Hooray for Hollywood

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By Ray Schultz

What will advanced civilizations think when they stumble upon this artifact 200 years from now: A 1959 or 1960 catalog from Frederick’s of Hollywood?

It has all the items you’d expect from Frederick’s, from padded bras to waist cinchers. But it also offers dresses, shoes, pants, vitamins, beauty aids, a portable gym and playing cards.

You won’t find fashions by Dior or Balenciaga here. The whole idea is to make 1950s housewives look like the reigning Hollywood sex goddesses: Marilyn Monroe and Jayne Mansfield. For those who can’t or won’t go that route, there are loose, concealing garments.

The cover says it all: “Now Showing from Frederic’s of Hollywood starring You!” And it emphasizes the Hollywood setting: “Frederic’s Glamorous new address: at 6608 Hollywood Blvd.”

For all the talk of glamour, the catalog is hardly glossy. The inside pages are on newsprint, and they’re black and white. The color cover is on slightly heavier stock.

The order tells us a lot about how mail order operated in those days. There’s no mention of credit cards. The only payment options offered are:

PREPAID, I enclosed $______________

*If your entire order is under $10.00, enclosed only 50 cents to cover postage and handling.

*If your order is OVER $10.00 enclosed postage and handling fee separately for each item, in the following amount: Bras, Girdles and Panties – 40 cents each, All other items – 50 cents each.

Revolving Credit Club. I enclose $___________the amount I have selected as my monthly membership payment. (See chart on page 33 and fill out form.) California credit customers please use special application form available on request

C.O.D.* I enclose $2 on each item and will pay postman the balance. No C.O.D. orders shipped without deposit.

*C.O.D. orders over $20.00 and less than $50.00 require $5.00 deposit.

*C.O.D. orders over $50.00 require $10.00 deposit.

*No C.O.D. orders shipped to General Delivery addresses.

*C.O.D. orders accepted only within continental U.S.A.

Quality TIME

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By Ray Schultz

Time magazine liked to flatter prospects in its direct mail pieces. The message was that only smart people read Time, and that you had to be in that category to even be asked to subscribe. And the flattery must have worked, because it appeared in many forms over the years, sometimes subtly, at other times boldly.

Take this letter sent in the fall of 1955. It was identified in an in-house note, posted over the letter, as a House List Copy Test. The note also included these tidbits:

Pick one Letter

Pick One Envelope

IBM Check Card

JP

78-$6.87

It’s not clear now why this direct mail prospecting test went to the house list—maybe the file was of Life and/or Fortune subscribers—or what the IBM Check Card was.

And we don’t know why someone wrote “’69” on the note. Can we conclude that this test did well, and that the letter was still being mailed in 1969? That’s doubtful, but no matter. Here it is: another engaging piece of direct mail copy from the wordsmiths at Time.

Dear Reader:

 How would you like to be described? Pick one:

 “The kind of person who reads comics.”

 “The kind who reads business papers.”

 “The kind who doesn’t read anything.”

 “The kind who reads whodunits.”

 “The kind who reads TIME.”

 There’s nothing to be ashamed of in any of these characterizations — except the third. But I think that most people, if they had to be described in only one of those ways — would choose the final one.

 Why? Because reading TIME has become a hallmark in the U.S. and throughout the world. It has come to mean that you are ambitious to know more, to earn more, to participate more actively in the “action and passion of our times.”

 Reading TIME means that a man is “constructively discontented” – that he is anti-smug, that he doesn’t think he knows it all, that he is ,in short, young in mind and heart and spirit.

 But how has this come about? Why is this magazine so widely approved and respected?

 Because of the men and women who read TIME.

Because for more than thirty years these readers have been demanding standards so high that TIME has had to keep getting better and better.

Because these readers have shown their loyalty to TIME in the most eloquent possible way – by renewing their subscriptions year after year after year.

And finally, because of who these readers are. TIME’s subscribers are leaders of business, the professions and government. They are people active in clubs and civic organizations, people who travel a great deal, people of influence.

When you become a TIME reader, you join, for example:

 –leading architects, who vote TIME their first-choice magazine … top engineers – who say TIME is their favorite publication … college deans who vote TIME their favorite magazine. And you join the most valued executive customers of U.S. industries – who say Time is the magazine they consider most important.

In short, wherever you find a group of men or women remarkable for high standards of achievement, TIME turns out to be the magazine they prefer.

You should be reading it too.

 Cordially,

Bernhard M. Auer

Circulation Director

P.S. The enclosed card offers you a special rate on an introductory subscription to TIME. If mailed at once, it can bring you TIME for less than nine cents a week delivered to your door.

Grecian Formula

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By Ray Schultz

Frank Johnson once joked that nobody, not even the editors, could define the mission of Horizon magazine. And it followed that they could not explain Horizon Books.

But they tried. Here’s a letter written in the 1960s by Johnson himself—for the HORIZON Book of Ancient Greece, offering a replica of a Greek “kylix.” It seems understandable enough.

Dear Reader:

The Greeks had a way with them.

For example, I don’t believe you can read your copy of The HORIZON Book of Ancient Greece without feeling again a strong sense of kinship with those long-gone people. Their ideas of reason and freedom and art are still, across the long years, ours.

We hope and believe you’ll thoroughly enjoy the book. All of us here who worked on it became happily immerse in our topic, and rather regret its completion. So saying, here is pictured a somewhat unexpected result of our own emotional involvement.

If you never saw a Greek “kylix” … now you have.

And If you would like to own one, in perfect facsimile … now you can. At quite a bargain.

Let me explain: In the course of our researches on Greek art for the book, we arrived at a carefully guarded storage room in the cavernous basement of The Metropolitan Museum of Art. There, acquired through the Rogers Fund I 1908, were some of the contents of a nameless warrior’s tomb, discovered in 1895 at Montefortino, near Arcevia in Northern Italy.

He was buried around 400-300 N.C. And whether he was Greek or Etruscan, his cherished wine-drinking equipment certainly was of Greek design and manufacture. With him, among other objects, were a silver pitcher (oninochoe), badly deteriorated; a handsome silver ladle; a big, flat-bottom drinking vessel (skyphos), also deteriorated; an two beautiful preserved silver drinking bowls – – “kylites,” in the plural. Quite possibly these treasures were war booty.

I don’t know how to explain why the kylix made such an impression on several of us, except to say that it’s one of those small things you have seen on occasion in museums and wanted to own – – not because it’s “priceless,” but because it’s perfection of a sort…It’s a two-handled bowl, 5-3/8” in diameter, 7-1/2” across the handles.

You’ll find the handles were utilitarian as well as graceful. One’s thumbs fit solidly across them, we’d guess for two-fisted wine drinking. The intaglio design at the center is fern leaves, fish-net weights, and honeysuckle. No one quite knows why the small nipple is there. Perhaps it’s just that the Greeks were anthropomorphic on occasion.

As with many archaeological objects, your guess about the details is as good as anyone’s. Since the Greeks often mixed water with their wine before drinking it, one of us non-archaeologists thinks the little bead served as a jigger. Cover it with wine, fill to the brim with water?

I do know the design is so good that it richly deserves emulation. With the Metropolitan Museum’s consent and cooperation, we asked the Gorham Company of Providence – – “America’s Leading Silversmiths since 1813” is their proud slogan – – to reproduce the kylix.

The cross-section…is from one of Gorham’s blueprints, made under the close supervision of Mr. J. Russell Price, their Director of Design. Since all of us wanted it to be an exact copy, not an approximation – – as are most reproductions – – the task challenged even Gorham’s silversmiths. They have followed the exact curve of the original walls, a painstaking job because of the varying camber and thickness and the undercut at the rim; and have made a dental-wax impression of the original intaglio, to get it precisely right without harming the original.

…At any rate, we thought you and some of the other owners of our book might like to own a superb copy of this rare and little-known classic Greek object. To us, it says a lot about the Green artists’ unmatched simplicity of design and facility of proportion.

The kylix seems to us to be primarily an art object. But of course it can be “used” for anything from candy to olives to ashes to – if you will – wine and water. It can make a most original gift, for Christmas or a wedding or a thank-you.

But the kylix has been costly to reproduce. So we will have less than 2,000 available this year, to be ready in a few weeks. Quite possibly, that’s all there will ever be. And it will never be generally available. The three names stamped inside its base bespeak its quality: The Metropolitan Museum of Art; the Gorham hallmark; and the HORIZON logotype.

This is the only notice about the kylix we can send you. It goes only to owners of The HORIZON Book of Ancient Greece. We are advised that both its quality and cost call for a price of $25 to $30. But our business is publishing. If the cost of such an amiable diversion detracts from the pleasure of it for you, we shouldn’t bother.

So until they are gone, you may have a kylix, boxed and postpaid, for $17.95. See the enclosed form and envelope. If you’d like one, it’s best you mail your order quickly We must ask for your check with your order, but of course the kylix is returnable. (Once you see it, I can’t believe you won’t want to keep it.)

Sincerely,

Darby Perry

For American Heritage

What Looked Good Then

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By Ray Schultz

Think back to a hundred years ago. Woodrow Wilson was President, Jess Willard was heavyweight champ and a terrible world war was being fought in Europe (one that we’d soon be fighting, too). But business went on—especially B2B business. And there were new tools for targeting customers. We’ve mentioned this before, but here’s the Scientific American story that described the cutting-edge technology of the time—metal punch-cards. It may sound primitive now, but it lasted right into the 1960s, and probably even longer for some backwards companies. Here’s the report in its entirety, from the Nov. 18, 1916 issue:

 The Doom of the Hand-Picked Mailing List

Suppose you were at the head of the sales force of a large jobbing house, and in planning your fall campaign wanted a list of all dealers who had bought a thousand dollars last year and had paid promptly when due. And suppose your accounting department were sufficiently up to date to possess a card ledger. What would you do?

The chances are that you would get a clerk to plough through that card ledger and pick out all the cards on which the postings showed the conditions in question to have been met. Then a week later you would chase another man through the cards on a still-hunt for a class of smaller customers, and he would find several buyers of the first class who had been overlooked, and who had consequently been mortally insulted by the failure of your first flight of agents to call.

In addition to this inaccuracy, the compiling of handpicked lists from a card file consumes a lot of time. This appears to be of no great moment in the case cited, except in so far as the clerk’s time is money. But imagine a valued customer, in any line of trade, kept cooling his heels for a couple of hours while the index was examined, card by card, for a property meeting all of his rather complex requirements. His state of mind would probably be such as to indicate clearly to the seller the wisdom of the invention of a San Francisco man which has made obsolete the time-killing and patience-trying business of thumbing over the card index for information.

The theory of this device is simple enough. Each question which the cards are designed to answer about the names appearing on them is assigned a definite position; and in that position on each card appears a little round hole. As long as the hole stays there, the card answers the question by “No”; as the course of business reveals the fact that the answer should be “Yes,” the card is modified to make it so—the hole is removed.

The reader will laughingly ask how to remove a hole By his ingenious reply the inventor has at the same time solved the urgent problem of how to make the card speak up and tell its story. The way to remove a hole, he argues, is to swallow it up in a bigger one; and then of course the way to find whether it has been removed is to put something in it that would fit the original opening and see whether it still fits.

Let us look at a concrete instance to see how the thing works. We illustrate the card used by a large California land company in the classification of its inquiries. As in every case the holes are in uniformly spaced rows and columns. Beside each appears, in words or when necessary by key number, an indication of the information which it gives. In addition each hole carries a number corresponding to tits position. It is found convenient to group in the same row or column holes which give information in the same field; it is then frequently possible to use general headings which abbreviate the headings of the individual holes

 It is plain that with all the cards in a drawer punched in the same way, the entire collection may be locked in place by the insertion of a rod into one of the series of superposed holes thus provided. But if on any card one of the holes be enlarged, an effort to lock the cards by the use of this hole will leave that particular card free to move. This leads us to the modus operandi of the new file.

Initially all the holes are intact, all the questions answered “No.” As a posting is made or information developed which makes the correct answer “Yes, a long, narrow hand-punch is applied to the hole, joining it with the on immediately below it. Thus the card illustrated states that Mr. Roe has inquired for a small tract of improved land in San Joaquin County suitable for residence and dry farming. He will be especially interested in terms and school facilities, and has a friend in the neighborhood. He wants land suitable for poultry and small fruits.

The first time a small tract of improved land in San Joaquin County is placed in the hands of this concern the drawer containing these records of inquiries is placed upon a table. In the drawer front are holes corresponding to those in the cards. In the positions 12, 23, 33, metal rods are thrust right through the drawer from front to back, after which the drawer is turned upside down. Every card which has not had all three holes 12, 23, 33, extended by the slot punch will be locked in place by the three roads; every card which has these three slots, on the other hand, will at once slide down and project below the others. By rods through one or two of the bottom row of holes, which is there for just this purpose, the projecting cards are prevented from siding back when the drawer is righted. The rods which served to separate these cards from the body of the file are then withdrawn, and the selected cards may be removed one by one and examined.

It will be seen that any single item can be selected by using a single rod, or that any combination of items, however complicated, may be secured by using a quantity of rods. It is a simple matter, for instance, to pick out all inquiries who want to rent a large unimproved tract convenient to a school; all stock purchased within a given period for given departments from given manufacturers and retailing within a given price range; or to discover whether an employee exists who has a high record of sales and personal efficiency who speaks Spanish and Portuguese, who is a Catholic and single, who has a high school education and is familiar with the details of certain departments of the business. How long, under the old systems, would it take the president of the Steel Corporation, for instance, to find such an employee to send to South America? The punch holes would locate him or deny his existence in two minutes.

This appears to be the file without restriction. In the one drawer the records are responsive to alphabetical, chronological, geographical, numerical or topical selection without disarrangement, delay or confusion. The holes may occupy the entire card or they may be placed at the bottom of a larger ledger card, with space above for postings. And if you ask the file a foolish question, it refuses to answer—that is, it “throws a blank.” Thus if you try to locate all names living in Boston and in New York, the Boston rod locks all the New Yorkers, the New York rod locks all Bostonians, and both these lock all other cards. A similar result will follow any impossible classification which may be attempted.

Bogus Blurbs

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By Ray Schultz

Ladies Home Journal is not known for its investigative journalism. In 1906, though, it published a story titled, The Inside Story of a Sham, about phony testimonials in patent medicine ads, exposing the inside workings of a highly fraudulent business.

The article started with the fact that the medicine sellers brazenly used real peoples’ names without their permission. For example, a Senator whose signature appeared in ads wrote that he had not endorsed the product, and that he had never even received the sample that supposedly was sent to him. Another notable threatened legal action if the medicine sellers didn’t stop quoting him by name. Author Mark Sullivan wanted to know: How did the medicine sellers get these peoples’ signatures? Here’s what he uncovered. (Note: we’ve maintained his spelling).

I found that there are three men, rivals in trade, who make a business of securing these indorsements for “patent medicines” from prominent men. They are known as “testimonial-brokers.” The best-known and most successful of the three was approached one day last spring by a man who represented a well-known “patent medicine.” The medicine man states his case: he was about to extend the advertising of his “medicine” and he wanted testimonials. In short, he put it to the testimonial-getter concretely by saying that he wanted signed testimonials from, say, one hundred Members of Congress, Governors, and men high in the Army and Navy. The testimonial-getter was perfectly at home in this situation. He figured on the contract as an architect would estimate on a house.

Confirming my talk with Mr. _________, I will undertake to obtain testimonials from Senators at seventy-five dollars each, and from Congressman at forty dollars on a prearranged contract. A contract for not less than $5,000 would meet my requirements in the testimonial line.

I can put your matter in good shape shortly after Congress meets if we come to an agreement. We can’t get Roosevelt, but we can get men and women of national reputation, and we can get their statements in convincing form and language.

 Here it was then—an actual business!

 The next point I wanted to find out was: Who gets the seventy-five dollars or the forty dollars? Not the Senator or Congressman, I found. It is true that there are a few public men who have a financial interest in “patent medicines”; but none sells his name outright for seventy-five or forty dollars. The testimonial-getter explained this:

 “The knowing how to approach each individual is my stock in trade. Only a man of wide acquaintance of men and things could carry it out. Often I employ women. Women know how to get around public men. For example, I know that Senator A.________has a poverty-stricken cousin who works as a seamstress. I go to her and offer her twenty-five dollars to get the Senator’s signature to a testimonial.
But most of it I do through newspaper correspondents here in Washington. Take the Senator from some Southern State. That Senator is very dependent on the Washington correspondent of the leading newspaper in his State. By the dispatches which that correspondent sends back the Senator’s career is made or marred. So I go to that correspondent. I offer him fifty dollars to get the Senator’s testimonial. The Senator may squirm , but he’ll sign all right. Then there are a number of easy-going Congressmen who needn’t be seen at all. I can sign their names in anything and they’ll stand for it. And there are always a lot of poverty-stricken, broken-down Army veterans hanging around Washington. For a few dollars they’ll go to their old Army officers on a basis of an old acquaintance’ sake, and get testimonials.”

Assuming that was true, it doesn’t say much for the journalistic ethics of those home-town correspondents.

Just as bad, in Sullivan’s view, were the unauthorized testimonials from ordinary people. In one case, a woman said that she “had never used the ‘medicine’ she was advertised to indorse., but that a man had called on her, offered to have a dozen photographs of her taken at the best gallery in her city, and she could have them all free of charge if she would sign the letter and let her photograph be printed. She did, and she got the photographs, but she had never had the ailment spoken of in the advertisement, and had never tasted a drop of the “medicine.”

Well, at least she got the photos. Many people got nothing. And some victims had their names used because they were actually taking the medicines, and were so zonked that they didn’t care if their names were used. Sullivan explains:

 Where the “testimonials” seemed genuine, I found that either the cocaine or the morphine in the “medicine” soothed the pain of the victim, or the strychnine or alcohol exhilarated the taker. But as to a genuine case of actual good gone or help received, except fancied, I could not find a single one of all those I investigated.

Well, so much for honesty in that supposedly golden time, but it didn’t go on for long: The Pure Food and Drug Act was passed that same year, and put most of the patent medicine sellers out of business (along with some testimonial brokers, no doubt). Still, online scam artists post fraudulent testimonials even now. Ladies’ Home Journal should look into it.

 

 

 

 

 

 

 

 

The Spanish Dance

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By Ray Schultz

On Thursday, my wife Andrea and I had one of those rare experiences at Carnegie Hall: A piano recital by the young Spanish pianist Jose Menor. The concert was devoted to Enrique Grenados’ Goyescas, a suite of piano pieces inspired by Goya’s sketches of everyday life in Spain. And in transporting the audience on this hundredth anniversary of the composer’s death, Menor showed that he may be a worthy replacement for the late Alicia de Larrocha as the leading interpreter of Grenados in our time.

But my purpose here isn’t to write a piece of musical criticism. It’s to tell you a very personal story.

The time was Labor Day Weekend in 2001. Idly browsing in Barnes & Noble, we bought a Pablo Cassals CD titled Legendary Casals Performances, Early Recordings 1925-1928. It featured pieces by Chopin, Saint-Saens, Popper, Bach and Debussy, all played in that rich, warm, golden tone that only Cassals achieved on the cello, with piano accompaniment.

We played it once or twice, then forgot about it. Who had the time? A week later, planes flew into the World Trade Center, and the buildings came crashing down. Notwithstanding that a neighbor was killed in the event (Glenn Winuk, a lawyer and volunteer fireman who tried to save others and had, in fact, done the same thing during the 1993 Trade Center attack), we were a mile or two away, and could make no claim of suffering. But we were depressed and anxious, as were most people in New York (and, we suspect, the rest of the country).

Drawn back to dead European men, as they say, we returned to the Cassals CD. And the seventh piece on the CD reduced both of us: On the CD cover, it was titled, simply, Spanish Dance, although it’s really Spanish Dance No. 5. Written by Granados, the selection starts in a minor key. Then, switching from cello to piano, it ascends to a sixth major chord, and then up to the seventh, before eventually returning to the minor.

Neither of us is well-educated in music. But when the piece swooped upwards and hit those major chords, we felt that life, however fragile, would go on for a time, and that we had to enjoy these moments. I often think of that epiphany when spreading cream cheese on a bagel on Sunday morning.

Yeah, I know, a cynic shouldn’t indulge in this kind of sappiness. But we tend to forget what it was like in the aftermath of 9/11. Wusses that we are, we got emotional over very little. And Grenados helped bring us around. Maybe it was the tinny sound of the almost 80 year-old Cassals recording. How could you not think of your grandparents and the world they lived in?

The months passed. And as we returned to shopping (as commanded by our president), we decided to delve into Enrique Grenados. We learned that he was born in 1867 in Spain, and was a piano virtuoso and a varied composer, bringing a touch of modernism to his particular Spanish music.

Born in 1923, the renowned pianist Alicia de Larrocha grew up hearing about him, although she didn’t play the “real Grenados” until after the Spanish Revolution. “He was a very sensitive, very romantic man, with big eyes and…well, you know that kind of man in that period of history,” she said in an interview with David Dubal for his classic book Reflections from the Keyboard. “Very romantic, very sensitive, and poetic—yes, and a very good-looking man. Very good-looking. Beautiful eyes. So he had many, many romances and many, many women fell in love with him. And, I wouldn’t say my mother was really in love with him, but she had some admiration and something for him that was very strong.”

Dubal asked de Larrocha to compare playing Goyescas and Issac Albeniz’s Iberia.

“They are so different,” she answered. “Goyescas is very difficult but it requires a different technique. You have to adapt your technique for Goyescas and forget Goyescas when you go to Iberia. But in a way, perhaps Goyescas is more pianistic. Grenados was a great, great pianist and it was easy for him to play. Albeniz, at the time he was writing Iberia, was not playing, so it was more intellectual.”

Thus inspired, we bought several more Grenados CDs, most by de Larrocha, went to concerts, and achieved at least a passing understanding of Grenados’ catalogue. And we mourned de Larrocha’a passing in 2009.

But we learned something about a year after 9/11. And there’s no way to make sense of it. It was that Enrique Grenados died in 1916 when a ferry boat he was on in the English Channel was torpedoed by a German U boat. He drowned trying to save his wife.

How very strange that Grenados perished in a military attack on civilians, an act of terrorism by a state, if you will. And here we were, cluelessly using him to comfort us after a terrorist attack in New York.

What does this coincidence mean? Most likely, as R. Crumb’s Mr. Natural says to Flakey Foont, it “don’t mean sheeitt.” But it has strengthened what will be a lifetime devotion to Enrique Grenados.

And we wonder: Did Grenados have any kind of premonition when he wrote those chords in Spanish Dance No. 5 in 1890? What would have he have made of the Spanish Civil War, which he could have well lived to see? We’ll never know. But Spanish Dance No. 5, and the rest of Grenados’ body of work, has sustained us through good and bad times ever since. Is it any mystery that we feel what can only be described as gratitude?

Note: The particular recording we cherish doesn’t seem to be available on YouTube. But here’s a 1916 version by Cassals—and an identical arrangement.

 

 

 

 

 

 

 

 

 

Body Armor

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By Ray Schultz

This week’s historical piece addresses a delicate subject: corsets. Or, rather, corsets and content.

In 1929, Charis of St. Paul sent a brochure for its “superior foundation garment.” The fold-out piece featured spot color, and photos of women wearing the patented corset (although it never used that term).

The only response mechanism is a St. Paul address and phone number, so this was obviously a local effort. The garment couldn’t be bought in a store, or ordered by mail—instead, it was delivered in person by a Charis representative.

Here’s how content was done 87 years ago. The cover asks the question, “What has become of the middle-aged woman?” And the copy on the flip page answers the question:

What has become of the Middle-aged” Woman?

The pathetic, “middle-aged” woman of yesterday is the mature, young woman of today. Instead of a drab, monotonous existence, she leads a useful, interesting life.

For the active, smartly dressed, modern woman, whose figure has matured with her years, CHARIS is a superior foundation garment from every point of view.

To begin with , CHARIS is adjustable, so that the wearer as she puts it on, can improve her figure wherever desired. Ungraceful development of waist, hips or thighs can be corrected, the abdomen flattened—creating smart youthful lines from bust to knees. This re-proportioning of the figure is accomplished without any restriction of movement. The garment can be worn continuously with perfect comfort.

CHARIS is light in weight and contains a minimum of boning, yet it provides exactly the physical support most mature women need. An important feature is the Inner Belt, which supports the abdomen in correct position, affording protection against strain and depleted vitality.

CHARIS is a patented garment. The advantages of its adjustable feature cannot be secured elsewhere.

You can examine CHARIS in the private of your home whenever convenient. This superior garment is not sold in stores but will be brought directly to you by a representative of this company. To secure further information, including free demonstration if desired, please communicate with the address on the back of this leaflet.

The following pages contain full-page photos of variations, with descriptions:

Observe how CHARIS controls and reproportions the well developed figure, without restriction of movement. In addition to producing attractive, youthful lines CHARIS permits perfect physical relaxation with comfort in any position. Continued use of CHARIS will usually effect a permanent reduction in bust and hip measurements.

For the women of average figure, the garment illustrated below is a particularly desirable model. It is made with the convenient Midway Opening (midway between center front and underarm). Notice the smooth, youthful contour and this garment creates. This and other models can be had with cool net or rayon top for summer.

The unique adjustability and complete superior of CHARIS make it a desirable garment for every woman—slender or stout. There are odd and even sizes, 32 to 56 bust. Detachable shoulder straps are a great convenience. The garment launders beautifully and gives long services. A wide selection of models and materials is provided.

The rear cover shows a fully dressed woman (presumably Mrs. Charis, if there was one), and asks the question: “Will you let her help YOU, too?”

At the risk of seeming lurid, there was one curious historical detail: The garments featured clips for holding up stockings, which were worn in each of the photos.

 

The Girl With the Guys

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By Ray Schultz

Of all the writers I’ve known in direct marketing, none was more talented and charming than Joan Throckmorton.

Joan, who died in 2003, was a brilliant direct mail copywriter, and a prolific author and speaker. But she was also a gracious woman, with a certain wry reserve.

She was born in Evanston Hospital, something she had in common with the DM legend Bob Stone, and grew up in Florida. She arrived in New York in the early 1950s, and was hired by Doubleday, because friends and former classmates worked there. Her first assignment was in the art department.

“My job was literally to do character counts on new books, and all the scut work, and also to work with some of our illustrators and artists,” she said in an interview in her home in Pound Ridge, NY in 1997.

She particularly recalled one young artist who would hand her a drawing and say, “Joan, I drew you this butterfly.” After she had thanked him and he’d left, she’d promptly discard it.

He was Andy Warhol. “If I had kept some of those butterflies, I would be in a lot better financial position today,” Joan laughed. Another artist was Ted Gorey, whose ghoulish Victorian drawings later made him famous.

Eventually, Joan moved on. “Because I was a writer and an English major who wanted to write, I was allowed to go downstairs to what they called Sherman’s Alley. Charley Book Club Sherman ran the Doubleday Book Club promotions. He was known throughout the company as a vociferous, harsh, cookie-scary boss, but maybe he had a heart of gold, and I rather thought he did.”

Joan worked on club mailings. “I was Mystery Guild and Catholic Book Club. I did a few Literary Guilds here and there. Literary Guild was, as always, a high-end club. We worked with the editors, and that’s how I started to write, mostly with the thrillers., where you do sort of a film trailer or preview, the monthly club announcement. That was my introduction to direct mail.”

Most book club prospecting was done in space ads at that time. But there were also monthly selection mailings. “The package consisted of pretty much what it consists of now: a plain white out envelope identifying the club,” Joan said. “Sometimes it may have had copy lines, very simple lines, club announcements and not a series of flyers. We had a small list of many fewer books, alternate selections, that we changed and updated. Today we have many more.”

She continued that the prevailing wisdom then was that the information age was on its way, “the information age when people would be given more to read about, more data input than they could handle, due to new electronic methodologies, one of which was the photo facsimile of newspapers, not to mention the purple-inked Xerox machine.”

Making Your Own Clothes

Work aside, Joan’s early life in New York was right out of My Sister Eileen.

“I started at Doubleday at $55 a week, and we got an extra bonus at Christmas of about $20, with taxes taken out,” Joan said. “That was it. Now how did you live in those days? You lived like they’re living today—two and three people in an apartment. No real privacy. Once a week, you would go out to dinner with a friend when you didn’t have a date, and you’d have a nice meal at a modestly priced restaurant. If you had a date (the women never paid in those days0 you might go to a modestly priced little French restaurant, or to a Third Ave. bar and hang out with your mixed groups of friends. And we had lots of parties. But nobody had any money.”

In contrast to women with their $55 salaries, men started at $65 to $70 a week—not bad money at the time, Joan said. “We’re talking in weekly terms,” she added. “Nobody could understand anything more than that.”

On those tight budgets, young working women usually made their own clothes. “We sewed—we either rented or one of us had a sewing machine,” Joan remembered. “We made clothes so we’d look decent in the office.”

But Joan was a talented writer, and she jumped around, even though she was advised against it. “They’d say, ‘Why would you want to leave? You’re doing well.’”

Joan noted, though, that “we had quite a hard time for women to get promoted, so I went over to Time Inc. and applied for a job to Life Promotions. And there I worked with Bill Herringbone, and the publisher, a young guy named Andy Heiskell. Wendell Forbes was down the hall, and Bob Fisler was over in Time, and we all knew each other. Later, I became Andy Heiskell’s assistant. And I moved to being promotion director for Sports Illustrated when Bob Fisler left that book.”

Sports Illustrated was a daring start-up for the time. “In those days, they said sports was tennis and golf. It wasn’t. Tex Maule was there early, and we were doing a lot more cogent advertising. But there was no professional basketball. Pro football was just getting started, and I was dating one of the guys on CBS, so I got to know all of the New York Giants football team, which was nice for a young gal working for Sports Illustrated. It was really wild and crazy—Frank Gifford, Kyle Rote, the whole bunch.

As copywriter, Joan also worked on the first Life book—The Life Cookbook. “By today’s standards, it was a pretty antiquated-looking book, but it was a life-sized book and I did the promotions for it,” Joan said.

Time Inc was a fun place to work. “Two weeks wouldn’t go by without some floor party—a big birthday party,” she went on. “Ad salesmen met at the 3G’s across the street at 5:30, and drink, drink, drink. There were people falling down elevator shafts, being caught in embarrassing positions,” she laughed.

It was easy to party: The work day went from 9 to 5, and maybe they’d stay until 5:30 or 6 when busy. There was no weekend work.

Joan’s next stop was American Heritage, where her sometime boss at Time was now in residence: Frank Johnson.

“Frank was quite a character, not a ladies’ man, a wonderful guy,” she said. “A perfectionist, a tough guy, and Bill Jayme was writing for us, too. Jayme and Frank were very close. And Frank was a good red pencilier, on anybody’s copy. Tough, tough guy to work with.”

Later, Joan worked for Time Life Books and later on Look magazine at Cowles. “That’s where I got to know Pat Carbine and that group—the Ms. Magazine group,” she said.

Finally, Joan went out on her own and had an illustrious freelance career, writing thousands of effective packages, columns for DM News and Direct and books.

I richly enjoyed our interview in ’97. We sat in her home office, a small room with a desk and computer, a zebra painting on the wall, and large stacks of catalogs. Joan’s husband Sheldon Satin, a customer service consultant, was at work in the office next door. You could see the autumn foliage outside the window.

In the end, Joan had mixed feelings about some of her experiences–for example, Andy Heiskell’s birthday dinner at age 80, thrown by the Time Life Alumni Society. Heiskell had been chairman of Time for 30 years.

Joan felt a certain loyalty, but “they were all tall men in Navy blue blazers,” she recalled. “Just wasps—no blacks, no Jews. All the women had lovely little dresses on, and they were all wives. I thought: All the good and bad things rolled up into one.”

Blowing Smoke

Posted on by The TellAllmarketing Blog

By Ray Schultz

The liquor peddlers we covered last week may seem like the ultimate marketing lowlifes. But there is an even worse group.

The tobacco pushers. They’ve used promotion, advertising, direct mail and every known discipline to hook smokers. And while we’re all responsible for our own vices, they helped kill many people.

Prior to 1900, most tobacco was either chewed or rolled at home in cigarette papers, like marijuana today. The rare person who smoked consumed an average of 16 cigarettes per year, and most women did not smoke at all.

Then mass production came into play, enabling tobacco companies to produce thousands of cigarettes in the time it previously took a smoker to roll one.

Smokes were now available by the pack in every town in the country. And, thanks to lobbyists, tobacco was exempted from the Pure Food an Drug Act of 1906. The result? The tobacco kings avoided the regulations that plagued the manufacturers of patent medicines and many other products.

But the biggest boost to the prosperity of the cancer merchants came with the development of mass advertising. By the mid-1920s, brand names like Lucky Strike and Camel were plastered on billboards and on the pages of magazines. They depicted smoking as an attractive pastime, and linked it to sporting activities and romance. An early Chesterfield ad showed a pretty young girl telling her boyfriend, “Blow some my way.”

The tobacco lords were not merely competing with each other to sell cigarettes, they were creating a market that never before existed. In a few years, thanks to subliminal advertising and popularization of smoking by movie and sports idols, millions of men, women and children picked up the habit. Then the coffin nail sellers received an unexpected bonus: mass addiction. As we now know, the physical habit is equaled by a psychological dependence so powerful that people light up cigarettes without even thinking about it.

Once they realized it, the ciggie manufacturers wasted no time in exploiting this fact. For starters, they aimed their advertising at young non-smokers instead of at people who were already hooked. They targeted women. And they sent thousands of free cartons to veterans’ hospitals and servicemen stationed overseas. Not only did they receive good publicity for these charitable ventures, they gained new lifetime customers among the soldiers who received the handouts.

As for health, their attitude seemed to be symbolized by the copy in one of their ads: “Not a Cough in a Carload.”

Even in the ‘20s, there were indications that smoking was harmful, but the tobacco men worked hard to suppress such information. In 1936, a medical researcher exhibiting a cancerous lung remarked that such a case was so rare it might never be seen again. It wasn’t until the early ‘50s, when the first generation of heavy smokers started dying off en masse, that scientists were able to show a definite relationship between smoking and respiratory disease, especially lung cancer.

The tobacco industry sold its composite of poisons for over 50 years with only the slightest interference from regulators. But eventually, as 77 million workdays were lost and 360,000 deaths were reported due to smoking-related illnesses each year, the problem became too big for any government to ignore. In 1964, after painstaking research, the U.S. Surgeon General’s Advisory Committee on Smoking and Health released a historic report linking smoking with the spiraling death rate from cancer and heart disease. Unlike previous efforts, this one spelled it all out, for anybody who wanted to see it—it was also excerpted in almost every newspaper and magazine in the country.

Don’t think the tobacco firms rolled over. Almost out of nowhere, two “scientific” articles appeared, one in True magazine and another in the National Enquirer, purporting to show that cigarette smoking wasn’t bad for you at all—that it was much safer, in fact, than walking across the street or trying to fix a faulty electrical appliance The articles were widely reprinted, and copies were mailed, under True magazine’s letterhead, to 500,000 consumers.

Who mailed them? An FTC investigation revealed that it was the Tobacco Institute. The author of the article, Stanley Frank, was no scientist: This prehistoric content writer had previously done some articles on sports and other lightweight topics.

Meanwhile, the nicotine cartel carried on a backchannel fight to prevent the FTC from banning cigarette advertising on television. This went on for a few years until a New York attorney named John F. Banzhaf III petitioned the Federal Communications Commission, claiming that if cigarette companies were going to be allowed to advertise on the air then anti-smoking groups should be given equal time to refute them, under the FCC’s Fairness Doctrine.

The industry deployed its biggest legal guns, but lost, right up to the Supreme Court. The airwaves were deluged with anti-smoking commercials. And sales plummeted.

At this point, the tobacco trust decided that it should take its advertising off the air, because then the prime tine anti-smoking spots would also cease. So it sent its lobbyists out to support such a ban. And it promised to not target the young.

The ban went into effect on January 2, 1971, in accord with the Public Health Smoking Act of 1970. Some anti-smoking people saw it as a victory.

But they were deluding themselves. The networks stopped showing the antismoking commercials in prime time, and cigarette sales shot up almost as quickly as they had gone down.

What’s more, the smoke purveyors saved hundreds of millions of dollars by not running TV advertising. And they diverted these funds into other types of marketing. For example, they came up with the Virginia Slims Tennis Tournament, which won the endorsement of some of the biggest names in sports, while also gaining prime-time TV coverage (with the name Virginia Slims prominently displayed in color around the court). They also started mailing out free samples, just as they had done years before, but the FTC put a halt to it.

We’ll stop there. People of a certain age will recall that restaurants, bars and theaters were so full of smoke that the eyes burned. Things are better now in that way thanks to smoking restrictions, but you can still see young people puffing away on the street, especially women.

It’s impossible to scare them. But I’ve seen enough friends and colleagues die of lung cancer and emphysema, usually wearing inhalers for their last several years.

In the end, the cigarette marketers are worse than their liquor counterparts. An adult can enjoy an occasional glass of alcohol or enhance a meal with a good wine; why, it’s said that a daily glass of wine can improve your coronary health.

I can’t remember seeing any such reports about cigarettes (at least not credible ones). So no credit is due the swine who market the evil weed.

 

Drunken Youth

Posted on by The TellAllmarketing Blog

By Ray Schultz

Oh, our poor young people. Parents who worry about them often ask if liquor advertisers target youth.

Of course they do, you fools. Where else are they going to get new customers? The Boomers may drink more as they sink into dementia, but there’s a certain churn.

Rolling Stone magazine put it best in an ad in the Liquor Handbook some 30 years ago:

“Meet over 2 ½ million young adults who read Rolling Stone…They’re affluent, they’re thirsty, they’re deciding right now what they’ll be drinking for the next 20 years. Who needs ‘em?? You do: they’re your future.”

By the way, this was around the time the magazine ran a lurid article on teenage alcoholism. Talk about having it both ways.

Has anything changed?

When Prohibition was repealed in 1932, alcohol was less of a problem for both young and old. Fewer than a third of the American people drank at all and statistics on the damage from steady boozing were only a fraction of what they later became (perhaps because there was less research being done).

This changed in the 1950’s, when now-prosperous ex-G.I..’s created the home entertainment revolution. Booze was now more acceptable in the home, and millions of people set up bars in their houses to serve it.

Alcohol was also seen as more chic. And why wouldn’t it be? Liquor flowed once every eight minutes on television, according to the Christian Science Monitor.

Then as now, the most common kind of liquor advertising showed sexy young people enjoying a drink. They could have been playing with toy boats, as in a Smirnoff’s ad, or sitting around a fireplace. The message was that a person who drank the beverage being advertised would enjoy wealth, sex and social status like the people in the ad.

Which was pure rot. A person who made a career out of swilling what the people in the ad were drinking would not only get further away from wealth, sex and social status, but could end up with no wife, no house, no worldly possessions whatsoever.

Naturally, liquor companies soft-peddled that sad fact. But they hinted at it in occasional ads that seemed to appeal directly to alcoholism. For example, Smirnoff’s showed a bottle of vodka lying smashed on the ground, with a caption reading, “Did you ever see a grown man cry?”

That wasn’t the worst of it. As we now know, liquor advertising was (and still is) full of subliminal messages, which the industry pretended to only dimly understand. One person who understood them was Professor Wilson Byron Key, a former advertising executive, who wrote the book Subliminal Seduction.

In Senate hearings, Key showed slides of several full-color ads in national magazines. To the astonishment of the Senatorial audience, he pointed out various nightmare images such as death’s heads and devils masks, plus assorted sexual imagery, and the letters S-E-X, all superimposed on the ice cubes in the glasses.

If the reader looked carefully enough at the ice cubes floating in almost any liquor ad, he, too, would see macabre and sexually provocative images winking at him. “The subliminal content appears to be about two things—sex and death,” Professor Key said. He then explained that most people will never even realize that they are seeing such a thing, but that it will register in their subconscious, so that at a later time, when they are shopping in a liquor store, they will find themselves looking for a certain brand without knowing why. “These are subliminal stimuli, not perceived at any conscious level,” he added. “They are perceived at the unconscious level.”

The liquor industry claimed that these masterpieces of hallucinogenic art were just that—hallucinations. “They’re ordinary ice cubes,” one ad writer said. But Key debunked that. “If you have ever been around commercial photography, you would know that this is an impossibility. You can’t photograph ice. The stuff melts under hot lights.” As far as the professor was concerned, these images were most skillfully air-brushed in.

Granted, these ads weren’t all directed at the young. But many new products were. For example, vintners learned that young people were drinking wine to supplement their marijuana. In response, Ernest and Julio Gallo, introduced pop wines like Ripple and Boone’s Farm Apple Wine, and the Heublein Corporation brought out Annie Green Springs wine. When wine faded, and the love generation turned to harder booze, the wineries switched their focus to the teenage audience. Heublein introduced Hereford Cows, an alcoholic milkshake available in flavors like chocolate, strawberry and banana.

Think about that the next time you want to criticize Millennials for their drinking habits.

What’s more, people barely old enough to drink and vote were not the only prime market. The Gallos created a libation called Thunderbird after reading marketing reports that said black consumers were fond of mixing white port wine with lemon juice. Thunderbird sold 2.5 million cases during its first year. It’s not clear who bought them, but the product later became a staple on interracial skid rows across the country.

Is it true that the industry had nobody in mind for these ads and products? If you believe that, you shouldn’t work in marketing.

“An industry that spends over $500 million a year on advertising certainly has a good idea of who buys its products and why,” said Dr. Eugene Noble, director of the National Institute on Alcoholism and Alcohol Abuse, back in those halcyon days.

It still does.