, a thread on Fark in which the mask was parodied and a BK Masks site was launched by CP + B around the same time. Coincidence? We don't think so.
Adrants reader doesn't think so either and wrote us, "Lets say CP+B were the farksters of the King. Funny, but is it legal? Can an agency Fark a marketing tool, and then profit by selling masks for Halloween? Although a bit shiesty, this seems to bob and weave around any kind of direct profiteering via manipulated personal likenesses, intellectual property, etc. But sending faux-inquiries about the masks to Slate? I realize that the inquiries where only that- inquiries, not hard sells. But the level of shrewdness here gets under my skin. I know this isn't anything new; advertisers have been playing the fool in chat rooms for years. But Slate is a major news source. It makes me angry."
Anyone want to add their comment?
After receiving an email from Banu Sen of Publicis Net Paris telling us about a viral teaser trailer created to promote a new online game which would feature car maker Renault and that a fake game company and fake website where created and disseminated to bloggers as part of the promotion, a lengthy email exchange with Ben ensued regarding the buzz phrase of the day, transparency. Transparency is the notion that all marketing, especially that which comes through buzz, viral and word of mouth channels, be fully forthcoming with what brand is behind the campaign.
Clearly, with fake company names and websites, this was not transparent. However, during our discussion, in which, at first, I was quite surprised a major agency like Publicis and a major car maker like Renault would engage in fakery such as this given the recent uproar over buzz and word of mouth marketers and their associations calling for transparency, I realized it's really nothing more than your standard teaser campaign which has been around forever. There's a fine line, though, between a teaser campaign and a misleading campaign. The prior always, at some point reveals its identity which this Renault campaign does. The latter, which uses stealth methods like the recent U.S. Cellular blue man fiasco or an army of 250,000 teenagers who may or may not reveal their association with the large word of mouth company for whom they work.
Publicis and Renault has done nothing wrong here. Not that anyone is saying they did. Though in the face of transparency insanity, the discussion was worth having.
Reacting to a column UnderScore Marketing's Tom Hespos wrote about marketer's fear and laziness to engage in meaningful conversations with consumers, I wrote a piece calling for the creation of a "Conversation Department," a department whose sole responsibility would be to listen to what is being said about a given brand in blog posts, discussion boards, forums and other methods of group conversation, join the ongoing conversations about the brand and make sure the company properly reacts to conversational opinion by addressing concerns immediately. Today, Tom goes a bit further with this and proposes a structure for a conversation department and how it might be staffed.
The more we talk about listening, joining and learning from conversations, while everyone in a company should be doing this, it makes more and more sense for companies and agencies to created a dedicated conversation department.
In the UK, Pepsi is said to be in talks with former child opera star and current tabloid queen, Charlotte Church along with Oasis band member Liam Gallagher to appear in a Pepsi commercial promoting the drinks' use as a cocktail mixer. In the ad, it is said, Gallagher will teach Church how to smash up a hotel room while sucking down drinks mixed with Pepsi. Now there's a brand image worth fighting for. A Pepsi source explains, "We've always got safe, family friendly stars to endorse Pepsi in the past, like Britney Spears, Beyonce Knowles, Cindy Crawford and Blue. But Pepsi is becoming more and more popular as a cocktail mixer at parties, so we want a wilder, more controversial image to go with that, and Liam and Charlotte are ideal. They both love their booze and between them they cover the gender demographics we're trying to target. Charlotte is young, sexy and fun-loving, while Liam is an older, cool rock star." Now there's a brand manager that doesn't gloss over the truth of his company's marketing goals.
Almost three years ago, we proudly predicted Charlotte Church would rise to a level of celebrity on par with Britney Spears. While she might not quite have reached Spears' level, if Spears continues to head in her current direction, it won't be too difficult for Church to overtake.
Ad Induced Hotness?
Previously on Adrants: Writing in the Hendersonville News, Susan Hanley Lane shares her feelings regarding a racy Skechers billboard she saw when she was with her father in law as he was getting haircut. Noting the odd juxtaposition of the two figures on the billboard having simulated sex, advertising-style, with the presence of her father in law and two small girls playing outside near the board, Susan makes a convincingly cogent argument that, perhaps, we've taken this sex sells thing a bit too far.
She notes the walled garden that used to be called childhood has collapsed and has been replaced, at least for girls, by girlhood. In other words, kids aren't kids anymore but have, because of the continual presence of adult imagery, become young hotties in training. When you roll it up like that, it does certainly feel odd that young kids are routinely exposed to this sort of imagery. Many, including myself, have said, "Oh, just don't look. Turn the TV off. Monitor what your kids read and what they do online." Well, sure. That's all good but it's also like trying to juggle 12 tons of Jello while riding a unicycle. It's not possible. Kids are resourceful. If they want to see or do something, they'll find a way around parental blockage. Acknowledging that, one could argue if racy imagery that is now commonplace wasn't there in the first place, kids who circumvent so called blockage would find nothing more that a fully clothed Betty Crocker staring back at them.
As if consumers haven't rebelled enough about increased commercial and promotional proliferation on television, broadcasters are inserting the knife deeper and twisting it more aggressively. While ABC says the total number of minutes per hour of advertising hasn't change in three years, the network, which began the practice last season, this year has required show producers to slice episodes into six acts versus the traditional four increasing the number of breaks per hour and angering viewers in the process.
Seemingly oblivious to people's abhorance of advertising, ABC Ad Sales Chief Mike Shaw said, "We've had the exact same commercial load for three years in a row. People must "feel that way because they love the show so much, that they really notice it when the breaks are there." That's precious.
Everwood producer Greg Berlanti doesn't like the practice saying, "It makes you long for the day when everything comes out in boxed sets of DVDs so you can enjoy it." Given the rise in outraged, DVR-enabled consumers, that day may not be far off. The current television advertising model is a losing proposition. As broadcasters struggle to maintain ad revenue by shoving more ads through consumer's eyeballs, people, increasingly armed with methods of avoiding ads, will rebel, lowering ad viewership thereby causing broadcasters to foist even more insanity-based methods of forced ad viewership upon consumers until the entire broadcast television model implodes on itself and finally experiences the death it so dearly deserves.
While we're not quite what the draw is about watching television on a 2.5 inch screen in a world of 50 inch televisions, we can't complain about Walt Disney's deal with Apple to provide next-day downloads for $1.99 via iTunes to the new video iPod of ABC's popular series Lost and Desperate Housewives, among others. With dwindling television viewership and, hence, dwindling ad revenue for networks, providing mobile, commercial-free, pay-per-view programming makes a tremendous amount of sense for the nets. If this takes off, networks will run with glee to the bank. Marketers, with an ad medium pulled out from under their feet, may not be so happy.
Writing on Ad Age, Bob Garfield, in another of his occasional essays, sums up the recent growing trends of
consumer generated media, conversational marketing and what he calls The Open Source Revolution. We've covered all this over the past year or so but it's nice to see it wrapped up into a coherently powerful statement. From Orange County Teacher George Masters creation of his "Tiny Machine" iPod spot to GE's Pen campaign to Mercedes' send-us-a-picture-of-you-and-your-car campaign to Converse's consumer created films for Chuck Taylors to shifting copyright laws to the future role of agencies as enablers of conversation versus controllers of conversation to marketers need to embrace the conversation, advertising has been turned on its head. Marketers and agencies who do not acknowledge the open source nature of consumer participation in brand conversations will fail miserably.
In a BlogOn panel "Can Advertising Be Social," held October 18 at 9AM, I, along with Life After The 30-Second Spot Author Joe Jaffe, Organic CEO Mark Kingdon and AXE Brand Development Director David Rubin will discuss this very topic.