From Thomas Frank, The Conquest of Cool

1. What is the shared wisdom of how ads co-opted the counterculture (also known as the "co-opt thesis"), and what, in Frank's opinion, is the flaw in this interpretation?
Contemporary advertisers have shattered traditional marketing conventions by co-opting narratives from various eras to communicate with audiences from that period to reintroduce the stories to a younger audience. It entails brands incorporating marketing messages from previous socio-political regimes to elicit widespread attention and, as a result, improve their exposure. Co-opting helps advertisers to take popular campaign ideas of earlier eras and incorporate them into their current rhetoric, thereby establishing themselves as diverse and in touch with their customers’ history and ways of life.

Thomas Frank is challenges the marketers’ deliberate attempts to redefine the consumption order through cooptation of the counterculture. The author criticizes the deliberate attempt by brands to reestablish subcultures they or their consumers know little about. Thomas Frank decries the wanton introduction of 1960s and ‘70s themes in contemporary marketing and perceives it as a feeble attempt to identify with the mature generation while impressing younger consumers. He labels the approach as erroneous and maintains that it must be revisited.

2. Why was “youthfulness” such a powerful advertising ethic in the 1960s compared to past youth advertising?

The 1960s is arguably the age of the advent of modern advertising. The era was marked with exponential increase in the exposure to digital marketing as television and transistor radio became incrementally common. Advertisers identified youthfulness as one of the most powerful marketing themes as it represented strength, vitality, opportunity, and eternal beauty. Consumers were broadly infatuated with the prospect of being and seeming young. Ageing was frowned upon by popular culture. As such, marketers extensively integrated youthfulness into product placement. The practice garnered massive success ensuring its perpetuation throughout the period. Brands sought ways to cleverly utilize the message in their promotions and soon, the theme of youthfulness was saturated in conventional advertising.

3. Why did public skepticism towards advertising and consumer culture come roaring back in the late 1960s and why was this an opportunity for advertisers? Consider the Volvo and Peace Corps campaigns.

After nearly a decade of renewed digital advertising zeal and success, the late 1960s were marked with public skepticism towards marketing and the subsequent consumer culture. Arguably, the American populace had become fatigued of the relatively impractical and dishonest nature of the adverts. There was growing consciousness on the potential of advertising to influence consumer culture to benefit of the brands; a development that made customers deeply uncomfortable. Consumer favoritism became more inclined towards promotions that appeared to be truthful and representative of the products’ actual characteristics. Marketers were quick to identify this paradigm shift and took advantage of it accordingly.

Swedish automotive manufacturer, Volvo, was one such brand. Upon breaking into the American market, Volvo was met with stiff competition by local firms that were far more established and enjoyed relatively larger market shares. The brands had extensive marketing resources and commonly employed the “For America, By America” narrative. As such, it was extremely challenging for Volvo to penetrate into the market. Volvo sought to upset the status quo by employing a safety and durability theme. In its marketing overtures, the company showcased their cars as far safer than locals ones. It placed emphasis on the fact that cars that had been manufactured a decade earlier were still fully functional and on the road in Sweden. The car maker estimated its products’ lifespan to be a modest 11 years, presenting itself as an honest brand. The marketing approach endeared the company to the American market, which appreciated its level of perceived scrupulousness.

The Peace Corps was established through an executive order by President Kennedy in 1961 as a way of extending American exceptionalism and soft power abroad. The program was largely staffed by volunteers who would be sent to different parts of the world to offer humanitarian support, social work and serve in economic advisory roles in 141 countries. However, the program would be met with harsh criticism from the public. Showcased as a supplementary institution to America’s philanthropic efforts, the Peace Corps strived to alleviate the world’s most pressing problems such as poverty, economic corruption, and disease. However, its marketing was fundamentally flawed and arguably out of touch with its time. Critics opined that the organization was merely created to sanitize the U.S’s poor internal image caused by aggressive military policies and unscrupulous business practices. The Peace Corps quickly recognized the hostile perception and changed its advertising approach. It established the Ad Council that managed its public image and communications. The entity completely revolutionized the Peace Corps’ marketing rhetoric, choosing to present volunteering at the agency as national duty and responsibility that only the strong-hearted could accomplish. It put out a long-running advertisement that informed the public, “We need with a good back, strong stomach, level head, and a big heart.” The ad campaign was immensely successful and was sufficiently successful in changing public sentiment against the organization.

4. How did the marketing of Love makeup as well as alcohol reflect this era’s cultural emphasis on “being yourself”?

The 1960s featured huge shift in cultural paradigms as the world heralded a new social dispensation of modernity. Young men and women were becoming increasingly poised be impactful to the society. There was a huge emphasis on the need of one to “be themselves” in the face of a rapidly changing social landscape. The largely conservative era impressed upon members of society to avoid the influences of the world around them and abandon changes to their character that do not define them. However, the age was also marked with aggressive marketing. As a result of limited regulation, brands could integrate any messages into their marketing campaigns regardless of how erroneous they were. Love Cosmetics ad campaigns appeared to assert that ultimate confidence was only attainable with makeup. The theme appeared to contrast the contemporary rhetoric of one being content with their appearance and abilities. A similar message was commonly perpetuated by alcohol brands. Alcoholic drinks were advertised as a symbol of ultimate self-realization and consumers as being at the top of the social order. Arguably, the sentiment inadvertently dented the sense of self-worth among impressionable consumers and extensively degenerated the era’s cultural emphasis on “being one’s self.”

5. Why was “women’s liberation” so ripe for exploitation by advertising?

The mid-20th century was characterized by a widespread shift on societal attitudes on the role of women in society. Feminist interests become increasingly prominent with women becoming emboldened to agitate for gender equality. It was a cause whose time had come. As such, it received support from nearly all the significant quarters. The liberation of women presented an ideal opportunity for marketers who rechanneled their narratives to suit feminist rhetoric. The advertisers understood the widespread support the movement received could be easily converted into impressive consumer numbers. They wanted shoppers to believe that purchasing their products essentially meant they supported women liberation. Besides having nearly all women on board, most progressive gentlemen would also be roped in. The perspective of customers towards the marketed products would change as they would appear more empathetic to the prevalent social order. Additionally, women’s liberation faced limited political opposition, making it safe for exploitation by advertisers.

From Thomas Frank, The Conquest of Cool, pgs. 224-235

1. What ended the hip advertising era that blossomed in the 1960s and why did it return in the 1990s? What does this teach us about how advertising reflects society?

Thomas Frank notes that hip advertising era ended mainly because of resistance from sartorial conservativeness. The author laments that opposition to change by whole communities despite extensive marketing almost certainly resulted in reduced liberalization of marketing. He comments that places such as Detroit and Kansas City were exceedingly resistant to new products and social attitude that accompanied them. The author even joked that in Texas, it was still officially 1954.

According to Frank, hip advertising era reemerged in the 1990s as a consequence of renewed ideological rebellion against established clothing norms. Consumers in the 90s demonstrated hostility towards conformity to the clothing order. They felt more liberated and in charge of their own dressing choices. Flamboyant colors and outrageous designs were replacing conservative options that had become commonplace. It is interesting to note that the comprehensive change in attitudes was not brought about by actual perspective shift but rather, effective advertising. The rebellion sentiment was widespread in the 1990s. Marketers seized the opportunity to inform consumer culture by capitalizing on the need for unique appearance. This reality indicates that the malleable nature of society’s consumption culture.

From Janice M. Irvine, “Selling Viagra”

1. Do ED ads exploit our attitudes towards sexuality or liberate them?

Irvine maintains that erectile dysfunction advertisements consumers’ attitudes towards sexuality. The ads purport that the products replace natural essence of the user and offers a celestial experience. They erode the user’s confidence to mount a significant sexual experience without the product. Consumers are confined to the belief that erectile dysfunction products considerably improve their sexual ability. The author disputes the commonly held perspective and maintains that such ads only serve to negatively alter the public’s beliefs on sexuality.

2. What do these ads reveal about the relationship between sex, consumption, and social status in advertising?

Erectile dysfunction advertisements presents drug-assisted sex as the epitome of consumer happiness. The ads maintain that more sexually active members of the society are likely to realize success on the different fronts in their lives. They are presented as having happy marriages and families, successful careers and being financially stable. This is an especially common ploy utilized in advertising where brands attach sex and social status as a means of realizing increased consumption.

Project Builder 2

Advertisement #1: "Good feels good"

The advertisement is a market entry campaign for a new Starbucks product. It is a fruit botanical blend. The ad shows people of different socio-economic orientations discussing how it felt to feel good, ostensibly in reference to tasting the brand’s new product. The promotion employs the fallacy of glittering generalities to convey its message to the viewer. Essentially, it seeks to inform the potential user’s perspective by presenting positive experiences from previous consumers. It targets the entire millennial and middle-age demographic.

Advertisement #2: "Starbucks Reward made it Even Better"

Dubbed Starbucks Reward made it Even Better, the campaign showcases the benefits of the company’s loyalty program. The advert portrays different customers and how they are advantaged by owning the reward card. Fundamentally, it utilizes the bandwagon fallacy which involves the imploring of other users to gain a given status and enjoy select benefits. In this instance, it is loyalty program reward card. The ads primary audience is the tech-savvy demographic.

Advertisement #3: "Meet Me at the Starbucks"

The adverts presents people of diverse ethnicities, ages, genders, and socio-economic standing going to Starbucks for different occasions. The brand’s premises provides an ambient environment that accommodates customers and provides them with the comfort and defenselessness of a home. It targets the affording public.

Though the adverts, do not exhibit aggressive marketing themes such as masculinity, rebelliousness, sexual vitality, femininity, they exploit the masses obsession with exclusivity. Consumers are often unique products and new experiences as demonstrated in the first and second adverts. They are need to enjoy a privileged status is insatiate and is commonly employed by advertisers shown in the second advert. The adverts do not espouse any progressive rhetoric.

The exploitation of political beliefs in advertising is always an ill-advised approach mainly because the demographic often exhibits diverse inclinations. As such, taking a particular political stand effectively alienates consumers with divergent political discourse, exponentially increasing the risk of losing them. Additionally, desires and insecurities are sensitive parts of people’s emotional selves. They are especially easily offended when these properties are misrepresented.

Essentially, advertising involves the continuous exhibition of a given marketing message. Consumers are seldom given the chance to offer their informed or demonstrated feedback. As such, it is difficult to register legitimate complains whose solution can result in better customer experience and potentially, increased sales. Advertising limits the degree of bidirectional communication as it monopolizes public opinion. Therefore, it impedes the participation of users in product development and improvement.

Amanda Hess, “The Trump Resistance Will Be Commercialized”

1. How does Thinx represent a new form of commercial advertising? What’s the problem with this new development?

Thinx, a brand that produces period underwear, has recently graduated from issuing mildly political rhetoric to an all out biased disposition. Commonly associated with feminist sentiment, the online-based company is known to fearlessly address contemporary issues that concern or border on women in the United States. However, in the run up to the 2016 elections, the firm become increasingly combative or the Growth and Opportunity Party (Republican) Party candidate Donald Trump due to his apparently unflattering general perception of women. Upon the release of Mr. Trump’s Hollywood Access tape, which records the GOP candidate admitting to “grabbing them (women) by the pussy,” Thinx became emboldened on their subtle attacks on the presidential contender. It released a series of ads on both digital and print media one of them being the infamous “Pussy-Grabbing Proof Underwear” campaign.

In a deeply politically divided demographic as the United States is today, the form of commercial advertising assumed by Thinx is likely to be effective as it creates much-needed publicity. It represents a huge shift in the traditional norms of conventional advertising where brands are free to assume political affiliations.

The problem with this new development is its obviously partisan approach. As the political figures possess significant influence, even among the brands’ customer base, the companies risk being identified as partisan and disenfranchising a portion of their consumers. Additionally, assuming such hard political stance by companies deeply impact their image as it reveals limited political tolerance. Therefore, as much as Thinx form of advertising creates buzz, it is risks losing it politically divergent clientele.

From Alyza Sebenius, “Should Facebook Ads Be Regulated Like TV Commercials?”

1. What is the problem with asking Facebook and other social media platforms to regulate their own ad content—particularly political ads?

Facebook, like any other non-governmental organization, is not bound by the First Amendment. As such, it has discretion over the content published in its media. However, the free speech is enshrined into the constitution and every citizen is entitle to their own political opinion provided it does not illegal conduct. Therefore, asking Facebook and other social media to regulate customers’ ad content is tantamount to muzzling free speech. Users are entitle to freely expressing their perspectives without the fear of moderation by authorities or the company itself. Additionally, the government requiring social media firms to regulate its users’ content sets a bad precedent for state overreach and is indicative of the beginning of Orwellian tendencies and constitutional desecration.



Douglas Holt, “Branding in the Era of Social Media”

1. How did the rise of crowd culture transform advertising and to a certain extent, consumerism itself?

Crowd culture has tremendously redefined contemporary advertising by bringing together communities that were previously geographically separated, enormously increasing the extent of collaboration. It changes the rules of branding and determines which practices work and which ones do not. As the once isolated groups are connected and networked, they are exceedingly more susceptible to cultural change through advertising. Crowd culture defines the practice of consumerism and marketing as it establishes trends in purchasing behavior and other key demographic characteristics.

2. How has social media transformed advertising though cultural branding?

Cultural branding has presented an opportunity for companies to assume select ideologies and establish entire operations around them. It has allowed brands to identify with given cultural dispositions, hence, differentiate them from their competition. Social media has transformed advertising by accelerating the perpetuation of the ideals of cultural brands. It has served to normalize the unique customs and products presented by the firms.

3. Why have Dove, Old Spice, and Axe all been successful in utilizing social media despite being “low involvement” products?

Axe, Old Spice, and Dove have elicited immense buyer interest by utilizing social media despite belonging to a less lustrous low-involvement category by successfully utilizing cultural branding. The brands identified and champion certain ideologies most relevant to their target crowd cultures. Axe predicated its cultural statement on the all too common boyish experience of sexual infatuation. The firm created ads portraying men who used Axe products as more sexually appealing and almost certainly effortlessly gain female company. Its brash approach of inflating male masculinity was well received on social media. The theme came to be identified as the brands culture. Similarly, Old Spice exploited idealist machismo. It portrayed a well-chiselled model, the embodiment of masculinity, riding shirtless on a horse and informing ladies that while their men cannot look like him, they can certainly smell like him by using Old Spice. Its message and comical presentation resonated with social media users who embraced it both online and from the shelves.

Dove, a prominent beauty product brand, assumed a totally converse culture. The company recognized that female beauty ideals had been pushed to ridiculous, almost impractical levels. Pictures of women portrayed by the media were deeply photoshoped to the non-lifelike extents. Dove sought to change this perception. It initiated a campaign where women of all shapes and sizes would submit their pictures via social media and would be appreciated as beautiful. The advertisement tremendously increase Dove’s visibility as women all across the world began to identify with it. The universal beauty narrative is the firm’s cultural branding.

Joshua Rothman, “Why is Academic Writing So Academic?”

1. What are a few of the ambiguities that define academic writing? Why do these exist?

One giant ambiguity that exists in academic writing is with the audience. Rotham defines the genre as impersonal, and developed by a disinterested mind for equally unaffected minds. The author adds that as it is written for a small, highly knowledgeable specialists, it is especially personal. Additionally, academic writing is supremely unfriendly as it is written for someone the author is well acquainted with.

2. What does he mean when he says that academic writing is “the most personal writing there is”?

The author explains that as academic writing is meant for a small, intellectually related groups and may well be among the most personal writing there is. Essentially, he means that unlike the prevalent conception held by many people that academic writing lacks connection between the writer and assessor, the genre exhibits a deep and often unseen association between the two. Besides both the writer and professor being deeply knowledgeable of the subject, the content is often specifically targeted towards the instructor as it is them who establish the writing conventions.

3. How did university professors respond to Nicholas Kristof’s critique of the academy? Why?

Nicholas Kristof criticised the professors, claiming that they glorified the cumbersome conventions of academic writing. He blamed that perspective for the reduced number of professors in the universities. The professors were deeply incensed by the claim that they were out of touch and were not on social media. They responded by starting a hashtag #engagedacademics, and explaining to Kristoff why he was wrong. They explain that professors made immense contributions to the contemporary society and that some of the professors were actively involved in developing material for the publication that Kristof worked for.

4. What will it take for academic writing to become “expansive” again, according to Rothman?

Rotham believes that for academic writing to expand, academia will have to be redeveloped first. He fondly remembers the sixties when university professors were important intellectual resources. Since them, enrollments into universities and the attainment professorial accomplishments have been easier, deteriorating academic writing.

Project Builder 3

1. How did the internet—especially social media—change the advertising in your industry? What social and cultural values do these as appeal to? How has the internet changed our relationship and attitudes towards capitalism and consumerism?

The internet has been incessantly credited for revolutionizing genre advertising. It has resulted in an increasingly connected global social and economic landscape. The internet heralded a new dispensation of free, seamless communication where parties would freely interact regardless of their physical location. The geographical barrier was effectively shattered. Marketers were quick to recognize this change and successfully mastered it to their benefit. Through the establishment of key functionalities such as websites, the internet effectively expanded the concept of genre marketing. Frequently visited websites were commonly used to advertise products suspected to be regularly used by the visitor. Through facilitation by the internet brands and were able to establish correspondents with their customers and adjust their advertising and product specifications to fit rapidly evolving consumer cultures. Websites provided an informative front through which targeted marketing could be achieved. However, the most pronounced impact of the internet on advertising is the advent of social media.

Akin to the internet, social media further shrunk the global marketplace into a small, densely networked space. Through social media, marketers were able to bombard users with targeted messages based on their declared preferences and search histories. Arguably, it is responsible for establishing new consumer cultures. Values such as modesty have been reformed by social pressure, vanity, individuality, youthfulness, and sexuality extensively impacting contemporary consumerism.

The internet has subliminally transformed today’s world into a deeply capitalist society. Initial inhibitions towards consumerism has been reformed through extensive marketing, making communities assume liberal consumption cultures. The internet has effectively rolled back the traditional sensibilities society had against absurd shopping cultures by bombarding users with a flurry of goods and their varieties, thus introducing them to a new age of well-informed yet unmeasured consumerism.