{"id":242,"date":"2017-05-16T19:52:50","date_gmt":"2017-05-16T19:52:50","guid":{"rendered":"https:\/\/courses.lumenlearning.com\/suny-hccc-massmedia\/chapter\/12-1-advertising\/"},"modified":"2017-05-16T19:52:50","modified_gmt":"2017-05-16T19:52:50","slug":"12-1-advertising","status":"publish","type":"chapter","link":"https:\/\/courses.lumenlearning.com\/suny-hccc-massmedia\/chapter\/12-1-advertising\/","title":{"raw":"12.1 Advertising","rendered":"12.1 Advertising"},"content":{"raw":"
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Learning Objectives<\/h3>\n
  1. Describe important eras in the history of American advertising.<\/li>\n
  2. Analyze the overall effects of government regulation on advertising.<\/li>\n
  3. Identify the types of advertising used today.<\/li>\n
  4. Describe the impact of advertising on American consumerism and cultural values.<\/li>\n <\/ol><\/div>\n

    Advertising<\/a><\/span> is defined as promoting a product or service through the use of paid announcements (Dictionary). These announcements have had an enormous effect on modern culture, and thus deserve a great deal of attention in any treatment of the media\u2019s influence on culture.<\/p>\n

    \n

    History of Advertising<\/h2>\n
    \n

    Figure 12.1<\/span> <\/p>\n \"12.1<\/a>

    History of Advertising<\/p>

    Wikimedia Commons<\/a> - CC BY-SA 3.0; Wikimedia Commons<\/a> - CC BY-SA 3.0; Wikimedia Commons<\/a> - public domain; Vanguard Visions - Search Engine Online Advertising<\/a> - CC BY 2.0.<\/p>\n <\/div><\/div>\n

    Advertising dates back to ancient Rome\u2019s public markets and forums and continues into the modern era in most homes around the world. Contemporary consumers relate to and identify with brands and products. Advertising has inspired an independent press and conspired to encourage carcinogenic addictions. An exceedingly human invention, advertising is an unavoidable aspect of the shared modern experience.<\/p>\n

    \n

    Ancient and Medieval Advertising<\/h2>\n

    In 79 CE, the eruption of Italy\u2019s Mount Vesuvius destroyed and, ultimately, preserved the ancient city of Pompeii. Historians have used the city\u2019s archaeological evidence to piece together many aspects of ancient life. Pompeii\u2019s ruins reveal a world in which the fundamental tenets of commerce and advertising were already in place. Merchants offered different brands of fish sauces identified by various names such as \u201cScaurus\u2019 tunny jelly.\u201d Wines were branded as well, and their manufacturers sought to position them by making claims about their prestige and quality. Toys and other merchandise found in the city bear the names of famous athletes, providing, perhaps, the first example of endorsement techniques (Hood, 2005).<\/p>\n

    The invention of the printing press in 1440 made it possible to print advertisements that could be put up on walls and handed out to individuals. By the 1600s, newspapers had begun to include advertisements on their pages. Advertising revenue allowed newspapers to print independently of secular or clerical authority, eventually achieving daily circulation. By the end of the 16th century, most newspapers contained at least some advertisements (O'Barr, 2005).<\/p>\n <\/div>\n

    \n

    Selling the New World<\/h2>\n

    European colonization of the Americas during the 1600s brought about one of the first large-scale advertising campaigns. When European trading companies realized that the Americas held economic potential as a source of natural resources such as timber, fur, and tobacco, they attempted to convince others to cross the Atlantic Ocean and work to harvest this bounty. The advertisements for this venture described a paradise without beggars and with plenty of land for those who made the trip. The advertisements convinced many poor Europeans to become indentured servants to pay for the voyage (Mierau, 2000).<\/p>\n <\/div>\n <\/div>\n

    \n

    Nineteenth-Century Roots of Modern Advertising<\/h2>\n
    \n

    Figure 12.2<\/span> <\/p>\n \"12.1.4\"<\/a>

    Early penny press papers such as the New York Sun<\/em> took advantage of advertisements, which allowed them to sell their issues for a penny or two.<\/p>

    Wikimedia Commons<\/a> - public domain.<\/p>\n <\/div><\/div><\/div>\n

    The rise of the penny press during the 1800s had a profound effect on advertising. The New York Sun<\/em> embraced a novel advertising model in 1833 that allowed it to sell issues of the paper for a trifling amount of money, ensuring a higher circulation and a wider audience. This larger audience in turn justified greater prices for advertisements, allowing the paper to make a profit from its ads rather than from direct sales (Vance).<\/p>\n

    \n

    P. T. Barnum and Advertising<\/h4>\n

    The career of P. T. Barnum, cofounder of the famed Barnum & Bailey circus, gives a sense of the uncontrolled nature of advertising during the 1800s. He began his career in the 1840s writing ads for a theater, and soon after, he began promoting his own shows. He advertised these shows any way he could, using not only interesting newspaper ads but also bands of musicians, paintings on the outside of his buildings, and street-spanning banners.<\/p>\n

    Barnum also learned the effectiveness of using the media to gain attention. In an early publicity stunt, Barnum hired a man to wordlessly stack bricks at various corners near his museum during the hours preceding a show. When this activity drew a crowd, the man went to the museum and bought a ticket for the show. This stunt drew such large crowds over the next 2 days, that the police made Barnum put a halt to it, gaining it even wider media attention. Barnum was sued for fraud over a bearded woman featured in one of his shows; the plaintiffs claimed that she was, in fact, a man. Rather than trying to keep the trial quiet, Barnum drew attention to it by parading a crowd of witnesses attesting to the bearded woman\u2019s gender, drawing more media attention\u2014and more customers.<\/p>\n

    \n

    Figure 12.3<\/span> <\/p>\n \"12.1.5\"<\/a>

    P. T. Barnum used the press to spark interest in his shows.<\/p>

    trialsanderrors - The marvelous foot-ball dogs, poster for Barnum & Bailey, 1900<\/a> - CC BY 2.0.<\/p>\n <\/div><\/div><\/div>\n

    Barnum aimed to make his audience think about what they had seen for an extended time. His Feejee mermaid\u2014actually a mummified monkey and fish sewn together\u2014was not necessarily interesting because viewers thought the creation was really a mermaid, but because they weren\u2019t sure if it was or not. Such marketing tactics brought Barnum\u2019s shows out of his establishments and into social conversations and newspapers (Applegate, 1998). Although most companies today would eschew Barnum\u2019s outrageous style, many have used the media and a similar sense of mystery to promote their products. Apple, for example, famously keeps its products such as the iPhone and iPad under wraps, building media anticipation and coverage.<\/p>\n <\/div>\n

    In 1843, a salesman named Volney Palmer founded the first U.S. advertising agency in Philadelphia. The agency made money by linking potential advertisers with newspapers. By 1867, other agencies had formed, and advertisements were being marketed at the national level. During this time, George Rowell, who made a living buying bulk advertising space in newspapers to subdivide and sell to advertisers, began conducting market research in its modern recognizable form. He used surveys and circulation counts to estimate numbers of readers and anticipate effective advertising techniques. His agency gained an advantage over other agencies by offering advertising space most suited for a particular product. This trend quickly caught on with other agencies. In 1888, Rowell started the first advertising trade magazine, Printers\u2019 Ink<\/em> (Gartrell).<\/p>\n

    In Chapter 5 \"Magazines\"<\/a>, you read about McClure\u2019s<\/em> success in 1893 thanks to an advertising model: selling issues for nearly half the price of other magazines and depending on advertising revenues to make up the difference between cost and sales price. Magazines such as Ladies\u2019 Home Journal<\/em> focused on specific audiences, so they allowed advertisers to market products designed for a specific demographic. By 1900, Harper\u2019s Weekly<\/em>, once known for refusing advertising, featured ads on half of its pages (All Classic Ads).<\/p>\n

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    The Rise of Brand Names<\/h2>\n
    \n

    Figure 12.4<\/span> <\/p>\n \"image\"<\/a>

    In the early 1900s, brand-name food items, such as this one, began making a household name for themselves.<\/p>

    Stuart Rankin - Payn\u2019s Sure-Raising Flour<\/a> - CC BY-NC 2.0.<\/p>\n <\/div><\/div><\/div>\n

    Another ubiquitous aspect of advertising developed around this time: brands. During most of the 19th century, consumers purchased goods in bulk, weighing out scoops of flour or sugar from large store barrels and paying for them by the pound. Innovations in industrial packaging allowed companies to mass produce bags, tins, and cartons with brand names on them. Although brands existed before this time, they were generally reserved for goods that were inherently recognizable, such as china or furniture. Advertising a particular kind of honey or flour made it possible for customers to ask for that product by name, giving it an edge over the unnamed competition.1<\/sup><\/p>\n

    \n

    Figure 12.5<\/span> <\/p>\n \"12.1.6\"<\/a>

    Department stores such as Sears, Roebuck and Co. reached consumers outside of the city through mail-order catalogs.<\/p>

    Nesster - 1961 Sears: Mail Order Envelope<\/a> - CC BY 2.0.<\/p>\n <\/div><\/div>\n

    The rise of department stores during the late 1800s also gave brands a push. Nationwide outlets such as Sears, Roebuck & Company and Montgomery Ward sold many of the same items to consumers all over the country. A particular item spotted in a big-city storefront could come to a small-town shopper\u2019s home thanks to mail-order catalogs. Customers made associations with the stores, trusting them to have a particular kind of item and to provide quality wares. Essentially, consumers came to trust the store\u2019s name rather than its specific products.2<\/sup><\/p>\n <\/div>\n <\/div>\n

    \n

    Advertising Gains Stature During the 20th Century<\/h2>\n

    Although advertising was becoming increasingly accepted as an element of mass media, many still regarded it as an unseemly occupation. This attitude began to change during the early 20th century. As magazines\u2014widely considered a highbrow medium\u2014began using more advertising, the advertising profession began attracting more artists and writers. Writers used verse and artists produced illustrations to embellish advertisements. Not surprisingly, this era gave rise to commercial jingles and iconic brand characters such as the Jolly Green Giant and the Pillsbury Doughboy.<\/p>\n

    The household cleaner Sapolio produced advertisements that made the most of the artistic advertising trend. Sapolio\u2019s ads featured various drawings of the residents of \u201cSpotless Town\u201d along with a rhymed verse celebrating the virtues of this fictional haven of cleanliness. The public anticipated each new ad in much the same way people today anticipate new TV episodes. In fact, the ads became so popular that citizens passed \u201cSpotless Town\u201d resolutions to clean up their own jurisdictions. Advertising trends later moved away from flowery writing and artistry, but the lessons of those memorable campaigns continued to influence the advertising profession for years to come (Fox, 1984).<\/p>\n

    \n

    Advertising Makes Itself Useful<\/h2>\n

    World War I fueled an advertising and propaganda boom. Corporations that had switched to manufacturing wartime goods wanted to stay in the public eye by advertising their patriotism. Equally, the government needed to encourage public support for the war, employing such techniques as the famous Uncle Sam recruiting poster. President Woodrow Wilson established the advertiser-run Committee on Public Information to make movies and posters, write speeches, and generally sell the war to the public. Advertising helped popularize World War I on the home front, and the war in turn gave advertising a much-needed boost in stature. The postwar return to regular manufacturing initiated the 1920s as an era of unprecedented advertising.3<\/sup><\/p>\n <\/div>\n

    \n

    New Media<\/h2>\n

    The rising film industry made celebrity testimonials, or product endorsements<\/a><\/span>, an important aspect of advertising during the 1920s. Film stars including Clara Bow and Joan Crawford endorsed products such as Lux toilet soap. In these early days of mass-media consumer culture, film actors and actresses gave the public figures to emulate as they began participating in popular culture.4<\/sup><\/p>\n

    As discussed in Chapter 7 \"Radio\"<\/a>, radio became an accepted commercial medium during the 1920s. Although many initially thought radio was too intrusive a medium to allow advertising, as it entered people\u2019s homes by the end of the decade, advertising had become an integral aspect of programming. Advertising agencies often created their own programs that networks then distributed. As advertisers conducted surveys and researched prime time slots, radio programming changed to appeal to their target demographics. The famous Lux Radio Theater<\/em>, for example, was named for and sponsored by a brand of soap. Product placement was an important part of these early radio programs. Ads for Jell-O appeared during the course of the Jack Benny Show<\/em> (JackBennyShow.com), and Fibber McGee and Molly<\/em> scripts often involved their sponsor\u2019s floor wax (Burgan, 1996). The relationship between a sponsor and a show\u2019s producers was not always harmonious; the producers of radio programs were constrained from broadcasting any content that might reflect badly on their sponsor.<\/p>\n <\/div>\n

    \n

    The Great Depression and Backlash<\/h2>\n

    Unsurprisingly, the Great Depression, with its widespread decreases in levels of income and buying power, had a negative effect on advertising. Spending on ads dropped to a mere 38 percent of its previous level. Social reformers added to revenue woes by again questioning the moral standing of the advertising profession. Books such as Through Many Windows<\/em> and Our Master\u2019s Voice<\/em> portrayed advertisers as dishonest and cynical, willing to say anything to make a profit and unconcerned about their influence on society. Humorists also questioned advertising\u2019s authority. The Depression-era magazine Ballyhoo<\/em> regularly featured parodies of ads, similar to those seen later on Saturday Night Live<\/em> or in The Onion<\/em>. These ads mocked the claims that had been made throughout the 1920s, further reducing advertising\u2019s public standing.5<\/sup><\/p>\n

    This advertising downturn lasted only as long as the Depression. As the United States entered World War II, advertising again returned to encourage public support and improve the image of businesses.6<\/sup> However, there was one lasting effect of the Depression. The rising consumer movement made false and misleading advertising a major public policy issue. At the time, companies such as Fleischmann\u2019s (which claimed its yeast could cure crooked teeth) were using advertisements to pitch misleading assertions. Only business owners\u2019 personal morals stood in the way of such claims until 1938, when the federal government created the Federal Trade Commission (FTC) and gave it the authority to halt false advertising.<\/p>\n <\/div>\n \n

    In 1955, TV outpaced all other media for advertising. TV provided advertisers with unique, geographically oriented mass markets that could be targeted with regionally appropriate ads (Samuel, 2006). The 1950s saw a 75 percent increase in advertising spending, faster than any other economic indicator at the time.7<\/sup><\/p>\n

    Single sponsors created early TV programs. These sponsors had total control over programs such as Goodyear TV Playhouse<\/em> and Kraft Television Theatre<\/em>. Some sponsors went as far as to manipulate various aspects of the programs. In one instance, a program run by the DeSoto car company asked a contestant to use a false name rather than his given name, Ford. The present-day network model of TV advertising took hold during the 1950s as the costs of TV production made sole sponsorship of a show prohibitive for most companies. Rather than having a single sponsor, the networks began producing their own shows, paying for them through ads sold to a number of different sponsors.8<\/sup> Under the new model of advertising, TV producers had much more creative control than they had under the sole-sponsorship model.<\/p>\n

    The quiz shows of the 1950s were the last of the single-sponsor\u2013produced programs. In 1958, when allegations of quiz show fraud became national news, advertisers moved out of programming entirely. The quiz show scandals also added to an increasing skepticism of ads and consumer culture (Boddy, 1990).<\/p>\n

    Advertising research during the 1950s had used scientifically driven techniques to attempt to influence consumer opinion. Although the effectiveness of this type of advertising is questionable, the idea of consumer manipulation through scientific methods became an issue for many Americans. Vance Packard\u2019s best-selling 1957 book The Hidden Persuaders<\/em> targeted this style of advertising. The Hidden Persuaders<\/em> and other books like it were part of a growing critique of 1950s consumer culture. The U.S. public was becoming increasingly wary of advertising claims\u2014not to mention increasingly weary of ads themselves. A few adventurous ad agencies used this consumer fatigue to usher in a new era of advertising and American culture (Frank, 1998).<\/p>\n <\/div>\n

    \n

    The Creative Revolution<\/h2>\n

    Burdened by association with Nazi Germany, where the company had originated, Volkswagen took a daring risk during the 1950s. In 1959, the Doyle Dane Bernbach (DDB) agency initiated an ad campaign for the company that targeted skeptics of contemporary culture. Using a frank personal tone with the audience and making fun of the planned obsolescence that was the hallmark of Detroit automakers, the campaign stood apart from other advertisements of the time. It used many of the consumer icons of the 1950s, such as suburbia and game shows, in a satirical way, pitting Volkswagen against mainstream conformity and placing it strongly on the side of the consumer. By the end of the 1960s, the campaign had become an icon of American anticonformity. In fact, it was such a success that other automakers quickly emulated it. Ads for the Dodge Fever, for example, mocked corporate values and championed rebellion.9<\/sup><\/p>\n

    This era of advertising became known as the creative revolution<\/strong> for its emphasis on creativity over straight salesmanship. The creative revolution reflected the values of the growing anticonformist movement that culminated in the countercultural revolution of the 1960s. The creativity and anticonformity of 1960s advertising quickly gave way to more product-oriented conventional ads during the 1970s. Agency conglomeration, a recession, and cultural fallout were all factors in the recycling of older ad techniques. Major TV networks dropped their long-standing ban on comparative advertising early in the decade, leading to a new trend in positioning ads that compared products. Advertising wars such as Coke versus Pepsi and, later, Microsoft versus Apple were products of this trend.10<\/sup><\/p>\n

    Innovations in the 1980s stemmed from a new TV channel: MTV. Producers of youth-oriented products created ads featuring music and focusing on stylistic effects, mirroring the look and feel of music videos. By the end of the decade, this style had extended to more mainstream products. Campaigns for the pain reliever Nuprin featured black-and-white footage with bright yellow pills, whereas ads for Michelob used grainy atmospheric effects (New York Times, 1989).<\/p>\n <\/div>\n

    \n

    Advertising Stumbles<\/h2>\n

    During the late 1980s, studies showed that consumers were trending away from brands and brand loyalty. A recession coupled with general consumer fatigue led to an increase in generic brand purchases and a decrease in advertising. In 1983, marketing budgets allocated 70 percent of their expenditures to ads and the remaining 30 percent to other forms of promotion. By 1993, only 25 percent of marketing budgets were dedicated to ads (Klein, 2002).<\/p>\n

    These developments resulted in the rise of big-box stores such as Wal-Mart that focused on low prices rather than expensive name brands. Large brands remade themselves during this period to focus less on their products and more on the ideas behind the brand. Nike\u2019s \u201cJust Do It\u201d campaign, endorsed by basketball star Michael Jordan, gave the company a new direction and a new means of promotion. Nike representatives have stated they have become more of a \u201cmarketing-oriented company\u201d as opposed to a product manufacturer.11<\/sup><\/p>\n

    \n

    Figure 12.7<\/span> <\/p>\n \"12.1.8\"<\/a>

    In the 1990s, Nike was the target of protests due to its questionable labor practices.<\/p>

    WBUR Boston\u2019s NPR News Station - Protest<\/a> - CC BY-NC-ND 2.0.<\/p>\n <\/div><\/div>\n

    As large brands became more popular, they also attracted the attention of reformers. Companies such as Starbucks and Nike bore the brunt of late 1990s sweatshop and labor protests. As these brands attempted to incorporate ideas outside of the scope of their products, they also came to represent larger global commerce forces (Hornblower, 2000). This type of branding<\/a><\/span> increasingly incorporated public relations techniques that will be discussed later in this chapter.<\/p>\n <\/div>\n

    \n

    The Rise of Digital Media<\/h2>\n

    Twenty-first-century advertising has adapted to new forms of digital media. Internet outlets such as blogs, social media forums, and other online spaces have created new possibilities for advertisers, and shifts in broadcasting toward Internet formats have threatened older forms of advertising. Video games, smartphones, and other technologies also present new possibilities. Specific new media advertising techniques will be covered in the next section.<\/p>\n <\/div>\n \n

    \n

    Types of Advertising<\/h2>\n

    Despite the rise of digital media, many types of traditional advertising have proven their enduring effectiveness. Local advertisers and large corporations continue to rely on billboards and direct-mail fliers. In 2009, Google initiated a billboard campaign for its Google Apps products that targeted business commuters. The billboards featured a different message every day for an entire month, using simple computer text messages portraying a fictitious executive learning about the product. Although this campaign was integrated with social media sites such as Twitter, its main thrust employed the basic billboard (Ionescu, 2009).<\/p>\n

    \n

    Figure 12.8<\/span> <\/p>\n \"12.1.9\"<\/a>

    Google billboards targeted commuters, creating a story that spanned the course of a month.<\/p>

    Danny Sullivan - Ask Versus Google In Billboards<\/a> - CC BY 2.0.<\/p>\n <\/div><\/div>\n

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    Newspapers and Magazines<\/h2>\n

    Although print ads have been around for centuries, Internet growth has hit newspaper advertising hard. A 45 percent drop in ad revenue between 2007 and 2010 signaled a catastrophic decline for the newspaper industry (Sterling, 2010). Traditionally, newspapers have made money through commercial and classified advertising. Commercial advertisers, however, have moved to electronic media forms, and classified ad websites such as Craigslist offer greater geographic coverage for free. The future of newspaper advertising\u2014and of the newspaper industry as a whole\u2014is up in the air.<\/p>\n

    Print magazines have suffered from many of the same difficulties as newspapers. Declining advertising revenue has contributed to the end of popular magazines such as Gourmet<\/em> and to the introduction of new magazines that cross over into other media formats, such as Food Network Magazine<\/em>. Until a new, effective model is developed, the future of magazine advertising will continue to be in doubt.<\/p>\n <\/div>\n

    \n

    Radio<\/h2>\n

    Compared to newspapers and magazines, radio\u2019s advertising revenue has done well. Radio\u2019s easy adaptation to new forms of communication has made it an easy sell to advertisers. Unlike newspapers, radio ads target specific consumers. Advertisers can also pay to have radio personalities read their ads live in the studio, adding a sense of personal endorsement to the business or product. Because newer forms of radio such as satellite and Internet stations have continued to use this model, the industry has not had as much trouble adapting as print media have.<\/p>\n <\/div>\n

    \n

    Television<\/h2>\n

    TV advertisement relies on verbal as well as visual cues to sell items. Promotional ad time is purchased by the advertiser, and a spot usually runs 15 to 30 seconds. Longer ads, known as infomercials, run like a TV show and usually aim for direct viewer response. New technologies such as DVR allow TV watchers to skip through commercials; however, studies have shown that these technologies do not have a negative effect on advertising (Gallagher, 2010). This is partly due to product placement. Product placement is an important aspect of TV advertising, because it incorporates products into the plots of shows. Although product placement has been around since the 1890s, when the Lumi\u00e8re brothers first placed Lever soap in their movies, the big boom in product placement began with the reality TV show Survivor<\/em> in 2000 (Anderson, 2006). Since then, product placement has been a staple of prime-time entertainment. Reality TV shows such as Project Runway<\/em> and American Idol<\/em> are known for exhibiting products on screen, and talk-show host Oprah Winfrey made news in 2004 when she gave away new Pontiacs to her audience members (Stansky, 2008). Even children\u2019s shows are known to hock products; a new cartoon series recently began on Nickelodeon featuring characters that represent different Sketchers sneakers (Freidman, 2010).<\/p>\n <\/div>\n

    \n

    Digital Media<\/h2>\n

    Emerging digital media platforms such as the Internet and mobile phones have created many new advertising possibilities. The Internet, like TV and radio, offers free services in exchange for advertising exposure. However, unlike radio or TV, the Internet is a highly personalized experience that shares private information.<\/p>\n

    \n

    Viral Ads<\/h2>\n

    As you read in Chapter 11 \"The Internet and Social Media\"<\/a>, new advertising techniques have become popular on the Internet. Advertisers have tried to capitalize on the shared-media phenomenon by creating viral ads<\/a><\/span> that achieve spontaneous success online. Fewer than one in six ads that are intended to go viral actually succeed, so marketers have developed strategies to encourage an advertisement\u2019s viral potential. Successful spots focus on creativity rather than a hard-selling strategy and generally target a specific audience (Fox Business, 2010). Recent Old Spice ads featured former NFL player Isaiah Mustafa in a set of continuous scenes, from a shower room to a yacht. The commercial ends with the actor on horseback, a theatrical trick that left viewers wondering how the stunt was pulled off. As of July 2010, the ad was the most popular video on YouTube with more than 94 million views, and Old Spice sales had risen 106 percent (Neff, 2010).<\/p>\n <\/div>\n

    \n

    Social Media<\/h2>\n

    Social media sites such as Facebook use the information users provide on their profiles to generate targeted advertisements. For instance, if a person is a fan of Mariah Carey or joined a group associated with the singer, he or she might see announcements advertising her new CD or a local concert. While this may seem harmless, clicking on an ad sends user data to the advertising company, including name and user ID. Many people have raised privacy concerns over this practice, yet it remains in use. Free e-mail services such as Gmail also depend on targeted advertising for their survival. Indeed, advertising is the only way such services could continue. Given the ongoing privacy debates concerning targeted Internet advertising, a balance between a user\u2019s privacy and accessibility of services will have to be settled in the near future.<\/p>\n <\/div>\n

    \n

    Mobile Phones<\/h2>\n

    Mobile phones provide several different avenues for advertisers. The growing use of Internet radio through mobile-phone platforms has created a market for advertisements tapped by radio advertising networks such as TargetSpot. By using the radio advertising model for mobile phones, users receive increased radio broadcast options and advertisers reach new targeted markets (Marketwire, 2010).<\/p>\n

    Another development in the mobile-phone market is the use of advertising in smartphone apps. Free versions of mobile-phone applications often include advertising to pay for the service. Popular apps such as WeatherBug and Angry Birds offer free versions with ads in the margins; however, users can avoid these ads by paying a few dollars to upgrade to \u201cPro\u201d versions. Other apps such as Foursquare access a user\u2019s geographic location and offer ads for businesses within walking distance (Fairlee, 2010).<\/p>\n

    \n

    Figure 12.9<\/span> <\/p>\n \"12.1.10\"<\/a>

    Free smartphone apps often contain ads to help pay for the service.<\/p>

    David Berkowitz - Beck\u2019s Campaign on Pandora iPhone App - Music Screen<\/a> - CC BY 2.0.<\/p>\n <\/div>\n <\/div>\n <\/div>\n <\/div><\/div>\n

    \n

    Government Regulation of Advertising<\/h2>\n

    Advertising regulation has played an important role in advertising\u2019s history and cultural influence. One of the earliest federal laws addressing advertising was the Pure Food and Drug Law of 1906. A reaction to public outcry over the false claims of patent medicines, this law required informational labels to be placed on these products. It did not, however, address the questionable aspects of the advertisements, so it did not truly delve into the issue of false advertising.12<\/sup><\/p>\n

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    The Formation of the FTC<\/h2>\n

    Founded in 1914, the Federal Trade Commission (FTC) became responsible for regulating false advertising claims. Although federal laws concerning these practices made plaintiffs prove that actual harm was done by the advertisement, state laws passed during the early 1920s allowed prosecution of misleading advertisements regardless of harm done.13<\/sup> The National Association of Attorneys General has helped states remain an important part of advertising regulation. In 1995, 13 states passed laws that required sweepstakes companies to provide full disclosure of rules and details of contests (O'Guinn, et. al., 2009).<\/p>\n

    During the Great Depression, New Deal legislation threatened to outlaw any misleading advertising, a result of the burgeoning consumer movement and the public outcry against advertising during the period (Time, 1941). The reformers did not fully achieve their goals, but they did make a permanent mark on advertising history. The 1938 Wheeler-Lea Amendment expanded the FTC\u2019s role to protect consumers from deceptive advertising. Until this point, the FTC was responsible for addressing false advertising complaints from competitors. With this legislation, the agency also became an important resource for the consumer movement.<\/p>\n <\/div>\n

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    Truth in Advertising<\/h2>\n

    In 1971, the FTC began the Advertising Substantiation Program to force advertisers to provide evidence for the claims in their advertisements. Under this program, the FTC gained the power to issue cease-and-desist orders to advertisers regarding specific ads in question and to order corrective advertising. Under this provision, the FTC can force a company to issue an advertisement acknowledging and correcting an earlier misleading ad. Regulations under this program established that supposed experts used in advertisements must be qualified experts in their field, and celebrities must actually use the products they endorse.14<\/sup> In 2006, Sunny Health Nutrition was brought to court for advertising height-enhancing pills called HeightMax. The FTC found the company had hired an actor to appear as an expert in its ads, and that the pills did not live up to their claim. Sunny Health Nutrition was forced to pay $375,000 to consumers for misrepresenting its product (Consumer Affairs, 2006).<\/p>\n

    In 1992, the FTC introduced guidelines defining terms such as biodegradable<\/em> and recyclable<\/em>. The growth of the environmental movement in the early 1990s led to an upsurge in environmental claims by manufacturers and advertisers. For example, Mobil Oil claimed their Hefty trash bags were biodegradable. While technically this statement is true, a 500- to 1,000-year decomposition cycle does not meet most people\u2019s definitions of the term (Lapidos, 2007). The FTC guidelines made such claims false by law (Schneider, 1992).<\/p>\n <\/div>\n

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    Regulation of the Internet<\/h2>\n

    The FTC has also turned its attention to online advertising. The Children\u2019s Online Privacy Act of 1998 was passed to prohibit companies from obtaining the personal information of children who access websites or other online resources. Because of the youth orientation of the Internet, newer advertising techniques have drawn increasing criticism. Alcohol companies in particular have come under scrutiny. Beer manufacturer Heineken\u2019s online presence includes a virtual city in which users can own an apartment and use services such as e-mail. This practice mirrors that of children\u2019s advertising, in which companies often create virtual worlds to immerse children in their products. However, the age-verification requirements to participate in this type of environment are easily falsified and can lead to young children being exposed to more mature content (Gardner, 2010).<\/p>\n

    Consumer and privacy advocates who are concerned over privacy intrusions by advertisers have also called for Internet ad regulation. In 2009, the FTC acted on complaints against Sears that resulted in an injunction against the company for not providing sufficient disclosure. Sears offered $10 to consumers to download a program that tracked their Internet browsing. The FTC came down on Sears because the downloaded software tracked sensitive information that was not fully disclosed to the consumer. Similar consumer complaints against Facebook and Google for their consumer tracking have, at present, not resulted in FTC actions; however, the growing outcry makes new regulation of Internet advertising likely (Shields, 2010).<\/p>\n <\/div>\n <\/div>\n

    \n

    Advertising\u2019s Influence on Culture<\/h2>\n

    Discussing advertising\u2019s influence on culture raises a long-standing debate. One opinion states that advertising simply reflects the trends inherent in a culture, the other claims advertising takes an active role in shaping culture. Both ideas have merit and are most likely true to varying degrees.<\/p>\n

    \n

    Advertising and the Rise of Consumer Culture<\/h2>\n

    George Babbitt, the protagonist of Sinclair Lewis\u2019s 1922 novel Babbitt<\/em>, was a true believer in the growing American consumer culture:<\/p>\n \n Just as the priests of the Presbyterian Church determined his every religious belief\u2026so did the national advertisers fix the surface of his life, fix what he believed to be his individuality. These standard advertised wares\u2014toothpastes, socks, tires, cameras, instantaneous hot-water heaters\u2014were his symbols and proofs of excellence; at first the signs, and then the substitutes, for joy and passion and wisdom (Lewis, 1922).\n <\/span>\n

    Although Lewis\u2019s fictional representation of a 1920s-era consumer may not be an actual person, it indicates the national consumer culture that was taking shape at the time. As it had always done, advertising sought to attach products to larger ideas and symbols of worth and cultural values. However, the rise of mass media and of the advertising models that these media embraced made advertising take on an increasingly influential cultural role.<\/p>\n

    Automobile ads of the 1920s portrayed cars as a new, free way of life rather than simply a means of transportation. Advertisers used new ideas about personal hygiene to sell products and ended up breaking taboos about public discussion of the body. The newly acknowledged epidemics of halitosis and body odor brought about products such as mouthwash and deodorant. A Listerine campaign of the era transformed bad breath from a nuisance into the mark of a sociopath (Ashenburg, 2008). Women\u2019s underwear and menstruation went from being topics unsuitable for most family conversations to being fodder for the pages of national magazines.15<\/sup><\/p>\n

    \n

    Figure 12.10<\/span> <\/p>\n \"12.1.11\"<\/a>

    Advertisements for deodorants and other hygiene products broke social taboos about public discussion of hygiene.<\/p>

    Classic Film - 1964 Beauty Ad, Yodora Deodorant<\/a> - CC BY-NC 2.0.<\/p>\n <\/div>\n <\/div><\/div>\n

    \n

    Creating the Modern World<\/h2>\n

    World War I bond campaigns had made it clear that advertising could be used to influence public beliefs and values. Advertising focused on the new\u2014making new products and ideas seem better than older ones and ushering in a sense of the modernity. In an address to the American Association of Advertising Agencies in 1926, President Coolidge went as far as to hold advertisers responsible for the \u201cregeneration and redemption of mankind (Marchand, 1985).\u201d<\/p>\n

    Up through the 1960s, most advertising agencies were owned and staffed by affluent white men, and advertising\u2019s portrayals of typical American families reflected this status quo. Mainstream culture as propagated by magazine, radio, and newspaper advertising was that of middle- or upper-class White suburban families (Marchand, 1985). This sanitized image of the suburban family, popularized in such TV programs as Leave It to Beaver<\/em>, has been mercilessly satirized since the cultural backlash of the 1960s.<\/p>\n

    A great deal of that era\u2019s cultural criticism targeted the image of the advertiser as a manipulator and promulgator of superficial consumerism. When advertisers for Volkswagen picked up on this criticism, turned it to their advantage, and created a new set of consumer symbols that would come to represent an age of rebellion, they neatly co-opted the arguments against advertising for their own purposes. In many instances, advertising has functioned as a codifier of its own ideals by taking new cultural values and turning them into symbols of a new phase of consumerism. This is the goal of effective advertising.<\/p>\n

    Apple\u2019s 1984 campaign is one of the most well-known examples of defining a product in terms of new cultural trends. A fledgling company compared to computer giants IBM and Xerox, Apple spent nearly $2 million on a commercial that would end up only being aired once (McAloney, 1984). During the third quarter of the 1984 Super Bowl, viewers across the United States watched in amazement as an ad unlike any other at the time appeared on their TV screens. The commercial showed a drab gray auditorium where identical individuals sat in front of a large screen. On the screen was a man, addressing the audience with an eerily captivating voice. \u201cWe are one people, with one will,\u201d he droned. \u201cOur enemies shall talk themselves to death. And we will bury them with their own confusion. We shall prevail (McAloney, 1984)!\u201d While the audience sat motionlessly, one woman ran forward with a sledgehammer and threw it at the screen, causing it to explode in a flash of light and smoke. As the scene faded out, a narrator announced the product. \u201cOn January 24, Apple Computer will introduce the Macintosh. And you\u2019ll see why 1984 won\u2019t be like 1984<\/em> (Freidman, 1984).\u201d With this commercial, Apple defined itself as a pioneer of the new generation. Instead of marketing its products as utilitarian tools, it advertised them as devices for combating conformity (Freidman, 1984). Over the next few decades, other companies imitated this approach, presenting their products as symbols of cultural values.<\/p>\n

    In his study of advertising\u2019s cultural impact, The Conquest of Cool<\/em>, Thomas Frank compares the advertising of the 1960s with that of the early 1990s:<\/p>\n \n How [advertisers] must have rejoiced when the leading minds of the culture industry announced the discovery of an all-new angry generation, the \u201cTwenty-Somethings,\u201d complete with a panoply of musical styles, hairdos, and verbal signifiers ready-made to rejuvenate advertising\u2019s sagging credibility\u2026. The strangest aspect of what followed wasn\u2019t the immediate onslaught of even hipper advertising, but that the entire \u201cGeneration X\u201d discourse repeated\u2026the discussions of youth culture that had appeared in Advertising Age<\/em>, Madison Avenue<\/em>, and on all those youth-market panel discussions back in the sixties.16<\/sup><\/span>\n

    To be clear, advertisers have not set out to consciously manipulate the public in the name of consumer culture. Rather, advertisers are simply doing their job\u2014one that has had an enormous influence on culture.<\/p>\n <\/div>\n

    \n

    Advertising Stereotypes<\/h2>\n

    The White, middle-class composition of ad agencies contributed to advertisements\u2019 rare depictions of minority populations. DDB\u2014the agency responsible for the Volkswagen ads of the 1960s\u2014was an anomaly in this regard. One of its more popular ads was for Levy\u2019s rye bread. Most conventional advertisers would have ignored the ethnic aspects of this product and simply marketed it to a mainstream White audience. Instead, the innovative agency created an ad campaign that made ethnic diversity a selling point, with spots featuring individuals from a variety of racial backgrounds eating the bread with the headline \u201cYou don\u2019t have to be Jewish to love Levy\u2019s.\u201d<\/p>\n \n

    During the 1950s, stereotypical images of African Americans promulgated by advertisers began to draw criticism from civil rights leaders. Icons such as Aunt Jemima, the Cream of Wheat chef, and the Hiram Walker butler were some of the most recognizable black figures in U.S. culture. Unlike the African Americans who had gained fame through their artistry, scholarship, and athleticism, however, these advertising characters were famous for being domestic servants.<\/p>\n

    During the 1960s, meetings of the American Association of Advertising Agencies (AAAA) hosted civil rights leaders, and agencies began to respond to the criticisms of bias. A New York survey in the mid-1960s discovered that Blacks were underrepresented at advertising agencies. Many agencies responded by hiring new African American employees, and a number of Black-owned agencies started in the 1970s.17<\/sup><\/p>\n

    Early advertising frequently reached out to women because they made approximately 80 percent of all consumer purchases. Thus, women were well represented in advertising. However, those depictions presented women in extremely narrow roles. Through the 1960s, ads targeting women generally showed them performing domestic duties such as cooking or cleaning, whereas ads targeting men often placed women in a submissive sexual role even if the product lacked any overt sexual connotation. A National Car Rental ad from the early 1970s featured a disheveled female employee in a chair with the headline \u201cGo Ahead, Take Advantage of Us.\u201d Another ad from the 1970s pictured a man with new Dacron slacks standing on top of a woman, proclaiming, \u201cIt\u2019s nice to have a girl around the house (Frauenfelder, 2008).\u201d<\/p>\n

    An advertising profile printed in Advertising Age<\/em> magazine gave a typical advertiser\u2019s understanding of the housewife at the time:<\/p>\n \n She likes to watch TV and she does not enjoy reading a great deal. She is most easily reached through TV and the simple down-to-earth magazines\u2026. Mental activity is arduous for her\u2026. She is a person who wants to have things she can believe in rather than things she can think about (Rodnitzky, 1999).\n <\/span>\n

    The National Organization for Women (NOW) created a campaign during the early 1970s targeting the role of women in advertisements. Participants complained about the ads to networks and companies and even spray-painted slogans on offensive billboards in protest.<\/p>\n

    Representation of minorities and women in advertising has improved since the 1960s and \u201970s, but it still remains a problem. The 2010 Super Bowl drew one of the most diverse audiences ever recorded for the event, including a 45 percent female audience. Yet the commercials remained focused strictly on men. And of 67 ads shown during the game, only four showed minority actors in a lead role. Despite the obvious economic benefit of diversity in marketing, advertising practices have resisted change (Ali, 2010).<\/p>\n <\/div>\n

    \n

    Advertising to Children<\/h2>\n

    The majority of advertisements that target children feature either toys or junk food. Children under the age of eight typically lack the ability to distinguish between fantasy and reality, and many advertisers use this to their advantage. Studies have shown that most children-focused food advertisements feature high-calorie, low-nutrition foods such as sugary cereals. Although the government regulates advertising to children to a degree, the Internet has introduced new means of marketing to youth that have not been addressed. Online video games called advergames<\/a><\/span> feature famous child-oriented products. The games differ from traditional advertising, however, because the children playing them will experience a much longer period of product exposure than they do from the typical 30-second TV commercial. Child advocacy groups have been pushing for increased regulation of advertising to children, but it remains to be seen whether this will take place (Calvert, 2008).<\/p>\n <\/div>\n <\/div>\n

    \n

    Positive Effects of Advertising<\/h2>\n

    Although many people focus on advertising\u2019s negative outcomes, the medium has provided unique benefits over time. Early newspaper advertising allowed newspapers to become independent of church and government control, encouraging the development of a free press with the ability to criticize powerful interests. When newspapers and magazines moved to an advertising model, these publications became accessible to large groups of people who previously could not afford them. Advertising also contributed to radio\u2019s and TV\u2019s most successful eras. Radio\u2019s golden age in the 1940s and TV\u2019s golden age in the 1950s both took place when advertisers were creating or heavily involved with the production of most of the programs.<\/p>\n

    Advertising also makes newer forms of media both useful and accessible. Many Internet services, such as e-mail and smartphone applications, are only free because they feature advertising. Advertising allows promoters and service providers to reduce and sometimes eliminate the upfront purchase price, making these services available to a greater number of people and allowing lower economic classes to take part in mass culture.<\/p>\n

    Advertising has also been a longtime promoter of the arts. During the Renaissance, painters and composers often relied on wealthy patrons or governments to promote their work. Corporate advertising has given artists new means to fund their creative efforts. In addition, many artists and writers have been able to support themselves by working for advertisers. The use of music in commercials, particularly in recent years, has provided musicians with notoriety and income. Indeed, it is hard to imagine the cultural landscape of the United States without advertising.<\/p>\n

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    Key Takeaways<\/h3>\n