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Enregistrement W3037343501 · doi:10.1353/nin.2017.0010

Here's the Pitch: The Amazing, True, New, and Improved Story of Baseball and Advertising by Roberta J. Newman

2017· article· en· W3037343501 sur OpenAlex

Pourquoi ce travail est dans la base

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venuePublié dans une revue dont le pays d'attache est le Canada.
no affAucune affiliation canadienne : ce travail est invisible pour une base fondée sur la seule affiliation.
Aucune affiliation canadienne. Une base fondée sur la seule affiliation (le devis habituel) n'aurait jamais vu ce travail. C'est l'un des travaux qui justifient l'inversion de la base.

Notice bibliographique

RevueNine · 2017
Typearticle
Langueen
DomaineArts and Humanities
ThématiqueAmerican Sports and Literature
Établissements canadiensnon disponible
Organismes subventionnairesnon disponible
Mots-clésAdvertisingAmateurArtMedia studiesHistorySociologyBusiness

Résumé

récupéré en direct d'OpenAlex

Reviewed by: Here's the Pitch: The Amazing, True, New, and Improved Story of Baseball and Advertising by Roberta J. Newman Mark McGee Roberta J. Newman. Here's the Pitch: The Amazing, True, New, and Improved Story of Baseball and Advertising. Lincoln: University of Nebraska Press, 2019. 352 pp. Cloth, $34.95. When I read a book, I want to be able to say I learned something new. In the case of Roberta J. Newman's Here's the Pitch: The Amazing, True, New and Improved Story of Baseball and Advertising I came away with a great deal of knowledge about the relationship between baseball and advertising I did not previously possess. Newman serves as a literary version of former professional pitcher Ted "Double Duty" Radcliffe. Newman takes us back to the mid-nineteenth century and carries us through today's world of advertising using baseball. Along the way she provides a fascinating history of advertising as well as the history of baseball players in the promotions field ranging from cigarette cards to television. This is an impeccably researched volume. It could have been a dry textbook approach to the world of advertising, but Newman avoids such boredom with unique background stories and perspectives as the advertising world and the players involved have changed with the times. At a time when many are concerned about the history of baseball on the professional level, Newman provides example after example of how advertising campaigns using baseball players have helped promote the game just as the players promote various products. Newman traces baseball's involvement with the advertising field with examples from Honus Wagner, Babe Ruth, Ty Cobb, Mickey Mantle, Yogi Berra, Willie Mays. Derek Jeter, Rafael Palmeiro, and David "Big Papi" Ortiz. While the advertising world is star-driven, Newman points out the first baseball advertising was, by necessity, designed for fans who attended games. We have seen advertising go from signs in the outfield to sponsors for virtually [End Page 271] every aspect of the game including calls to the bullpen and seventh inning stretches. But again, it is all about the players and their faces and personas. While striving not to give away all the surprising and interesting insights Newman provides, it is necessary to point out some of the background behind the players involved. Newman's approach takes the long-standing premise that advertising reflects culture and expands by pointing out advertising also creates culture. She provides several examples where baseball and advertising have worked together to provide a revealing view of American culture. Two former players, who would eventually own teams—Alfred Goodwill Spalding and A. J. Reach—had their names tied to baseball publications as well as to official baseballs for the National and American Leagues, respectively. Some were more reluctant in allowing the use of their names and likenesses. Honus Wagner was well-known for his disdain of the use of his likeness on cigarette cards. Ty Cobb was even more vehemently opposed to tobacco use in general and refused to promote the use of tobacco in advertisements, separating him from many of his baseball contemporaries. Unlike today, the names and likenesses of baseball players in the early 1900s were often used without their permission and without pay. But many have earned more than their share of money through their promotional work. Babe Ruth may have been known for his ability to hit home runs on the field, but he was equally as proficient in going for the fences in the world of advertising. Yogi Berra used his personality as well as his ability to spout off-the-wall observations into advertising gold. He refused, however, to promote a product he did not personally use. His popularity as a pitchman extended into this century. Mickey Mantle and Willie Mays played against type crying for their Maypo. The Miller Brewing company changed the image of its Lite beer from a brand designed originally for female drinkers to one for all beer lovers through the use of athletes and sports personalities such as George Steinbrenner and Billy Martin arguing which was better, "Tastes Great" or "Less Filling". In a reflection of the effect of baseball-related advertising the...

Récupéré en direct depuis OpenAlex et désinversé. Les résumés ne sont pas conservés dans cette base de données : les index inversés représentent 8,6 Go des 9,3 Go de texte de la base, et le serveur dispose de 13 Go libres.

Prédiction distillée sur la base complète

Imitation des enseignants

Ni prévalence calibrée, ni vérité terrain. Validation humaine à venir. Apprise à partir de 10 348 étiquettes directes de Codex et de 10 348 étiquettes directes de Gemma. Le mode candidate est l'union des têtes enseignantes seuillées; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont ni des étiquettes humaines ni des étiquettes directes de modèles de pointe.

score de la tête « metaresearch » (Codex)0,000
score de la tête « metaresearch » (Gemma)0,000
Version: codex-gemma-dda1882f352aStatut de validation: machine_predicted_unvalidated
Catégories candidatesCharge utile insuffisante (le modèle a refusé de juger)
Catégories consensuellesaucune
DomaineSignal candidat: aucune · Signal consensuel: aucune
Devis d'étudeSignal candidat: Sans objet · Signal consensuel: Sans objet
GenreSignal candidat: Empirique · Signal consensuel: Empirique
Score de désaccord entre enseignants0,227
Score d'incertitude au seuil0,999

Scores Codex et Gemma par catégorie

CatégorieCodexGemma
Métarecherche0,0000,000
Méta-épidémiologie (sens strict)0,0000,000
Méta-épidémiologie (sens large)0,0000,000
Bibliométrie0,0000,000
Études des sciences et des technologies0,0010,001
Communication savante0,0000,000
Science ouverte0,0000,000
Intégrité de la recherche0,0000,000
Charge utile insuffisante (le modèle a refusé de juger)0,0020,000

Scores machine (provisoires)

Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.

Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.

Tête enseignante Opus0,009
Tête enseignante GPT0,207
Écart entre enseignants0,198 · la distance entre les deux têtes enseignantes sur ce seul travail
Statut de validationscore_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découle