The business challenges to launching a TV channel or other high-profile media property seem beyond the talents, resources and patience of Trump and his crew. This isn’t to predict that Trump won’t enter the media business, only to record that if he does, he won’t get very far. […]

Assuming that he can raise the hundreds of millions of dollars to stand up a competitive network—Trump has always preferred using other people’s money in his ventures—what sort of luck might he have in getting AT&T, Comcast, Verizon and other major cable companies to carry his new channel? He has no friends at AT&T […] Comcast doesn’t desire a new entry in the news market to go against its MSNBC property. As The New York Times noted in 2016, not even Oprah Winfrey, the queen of all media, succeeded in turning her personal franchise into a cable powerhouse. Can Trump do something the far-wealthier and much more appealing Winfrey couldn’t?

But let’s say Trump does the unlikely. If you think Fox has been distancing itself from the toddler-in-chief since the Biden victory, you can be assured that it will savage him when he poses a threat to its viewership and revenues. The same goes for the Trump-lovers at NewsMax and OAN. Trump’s better bet would be to buy NewsMax, something Trump allies flirted with in November, or even OAN. But again, doing so would draw the ire of Fox, where the majority of his followers currently park their TV sets.

{ Politico | Continue reading }

related { A scholar of American anti-Semitism explains the hate symbols present during the US Capitol riot }

related { Appears the Trump campaign’s digital director tried to give Trump his account. Twitter promptly suspended him }

So, your research argues that TV advertising is about 15 to 20 times less effective than the conventional wisdom says […]

There are, not surprisingly, objections to this research. Especially from the marketing industry. For instance, they’ll point to the brand-building aspect of advertising: “It’s not just about short-term sales,” they’ll say. Or the game-theory aspect — that is, if you don’t advertise your product and your rivals do, where does that leave you? […]

eBay believed that for every dollar they’re spending, they’re getting 50 cents of net profits. And what we showed is that on average, they’re losing more than 60 cents on every dollar. […]

Google actually did a fascinating study not too long ago, which concluded that close to 60 percent of ads on the internet are never, ever even seen.

{ Freakonomics | Continue reading }

Volodymyr Zelensky is the sixth and current president of Ukraine. Before entering politics, he was a comedian, actor, screenwriter, film producer, and director.

Prior to his political career, he created a production company, Kvartal 95, which produces […] TV comedy shows, including Servant of the People, in which Zelensky played the role of President of Ukraine. The series aired from 2015 to 2019. A namesake political party bearing the same name as the television show was created in March 2018 by employees of Kvartal 95.

Zelensky announced his candidacy for the 2019 Ukrainian presidential election on the evening of 31 December 2018 [and] won the election with 73.22% of the vote in the second round. […]

After Zelensky’s inauguration most leading figures of Kvartal 95 joined Zelensky’s administration as Deputy Heads of the Presidential Administration of Ukraine and one was appointed Deputy Head of the Ukrainian Secret Service.

{ Wikipedia | Continue reading | Kvartal 95 Studio }

To test the “sex sells” assumption, we examined how Italian men and women react to sexualized advertising. […] Women reacted negatively to both female and male sexualized ads by expressing higher negative emotions, which in turn disinclined them to purchase these products. On the other hand, men did not show any significant increment either on product attractiveness or purchase intentions toward female sexualized compared to neutral ads, and they also reacted negatively to male sexualization in ads. […]

Another important finding of the present study is that exposure to sexualized ads significantly impacts women’s emotions. […]

men with higher hostile sexism showed more purchase intentions after viewing sexualized than neutral ads. […]

The present study was conducted in Italy and all models were White and reflected the sexualized thin ideal for women and the muscular ideal for men. Therefore, we suggest more diversity in future studies.

{ Sex Roles | Continue reading }

image { “In a mere 30 seconds of sunlight on your butthole, you will receive more energy from this electric node than you would in an entire day being outside with your clothes on” […] “this practice is meant to be done in the time of 30 seconds to 5 minutes MAX in the sun” | Perineum Sunning — Here’s Why Doctors Definitely Don’t Want You to Try It }

Currently, we produce ∼10²¹ digital bits of information annually on Earth. Assuming a 20% annual growth rate, we estimate that after ∼350 years from now, the number of bits produced will exceed the number of all atoms on Earth, ∼10⁵⁰. After ∼300 years, the power required to sustain this digital production will exceed 18.5 × 10¹⁵ W, i.e., the total planetary power consumption today, and after ∼500 years from now, the digital content will account for more than half Earth’s mass, according to the mass-energy–information equivalence principle. Besides the existing global challenges such as climate, environment, population, food, health, energy, and security, our estimates point to another singular event for our planet, called information catastrophe.

{ AIP Advances | Continue reading }

It is estimated that a week’s worth of the New York Times contains more information than a person was likely to come across in a lifetime in the 18th century. […] The amount of new information is doubling every two years. By 2010, it’s predicted to double every 72 hours. […] The lunatic named Bobby Fisher “despised the media”: “They’re destroying reality, turning everything into media.” “News exceed reality” writes Thomas Bernhard somewhere. The saturation and repetitions in Basquiat’s paintings. The high-frequency trading. “an immense accumulation of nothing“ (Imp Kerr, 2009). An immense accumulation of ignorance. […,]

From what precedes it necessarily follows that the inescapable future of knowledge is banality, falsehood, and overabundance, which sum is a form of ignorance.

{ The New Inquiry | Continue reading }

This profession, at best, funnels the creative energy of young people toward selling chips and soda. At worst, it produces the friendly-faced masks corporations hide behind while committing egregious crimes–many of which got us where we are today. […]

“I Want to Do Something Creative,” “I Want to Be in a Creative Environment,” and “I Want to Pursue Art or Writing.”

To those with motivations like these, I would say do not go into advertising. And certainly do not fork over a ton of money to go to some ad school. Jesus. No. […]

I’m using Cheerios as a placeholder. Insert almost any brand. Although, having worked on the Cheerios account, and having seen the historical reel, I can safely say the Cheerios commercial has barely changed in 50 years. If you put a bee in a room with a bowl of O’s, a Cheerios commercial could self-assemble at this point.

It doesn’t take much creativity to produce this stuff. It certainly doesn’t require the throngs of people assembled to execute this type of garbage. I’ve sat in rooms of upwards of 12 people just to discuss a banner ad. Advertising doesn’t have an unemployment problem, it has an over-employment problem.

{ Jeff Greenspan | Continue reading | Thanks Tim }

{ Ormond Gigli, Girls in the Windows, New York, 1960 |Jean-Paul Goude, Chanel Egoiste commercial, 1990 }

The prospect of data-driven ads, linked to expressed preferences by identifiable people, proved in this past decade to be irresistible. From 2010 through 2019, revenue for Facebook has gone from just under $2 billion to $66.5 billion per year, almost all from advertising. Google’s revenue rose from just under $25 billion in 2010 to just over $155 billion in 2019. Neither company’s growth seems in danger of abating.

The damage to a healthy public sphere has been devastating. All that ad money now going to Facebook and Google once found its way to, say, Conde Nast, News Corporation, the Sydney Morning Herald, NBC, the Washington Post, El País, or the Buffalo Evening News. In 2019, more ad revenue flowed to targeted digital ads in the U.S. than radio, television, cable, magazine, and newspaper ads combined for the first time. It won’t be the last time. Not coincidentally, journalists are losing their jobs at a rate not seen since the Great Recession.

Meanwhile, there is growing concern that this sort of precise ad targeting might not work as well as advertisers have assumed. Right now my Facebook page has ads for some products I would not possibly ever desire.

{ Slate | Continue reading | Thanks Tim }

related { Amazon CEO Jeff Bezos says his company is developing a set of laws to regulate facial recognition technology that it plans to share with federal lawmakers. }

[We] discovered at least 450 websites in a network of local and business news organizations, each distributing thousands of algorithmically generated articles and a smaller number of reported stories. Of the 450 sites we discovered, at least 189 were set up as local news networks across ten states within the last twelve months by an organization called Metric Media. […]

Titles like the East Michigan News, Hickory Sun, and Grand Canyon Times have appeared on the web ahead of the 2020 election. These networks of sites can be used in a variety of ways: as ‘stage setting’ for events, focusing attention on issues such as voter fraud and energy pricing, providing the appearance of neutrality for partisan issues, or to gather data from users that can then be used for political targeting. […]

Some of these mysterious, partisan local news sites publish physical newspapers and many have minimal social media presence. At first, they do not  appear to be owned by the same network or organization, but a number of clues suggest that they are intimately linked. Our analysis demonstrates the links between the networks by identifying shared markers, such as unique analytics tokens, server IP addresses, and even shared design templates and bylines on articles. Further, the Privacy Policy and Terms of Service for many of these websites—but not all—suggest they are part of Locality Labs, LLC. 

{ Columbia Journalism Review | Continue reading }

still { Martin Kersels, Pink Constellation, 2001 }

Urgency Reader is a quick assembling of texts, risograph printed in Pawtucket, RI, and bound as a book at the last minute to launch at the Odds and Ends Art Book Fair at Yale University Art Gallery on December 6, 2019. […] Inspired by Omnibus News #1 (1969), Assembling (1970–87), and other assembling publications, Urgency Reader is an experiment in publishing as a gesture of call and response: the quick circulation of a charged collection of texts—in some cases raw, in-progress, or sketchy—to a small but deeply engaged audience. […] The order of the texts as they appear in the book was determined by chance by assigning a series of random integers from random.org to the alphabetical list of contributors.

{ Paul Soulellis | Continue reading + Download }

In 1969 three Germans, Thomas Niggl, Christian D’Orville and Heimrad Prem, issued a call for submissions for a periodical in which interested individuals were invited to submit up to 2 pages of art works in an edition of 1500 copies each. Contributors were responsible for the cost of reproducing their own submissions, and all works would be accepted with no editing or censorship. Published the same year under the title Omnibus News, the periodical was comprised of 192 submissions (384 pages) sequenced alphabetically in an A4 format and in an edition of 1500.

{ Arte Contemporanea | Continue reading }

photos { Tania Franco Klein | Adrià Cañameras }

[Google CEO] Eric Schmidt continued: “Our business is highly measurable. We know that if you spend X dollars on ads, you’ll get Y dollars in revenues.” At Google, Schmidt maintained, you pay only for what works.

Karmazin was horrified. He was an old fashioned advertising man, and where he came from, a Super Bowl ad cost three million dollars. Why? Because that’s how much it cost. What does it yield? Who knows. […]

In 2018, more than $273bn dollars was spent on digital ads globally, according to research firm eMarketer. Most of those ads were purchased from two companies: Google ($116bn in 2018) and Facebook ($54.5bn in 2018). […]

Picture this. Luigi’s Pizzeria hires three teenagers to hand out coupons to passersby. After a few weeks of flyering, one of the three turns out to be a marketing genius. Customers keep showing up with coupons distributed by this particular kid. The other two can’t make any sense of it: how does he do it? When they ask him, he explains: “I stand in the waiting area of the pizzeria.” […] Economists refer to this as a “selection effect.” It is crucial for advertisers to distinguish such a selection effect (people see your ad, but were already going to click, buy, register, or download) from the advertising effect (people see your ad, and that’s why they start clicking, buying, registering, downloading). […]

The online marketing world has the same strategy as Luigi’s Pizzeria and the flyer-handling teens. The benchmarks that advertising companies use – intended to measure the number of clicks, sales and downloads that occur after an ad is viewed – are fundamentally misleading. None of these benchmarks distinguish between the selection effect (clicks, purchases and downloads that are happening anyway) and the advertising effect (clicks, purchases and downloads that would not have happened without ads).

It gets worse: the brightest minds of this generation are creating algorithms which only increase the effects of selection. Consider the following: if Amazon buys clicks from Facebook and Google, the advertising platforms’ algorithms will seek out Amazon clickers. And who is most likely to click on Amazon? Presumably Amazon’s regular customers. In that case the algorithms are generating clicks, but not necessarily extra clicks.

{ The Correspondent | Continue reading }

{ Overnight, Gem Spa was transformed into SchitiBank | more | ThanksTim }

Faces in general and attractive faces, in particular, are frequently used in marketing, advertising, and packaging design. However, few studies have examined the effects of attractive faces on people’s choice behavior.

The present research examines whether attractive (vs. unattractive) faces increase individuals’ inclination to choose either healthy or unhealthy foods. […]

exposure to attractive (vs. unattractive) opposite‐sex faces increased choice likelihood of unhealthy foods.

{ Psychology & Marketing | Continue reading }

offset lithograph / vinyl cover { Damien Hirst, Kate Moss — Use Money Cheat Death, 2009 | The record is a one-sided, white vinyl disc with a mainly monotonous beeping interrupted by what is purported to be Kate Moss’ voice in telephone call mode for about 30 seconds, then more beeping and finally Damien Hirst himself telling us that it’s okay for artists to earn money. }

The Many Reasons to Run for President When You Probably Don’t Stand a Chance

• There are book deals and TV contracts and maybe a cabinet position if your side wins.
• Recent history suggests there is almost no downside to giving it a shot.

{ NY Times | full story }

stills { One Got Fat, 1963 | bicycle safety film }

[I]t is getting harder to target gamers via traditional advertising techniques, because an increasing number of consumers spend more of their digital days behind paywalls, where there is often no advertising. These are also typically the most engaged and most-spending audiences.

To win some of the attention back, games companies must target gamers behind paywalls, be it through product placement or original content on video streaming services or podcasts and playlists on music services.

{ MIDIA | Continue reading }

Advertising is ubiquitous in modern life. Yet might it be harmful to the happiness of nations? This paper blends longitudinal data on advertising with large-scale surveys on citizens’ well-being. The analysis uses information on approximately 1 million randomly sampled European citizens across 27 nations over 3 decades. We show that increases in national advertising expenditure are followed by significant declines in levels of life satisfaction.

{ University of Warwick | PDF }

photo { Joel Meyerowitz, New York City, 1968 }

Given that the fictional narratives found in novels, movies, and television shows enjoy wide public consumption, memorably convey information, minimize counter-arguing, and often emphasize politically-relevant themes, we argue that greater scholarly attention must be paid to theorizing and measuring how fiction affects political attitudes.

We argue for a genre-based approach for studying fiction effects, and apply it to the popular dystopian genre.

Results across three experiments are striking: we find consistent evidence that dystopian narratives enhance the willingness to justify radical—especially violent—forms of political action. […]

Our research not only reinforces past work showing that people often fail to distinguish between fact and fiction in learning about the world, but also illustrates that the lessons of fiction may not be what they seem. […] Rather than creating political cynicism in readers and viewers or showing them that girls can be powerful too—both lessons that are at this point probably amply supplied by the American news media and lived experience—dystopian fiction seems to be teaching them a more subtle and perhaps more concerning message: that violence and illegal activities may be both legitimate and necessary to pursue justice. Dystopian fiction appears to subtly expand the political imagination of viewers and readers to encompass a range of scenarios outside the normal realm of democratic politics, and what people then consider reasonable and thinkable appears to expand accordingly.

These results should also highlight the peril for political scientists in assuming that fiction is just entertainment. The stories we tell ourselves have profound implications for how we think about political ethics and political possibilities, and as scholars of politics, we can and should do more to map out the effects of politically-inflected fiction and entertainment.

{ Cambridge Core | Continue reading }

still { Harriet Andersson in Ingmar Bergman’s Summer with Monika, 1953 }

{ Caper magazine, May 1959 | Enlarge }

The iconic green slime of the Canadian television series You Can’t Do That on Television was developed by accident, according to producer Roger Price — the original idea had been to dump a barrel of food leftovers on a young boy chained in a dungeon, but before it could be used, the contents of the barrel had turned green with mold.

The noxious mixture was dumped on the young boy anyway, and overnight the series had its trademark gag. The show subsequently went through several different slime recipes incorporating ingredients such as lime gelatin dessert powder, flour, oatmeal or Cream of Wheat, baby shampoo, and even cottage cheese (not all necessarily at the same time).

On the show (and subsequently on Nickelodeon since then), the composition of the slime was treated as a closely guarded secret, and some episodes revolved around the cast members trying to discern what the slime was made of.

{ Wikipedia | Continue reading | Thanks Tim }