Social Justice for Sale (Part I of Selling Diversity, Unity & Social Justice) addressed how recent advertisements from companies like Coca-Cola, Nike and Gillette promote varying aspects of social responsibility via campaigns of unity, diversity, and social justice. Is this the dawn of the ethical corporation? Is this about changing minds and perceptions to create unity? Do these campaigns challenge the system or is this just about maintaining a status quo?
Selling Diversity, Unity & Social Justice Part II:
The Hidden Costs of Super Commercials of Unity & Social Justice
Since that Coca-Cola hilltop commercial first played 50 years ago, the image of inclusivity the brand portrays today is salient as ever. Yet, the company is accused of dehydrating communities around the world of one of the most vital resources: water ( In Town With Little Water, Coca-Cola Is Everywhere. So Is Diabetes). Greenpeace notes that Coca-Cola, PepsiCo, and Nestlé were found to be the worst plastic polluters worldwide in global cleanups and brand audits. The company is also charged with violating workers’ rights in a number of countries such as Columbia, Turkey, Guatemala and Russia (Coca-Cola: Drinking the World Dry). Who are they really including in their messages of “unity and positivity?”
Question: How do you prepare a generation to come to grips with economic realities that are rather different than what their immediate predecessors might have taken for granted?
Like, say…, someone currently in the (dwindling) middle class — you know, someone with enough income to be able to save some of it — and thus someone who assumes that they’ll retire at 65 (or maybe even younger), just like dear old dad did…? Continue reading “Cue the Sparkly Distraction”
Have you caught the video that’s making the rounds online these days (it was posted on youtube on January 27, 2017, and it’s already got over two million hits) : the ad for a Danish broadcaster, in which they ask:
Did you ever see this Prudential ad from a couple years back? It features some fun footage from the Candid Camera TV show, back in 1962.
What’s so interesting about the ad is not the basic lesson in sociology — though it’s pretty good, I admit — but the punchline at the end. For the company is literally banking on the fact that it is indeed human nature to follow others despite the closing’s apparent message to the contrary. For the whole point of advertising is to sway the public’s opinions and actions — whether it’s to get us to take off our hats or give our money to this as opposed to that investment firm.
They’re hoping that, when it comes to investing, you’re no different from those poor guys on the elevator — you know, the ones who no doubt felt like they chose to turn around. Coz if you’re the only one — the truly lone wolf, the rugged individual — who opts to go with Prudential, well…, that doesn’t help them, now does it.
Given his interest in understanding myth as something that carries two messages, one smuggled in by the other and which might even contradict the other, I think Roland Barthes would have appreciated this ad.
Tonight is the series end to Mad Men, the story of the early years of Madison Avenue ad men (and women). When last we saw him, the protagonist, Don, had given away his car to a young scam artist, offering him a new start, and was seated alone at a bus stop, his belongings in a big paper sack. His ex-wife, Betty, had been diagnosed with lung cancer but was going back to school anyway. His onetime boss and then partner, Roger, was playing an electric organ in their freshly vacated offices while Peggy, once a secretary but now an integral part of the creative team, had rollerskated her way into a new found self-confidence and a new office, armed with some erotic Japanese art.
Like others who may read this, I’m old enough to remember when toast suddenly popped up when it was done; if the springs were not calibrated properly, then the crisp, warm bread might launch into the air and maybe even fly across the breakfast table, like a man shot from a circus cannon. But not anymore, for at least upscale toasters now lower and raise the bread in a slow, deliberate manner when you push a button, taking a few seconds to accomplish automatically what we used to do by hand in a sharp instant.
To put it simply, you wouldn’t name them “Pop Tarts” today, if you came up with a product that only gradually, incrementally emerged from the toaster. The whole point of their early marketing campaigns was that it popped up when it was done.
I always breathe a sigh of relief when Christmas is over. Don’t get me wrong – I like Christmas carols, watching my kids open gifts, and the smell of Christmas trees, so I’m not a total Scrooge about the affair. But the logistics of travel, the cost of those gifts, the “We put up the decorations; We take down the decorations!” cycle is enough to leave me eager for January.
From a pop culture perspective this rather common feeling is particularly ironic, since most forms of holiday media already sent the very clear message that all of these things that generated such stress for many of us were, in fact, also supposed to be the source of our greatest happiness. Take, for instance, another sign of the season: the retail catalog. For those of us who were barraged by them (and I’ll choose Pottery Barn’s catalog for the sake of a specific example), the messages within unequivocally communicated that, with the proper décor accessories, one’s home can become the most idyllic, cozy shelter ever, capable of withstanding almost any sort of stress that either the holidays or the coldest assaults of winter might bring. Continue reading “It (Wasn’t) The Most Wonderful Time of the Year”