by Ian Lender
More than a century ago, Christian fundamentalists invented cereal to promote a healthy lifestyle free of sin. Little did they know, their creation would eventually be used to promote everything from radio and cartoons to Mr. T and tooth decay.
Meat Is Murder (on the Colon)
During the early 19th century, most Americans subsisted on a diet of pork, whiskey, and coffee. It was hell on the bowels, and to many Christian fundamentalists, hell on the soul, too. They believed that constipation was God's punishment for eating meat. The diet was also blamed for fueling lust, laziness, and rampant masturbation. To rid America of these vices, religious zealots spearheaded the country's first vegetarian movement. In 1863, one member of this group, Dr. James Jackson, invented Granula, America's first ready-to-eat, grain-based breakfast product. Better known as cereal, Jackson's rock-hard breakfast bricks offered consumers a sin-free meat alternative that aimed to clear both conscience and bowels.
While Jackson's innovation didn't appeal to the masses, it did catch the attention of Dr. John Kellogg. A renowned surgeon and health guru, Kellogg had famously transformed the Battle Creek Sanitarium in Michigan into one of America's hottest retreats. Socialites from the Rockefellers to the Roosevelts flocked to "The San" to receive Kellogg's unorthodox treatments. But shock-therapy sessions and machine-powered enemas weren't the only items on the agenda. Kellogg also stressed such newfangled ideas as exercise and proper nutrition. It wasn't long before he started serving bran biscuits similar to those of Dr. Jackson—only now with the Kellogg name on them. To avoid a lawsuit, he changed the name of the cereal by one letter, dubbing it "Granola."
By 1889, The San was selling 2 tons of granola a week, despite the fact that it was barely edible. The success inspired Dr. Kellogg and his brother, W.K., to produce more-palatable fare. After six years of experimentation, a kitchen mishap by W.K. yielded the breakfast staple known as cereal flakes.
Making Red Blood Redder
Across town, Dr. Kellogg refused to sully The San's reputation with heathen advertising, and his profits suffered as a result. W.K., however, had no such qualms and set out to emulate Post. In his first national campaign, he told women to "Wink at your grocer, and see what you get." (Answer: a free box of Kellogg's Corn Flakes.) Within a year, he'd sold 1 million cases of cereal. With the leading cereal makers embracing such unabashed hucksterism, it was clear that cereal's connection to its fundamentalist roots had come to an end.
Thinking Outside the Box
All across America, the eyes of investors lit up with dollar signs, and would-be cereal barons descended on Battle Creek like locusts. By 1911, 107 brands of corn flakes were being made in Battle Creek alone.
But the cereal business had one major drawback—there was little substantive difference between brands. To stand out from the crowd, manufacturers realized that they had to focus more on the outside of the box than on what was inside. Some tried decorating their products with adjectives, creating names like University Brand Daintily Crisped Flaked Corn. Others competed to appear the healthiest. Tryabita, for example, was infused with celery flavor because, well, it sounded healthy.
But the real winner was a cereal called Force. Its mascot, Sunny Jim, was a strutting, top-hatted gentleman who became so popular in newspapers and magazines that other cereal makers rushed to create their own mascots. For a cereal called Elijah's Manna, Charles Post even tried putting a picture of the prophet on the label. Although the product was eventually pulled, one industry ground rule had been established: Every box needs a character.
Before long, cereal makers had an insatiable appetite for finding the right mascot, regardless of the cost. During the Depression, Post Toasties decided to use cartoon animals on its boxes and paid its cartoonist $1.5 million in the first year. That artist was Walt Disney, and he used the earnings to build the Disney empire.
The Children Are the Future
A Dennis the Menace type who frequently interrupted his adventures to extol the virtues of Wheaties, Skippy was the first cereal character directly marketed to children. As it turned out, kids ate him up, and cereal producers learned an important lesson: Children are suckers. The flood of kid-friendly, cereal-shilling characters that followed reads like a Who's Who of American iconography, including the Lone Ranger, Dick Tracy, and Buck Rogers. By the 1960s, cereal advertisers were devoting 90 percent of their budgets to reaching children.
In the process of targeting the young, cereal companies also realized that kids don't care about their colons. They want sugar. Lots of sugar. In 1939, a Philadelphia heater salesman named Jim Rex created the first sugared cereal, called Ranger Joe Popped Wheat Honnies. Ironically, he designed the cereal to minimize the amount of sugar children consumed. He reasoned that if he lightly presweetened his product, kids wouldn't add more sugar on top. He was wrong, and his good intentions were lost on bigger companies. After Ranger Joe sales skyrocketed, manufacturers started producing cereals such as Sugar Smacks, which contained a shocking 56 percent sugar.
How did cereal companies reconcile this with their original commitment to the health movement? Taking a page out of Post's playbook, they declared that sugar wasn't bad for you because it gave you the fuel you needed to start your day. With trusted radio personalities extolling the "energy-giving" virtues of cereal, impressionable kids and their frazzled parents rushed to stores.
Also at Burnett's urging, cereal companies invested heavily in early television technology. (They still do; cereal is the second-largest advertiser on television today, behind automobiles.) The financial backing let them shape the medium to suit their needs—namely, adding color. Burnett was one of the earliest believers in motivational psychology and understood that colors appealed to kids and moms subliminally. When color TV became a reality, he persuaded Kellogg to use anthropomorphized cartoon animals as mascots. He thought animation would make for better, more colorful commercials. The first mascot they produced was Tony the Tiger, whose meteoric success was followed by hundreds of other cartoon icons.