Quotes about advertising
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Ben Croshaw photo
William Lever, 1st Viscount Leverhulme photo

“Half my advertising is wasted but I do not know which half.”

William Lever, 1st Viscount Leverhulme (1851–1925) English industrialist, philanthropist, and politician

Lord Leverhulme, as cited in: John Sherman Wright, ‎John E. Mertes (1974), Advertising's role in society, p. 78
This quote has also been attributed to John Wanamaker and George Washington Hill

Walter Dill Scott photo
Andrew Tobias photo
Will Rogers photo

“advertising […] makes you spend money you haven't got for things you don't want.”

Will Rogers (1879–1935) American humorist and entertainer

As the Connecticut Yankee Hank Morgan / Sir Boss in the 1931 film A Connecticut Yankee (after Mark Twain). Cf. Ivan G. Shreve Jr: Thrilling days of yesteryear blogspot.de/2009/09 http://thrillingdaysofyesteryear.blogspot.de/2009/09/grey-market-cinema-connecticut-yankee.html. Also quoted in Printers' Ink magazine, volume 156, issue 1 (1931), p. 3 books.google https://books.google.com/books?id=-oULAQAAIAAJ&q=arthur's and Advertising Outdoors Vol. 2, No. 8 (August 1931), p. 19 https://books.google.com/books?id=rZcXAQAAMAAJ&q=definitions, https://books.google.com/books?id=rZcXAQAAMAAJ&q=spend+money = http://www.forgottenbooks.com/readbook_text/Advertising_Outdoors_1000005193/373
As quoted in ...

Upton Sinclair photo
John McCarthy photo
Herbert A. Simon photo
Lewis H. Lapham photo
Edward A. Shanken photo
Paul Tillich photo
Ben Croshaw photo
Heather Brooke photo
David Ogilvy photo
Robert M. La Follette Sr. photo
Walter Dill Scott photo
Salvador Dalí photo
George Monbiot photo
Donald J. Trump photo
E. B. White photo
Lewis M. Branscomb photo
Northrop Frye photo
Joseph Addison photo
Stephen Clarke photo
Sinclair Lewis photo
Lewis Mumford photo
Daniel Suarez photo

“Fact and fiction carry the same intrinsic weight in the marketplace of ideas. Fortunately, reality has no advertising budget.”

Source: Freedom™ (2010), Chapter 2: Operation Exorcist, Character: a principal from the lobbying firm Byers, Carroll, and Marquist (BCM)

Michel Foucault photo
Ursula K. Le Guin photo
Niklas Luhmann photo

“By representing themselves as a system [the mass media ] generates boundaries with an inside and an outside that is inaccessible to them. They too reflect [or represent] their outside as public life, so long as specific external relationships, such as to politics or to the advertisers, are not in question.”

Niklas Luhmann (1927–1998) German sociologist, administration expert, and social systems theorist

Source: The reality of the Mass Media (2000), p. 106 as cited in: John Downin (2004) The SAGE Handbook of Media Studies. p. 234.

Orson Scott Card photo

“It (i. e., advertising) was like horoscopes—enough blind stabs and some of them are bound to strike a target.”

Page 185
Ender's Game series, First Meetings in the Enderverse (2003), Investment Counselor

Fran Lebowitz photo
Fernand Léger photo

“Our society, it turns out, can use modern art. A restaurant, today, will order a mural by Míro in as easy and matter-of-fact a spirit as, twenty-five years ago, it would have ordered one by Maxfield Parrish. The president of a paint factory goes home, sits down by his fireplace—it looks like a chromium aquarium set into the wall by a wall-safe company that has branched out into interior decorating, but there is a log burning in it, he calls it a firelace, let’s call it a fireplace too—the president sits down, folds his hands on his stomach, and stares at two paintings by Jackson Pollock that he has hung on the wall opposite him. He feels at home with them; in fact, as he looks at them he not only feels at home, he feels as if he were back at the paint factory. And his children—if he has any—his children cry for Calder. He uses thoroughly advanced, wholly non-representational artists to design murals, posters, institutional advertisements: if we have the patience (or are given the opportuity) to wait until the West has declined a little longer, we shall all see the advertisements of Merrill Lynch, Pierce, Fenner, and Smith illustrated by Jean Dubuffet.
This president’s minor executives may not be willing to hang a Kandinsky in the house, but they will wear one, if you make it into a sport shirt or a pair of swimming-trunks; and if you make it into a sofa, they will lie on it. They and their wives and children will sit on a porcupine, if you first exhibit it at the Museum of Modern Art and say that it is a chair. In fact, there is nothing, nothing in the whole world that someone won’t buy and sit in if you tell him it is a chair: the great new art form of our age, the one that will take anything we put in it, is the chair. If Hieronymus Bosch, if Christian Morgenstern, if the Marquis de Sade were living at this hour, what chairs they would be designing!”

Randall Jarrell (1914–1965) poet, critic, novelist, essayist

“The Taste of the Age”, pp. 19–20
A Sad Heart at the Supermarket: Essays & Fables (1962)

James Howard Kunstler photo
Laurie Penny photo
Robert Charles Wilson photo
Ingrid Newkirk photo

“Advertising has formed us to give our affection not only to the products we consume, but also to the personified corporations that supply them.”

The Divine Commodity: Discovering A Faith Beyond Consumer Christianity (2009, Zondervan)

Anthony Burgess photo
Richard Stallman photo
Wyndham Lewis photo

“The art of advertisement, after the American manner, has introduced into all our life such a lavish use of superlatives, that no standard of value whatever is intact.”

Wyndham Lewis (1882–1957) writer and painter

"'Promise' as an Institution", in The Doom of Youth (London: Chatto & Windus, 1932).

Fernand Léger photo
Matt Ridley photo
Ellen Willis photo
Robert F. Kennedy photo

“Gross National Product counts air pollution and cigarette advertising, and ambulances to clear our highways of carnage. It counts special locks for our doors and the jails for the people who break them. It counts the destruction of the redwood and the loss of our natural wonder in chaotic sprawl. It counts napalm and counts nuclear warheads and armored cars for the police to fight the riots in our cities. It counts Whitman's rifle and Speck's knife, and the television programs which glorify violence in order to sell toys to our children. Yet the gross national product does not allow for the health of our children, the quality of their education or the joy of their play. It does not include the beauty of our poetry or the strength of our marriages, the intelligence of our public debate or the integrity of our public officials. It measures neither our wit nor our courage, neither our wisdom nor our learning, neither our compassion nor our devotion to our country, it measures everything in short, except that which makes life worthwhile. And it can tell us everything about America except why we are proud that we are Americans.”

Robert F. Kennedy (1925–1968) American politician and brother of John F. Kennedy

Speech at the University of Kansas at Lawrence http://www.jfklibrary.org/Research/Research-Aids/Ready-Reference/RFK-Speeches/Remarks-of-Robert-F-Kennedy-at-the-University-of-Kansas-March-18-1968.aspx (18 March 1968)

Gore Vidal photo
I. F. Stone photo
James Braid photo
Edward R. Murrow photo
A. P. J. Abdul Kalam photo
Charles Stross photo
Alan Sugar photo
Sarvajna photo
Lee De Forest photo
Akio Morita photo

“Advertising and promotion alone will not sustain a bad product or a product that is not right for the times.”

Akio Morita (1921–1999) Japanese businessman

Source: Made in Japan (1986), p. 158.

Henry Calvert Simons photo
Noam Chomsky photo

“…evidence-based approach, the U. S. negotiators argued, is interference with free markets, because corporations must have the right to deceive. […] The claim itself is kind of amusing, I mean, even if you believe the free market rhetoric for a moment. The main purpose of advertising is to undermine markets. If you go to graduate school and you take a course in economics, you learn that markets are systems in which informed consumers make rational choices. That's what's so wonderful about it. But that's the last thing that the state corporate system wants. It is spending huge sums to prevent that, which brings us back to the viability of American democracy. For many years, elections here, election campaigns, have been run by the public relations industry and each time it's with increasing sophistication. And quite naturally, the industry uses the same technique to sell candidates that it uses to sell toothpaste or lifestyle drugs. The point is to undermine markets by projecting imagery to delude and suppressing information, and similarly, to undermine democracy by the same method, projecting imagery to delude and suppressing information. The candidates are trained, carefully trained, to project a certain image. Intellectuals like to make fun of George Bush's use of phrases like “misunderestimate,” and so on, but my strong suspicion is that he's trained to do that. He's carefully trained to efface the fact that he's a spoiled frat boy from Yale, and to look like a Texas roughneck kind of ordinary guy just like you, just waiting to get back to the ranch that they created for him…”

Noam Chomsky (1928) american linguist, philosopher and activist

25th anniversary of the International Relations Center in Santa Fe, New Mexico, January 26, 2005
Quotes 2000s, 2005

Frederik Pohl photo
Washington Gladden photo
Hans Freudenthal photo
Erving Goffman photo
Lewis H. Lapham photo
Brandon Boyd photo

“Price tags advertise your pride.”

Brandon Boyd (1976) American rock singer, writer and visual artist

Lyrics, A Crow Left of the Murder... (2004)

Russell Brand photo
Constantine P. Cavafy photo
Henry VII of England photo
Michael Haneke photo

“I know very well the sorts of pressures you're under in television. I don't work in television anymore myself, but I'm constantly hearing from colleagues who present scripts to networks and are told, "The script is too complex. You have to keep it simple because the audience is dumb. You can make more money for the advertisers that way."”

Michael Haneke (1942) Austrian film director and screenwriter

as interviewed by Richard Porton, "Collective Guilt and Individual Responsibility: An Interview with Michael Haneke," Cineaste, Vol. 31, No. 1 (Winter 2005), pp. 50-51

Dorothy L. Sayers photo

“Those who prefer their English sloppy have only themselves to thank if the advertisement writer uses his mastery of the vocabulary and syntax to mislead their weak minds.”

Dorothy L. Sayers (1893–1957) English crime writer, playwright, essayist and Christian writer

Essays, The Psychology of Advertising (1937)

Lewis Black photo

“Can somebody explain to me why Pepsi and Coke advertise? Are we missing something? Seriously, everyone in this room has drank enough Pepsi and Coke in their lifetime they could piss it for a week.”

Lewis Black (1948) American stand-up comedian, author, playwright, social critic and actor

The End of the Universe (2002)

Karl Jaspers photo

“One who would influence the masses must have recourse to the art of advertisement. The clamour of puffery is to-day requisite even for an intellectual movement.”

Karl Jaspers (1883–1969) German psychiatrist and philosopher

Man in the Modern Age (1933)
Context: When the titanic apparatus of the mass-order has been consolidated, the individual has to serve it, and must from time to time combine with his fellows in order to renovate it. If he wants to make his livelihood by intellectual activity, he will find it very difficult to do this except by satisfying the needs of the many. He must give currency to something that will please the crowd. They seek satisfaction in the pleasures of the table, eroticism, self-assertion; they find no joy in life if one of these gratifications be curtailed. They also desire some means of self-knowledge. They desire to be led in such as way that they can fancy themselves leaders. Without wishing to be free, they would fain be accounted free. One who would please their taste must produce what is really average and commonplace, though not frankly styled such; must glorify or at least justify something as universally human. Whatever is beyond their understanding is uncongenial to them.
One who would influence the masses must have recourse to the art of advertisement. The clamour of puffery is to-day requisite even for an intellectual movement. The days of quiet and unpretentious activity seem over and done with. You must keep yourself in the public eye, give lectures, make speeches, arouse a sensation. Yet the mass-apparatus lacks true greatness of representation, lacks solemnity. <!-- pp. 43 - 44

Greil Marcus photo

“Complete freedom meant — no one knew. It was most readily defined in the negative: not this gap between the heaven promised in the new advertisements and the everyday satisfactions I can buy.”

Greil Marcus (1945) American historian

Lipstick Traces : A Secret History of the 20th Century (1989), pp. 147–148.
Context: Complete freedom meant — no one knew. It was most readily defined in the negative: not this gap between the heaven promised in the new advertisements and the everyday satisfactions I can buy. Not the sense that when I leave my work for my family, and bring my family to a Sunday in the park, my leisure feels like work. Not this mad conviction that I’m a stranger in my own home town, that at work I feel like a machine, that in the park I feel like an advertisement, that at home I feel like a tourist.

Peter Cook photo

“I saw an advertisement the other day for the secret of life.”

Peter Cook (1937–1995) British architect

"Are You Spotty?" (1964)
E. L. Wisty
Context: I saw an advertisement the other day for the secret of life. It said "The secret of life can be yours for twenty-five shillings. Sent to Secret of Life Institute, Willesden." So I wrote away, seemed a good bargain, secret of life, twenty-five shillings. And I got a letter back saying, "If you think you can get the secret of life for twenty-five shillings, you don't deserve to have it. Send fifty shillings for the secret of life."

Robert Kuttner photo

“Unfortunately, the Laffer curve did not work as advertised. Lower tax rates did not produce more tax revenues. They produced deficits.”

Robert Kuttner (1943) American journalist

Source: The Economic Illusion (1984), Chapter 5, Taxes, p. 208
Context: The total impact of the Reagan tax cuts on capital lowered the effective cost of capital to American industry by an estimated 1.2 percent. Unfortunately, the Laffer curve did not work as advertised. Lower tax rates did not produce more tax revenues. They produced deficits.

Ellen Willis photo

“My education was dominated by modernist thinkers and artists who taught me that the supreme imperative was courage to face the awful truth, to scorn the soft-minded optimism of religious and secular romantics as well as the corrupt optimism of governments, advertisers, and mechanistic or manipulative revolutionaries. I learned that lesson well”

Ellen Willis (1941–2006) writer, activist

"Tom Wolfe's Failed Optimism" (1977), Beginning To See the Light: Pieces of a Decade (1981)
Context: My education was dominated by modernist thinkers and artists who taught me that the supreme imperative was courage to face the awful truth, to scorn the soft-minded optimism of religious and secular romantics as well as the corrupt optimism of governments, advertisers, and mechanistic or manipulative revolutionaries. I learned that lesson well (though it came too late to wholly supplant certain critical opposing influences, like comic books and rock-and-roll). Yet the modernists’ once-subversive refusal to be gulled or lulled has long since degenerated into a ritual despair at least as corrupt, soft-minded, and cowardly — not to say smug — as the false cheer it replaced. The terms of the dialectic have reversed: now the subversive task is to affirm an authentic post-modernist optimism that gives full weight to existent horror and possible (or probable) apocalyptic disaster, yet insists — credibly — that we can, well, overcome. The catch is that you have to be an optimist (an American?) in the first place not to dismiss such a project as insane.

Helmut Newton photo

“Since the commercialization and banality of editorial magazine pages have made this work uninteresting, advertising has become an increasingly important part of my work.”

Helmut Newton (1920–2004) German-Australian photographer

American Photo (January/February 2000), p. 90
Context: Since the commercialization and banality of editorial magazine pages have made this work uninteresting, advertising has become an increasingly important part of my work. It is interesting to compare European and American mores in regard to my work. One will notice that most of my European images have a stronger sexual content that those destined for American publication. The term "political correctness" has always appalled me, reminding me of Orwell's "Thought Police" and fascist regimes.

Howard Zinn photo

“Why should we accept that the "talent" of someone who writes jingles for an advertising agency advertising dog food and gets $100,000 a year is superior to the talent of an auto mechanic who makes $40,000 a year?”

Howard Zinn (1922–2010) author and historian

ZNet commentary (35 November 1999) http://www.zmag.org/sustainers/content/1999-11/25zinn.htm
Context: Why should we accept that the "talent" of someone who writes jingles for an advertising agency advertising dog food and gets $100,000 a year is superior to the talent of an auto mechanic who makes $40,000 a year? Who is to say that Bill Gates works harder than the dishwasher in the restaurant he frequents, or that the CEO of a hospital who makes $400,000 a year works harder than the nurse or the orderly in that hospital who makes $30,000 a year? The president of Boston University makes $300,000 a year. Does he work harder than the man who cleans the offices of the university? Talent and hard work are qualitative factors which cannot be measured quantitatively.

“I think the key image of the 20th century is the man in the motor car. It sums up everything: the elements of speed, drama, aggression, the junction of advertising and consumer goods with the technological landscape.”

J. G. Ballard (1930–2009) British writer

Narration for Crash! (1971), a short film by Harley Cokeliss
Context: I think the key image of the 20th century is the man in the motor car. It sums up everything: the elements of speed, drama, aggression, the junction of advertising and consumer goods with the technological landscape. The sense of violence and desire, power and energy; the shared experience of moving together through an elaborately signalled landscape.
We spend a substantial part of our lives in the motor car, and the experience of driving condenses many of the experiences of being a human being in the 1970s, the marriage of the physical aspects of ourselves with the imaginative and technological aspects of our lives. I think the 20th century reaches its highest expression on the highway. Everything is there: the speed and violence of our age; the strange love affair with the machine, with its own death.

Samuel Johnson photo

“Promise, large promise, is the soul of an advertisement.”

No. 40 (January 20, 1759)
The Idler (1758–1760)
Context: Advertisements are now so numerous that they are very negligently perused, and it is, therefore, become necessary to gain attention by magnificence of promises, and by eloquence sometimes sublime and sometimes pathetick. Promise, large promise, is the soul of an advertisement.

Albert Jay Nock photo

“As a modern publisher might put it, he was not worrying about circulation or about advertising. Hence, with all such obsessions quite out of the way, he was in a position to do his level best, without fear or favour, and answerable only to his august Boss.”

Albert Jay Nock (1870–1945) American journalist

Source: Isaiah's Job (1936), III
Context: If, say, you are a preacher, you wish to attract as large a congregation as you can, which means an appeal to the masses; and this, in turn, means adapting the terms of your message to the order of intellect and character that the masses exhibit. If you are an educator, say with a college on your hands, you wish to get as many students as possible, and you whittle down your requirements accordingly. If a writer, you aim at getting many readers; if a publisher, many purchasers; if a philosopher, many disciples; if a reformer, many converts; if a musician, many auditors; and so on. But as we see on all sides, in the realization of these several desires, the prophetic message is so heavily adulterated with trivialities, in every instance, that its effect on the masses is merely to harden them in their sins. Meanwhile, the Remnant, aware of this adulteration and of the desires that prompt it, turn their backs on the prophet and will have nothing to do with him or his message.
Isaiah, on the other hand, worked under no such disabilities. He preached to the masses only in the sense that he preached publicly. Anyone who liked might listen; anyone who liked might pass by. He knew that the Remnant would listen; and knowing also that nothing was to be expected of the masses under any circumstances, he made no specific appeal to them, did not accommodate his message to their measure in any way, and did not care two straws whether they heeded it or not. As a modern publisher might put it, he was not worrying about circulation or about advertising. Hence, with all such obsessions quite out of the way, he was in a position to do his level best, without fear or favour, and answerable only to his august Boss.

Stanley Knowles photo

“When a society spends more on advertising than it does on education, where is it headed?”

Stanley Knowles (1908–1997) Canadian politician

Source: The New Party - (1961), Chapter 8, The Forecast Is Good, p. 102
Context: What shall it profit us, unless life in the midst of it all has meaning? When a society spends more on advertising than it does on education, where is it headed?

Fortunato Depero photo

“The art of the future will be largely advertising.”

Fortunato Depero (1892–1960) Italian painter, writer, sculptor and graphic designer

Depero (1931) "Futurism and Adverticing Art"; Partly quoted in: Jonathon Keats, " Fortunato Depero's Italian Futurism http://www.forbes.com/forbes-life-magazine/2009/0608/art-fortunato-depero-italian-futurism.html," forbes.com, 2009/06/08
Context: The art of the future will be largely advertising.
that bold and unimpeachable lesson I have learned from museums and great works from the past—
all art for centuries past has been marked by advertising purposes: the exaltation of the warrior, the saint; documentation of deeds, ceremonies, and historical personages depicted at their victories, with their symbols, in the regalia of command and splendor—
even their highest products were simultaneously meant to glorify something: architecture, royal palaces, thrones, drapery, halberds, standards, heraldry and arms of every sort—
there is scarcely an ancient work that doesn’t have advertising motifs, a garland with a trophy, with weapons of war and victory, all stamped with seals and the original symbols of clans, all with the self-celebrating freedom of ultra-advertising

Michael Foot photo
Michael Parenti photo