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In the late 1880's in Missouri two men named Chris L. Rutt and Charles G. Underwood created a revolutionary instant pancake flour mix. They created the trademark after visiting a theater and seeing women in blackface, aprons, and red bandanas doing a performance of a song entitled "Old Aunt Jemima." This popular song of the time inspired them to use this very image as their company logo.
Rutt and Underwood used many different ways to exploit this new image. They used posters, live appearances, memorabilia, and of course on the product itself. These two men practiced advertising in a way where it quickly linked image and product in such a way that a lasting impression is created in the public's mind. They used a clever promotion strategy that promoted the idea that Aunt Jemima was a real cook who made the best pancakes in the south. To know the history of the stereotype about African American women and why they spent so much time in the kitchen there has to be an understanding of how African American women were thought to be able to handle heat better because of their darker skin, so that that is why they were assigned the jobs closest to the furnaces and stoves. Aunt Jemima's relationship with the South was intentionally full of romanticism and intrinsic values. She was made to represent the splendor of the Old and New South. Those who might have been prone to believe that the New South had nothing of quality left to contribute after war and slavery needed to look no further than Aunt Jemima's pancake mix to see otherwise The way they did this was by taking the image of a stereotypical depiction of African American women as servants, and portrayed these servants as fat, unattractive, but happy. Aunt Jemima is a characteristic ...
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...ayed far away as possible from the stereotypes that bombarded their lives everyday.
Works Cited
Buster, Larry Vincent. The Art and History of Black Memorabilia (New York: Clarkson Potter/ Publishers) 2000.
Goings, Kenneth W. Mammy and Uncle Mose ( USA: Library and Congress Cataloging-in-Publication) 1994.
Kovel, Ralph and Terry. The label made me buy it (New York: Crown Publishers, Inc.) 1998.
Kendrix, Moss. "The Advertiser's holy trinity: Aunt Jemima, Rastus, and Uncle Ben." http://www.prmuseum.com/kendrix/jemimas.html. March 2005.
"Reconstruction and Its Aftermath." http://memory.loc.gov/ammem/aaohtml/exhibit/aopart5.html. April 2005.
Kern-Foxworth, Marilyn. “Memories of the Way We Were: Blacks in Early Print and Electronic Advertising.” Aunt Jemima, Uncle Ben, and Rastus: Blacks in Advertising, Yesterday, Today, and Tomorrow. Westport: Praeger Publishers, 1994. 29-42. Print.
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Keen, Benjamin. 1969. The Black Legend Revisited: Assumptions and realities. The Hispanic American Historical Review. volume 49. no. 4
Born in 1924, Detroit, Ally served America in WWII and the Korean war as a distinguished fighter pilot in the U.S Air Force, winning medals of honour. After the army he graduated from the University of Michigan with a bachelor's and master's degree. His career started at General Electric, as an advertising executive. After which he worked at a small Detroit advertising firm then advanced to Campbell-Ewald Co., a regional advertising powerhouse, in 1955. His ardent tenacity won him recognition from his superiors and he was sent to New York to be the manager at their head office. The same ardent tenacity however, did not impress his new bosses and he was left jobless in New York in 1960 - the Bernbach golden age of advertising. Lucky for him, Papert, Koenig Lois (PKL) was established in 1960 by three men who left DDB with a mission: to take risks and push the limits of advertising. They shared the same ideals and background as Ally and wanted to take advertising beyond what DDB was comfortable with. It was an agency for the new generation of admen: Jews, Italians, Greeks and women who were previously cast to insignificant roles. This gave conventional advertising at that era a new wave of ideas.
3. Which company published the book? (Give the publishing company’s name, not the printer’s name.) Thunder’s Mouth Press.
The African-American Years: Chronologies of American History and Experience. Ed. Gabriel Burns Stepto. New York: Charles Scribner 's Sons, 2003.
Figure 3: Karen V.Wasylowski, 2012, Victorian Era – Birth Place of Advertising, picture. Available at: http://englishhistoryauthors.blogspot.com/2012/02/victorian-era-birthplace-of-modern.html. [Accessed 11 December 2013]
Hyde, H. Montgomery. The Love That Dared Not Speak Its Name. Little, Brown and Company. Boston, 1970.
Du Bois, W. E. Burghardt. The Souls of Black Folk. Chicago: A.C. McClurg & Co.1903. Print.
Aunt Jemima is described as a misrepresentation of the mammy stereotype: the domestic female slave responsible for the preparation of the master’s food. Aunt Jemima was not only the preparer but also the food itself. Her recipe was a secret known only to the slave women. The myth of mammy is an image for and consumed by White America. Mammy is the most well-known racial caricature of African American women. She “belonged" to the white family and she worked hard to do the things she was obligated to do. People would know mammy when a person sees her because she was obese, old, very dark-skinned, and she always wore a bandana. Research states, that her look was to protect the myth that White men did not find Black women attractive, and that there was no sexual contact between them within the plantations. An example of different mammy’s can be something as simple as Tyler Perry’s Madea.
13, 1909, in Jackson, Mississippi. In 1925, she went to school at the Mississippi State College for Women. After two years there, she transferred to the University of Wisconsin and was graduated with a B.A. in English in 1929.
Nowadays it is almost impossible to avoid from exposure of advertisements. Since most of people are exposed by the advertisements, the society is influences by them and the values sold by them. In Jean Kilbourne’s essay, she asserts that “[i]t sells values, images, and concepts of love and sexuality, romance, success, and, perhaps most important, normalcy” (126). According to Kilbourne, the society is affected by the advertising advertisers not only sell their products but also sell the value and one of the most popular values that the advertisers sell is beauty. In today’s society, the effects of beauty are outrageous as attentions of the people to the physical appearance increases. In the past, beauty was only important for women in general,
New York: Random House, 1989.
The introduction of fashion marketing and advertising in the early 1920’s is a phenomenon in itself. The development of technology in the fashion industry has led to the expansion and demand of fashion advertising. Everywhere a person looks, there is some form of fashion advertising, whether in a magazine, on a billboard, on a television ad or during the highly anticipated: fashion week. Fashion advertisements link creative messages and images to the tastes of consumers. Not only do they provide information about a brand or a product, they encourage individuals to actively seek products and brands that they associate with their lifestyles through visual persuasion. The objective of this paper is to argue that fashion advertisements, today,