FOLLOW US ON: follow us in feedly
GET THE NEWSLETTER
CONTACT US
‘Young Club’ winter 1972: 21 pages from this incredibly retro German mail-order catalogue
02.02.2017
08:58 am
Topics:
Tags:


 
Karstadt is the largest department store chain in Europe. Go retro shopping there in 1972 using your imagination and pages from this 700+ page Winter catalogue which somehow turned up at the Rose Bowl Flea Market. Did most European women wear wigs in the early 70s? That certainly seemed to be the case going by the evidence here.

This long-standing mail-order service run by Quelle was in operation until October 2009 before going out of business.

Jetzt kaufen, solange der Vorrat reicht! (Buy now, while supplies last!)
 

 

 

 
More pages after the jump…

READ ON
Posted by Doug Jones
|
02.02.2017
08:58 am
|
Debbie Harry in 1980 TV ads for Gloria Vanderbilt jeans
01.26.2017
01:19 pm
Topics:
Tags:


 
Until the mid-70s, the only kinds of blue jeans anyone really wore were Levis, Lee or Wrangler. Then came designer jeans like Calvin Klein and Gloria Vanderbilt.

To take on the big three jeans companies, these upscale upstarts needed cutting-edge celebrities to flog their togs: Calvin Klein famously used Brooke Shields and Natasha Kinski in his memorable advertising campaigns. Gloria Vanderbilt’s teen line, “GV Jr.” by Murjani had style icon Debbie Harry of Blondie for the spokesmodel.

In the first one, you’ll notice Lounge Lizard John Lurie on sax and Harry saunters past some SAMO wall tagging (SAMO was the graffiti name used by a young Jean-Michel Basquiat). Eagle-eyed No Wave trainspotters will also notice Mudd Club co-founder Anya Phillips and James Chance as they watch this over and over again…
 

 
Another Gloria Vanderbilt jeans commercial with Debbie Harry after the jump…

READ ON
Posted by Richard Metzger
|
01.26.2017
01:19 pm
|
Ultra stylish German lobby cards from the world of 1960s European cinema
01.25.2017
09:56 am
Topics:
Tags:


 
Millennial recap: Lobby cards were issued by the motion picture studios and typically depicted eight scenes from the film it was advertising. While they are no longer used by theaters they have become a popular collector’s item amongst film fanatics around the world. Here’s a gallery of 37 German lobby cards promoting the Italian heist-comedy Seven Golden Men (1965); A Degree of Murder (1967) starring Anita Pallenberg; the Eurospy cult favorite Kill Me Gently (1967); German sex-romp Angel Baby (1968); Fräulein Doktor (1969) starring Suzy Kendall, the sci-fi classic Barbarella (1968) starring Jane Fonda; Eurospy underground hit Island of Lost Girls (1969); Claude Lelouch’s romantic drama Love Is a Funny Thing (1969); the German hitchhiking comedy That Guy Loves Me, Am I Supposed to Believe That? (1969) starring Uschi Glas, and Lucio Fulci’s brilliant Hitchcock inspired giallo One on Top of the Other (AKA Perversion Story) (1969) starring Marissa Mell.
 

Seven Golden Men (1965)
 

Seven Golden Men (1965)
 

Seven Golden Men (1965)
 
More after the jump…

READ ON
Posted by Doug Jones
|
01.25.2017
09:56 am
|
Groovy vintage ads for classic guitars
01.12.2017
09:02 am
Topics:
Tags:


 
Inspired by a recent post on reverb.com, I jumped down an Internet rabbit hole of vintage guitar ads. Naturally, there’s a ton of wonderful stuff to be found, and I was surprised, despite how niche a market these ads were trying to reach, at how little they differ in look and tone from any other ads of their times. ‘50s ads tended to be bland product shots surrounded by expository text, by the mid-‘60s ads started getting more creative, and ‘70s ads were often rainbow-hued blowouts executed by illustrators who owed their livelihoods to Milton Glaser. Which is basically to say that a lot of them could just as easily have been ads for cars or small appliances. Why this surprised me, I don’t know—they were crafted by the same agencies, using the same broad theories as to what worked, as all other ads. (And if those cultural transitions interest you, I cannot recommend Thomas Frank’s The Conquest of Cool

What follows is culled from countless online sources. I’ve tried to keep them roughly in chronological order, but not all of them were possible to date. Of particular interest—the Vox and Domino ads below boast the most out-there instrument designs, but due to their vintage they’re the most conservative ad designs, and Fender ads from the ‘70s were especially lysergic, in a study-hall kinda way.
 

Domino, early ‘60s
 

Vox, 1964
 
More vintage guitar ads after the jump…

READ ON
Posted by Ron Kretsch
|
01.12.2017
09:02 am
|
Porny, provocative pop-art mashed up with pharmaceutical packages
01.11.2017
08:38 am
Topics:
Tags:


A painting by Ben Frost.

Birds shit wherever they want ‘cause they all know it’s crap down here.

Words by artist Ben Frost inscribed on his 2005 piece “Birds and Bad Things”

Artist Ben Frost hails from Australia and has spent time living in Japan. His subversive pop-art contains references to Japanese Manga as well as a myriad of well-know commercial images such as a box of McDonald’s famous french fries that has been layered with a erotic image of a Lichtenstein-esque looking woman being whipped by a proper female Victorian-era librarian during her off time. And that’s one of Frost’s more demure works of art.

Frost himself is as risky as his boundary-pushing paintings. In 2000 the artist faked his own death as a publicity stunt to promote his solo-show of the same name and invitations to the event consisted of Frost’s “faux funeral” notice. Later that same year a painting at the show “Colussus”—a collaboration with fellow artist Rod Bunter—was slashed apart by an attendee.

It’s not hard to understand how Frost’s work might stir some intense emotions with his confrontational art, because the concept of mixing propaganda with pornographic images, Dracula or Ren and Stimpy on a box of Epinephrine is perhaps a little out there for some people. However if everything about that statement makes perfect sense to you, then you’re going to really enjoy looking over the images of Frost’s work included in this post. From time to time Frost sells his artwork on his website Ben Frost IS DEAD.

A few of the paintings are NSFW.
 

 

 

READ ON
Posted by Cherrybomb
|
01.11.2017
08:38 am
|
Super-sexy-mini-flower-pop: The surreal & futuristic Afri-Cola ads of the late ‘60s
12.20.2016
10:09 am
Topics:
Tags:


 
In the 1960s, German soft drink Afri-Cola (which first hit the shelves in 1931) was quickly losing to its competitors Coca-Cola and Pepsi. In 1968, the brand started searching for a new marketing campaign in an attempt to regain their image. They hired prolific commercial designer and photographer Charles Wilp from Düsseldorf. The wildly eccentric 36-year-old was rarely seen not wearing his trademark canary yellow jumpsuit and his provocative ideas that knew no creative limits would soon elevate him to a pop star level. 
 
While visiting the Marshall Space Center in Huntsville, Alabama, Wilp looked into the “Cryo Chamber,” (a tent where rockets are inspected at below zero temperatures), and through various iced plastic films saw a folding door with the image of a pin-up girl. He began envisioning the playmate floating around the room as if she were a ghost, and this gave birth to his groundbreaking ad concept.
 

 
Approximately 20 deliberately taboo TV spots and print ads with surreal-futuristic images began running all over Germany. These bizarre visuals included attractive nuns wearing makeup and eyeliner, lascivious stewardesses administering transfusions with cola instead of blood, an American soldier with a dove of peace, and a nude mustachioed male (the very first nudity in advertising history) weightlifting a soft drink bottle. Wilp’s risque ads, aimed to make viewers feel intoxicated without the use of drugs, were met with furious protest from ecclesiastical moralists who unintentionally helped the brand achieve exactly what they wanted: Afri-Cola became the cult drink of the flower power generation overnight and sales increased by a remarkable 30 percent.
 
Charles Wilp achieved this success by rejecting ad agency tools such as market research and media planning. Instead, he moved forward with his own strategy based on reversing visual perception. “If, for example, the market researchers say Afri-Cola is for young people, smiling young people should appear on the display. And if the media planners say Afri-Cola is a drink for hot days, then the ad should be in the magazines in the summer. I do the opposite: I photograph Afri-Cola with nuns and connect that with intoxication. I do not take a man with two girls, which would be common, but a girl with two men.” The breakthrough ads featured representatives of all different races, sexes, and levels of social strata.
 

 
Originally, Charles Wilp hired German-based American garage rock band The Monks to record a jingle, he thought their experimental sound and blasphemous image that mimicked the Catholic church would be a perfect fit for the controversial advertising campaign. Unfortunately, his plan didn’t work out. “The musicologists and the CEO couldn’t agree with me and the whole thing failed.” Charles Wilp explained in the 2008 Monks documentary The Transatlanic Feedback. “I performed my Afri-Cola music with 48 strings, 2 oboes, 2 harps, 4 timpani, classical instruments. And I created this ‘unreal’ sound which I always wanted to do and which I could have achieved faster with The Monks. Then I didn’t have to deal with the burden of conventions.” Wilp’s orchestrated Afri-Cola score was released on vinyl as a “super single.”
 
More after the jump…

READ ON
Posted by Doug Jones
|
12.20.2016
10:09 am
|
You won’t be able to unsee this hideous bad taste underwear from the 1970s
12.12.2016
10:36 am
Topics:
Tags:

001badunderwear.jpg
 
Everyone’s done shit they are embarrassed by. You know the kinda of stuff—that late night drunken text that you thought was oh so witty—but only got you a restraining order. Or maybe the time you turned up as Hitler at the fancy dress party for Hymie’s bar mitzvah. Or, that Christmas party when you woke up in bed with your girlfriend’s mother. No? Maybe that was just me then….?

Anyhow….

That embarrassing shit we’ve all done—that we’re still so sickeningly ashamed about—well, that was the seventies… Except the seventies didn’t give a fuck. The seventies wore all that bad taste stuff out in public like it was the Nobel-fucking-Peace Prize for ending war, starvation and world poverty.

And you know something—I gotta be honest—I kinda respect that attitude of not giving a fuck about what anyone else thinks. Just enough to tip the hat to the boys and girls who were brave enough to wear these cheesy (maybe not the right word to use here…), shockingly bad taste underwear.

British Bulldog produced a range of seventies underwear that was “funtawear.” There was no subtlety here. Just saucy innuendo with straplines like “Slippery when wet,” “The Big One,” “Rub Here,” and “No Shortage….”  Someone, somewhere obviously thought such humor would be a big turn on when stripping off in front of a hot date.

And why the hell not.
 
000badunderwear.jpg
 
003badunderwear.jpg
 
Have a peek at more saucy underpants, after the jump…

READ ON
Posted by Paul Gallagher
|
12.12.2016
10:36 am
|
‘Aleister & Adolf’: Douglas Rushkoff on his new graphic novel, Crowley and magical warfare
12.08.2016
10:46 am
Topics:
Tags:


 
Aleister & Adolf is a new graphic novel from Dark Horse Comics, the product of the creative pairing of media theorist Douglas Rushkoff—Professor of Media Studies at Queens College in New York—and and award-winning illustrator Michael Avon Oeming.

In Aleister & Adolf the reader is taken behind the scenes of the capitalist spectacle and inside the boardrooms where corporate-occult marketing departments employ fascist sigil magick developed by the Nazis during WWII in today’s advertising logos. A place where the war for men’s minds is waged with symbols and catchy slogans. It’s a fun smart read and you’ll be much smarter after you’ve read it, trust me. And Oeming’s crisp B&W artwork is perfectly suited for getting across some often difficult and tricky philosophical concepts. He’s a unique talent indeed.

Rushkoff recently told AV Club:

“Swastikas and other sigil logos become the corporate logos of our world. And given that we’re living in a moment where those logos are migrating online where they can move on their own, it’s kind of important that we consider the origins and power of these icons.”

Grant Morrison even wrote the introduction to Aleister & Adolf. I mean, how can you lose with something like this?

I asked Douglas Rushkoff a few questions via email:

Dangerous Minds: Where did you find the inspiration for Aleister & Adolf?

Douglas Rushkoff: It’s almost easier to ask where didn’t I find inspiration for Aleister & Adolf. The moment it occurred to me was when I was in an editorial meeting at DC/Vertigo about my comic book Testament, back in 2005. The editor warned me that there was an arcane house rule against having Jesus Christ and a Superhero in the same panel. Not that I was going to get to Jesus in my story, but the rule got me thinking about other potentially blasphemous superhero/supervillain pairings. And that’s when I first got to wondering about Aleister Crowley vs. Adolf Hitler.

But as I considered the possibility, it occurred to me that they were practicing competing forms of magic at the same time. And then I began to do the research, and learned that the premise of my story was true: Aleister Crowley performed counter-sigils to Hitler’s. Crowley came up with the V for Victory sigil that Churchill used to flash—and got it to him through Ian Fleming (the James Bond author) who was MI5 at the time.

I’ve always wanted to do something about Crowley, but I’ve been afraid for a bunch of reasons. Making him something of a war hero, and contrasting him with a true villain like Hitler, became a way to depict him as something more dimensional than “the Beast.”

Did you think of the ending first? It’s a bit like a punchline, isn’t it?

Douglas Rushkoff: I didn’t think of the ending first. The first thing I thought of was to have a young American military photographer get sent to enlist Crowley in the magical effort. I wanted us to see the story through someone like us—someone more cynical, perhaps—and then get to have the vicarious thrill of being drawn into Crowley’s world.

Then, I decided I needed a framing story - just to show how relevant all this creation of sigils is to our world today. So I created a prologue for the story, that takes place in a modern advertising agency: the place where the equivalent of sigil magic is practiced today. I wanted to set the telling of the story within the frame of how corporate sigils are taking life on the Internet today. So the outer frame takes place in the mid-90’s, when the net was being turned over to marketers. The ending is pretty well broadcast up front.
 

 
Aleister & Adolph reminds me a lot of Robert Anton Wilson’s Masks of the Illuminatus—which I think is his best book—because it sort of forces its ideas into the reader’s head like an earworm that you can’t resist. Also Crowley is a character in that book, too, of course. Do you see it as a bit of a RAW homage?

Douglas Rushkoff: It’s a RAW homage in that the story has verisimilitude—it is told in a way where it’s absolutely possible for this all to happen. There’s no supernatural magic here; it’s just the magick of Will. There’s the black magic of the Nazis. But however extreme the Nazis, it was real. It’s got the reality quotient of Eyes Wide Shut or Apocalypse Now.

And that’s the understanding of sigil magic I got from Bob. It’s all very normal. That doesn’t mean it doesn’t work. Just that you have to participate in its perception. It’s just a different way of understanding the connections. So while the protagonist of the story starts off as a disillusioned atheist and ends up believing in magick as Magic, even Crowley (at least my Crowley) tries to convince him not to take it so literally.

I wouldn’t understand magick that way if it weren’t for Bob. It’s embedded in the fabric of reality. It doesn’t need to break the rules of reality to work. 
 

 
Are you aware of a recent trend among some alt-right types to organize acts of group 4Chan “meme magick”? Some of it’s just blatant harassment and bullying over Twitter, but there’s actually a sophisticated intent behind some of it. Pepe the Frog has become a hypersigil. I’m not being admiring of it—the idea that certain reichwingers would want start a magical war via social media is alarming to say the least—but the concept is a sound one magically speaking: They’ve figured out how to amplify their signal’s strength like a radio transmitter.

Douglas Rushkoff: There’s a real crossover between the alt-right and the occult. I knew a guy writing a book about it, in fact. And remember, it was one of Bush’s advisors who once explained that the future is something you create. And there’s an any-means-necessary quality to libertarianism that is consonant with chaos magic.

Plus, you’re talking about homespun propagandists inhabiting the comments sections of blogs and things. They’re not reading Bernays and Lippman. They’re waging hand-to-hand battle in the ideological trenches. A bit of NLP, rhetoric, and magic are what you turn to.

The interesting thing here is why the left does not use these techniques. It goes against our sense of what is fair. We know we’re “right” and so we want to win with the fact. Sigil magic feels like cheating on some level. So we have to ask ourselves, isn’t the full expression of our Will something we want to unleash? If not, why not?

This isn’t the freethinking/pansexual “Generation Hex” types who seemed to be on the horizon a few years ago, but rather like an evil skinheads contingent at Hogwart’s.

Douglas Rushkoff: Alas it is not. That’s partly because the freethinking pansexuals got a bit distracted by other things. And most of them worked alone. I don’t think there were nearly as many, either. That’s pretty rarified air. Back in the 80’s, there were more kids taking acid in the parking lot at AC/DC concerts than there were in the dorms of Reid College. And likewise - as a result of economics as much as anything - there’s more gamergaters throwing sigils online than Bernie Sanders supporters. Sometimes magic gets in the hands of people you’d rather not find it.
 

Photo of Douglas Rushkoff by Jeff Newelt

Posted by Richard Metzger
|
12.08.2016
10:46 am
|
A Carrot Up the Butt: The Joy of Subverting Ads into ‘Accidental Porn’
12.07.2016
09:24 am
Topics:
Tags:

02adsexmilk.jpg
Got Milk?
 
Mortierbrigade is an independent and integrated communications agency based in Brussels. Their motto is “confuse and conquer” which probably explains why their best work subverts the ordinary to make it interesting and original—which in turn explains why they have won over 250 industry awards. (They also run a hotel for trainees too—but that’s another story.) So not your ordinary run-of-the-mill bunch of creatives.

Recently Mortierbrigade linked up with Belgian humor magazine Humo (see what they did there?) to create an eye-catching and off-the-wall advertizing campaign that juxtaposed two seemingly innocent adverts into something far more saucy and subversive. Let’s call it “accidental porn”—where two incongruous images create…well...see for yourself….

Mortierbrigade and Humo clearly managed to convince their leading advertisers—such as Lidl, the Lotto, etc.—to play along.
 
01adsexmlidl.jpg
 
09adsextennis.jpg
 
03adsexlotto2.jpg
 
More accidental porn, after the jump…

READ ON
Posted by Paul Gallagher
|
12.07.2016
09:24 am
|
Comedy gold: The Beastie Boys’ hilarious ‘Hello Nasty’ late-night infomercial
11.22.2016
04:38 pm
Topics:
Tags:


Ad-Rock as John, the over enthusiastic audience member at a juice extractor demonstration.
 
I was up late one San Fernando valley evening in 1998, channel surfing through cable television when I happened upon a very bizarre infomercial advertising a product called “Sure Shine.” It caught my attention and I immediately stopped flipping: the commercial boasted that this multi-use product could wash your hair, polish your car, clean your kitchen counter, AND be used in the bedroom, as a spermicide. The number to call on the screen was 1-888-711-BSTE. This had to be some kind of hoax! It wasn’t exactly a hoax, rather, an ingenious marketing tactic used to promote the Beastie Boys highly anticipated Hello Nasty album on the hip hop groups’ own record label Grand Royal.

Calling the 1-888 number that flashed on the screen throughout the half-hour parody led viewers to where they could pre-order Hello Nasty and have it delivered to their doorstep on July 14, the ad also included the URL for Grand Royal’s newly launched website. The low-budget infomercial was directed by none other than Tamra Davis, wife of Beastie Boy Mike D, whose impressive credits include music videos for N.W.A., Sonic Youth, as well as major Hollywood studio films like CB4 and Billy Madison. It ran for several weeks on cable stations in Northern New Jersey, Los Angeles, San Francisco, Chicago, Detroit, Minneapolis/St. Paul, Manhattan, N.Y., Cleveland, Portland, Philadelphia, Houston, and Washington, D.C.
 

A disclaimer scrolled over the fake products that read “If you order NOW, you will not receive any car care products, but you can order the record, CD, or cassette of the new Beastie Boys album ‘Hello Nasty’”
 
This incredibly amusing advertising concept starred the Beastie Boys themselves: Mike D (a.k.a. Mike Diamond), MCA (a.k.a. Adam Yauch) Ad-Rock (a.k.a. Adam Horovitz), who, in the name of sketch comedy, slapped on fake wigs, phony moustaches, ponytails, and took on various roles to sell fake get-rich-quick scams, psychic hotlines, and even a food processor that played beats from Hello Nasty. The Beasties comedy chops hold up strong, with a parody style well ahead of its time pre-dating Adult Swim, Tim and Eric Awesome Show, Great Job!, and so many others who a decade later would become popular parodying public-access television with bizarre faux-infomercials in a very similar fashion.

Director Tamra Davis spoke with me about how using a Home Shopping Network style approach to sell Hello Nasty came about: “Ian Rodgers (Grand Royal’s president of new media) was working with the Beasties on how to direct sell and market using the internet. This was all super new and I definitely remember us all thinking about how crazy it would be if you were at home watching TV in the middle of the night and this came on. We thought it would be hilarious.” This wasn’t Ian Rodgers’ first innovative approach to marketing in new media. After he wowed the Beastie Boys by giving a demonstration of the internet in 1994 (they hadn’t heard of it yet!) he created an (unreleased) CD-ROM entitled Don’t Mosh in the Ramen Shop, and in 1998 became one of the very first people to use MP3 technology to upload live recordings to the net while on the road with the group during the Hello Nasty tour.

The late-night infomercial was incredibly effective, with phone lines lighting up and pre-orders filing in whenever and wherever it aired. A Grand Royal telephone operator explained that a few viewers called in just to ask if the ad was real or not. “Some people have been like ‘Are you just going to go out and charge up my credit card?’ And I’ve just been telling them, ‘No, this is legit.’” Greg Pond, a cable programming coordinator at TCI San Francisco said, “This isn’t the first time that our cable systems local-access channels have been used to promote a well-known group of musicians. We aired half-hour spots for Tricky and Pulp, but those were just videos and information about the artists. They were nothing like the infomercial the Beastie Boys produced.”

Beastie Boys fans will be thrilled to see Ad-Rock as John, the over enthusiastic audience member in a juice extractor demonstration. Mike D as exercise guru Jack Freeweather in the “8 Minute Workout” that promises amazing results. “Whatever you’ve been doing in the past, you’ve been doing it wrong. Let Jack make it right.” Mike D returns later as thick-accented “Miklious Toukas” of CEO GR International. In my favorite segment, MCA plays a get-rich-quick character named Bill Swenson, a.k.a. “The Money Man.” A perfectly straight-faced MCA wearing thick, dark-rimmed glasses and a pink sweater around his neck expresses: “Money makes you feel good, money is so underestimated in our society, money is the thing that everyone needs to feel great and be who they are.” Tamra explains there was never a script for the infomercial, “We had all the ideas of the characters and what would happen but it was all improvised as far as what they said or what the guests would say. Some things they did were such inside jokes that if only five of us got it, it was worth it.”
 

MCA as Bill Swenson, a.k.a. “The Money Man.”
 

Mike D as thick-accented “Mikilous Toukas” of CEO GR International.
 
Extras casting helped fill out the traditional studio audience when they taped the ad in New York City, as well as friends, family, fellow Grand Royal labelmates, and even some real people like the Beasties stylist Tara Chaney and Tamra and Mike D’s doorman Joe. E.Z. Mike (a.k.a. Michael Simpson) from the Dust Brothers can be seen in the crowd applauding next to none other than record producer and studio engineer legend Mario Caldato Jr. Any Beastie Boys fan knows him as Mario C. by his frequent shout-outs in lyrics such as “That’s a record ‘cause of Mario” on the song “Root Down” and “Mario C likes to keep it clean!” on “Intergalactic.” Matthew Horovitz (Ad-Rock’s brother) plays Kenny Star of “Hollywood Psychics,” and Ad-Rock’s best friend from elementary school, working actress Nadia Dajani, plays Peg of “The Juice Ladies.” Actor Russell Steinberg (son-in-law of Diane von Fürstenberg) and DJ Frankie Inglese appear as Mike Lathers and Graham Noodledish of “Fantastic Finds,” showing off a miracle cleaning product that can only be applied using a compact disc.
 
Keep reading after the jump…

READ ON
Posted by Doug Jones
|
11.22.2016
04:38 pm
|
Page 3 of 27  < 1 2 3 4 5 >  Last ›