Archive for the ‘Retro advertising’ Category

A recipe from an ad for Kraft Cheese Company published in 1940875_bunniesRecipe HERE

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The first time I saw this ad on the net I laughed so much I almost fell off my chair. Finally an ad playing fully on men’s insecurities and self-esteem. And so boldly texted I find it hard to believe it was easy to place in most magazines.

It can’t have been much fun driving round in an ‘89 911 Carrera 4 for a while after that ad hit the magazine pages, a lot of Porsche owners must have been the victim of rather nasty comments about their lack of size, particularly from men who themselves couldn’t afford a car like that.

By the way, I’m quite aware that the ad may be a fake made by some net prankster, but I love it anyway – Ted

In context

Two guys were sitting on a front porch when a blonde walked by. “Let me show you how stupid blondes are” one of them said to the other and he called the blonde over. When she reached them he said “I’ll give you $10 if you paint my porch white”. “Ok” the blonde answered. The man told her she’d find paint and brushes round the corner and the two men went in to have lunch. An hour later the blond came in and said “I’m finished, give me my $10”.

They went out to check her work and found the porch was still unpainted. “You’re not finished” the man said angrily. “Of course I am” the blond replied and continued “Besides it’s not a Porsche, it is a Ferrari”.

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Fanta – The Humble Beginnings Of  A Worldwide Phenomenon

456_fanta_03There have been all kinds of stories about Fanta’s creation in Nazi Germany during WWII. Some of what has been said is true— a great deal is fiction.

Prior to the breakout of the war, Germany was the location of The Coca-Cola Company’s greatest overseas success. Records for sales were set year after year. By 1939, there were 43 bottling plants and more than 600 local distributors.

The German branch of The Coca-Cola Company had been run by an American-born man by the name of Ray Powers. He was killed in a car accident in 1938 and was replaced by the German-born Max Keith. As the new CEO, Keith was entrusted with all the operations for The Coca-Cola Company in all the occupied countries.

During the war, Keith was able to maintain a degree of contact with the Atlanta-based headquarters of The Coca-Cola Company via Switzerland. But by 1941 he was no longer able to receive Coca-Cola syrup, and was therefore unable to continue to manufacture Coca-Cola.

456_fanta_01Keith’s solution to the ingredient shortage was to invent a new drink. It was made from what was available at the time, namely things left over from other food industries. There was whey, which was a byproduct of cheese production and apple fiber left over from cider presses. A variety of other fruit byproducts were added depending on what was available at the time. This led to the many variations in flavor that later became the different marketed flavors of Fanta. This new soft drink was sweetened with beet sugar. As CEO, Keith held a contest to name his new creation. He instructed his employees to let their “Fantasie”—German for “imaginations”—run wild. A salesman, Joe Knipp immediately blurted out “Fanta”!

456_fanta_06The new soft drink was not only successful enough to keep the bottling plants open and the people employed for the duration of the war, but enabled Fanta to become a soft drink favorite in Europe. In 1943 there were 3 million cases of Fanta sold in Germany and the occupied countries. Evidently, not all of that quantity was purchased to drink as a refreshing soft drink, but may have been used to flavor soups and stews, due to sugar rationing.

456_fanta_04Max Keith was not a Nazi, and never became one, as has been rumored. Although he suffered hardships as a result of his decision, he never gave into pressure to join the Nazi Party. With the success of Fanta, Keith was able to safeguard The Coca-Cola Company’s interests in Europe until after the war, when they were able to re-establish drink production almost immediately.

The Coca-Cola Company acquired the rights to Fanta in 1960. Today, Fanta is sold in the highest volume in Brazil, Germany, Spain, Japan, Italy and Argentina. Fanta was originally created in an orange flavor that now accounts for 70% of all Fanta sales.


Fanta is sold in 188 countries and is available in 70 flavors, although some flavors are only available in the country where they are manufactured. Fanta is the number one soft drink in Thailand, and a new flavor was just launched in Japan—Fanta Japanese Melon.


Text from RetroPlanet

Help Needed
I need your help visitors, both in suggesting sodas and soft drinks from around the world and in giving your opinion on the ones presented if you know the product. And you can start with giving your opinion on the ones posted already or reading what other visitors have written  – Ted

List of Soft drinks and sodas posted already
Visitors soft drinks and sodas suggestions and comments

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“Muscles are the new thin” is the new slogan around Europe these days and young women hit the training centres every day and eat so healthy that it becomes unhealthy. back in the days when the Mad Men cooked up the ad above the ideals were quite different. Young women were supposed to have forms, both here and there actually.

The add is terrible, particularly the drawings numbered 1,2 and 3, but there is a grain of truth in it some how. Most men prefer woman with forms. But does that justify making thin women feel bad about themselves. look at how the artist has made the thin woman’s face ugly and how she looks when she has gained a bit of weight. And do you think this is accidental. Get off it, it’s an ad for something that makes you gain weight – Ted

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Palmolive squeezed every last drop of female insecurity, low self-esteem, bad self-image, scare of getting old and vanity out of their “schoolgirl complexion” slogan and ran it for years on end through the thirties.

Leave jewels to those less fortunate, my ass – Ted

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As you may have gathered already, I like to rummage round in jumble sales and street markets looking for cookbooks and recipe cut-outs and this one was also found this way. This one comes from an ad for French’s Mustard that someone cut out and saved sometimes back in the late fifties.

You’ll find the recipe HERE

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From “Victorian Inventions” by Leonard De Vries published by American Heritage Press in 1972


An unusual vehicle has recently been observed in the streets of Paris: a complete, mobile printing-press! The rear wheels of the tricycle have rims to which solid rubber tyres have been secured with strong, elastic bands: on its outer circumference, each tyre carries embossed printing-types enabling all sorts of short advertisements to be composed. A tank behind the driver’s seat feeds the printing ink through a tube to rubber rollers in continuous contact with the rear wheels. Between these inking-rollers a rotating fan, driven from the wheels, blows a downward stream of air on to the street to free it from dust. In this way, the advertisement is printed on a clean background to make it legible for a prolonged period of time.

I’ve worked in the advertising business for years myself so I know there is nothing those people wouldn’t do to get the message home, so this contraption comes as no surprise to me – Ted

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In 1880 Victoria, now sixty-one, was still queen of a prosperous England, her far- flung empire defended by a navy that made her the mistress of the seas. The Industrial Revolution, the force behind the nineteenth century’s unprecedented productivity, had made the world smaller with the invention of the steam locomotive and the development of railroads. Garfield, a Congressman in 1873, praised the railway as ‘the greatest centralizing force in modern times’.

While long journeys might be undertaken by train or steamship in the 1880s, local mobility depended on the feet, the horse, or, just possibly, the bicycle. The age of the two-wheeler had barely begun, but in 1896, when Will Owen was designing his famous posters for Victor, it was in full spin. Entertainment was concentrated mostly around the home.


Will Owen’s  famous posters for Victor

 The new craze, lawn tennis, was getting to be as popular as croquet, and party games were played as illustrated in Kate Greenaway’s ,Book of Games’ the queen of the 1880_1900_ill_002_thumb1_thumbnursery’s picture book of l889. More practical pastimes were sewing, knitting, carpentry, painting, and photography, especially after George" Eastman’s hand-held box camera came on the market in 1888. Taken together, hobbies amounted to big business. Even letter-writing, an art in Victorian days, used tons of notepaper, collectors of stamps and postcards used quantities of albums, and the piano, the focal point of the ‘withdrawingroom’, where the family sang, danced, and otherwise entertained, was also the sheet music publisher’s greatest delight.

New periodicals, including ‘The Ladies’ Home Journal and the original ‘Life’, a magazine of humour, both originating in 1883, kept springing up, and it was common for a novel first to be serialized in a magazine, then issued in book form later on. An older generation, brought up on Dickens, Hawthorne, Melville, and Poe, now read the younger novelists, such as Thomas Hardy, Henry James, Mark Twain, Rudyard Kipling, and Conan Doyle.

1880_1900_ill_003_thumb1_thumbIn the provinces few entertainments were looked forward to with such eagerness as the circus. The excitement began directly the bright Strobridge lithos were posted announcing the newest and ‘greatest show on earth’. In 1883 Buffalo Bill joined the competition with his Wild West spectacles. Road companies offered variety or vaudeville shows, burlesque, comedy, or the all-out farce, like Brandon Thomas‘s ever popular ‘Charley’s Aunt. The full-blooded melodrama could also, pack the house; the success of one of these hero-heroine-villain shows usually being judged backstage not so much by the bravos and whistles the hero and the heroine received as by the loudness of the hisses, boos, and catcalls aimed at the villain.

A night out in the big city might mean seeing a play with Henry Irving or Ellen Terry in the lead, Ada Rehan, the Duse, or the ‘divine Sarah’. Music lovers might go to hear Bizet, Gounod, Verdi, Wagner, or perhaps a rollicking Gilbert and Sullivan at D’Oyly Carte’s new Savoy. Queen Victoria, an avid theatre-goer, loved to flit from play to play, sampling bits of several hits in a Single evening.


1880_1900_ill_006_thumb1_thumbFront-page news revolved about the Millais-Pears affair. In 1886 Sir William Ingram bought John Everett Millais’ portrait of his young grandson, William James later to become a stern and bearded admiral-blowing bubbles with the object of reproducing the painting in his Illustrated London News. Sir William then sold the painting to Thomas Barratt, the manager of Pears, who saw what a wonderful poster it would make with a cake of soap added at the bottom. To the academic world this was a sacrilege, but the public so loved ‘Bubbles’ that the poster made advertising history as the sales of soap soared. John Guille Millais wrote perceptively in the biography of his father: “We ought to be grateful to Pears for their spirited departure from the track of advertisers. The example that they set has tended to raise the character of our illustrated advertisements, whether in papers or posters, and may possibly lead to the final extinction of such atrocious vulgarities as now offend the eye at every turn.” Pears was the first English company to realize the immense possibilities of prestige advertising; but Paris had been flowering her city walls with lithographic masterpieces for years.

As opposed to the man’s world of London, Paris was the centre of feminine fashions, indeed of femininity itself. Parisian night life of the belle époque was epitomized by the most famous of all nightclubs, the Moulin Rouge, and by the Folies-Bergere, both of which put on the gayest and naughtiest of revues with the greatest style. In keeping with the effervescent spirit of Paris were Jules Cheret’s sparkling posters of pretty girls, ‘Cherettes’ they were called, smiling, skating, dancing, or otherwise engaged (pages 18-19). A contemporary critic, Karl Huysman, wrote in 1880 that in his opinion there was “a thousand times more talent in the smallest of Cheret’s posters than in the majority of pictures on the walls of the Paris Salon.” This was as much a comment on the Salon as on Cheret, and must have pleased the impressionists, led by Monet, Pissarro, Renoir, and Manet, who themselves had so long been ignored by the Salon.


Two of Jules Cheret’s sparkling posters

 In Paris the response to Cheret influenced advertisers to engage other ‘serious’ artists to design posters, among them Alphonse Mucha, recently arrived from Austria, Swissborn Theophile Alexandre Steinlen, Pierre Bonnard, and Henri de Toulouse-Lautrec. Lautrec’s posters, the last designed in 1891, were not nearly so popular as Cheret’s. The earthier models, flat surfaces, strong outlines, and shadowless techniques of his lithographs-much influenced by Japanese prints and now so valued-were not pretty enough then for the public’s taste.


Henri de Toulouse-Lautrec Theophile Alexandre Steinlen

Aubrey Beardsley

The golden age of the poster reached its height about 1895. At that time England’s distinguished designers included the Beggarstaffs, as the brothers-in-law James Pryde and William Nicholson were called, Dudley Hardy, Maurice Grieffenhagen, and Aubrey Beardsley, the twenty-two-year-old genius discovered by The Studio and featured in the magazine’s first issue in 1893

The year 1893 was also that of Chicago’s Columbian Exposition, and the year too that Anton Dvorak composed his From the New World symphony. Posters had become the rage in America, and the enterprise of new magazines like Century, Harper’s, Lippincott, and The Chap-Book encouraged the talents of Will Bradley and Maxfield Parrish, both influenced by Beardsley.

Gallery showing ads 1880 – 1900 


Text from “The Art of ADVERTISING” by Bryan Holme

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Aberystwyth (Mouth of the Ystwyth, /ˌæbəˈrɪstwɪθ/, Welsh: [abɛrˈəstʊɨθ]) is a historic market town, administrative centre and holiday resort within Ceredigion, Wales. Often colloquially known as Aber, it is located near the confluence of the rivers Ystwyth and Rheidol.

Since the late 19th century, Aberystwyth has also been a major Welsh educational centre, with the establishment of a university college there in 1872. At the 2001 census, the town’s population was 15,935. During nine months of the year, there is an influx of students—to a total number of 10,400 as of September 2012—but there is no reliable measure of the number of those students whose family residence is outside Aberystwyth.


Physical features
Aberystwyth is a major tourist centre and a cultural link between North Wales and South Wales. Constitution Hill is scaled by the Aberystwyth Cliff Railway giving access 102_Aberystwyth4to fine views and other attractions at the top, while much of the finest scenery in Mid Wales lies within easy reach of the town. This includes the wilderness of the Cambrian Mountains, whose valleys contain forests and meadows which have changed little in centuries. A convenient way of reaching the interior is by the preserved narrow gauge Vale of Rheidol Railway.

Although the town is relatively modern, it contains a number of historic buildings, including the remains of the castle and the Old College of Aberystwyth University nearby. The Old College was originally built and opened in 1865 as a hotel but, due to the bankruptcy of the owner, the shell of the building was sold to the university in 1867. The new university campus overlooks Aberystwyth from Penglais Hill to the east of the town centre. The terminus for the standard-gauge railway is also very impressive, having been built in 1924 in the typical style of the period. Generally, the architecture is a mix of Gothic, Classical Revival and Victorian.


The town is generally regarded as the capital of Mid Wales and several institutions have regional or national offices there. Perhaps the most important of the public bodies located in Aberystwyth is the National Library of Wales. The library also incorporates 102_Aberystwyth5the National Screen and Sound Archive of Wales, one of six British regional film archives. The Royal Commission on the Ancient and Historical Monuments of Wales, which maintains and curates the National Monuments Record of Wales (NMRW), providing the public with information about the built heritage of Wales. Aberystwyth is also the home to the national offices of UCAC and Cymdeithas yr Iaith Gymraeg and the site of the Institute of Grassland and Environmental Research. The Welsh Books Council and the offices of the standard historical dictionary of Welsh, Geiriadur Prifysgol Cymru, are also located in Aberystwyth.

Victorian era
The Cambrian Railways line from Machynlleth reached Aberystwyth in 1864, closely followed by rail links to Carmarthen, which resulted in the construction of the town’s impressive station. The Cambrian line opened on Good Friday 1869, the same day that the new Eugenius Birch designed 292 metres (958 ft.) Royal Pier opened, attracting 7,000 visitors.


The railway’s arrival gave rise to something of a Victorian tourist boom and the town was once even billed as the "Biarritz of Wales". During this time, a number of hotels and fine townhouses were built including the Queens Hotel. One of the largest of these hotels, "The Castle Hotel", was never completed as a hotel but, following bankruptcy, was sold cheaply to the Welsh National University Committee, a group of people dedicated to the creation of a Welsh University. The University College of Wales (later to become Aberystwyth University) was founded in 1872 in this building.

Aberystwyth was a contributory parliamentary borough until the Third Reform Act, which caused its representation to be merged into that of the county in 1885.

Text from Wikipedia, the free encyclopedia

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11597_wizHamlin’s Wizard Oil was an American patent medicine sold as a cure-all under the slogan "There is no Sore it will Not Heal, No Pain it will not Subdue." First produced in 1861 in Chicago by former magician John Austen Hamlin and his brother Lysander B. Hamlin, it was primarily sold and used as a liniment for rheumatic pain and sore muscles, but was advertised as a treatment for pneumonia, cancer, diphtheria, earache, toothache, headache and hydrophobia. It was made of 50%-70% alcohol containing camphor, ammonia, chloroform, sassafras, cloves, and turpentine, and could be taken internally as well as topically.

Traveling performance troupes advertised the product in medicine shows across the Midwest, with runs as long as six weeks in a town. They used horse-drawn wagons and dressed in silk top hats, frock coats, pinstriped trousers, and patent leather shoes—with spats. They distributed song books at the shows and in druggists. Performers included James Whitcomb Riley, singer and composer Paul Dresser from Indiana, and southern gospel music progenitor Charles Davis Tillman.

Grinnell College research points out that the Hamlins claimed efficacy for Wizard Oil on not only human beings but also horses and cattle, one poster displaying an elephant drinking the stuff by lifting the bottle with the trunk. Bottles came in 35¢ and 75¢ sizes. Carl Sandburg inserted two versions of lyrics titled "Wizard Oil" together with a tune into his American Songbag (1927).

In 1916, Lysander’s son Lawrence B. Hamlin of Elgin, by then manager of the firm, was fined $200 under the 1906 Pure Food and Drug Act for advertising that Hamlin’s Wizard Oil could "check the growth and permanently kill cancer."

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The Festival of Britain was a national exhibition which opened in London and around Britain in May 1951. The official opening was on 3 May. The principal exhibition site was on the South Bank Site, London of the River Thames near Waterloo Station. Other exhibitions were held in Poplar, East London (Architecture), Battersea Park (The Festival Gardens), South Kensington (Science) and the Kelvin Hall in Glasgow (Industrial Power) as well as travelling exhibitions that toured Britain by land and sea. Outside London major festivals took place in Cardiff, Stratford-upon-Avon, Bath, Perth, Bournemouth, York, Aldeburgh, Inverness, Cheltenham, Oxford and other centres.

At that time, shortly after the end of World War II, much of London was still in ruins and redevelopment was badly needed. The Festival was an attempt to give Britons a feeling of recovery and progress and to promote better-quality design in the rebuilding of British towns and cities following the war. The Festival also celebrated the centenary of the 1851 Great Exhibition. It was the brainchild of Gerald Barry and the Labour Deputy Leader Herbert Morrison who described it as "a tonic for the nation".

thingsmagazine.net has a project that shows the entire printed program that was designed for the Southbank exhibition and you can find it here.

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Here’s the King of Bling back in the early days when playing the piano was quite enough for his exhibitionist extravaganza. Video found on RetroYouTube, a site full of delightfully old videos, everything from classic Disney and ads to movie trailers and music videos.


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The Mark Eden Bust Developer was sold in two different versions, the only difference being the wording on the accompanying booklet. The earlier book was so much more effusive in its claims, something it later had to tone down under threat of mail fraud.

"So many women who have been literally ‘flat as boards’ have achieved higher, fuller, lovelier bustlines in a remarkably short time with the Mark Eden method. And a woman whose bustline is suddenly transformed from the average or below average to a richer fuller development receives more for her efforts than just a larger reading on the tape measure. She is subtly transformed as a woman. There is an incomparable difference in the entire feminine line, shape, and grace of her whole figure. Her very presence takes on a new and subtle glow of womanliness, of sex-appeal, and yes, of glamour that is undeniable and unmistakable."

If you weren’t convinced by this florid prose, or by the celebrity endorsement of the forgettable June Wilkinson, then by golly, once you read the directions for the eight different exercises with the bust developer, you knew it HAD to be real. After all, why would there be an Exercise no. 8 if it didn’t really work? That was the one you were instructed to do to develop the individual breast, in case one of yours was "lagging behind."


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They feel so superior, so good, they are so full of themselves and the look on their faces when you light up makes any smoker want to choke the life out of them.

Just look at the smug look on the face on the bloke to the left and note the t-shirt. So what do I care if he can afford a scooter, I bought my first one back in 1969 and I was smoking then too.

And everyone knows that non-smokers hasn’t got more fun than us smokers. Their only joy is their feeling of superiority and that is as we all know an unhealthy feeling that clogs up the arteries, weakens your heart, makes you impotent and generally shorten your life far more than smoking.

Image found at Bibi’s Fffound:Bibi's-Fffound


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One might think from the three examples I’ve chosen that most people in ads from the fifties and sixties either were completely mad or among the less fortunate when it comes to cerebral capacity. One thing for sure, the lady here need to cut down on the caffeine.

Check out the whole gallery here 


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The text at the top there translates to something like “Have you ever seen anything like…” and I must admit that the answer is “No”. I’ve never seen anyone going completely bonkers from eating a piece of bread spread with margarine.

Here’s some more nice family friendly entertainment for you lot from my Picasa account.

Check out the whole gallery here


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Since I’ve got shy of a gig of space on Picasa I might as well upload something a bit less daring to share with you lot. So here’s a gallery of Scandinavian colour ads from the fifties.

Wont be any nudity here, but they are great fun to look at these old ads. Just look at the smacker on the geezer to the left. Anyone knows a soft drink doesn’t bring that much joy and satisfaction.

Check out the whole gallery here


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When I was a kid images of nudity and lightly dressed women was not easy to come by. There was no internet and no pay television, no top shelf magazines and no Baywatch. But there was always the ads in our family magazines. Lingerie and swim wear advertising became our source of imagery and the food for our imagination.

I’m a guy blessed with a very good memory so any old ad of this kind still brings a reminiscing smile to my lips. This is my tribute to those drawn and real ladies of the ads.

Here is an ad from the Swedish Spirella Salonger.

And you’ll find seventeen more here

Share with anyone you like
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