Turbo Tax

While reading Rolling Stone 1149 (February 2012), I got halfway down the left page before honestly even noticing that I was reading an advertisement. In recent issues of Rolling Stone, companies such as Turbo Tax have been using their ad space and modeling it after Rolling Stones layout.  Pulling one over on the reader, a sneaky move turbo tax! “Prepping for the perfect concert tailgate can be daunting, a lot like doing your taxes!” the ad reads, with a smooth transition from Rolling Stone esque content into a sell for Turbo Tax. By using a similar layout to Rolling Stone, Turbo Tax has lulled the reader into a false sense of security, while reading the left column, the reader finds some general tailgating tips, while the right page presents a traditional advertisement.

Another thing I found interesting about this campaign is that on the very top of the left page, the word “advertisement” is printed. I found it interesting that Rolling Stone is seemingly aware of Turbo Tax’s technique of similarity, so much so that they felt the need to give the ad an “ADVERTISEMENT” header, just to remind the reader that the page they have turned to is not as it seems.

Snickers

Found in the 1176^th issue of Rolling Stone (2/14/13), this ad got my attention because of our discussion of slogans and ad catch phrases in advertising. I was shocked to realize I couldn’t remember many of the catch phrases which we had discussed, but, the recent “You’re not you when you’re hungry” campaign by Snickers has been resonating in my mind. Overall, it is a very basic ad, brown background to match the milk-chocolate shell of a snicker, logo prominently displayed, etc.

The other side of this ad though is that while it doesn’t say it anywhere, this ad is clearly marketed towards men. Snickers employed a tactic I hadn’t seen prior to this ad, which it offered a coupon for another company (presumably in bed with Snickers), but as the text in the ad stated, it offered the coupon to the oblivious boyfriend in all of us. “If hunger caused a delayed response to ’is she prettier than me?’, use this coupon. But next time, eat snickers!” Flowers solve all a woman’s problems, right?

4 Cologne Ads

While flipping through Rolling Stone #1172-1173 (12/20/12-1/03/13) I came across these 4 cologne advertisements, the only 4 in the entire issue.  Immediately I noticed all 4 ads employing the “snob-appeal” approach (Campbell, Pg. 360). Each ad shows a handsome, well-dressed man staring into the reader, with the classily packed bottle of cologne layered next to them. . It is almost funny how all 4 of these ads, in one issue of a magazine, are all almost exactly the same.  What is this saying? Well-dressed, handsome people use these products, and that by using this product, you too could be just like the man in the advertisement.  Clearly an attempt to associate cologne with high culture and that even YOU could have a chance at the good life by using the cologne.

What isn’t being represented in these 4 ads though? All 6 models in all 4 ads are white.

Campbell, Richard, Christopher R. Martin, and Bettina Fabos. "Conventional Persuasive Strategies." Media & Culture: An Introduction to Mass Communication. Boston: Bedford/St. Martin's, 2011. 360. Print.

 

Lancaster Farm Fresh Co-Op/Minor Threat

This advertisement was found in the March 2013 issue of Grid, a magazine aiming to move “toward a sustainable Philadelphia.”  This ad grabbed my attention, I admit, because I like punk, and it is directly using the artwork of hardcore punk forefathers Minor Threat’s “Out Of Step” 7” EP.  This ad is clearly directed towards a fringe audience for multiple reasons, first being that anyone who has seen the artwork for the Out Of Step 7” would instantly recognize it both from the images and the colors/font. Secondly, Lancaster Farm Fresh Co-Op doesn’t even go as far to explain what a CSA is (Community Supported Agriculture).

The use of the Minor Threat sheep was a good choice because it both grabs the attention of the reader, but also reminds them of farms, where their food is coming from. “A nonprofit organic farmers co-op” also brings to mind Minor Threats ideology to play punk for the sake of playing punk, not to make a profit. Also, the black sheep amongst a crowd of white sheep, assuring the reader that they too can assert their individuality by buying locally grown food.  Minor Threat’s rebellious attitude combined with the growing “trend” of buying local makes for a 1-2 punch to the young hip urbanite. The use of the Minor Threat artwork relates to what Berger referred to as “the original of a reproduction.” (Berger, pg. 21)

Berger, John. "Chapter 1." Ways of Seeing: Based on the BBC Television Series with John Berger. London: British Broadcasting, 1977. 21. Print

Electronic Cigarette

This ad appeared in Rolling Stone 1176 (February 13^th, 2013), and first caught my eye due to the image of a man smoking an electronic cigarette, but then I noticed something else. I was surprised that the ad mentions nowhere that an electronic cigarette is a way to begin quitting smoking, but on the contrary, that one could “take back your freedom” by being able to smoke virtually anywhere.

The advertisement also appears to be attempting to piggyback off of Marlboro’s popular Marlboro Man character, designed to show how cool and rugged smoking can make you. In this ad you clearly see a stubbly-faced, hardened, handsome looking man enjoying his electronic cigarette, ever so similar to the familiar cowboy. The Marlboro Man is still used in cigarette advertising in Asia, and is still wildly successful, appearing on almost every street corner (Campbell, Pg. 371) The add also makes sure to let the reader know that the flavors are made in the United States, so not only can they exercise their freedom by “smoking”, but they are also supporting a U.S industry, instilling a feeling of the wild-west Patriotism reminiscent of cigarette ads past.

Campbell, Richard, Christopher R. Martin, and Bettina Fabos. "Smoking Up the Global Market." Media & Culture: An Introduction to Mass Communication. Boston: Bedford/St. Martin's, 2011. 371. Print.