Journal of Consumer Marketing

Emerald Article: Misplaced marketing The real reason for the real bad
advertising
Herbert Jack Rotfeld

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Herbert Jack Rotfeld, (2002),"Misplaced marketing The real reason for the real bad advertising", Journal of Consumer Marketing,
Vol. 19 Iss: 4 pp. 299 - 301
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Commercials people like, or
good commercials?
Entertainment value takes
precedence
JOURNAL OF CONSUMER MARKETING, VOL. 19 NO. 4 2002, pp. 299-301, # MCB UP LIMITED, 0736-3761, DOI 10.1108/07363760210433618
Misplaced marketing
The real reason for the real bad advertising
Herbert Jack Rotfeld
Professor of Marketing, Auburn University, Alabama, USA
Keywords Advertising, Advertising agencies
Abstract Focuses on ``bad'' advertising commercials and asserts that such advertising is
not because of a lack of creativity, entertainment value or money for production. Bad
advertising is often because advertising creators fail to focus on potential end customers,
and what they need to see and hear.
Everyone knows commercials they like and dislike. Most people like the
expensive productions that cost millions of dollars per minute in time
purchases during a big sporting event and they hate the obnoxious, yelling
presentations from the local discount retailer. But in terms of pragmatic
business value, they do not necessarily like the good commercials.
The source of most bad advertising is not a lack of creativity,
entertainment value or money for production. Just because a slickly
produced commercial is part of an expensive campaign by a large firm
does not mean that the campaign is based on a good marketing strategy,
or, for that matter, that it had any strategy behind it. In reality, many
companies employ advertising tactics without a strategy, or if a strategy
exists at all, it is presented without reference to consumer views. Millions
of dollars are often spent on commercials that never had the consumer
in focus.
The business term for advertising writing contributes to many misdirected
views of message quality. We call the people involved with message
planning and writing ``creatives'', they work in the ``creative department'',
and their job description involves ``creative strategy and tactics''. With so
much emphasis on this being a creative job, business assessments often allow
entertainment interest, artistic value or simple originality to outweigh
concerns for the advertising as a message that has a pragmatic job to inform
or persuade a target audience.
To an extent, this is easy to explain because so little is known about how or why
advertising works. Seeking some sort of closure, the people who write and
produce those messages often seek structure from the praise of peers or awards.
Unfortunately, few awards make any reference to assessments of success
in doing the marketing job and, of those that do, they might make that
actual assessment to be only weakly related to any pragmatic
accomplishments (Moriarty, 1996). In one direct comparison of this issue,
a sample of viewers were found to respond positively to commercials if
Author's note: material for the article is drawn from chapter 4 of the author's new
book, Adventures in Misplaced Marketing (Quorum Books, Westport, CT, 2001).
The research register for this journal is available at
http://www.emeraldinsight.com/researchregisters
The current issue and full text archive of this journal is available at
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299
 the message touched on their personal concerns regardless of whether
it was a past award winner while creative department employees
responded best to commercials that won awards (Kover et al., 1997). In
other words, the advertising writers often write for each other instead of
the target audience.
Need to stand out Marketing views also get misplaced by another pragmatic problem of the
modern media environment. As commercial clutter increases, consumers
seem to be more able to physically avoid advertising or mentally tune it out.
Every advertiser has a pragmatic need to stand out. As they focus on
developing messages that stand out, too many of them forget that their focus
should be on the subject of the message, not the message itself.
Producing a ``break out'' advertisement or ``attention getting'' campaign
does not do any good if they get attention of the wrong people for the
wrong reason. Yet a lot of advertising seems to get attention but do little
to sell a product. An instructor who has a loud case of gas in the front of
the class will certainly get attention, but I doubt if the students would hear
or recall anything said for the next 15 minutes. An attention getting
device that is unrelated to the message will not attract readership or
viewers interested in what the advertiser has to say. It is an old and
reliable rule that is too often ignored (Ogilvy, 1963).
Similarly, in his advertising reviews for Advertising Age, Bob Garfield has
repeatedly pointed out how ``celebrities are seldom used in support of an
advertising idea; they are used in place of an advertising idea'' (Garfield,
1999). Time and again, advertising campaigns feature expensive celebrities
with no connection to the product whatsoever.
This is not to say that celebrities should never be used in advertising. Many
decades ago, television commercials and print advertisements for Mapo
cereal had to fight the product's image that people thought of it as something
just for small children. Since people saw it as something children would
``outgrow'', Mickey Mantle and other rugged sports heroes were shown
crying ``I want my Mapo''. A more contemporary good use of a celebrity is
when Olympic winners are on the Wheaties box, because the cereal is ``The
breakfast of champions''.
Use of celebrity can be Unfortunately, many celebrities are used in advertising in a way that can
waste of money only be a waste of money. In addition to the costs for hiring a good actor
to take a part, the star celebrity also costs a high-priced premium for his
or her appearance. But if the image of that star does not fit with the
advertising message, the audience will only recall the celebrity, not the
product. Michael Jordan's championship image is a good fit for selling
Gatoraide or Nike shoes, but it is questionable whether his personal charm
enhanced the images of long-distance services or a chain of restaurants.
Similarly, advertising that makes direct comparisons with competing brands
also need to take the consumers' mindset into account. Just because the other
brand is a better seller or more famous does not give a basis for making
comparisons. A comparison advertisement is a good idea only if the
compared brand is the target audience's standard for a quality product and
the advertising message would show a consumer-desired benefit for which
your brand is better. Lots of comparison advertising forgets this, using the
better selling brand for just the attention getting value, and having an
audience that remembers only the competitor.

300 JOURNAL OF CONSUMER MARKETING, VOL. 19 NO. 4 2002

 ``Misplaced marketing'' explains the real reason for the real bad advertising
as the creators focus on what they want to say instead of what the audience
needs to see or hear.

References
Garfield, R. (1999), ``TD Waterhouse makes trade with celebs'', Advertising Age, Vol. 70,
November 29, p. 79.
Kover, A.J., James, W.L. and Sonner, B.S. (1997), ``To whom do advertising creatives write?
An inferential answer'', Journal of Advertising Research, Vol. 37, January/February,
pp. 41-53.
Moriarty, S.E. (1996), ``Effectiveness, objectives, and the EFFIE Awards'', Journal of
Advertising Research, Vol. 36, July/August, pp. 54-63.
Ogilvy, D. (1963), Confessions of an Advertising Man, Ballantine Books, New York, NY.
&

JOURNAL OF CONSUMER MARKETING, VOL. 19 NO. 4 2002 301