At the age of twenty-six, American author Joe McGinniss wrote what would become one of American history’s most influential political books, The Selling of the President 1968. This work was originally published in 1969 after President Richard Nixon took office. It was later reprinted in 1988 with the title The Selling of the President. This 252-page, non-fictional book only took McGinniss four months to produce. He wrote the book in a way that was easy to understand and that allowed the reader to visualize the Nixon campaign events as they unfolded. McGinniss chronicled the advertising and marketing strategies that were utilized around the presidential campaigns which ultimately led to the election of President Nixon in 1968. Rare, backstage access was granted to McGinniss which allowed him to accurately convey how an unflattering candidate could be portrayed as a confident, decent man by swooning the American people through the use of carefully strategized campaigning.
McGinniss aimed to reveal his first-hand encounter of the effort it took to market Nixon during the 1968 election when he wrote this book. To better understand the process of developing a presidential campaign, McGinniss contacted Harry Treleaven, creative director over Nixon’s campaign. Treleaven was hired by Len Garment, Nixon’s law firm partner and his supervisor. Treleaven discussed with Garment the possibility of McGinnis being present during the campaign process. Garment agreed to allow McGinniss to “shadow for… several months and watch the advertising being created” (McGinniss, 1988, p. xvi). Nixon had previously run for president in 1960 where he lost to President John F. Kennedy, a handsome, poised and confident man. The American people did not favor Nixon because he came across as a cold, dark, and unhappy individual. When Nixon decided to run for president again, his team of advisers were concerned that his old image would ruin his chance of winning the 1968 election against Hubert Humphrey. They found it necessary to recreate his public image and aimed to make him appear like an honorable, more personable, and charismatic man. Nixon’s team of advisers relied on television to advertise his new and warmer public image. McGinniss sat on the sidelines and watched as they packaged Nixon to sell like a new car.
In The Selling of the President, McGinniss provided the reader with background knowledge of how this work came into existence. It was noted that he was a well-travelled American journalist who had lunch with Gene Prakapas, the editor-in-chief of the Trident Press. The two discussed a book that Theodore “Teddy” White was in the process of writing regarding the presidential campaign. McGinniss thought there could be additional insight, “a striking new phenomenon—the marketing of political candidates as if they were consumer products” (McGinniss, 1988, p. xv). Prakapas liked the idea of a book that detailed how candidates were marketed and paid McGinniss $500 to make it happen. McGinniss resigned from his job and focused on the book. Initially he sought out to land the Hubert Humphrey account, but he was turned away. Without hesitation, he reached out to Nixon’s people and they naively agreed to let him quietly observe the campaign process. McGinniss wondered why they agreed, but he came to the conclusion that “they were doing nothing of which they thought it necessary to be ashamed … and [his] answer [was] that in all probability they did not take [him] very seriously” (McGinniss, 1988, p. xvii). He was granted access to some of the most intimate moments in creating a campaign. He had behind the scenes access, was allowed in the conference rooms, and was present while Nixon’s advisers strategically planned out the campaign. Without this personal encounter, he would not have been able to provide the reader with details about how President Nixon was marketed.
Behind the scenes of Nixon’s campaign was Frank Shakespeare, former president of CBS
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that was hired to direct Nixon’s advertising campaigns. In October of 1968, Shakespeare worked to design a set that appeared sophisticated, yet not too staged. The stage set included bookcases, a desk, and a window that allowed natural light into the space. Shakespeare felt that the window added a lighter feel to the overall mood of the recording. Initially, Nixon was going to be placed behind the desk, seated in a chair when speaking. However, Nixon felt that leaning against the desk made him appear more personable and relatable. Nixon taped a series of one to five minute commercials that addressed hot topic issues such as the crime rate in Buffalo and Erie County, concerns with the south, and an impromptu commercial regarding the teacher strike in New York. It took multiple attempts to capture the perfect commercial. Nixon was aware of his mistakes when recording and wanted to make sure he didn’t come across as too stern. He was also aware of his word choices and cautious not to offend the voters. Nixon’s advisers also created commercials in which Nixon did not physically have to appear or speak. These commercials included photos that captivated his audience as he spoke in the background. The aimed to appeal to the emotional aspects of the photographs.
Nixon’s fall campaign involved traveling from Massachusetts to Texas. His team of advisers wanted to get him in front of a carefully selected audience away from the press. They wanted Nixon to “get through the campaign with a dozen or so carefully worded responses that would cover all the problems of America in 1968” (McGinniss, 1988, p. 63). Shakespeare, Treleaven, and Garment wanted a balanced panel of approximately six to seven people. The panel was made up of primarily Caucasian people with one African American present. He addressed his panel with confidence. He was vulnerable to this new situation and faced a panel only armed with his wits. The old version of Nixon had been buried and the new version alive and thriving. His confidence was restored. “His statements flowed like warm milk, bathed the audience, restored faith in the Founding Fathers, and rekindled memory of a vigorous Eisenhower, of ten, of fifteen years before” (McGinnins, 1988, p. 70). His comments to the panel’s questions were well-received and applauded. Nixon was finally able to captivate his audience. His team of advisors were finally successful in covering up his flaws and marketed him in a way that appealed to the voters. They no longer saw the old Nixon from 1960. They saw a changed man who appeared confident, yet caring. With the new changes came presidential victory.
McGinnis did a wonderful job capturing the intricate details of what is takes to market a president. His persistence, first-hand knowledge, and backstage access are what made this book a success. After reading this book, the reader will see how important it is to package or repackage a candidate for a better chance at winning a campaign. With the correct team of advisors, who have many years of experience in television or advertising, a flawed candidate can be made to appear like a shiny new car in a junk yard. The book was enlightening and educates the reader on how political candidates carefully devise an alternate image to gain votes.
I find this book to be a valuable asset to the study of politics, government operations, and campaign insight.
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