Posts tagged advertising
KraftMaid makes cabinetry for various rooms of your house. I found an advertisement for their products in Southern Living magazine. The advertisement read, “Everyone has a personality. Shouldn’t your kitchen have one too?” You can see the TV commercial for this advertising campaign on their site.
Let’s shelve the moral question: Is it ever right to spend overindulgent amounts of money on a home kitchen? Instead let’s ask about the cost of any of the kitchens shown in the KraftMaid advertisements.
Of course, if we are honest, we should not only ask about the cost of the cabinetry, but also inquire into the cost of the whole package. The kitchens are “personalities” that reflect the personality (lifestyle) of the people featured in the ads. That hot woman in the skimpy dress eating that huge bowl of ice cream, well, obviously she has an expensive gym membership. And notice how she has enough fancy plates to serve everyone in her home owners association. The other couples are much the same. . . .
The cost of the kitchen cabinetry alone is beyond the financial means of most poor, middle class, and upper middle class Americans. But the cost of the lifestyle associated with the cost of the kitchen cabinetry - the whole cost of the “personality” - is beyond the financial means of pretty much all Americans, with the exception of a fraction of a percent of ultra wealthy individuals. And let me assure you, those ultra rich Americans who can afford these KraftMaid kitchens, trust me, they don’t read Southern Living.
The finding from our first study, that when you make people feel poor they play more, is especially sad since playing the lottery is on average a massively losing proposition. The propensity of low income individuals to play the lottery has the perverse effect of exacerbating their poverty. Although there are no easy solutions to the problem, one obvious one would be to cease marketing and advertising that targets the poor. It probably makes sense for the state to sell lottery tickets, because otherwise they will be sold by organized crime. However, does it really make sense for the state to be inducing, through advertising, poor people to play who wouldn’t play in the absence of such inducement?
Similarly, states could promote and offer more games that appeal to wealthier players, such as Powerball, and not those popular with poorer players, such as instant scratch-off tickets. Another obvious solution, though one that is even less likely to be implemented, would be for the state to increase the payout on the tickets, and perhaps to increase the number of moderate size prizes.
Finally, a third option would be for financial institutions to issue investment instruments that have lottery-like qualities (for example, offered in small amounts, available at many convenient points of purchase, provide a small chance of a large upside) but offer a positive rate of return, providing the pleasure of playing the lottery without the steep cost. In many other countries “prize bonds” or other savings instruments are available that pay lottery winnings in place of, or in addition to, regular interest. Regulations in the United States have stymied the development of such offerings.
Public service plotlines
The proportion of viewers who were aware that, with the proper treatment, there is more than a 90% chance of an HIV-positive woman having a healthy baby increased by 46 percentage points after the episode aired (from 15% to 61%). This includes 17% of respondents in the post-show survey who volunteered the specific response that the woman has a 98% chance of having a healthy baby—the statistic that was repeated several times on the show.
Six weeks after the episode aired, the proportion who gave the correct response had dropped to 45%, but was still substantially higher (by 30 percentage points) than it had been prior to the show. This time around, however, only 3% volunteered the specific fact that the woman would have a 98% chance of having a healthy baby.
A French aid worker in Congo, Cabiau admits that he has trouble telling Werrason apart from Wazekwa, but that he’s “developed a taste for this joyous cacaphony.”
Lorsque les décibels s’affolent, impossible de rester assis. Si l’on se donne la peine de s’aventurer sur la piste, au milieu des miroirs et des déhanchements endiablés, on ne peut que succomber. On est alors entraîné dans des chorégraphies délirantes que tout bon kinois connaît sur le bout des doigts. C’est le feu. De la folie furieuse. C’est Kinshasa.
When the decibels reach a panic, it’s impossible to stay seated. If make the effort to get out there on the dance floor, among the mirrors and the frenzy of swaying hips, you cannot help but give in. You are led out into wild dance moves that every good kinois knows at the edge of his fingertips. It’s on fire. It’s madness. It’s Kinshasa.
Cabiau also writes about the phenomenon of “libanga.” Libanga is to Congolese music what product placement is to American film and television. For a few thousand dollars, “a company, a brand of beer, a politicians, or an officer in the army” can see his name placed in a song. Several dozen such paid shoutouts might be in a single song. “Curiously, that doesn’t seem to bother many people,” Cabiau writes.
