Spanish Advertising and Marketing Service Search this
Association of Hispanic Advertising Agencies Search this
Extent:
3.5 Cubic feet (3 boxes)
Type:
Collection descriptions
Archival materials
Storyboards
Video recordings
Posters
Photographs
Advertisements
Audio cassettes
Clippings
Date:
1962 - 2000
Summary:
The Association of Hispanic Advertising Agencies Collection includes advertisements, research, and publications produced by SAMS (Spanish Advertising and Marketing Service), which was founded by Luis Diaz Albertini in 1963.
Scope and Contents:
The collection documents the work of SAMS (Spanish Advertising and Marketing Service). It contains advertising campaign materials such as print advertisements, storyboards, proofs of print advertisements, point of purchase advertisements, audio recordings of radio advertisements, and video footage of television commercials. SAMS created advertising for manufacturers of tobacco, movies, cosmetics, watches, toothpaste, cleansers, food products, and alcoholic beverages, to name a few. SAMS was founded during a time in which the "Spanish speaking" consumer was of growing significance in the American market, and American advertisements increasingly catered to and targeted this audience.
The collection contains extensive explanatory notations written by Sara Sunshine, a Cuban immigrant, who created advertising print, audio, and visuals from the 1960s to 1990s and founder of the co-founder of Spanish Advertising and Marketing Services, the nation's first Latino ad agency.
Arrangement:
The collection is divided into seven series.
Series 1: Storyboards and Scripts, 1970-1995
Series 2: Advertisements, 1962-1974
Series 3: Publications, 1976-1988
Series 4: Marketing Research, 1962-1984
Series 5: Packaging, 1962
Series 6: Ephemera, 1980-1989
Series 7: Audiovisual Materials
Biographical / Historical:
Luis Diaz Albertini founded SAMS (Spanish Advertising and Marketing Service) in 1963. Sara Sunshine was the head copywriter and art executive. The agency had a staff of just four employees. It was the first full-service Spanish language advertising agency in the United States. In 2007, the Association of Hispanic Advertising Agencies was formed. Among its goals was preserving the industry's past and preserving the history of Hispanic advertising. The first archival collection they accepted was the records of SAMS. Originally housed at the University of Maryland, it was transferred to the National Museum of American History in 2015.
Related Materials:
Materials at the Archives Center
Goya Foods, Inc. Records (AC0694)
Provenance:
Donated to the Archives Center in 2015 by the Association of Hispanic Advertising Agencies, through Horacio Gavilan.
Restrictions:
Collection is open for research.
Rights:
Reproduction restricted due to copyright or trademark. Contact the Archives Center for details.
2.44 Cubic feet (consisting of 4.5 boxes, 1 folder, 5 oversize folders, 2 flat boxes (partial), 1 map case folder.)
Type:
Collection descriptions
Archival materials
Business ephemera
Business letters
Publications
Receipts
Business cards
Trade literature
Logs (records)
Sales catalogs
Print advertising
Ephemera
Catalogs
Advertising mail
Commercial catalogs
Invoices
Trade cards
Technical reports
Trade catalogs
Advertising
Manuals
Reports
Manufacturers' catalogs
Commercial correspondence
Catalogues
Printed materials
Illustrations
Bulletins
Technical manuals
Printed material
Transcripts
Letterheads
Printed ephemera
Advertisements
Advertising cards
Radio scripts
Correspondence
Advertising fliers
Business records
Date:
1893-1992
Summary:
A New York bookseller, Warshaw assembled this collection over nearly fifty years. The Warshaw Collection of Business Americana: Accounting and Bookkeeping forms part of the Warshaw Collection of Business Americana, Subseries 1.1: Subject Categories. The Subject Categories subseries is divided into 470 subject categories based on those created by Mr. Warshaw. These subject categories include topical subjects, types or forms of material, people, organizations, historical events, and other categories. An overview to the entire Warshaw collection is available here: Warshaw Collection of Business Americana
Scope and Contents:
The radio category contains material primarily related to radio company products, radio broadcasts and programs, technical documentation on the use of radios, and material documenting the effect of radio on modern life. The bulk of the material covers sales catalogues and advertisements, though no complete records for single companies are present.
The radio broadcast transcripts and programs include fictional or anecdotal stories, transcripts of contests, interviews, or speeches, and notifications about future broadcasts.
Literature concerning the effect of radio on modern life includes brief radio historiographies, discussions about the need for advanced education for the radio field, and documentation of the use of radio in leisure time or in rural life. Additional publications address the uses and effects of radio during times of war. While no extensive documentation exists on any one topic, the publications may provide general histories of the radio with snapshots of specific facets of radio history.
Arrangement:
Radio is arranged in three subseries.
Business Records and Marketing Material
Genre
Subject
Forms Part Of:
Forms part of the Warshaw Collection of Business Americana.
Missing Title
Series 1: Business Ephemera
Series 2: Other Collection Divisions
Series 3: Isadore Warshaw Personal Papers
Series 4: Photographic Reference Material
Provenance:
Radio is a portion of the Business Ephemera Series of the Warshaw Collection of Business Americana, Accession AC0060 purchased from Isadore Warshaw in 1967. Warshaw continued to accumulate similar material until his death, which was donated in 1971 by his widow, Augusta. For a period after acquisition, related materials from other sources (of mixed provenance) were added to the collection so there may be content produced or published after Warshaw's death in 1969. This practice has since ceased.
Restrictions:
Collection is open for research. Some items may be restricted due to fragile condition.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Warshaw Collection of Business Americana Subject Categories: Radios, Archives Center, National Museum of American History, Smithsonian Institution
Sponsor:
Funding for partial processing of the collection was supported by a grant from the Smithsonian Institution's Collections Care and Preservation Fund (CCPF).
The Cover Girl Make-Up Advertising Oral History and Documentation Project, 1923-1991, is the result of a year-long study in 1990, which examined the advertising created for Noxell Corporation's Cover Girl make-up products from 1959 to 1990. The objective of the project was to document, in print and electronic media, the history of Cover Girl make-up advertising since its inception in 1959.
Scope and Contents:
Twenty-two oral history interviews (conducted by Dr. Scott Ellsworth for the Archives Center) and a variety of print and television advertisements, photographs, scrapbooks, personal papers, business records and related materials were gathered by the Center for Advertising History staff. The objective was to create a collection that provides documentation, in print and electronic media, of the history and development of advertising for Cover Girl make-up since its inception in 1959.
Collection also includes earlier material related to other Noxell products, including Noxzema, with no direct connection to the Cover Girl campaign.
Arrangement:
The collection is arranged into eight series.
Series 1: Research Files
Series 2: Interviewee Files
Series 3: Oral History Interviews
Series 4: Television Advertising Materials
Series 5: Print Advertising Materials
Series 6: Company Publications and Promotional Literature
Series 7: Photographs
Series 8: Scrapbooks
Biographical / Historical:
George Avery Bunting founded the Noxzema Chemical Company in Baltimore, Maryland in 1917. In the 1890s, he left behind a teaching job on Maryland's Eastern shore to move to Baltimore, where he hoped to pursue a career as a pharmacist. He landed a job as errand boy and soda jerk at a local drugstore, where he worked while attending classes at the University Of Maryland College of Pharmacy. Valedictorian of the Class of 1899, Bunting was promoted to manager of the drugstore, which he purchased. Bunting began to experiment with the formulation of medicated pastes and compounds, which he marketed to his customers. In 1909, he began refining a medicated vanishing cream, which he introduced in 1914. "Dr. Bunting's Sunburn Remedy," an aromatic skin cream containing clove oil, eucalyptus oil, lime water, menthol and camphor, was mixed by hand at his pharmacy. Marketed locally as a greaseless, medicated cream for the treatment of a variety of skin conditions, including sunburn, eczema, and acne, the product was renamed "Noxzema" for its reputed ability to "knock eczema." By 1917, the Noxzema Chemical Company was formed. During the 1920s, distribution of the product was expanded to include New York, Chicago, and the Midwest and, by 1926, the first Noxzema manufactory was built in northwest Baltimore to accommodate the demand for nearly a million jars a year.
Having achieved a national market by 1938, Noxzema Chemical Company executives pursued product diversification as a means to maintain the corporate growth of the early years. In the 1930s and 1940s, line extensions included shaving cream, suntan lotion and cold cream, all with the distinctive "medicated" Noxzema aroma.
In the late 1950s, Bill Hunt, director of product development at Noxzema, suggested a line extension into medicated make-up. Creatives at Sullivan, Stauffer, Colwell & Bayles, Incorporated (SSC&B), Noxzema's advertising agency since 1946, suggested that the advertising for the new product focus on beauty and glamour with some reference to the medicated claims made for other Noxzema products. In contrast to other cosmetics, which were sold at specialized department store counters, Noxzema's medicated make-up would be marketed alongside other Noxzema products in grocery stores and other mass distribution outlets. After experimenting with names that suggested both glamour and the medicated claims (including Thera-Blem and Blema-Glow), Bill Grathwohl, Noxell's advertising director, selected Carolyn Oelbaum's "Cover Girl," which conveyed the product's usefulness as a blemish cover-up, while invoking the glamorous image of fashion models. These three elements of the advertising, wholesome glamour, mass marketing, and medicated make-up, remain central to Cover Girl advertising nearly a half-century later.
Beginning with the national launch in 1961, American and international fashion models were featured in the ads. The target audience was identified as women between eighteen and fifty-four and, initially, the "glamour" ads were targeted at women's magazines, while the "medicated" claims were reserved for teen magazines. Television ads featured both elements. Cover Girl advertising always featured beautiful women -- especially Caucasian women, but the Cover Girl image has evolved over time to conform to changing notions of beauty. In the late 1950s and 1960s, the Cover Girl was refined and aloof, a fashion conscious sophisticate. By the 1970s, a new social emphasis on looking and dressing "naturally" and the introduction of the "Clean Make-up" campaign created a new advertising focus on the wholesome glamour of the "girl next door," a blue-eyed, blonde all-American image. In the 1980s, the Cover Girl look was updated to include African-American, Hispanic and working women.
In January 1970, SSC&B bought 49% of the Lintas Worldwide advertising network. After SSC&B was acquired by the Interpublic Group of Companies in 1979, the entire Lintas operation was consolidated under the name SSC&B/Lintas in 1981. With the Procter & Gamble buy-out of the Noxell Corporation in September 1989, the cosmetics account was moved to long-time P&G agency Grey Advertising, in order to circumvent a possible conflict of interest between P&G competitor Unilever, another Lintas account. In 1989 SSC&B/Lintas, Cover Girl's agency since its launch in 1961, lost the account it helped to create and define, but the brand continues to dominate mass-marketed cosmetics.
This project is the result of a year-long study of advertising created for the Noxell Corporation's Cover Girl make-up products, 1959-1990. The effort was supported in part by a grant from the Noxell Corporation. The target audience was identified as women 18-54, and initially, the "glamour" ads were targeted at women's magazines, while the "medicated" claims were reserved for teen magazines. Television ads featured both elements. Cover Girl advertising has always featured beautiful women (especially Caucasian women), but the Cover Girl image evolved over time to conform with changing notions of beauty. In the late 1950s-1960s, the Cover Girl was refined and aloof, a fashion conscious sophisticate. By the 1970s, a new social emphasis on looking and dressing "naturally" and the introduction of the "Clean Make-up" campaign created a new advertising focus on the wholesome glamour of the "girl next door," a blue-eyed, blonde all-American image. Through the 1980s, the Cover Girl look was updated to include African-American and Hispanic models and images of women at work.
Related Materials:
Materials in the Archives Center
Warshaw Collection of Business Americana (AC0060)
N W Ayer Advertising Agency Records (AC0059)
Separated Materials:
"The Division of Home and Community Life, Costume Collection (now Division of Cultural and Community Life) holds eighty-six cosmetic items and one computer that were also donated by the Noxell Corporation in 1990 in conjunction with the oral history project. These artifacts include lipstick, manicure sets, brushes, make-up, eye shadow, blush, powder puffs, eyelash curler, nail polish, and mascara. See accession number 1990.0193.
"
Provenance:
Most of the materials in the collection were donated to the Center for Advertising History by the Noxell Corporation, 1990. All storyboards and videoscripts, and a large collection of business records and proofsheets were donated by George Poris in June 1990. All mechanicals were donated by Art Weithas in June 1990. (These contributions are noted in the finding aid).
Restrictions:
Collection is open for research but a portion of the collection is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Stan Freberg (1926-2015) was a writer, performer, and satirist who pioneered the use of comedy in radio and television commercials during advertising's creative revolution in the 1960s. The collection includes examples of his work including his radio and television shows as well as some of his best known television commercials.
Scope and Contents:
The Stan Freberg Advertising Collection contains commercially available recordings of Freberg's radio series, "The Best of the Stan Freberg Shows" (1958), his satire, "Stan Freberg Presents the United States of America" (1961), and the New Stan Freberg Show (1991). It also includes a compiliation reel of his television shows as well as commercials produced for Chung King, Jeno's Pizza, and Encyclopedia Britannica among others during the 1960s.
Arrangement:
The collection is arranged in one series.
Series 1: Audiovisual, 1958 -1991
Biographical / Historical:
Stan Freberg (1926-2015) was a writer, performer, and satirist who pioneered the use of comedy in radio and television commercials during advertising's creative revolution in the 1960s. The collection includes examples of his work including his radio and television shows as well as some of his best known television commercials.
Provenance:
Collection donated by Stan Freberg in 1991.
Restrictions:
The collection is open for research. Only reference copies may be used. Digital reference copy available in the Smithsonian Institution Digital Asset Management System (DAMS). See repository for details.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Researchers must use reference copies of audio-visual materials. Reference copies are ½ inch VHS, audio cassette, or compact disc. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow. There are no reference copies on VHS or DVD for the filmstrips, and the Archives Center does not have a filmstrip projector.
Technical Access: Titles on Beta Max video tape and all picture and audio elements for Original Film (OF) 913.7 cannot be viewed. Viewing the film and filmstrip portion of collection requires special appointment.
Collection Rights:
Collection items are available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions.
Collection Citation:
Reddy Kilowatt Records, 1926-1999, Archives Center, National Museum of American History
Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Researchers must use reference copies of audio-visual materials. Reference copies are ½ inch VHS, audio cassette, or compact disc. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow. There are no reference copies on VHS or DVD for the filmstrips, and the Archives Center does not have a filmstrip projector.
Technical Access: Titles on Beta Max video tape and all picture and audio elements for Original Film (OF) 913.7 cannot be viewed. Viewing the film and filmstrip portion of collection requires special appointment.
Collection Rights:
Collection items are available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions.
Collection Citation:
Reddy Kilowatt Records, 1926-1999, Archives Center, National Museum of American History
Materials relating to Henry J. Kaufman, including photographs and ID cards; and the records of the Kaufman firm, including six scrapbooks, one for each decade; company newsletters, photographs, and other papers detailing the business history of the company as well as its social and other internal activities.
Scope and Contents note:
This collection consists of various business papers, personal papers, and advertising samples of Henry Kaufman and the Washington, D.C. advertising firm Henry J. Kaufman and Associates. The bulk of the collection consists of seven scrapbooks from the 1930s-1970s that detail the company's social and internal activities as well as business history. Researchers will find this collection particularly valuable for its insight into office culture and the ways in which it changes throughout the decades.
Series 1, Business Papers, 1930s-1980s, contains various business papers, photographs, and advertising samples relating to Henry J. Kaufman and Associates.
Subseries 1.1, Scrapbooks, 1930s-1970s, contains seven scrapbooks put together by Henry J. Kaufman and Associates. The scrapbooks contain press coverage of the firm, newspaper clippings relating to members of the company, information regarding clients and campaigns, photographs of company events, and examples of office humor and culture. Five of the scrapbooks are divided by decade, beginning with the 1930s and ending with the 1970s, but two of the books cover date ranges longer than one decade. The scrapbook contained in Box 5 is dedicated mainly to Kaufman's tenure as president of the Advertising Club of Metropolitan Washington, Incorporated. Several of the scrapbook pages have been disassembled, but there are numbered and photocopied pages to maintain the provenance of the collection. The folders labeled "Material" contain the material originally located on the disassembled scrapbook pages.
Subseries 1.2, Newsletters, 1933, circa 1958, 1968-75, 1978, contains editions of the company newsletter The Kaufman Report, an earlier newsletter entitled Corner Stone, and a direct mail piece.
Subseries 1.3, Advertising Campaigns, circa 1962-1990s, undated, contains an assortment of advertisements sponsored by Henry J. Kaufman and Associates. Highlights are the Porsche Corporation, The Wall Street Journal, and a portfolio of advertising samples from 1977-1979.
Subseries 1.4, Other Materials, 1951-1984, undated, contains a variety of business papers, correspondence, photographs, personnel lists, and press coverage related to the agency. Henry J. Kaufman and Associates relocated to the Canal Street Building in 1963, and a number of the documents and photographs in this subseries are related to the move.
Series 2, Kaufman's Personal Papers, 1950s-1990s, undated, contains information pertaining more to Henry J. Kaufman than to the company. The most substantive parts of the series are photographs of Kaufman and tributes relating to his birthdays and death.
Arrangement:
The collection is divided into two series.
Series 1, Business Papers, 1930s-1980s
Series 2, Kaufman's Personal Papers, 1950s-1990s, undated
Biographical/Historical note:
Henry J. Kaufman (1906-1997) founded his Washington, D.C. based advertising agency in 1929, only months before the stock market crash. Business in some companies was quite poor after the collapse, and many desperate executives were willing to risk money on advertising. The agency Henry J. Kaufman and Associates profited from the risk and grew rapidly, adding public relations and other services and eventually became the largest advertising firm in the Washington, D.C. area. The company had both local and national clients and campaigns, including the Porsche Corporation and the Society of American Florists. In addition to its print media, the agency was especially successful in the field of radio advertising, sponsoring an award in commercial radio announcing as well as regularly winning awards of its own. Kaufman was a member of the Advertising Club of Metropolitan Washington, Incorporated (known as the Ad Club) and served as president in the 1940s. He was considered the founder and "dean" of Washington, D.C. advertising and headed Henry J. Kaufman and Associates for fifty years until he sold it in the late 1970s. He stayed active in consulting work and acted as a mentor to others in the advertising field until his death in 1997. Kaufman and his wife Irma were married sixty-six years.
Related Materials:
Mateials in the Archives Center
NW Ayer Advertising Agency Records (NMAH.AC.0059)
Caroline R. Jones Collection (NMAH.AC.0552)
Provenance:
The collection was donated to the Archives Center in June 2003 by Mr. Kaufman's nephew, Kenneth J. Luchs.
Restrictions:
Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Printed advertisements, photographs (including negatives and slides), sales presentation materials and packaging; patent and legal information, clippings, posters, scripts for radio commercials, sheet music for jingles, etc. Also includes personal papers (correspondence) of Christian Nelson, inventor of the Eskimo Pie.
Arrangement:
The collection is divided into eight series.
Biographical / Historical:
Eskimo Pie, America's first chocolate covered ice cream bar, was invented by Christian Kent Nelson in his home laboratory in 1920. Nelson patented his invention and the ice cream bar quickly rose in popularity in America. By 1922, Nelson was earning $2000 per day in royalties on his product.
Christian K. Nelson was born on March 12, 1893, in Gunstrup, Denmark, to Pedar Nelson and Margerethe Madesen Nelson. While Nelson was an infant, the seven Nelson children and their parents emigrated to the United States. The dairy farming family settled in Illinois, Wisconsin, and finally in Iowa in 1903. In Onawa, Iowa, Nelson opened a small confectionery shop near the high school where he worked as a teacher.
The inspiration for the invention of Eskimo Pie was a boy's indecision in Nelson's confectionery store in 1920. A boy started to buy ice cream, then changed his mind and bought a chocolate bar. Nelson inquired as to why he did not buy both. The boy replied, "Sure I know--I want 'em both, but I only got a nickel." For weeks after the incident, Nelson worked around the clock experimenting with different methods of sticking melted chocolate to frozen ice cream until he found cocoa butter to be the perfect adherent.
Immediately, he produced 500 ice cream bricks with a chocolate candy coating. The "I-Scream Bars" were a hit at the local village fireman's picnic and Nelson began searching for companies to manufacture his new product.
On July 13, 1921, Nelson and chocolate maker Russell C. Stover entered into a joint agreement to market and produce the product. It was decided the name would change from Nelson's "I-Scream Bar" to "Eskimo Pie". In the hand-written agreement composed the same day the two met for the first time, the entrepreneurs agreed to "coat ice cream with chocolate [sic] divide the profits equally." They decided to sell the manufacturing rights to local ice cream companies for $500 to $1000, plus royalties on each Eskimo Pie sold.
Nelson and Stover began their business venture with an advertising campaign in Des Moines, Iowa. The first 250,000 pies produced were sold within 24 hours. By spring 1922, 2,700 manufacturers sold one million Eskimo Pies per day.
On January 24, 1922, the United States granted patent number 1,404,539 for the Eskimo Pie. Nelson's patent applied to any type of frozen material covered with candy. Nelson also had the name "Eskimo Pie" trademarked. Initially, even the word "Pie" in a brand name frozen treat was covered by this trademark. The breadth of the patent was detrimental to Eskimo Pie because of growing legal costs associated with its defense.
Russell Stover sold his share of the company in 1922. Because of the cost of litigation, high salaried salesmen, and difficulties in collecting royalties, the company was sold in 1924. Eskimo Pie became a subsidiary of United States Foil Company, the supplier of the Eskimo Pie wrapper. Headed by R.S. Reynolds, Sr., the company later became known as Reynolds Metals Company.
In 1925, dry ice was invented. Nelson was eager to find a way to make buying Eskimo Pie as easy as buying another snack from a vendor. Nelson began to market thermal jugs with dry ice supplied with Eskimo Pies to vendors without access to a freezer. This increased visibility and distribution and made Eskimo Pie an "impulse" item.
The patent litigation continued until October 3, 1929, when the U.S. Circuit Court of Appeals upheld the decision of the lower courts declared that the 1922 patent was invalid, due to "lack of invention." Eskimo Pie resembled an earlier product that also called for ice cream with cocoa butter dipped in chocolate. The judge declared that Nelson had merely changed the shape for an existing product. Even his trademark on the work "pie" was invalidated, as the judge said the word had a wide variety of use.
Nelson retired to California and assigned his royalties to his wife, Myrtle Skidmore "Skid" Nelson. However, Nelson, reportedly "bored," came out of retirement in 1935 to rejoin Eskimo Pie and work on new products. Nelson continued to create ice cream innovations such as ice patties and colored ice cream holiday centers within Eskimo Pie products.
In 1955, Nelson was awarded a patent for his Eskimo Machine. The machinery squeezed out ice cream of the correct dimensions which was then cut into bars. This process was faster than the older method of molding the ice cream bar.
After a decline in sales during the Great Depression, Eskimo Pie received a boost from sales to the United States armed forces during World II. Rising commodity prices in the post war era forced the company to reduce the size of the product. However, the distinct foil wrapper remained the same. Nelson officially retired from Eskimo Pie in 1961 as vice-president and director of research. Surviving his wife by one year, he died March 8, 1992.
In 1992, Eskimo Pie became independent of Reynolds' Metals. The company continues to market dozens of shapes, sizes, and types of frozen treats. The brand name Eskimo Pie continues to have strong consumer recognition and has appeared in cartoons, movies, and even in Funk and Wagnall's Dictionary.
Sources
"He Made Kids Scream for Ice Cream," 1959, manuscript from collection
Nelson-Stover Agreement, July 13, 1921, manuscript from the collection
U.S. Patent 1,404,539 January 24, 1922, manuscript from the collection
Scope and Content Note
The Eskimo Pie Collection consists primarily of materials relating to the advertising, business, and packaging of its ice cream products. The collection includes numerous photographs, printed advertisements, and packaging materials. It also contains company annual reports and newsletters, business history, information on machines and equipment used in manufacturing the product, and the history of the invention of Eskimo Pie. The formulas and directions for creating many of the Eskimo Pie products are included.
Series 1: CHRISTIAN NELSON PAPERS, 1921-1992 - Contains personal information on the inventor of Eskimo Pie, Christian Nelson, including his correspondence and financial information. Most of the correspondence is business related.
Subseries 1: Christian Nelson Personal Papers, 1933-1988 - These materials include tax information, bank account information, and a few documents related to his personal life. Not many documents of a personal nature are in the collection. Most details of his life are found in magazine and newspaper clippings in Series 2, Subseries 4.
Subseries 2: Nelson Correspondence (by correspondent), 1944-1946 - This subseries contains Nelson's business correspondence previously arranged alphabetically by correspondent. The correspondence only dates from 1944-1946.
Subseries 3: Nelson and Business Correspondence (by date), 1920-1990 - Arranged chronologically by decade, this correspondence consists of letters on various topics that were scattered throughout the collection. Most of these letters are business related but many have personal notations within them. Not all letters include Nelson.
Series 2: HISTORICAL AND BACKGROUND INFORMATION, 1921-1992 - This series includes any information that helps to narrate the story of the invention of Eskimo Pie and the company that sold the product. It contains company scrapbooks of specific years, important historical documents regarding Eskimo Pie history, and newspaper clippings and magazine articles that summarize the detailed history of the company.
Subseries 1: Background Information on Company, 1921-1992 - This information includes company scrapbooks that contain articles, letters, promotions and/or advertisements for a particular year. The scrapbooks often relate the history of Eskimo Pie in past years as well as representing the year of the scrapbook. Other materials such as the Eskimo Pie patent, and information on Christian Nelson and Russell Stover with their original agreement are included.
Subseries 2: Information on Related Companies, 1947-1987 - This material contains annual reports and the company publications of Reynolds Aluminum which supplied the Eskimo Pie wrapper. Eskimo Pie became a subsidiary of Reynolds (then known as US Foil Company) in 1924. Other companies whose products are related to Eskimo Pie are also included.
Subseries 3: Patent and Legal Information, 1921-1965 - Important legal documents of the Eskimo Pie business are arranged in this subseries by type of document. The patents include many of Nelson's patents as well as other patents of invention related to ice cream.
Subseries 4: Newspaper Clippings and Magazine Articles, 1920-1990 - Most articles in the subseries are related to the history or business of Eskimo Pie, although a few are not. Cartoons that use the Eskimo Pie name are included.
Series 3: MANUFACTURING AND EQUIPMENT, 1922-1990 - This series documents the machinery and equipment used to produce, package, and freeze the ice cream. It also includes the specific formulas of Eskimo Pie products with ingredients and directions for their preparation.
Subseries 1: Machinery, 1922-1990 - This series is comprised of catalogues, plans, and brochures on general types of machines used to create ice cream along with very specific types of machines with specific names (such as the Eskimo Machine). It also includes video footage of a 1990 production line. Some photographs of equipment are included in the catalogues but other photographs of machinery can be found in Photographs under Series 5, Subseries 1.
Subseries 2: Formulae and Directions, 1942-1963 - Formulas and specifications to create certain Eskimo Pie products make up this series. The formulas and directions were sent to franchise manufacturers and field personnel and state how to use the machinery to create the desired product. The folders labeled with product numbers include booklets of formulas and the folders labeled with formulas of specific products are loose pages or additions to the booklets. Other formulas and directions for specific products can be found in some of the promotional brochures in Series 7 Subseries 4.
Series 4: ESKIMO PIE COMPANY RECORDS, 1951-1995 - The company records in this series are comprised of Annual Company Reports and Company Newsletters.
Subseries 1: Eskimo Pie Annual Reports, 1951-1995 - The Annual Reports include financial information as well as the names of the directors, officers, and management personnel for that particular year.
Subseries 2: Eskimo Pie Newsletters, 1968-1979 - These monthly newsletters function as a company information tool for employees. They include company news along with general interest features such as cartoons, news of the company sports teams, announcements of vacations and birthdays, etc.
Series 5: PHOTOGRAPHS AND NEGATIVES, 1928-1990 - This series consists of photographs and negatives of various subject matter.
Subseries 1: Photographs, 1928-1990 - These photographs are arranged by subject matter. Some of the main subject categories of the photographs include machinery and equipment, advertising, promotions, and pictures of Christian Nelson at company events.
Subseries 2: Photograph Negatives and Slides, 1928-1990 - This subseries includes many negatives of the photographs already contained in Subseries 1. Only one folder in this subseries is slides.
Series 6: ESKIMO PIE BUSINESS INFORMATION, 1921-1990 - This series consists of any records pertaining to the business of the Eskimo Pie company including finances, marketing, sales, promotions, personnel information, packaging, and publications. It does not include advertising.
Subseries 1: General Business Information, 1922-1990 - Business information that did not fit into any particular business category comprises this series. Each folder's information is very specific to its own particular topic and is arranged chronologically.
Subseries 2: Marketing, 1927-1996 - This series includes any marketing information that attempts to sell Eskimo Pie to the consumer. This information does overlap with some aspects of advertising and packaging, as they also function as marketing tools to promote increased buying. It also includes promotional materials for the film AWho's Minding the Mint?" which featured an Eskimo Pie ice cream man as a character. The information is organized by specific years or time periods.
Subseries 3: Employee Information and Incentives, 1952-1970 - This subseries includes general information such as personnel lists and phone lists but also includes incentive campaigns for employees. These incentive campaigns were directed towards salesmen, particularly route driver salesman, and propose prize rewards for sales. The booklets in box 31 include the ads for incentives to be sent out to the salesmen throughout the year. Along with the ads are explanations of the incentive and the company's reasoning behind its approach to the salesmen in that particular ad. The prizes to be awarded are not specifically listed but are displayed in pictures in many of the incentive ads.
Subseries 4: Premiums and Promotions, 1937-1990 - Information on premiums in which consumers save wrappers and send them to Eskimo Pie for goods as well as special promotions are included in this subseries. Lists of goods that can be purchased with the corresponding number of wrappers are included. Other promotions include prizes for contests or special offers with Eskimo proofs of purchase. This subseries includes promotional brochures that explain the new promotions.
Subseries 5: Financial Information, 1932-1990 - Any business information pertaining to Eskimo Pie's finances, sales, and\or profits is included in this subseries. It also includes U.S. Foil Royalty Reports that report the number of wrappers shipped and manufactured of different businesses including those of Eskimo Pie (Eskimo Pie was a subsidiary of U.S. Foil). The U.S. Foil reports are addressed to Myrtle Nelson. Bank information of Frozen Products, Inc., which manufactured Eskimo Pie and Eskimo confections, is also included.
Subseries 6: Packaging, 1921-1954 - This subseries consists of actual boxes, wrappers, lids, and sticks that were used in packaging Eskimo Pie products. The materials are organized by types of packaging and the dates of the materials are generally unclear.
Subseries 7: General Publications Related to Ice Cream, 1935-1990 - Listed in chronological order, these publications provide information on the ice cream, dairy, and chocolate industries in a specific time frame. These publications generally do not mention Eskimo Pie products.
Series 7: ADVERTISING MATERIALS, 1922-1992 - The advertising materials included in this series mainly consist of the actual advertisements. Little written information on specific advertising campaigns is included with the print, radio, and television advertisements. The promotional brochures do include some written information on the product the company is promoting.
Subseries 1: Print Advertisements, 1922-1989 - This subseries includes a range of types of advertisements. Some ads include printed ads in magazines and newspapers while many are proofs of advertisements that will go to print. Other types of advertisements include banners, decals, and railstrips which appear to be point of purchase displays for vending machines, ice cream stands, ice cream carts or trucks, or even the grocery store. Although the scrapbooks mainly consist of advertisements, they also include packaging, machinery, and marketing information.
Subseries 2: Radio Advertisements, 1930-1985 - This small subseries includes scripts for radio announcements and advertisements. The sheet music for the radio jingles, "I Scream, You Scream, We All Scream for Ice Cream," "Oh My, Eskimo Pie,"and "New Eskimo Pie on a Stick" are included here.
Subseries 3: Television Advertisements, 1948-1992 - The television materials included consist of story boards, scripts for television advertisements with corresponding still photographs, television commercials, and little written information on television campaigns.
Subseries 4: Promotional Brochures, 1951-1964 - This subseries consists of materials pertaining to new products or special occasion items (e.g. Christmas, Halloween). The brochures were probably sent to vendors, distributors and /or ice cream producers. The brochures intended for vendors and distributors contain samples of advertising, packaging, point of purchase displays and in some instances, inexpensive premiums to be awarded to consumers. The brochures for ice cream manufacturers contain some of the same material as well as the formula and directions for the product, a list of equipment required, and a price list for rental of that equipment. The material, contained in the boxes has been organized alphabetically where possible.
Series 8: MISCELLANEOUS, 1921-1979 - This series includes materials found in the collection with no apparent relation to Christian Nelson or Eskimo Pie. Random materials that display the Eskimo Pie logo are also included.
Provenance
The Eskimo Pie collection was donated on May 10, 1996, to the National Museum of American History, Archives Center.
Related Collections
The Division of Cultural History has several objects which are also part of the Eskimo Pie Collection.
The Archives Center holds many collections related to ice cream and the food industry including:
#58 Warshaw Collection of Business Americana (see Dairy)
#78 Faris and Yamna Naff Arab-American Collection, 1880-1995 (see waffle cone machine)
#112 Famous Amos Collection, 1979-1983
#300 Sam DeVincent Collection of Illustrated American Sheet Music, 1790-1980 (see Ice Cream)
The records provide rich research material on many stories, including: American invention, enterprise, and entrepreneurship; the origins and growth of franchising; popular food and culture; the development of roadside architecture; radio and television advertising; product marketing and promotion; regional studies; and gender issues such as beauty pageants and the role of women in the labor force.
Arrangement:
Divided into 14 series.
Series 1: Tom Carvel Personal Information, 1917-1986
Series 2: Financial Information, 1969-1985
Series 3: Educational Information for Franchise Owners, 1954-1984
Series 4: Employee Magazines, 1956-1989
Series 5: Publicity Materials, 1950-1985
Series 6: Advertising Campaign Materials, 1957-1989
Series 7: Promotional Items, 1951-1986
Series 8: Store and Equipment Records, 1945-1973
Series 9: Vending Vehicles, 1958-1961
Series 10: Store Address Information, 1980s
Series 11: Photographs, 1936-1985
Series 12: Dugan's Bakery and Hubie Burger Records, 1950s-1960s
Series 13: Non-Carvel Franchise Information, 1950-1988
Series 14: Audiovisual Materials, 1972-1995
Biographical / Historical:
The Carvel Corporation is an American success story. Through hard work and timely luck, its founder and president, Tom Carvel, turned an ice cream trailer with a flat tire into an international chain of ice cream supermarkets with over 800 outlets in 17 states and six countries.
Thomas Andreas Carvelas was born July 14, 1906, in Athanassos, Greece. He was one of seven children of Andreas and Christina Karvelas. The family emigrated from Greece to Danbury, Connecticut, in 1910, and finally settled in New York City in 1920. His father was a chemist and wine specialist who helped support his family during prohibition by restoring fermented wine for Greek restaurant owners.
Tom's father sparked Tom's interest in how things worked. Tom tried his hand as a salesman of radios and automobiles, a test driver for Studebaker, and an auto mechanic. At the age of twenty-six, he was diagnosed with tuberculosis, and his doctors advised him to move out of the city. Consequently, he borrowed $1,000 from relatives and built a frozen custard trailer. His first break came on Memorial Day, 1934, when he borrowed $20 from Agnes Stewart (his future wife), bought a trailer load of custard, and set out to sell it to vacationers in Westchester County, New York. Tom Carvel suffered a minor setback when his trailer had a flat tire in Hartsdale, New York. But luck was on his side: there was a pottery shop across the street and Pop Quinlan, the potter, allowed him to use his electricity so the custard would not melt.
Tom Carvel kept his trailer on the pottery shop's lot and in his first year grossed $3,500. The following year, realizing that a permanent location could be profitable, he leased the shop for $100. In 1937, he borrowed more money and converted the trailer into a frozen custard stand, complete with a second-hand freezer which enabled him to make his own custard. By 1939, he was grossing $6,000 a year and was well on his way toward becoming the "Ice Cream King of the East."
In the early 1940s Agnes, his wife, operated the Hartsdale store while Carvel traveled the carnival circuits selling his frozen custard from a mobile vending vehicle. Next, he managed the ice cream cone stands at the post exchange at Fort Bragg, North Carolina.
Tom Carvel soon developed his own freezer model, known as a batch freezer, (the first of his sixteen U.S. Patent Registrations). In 1947, he sold 71 freezers at $2,900 each under the trade name "Custard King." When some owners defaulted on their payments Carvel discovered that many of the freezer owners were careless in their selection of locations, disregarded cleanliness, and worked sporadically, while others were selling additional, non-ice cream food items. Determined to make the venture succeed, he decided to oversee the operations of the freezer owners directly. He claimed to have developed the franchise concept in 1949 as a result of this strategy.
Franchise business opportunities allow investors to enter retailing without prior business experience and to own their own business. In the case of the Carvel Corporation, potential franchise owners bought equipment and supplies from the Corporation and used the Carvel name. In return, Carvel helped them select a location, taught them how to run an ice cream business, and organized resources for advertising and promotions. Franchise owners were taught the retail ice cream business at the Carvel College, an 18-day series of courses for potential store owners. There they learned about public relations, mechanics of the ice cream machines, local advertising, and making and freezing all kinds of ice cream cakes. They also received The Shopper's Road, an in-house magazine advising them on topics ranging from travel tips, to cooking, to marketing their products to the community.
From the beginning, the Carvel Dairy Freeze Chain stressed cleanliness, hard work, and a quality, all-natural product. Tom Carvel aimed to create a family-type environment for his franchise owners. He wanted people who would work hard and were eager to learn about the retail ice cream business in order to make their individual rags to riches stories come true. A unique and important element to the Carvel story was Tom Carvel's personal involvement --from an early date--in creating commercials for the stores. His was one of the first instances in which a Chief Executive Officer of a major corporation was featured in his company's commercials. In 1955, Carvel began making his own radio commercials. As the story goes, one day while driving in New York City he heard a commercial for a new Carvel store, but the announcer did not state its exact location. Convinced he could do a better job, he drove to the radio station and re-did the commercial himself. After this incident he started doing his own commercials on a full-time basis. Tom Carvel created a distinct style with his garbled delivery and "say it once" philosophy, with the idea that you have to grab people's attention and then let the product speak for itself. Carvel eventually set up an in-house production studio and advertising agency at the Carvel Inn, where most of his television and radio commercials were made.
The use of premiums was an essential marketing component for Carvel. In 1936, he introduced the "Buy One Get One Free" offer. He also used comic books, ice cream eating contests, and a beauty pageant for young girls, called the "Little Miss Half Pint Contest," to attract children. The Carvel Corporation also participated as a corporate sponsor for events like Walt Disney's "Great Ice Odyssey," "Carvel Night at the Rodeo," and numerous promotional tie-ins with the New York Yankees baseball team. Of all the sales promotions, it was the specialty products which brought the greatest notoriety to the Carvel name. From the "Flying Saucer" ice cream sandwich and the "Papapalooza" to the holiday and character ice cream cakes, customers could always count on a quality product. There were ice cream cakes for every holiday, including a "Flower Basket" for Mother's Day, "Fudgie the Whale" for Father's Day, "Tom the Turkey" for Thanksgiving, and a "Snow Man" for Christmas. Eventually, a customer could special order an ice cream cake for any occasion, using a toll-free phone number.
The Carvel Corporation enjoyed continued success and consistent expansion marked by Tom Carvel's innovative concepts in marketing. For example, in 1956, the Hartsdale location was converted into the first ice cream supermarket. Each store remained a full-service ice cream parlor, but now had the added convenience of self-serve freezers where customers could select ice cream specialty products such as Flying Saucers, Carvelogs, Brown Bonnets, and ice cream cakes.
In 1962, the Corporation experienced a crisis. Many franchise owners had begun buying cheaper ingredients and the chain was reduced to 175 stores. This potentially meant financial catastrophe for Tom Carvel and the company because it derived its profits from selling equipment and special mixes to store owners. Carvel insisted the franchise owners had obligations to the company and its customers to provide a uniform, quality product. Furthermore, the franchise owners had agreed to purchase raw ingredients from Carvel. When the Corporation tried to enforce this agreement, the Federal Trade Commission charged Carvel with allegations of coercion and restraint of trade. In 1964, after presenting his side before the full Federal Trade Commission and the Supreme Court, he won his case.
In 1967, Carvel purchased the Westchester Town House Motel, in Yonkers, New York, and changed the name to the Carvel Inn. It was both a full-service motel and the Executive Offices of the Carvel Corporation. It was here that store owners gathered for the annual educational seminars which reinforced the ideas taught by the Carvel College.
In the 1950s Tom Carvel had also developed the franchise concept for a hamburger chain called Hubie Burger. It served hamburgers, french fries, chicken, and waffles. It is ironic that Carvel began the Hubie Burger chain because at a dairy convention in 1956, Ray Kroc asked him if he was interested in setting up the McDonald's chain. It is said that at this time Carvel felt ice cream and hamburgers did not compliment each other and declined the offer. However, Carvel claimed to have given McDonald's permission to use the basic text of his franchise contract and his building design as models. Later, Carvel acquired Dugan's Bakery. However, neither Dugan's nor Hubie Burger was very successful.
Through his strong work ethic, creativity, and perseverance, Tom Carvel built up his ice cream chain and turned his dreams into reality. His achievements were recognized in 1957 when he was awarded the Horatio Alger Award. Carvel credited his success to his father and his wife, Agnes. His father sparked his interest in chemistry and engineering and his wife worked in the first Carvel store, which allowed him time to develop the Carvel Corporation Franchise System. In 1989, he sold the Carvel Corporation to an international investment company, Investcorp, for more than 80 million dollars. Tom Carvel died in 1990. The Carvel name lives on through the Carvel Ice Cream Bakery Company, operated by Investcorp.
Related Materials:
The Archives Center holds many collections related to ice cream and the food industry including:
Warshaw Collection of Business Americana, Series: Diary (AC0060)
Faris and Yamna Naff Arab-American Collection (see waffle cone machine) (AC0078)
Famous Amos Collection (AC0112)
Sam DeVincent Collection of Ilustrated American Sheet Music (see Ice Cream) (AC0300)
Good Humor Collection (AC0451)
Eskimo Pie Collection (AC0553)
Krispy Kreme Donut Corporation Records (AC0594)
Provenance:
These records were generously donated to the Archives Center by Mrs. Agnes Carvel, in May 1993.
Restrictions:
Collection is open for research.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Reproduction of some materials restricted due to copyright or trademark.
Archives Center cost-recovery and use fees may apply when requesting reproductions.
This collection is the result of a year-long study of Campbell's "Red and White" Soups advertising and marketing, supported in part by a grant from the Campbell Soup Company. Thirty-one oral history interviews were conducted by Dr. Barbara Griffith for the project, and a variety of related materials were gathered by the Center for Advertising History staff. The objective of the project was to create a collection that provides documentation, in print and media, of the history and development of advertising for Campbell's Red and White Soups in the decades following World War II.
Scope and Contents:
This collection is the result of a year-long study of Campbell's "Red and White" Soups advertising and marketing campaigns. Oral histories conducted by Smithsonian Institution staff with individuals involved with the Campbell's Soup Corporation and its advertising campaigns form the core of the collection. Also included are clippings and background research files, abstracts of the oral history interviews, television and radio commercials, company publications, and promotional items and packaging.
A 2015 addition to the collection was born digital and consists of materials from the groundbreaking "Real Life Campaign" which featured inter-racial couples as well as a gay couple. These materials include storyboards, scripts, consumer feedback both postive and negative, focus group material, labels, commercials, supporting documentation on the development and implementation of the campaign. These materials are available in the Smithsonian Institution DIgital Asset Management System (DAMS).
Arrangement:
Collection is organized into nine series.
Series 1, Research Files, 1939-1989
Series 2, Interviewee Files, 1989-1990
Series 3, Oral Histories, 1989-1990
Series 4, Television Commercials, 1957-1990
Series 5, Radio Commercials, 1966-1975
Series 6, Print Advertisements, 1905-1989
Series 7, Promotional Items and Packaging, 1968-1991
Series 8, Company Publications, 1983-1988
Series 9, Real Life Campaign, 2015
Biographical / Historical:
The Campbell Soup Company's "Red and White" advertising campaigns are remarkable not only for their longevity, but for the consistency of the advertising message. Since 1898, when the red and white label was incorporated, the packaging and the message have changed only marginally. When Andy Warhol painted his pop art Campbell Soup cans in the early 1960s, he presented an immediately recognizable image with which all of America could identify.
Campbell's condensed soups, first marketed in 1897, have become a staple of the 20th century American household. The Joseph Campbell Preserve Company, a canning concern which grew out of an 1869 business partnership between a fruit merchant and an ice box manufacturer, was well established by the time Arthur Dorrance succeeded Joseph Campbell as president. When Dorrance's nephew, John T. Dorrance, a chemical engineer and organic chemist trained at MIT, developed a process for making condensed soup, the company was faced with the task of successfully marketing the revolutionary new convenience food. The soup won a gold medallion for excellence at the 1900 Paris Exposition, and the company incorporated the image on its labels and in its advertising.
In the developing consumer culture which began to grow during and after the industrial revolution, women were identified as the primary consumers of household goods and services. Homemakers have been the target of Campbell' s Red & White advertising since its inception, and this focus is reflected both in the content and the placement of the advertising. The identification of a predominately female consumer market was also influential in the creation of a widely recognized and long-lived symbol, the Campbell Kids, created in 1904 by Grace Gebbie Drayton. The Kids were meant to convey a sense of wholesomeness and physical well-being associated with eating Campbell Soups.
The advertising of the early teens and twenties most often consisted of black and white or two-color depictions of the can and the product, often accompanied by images of the rosy-cheeked Kids. A large portion of the ad was devoted to narrative description of the soups' healthful properties, suggesting that"Campbell Soups Give Vigor and Strength", "I Couldn't Keep House Without Campbell's Tomato Soup", and "If Every Woman Realized How Much Her Husband Likes Soup - She Would Serve It Everyday".
The advertising of the 1930s tended towards idealized illustrations of women and children; the Kids were less visible during the 1930s and 1940s, deemed too "chucklesome" for the Depression years, and too old-fashioned
during World War II. Ad copy continued its appeal to women's sense of responsibility for the well-being of husbands and children, with slogans suggesting "It Takes a Bright and Sparkling Flavor to Attract Children", "When a Man Says It's Good, It's Good", and "Wouldn 't I Be Silly to make It Myself?"
Campbell broadened the scope of its advertising by sponsoring radio programming, beginning in 1931 with the "Hollywood Hotel" program on CBS. Later radio sponsorships included the George Burns and Gracie Allen show, "Campbell Playhouse", "Amos and Andy", the "Jack Carson Show", "Hildegarde", and "Edward R. Murrow with the News", among others . The jingle "M'm M'm Good" was first aired during the radio broadcasts of this period, and was reinforced in the print advertising. Beginning in 1950, Campbell began to sponsor television shows, continuing its focus on women and children as primary purchasers and consumers of suop. Most notable among these sponsorships were "The Donna Reed Show" and "Lassie" . Print ads of the 1950s featuring Johnny Carson, Donna Reed, and the cast of the Lassie Show helped to reinforce the Company's sponsorship of these popular shows.
In 1954, Campbell moved its $10 million dollar condensed soup account from Ward Wheelock Company, the Philadelphia firm which had handled the account since 1910, to Batten, Barton, Durstine & Osborn (BBDO) of New York. By 1966, BBDO account executives urged "selective but not major" use of the Kids and the slogan "M'm M'm Good", choosing instead to employ advertising that stressed health claims and fitness issues rather than the wholesome, comforting associations of hot soup. The Kids became more athletic and less rotund.
Reflecting changes in American social and family structures Campbell' s advertising, began to depict the working wife and the busy schedules of a family "on the go". A 1960 ad declares "Good Things Begin to Happen When Working Girls Have Soup and Crackers" or "Somethings Happened to Supper". In light of the women 's movement, which was gaining momentum during this period, Campbell advertising remained decidedly traditional. In the 1970s, "Give Me the Campbell Life" recognized women 's expanded roles as working mothers, but "They Always Eat Better When You Remember the Soup" and "Get Your Campbells Worth" reveal a more conservative pitch to homemakers responsibilities. Other societal changes are suggested in the advertising, for instance, the "Soup is Good Food" and "Health Insurance" campaigns of the 1980s reflected a new emphasis on health and fitness.
In 1981 the company transferred the soup account to another New York firm, Backer Spielvogel and Bates . The 1980s saw a renewed emphasis on network primetime, strategic radio advertising (where ads for hot soup are tagged to reports of rain or snow, or are aired just before the noon lunch hour), and regional marketing of specialized products or packaging designed to appeal to local tastes and changing nutritional standards. These new products have engendered some changes in Campbell' s time-honored red and white label to emphasize the "new and improved" characteristics of the products
In 2015, Campbells developed the "Real Life" campaign. This campaign was groundbreaking in many ways. The commercials portrayed not only inter-racial couples but also a gay couple, two fathers and their son. This campaign had a product tie in with the 2015 release of the new installment in the motion picture franchise, Star Wars. The campaign received commentary from the public both pro and con. Campbells continued the campaign without revising or pulling any of its commercials. While running in selected markets, the campaign made nationwide headlines and pointed up the continuing change in the make-up of the American family.
Provenance:
Paul N. Mulcahy, V.P. Marketing Services, Campbell Soup Company,1990. Made for the National Museum of American History, Smithsonian Institution by the Center for Advertising History, 1989-1990.
Restrictions:
Collection is open for research.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Gloves must be worn when handling unprotected photographs and negatives.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning intellectual property rights. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Brannock Device Company Records, dates, Archives Center, National Museum of American History, Smithsonian Institution.
Like the Advertising and Marketing Records series in the Brannock Device Company subgroup, this series contains records from the company which contributed toward the goal of making a sale. Correspondence documents the arrangements made by the company to create and post advertisements. Ideas and copy display early moments of this process. Materials printed with the Park-Brannock logo represent what the customers were given to remember their purchases: stationery, receipts, gift cards, bags, and box designs. Printed advertisements, radio advertisements, and form letters brought customers into the store. The Junior League of Syracuse file documents photographic advertising campaigns surrounding this group of fresh-faced young girls, as well as Park-Brannock's efforts to edge into this consumer group with advertisements in their newsletter. Correspondence with and reports from Alice Buxton have to do with her visits with doctors and nurses to promote the store along with evaluations of the company's advertising campaigns. The "Betsey Budget" lawsuit resulted from Park-Brannock copyrighting a commissioned advertising booklet which the artist would rather have had in her own name.
Collection Restrictions:
This collection is open for research use.
Gloves must be worn when handling unprotected photographs and negatives.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning intellectual property rights. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Brannock Device Company Records, dates, Archives Center, National Museum of American History, Smithsonian Institution.
The materials in the Marlboro Collection are made available for research according to the established practices and principles of the Archives Center and the National Museum of American History.
Collection Rights:
In making these materials available for research, the Smithsonian Institution makes no claims of ownership of the copyrights or related rights. All responsibility for infringement of legal authorship rights and or copyright is assumed by the user of the materials. In addition, the user indemnifies and holds harmless the Smithsonian Institution for all claims, actions, damages, judgments and expenses that may result from use of these materials.
In addition, the donor has imposed restrictions on reproduction or broadcast of collection materials by third parties. The reproduction or broadcast of print ads and television commercials in the collection is subject to prior written consent from: Nancy Lund, Vice President, Marketing,Philip Morris International, 120 Park Avenue, New York, NY 10017;(917) 663-5000
Collection Citation:
Marlboro Oral History and Documentation Project, Archives Center, National Museum of American History
Aladdin Industries, Inc. (Nashville, Tenn.). Search this
Container:
Box 61, Folder 20
Type:
Archival materials
Date:
1985
Collection Restrictions:
Collection is open for research but the oversize map folders are stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Aladdin Industries, Inc. Records, 1889-2002, Archives Center, National Museum of American History.
Advertising on convertible for Hoppy Adams of WANN radio station in Annapolis, Maryland; a Ferris wheel is seen in the background. Photographer unidentified.
Biographical / Historical:
During the 50s and early 60s, Anne Arundel County was still segregated and the beaches for [African Americans] were Carr's Beach and Sparrow's Beach in Annapolis, and the beach communities of Highland Beach, Arundel-On-The-Bay, and Columbia Beach in the county. Carr's Beach was the most famous of the beaches and was affectionately called "The Beach". During the week "The Beach" was a place for day camp, church picnics, etc. But on the week-ends especially Sunday afternoons, Carr's Beach had the unique distinction of being a major stop on the "Chitlin Circuit". (Quoted from http://www.carrsbeach.com/.)
Local Numbers:
03080027.tif (AC Scan)
AC0800-0000005.tif (AC Scan No., duplicate)
General:
In Box 13.
Restrictions:
Unrestricted research use on site by appointment. Photographs must be handled with cotton gloves unless protected by sleeves.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
The collection consists largely of print ads, signs, decals and other marketing and promotional materials. Virtually all of the print ads are for the U.S. audience. The period since World War II is more fully documented than the earlier period, although there are some advertisements from the 1930s and earlier. Most of the material documents Pepsi's U.S. advertising, although there are a number of signs and three-dimensional promotional items created for the international market. The international materials date primarily to the late 1960s and 1970s. The materials have been arranged in two series.
Series 1 contains print ads.
Series 2 contains three-dimensional marketing and promotional materials, such as signs, bottle carriers, and thermometers. Within each series, materials have been grouped by size, and there under chronologically (when dates are available).
Related Materials:
This collection complements the "Pepsi Generation" Oral History and Documentation Collection, #111, which includes 29 oral history interviews with people involved with the creation of Pepsi-Cola advertising, television advertisements and related materials.
Researchers interested in the advertising of Pepsi and other soft drinks and beverages should see the Pepsi Generation Oral History Collection (AC #111). The Warshaw Collection of Business Americana (AC #60) contains soft-drink advertising under the subject heading "Beverages." The N. W. Ayer Advertising Agency Collection (AC #59) is arranged by client name and includes beverage advertising for several clients, including Hires and Canada Dry.
Provenance:
Collection donated by Pepsi-Cola USA, May 4, 1984.
Restrictions:
Collection is open for research.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
The Pepsi-Cola Advertising Collection, Archives Center, National Museum of American History
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.
Collection Citation:
Lee Ya-Ching Papers, NASM.2008.0009, National Air and Space Museum, Smithsonian Institution.
WANN Radio Station (Annapolis, Maryland) Search this
Type:
Archival materials
Date:
undated
1947 - 1999
Scope and Contents:
Materials provide valuable insight into the African American community as a consumer market. These materials include market analysis, research studies and reports and magazine articles defining this group as a viable targeted audience beginning in the 1950s and 1960s. WANN Radio used this data to generate revenue from recommended businesses advertising their services and products on the air. There is also information relating to WANN Radio's advertising rates for these businesses and sales reports. In addition, there are some WANN Radio merchandising and in house advertisements. The materials are arranged in chronological order.
Collection Restrictions:
Collection is open for research. Researchers must use reference copies of audiovisual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
WANN Radio Station Records, Archives Center, National Museum of American History.
Sponsor:
Processing and encoding funded by a grant from the Council on Library and Information Resources.
