novdec1967

CA Magazine THE JOURNAL OF THE COMMUNICATION ARTS Richard S. Coyne, editor and publisher Richard Teater, managing editor Byron Ferris, contributing editor Vance Jonson, contributing editor Judy Graham, assistant to the publisher Nancy Siemers, circulation Susan Hobson, production Jay McKendry, typographer Bob Bickford, associate typographer P.O. Box 10300,3437 Alma Plaza, Palo Alto, California 94303 , Phone (415) 326-6040 VOLUME 9, NUMBER 6,1967

CA-67 Awards of Merit

Books

119

Consumer Magazine advertising .

17

Editorial

123

Newspaper advertising

31

Company publications

129

Trade advertising

39

Illustration

132

Television commercials

49

Photography

140

Posters

71

Greeting cards

145

Record jackets

77

Miscellaneous

147

Packaging

80

Index to art directors & designers

151

Trademarks

83

Index to writers

152

Letterheads

84

Index to illustrators & photographers 156

Self-promotion

88

Index to TV producers, etc.

159

Annual reports

94

Index to agencies & clients

160

Institutional brochures

99

Product/ service brochures

106

Catalogs

On the board

4

Club news

6

113

Books

12

Folders/ announcements

115

Materials, available literature

167

Sales promotion kits

118

Index to advertisers

168

CA Magazine is published bi-monthly by Coyne & Blanchard, Inc., 3437 Alma Plaza, Palo Alto, California 94303 .

Subscription rates : U.S.A. and possessions, one year - $14, two years-$25 j foreign, one year-$15, two years $27. Single issues : $2 each, except for CA Annual (No . 5) at $7 and CA Merit"Award issue (No. 6) at $4.

Copyright 1967 by Coyne & Blanchard, Inc. Trademark registered . Second-class postage paid at Palo Alto, Calif .

Send change of address notification at least 30 days prior to effective date, includes both new and old address .

No responsibil ity will be assumed for unsolicited editorial contributions. Manuscripts or other material to be returned should be accompanied by self-addressed, stamped envelope .

On the board

PAR T TWO of the 8th annual CA exhibition. This completes our publication of the over five hundred outstanding entries that were selected by the CA-67 jury.

We believe that these award-winning pieces truly reflect the rapidly rising quality of advertising communication.

Almost a fifth of the selections were television commercials. They are great. Not only are they effective in delivering advertising messages, they are great film watching. Someone ought to consider making up a reel of these for theater entertainment. One can't help being conscious of their major role in development of creative film communication. This is film ,making at its very bestpioneering communication techniques and educating the public to understand and accept the communication potential that the medium has to offer. Already their effect on "non-commercial" films is clearly evident.

In producing this second part of the exhibition, we again shot the award-winning pieces in both line and halftone wherever possible to achieve maximum clarity of reproduction. This time, instead of defining the edges of the piece with the pale gray background ("white on white" as some of our readers referred to it), we reversed the technique and printed the page around the pieces.

The technical method of accomplishing this was precisely a reversal. The same type of film flat that was used in the last issue as a mask for the stripped halftones and to burn the pale gray areas in a negative pre-sensitized plate was used to burn the clear areas out of positive plates.

Again we'd like to express our appreciation for the hard work and conscientious performance of the CA-67 jury: Gerry Andreozzi, Chris Arvetis, Ted Bethune, Bob Dion, Vance Jonson, Herb Lubalin and Hal Riney.

A

SHORT TIME ago I received a personal letter from the Commissioner of Internal Revenue. That's what it said it was. This letter was printed on the cover of a 24page booklet abput the Federal Income Tax. In my personal letter, the Commissioner told me that he and his colleagues process 76 million income tax returns a year. That would suggest a probability that 75,999,999 other people also read this personal letter.

This isn't my concept of "personaC' (Or Mr. Webster's either.) It's frightening to evaluate our government's possible motives for redefining the word. I happen to

4

feel very strongly about keeping "personal" just the way it was.

H I saw an ad or brochure with that incredible headline, I know exactly where I would file it. Fortunately, or unfortunately, this one had the full weight of the government behind it and protesting is not that simple.

I did circular-file it; but that didn't prove much. My accountant didn't want it. Any self-respecting accountant only uses forms he makes on an office copier. Perhaps the Commisssioner would welcome a personal letter suggesting how to cut down on the government printing bill.

THE BIG NEW phrase of the past year is "credibility gap:' Credibility is an interesting word. It is not synonymous with truthfulness. Credible only means capable of being believed. That covers a lot of ground-clear up to not getting caught lying. Also, there has been plenty of instances where the truth was not believable.

Now that the credibility gap has been discovered, it is not likely to be reserved for politics. Precedent suggests that credibility gaps will shortly be turning up everywhere.

We may even be blessed with an epidemic of public credibility gap hunting that could reverse the present trend toward mass-credulity. This might even force some necessary re-evaluations to occur before it is too late to do anything about the consequences.

In own field, "credibility gap" will be a most useful phrase for putting a bad ad down. Credibility is the essence of effective advertising, which is just another way of stating the often repeated (and often ignored) axiom: "To be good, advertising has got to be believable:' When I see a commercial that is trying to sell me a cigarette because it's got " balanced flavor" and the video shows a pack sliding back and forth on a seesaw, I can't believe it. I can't even figure out what they were hoping I would believe. "Credibility gap!"

E RRA TA: In the article titled "Liberated Sculpture" (Vol. 9, No.4) describing the

Sculpture of the Sixties exhibition, we misinterpreted the catalog and indicated that the exhibition opened in New York. This was in error. The exhibition was organized by Maurice Tuch-

Gilbert Bond gets into the act on The Smothers Brothers Comedy Hour.

Take the ability to sing and dance, wrap it up in a fresh, irreverent comedy style, and then multiply by two. That 's the winning formula for the bright new television show , The Smothers Brothers Comedy Hour. And for the same flair and showmanship offstage as well as on , they booked Gilbert Bond for their business papers. Delivering straight lines or gags, in color or black and white, Gilbert always gets a good response. Next time you hear from The Smothers Brothers Comedy Hour, take another look at the show biz stationery.

It's not just any Tom, Dick or Gilbert.

GILBERT PFlPERS the first family of line quality cotton fibre business papers

GILBERT PAPER COMPANY I MENASHA, WISCONSIN

ON THE BOARD (continued) man, Curator of Modern Art at the Los Angeles County Museum of Art. It was originally exhibited in Los Angeles and a condensed version was later shown at the Philadelphia Museum of Art. Also, the photographs of Len Lye's "Flip and 2 Twisters" (page 68) are shown upside down.

In publishing credits for the winning entries in the CA exhibition, we have to rely on the information supplied to us. Unfortunately, errors occasionally occur.

Often we can catch misspellings, but it is extremely difficult to do anything about omitted, inaccurate or disputed credits. If we are notified promptly, we will check out any claims and issue corrected certificates. Also, we will reverse our originally stated policy and we will publish errata notes in future issues.

If it only saves your life once, it's a bargain.

For the Uniroyal ad (Vol. 9, No.5 , page 40) the credits should have read: Alan Frank, art director/ designer; Evan Stark, copywriter; Phil Marco , photographer.

Club News SEATTLE

In art supply stores everywhere. If you're still using razor blades, cut out. X-acto has knives and 28 interchangeable blades perfect for everything from cropping artwork to preparing mechanicals: Shown: X-acto #1 knife, 65¢

o

X-ACTO PRECISION TOOLS, INC. 48-41 Van Dam St., Long Island City, New York 11101, Dept. 2

6

J ames Richardson of James Richardson and Associates has been elected president of the Seattle Art Directors' Society, Inc. Other new officers include: Joseph Ireland, Harry Bonath and Associates, vice-president; Robert Gropp, Gropp Advertising Agency, secretary; and Max Hayslette, art director of Berg Company, treasurer. The 1968 new board of trustees members include: Tad Wada, Graphic Studios; O. Kern Devin, Jr. , Devin & Watson, Inc.; Dick Martin, graphic designer for The Boeing Company; honorary member David Turrill.

when you can't send a

man ...

send

COLORED NEKOOSA OFFSET the paper that satisfies the need to be understood Across a desk a man's personality comes through. Gesture, expression, inflection and tone all help him to hammer understanding home.

But when there's no man available and you're wholly dependent on paper, best put your trust in the paper that's made to reflect you best .. . Colored NEKOOSA Offset. Twelve talkative colors and white, in a range of finishes, to help you to be understood ... the need that's basic in business.

NEKOOSA ~&~~~@ ®

Sure. S1!> .. alolol"..""IarOllfAo,.I ..... ",. , 2!).14 I,,..

And 1l'II'·'WI.1h'lO'" okI III"no"" SOmtPlfQOl.dOn·'5OIf'(I11'IM1lt,lC11Ior • ...noIt Mlojll..... tnoneyll'ltl"ltlho"l,ouUlOuld 7OrWOUld)'OlH.u.<

bur." ...

lhene.ft4Io,. ...... 110"""'" ~lllobtiln.

~li'>In1OU_1d

no.,"

HirodllOort)ll1gr""'lJf

~t~;- :~~~~:§~ 'Vol. 9. \ lan Fr. ~ r; Phil tv .. ,

COLORED NEKOOSA OFFSET, the paper that speaks well of you, from these NEKOOSA merchants:

o Dallas, Texas Dallas, Texas Davenport, Iowa .

Dayton, Ohio . .. .

Decatur, Alabama .

Denver, Colorado Des Moines, Iowa Detroit, Michigan ..

Dubuque, Iowa .

Butler Paper Company . . . . . .. .. Century Papers, Inc .

The Peterson Paper Company Cordage of Dayton Nationwide Papers ... Butler Paper Company Butler Paper Company . Butler Paper Company ........ W ebe r Paper Company

E

Elmira, New York .

EI Paso, Texas .....

Evansville, Indiana

....... Horwitz Brothers Paper Co., Inc. . . . . Southwestern Mill Distributors, Inc. Butler Paper Company

F

Fargo, North D akota .

Fort \Vayne, Indiana .

Fort Worth, Texas .

Dacotah Paper Co. .. Butler Paper Company Butler Paper Company

G Galveston, Texas ..... .

Grand Rapids, Michigan

Century Papers, Inc. Nationwide Papers

H

Hackensack, New Jersey .

Harrisburg, Pen nsylvania Helena, Montana .

Holyoke, Massachusetts .

Houston, Texas Houston, Texas Huntington, West Virginia .

Lexington Paper Co., Inc. . . . . . . . . .. .. Penn Paper Company Ward Thompson Paper Company Plymouth Paper Company, Inc. Butler Paper Company . . .. Century Papers, Inc. Cordage of Huntington

Idaho Falls, Idaho ............ American Paper & Supply Company Indianapolis, Indiana Butler Paper Company Indianapolis, Indiana .. Nationwide Papers, Inc.

J Jackson, Michigan ..

Jackson, Mississippi ..

Jacksonville, Florida .

Jersey City, New Jersey .

. . . . . . Crown Paper & Bag Co. . ... Central Paper Company . . ... Jacksonville Paper Company .. Gotham ·Card & Paper Co., Inc.

L

Laredo, Texas . . . . . . . Century Papers, Inc. Berry Paper Company Lewiston, Maine . ........... . .

Lima, Ohio . . . . . . . . . . . . . . Cordage of Lima Little Rock, Arkansas . . ....... Arkansas Paper Company, Inc. Longview, Texas . . . . . . . . ........... Etex Paper Company Los Angeles, California . . ......... Butler Paper Company Louisville, Kentucky . . . . . . . . . . .

Nationwide Papers Incorporated

. . Butler Paper Company ............... Cordage of Knoxville

· ..... The Macon Paper Company Madison, Wisconsin .. . ......... Butler Paper Company McAllen, Texas .... · ......... Century Papers, Inc. Memphis, Tennessee · ..... Memphis Paper Company Miami, Florida . . .. . · ... . .. Everglade Paper Company Milwaukee, Wisconsin . . . . .. . Butler Paper Company Milwaukee, Wisconsin ... Nationwide Papers Incorporated Milwaukee, Wisconsin .. . . . .. Universal Paper Corporation Minneapolis, Minnesota ......... Butler Paper Company Minneapolis, Minnesota The Paper Supply Co., Inc. Mobile, Alabama ........... . · ......... Partin Paper Company Monroe, Louisiana .. .

Louisiana Paper Company, Ltd. Montgomery, Alabama Nationwide Papers, Inc.

N

B Baltimore, Maryland .

C Canton, Ohio . . . . . .

Herrington Paper Company Cedar Rapids, Iowa . . . . . .

Butler Paper Company Charlotte, North Carolina .

Charlotte Paper Company Chattanooga, Tennessee ..... Nationwide Papers Chicago, Illinois . .....

Butler Paper Company Chicago, Illinois Forest Atwood Paper Company Chicago, Illinois . . .

Midland Paper Company Chicago, Illinois .

Murnane Paper Company Chicago, Illinois . ........ ...

Whitaker Paper Company Cincinnati, Ohio . .' Cordage of Cincinnati Cleveland, Ohio . . . . . . . . . . .. .. Brewer-Chilcote Paper Co. Columbia, South Carolina .. Epes-Fitzgerald Carolina Paper Co., Inc. Columbus, Georgia Nationwide Papers, Inc. Columbus, Ohio .....

Cordage of Columbus Corpus Christi, Texas .

Century Papers, Inc. Cumberland, Maryland Tri State Paper Company

Kansas City, Missouri Knoxville, Tennessee

M Macon, Georgia ...

A Albuquerque, New Mexico . . . . . . .. Butler Paper Company Alexandria, Louisiana . . Louisiana Paper Company, Ltd. Amarillo, Texas . . . . . .... . .... Kerr Paper Company Appleton, Wisconsin . . . . . . . . . . . .

Universal Paper Corporation Atlanta, Georgia .

Howard Paper Company Atlanta, Georgia Nationwide Papers, Inc. . . The Barton, Duer & Koch Paper Company Baltimore, Maryland ................ The Paper Supply Company Baton Rouge, Louisiana ... Louisiana Paper Co. of Baton Rouge, Inc. Battle Creek, Michigan .

Crown-Cortright Paper Co., Viv. Beaumont, Texas . . .. ..

Century Papers, Inc. Bethlehem, Pennsylvania . . . . . . . . . . . Bethlehem Paper Billings, Montana . . . .. .

Yellowstone Paper Company Binghamton, New York .

Binghamton Paper Co., Inc. Birmingham, Alabama Jefferson Paper Company Birmingham, Alabama Nationwide Papers, Inc. Boston, Massachusetts . .

D . F. Munroe Co. Boston, Massachusetts ..... Saxon Paper Corp. of New England, Inc. Bridgeport, Connecticut . . . Equity Paper Company Buffalo, New York . ...........

D. /. Mead & SOIlS, Inc. Burlington, Vermont Vermont Paper Corporation Butte, Montana . . ..... Ward Thompson Paper Company

K

Nashville, Tennessee . . . . . . . . . . . . . ........ Nationwide Papers Newark, New Jersey . . . . . . .............. The Paper Mart, Inc. New Orleans, Louisiana . . ....... Butler Paper Company, Inc. New Orleans, Louisiana ... The D and W Paper Company, Inc. New York, New York Bishop Paper Company, Inc. New York, New York . . . ........ Congress Paper Corp.

New York, New York .

Marquardt & Company, Inc. New York, New York .......... Saxon Paper Corporation New York, New York Walker Goulard Plehn Co. Norfolk, Virginia . . . . . . . . . .. Epes-Fitzgerald Paper Company North Haven, Connecticut .... The Chatfield Paper Company

o Ogden, Utah ................ American Paper & Supply Company Oklahoma City, Oklahoma .

Omalla, Nebraska .

Orlando, Florida

p

. . . . . . . . . . . . .. Oklahoma Paper Co. Field Paper Co. ... Central Paper Company

Peoria, Illinois . . . . . . . . . . . . . . .. Butler Paper Company Schwartz Paper Company Philadelphia, Pennsylvania .

Philadelphia, Pennsylvania Ulysses Paper Company ....

Butler Paper Company Phoenix, Arizona . . .. .

Pittsburgh, Pennsylvania The Central Ohio Paper Company Pittsburgh, Pennsylvania Paper Products Company, In c.

Portland, Oregon .................. West Coast Paper Company Providence, Rhode Island ....... Providence Paper COmpan!1

R Raleigh, North Carolina

.... Epes-Fitzgerald Paper Company, Inc. . ... . . The Paper Company Rapid City, South Dakota .

Reading, Pennsylvania .................... . .. M. J. Earl Co. Richmond, Virginia . . . . . Epes-Fitzgerald Paper Company, Inc. Rochester, New York . . .. Economy Paper Co., Inc.

S

St. Louis, Missouri .

Butler Paper Company St. Paul, Minnesota " . . . . . . . . . . . . . .

Anchor Paper Company Salt Lake City, Utah .

American Paper & Supply Company Century Papers, Inc. San Antonio, Texas . .

San Diego, California . ... . ....... Butler Paper Company San Francisco, California . ...... ... .. .. Btltler Paper Company Savannah, Georgia Chatham-Atlantic Paper Company .. Elm Paper Company Scranton, Pennsylvania Seattle, W ashington . . ..... West Coasl Paper Co. Sherman, Texas . . .................. Etex Paper Company Shreveport, Louisiana . . ..... Louisiana Paper Company, Ltd. Sioux Falls, South Dakota . ........ . ....... The Paper Company Spokane, Washington .

McGinnis Independent Paper Company . . . . . . . . . . . .. .. Spokane Papers, Inc. Spokane, Washington Syracuse, New York .

W. H . Smith Paper Corporation

T

Tacoma, Washington Tallahassee, Florida .

Tampa, Florida . .. . ..

Terre Haute, Indiana .

Texarkana, Texas Toledo, Ohio Tucson, Arizona .

Tulsa, Oklahoma Tyler, Texas .

· . Allied Paper Company, Inc. Capital Paper Company . Tampa Paper Company .. . . . . Butler Paper Company Louisiana Paper Company, Ltd. Butler Paper Company . ..... Arizona Paper Company Beene Paper Company . Etex Paper Co.

W Walla Walla, Washington . ....... . .. Snyder-Crecelius Paper Co. Washington, D. C. The Barton, Duer & Koch Paper Company Waterloo, Iowa . .. ..

Waterloo Paper Company Wheeling, West Virginia Clarke Paper Company Wichita, Kansas . ......... . . . . .

Butler Paper Company Williamsport, Pa. .

Susquehanna Paper & Sanitary Supply Corp.

y

York, Pennsylvania Youngstown, Ohio

· . . .. .. Colony Papers, Inc. The Hearn Paper Company

Vancouver, B. C .

CANADA Smith, Davidson & Lecky, Ltd.

Hato Rey, Puerto Rico .

New York, New York .

New York, New York .

EXPORT .... Paper Corporation of United States Champion Paper Corporation, S. A. Paper Corporation of United States

NEKOOSA · EDWARDS PAPER COM PANY, Port Edwards , Wisconsin MILLS at Port Edwards, Nekoosa and Stevens Point, Wisconsin; Potsdam, N ew York and Ashdown, Arkansas (Spring 1968).

SALES OFFICES: New York, 200 Park Avenue; Chicago, Prudential Plaza ; Minneapolis, 1401 S. 5th Street; Los Angeles, 4355 Fruitland Avenue; Atlanta, 1422 W. Peachtree, N. W.; Dallas, 9029 Directors Row. Litho in U.S.A. on Blue Nekoosa Offset, Vellum Finish, Basis 70

NEKOOSA [P&[P~~@ ®

767

The poster-the oldest form of mass media communication known to man-has recently been adopted and up-dated by the new underground (commonly known as the Hippies) to publicize its social events, its philosophy and its culture heroes. These posters are broadside ads which ask the viewer to dance, to drop out, to turn on or just to sit and meditate. They have been sold by the thousands, hung in galleries and collected by museums. Some, with their flashing colors and undulating letters, are powerful pieces of design work; others are notable for the wry humor which they express. Critics have called the westcoast poster revival a renaissance in the graphic arts, though it has also been referred to as an example of what is wrong with American youth. Either way, the fascinating and colorful "psychedelic" posters are making an important contribution to both modern American art and graphic communication.

The Great Poster Trip is a new book published by CA Maga zine, which offers an introduction to the artists , the organizations and the philosophy behind these posters. Over 200 posters are reproduced, 30 in color and many in full page size. Most of the posters shown may be ordered through the book.

The Great Poster Trip is edited by Cummings G. Walker and designed

by Richard D. Teater. The casebound and jacketed edition sells for $5.95 and the soft cover edition for $3.00.

OVER 200 POSTERS 30 IN COLOR

These Poster Companies . ..

Mouse Studios • Family Dog Productions • Bill Graham Presents • Neon Rose • The Print Mint • The Berkeley Bonaparte • EastTotem-West • Singing Mothers LSD Relief Society Studios • O_rblt Graphics • Musik • Pyxis Studios • The Joint Show • The Food • The Grateful Dead Fan Club • These Poster Artists . ..

Wes Wilson • Rick Griffin • Stanley Mouse • Victor Moscoso • Kelly • George Hunter • Mike Wood • Bob Seidemann • Joe McHugh • Robert Schneff • Greg Irons • Bob Fried • Peter Keymack • Jim Blashfield •

r-------------------------------------------------------CA MAGAZINE P.O. Box 10300, Palo Alto, Calif. 94303 Please send me THE GREAT POSTER TRIP , postage prepaid.

My check is enclosed with tfiis 6rder. _

Copies -

Soft Cover at $3.00

_

Copies ~ Hard Cover at $5.95

Name ________________________________________________ Address _____________________________________________ City __________

_ _ _ _ _ _ State _ _ _ _ _ Zip _ __

California residents add 5% sales tax

CLUB NEWS (continued)

P. P. OF A. William W Carrier, Jr., has been elected the new president of the Professional Photographers of America, Inc. He operates Allied Photographic Illustrators at 629 S. Cooper in Memphis, Tennessee, a firm specializing in commercial, architectural, and advertising photography.

During 1967, he served as vice-president of the Professional Photographers of America, Inc. He has been president of the Memphis Photographic Association; the Tennessee Professional Photographers Association; and vice-president of the Architectural Photographers Association.

Books THE PSYCHOLOGY OF CHILDREN'S ART Rhoda Kellogg with Scott O'Dell CRM-Random House Publication

$10.00

The spontaneity and whimsical simplicity of children's art has long held a fascination for the graphic designer.

There has been a number of examples of successful use in advertising communication, but to facsimilate the freeflowing creativity of a child is an elusive pursuit that can easily result in overstatement.

If for no other reason, then, The Psychology of Children's Art is of value to the designer because it attempts to explain the various processes the child goes through to develop his creative impulse. Also, it is both interesting and informative to retrace our own first steps into the world of creative art.

For the past 20 years, Rhoda Kellogg has taught and worked with thousands of children ranging in age from two to six. From a collection of more than a million examples of children's art, she has selected 250 pieces (all reproduced in color) with which she illustrates her fascinating conclusions.

All children, it seems, share the artistic impulse and will draw the same things in the same way at the same age whether they are raised in Korea or California. A house, for example, is almost always shown as a rectangle with a small square inside to indicate a window.

Further, all children begin to scribble at about the age of two, but even these seemingly aimless "drawings" demonstrate a primitive sense of figure-ground relationship. At the age of three, the child starts to outline his shapes, which soon thereafter develop into structured forms. At age four or five, the child reaches the pictorial stage where his lines and shapes become recognizable objects, obvious even to the adult viewer.

Mrs. Kellogg's many years of classroom experience make this book of special value to teachers. Most children, she states, lose interest in drawing after the first few years of school because they are not given the chance to freely develop their talents. Well-meaning teachers

12

A BAINBRIDGE BOARD DO ES NOT A LEONARDO MAKE

Even our fine illustration boards cannot make bad art work look good.

Nothing can do that. The real value of a Bainbridge Board is its ability to make good work look its best.

Our individually hung and dried boards, with their flawless surfaces and uniform flatness, assure you of an ideal showplace for all your creations.

Why risk having a lesser board spoil your efforts when Bainbridge offers perfection in the right surface for any job?

0 #80 Medium 0 #172 Smooth D#169 Rough

Famous for quality since 1868

BAINBRIDGE

o Illustration Boards 0 Mounting Boards 0 Bristol Boards 0 Show Card Boards o Fabric Boards 0 Keeton Kutter 0 At art supply-stores everywhere

CHARLES T. BAINBRIDGE'S SONS 20 Cumberland Street, Brooklyn, N.Y. 11205

J. B. Rundle Adv. Inc., Bainbridge Ad No. BO

13

BOOKS (continued)

who urge young children to draw life-like objects are not being helpful; " ... indeed their efforts may stifle the pride, the pleasure and the confidence so necessary to the growth of a creative spirit:' The Psychology of Children's Art is a well-written, humorous and highly informative book which clearly shows the author's great love for her subject. I n fact, it would seem to be the perfect illustration of Picasso's statement that " Adult~ should not teach children to draw ; they should learn from them:'

has swept across its plains. In a materially saturated society, where commodities flow off the assembly lines in wasteful profusion, yesterday's approach is no longer equal to the task of piercing public indifference. The product, once so sacrosanct, is now a subject for the big spoof. Society's new circus is the television commercial , poster or advertisement. Artists, designers, art directors, seizing the opportunity, have with estimable brilliance brought the 'sceptical revolution' right up to the kitchen sink:'

GRAPHIS ANNUAL '67/68

AR TIST AND ADVOCATE

Walter Herdeg, editor Hastings House Publishers, Inc., distributors 151 East 50th Street, New York , N. Y 10022

edited by Nina Kaiden and Bartlett Hayes Renaissance Editions, Inc. 527 Madison Avenue, New York, N. Y

$17.50

This is the 16th volume of this handsomely produced annual offering a worldwide selection of outstanding graphic art. Over one thousand pieces, representing 38 different countries, are shown.

Jerome Snyder authored the introduction to this volume. In it he philosophizes: " ... Advertising, closer to the economic heart of the establishment, was until recently considered beyond the pressure of the new morality. But even in those fortified circles a new wind

$7.50

U. S. corporations have begun to play increasingly important roles as patrons of contemporary American art.

Inquiries into this cultural phenomena and the philosophies that guide the prominent patron corporations is the subject of essays by Nina Kaiden, Bartlett Hayes and Richard J. Whalen. 44 reproductions of paintings in The Mead Corporation's art collection are shown as well as examples of art displayed in the corporate offices of a number of other corporations.

a new 32 ~age idea booklet (il\ (0\ for artists, ~ ~ art directors and art department managers

IT

105A StatMaker owners tell how they are profiting by making stats in their studios.

Detailed reports, with illustrations of completed work, show how art jobs are speeded ... how studio stats are used creatively ... how tone to line conversions are made ... how and why the 105A pays for itself in six months or less.

The 105A StatMaker is a low-cost accessory for the model 1000 Art-O-Graph. The switch from artwork to stat making (or back) takes only 5 minutes. No darkroom, sinks or messy trays are required. Processing is automatic, prints come 'out 80% dryl Read what these enthusiastic StatMaker owners have discovered. Decide for yourself how you can apply the same methods to solve your stat problems. Make money too.

ART-O-GRAPH model 1000 OPAQUE STUDIO PROJECTOR Speeds every art production job and saves you time. Cover a whole drawing board and more with an image ..• up to 77" X 77". Art-O-Graph projects any opaque copy, art, photos, objects or transparencies up to 7 times their origirlal size.

All images appear right-side-up, enlarged or reduced, directly on to your drawing surface. No tracings neces~(/ry. Counterbalanced for quick, easy, fine focusing. Buhl Art-O-Graph Tressar-type lens .a nd flip-back, copy pressure plate. Art-O-Graph takes no floor space. Write for free catalog.

,Ilh lnc.

1 .gAo .~ /trt· ·Grap 14

529 South Seventh Street Minneapolis, Minnesota 55415

this booklet

l

ART-O-GRAP~INC. Departm-;;;; CA 1529 S. 7th St., Minneapolis, Minn. 55415

I

I Yes, please send the booklet and details on: 1

ID I

Art-O-Graph

D 105-A 5tatmaker

D Both to: I

I

Name

Address _ __ _ _ _ _ _ _ _ _ _ _ _ _ _ __

I

City

State

Zip cOde_

I 0 I am enclosing line artwork. Please make a free ~p~a~ ~ ~ t~ ~m~w~

J I

Consider the power of Champion Papers Kromekote® used with Imagination.

Paper, in itself, communicates-through its color and character, its look and feel.

Here, the designer has used Champion Papers Kromekote papers. Their smooth, flawless surfaces set forth every detail of the design with clarity and conviction.

Their look and feel convey an image of quality and importance.

Champion Papers makes the world's largest selection of commercial printing papers. And, we can help you use them with imagination.

The Paper Division of Champion Papers Inc. KnightsbridgelHamilton , Ohio

Champion Papers

The graphic designs reproduced in this advertisement were created especially for Champion Papers by James Cross.

Champion Papers Kromekote®Papers

Kromekote is available in white, pastels, and eight neutral colors. Its unequalled smoothness of finish , the evenness of its coat, its affinity for ink, its foldabil ity and its printability by offset, letterpress, or gravure distinguish it from all other coated papers. Color comes alive on it.

Type stands out clear and clean . Subtle nuances of intricate line and halftone detail are never lost. The potential of Kromekote is almost limitless, when used with imagination.

Champion Papers

1

Get out of the 19th century.

Get into the space age ~ .•

~."

...... ,

I'

. . . . . . . -, ...... " . " •• ' ,

,.",

CONSUMER MAGAZINE ADs

Marvin Lefkowitz, art director/designer Dennis Coleman, copywriter Mel Sokolsky, photographer Young & Rubicam, Inc., agency Simmons Company, client 2

Ken Duskin, art director/designer Marvin Honig, copywriter Harold Krieger, photographer Doyle Dane Bernbach, Inc., agency Volkswagen, client

1 Thmgs go b te with Coke after Co (' after

'4f!: With --. ,out, It S IIlWllys

Illng.

Because Ice· cold Coca· Cola has the taste you never get tired of.

A persoll can bt'c()J)J(' so dependent on his glasses he gets to think of them as his eyes. But he forgels one thing. Gradually, from year to year, his eyes change. But not his gla.'ses.

So there comes a time when his gJasses aren't right for his eyes. Or to put it anolher way, his eyes aren't right for his glasses.

That's why, every year or so, be should be sure to have them re-examined. iJis eyes.

Better Vision Institute

The neighborhood is still good.

If thisstnet loob familiar, it'. b«.J,ute YO\I've tlleen it bt:fon:. Either in your own townorlOlllepllceyou'ndriventhmuch.

It's not ...ham strut. It's just a ttreet that Ius grown old and is thowin, iq 'r.

E"'"tually JOmC1hinc:'. loing to haft to bt: done about it. But whal~ Urban renewal,of coul'X,isone InlWcr. But vrn.n reMwal can _times become urban remonl~ux the tenants han to M rr:IO('ucd hefon the nnew.1 work can belin,

Is therc any otheramwer? Happily, yet.

The p«Iple themtches CIIn improve their horneL Throulh the UK of relalively intxpcnsiu maurial, like aluminum. And thll', where Olin comes in

It's the houses that are going.

Of coune, we're not the onl), ones who nuke aluminum productl. But rilht now we'reintrodtlc:in,~thin"th.arnoOMtl.JChu.

Pn_mbi.ed, JClf-.dj\llt:lblc aluminum lUi..., (Of' ildbncc. Aluminum louvered thuttetl. And ,Iuminum tidin, that we're in replacuble ~ for futer, eUulndmoretconomialintbUation,.

Obvioullr, none of thett productJhue cone: into the h_rou ItC lbo..e. But Let', hope thlt ~cb,. IOOf1 ther will. BeaUle if the houR.

makin,

~='tn:~~h~~~=I;e;;:II:~c~c~ n:'~':='o~Cth:ei:= 0 II n a:~I\I.Winchc«er-WatuftAnnlI:AmmwUtioa.

18

4

CONSUMER MAGAZINE ADs

Len Sirowitz, art director/designer Leon Meadow, copywriter N. Seidler, illustrator Doyle Dane Bernbach, Inc., agency Better Vision Institute, client 2 Dave Deutsch/Harvey Gabor, art directors/ designers Bruce Barton/ Norman Solari, copywriters Marty Bauman, photographer McCann-Erickson, Inc., agency Coca-Cola, client

3 Bill Taubin, art director/designer Evan Stark, copywriter Bob Frank, photographer Doyle Dane Bernbach, Inc., agency Olin, client

4 Robert Steigelman, art director/designer Donna Forsman, copywriter Ira Mazer, photographer Young & Rubicam, Inc., agency Remington, client

5

5 Roy Grace, art director/ designer John Noble, copywriter Henry Sandbank, photographer Doyle Dane Bernbach, Inc., agency Volkswagen, client

All for the price of a fancier priced car. $3260 is the lolesl overage price paid for a new car these days. 150 soys the Automobile Manufacturers AssociationJ

$3260 will olso buy you a new ronge, 0 new refrigerator, 0 new washer, 0 new

dryer, two new television sels, a record player and a $1639· Volkswagen .

Of caUfse ou r little package doesn't indude all those ftidy liffle items you find on . those foncier-priced corso (like an electric trunk opener. An electric ashtray deaner. Or headlights fhat disappear when the sun comes out.l Bul it does include good food, cleon

clothes, nice music and 0 chonce 10 walch reruns in color.

A 101 of people frown on 0 Volkswagen because they feel it doesn't offer enough inlhewoyoffoncygodgelry.

look again.

How fancy can you gel~

19

Never choos~ _a razor 'Without asking your face~ \lH. Okay, bl"1'/;I oll/.IVhal dO'yoll

U.'tUlI? 'OlK I \( I I \\ ant to t)C trc:aft:d ... l.!'cntiy.

1\ e g-ot feciing ... ) Oll kilo" , rot ',!ll'~tl'r tlI(~JlI to hurl J ~"r /a""II.I. /I hal tal/ I do? yot I< t \("1 \ \,~II. take thi, Gillene ' lcchOlatic thinJ! here. So it

I<,ob a little odd. IJut from a face', point of \ iew... i'IIIIiJltlJillg". rol ~ H(h Fir.t of all, thi"lcdll1\:ttic fcds H :r} light,ltwjll put less pressure on me, PruJlln! how I hate that prc"surc! )'1)( ..

20

nil )"'1' lIotiud Ihot. :\'J\\, nick ... Do YOli kilO" what

"WI( I \l t

tine "icll'itn do to nt) pride? \\'itb a 'Icchm:ttic, ) ou'r" ju,t IIOl g-oing to nlck. me

That i, a lact

~o much.

VOl . .'lilY, rt"lIIflllbt'r Ihal fin ''';1

lot k I· \l I a 'lOper .. rain Ie.,., .. teel hand.

It'" \ cr~ ca'), lin" inding-

job!>i' WI' IT/i'''... 'ta 1< I' \ll ~·C\ cr mention that to me 4tg-.lin.

Hit ) 0"'1'1' so sl'IISiliu. )Of 1< J•.\( I ..Y~5I. ~\nd .at~(~thcr thing' <lhp~'t the

that .bilnd. \\'llIC,h mean" ~Oll \\ nil t keep ,ha\ tIlg me

~~'~:\;~~~,(::~~':)~:~,~~7(~o hl/.\' to ...

J,

leehm:lnc. I hat crank 1II1\\ ,,1<1,

I til Ynl R 1 \l'1

"

/) 011 111"1 mill)" 1/0:1.'. ... ju..,t hCl'~lll~C you're tuo 1;1I.y to

challg'e blade' tn the muldle of a ,h:1\ e.

II?~ .1'011 ~":I1/~V do "'''0111, l 11

:,III'/!c ~l'In/liallt, dOll I Y~/'

I( nyd"llIlyo"soYJobtjo,.c.

hlees ,11Ould he ,cen, n(lt heard.

3

Bekinswill move you anywhere in the country.

1 Bob Wilvers, art director/illustrator Gene Case, copywriter Harry Hamburg, photographer Jack Tinker & Partners, Inc., agency Gillette Techmatic, client

Even Hawaii.

2 Salvatore Lodico, art director/copywriter/designer George Elliot, photographer Young & Rubicam, Inc., agency General Cigar Company, client 3 Stan Jones, art direc~or Marvin Honig, copywriter Bernard Gardner, photographer Doyle Dane Bernbach, Inc., agency Bekins Moving & Storage, client

Buffalo. Sedlile. Honolulu Whether you're moving across an ocean, or lusllllCfOSS town, It's all the same when you call in Bekins You won', have to do anythinQ bul watch us

you're the I,Ugesl moving and storage compo.ny

Inlheworld

handle everything,

If you're leaving the mainland, our world wide orQanlzallon goes to worle.

They pock. ship and untangle red tape. so you can h4ve lime 10 worry about more Important

things (lIke whether or not to drink the local w<!ller.l

They also figure the most practical way for your

Bt;,~..!!,S .b

..e.

Calli~·Th;;·Pr~f;;;i;~aI5.

Every move we handle, we handle from beqln· ning to end.

And if you have any complaints, no matter where In the world you end up, you can always talk to Bekins. (One of our 1.000 overseas representatives will be neat by.)

So Ihe next time you malee a move, especially a lonq, lonq distance move, remember the Bakins Professionals If we can't qet your belonqinqs there .. they can'tqelthere

4 Ken Duskin, art director/designer Marvin Honig, copywriter Harold Krieger, photographer Doyle Dane Bernbach, Inc., agency Volkswagen, client

4

For the price of some station wagons and their optional extras,

you can buy a VW Station Wagon

and this optional extra.

It does all the work, but on Saturday night which one goes to the party?

, ,

ILD

Onceuponollmethe,ewosonvglylittle bug. h could goohoul 29 miles on jl.lSI one gollonolgol. II Couldgooboul4Q,CXXlmil., on tusr one ,et of rirtts.ArId II could pork in lIny h"le cre~ic.s no bigger thon 0 bug hWOJIUSlflghlforloking fother10 th.

Then, Oh.f 0 lime, a CUfteuS rhlng hop-

Iroin or Ihechildren 10 school. Or lor 10k· ingmolherlorhegrocerySlore,drugSlore, dime stOre and aU the enchanting ploce,

verySlurdilyineyergoruglier8ullhebIQ

mOlhersgcwhen everyone else is working

Some 67 million Americons hove flown.

Many, hundreds of times. Some 128 mil· lion Amerkons have never flown at all.

Ourvoal issimple, To moke flying more enjoyable, more convenientforthosewhoflyfrequently To moke it moreoffroctlve, more affordo b le for thosewka hove never flown To make It the finest way to travel for everyone.

We're doing it in many different ways.

We make everyone feel more 01 home.

From a worm smile of welcome from the man who tokes a pauenger's luggage when he drives up 10 the lerminal.

To the warm greeting of 0 Stewardess who tokes his COOl os she wekomes him oboard.

We mode d ining a p leasure .

We brooghl goormet meals 10 Fint Closs, along with fine chino ond crystol. ond coffee poured from a silver server.

We Introduced Fomous Restaurgnl flights, where Ihe food is prepored by the restauronl itself . Such os Voisin 0f1 First Closs flights from New York, The Pump

Room from Chicogo, ond Ihe Swiss Cholet 'romSonJuon, Even in Cooch, we're 00110 make food surpauonythlngIholused 10 be served in FirslClou

The ugly Ilule bug wOI lust hit. one of thelomily. Bulolos,ilwosn'lbeouhful SoloronyimpOf!OnlOCcosionthepoor

uglylitllebugwouldbereploced,Byob,g bfloulifulchoriol,drownbyJOOhorsesl

We mode .....a itingob.olele.

By onswerlng oor telephones wilhin 20 seconds. lnsloillng 0 computerized reservation syslemthot tokesonlyfour-fihhsofo sec· ondtoconflrmseotovoilobrlily, Improving on-time performance. And by trying to gel luggage to the pickup oreo 01 the some time the passenger gets there, give or toke a couple of minutes.

W, made "hedules make busi ness Jense.

We invented lhe Air Shv"le so businessmen coold commule wahool reservotions between New York ond Woshlngton, orNew York and Boslon, We schedule flights lholgo oot ond bock in one oosiness day, with lime for a fomilyevenrng ot home.

penedTheuglyUlllebuglwfuchwolmode

beoutifulcnorioldidn'lexac!lygelslurdlllr In faCl, alrer a fe ..... years II began 10

Otherstholreochthedestinolionearly enough lor a good night's sleep, ond a freshstort In Ihemornlng Still others so frequenl it's possible to leoveolmosl onyhour,doyor night, We're buying on atl-jel fleel.

Big jetsJikethe SuperOC·8, Iholwill fly more people forlherthon ony other commercia I airliner Smol! jets li ke theWhlsper!et2,thol let people from smoller cilies WIth smaller olrports enjoy the pleosure of let travel.

We made money noobjed.

WithChorge·A.Trip Itlelsyoucnorgeeverythlng(fore,holels,meols,rentolcorsondsuchl,ondthen poyit bockover2yeors ..... lth nothing down, We helped bring air lares down toeonh.

Round Trip excursIon Fore, one-IOOfth off for everyone. Fomily Fore: one-thtrd off lor wives, tWO-fhlrds off for children Stond·byYovlh Fore nolf off

larnlshandrUSlandrallle Unlll,loondbe· hold,lheuglyhrtlebugdldn'lloolasugly oSlhebigbeoulifulchariol1 And 10 IhlJ very doy, the uglyhnl. bug IliII galls olmoSl eVllrywhere, ..... h.le Ihe btgbeouliluicnortolgoeslopol The moral b."ng II you can OFrOrdlOhove._JIX)hofseSSlOnd. ~~:;~~:UOlng nomlng, more

@

It's all leading somewhere.

Getting more people to experience the beauty, the serenity, the convenience of flight Ofcoorse, we con't expect everyone 10 fly with us But on Ihis very day, we will corry more thon 4O,<XX> passengers. f.ioore than all but one of the world'SOirlines.

And by doing what we're dOing, we feel we'll conllnue to get our foir shore Wewanteveryonelofty.

e

EASTERN

UKE THEUVING

END

Yooo"i:;~7~=~

2

You never know when you'll have to take an elephant someplace.

Thot's a Volkswagen Stohon Wogon wilh on elephant olmostinir The porI rhol doesn't quite fit in con slick au I, because Our VW wogon hos a sunroof And Ihe pOri Ihol

does fil, fils because a VW hos 170 cu. II. of spoce.

IMost ordinary wagons offer only 90 or 100 cu. ft. 01 space. Also. they don', hove a 4' wide door in their side for 4' wide things to gel through. 1

The lOCI is, 0 VW con corry olmost twice as much as on ordinorywogon. Bulan ordinary wogon can', always

corry half as much as 0 VW. Because some things ore hord 10 split up. like on elephant, for Instance, or 0 breakfront, or 0 roll lOp desk, or 0 combo practicing on the way to 0 job So lusl because you managed to gel !hrough today

wilhotJl One of Our wagons, doesn', meon rhot some· thing big won't come up tomorrow.

The truth is, nobody really needs a Volkswagen Slalion Wagon unt11 they really need one.

CONSUMER MAGAZINE ADs

3

1 Ken Duskin, art director/designer Marvin Honig, copywriter Harold Krieger, photographer Doyle Dane Bernbach, Inc., agency Volkswagen, client

M'Utu.pp'"

6001'0"""'"

If, ...

"'.. ,11ft' " ' _ ( 0• ..... ,".... .,._(011

2 Ken Duskin, art director/designer Marvin Honig, copywriter Harold Krieger, photographer Doyle Dane Bernbach, Inc., agency Volkswagen, client

.... yw...,.1ft ""''''U,pp' ., ..",IIr.",.y.",.uIU,

::.~;~:: ~:;:' ond "'.. 'h......

W"'~".,.., code,Ollta ... o,ol ..,.,1 celli, .,.","Wlfl

•

~kl ... a,_~ ...." .... h... ,..)I.\tC:,tOnll ... thelr ....,."."',

... _ _....

"Mdl._ ," _ lit.

l .... O"taMo ,oil

3 Art Taylor, art director Barbara Kaplan, copywriter Nicolas Sidjakov, designer/illustrator N. W. Ayer & Son, Inc., agency American Telephone & Telegraph, client 4 Bill Taubin, art director/designer Chuck Kollewe, copywriter Steve Eisenberg, photographer Doyle Dane Bernbach, Inc., agency Olin, client

The curse of adolescence.

We hope to lift it a little.

Nature plays a prclIy dirty trick on a lot of our teenagers.

First she uses the hormone c han ges of ado lescence

to give them an ovcrwhdming concern ahout how they look to the opposite sex.

And then she u~s those same changes 10 plague that newfound vanity with the blemishes of acne .

1 0 wonder so many tecnagers find

growing up a

painful txpc:rience.

Can acne be pre,'ented ? Unfortunately, no. Hut we can tTy to control it.

Overactive oil glands are the basic problem, of course. But the real danger lies in bacterial infection .

It can lead to pc:rmanent scarring.

Staphy lococci bacteria-which cause boils-are always on the skin:-1rhey thrive in it oil. And once they ge t underneath the skin, they multiply at an astounding rate. In 15 hours II single bacterium can havea million descendants.

It's here that we hope to hedp.

Olin has developed a biocide that kills or inhibits

more different bacteria than any other commercial product we know of. Zinc Omadinee .

It's so potent, that just a few parts per million is enough wcontrol the bacteria on any skin area it covers.

And so obvious is its potential for controlling acne, that a well-known cosmet ic company has already licensed it from us.

Of course, it wiHtake at least two years of research and testing before it can be put on the market. But there 's plenty reason to be optimi tic about its effectiveness.

Zinc Omadine has already proved it self in a shampoo and a hair dressing. both of which liucce fully use it biocidal qualitie to control dandruff.

And it can probably help in the treatment of other skin ailments, too.

But for the moment, its greatest potential seems to lie in what it Illay do for the sensitive adolescent.

Hecause, since he can be scarred by acne psycho-

:~~~:~~~t ~sh:\~e~~ ~e~::~~~:~:; ~~;pd~~~!~. Olin

LJ The nlain.~pring in a nulo\ .. is made to IaS( 2)6\earsor 1161cathcrstr4tp3-whkhc\ercotnc:s flr5l.

Here are 22 ways we could have skimped on this Bulova Watch.

I. Wt¢ll:dJnwi.;:rewuotourmn p;u1.$.hut ehmt~y

ml~tnotht t~thlt!d.d,\,:<)tk.

W~;,:('",ddM\'it .. klrpt.·Jroh.Jllflg

,

II<lCX\(olthc~ruyf)uflil!\tt"'('

hut tlry'\\touWn't w0!kuwdL 1_WtOlUldrnakt:..t$,!fI~m:;,wm.:t)trl"'(;C

6. WI!, (.'OOIIJ h.l\·(u.t~od

Irntt ....1ddthi·j·ri.-.:eu'f!'"

OOt IlwoulJbl much m'« (Mficu\t

tlut alIiU a lot br. th.m

$,.<JOO:lpllon

wre['-uI'Ot",W]USt

:,>,Wt'CfIU'lJ-itcllt',,"outourg,'.\rtl;"l,'fh,

S,W((:ClI.lI,lltflp

in'tt:.-J<,fCi.!ttinc themtnJl\IJlI,111~·.

rf(J(....~$mg 001' own illt<~­ IJuk..toy ),,)( th.~ m;Jlt'1Sr.nng.

but tht."Y wwMn't woclo: 011 ttn(.<tnty

but\l;~~anttJtO

nukeitullbro.k.lble.

WhrnFJU"-now

wNttJ1;lku .....'ato.;htJl:.k. you11bvy;,tUub\'J,

18 ~;ecoutdtelt"Vi!tYlem w"tchfocWoltt'tprooil'1\':Mm"teo1JQ( t;..,ayw:ttch

.6 W.CJcldhave.....J

'4Wt:couWh.l.vtm.a.&roundholh

al<:,t(\!\\,cclnanlojtweL!.but ~hc. till"« )t\\"d... thto I· rOger fhe wur

17- We.amld&peOdltM

n~tea.doft()o"dedhclu

lOtbo:blJl\l.monpllk.but they woulJn'tl.old the

if.t.polJ!uuffncbOO

t"tndlotahoc.k·rClllstlnceOJUt, but-lt'.\'l'IUlJrt'tuke-.bxL.

a.u.yU.uciufont

I~. We.couldb.ivclXli/ldecruJepunchcdool« IN.tead<:i~5hi1vtdhokl.

~wehnkC\lre.ly

2

What~ his is hers.

MAGAZINE CAMPAIGNS

Donald Egensteiner, art director Sallie Guthrie/Laurence Spinner, copywriters Harold Becker, photographer Young & Rubicam, Inc., agency Bulova Watch Company, client 2 Joe Cipolla, art director/ designer Peter Lubalin, copywriter Bill Helburn, photographer Leber Katz Paccione, agency Henry L. Segal, client

WhatS his is hers.

Set bad< the clock 10 our multo·stroped Tom Jones Shirt. the look of Englarl(j. past fashIOned especially for you as onfyh ,l.s for ·hercan Man·tailored but i,rlcurved.

Cronkle Shirt. about $6; HIprKllngTropez Pants w,th rongSeIf Belt, about $8 Prices .IIghtly higher on West Coast. In a score of hIStory maklOg colors. For .tore nearest YOU. write h,I.S for ·OOr, 1407.

Broadway. New York 10018

It·.

°

h.i.s

for her 27

1

The SunSet

On land, just a real man 's watch.

Because this Heuer chronograph is loaded. With things like a stopwatch that slices time in fifths of a

second.

And an outside turning bezel that tells time in two different lones And a superpressurized jacketthat lets it work at 35,000 feet in the air, or 330 feet under water.

We call it the Autavia 12. It may be the most practical watch you can buy.

Especially when you haw to figure out how much flying time you can squeeze out of your fuel .

Or if you skindive and need to know

when your oxygen will giw out.

(In that case, dick your stopwatch and, there, you can read elapsed time at a glance while you 're busy fighting a downdraft or spearing a fish.)

Ewn when you get down to earth, the Heuer Autavia 12 may be your kind of watch.

If you want to time long distance phone calls. speeches. Polaroid pictures. or steaks on your outdoor grill.

The Autavia 12 is one of the world 's most rugged watches, It's shock

are intact), It has a stainless steel case and a 17-jewel mo\I9ment.9Quippad with Incabloc shock absorbers, the best you can get.

And it's made by Heuer, the people who make the stopwatch that officials of the National Football League and American Football League use. As well as Sebring and Daytona auto

races.

You can buy the Heuer Autavia 12 for $119.50. At jewelry stores, and selected specialty stores.

resistant, corrosion-resistant, anti·

For catalog or ITK>re information on

magnetic and waterproof (as long as crystal , crown, case, and push pieces

chronographs write Heuer Time Corp., 135 East 44 St., New York. N.Y. 10017.

We did it. We crammed a Heuer stopwatch into a wristwatch and added a calendar,too.

Meet the Heuer Carrera Date.

A wristwatch-stopwatctH:alendar.

I n other 'NOrds. a man's watch.

And possibly the most practical watch in the world . Because you can time just about anything with it.

Your long distance telephone calls.

Your speeches, your Polaroid photos, your son's laps around the pool.

The stopwatch inside the Heuer chronograph is pretty famous, too.

Officials of NFL and AFL football leagues use Heuer stopwatches. So do Sebring and Daytona auto races

as well as sports car and rally clubs around the world.

In addition to being an accurate fifth-of-a second stopwatch, the Heuer Carrera Date is also rugged, Inside the stainless steel case is a 17 jewel mowment, equipped with Incabloc shock absorbers, the finest in the world.

Its only concession to elegance is a soft alligator leather strap.

Of course, the Carrera Date is antimagnetic. And waterproof (as long as the crystal , crown, case and push

pieces are intact.) Service is available in more than 100 countnes.

The Heuer Garrera Date is prIced at S89.5O. At jewelry stores, racIng and sports car accessory shops, and selected specialty stores.

For your money you get the whole works: wristwatch, stopwatch and, 00, yes. the calendar.

(If you don't think you need a calendar, tell us, quick' what's today's date?)

For catalog write Heuer Time Corp., 135 E. 44 St., New York. N.Y 10017.

Len Sirowitz, art director/ designer Paul Katz/ Mort Sharfman, copywriters Dick Richards, photographer Doyle Dane Bernbach, Inc., agency Sony Corporation, client

ZI"

2 Al Beckerman, art director Tony Cappiello/Tony Piano, copywriters Paul Armand, designer Charles Schramm, photograpber Ries Cappiello Colwell, Inc., agency Heuer Time Corporation, client

If it was good enough for your mother why isn't it good enough for you 7

DrouJZFaJrbanbwasKinJil ... \Vhiteman pla~'E'<I and everybody dal1<'ed ...

3 Peter Hirsch, art director/designer Jerry Della Femina, copywriter Jo~eph Reynolds, photographer Tom Carnase, lettering Delehanty, Kurnit & Geller, agency Talon, Inc., client

nnclit'ssoh"hlyoune\,ere\'enft"el it Since- rou don't rt"eilt. there's no reason in the world wh)')'oushouldha\·e lo.iC.'e'1.

4So Talon Zephyr nylon zippt'rs are dyC(1 throuah and throlllZh tl! mokh (md disappear Into e\~' R8rment)'ouown .

The Talon Zephyr- nylon zipper, It doesn't Rlare, It doesn 't bww-h up. It doesn 't stand out.

Women were wea~ Ion@'. 100@'. lon~ dresses. and short. short haiL.and your mother was a girlayounR¢rI Ever}'thinJi! · 5chan~5iOC'e-thost-days. F.\·ena simplelhirli!h~e-azi~.

Now. how much . you ask. can a zipper rhan!lef Just ask )'our

mothe<. &c1: in her day a zipper was heavy. glC'amin" . lump)'. But she

AIi;, doe.ls,hejoh;t',,,,ppooed'odo On millions and. millions of breauUflil Rannenls.

didn 'tha\'eachoic~therewasnolhinaef5earouncl

Now we have a question: \ Vho sa)'s the good old da)'s wert> ,he I!QOd old days7

Today, Talon ma~es ill. zippt'1' out of t ....,o wisp)' rolls or nylon .

_'______._.____, _ _ ._._.,_.~__,_.,.,_ Pf1~,~~

lt ain'L what it used to be.

That's about the "ory of tk old gray ,'pptl'S in women'.faslllOllS. Dull gray

Butthat'sonlvhalf,k ...dstorv Itw,,,bully :-Iade of kavy mcl.I·lcclh. So Jt mad~ 0 bully sal'll'nq lump in any garment And It PUyh.J If " got near a sl,p ot hloose or ...",.ter.

But now tkold fray Zipper.",', what H u",dtok

Because the aid way' tipper am "Jus'. ZIpper ft'.. Talon Zephyr·

\VhlCh ran br lip.,tirl ,ed or charcoal kwn or am' color. It's mad<, of two cotl, of O\-lon that ('an be

,h ed to ptrfff,ly mot<h any color r~br"

.

Two soft 0)'100 ('oll~ that arC' strootz.ct than melal If'<'lh. yet

R,-m ",""-,,. \D<~ Io\vo.itl ""~"

venti. enOW!h nol '0 pl",h or buoch up And we're happy to $I)

into militom and mdhons. of 1)(~t1ubful fashions tVNY )Orar \Vhi<h shoilid I••,. the old ~"'Y .. pper feelm~ bod of hlue.

.l:1foPoeltlcoJJ7JW""" .\1~IIJIlZ--rJ)''''

l!lvmy....,..\.-ftiJ((tJfj)fIlJ ..."~,lt.11

the T.I"" Z.plwr- is r,nd,n~ Its way

mh'~IIII"'"

rfOOlf,,,,....,:..

/,.vh\T"oii• .J.·nfl . . ~rontlf ...... n...~'

,..".htIw.1V!'IIMtI{<'rtlw,,,c~JI(....u,So

c\)I'VI'!'f1'.'\",~1

OrM!I;lnprf1l.J ... "'..'fI,..~~

-

l~,'.xtvr,~My,..,.nf'jnIJl"t~t:~~~, oJfl.01it ..r41ft

)OOIfWl:.-dIJal..f ..... vlb"llvmMaflllttll'llfll/lJ!lX't

TuJ;.r. fI:'oOtI ~~.~~ ",(La ..",," )'Oumd4sbllttw)'4ul'Ml~(1n 1J!.\~fl)tl:lnl"l1:ll\tl<'("'I.()r MlIl;l'll;o:Jl,lo"I~nw'{Jjh

Aild t()ju.y, 11111, a.I)()I,j~ .... ~'(Y p".~~ uI j~"\l1' \"\Jfl W'» 1>1» a

ll"I\Jlt tl

!l'ilO1f1,.>h,

"'ftJ'. uollL:. 111(11))' r\o~~'(' ,kl\,o" II... h~ ~ ot

'\ndllo"Htll1It'II

It •

MJ IF! ~

~,.iun ,,,ItIlIl't....'n... ,!lt1\ll~ ~1'I:1( .. tfui\l.h-"f\)

lo/ml,,11fi( Sullt4t'~",'llVtht/...,..ltyr~'llI\I"ot.!II'I"\<I.f:t+f~t"'·"',,)vl ~tf_~,11!)e'llat\J111fh.'1lttih,{,~. ~"vl"11,If(11l\l'l",)tro \\~I;t..,tlwnl~

Thlsdo·ahead salad IS nothing short of sensal,onal Especially when 11'5 so easy c Shce criSp cucumbers, red onIon. mellow California a'o'ocado. mlll,andchitlfor'2or3hoursmyourfavotile vlnalgrelte(0rIryours2Tab lespoonsvlnegar.

6Tab lespoonsoliveoil, lteaspoonsalt.

1 leaspoon dry mustard,seasoned pepper 10 taste.) 0 To make sure your avocadO'S metlow. let It ripen at room temperatllfeunhl It Yields to genllepresslIre. c More r9Clpes? Dehghted Write Bol( 336, LHJ, Costa Mesa, Cahfornla

Thin slices of mellow California avocado, lightly sal/ed .. .crusty French bread ... a glass of wine.

Paradise , indeed!

(Leave your avocado at room temperature until it yields to gentle pressure. Then you'll find its subtle, exotic flavor worthy of Omars praise.)

A loaf of bread, an avocado, and WOW!

W ....... ..tIoIe ... ltlloIc.taon. _ _ _ .- . .....""'IIBDol3l,CoIII ..... CeIiIv<_ \IOUf-..m.... try 1t00ltl'l "',""lo¥Ieo.

Un,.

""-)uKe.MI ............. \IOUfIMlUOO

.1011.......,Io)'lllcl.

III""'- .......... " _ _ .... ¥OCIoiIOf.I

30

(Ah-h-h-h-vocado!)

"Now that you're no log.ger married to that TVset and the Cleveland Browns, how about remembering that I am y'our wife, and I cannot put up wIth this dishw~herless, one bath, nOd I garage house any longer, an want a new house, and I want , to look for one Sunday.And dont tell me we can't get a mortgage because we can at NCB which stands for National City Bank which stands for nice, convenient, businesslike ..•which is just about everything a bank shoUld be, isn't It?"

MAGAZINE CAMPAIGNS 1

Frank Stong, art director/designer Terry McFadden/Tony Overman, copywriters Dick Merritt, group creative director Arthur Palmer, photographer McCann-Erickson, Inc., agency California Avocado Advisory Board, client NEWSPAPER ADVERTISING 2

Herb Lubalin, art director/designer Lois Wyse, copywriter Wyse Advertising, agency National City Bank., client 3 Milt Wuilleumier, art director/designer Bob Baker, copywriter Ingalls Associates, agency Snelling & Snelling, client

believeoNCB

If you find a houle Sunday, come lee us Monday. There'. more mortgage money around than you have been led to

4 Jules Schaffer, art director/designer Len Seiden, copywriter Irwin Horowitz, photographer Beb Newsteader, sculptor The Marschalk Company, agency Schrafft's, client

Schrafft's chocolate ice cream has something no other ice cream has.

Schraffts chocolate.

31

c.on

----------~----~--------------~

SHOULD WE ALSO FLOOD THE SISTINE CHAPEL SO TOURISTS CAN GET NEARER THE CEILING ?

EAm~~~n~/~cn::::f~~;:~~;, :~~~;:t;;~a~:

housesovet the fill: andnowthcn'sancwidca - 5[111

~:~'::!~nfnough for an air cargo terminal at big as

15 hardly a hundrc:d yr;mold,and on aur tlmt chart

weI~;:;:: ~:s; :~~!;~~t, ~v:r~~~~i:~~,~t~~ ::~;: Man to think of directing hu fa§Cinating ncwtool..s towud

~!t~~,! 1~::~7y:a::::n~h~:r~I~~~~~~~:~I: allbutdl.t.appeartd. Andnowthesc:

I) ~:c;~lb~illll~~::i~m::~c:~~~~ ~~::f anyongorgc. Th15wulbencfitoouriStsUlpowcrboatJ,1t IS argued, who will cnJOr vltwlng dv: canyon wall morc closely. (Ser hradline). Submcrgt'd undemt~th the taurI.srswill be partofthr IIlO5trcvcalingslnglc p.1gt:OrCanh'l hunxy. The laltts Will be as deep as 600 rtet (d«pa for C:dmplc, Ihan~lI but a h.tndful of Ntw York buildings are hlgh) bul in a crn(ury. silting will havc rcpbcc:dthr ...atu wllh that muchmud,wall to wall.

Thtrc15nopmof(hewtldColoradoR,ver,(hr .Gn.nd Canyon'Jsculptor,tharwiUllO[bcmaimro.

TourISt rrcrution. as a n'uon for (he darm, 15 in fKt an aftcrthought. The Bureau of R.ccLamauon,whteh ~ks thcm,prcfas to c.all thc dams "cash rrginus."Thcyarc

U~b~~ij/:~~:::~n~n~:i:i ~7,t;,crcul powcr. z) :: ~:~~:: ~f~n:~f;~;~;~~~~:::;r~=:: anopcration which to givc you an idea of IU lize, has ukrn fifty yc~rs.

Soon, where nacure's tallefot liVing thing! have nood s,lcntlyslnccthrageofthedi~un;,thec:ucntofthecut.

tingwilimakc:cruuonofarc:dwoodn.;ltiona.lparkabsurd.

Thecom~niC$ havc.",id tourists want only enough n»dsldeuulforthemappmgofphot:OI. Theyoff(fto s~rc tTcr, for thIS purpo5C,anti ncx muchmorc. The refouit Will rcmmd you of the placa on your faccyou ml»cd whllc you wtrc: ihaving.

J) And up the H~, ther~ arc: plans for a ~c:rcomplu _ I plan(,rnnsmlnion IUlIC5,andarc:krl'OIrooropof Storm King Mounuln- dc$troymg one: of the wt Wild and high and beauufulsp0t5 nelr New Yotk City 4) A propow.l 10 Roodarc:gloom Alukaas largc: as Lakr Ene wDllld cllmm:ltc at oncr the brc:c:dLng grounds ofmotr wlldhfed~nconservanooist5havcpr~rvrdlnhutory

s)InSanFranciKo.rcalcsmr~vdopcnarc:darbyday filling a bay that nude the City famous, putting tract

There uists today a mental!?, which can conctlvCJuch dcsuuction, giving commerce as ilfTIplc ruson. For 74 yc;an, rhc¥,.ooomcmbr:rSicm Club hasopposeci th.u mcncality But' nOW, when enn Gr.md Canyon un be thrcarencd, we ate at acritieal moment in timc. nis gerwrariOn will decide if something untl'1lmmdlcd and free rc~ins .;u testimony we Nd love fOl" dwse who follow.

We have bun akingads. therefore. asking ptoplc to wriu their Congm.smenand Scn,uOl'$; S«retary ofthc InrrnorSmurrUchll: The Prcsidcnt; and townd us fu.w to cOntinl.lC the b.ulc. ~ Hw wnuen, but meanwhile, the Gnnd unyon legislation Ns ;advanced OUt of committ« andl.sf)(Ma H~VOI:r. MOrl' irnusarc: nc«lcdand moft morq, (0 hr.lp fight a menuilty dut may drc:lde Man no longun«dsnatW"C. o

r--- ----------------------,I

I Dntdlfowa-.E:a:ea.Jtifto.r«tOr I

SIrmIOub

I

!BM(~=~Sanmcn;:::~iI.onhowlmar~IP.

HHC!SI<:b"I.ottonoil-Ulcontlllucyourtlfort

!I

I 00 kotq'thr.pubh(wonned.

I Os.,ndmc"T,mcondtht:R.overFIowUlg,"farnoo..ofr_o:oloc

I I

I

I

I

bookwhi,hlcU.thcCl>l11plcttstoryo(GnndCanyan.

! 0 ~w;,:Th::E~~2:~;::~'~5:':~~ I !I 0 ~~s::~o!nxmlxroltht:S(rmClub. End_d" II I I I I SI.,OOrOC"Hllnnuandfntyur'ldua

N_

Addr...

L Clly

S

f~'P---

J

~~l~~~~~~

~r;Sr=;,~~~E~S ~~~E£?rE:~Sii::~:~'~~

Fresh-killed chicken.

32

Ifthedeliver)')'ouanticipatethia springisanaddiliontothetamilY,let ulltemindyoulhatNCBhaslhec:ash

you need.

8P:fn~i:: . ~va~1ir~~a~t~~~:g~. let us remind you that more people borrow more money tor more can trom National City Bank than any

NCB

Oth~.:~;!~:.u::::; National Citx.Bank '~'''''''.-~- ~

1 Robert Freeman, art director Jerry Mander, copywriter Marget Larsen, designer George Dippel, illustrator Freeman & Gossage, Inc., agency Sierra Club, client 2

Herb Lubalin, art director/copywriter/designer Leon Schnall, photographer Wyse Advertising, agency National City Bank, 'client 3 Len Sirowitz, art director/designer Bob Levenson, copywriter Dick Richards, photographer Doyle Dane Bernbach, Inc., agency Mobil Oil Corporation, client

4 Herbert H. Sklar, art director Marilyn Glass, copywriter Michael Amberger, designer 20th Century Fox Stock, photographer Chalek & Dreyer, Inc., agency 20th Century Fox, client

6

We found the quickest way to unload a barge.

Sink it.

--------------------------------------,---~

5 Dorothy Melze, art director Robert Halladay, copywriter/designer/illustrator Neiman-Marcus, client

6 Mas Yamashita, art director Ed Bigelow, copywriter Chuck Diven Photography, photographer Doyle Dane Bernbach, Inc., agency Crown Zellerbach Corporation, client

Every week or two barge No. 5 drops anchor off our Elk Falls paper mill on Vancouver Island Tipptng tanks are flooded unhl the barge heels 10 the point of capSIZing. One million board feel of 'Ir and hemlock sI"ll off with a towering splash. Freed of Its Ioad, thebarge rises. The tipping tanks drain out And No. 5 nghts Itself, ready to return to the booming grounds for another load The spll takes 8 seconds. To do the sameJOb,a sea-go.ng crane would take 8 nours.

Self-dumpmg barges are one way 10 move logs to a mill, efficiently and economically. But first you need the Itmber 10 make the logs.

We manage 2,700,OCXJ acres of forestland In the U.s. and Canada On a sustained yield basis. Which means we grow more timber every year than we harvest Byconbnually renewing our source of raw material, our abilily to keep pacewilh Ihe increasing demand for our products is guaranteed F,om the QH,und "p.

CrO¥f.:! .!~.!!~~~ch ~

33

2

1 .-------------~~--------------------~~~

1.1"'y-.te.mA ......... Ic.LIJ. 1hnIIedIOIlleQ.-..dPruotMoNco•

....

'_~011_

....,

'-d _hili if. hbo . . . . . V.c N_.

•1""111........

1",._wild ........

N8bOIIII,..... , "",,",,-,,-. New YOf\, =--::.:==:.~

...... -.

::."::=~It:"-

....

1--.lII_w"'IIIIC_.."...~o.u.

::-!.for,,::~..~,",:,:!':_

""$I00IO-.I"~oI"_MM,

....... 1O~MR.A _ _ .S-DItp.

. . . . . . .icwed . . ~O(EJ.w .....

For .... --.,... _ V .... M _ W I - . ....

willi hWpNIlroU,....

_8of-' ......

~Gnyob~,&..

~.BiII~lUId..iesawno.l. ~c-.~ I"en.JM.Dd.MtC_,Eute-

.... :::~!~k~~

..,..=:..

al1ImIIITo.». •• llilCM'_ ..... ....,.

=~~ '::'::'~-=-v.

C.... II ... m,.. ........."1.

g~~: ~ ~~:~/;O\a~l~ii~:::~ ir:~~~ ~~t-throUgh his eye.

Click. A beautiful woman with an icicle tare.

Click. The instant of death.

Click. Shipwreck victims wildly clinging to life.

Click. A volcano photographed through a raindrop.

Click. Love.

Click. The first photograph ever taken.

Click. The secrets revealed by a flight over Miami Beach.

Click. A colossal trainwreck-113 years ago.

Click. A lightfootted elephant.

Click. A nude as stark and simple as marble.

Click. The inside of a blood vessel.

Click. The first human figure ever photographed.

Click. A last look into a coffin.

Click. A right cross that squishes a boxer's face like silly putty.

Click. Black magic. _ Click. A starfish as seen by a codfish.

Click. A man bouncing through 10,000 tons of water.

Click. The night the moon turned red.

Click. A pugnacious toad examining a very small scientist.

Click. Blind terror.

Click. A photograph that caught a bank robber.

Click. A buffet featurin~ a bodyless head.

Click. A laser beam taking a 3-dimensional photograph.

Click. A picture ofa man who isn't there.

Click. A ghost ship 800 feet at the bottom of the sea.

Click. A California snake kissing a California girl.

Click. An eagle dies.

Click. A lynching-before and after.

Click. An 80-year-old woman and her doll .

Click. A blind boy stumbling in his own darkness.

Click. A picture of the world taken from outer pace.

Click. A lifeboat wallowing with terrified survivors.

Click. A photograph that tells the future.

Click. Mary Popper's wedding party.

Click. The deadly flowering of a hydrogen bomb.

Click. A picture taken by a cereal box.

Click. One French statue peeking at another.

Click. " Bald Eagle" Morgan of Chico, California.

Click. Hometown boy in Vietnam .

Click. A moving shadow shot from 15 miles up in the sky.

Click. A picture of what a plant that sees sees.

Click. A woman's wink that says everything.

Click. Acting giddy at a picnic.

Click. A tiny boy in a huge football helmet.

Click. A human egg freshly fertilized .

Click. A picture taken through the lenses of a wasp's eyes.

Click. A leopard dining in the treetops.

Click. The world's first photographic interview.

Cl!ck. A bride getting her garter ~wi.JlC<! . .

Click. A photograph of a Windmill In the middle of Paris.

Click. A birch tree shimmering like bones .

cliCk:"

"i~ '" "h"""p'" ~,'"

For thirty years, LIFE has been catching life in all its terrible, touching and joyful moments. Our 30th Anniversary double issue on photography is a sight you won't soon forget. We promise. It goes on newsstands today.

[!In

4 r-----~----~----------------------~--------~~

3

You will probably go to a lot of meetings this week and you will come home tired, and your wife will tell you that it is April already. And then she will remind you to buy a savings certificate at NCB tomorrow because a savings certificate at NCB pays 5% interest. And then she will say, "Do it by the tenth of the month~' And before she even finishes the sentence you will have fallen asleep in front of the television set. So we aren't taking any chances. We want to remind you in the morning paper when you are bright and fresh and alert that when you go out to lunch today, you ought to stop at an NCB office and arrange to buy a savings certificate.

Now ... all you bright, fresh, alert people ... repeat after us, "I have 7 days to take at least $2500 from that other place I keep money and buy an NCB savings certificate, which will pay me 5% interest:' Isn't that interesting?

A license to what?

Most interest-ing.

A driver's license IS an iWT\aZlng bar· gein. It costs lust a few dollars. IVld It buys you freedom. More freedom !han you ever thought.

Here are lUst a few of tile Ihlngs you'refree 10 do: Yoo're free 10 keep !hat locense as iongasyou love. (Even thoughd"""", over 65 have twIce tile accIdent rale of

average drivers.)

Yoo're free 10 dro"" If you develop

NCB

~~onal CityBank

34

serIOUS heart lrouble or have danger. oosepileptic fits.

You're free to drive In almost f?tIery

state if )OU k>se your visoo or even ,f you lose your mind.

Yoo're free to ha"" a lew dronks ''for tile rood." (Although drinkIng fac· tor in over 55" of .11 fatal IICCldents.)

IS.

You're

You 're even free to have more than

free todnve a

one lICense In more than one state. So

carwllhoulfronllogllts. roor Ioghts. decenl brakes or a horn. (Only2S" oflhe nalloo's cars are Inspecled once or twICe a year; are not Inspetled.)

Yoo're free 10 drove wllhout knowong how to get 001 of a skod. how 10 pass properly or signal correctly.

Yoo're free (In roost states) 10 dn>e drugged With antibiotiCS. antihistamInes and barbIturates. even though your reactoon l,me may be cut down.

Yoo're free 10 dro>e wllhout really knowIng what makes a car stop and go.

You're free to create Widows and orphans. destroy property and even destroy yourself.

even If you lose one. you haven't lost your freedom Yoo're, free agent. laws vary from

75" slate to slale. but for tile most part. tile roads are all yours

There's lust one lottie Ihlng you ought

10 keep In mInd every tIme you get be· hInd tile wheel There are practically 100 million lICensed drivers In thiS country, and every last one of Ihem IS lusl exactly

as freeas)OU are We at N'obll sell gasoline. 011. tires and dozens of other products to keep your car OOOng tile way II should But tile one who really keeps your car OOOng tile way It should IS you.

M@biL

We wont you to live.

With a name like Smuckers, it has to be good.

Very good pickles. But don't take our word for it.

Take our pickles

1 Stan Richards, art director/designer Stan Richards/ Bob Kurz, copywriters Arlen Bryant, illustrator Stan Richards & Associates, Inc., agency The Dallas Times Herald, client

(along with th e biggest mon ey-back offer in the newspaper today,)

•·

CLIP HERE FOR SMUCKER'S BIG MONEY BACK OFFER

···········~I,~·····

•

· •• • • •

•

--

lei me in on the blUest money back offer in the newspaper. Encloaed

~ a l.abel~romone

IIfSmuck.er·lptddej.n. lp.id_forthisjar.~_ . PltuclICndfuUpurt: lIKpric.r:

~~

We are so.nxious to h."" you try.nyoneofSmuck.,.',

•

•

• •

~AD~D~RE ~ SS ~_ __ _ _ _ _ _ __

&;~r~11k.O~~~7.to J.M .SmuckerCompany.

• 3, Smucker', will relund you, pu,ch.se p,ice~ And we • ~':in.;~~~~;y~,=~;,.much you will use the I ~~~~:.;:!-~"!t.n~'r.dNew}nwy.OM.mund I :~k:".l7:..~=,~~:po.I~~I.Bulbe ..ftlD'nc"""

I

••• •.•

~~d:~%~j~~\t~.o[;~~~,;, t~d~w~ ~~~ ~·l.lr~~;~he::

II ~~~:;~a~~fSmucker's pickles.

2. Soakoffthelabel,andsend ir [ogerher with your name.

.

••••••••

I • •

I

C ITY

•

With a name like it has to be good.

• Very gooO pickles.

••

• ~~~~~%al~=;'~ I ~~~hH~~~SwSl:6~~ckla

•

I

Frah-PakSweetChiPl/ Frah-PakOiUStic.u

• STAT E

ZON E

•

~ ••••••••••••••••••••••••• I

3 Herb Lubalin, art director/designer Lois Wyse, copywriter Irv Bahrt, photographer Wyse Advertising, agency National City Bank, client

4 Len Sirowitz, art director/designer Bob Levenson, copywriter George Adams, photographer Doyle Dane Bernbach, Inc., agency Mobil Oil Corporation, client 5

Herb Lubalin, art director/designer Lois Wyse, copywriter Irv Bahrt, photographer Wyse Advertising, agency Smucker's, client

14 specialties at the not-very-proletarian Russian Tea Room.

The First Plane to Vienna, and why its never second. ~7h~I:;::ul::~~!~~ c:h.nglnginvolvn;l

'1: ~~;~ ~;;~ro~h~~n~~

Tholl's why SwiJuir hn wh.t we ull Fint PI...ne scorvicC' [vC'nlhouJ,hyouch.ngepJ..nnoncC',YOUSlllIgC't. whuC'you' rC'IOInlfint.

SWI.u.ir hu Flul Pl.aM servlCt' to VKnn., Dusseldorf, Stunilorl,Pr.suC'•• nd m.any othC'r cities, too Our pl.n" .Iso .Hlve In Zurich Ind CAney.. urly

d=r; r~~y=.:~;.~~o:h::~~h~~O:~rdnl~:'7~

.KIdlhOfl. b«.usc-you AyS .... lsu.u from polnlofdeput.

;~~;i~g1i.'~~~~;:~~m'jf~i~f€~

of us

SWISS.if hu 17 AIgh". WHk to SWlllerl.nd, tUYlns from New York, Montru1. lmd Chiogo. We h.l~ oHicH in pnnci~1 cili", too C.Il 1,11 We',t' one beltt'r th.n HCOnd bnt .

.. ,/-

"

,~.

The One-Stop Plane to the Middle East, and why it won't stop twice.

Slopping more th.n onu ulu.lIy mun. wHlmlllme Th.,', why SWIU.ir hu whit we nil One,Slop Phlne M'rvI« You m.. ke only one ItOp in Zurich, chinle pl,nH, Ind 10 on 10 your finll dHlinllion (You'l!

Mvefletslop-illlth,IWly.) Swisllir hIS One-Slop Hrvice 10Athenl, BeifUt, Cllro, bllnbul Ind Ttl AvIV.

.'

Just where does the Russian Tea Room stand?

Slightly to t,~!:!,~!.!.,?!~arnegie Hall.

We liso hive 11 RilhlllWftkloSwilltrllnd,lt1vinl from New York, Monlrtll, Ind ChiCl80' And offic.... in principII cfliltl,IOO. CII! UI (Or your Irlvel Iltnl.) IE you h,vt 10 slop more Ih'nonce, you're on 1M wronlpl,ne.

~~WI$.!;iA!~

The Express Plane toZurich, and why it doesn't stop local.

--- -',

---

" ~:;~: ;'~i~~~:;i~.'d·:I:;h~I:b: :~ ~:::: r"" \

The ruson's Ilmple The lolng il fuler when / /

/ / I

/

,It'

~

"

And whether you' re slOPpinl In Zurich or 100ni on to

:!~I~ :.:!;~"I:n~:~~o;:n~~~:;n:r:::h':~h:;I~~i~h~:

\

No Willed lime, no willini lime

Swisulr has 17 Ri&hlll week 10 SWllurl,nd, Itlvlnl

~

,

J

~7:~:::P~i::~~~~~:::~I,'nd ChiciiO We IISO/lh/'/.',/////1

Cillus Before~'relone

+-~W~~~~~F.J

"\,~

The Switch-Plane to Stuttgart, and how two planes are faster than one.

~~;~~~::~'t:~ i:h~~lf:::' ~:;~r ~~nli~::n:..~:~~ theYlfflvt,tthtirl'ln,ldltllinllion

~'::~t w~:u S;;;i:~~~ ~~:n;:h::U:;,e ,':J :e~~~h:~:~: 1

you'ftlolnlsooner Swisulr hIS SWltch·PI,nt Hrvice 10 Stulll.,I, Vtenn" Pr'lue, DuIHldorf, lnd othtr cilift.

SwilSllr frompoinl ofdtplrlure to point ofdHllnl'

~;:;~:~r~;::':t:~:~;~:::hi:~~~~o~E~E;:~~

.ndtuier for you 10 kttp tflck of us.

fr::"~e:lSy~:i8~~n~r;:~k,~~ S2'~~::~~.n~~e.~!~!

Complete dinner served at the Winter Palace, December 11, 1913 as reported by the Czarina's lady-in-waiting is yours at the Russian Tea Room $5.75 complete.

officHinpnncirnlcili1tl T&kethtSwilch·Pl&ne A lilt Ie ch.nge once In. whl[e rceverhurl&nybody

=;:::;::::E~ ~~'!~U:~~E~~~:v;:I~~'~! ~SWISSAIR

Just where does the Russian Tea Room stand? Slightly to the left of Carnegie Hall.

IMW....71.. _.CO..-:F

-----------------------36

3

Nine of New York's great seafood restaurants serve terrific shish kebab.

And glorious urried Seafood Calcutta. And delicious Chow Mein.

And unforgettable Hunga rian Goulash au Paprika. And an Irish Slew that would gladden the heart of any Ulslennan. You can get a superb hamburger, too, at Longchamps. (We make it of prime filet mignon.)

As a matter of fact, no matter where you point on a map. chances are Longchamps serves one of the specia lties o f the region.

At Longchamps, our inspiration is the world. Taste some of it tonight.

(At our 5th Avenue restaurant at 12th Street, perhaps.)

Nine of New York's great Italian restaurants serve wonderful

NEWSPAPER CAMPAIGNS 1

Jon Fisher, art director/ desIgner Bob Veder, copywriter Campbell-Ewald/ New York, agency Swissair, client

Al Bensu an, art director/designer/illustrator Alan Glass, copywriter McCann-Erickson, Inc., agency Russian Tea ROOl1l, clieat 3 Dick -Bennett, art ditector/ designer Helen Kruger, copywriter Sheny Sacks, illustrator Redmond, Marcus & Shure, agency Longchamps Restauran~ client

: :Ch!~e~_;J~gdfrLots of people think we serve wonderful French food at Longchamps.

They're only partly right. We also serve wonderful Italian food like Veal Cutlet Pannigiana, baked in our own zesty sauce 01 fresh slewed tomatoes. And authentic Chicken Chow Mein that some of our patrons claim is like no other in New York. They're right about that. Our special noodles are prepared by Chinese food experts exclusively lor Longchamps, If you 're adventurous, you can circle the globe twice in a six-course dinner at Longchamps, while you sip appropria te wine served with our compliments.

Why not start your tour tonight in our plush.carpeted 65th Street restaurant on Third Avenue?

Nine of New York's great steak serve fabulous curried .... lobster. ~

Not to mention memorable Coq au Vin

Chambertin. (Ma ny Longchamps customers believe ifs the nicest thing that can happen to a chicken.) And deucedly English Sole, sauteed in finely blended herb butler. And no fewer than 63 dishes from fourteen different countries and fifteen regions of the nit",1 IJlles. (Just so you can change your itinerary in midmeal.)

Now, in this age o f specia li za tio"" isn 't it nice to have many.sple nclored

Longchampa? (One of the splendors is a glass of wine on the house with dinner.)

There's a Longchamps at B roa dway and

41st. Drop in tonight for pre· thea tre dinner.

Lo

where the specialty of the ho-u's-e- ~- . --

~~

Nine New York's great Indian restaurants serve lllarvelous Italian food.

One of our nice surprises

is a glass of wine on the house, with your dinner

The harder they try, the better we get.

It's the underdog that's keeping the top dog on top.

A Hertz girl did a little something extra for a customer and got a 336 foot fan letter instead of a raise.

2

NEWSPAPER CAMPAIGNS

Ralph Ammirati! Mike Tesch, art directors/ designers Ed McCabe/ Marty Puris, copywriters Harry Hamburg/ Paul Elfinbein, photographers Carl Ally, Inc., agency Hertz Corporation, client TRADE ADVERTISING

We can give you a lot of important reasons for working with us.

This isn't one of them.

It's pretty nice having a colorful town nearby.

And tennis courts and a golf cou~ right outside your door. And you r own private beach.

But whcn it comes to judging a psychiatric hospital , it's pretty unimportant. ikcause ~ood fringe benefits don't make a good hospital. This is what does.

Wc're: a tcaching hospital, a part of onc of the country's leading medical centers.

Our aim ista hc:lp patients whaean be helped.

You' ll have a small group. With enough time (or each one. And you'll have the satisfaction of knowing that 85% of them will be able to go home . To make a fresh start.

You' ll have other satisfactions too.

Doctors who take the time to interpret. ujXrvoors who take the time to listen . A good scholarsh ip program.

An excellent starting salary. And all the chance you need to move ahead.

So think about it.

Consider the imponant reasons for working with us.

Then come enjoy the unimportant ones.

The Westchester Division of The ew Vork Hospital-Cornell Medical Center.

2 Mel Rustom, art director/designer Deanna Cohen, copywriter Manhattan Postcard Company, illustrator Doyle Dane Bernbach, agency The New York Hospital, client

Director of Nursing.

The New York Hospital-Corndl Medical Center, Department of Psychiatry, Westchester Division, wv-61 21 Bloomingdale Road White: Piains, New York.

Please send me you r brochure.

II II

3 Jim Brown, art director/designer/illustrator Dave Saslaw, copywriter Stone-Langley, photographer Doyle Dane Bernbach, Inc., agency Polaroid, client

Add<<SS,_ _ _ __ c;ty'_ __ _ __

Stale

Zip

3

Expect trouble.

When our advertising hits this spring, a lot of people will be coming your way.

And if you don't have enough Polaroid Land cameras for them, they'll just keep on going till they find somebody who has.

And that's the trouble.

But that's not all. They may very well continue going there. For film, accessories and all those other delightfully profitable extras.

Which is no small loss.

You see, more people than ever before will know about, and want, instant black and white photography for $19.95, or instant colourfor $75.

Because we're unleashing the biggest Polaroid camera advertising campaign in our history. .

So be prepared to give people what they want.

Isn't that what you want?

39

With one gulp. Americans might get nil the nutrition they need every day. Vuy convutient , but th<y'Uncvtr buy it.

Sure, consumers want bettc.:r nutrition and morc convenience. but they also expect grcatt'r variety. more Rovor. better appearance and adequate bulk in the ""me types of fnods th('y're ('Htillg now, That's no secret, but irs;:J big order for the food pnx:essing industry , This is why Merck has not stoPP<'d at nutrition ulone , but has put so much emphasis on the development of other ingredients, to improve foods. Things like starter cultures and ascorbate.

for me-nts; vitamins for enrichment; humectants. antioxidants and flavor enhancers Muck is contmually looking for ways to meet the needs of food processors so that discriminating Am«;can appetites arc satisfied.

That's why we invite your requests for help in planning the exciting future in foods. After nll, isn't giving people what they expect at the dinner table the best way to get the results you expect in YOllr sales) Ask Merck to help you do it_ Merck Chemical Division. Merck & Co., Inc., Rahway. New Jersey.

We think you should expect something extra

.4 ~ ~

MER C K

~~r

cni11Iler Is Served

TRADE ADVERTISING

Ricardo Piera, art director/designer John Mimnaugh, copywriter Lee Larssen, photographer Larry Scaglione, production Rumrill-Hoyt, Inc., agency Merck Chemical Div. - Merck & Company, Inc., client 2 Norman Gollin/Keith Bright, art directors/ designers Harold Dreyfus, copywriter Peter James Samerjan, photographer Harold Dreyfus & Associates, agency Ponder and Best, client 3 Nick Gisonde, art director/designer Ken Charof, copywriter Tony Petrocelli, photographer Delehanty, Kurnit & Geller, agency Talon Inc., client

THE KNIFE YOU NEVER HAVE TO SHARPEN.

You know how a coating of tungsten makes a knife so hard you don't have to sharpen it for years?

Well, Utica doesn't do it that way.

Instead, we smelt the tungsten right in with our stainless steel.

This tungsten stainless steel gives you a blade not just hard enough to cut steak. It's hard enough to cut steel. A blade that holds its edge so fiercely that we make this promise: If ever, during its original owner's lifetime, it loses even a fraction of its sharpness, we will replace the knife.

This new knife is called Tungsten Kutmaster.

And, thanks to a sales manager who is out of his mind, it costs no more than ordinary knives.

You'll sell a Kutmaster carving knife for $2.95, for instance. A six piece steak set for $19.95. Including a walnut case.

What's more Tungsten Kutmasters offer you an unusually high margin, fast delivery and one of the largest advertising campaigns a knife ever had.

But what you want now are more facts. The place to get them is booth D326-D328 at the Housewares Show.

The one that is being picketed by knife sharpeners.

Utica CutleryCompany.

this 10¢ drink cost $100

The customer ordered 7·Up~ .. but didn't get it. Seven-Up customers can tell whether or not it's 7·Up. When it isn't, they tell you aboutit personally _.. by not coming back.

The pennies you may save on syrup costs can cost you customer dollars. And that hurts. A void these tragic odds. Call your local 7-Up Bottler or write or wire us collect at the address below.

We mean business.

42

The Seven-Up Company Fountain Syrup DiviJion 121 South Meramec, St. Loui•. Missouri 63105

TRADE ADVERTISING

Wewant you first.

1 John Evans, art director/ designer Larry Plapler, copywriter Cailor/ Resnick, photographer Delehanty, Kurnit & Geller, agency Utica Cutlery Company, client 2 Donald Boehme, art director/designer William O'Brien, copywriter Elbert Budin, photographer 1. Walter Thompson Company, agency The Seven-Up Company, client

3 Stephen Graff, art director/designer Dick Fitzhugh, copywriter Doyle Dane Bernbach, agency Mobil Oil Corporation, client

U-

I

FOR U. S.. ARMY NEAREST RECRUITI NG SUTIO"

~ you're about to graduate, and you're eligible for the service, there are some companies around that will take a dim view about hiring you.

It doesn 't pay, they say.

We don 't feel that way at Mobil. ~ we want you, and you want us, we'll hire you

"~':"You get out of school, you can go to work.

When you have to leave for the service, we'll give you a leave of absence And when you get out. you can come back to us.

Right reN, we need all kinds of good people: engineers, geolog ists, geophysicists, accountants, financial analysts, sales representatives, chemists,

~~=~~~~s~~~to~i::nd a lot of We'll be coming to your campus soon ." ~ you'd like to talk things over with us, we'd like to meet you and discuss both of our futures.

The way.we look at it. anyone worth hiring in the first place IS worth waiting for.

4 Charles L. Kintzing, art director/designer Arlene Ball, copywriter Arthur Beck, photographer Warwick & Legler, Inc., agency American Can Company, client

M@bil.

4

We invent a lot of fanlons firsts.

Bui our seconds are always ., beti(~r.

1

The materials explosion. -

The materials explosion.

-

~tsaylnlt.'Necallthemthe "matef'lals

dry, gryes.softfeelandprevents~

It's madeofpaper. Theblktnl, thatlS. Anotherexp6osi¥eldeainmaterials~

Theresult.c:dorfulpaperbiklni. Onethat

start.,..anewtec::tYloqylfldtsposab6ecoocts.

won'tbumorshl'lnk. ltonlycostsaboutS4.00

Aperfectexampleothowmaterials~

R8)'OIl, lItexandpaper. Ontythreeofover 70.OCXJ-.;neerircmaterials. And there are thousanctsmore too:me.

It's a materials expk)$ion.

SelectirwtherWhtmaterialtsadiHicult chore. Only one out of fourqineers has an

des.,

while stays the same. Here's how it's done, Rayonfibef'sareiaminatedbetween layers of paper with aood wet $trqth.

Alltea~ isusedastheadhesive. The

latexm&kes the paper str'Of"C whether Ifswet Of

influentials." They read Materials Eng1neerrc.

It helps them make declSlOflS. It's the only pubhc:atlondeo.tot:ed exciuSlYety to materials, parts and finishes.

ThIOk)'OUtproductdesetvesmoreattentJon? Put it down on paper Ifl Matenals Ercineer....

Material$~is.O\apman·

Reinhokl Publicatlon.

Materials Engineering can keep your product from being lost.

We call them the "lNte"lalstnnuent~Is " The mapllne they read IS Materials Ene........ · The ant» magaztne deoJoted excluSNely to mat.

Todaythere aremorethan70,OOOenalneer· nals, partsandhrllShes.

Today's space boot has a body of Royahte IrlI matenals. With thousands more to come.

It helps them make malenals deciStOnS. (a mixture of ASS and p.IC plashes), nylon bu'ld· /t 's a matenals eJq)loslOn. Want to get product Into orbt? Advertise 1t'4I:. thread, fasteners. Alurrllnum heel and sole Select~ the rtBht malenal has become a It I!'l Materials Englne-ennl. plates, Apotyeth)1ene IMel"so4e. AgtasHell'\' crltlClllpt~ In fact, only one OUI 01 lour Matenals Er¥neertnl IS a pubiatlOn of forced thermoset lamnated toe plate engineers has an WT"4O'oot say In It. Q\apman·RI!Inhokt , Inc. After I hatd day's work In thespaoecapsule.

an astronaut likes to $It back and relax with hIS

$I1pperS (W'I .

BeI!eYt It or oot they'recomfort.ble. And strong And thanks to these new materials, only 'NeIeh nne ounces &pI8Cf!

These are the ones he'll wear

vax

Materials En&Ineerinc can keep your product from bein& lost.

How can management make realistic cost estimates for 1972 Just suppose you had to make your plant stream "swimmable" •••what would it cost? n.._...:- ................................. _ _ _ ......... ___ .... _ . .. ......... _ ndy.................

aI ... _

....

wII ........ _

-wc~.

....... _ H . -

_~~

..... ......, ...

_c_"""

.....M. .... _ _ _ ...... ........ -'-~." ...............

if~_~

AJumlnum Mel plate

•••when they don't know how much they will have to spend on water pollution abatement? ......... .... ....,...., .,. ................... ___.n.., - - - . - - .........

------- ......................... _._-........... . . .___ ,.1.1." .......... .. -...............

-,........, ... ..... ......... -.-.......... ,....w..............

----. .......... .. ~--....

......... I • ....,...~ .......................... . - . I . . . . ==~ ::.::==::.':~ Calpooc-.-.-.-~-""

........

I f _ . . W_''''* _ _

....,yad~

-,.~

,

."

,..-...c....,. _ ..... 1,.. ........... _ T'IIIt,,_ ............. ,..--.

--..,~ • w_ ............

w_ . . . . ........ . u. ........ ..,.. _ _ _ . , . . . . . . . . . _ _ _ ......

... upoUI~- . . .

--...... ....... ."........, ....... .

AW_ ..... - . . . . . . . . . . . . . . . ~ ............... . .

........,.",....Iw.... __

,

~

w_,..- ... _

. ,... __

===.:;=.:~': ~c.p~~~

1

Alvin Beckerman, art director Bernie Zaccaro, copywriter Ralph Grossi Charlie Schramm/Tony Cappiello, photographers Ries Cappiello Colwell Inc., agency Materials Engineering Magazine, client

Unlimited visa to the C.S.A. Now some of the finest convention facilities and cities can be found in a brand new country . .. the Continental States of America. Continental Airlines has formed this new country to show people, like yourself, where it goes.

To enter the C.S.A., all your members need are : Their passports (Continental A irl ines tickets). And their visas (those familia r name badges) with no limitation on how many can enter or how long they can stay !

The C.S.A. has also been formed for another important reason - to show how Continental Airlines is different.

This d ifference is pri de ! The almost patriotic pride of Continental's people

2

Elmer E. Yochum, art directorl designer Carl Brammer, copywriter Town Studio, illustrator Bill Cornelial Bill Bordas/ Don Ornitz, photographers Ketchum MacLeod & Grove Inc., agency Calgon Corporation, client

in thei r jobs, in themselves, in their ai rli ne.

You'll feel this pride when dealing with our convention specialists. You'll find they go out of their way to provide information about hotels, sightseeing tours and transportation. In fact, they' ll make your meeting or convention planning as trouble-free as possible whether it's a group of 10 or 2,000.

For full Information, write : Lawrence Reid-Continental Airlines, 7300 World Way West, Los Angeles, California 90009.

3 Gene Despard/Richard Drayton, art directors Mike Jolivette/Burton Weiss, copywriters Nicolas Sidjakov/Charles White III, illustrators Cohen & Dobbins, photographer Needham, Harper & Steers I West, agency Continental Airlines, client

Continental Airlines the proucI bird with thtlgotden t811

Discover the Continental States of America If you 've never heard of the C.S.A., there's nothing wrong with your geography. Our country is brand new and, in fact, it's not really real.

We just invented it-to show you where our Proud Birds go-and, more important, to show how Continental Airlines is different The difference is pride. The pride our people have in their airline is almost patriotic I You feel their pride in everything they do for you, and you feel good.

Comfortable. Confident.

The key to all this is found in the motto

So proudly

we hail! of the C.S.A., " Semper cum superbia," which tells you how we do things .. _ "Always Y(ith pride."

Though\lhe C.S.A. isn't really real, our pride is: It's worth discovering. In the Continental States of America, come travel with us and feel the difference pride makes.

Continental or, better yet, your travel agent can arrange it He's an expert on unusual new places, including this one.

Please call_

Many countries have formed their own airlines. But as far as we know, th is i s the lirst time an airline has formed its own country. There are some good reasons why Continental Airlines did it.

The first has to do with our growth.

We've placed orders for the delivery of 34 new aircraft in 1967-68. These will more than double the size of our jet fleet and make us a pure-jet airline.

Our growth plans also anticipate additional routes. We're hopeful that in the near futu re we' ll be awarded substantial extensions to our present routes, as lhe result of numerous route cases pending before the CAB. With all this activity going on, it's only natural that we tell people about it . And that' s why the Continental

States of America has been formed .. . to tell people where we go . .. to get them excited about what's happening at Continental Airlines .. . and, another good reason, to point out the difference between Continental and the other major airlines.

The difference is pride - the almost patriotic pri de our people have i n themselves, in their jobs, and in their airline.

Though the Continental States of America isn't really real - our growth and pride are. You'll be hearing more about both soon !

TheCotrt'-I.ISI.... ~Ameftc.I O,_"'e . ..... pride

Continental Airlines the proud bIrd with the golden tail

Continental Airlines the proud bird with the gcHden t.1I

45

IPHILCO.

IPHILCO.

The Innovator: Phllco--Ford.

The Product : A 8-wey better epoxy tranilltor_ 1. PET TO- ,S'a ambient power dlSllpation Is typically gre.ter than 400 mW

2. Our PA 7600 RF/ IF video amplifier offers the highest gain bandwldth available In the Industry (passband to 9000 MHzl. 3. PA 7601 AF/ IF bandp868 ampliller offers axtreme IInearltywllh AGe . .. . PA 7713 AF/ IFvldao amplifier: a speciaillnearclrcvll featuring hIgh gain bandwidth at low power/SOO MHz at 18 rnwl. 5. lmmed lals delivery. Philco-Ford Corporation, Microelectronics Division, Santeelsra, California 95051

iChlp dependent!. 6JC II typlcalty ,05OC/ W. 2. PET TO-S'I ambient power dissipation la typlcalty greater than 4SO mW. 6.lc is typlcalty l000C/W. 3. PET packagea ha.... reliability factora aqualto or exceeding Ihat 01 met.1 cana. 4. PET's are ImmedIately ..... iI.ble in volume production quantltlea, 5. PET'ah.veaapeclaldeep-weU Intertockconllruclion thllinsures hermetlcityand reliability. 6. PET packages are perm.nently and legibly marked-Ieltered bl.ck on white. 7. PET's are packaged In our low-cosl Taiwan produclion facility10 keep your cost low, 8. PET ampl ifiers operate on cUrrentl ranging from 10 JlA lolA; PET 5Wl1CheS 10 speeda 8 nslurn on end 11 os lurn off. 9. PET's Irom40MHz 10, ..00 MHz. I I I C.llfomi.95051

IpHILCO.

IPHILCO.

The Innoyator: Phllco--Ford.

The Product : A 5·way better IIn•• r Ie line. 1. Only linear line thai covers the entire frequency spectrum from DC through VHF.

'.rge

The Innovator : Phllco-Ford.

The Product : A 5· way beHer dlgltallC 'amlly. 1. Only our 9930 Series OTL Is 8\/aUabla In Ihase three packages; E-line epoxy dual Intlna, ceramic flat packs. and ceramic dual Inlina package.. 2, For absolute minimum power diaslpa1ion , we'...e de...eloped a unique MEliM lcro Energy logic) family of medium-speed TIL Integrated circuits Igate, buffer, end register IIIp flop elements). These circuits ha...e • typic.' power dlsslp.tlon of ....0 ~W per gate function-lowest in the industry. 3. Super ATl ls also a...ailable: h igh speed, medium power NANO/ NOR log 18nl w ith 5.3 mW per functionl. 4. To date, our dlgllellC's have logged over 65 mimon device-hours; rell, bUity data ....alleble on request. 5. tmmedlate delivery. Phllco-Ford Corpor.tlon, Microelectronics Olvillon, Santa Clara, C.lifornia 95051.

46

The Innovalor: Phllc:o-Ford.

The Product: MOS. 1. The Ilrst major m.nuf.cturer 10 lake MOS from the theoretlca' to the practical. 2. Rnesl MOS manufacturing technique In the I~uatry, 3, Moat experienced MOS team In the Indultry: A&D, englneertng, and JySleml know-howPtlOPki. " . Proven 'Ylteml capability In MOS .net large Icale Integration ilSI). 5. One of our Phlk»-Ford MOS circuit types h.s logged over 2.5 million devk:eI I MOSclrculta I I I

2

TRADE CAMPAIGNS

Peter Mock, art director Mari-Jo Neola, copywriter Torn Kamifuji, designer Tony Naganuma, illustrator Marian McBride, prod. manager Hoefer Dieterich & Brown, Inc., agency Philco-Ford, client 2

Jim Brown, art director/designer Bill Sedutto/ Dave Saslaw / Jim Lawson, copywriters Jim Brown/Stone-Langley, photographers Doyle Dane Bernbach, Inc., agency Polaroid, client

Phl{.a:ku. r-.:arahar. Ra,h .."lth.a.. l8.fl4_

(d

'ITf':lq;m~ . Iit;ro;::rm Tg1ftI ~,If,~If'l'lfr . c:J11!f'\l~, ~ 'Il:1"8r ~ ~ ,1961• ., ~(~'Il:1"8r~. ~

:FS.

~R~~~CiI,?)

...1 ,~.;!:,t, a.tt"fI( n tl. f'''w ''~.ldt''w''''

.... A!"' ... ufl. rt ....

0S46l.8.PU

A librarian, tired of copying catalog entries like this by hand, hit upon a new use for the Polaroid IS-second close-up camera.

Her idea was so good, we've added it to our own library of uses.

When we developed a close-up camera thai lakes care of lighting. focus,exposureand field size by ilselland delivers black and white prints in IS seconds (color in 60), we had in mind about 100 indusIrial, scientific: or professional uses, Uke five of the silt above.

Mn. Helen Ouslinofl', a University of Vermont librarian, came up withoneweneversuspe<:ted .

When she had 10 order a book from a publisher, theusuaJ procedure was to copy out the necessary details by hand from the catalog.

When the~kha~~nsto bc~ • . o r .JE:~·~:;{ Ift Z':T-M,

entry and has nn enlarged, mistake-proof copy in becomes the muter reference for ordering the catalog cards when the boolc arrives.

This common sense use of Ihe CU-S camera has saved her 1$ much as 10 minutes per book in needless drudgery. In larger libraries, wheretheorderspiJeup,it'1I Javedays.

And it doesn't mailer if the librarian knows her . ',from her~'I.

th;:,r:~Ou~~:~~~~~o;~_~ ~~~c~~::;·sn.ps a picture of the Polaroid CU.. 5 Land Camera.

47

Jim Gordon's son did.

Jim is a reporter for WI 5 Radio in New York.

He first spoiled the ads in a magazine belonging to his 14-year-old son.

They offered mail order instru ctions for making a variety of bombs and explosives. All on a kid's allowance.

Jim asked his son to a nswer the ads. The boy wrote in longhand on paper torn from his school looseleaf notebook. There could be no doubt that the requests came from a child.

Nevertheless, in a few days the mailman began delivering pamphlets. How to make nitroglycerin.

How to roll your own firecrackers. How to put together a stick of TNT. But that wasn't all.

Some firms offered to sell the necessary chemicals or fuses. Others gave tips on where to shop for bomb ingredients.

And a few suggested uses for the homemade

Last December, the Interstate Ku Klux Klan declared Baltimore its target city for 1967.

Not many people took the threat seriously.

One man thought it deserved looking into. Christopher Gaul, a reporter for Group W station WJZTV in Baltimore, wanted to know more about the men who had declared his ci ty their target.

He began to dig.

He found that most of them were renegade Klans-

men who had joined together in a new, more radical offshoot of th e KKK. Their leader was a man who had been drummed out of the national Klan for holding a joint rally with the American Nazi Party.

Gaul dug deeper. He filmed interviews with top men of the new Klan. Calmly, they talked of nightriding tactics. Of race riots. And later, of in tim idating Jewish merchants in Negro commun ities.

With the help of authorities he traced their backgrounds. Their ti es. A photograph showed the hooded Klansmen side by side with men in khaki

48

expiosives. Such as, "ideal for catching locker thieves an d desk prowlers."

By the time the mail le t up at the Gordon house, father and son had enough informa tion to blow up the en tire block.

Jim presen ted his report in a six-part program on WINS, Group W's all news radio station. Parents wrote to thank him. A state assembl yman asked if he could use Jim's findings to help write new explosive control laws.

The problem was no longer a secret.

Jim Gordon is an invest~ative reporter. He doesn't wai t for news to happen. He digs it out.

On his own time if he has to. III his own home.

All our reporters work with the same dedication. It's a WINS policy. Because bringing you the news is the only job we have.

co~c:~n:~~~~e~~;:~~; WINS \ID8 IO W onewayto do the job. _ ......._ _...

Everything pieced together. Militant white supremacist groups were joining forces in Baltimore.

Gaul presented his report in a th ree-part series on WJZ-TY. People woke up. Newspapers grabbed the story. Mar91and State Police immediately put a close watch on 311 extremist groups in the area.

The idle threats were suddenly very real, and very

frightening.

Christop her Gau 1 is an investigative reporter. He doesn ' t wait (or the news to happen. He goes after it.

Inves tigat ive reporting: is the only assignment 'he has. Bec.use at WJZ-TV we think digging out a story is a full-time responsibility. A job as important as reporting the news from day to day, And sometimes, GMOl~ the most important job we have.

WHllMiHOU$( IMIAOCAST.c; Q)MPANY

WJZ-T\l13 W

Viet Nam Village is on an Army post in Massachusells.

It's there so Gis can learn how to survive in the jungles 01 Viet Nam. The training is lough. Some civilians thought it might be too tough. They wrote their Congressmen.

They wired th e White House. They wanted to put an end to what th ey called brutality.

Gene Pell, a reporter for Group W station WBZTV in Bos ton, went to Viet Nam Village to find out just how brutal it really was.

His training began with a patrol. In a short time the pa trol was ambushed, and Gene was taken prisoner. The "Viet Cong" gave Gene a taste of what American POW's in Viet Nam can look forward to.

They left him sp read-eagled in the 100 degree sun for 45 minutes. They tied him to a stake and interrogated him. Then they rigged low voltage wires to his fingertips and shot jolts of electricity throu gh his body.

For 12 hours Gene Pell went through some of the

There are nearly balf a million migrant worken in the United States.

Many start working before they start kindergarten. Some have never slept alone in a bed. Others go for months without seeing a bathroom.

You don't have to go to the Cotton Belt or the Far West to find them. Many work the New J ersey farms between New York City and Philadelphia_ Malcolm Poi ndexter, a reporter for KYW Radio in Philadelphia, wanted to lind out what work was like on one of those farms. He took a job picking strawberries at 7; a quart. After 12 houn in the field, he was paid. $1.68. About two dollars less than the average, experienced han d.

Poindexter didn't quit there. He visited children at nearby labor camps. Some hadn't lived in one place long enough to go to school.

He learned of the prostitution, narcotics and loan shark rackets run by the crew bosses to get hack the little money the workers made.

Malcolm Poindexter was finding out fast why one migrant worker had said, "Of all the hopeless

most rigorous training the Army can di h out. But he didn't crack. And when he presented his three· part program to WBZ-TV listeners, th is is the point he tried to bring home.

If a 30-year-old reporter could make it through the ordeal. so could a soldier in top condition. Particularly when he knew the experience might someday save his life.

People believed what Gene had to say, and the Viet Nam Village controversy died down.

Gene Pell is an investigative reporter. He doesn ' t wait for news to happen. He goes after it. It may mean going through a little hell once in a while. But that's his busi ness.

At Group W we don't tell our newsmen how to cover a story. Or what to cover. All we do is develop

a

t~~~h:: ~!::~n~a;:s~ur GROUP =::;:...

12 stations in 9 cities to live up to those standards.

Each in its own way.

W :=.= :::=---..

folks there are, we are the most bopeless_" It was a tough point to argue. In many places there is no minimum wage for migrant worken. No workman's compensation. Even where laws exist, they go unobserved and unenforced.

Poindexter's findings were broadcast in a tenpart series on KYW, Group W's all news radio station_ A few weeks later, a task force set up by the Governor of New Jersey contacted him for suggestions. Poindexter recommended stronger law enforcement. Tbe Governor, in turn, requested the manpower. The first step had been taken.

Malcolm Poindexter is an investigative reporter_ He doesn't wait for news to happen. He goes after it. Even if it means 80me hack-breaking work in the bot sun.

All our reporten work with the same dedication_ It's a KYW policy_ Because bringing you the news is our only job_

:~e~, ~~::,::~~::- KVW ~W way to do it.

W[JTJIAOUSlIMlADtAST1NC COMPANY

TRADE CAMPAIGNS

2

Frank Fristachi, art director/ designer Marshall Karp, copywriter Art Kane / Mike Cuesta/ Gordon Parks, photographers Delehanty, Kurnit & Geller, agency Westinghouse Broadcasting CompanyGroup W, client

TELEVISION COMMERCIALS 2 (Voice over musical background.)

Who says men don't care about their hair?

Admit it-you care about your hair. So try Vitalis, we care about your hair, too.

Vitalis grooms every hair on your head. Spreads like a cream never could ... white cream or clear.

It's greaseless.

If you care about the way you look ... get Vitalis.

We care about your hair.

Roger Flint! Carol Lane, art directors Richard Symons, writer Fletcher Coleman, producer Elliot Unger Elliot, prod. company Mike Nebbia, director Stan Applebaum, music Young & Rubicam, Inc., agency Bristol Myers-Vitalis, client 3 Anncr. (VO. live sound): In this dirty world, even the smallest scratch can get infected. That's why we make the Band-Aid brand Sheer Strip. You can see how it keeps dirt out ... and lets healing air in.

When ever you use a Band-Aid Sheer Strip ... you're protecting a Jot more than a cut.

Sal Lodico, art director Richard Olmsted, writer Patricia Layman, producer P.G .L., prod. company Bernie Hirschenson, photographer Henry Trettin, director Young & Rubicam, Inc., agency Johnson & Johnson BAND-AID Sheer Strip, client

Keeps dirt out

uts air in

l:fJ~l.t;".' shLOr

stl'ips

49

2

TELEVISION COMMERCIALS

Anncr. (VO.): Some people tell their kids that parents don't need vitamins, because parents are grown-ups.

This is one of the great children's stories of our time. Grown-ups do need vitamins. They grow, just as kids do ... hair, fingernails , bone cells, muscle cells and blood corpuscles. And all this takes vitamins.

You can get all your vitamins from food, if you know you eat right. But if you don't know for sure, do what you make the kids do: take One-A-Day brand Multiple Vitamins. Nobody will think it's childish.

In fact, you may give the kids the idea that it's a very grown-up thing to do.

Howard Russo, art director/ designer Bill White, writer Magi Durham, producer D. V I., prod. company Tibor Hirsch, photographer Ted Deulet, director Jack Tinker & Partners, Inc., agency Miles Laboratories, client 2

Detective: Schultz! Corne out with your hands up!

Schultz: Ya'U never get me copper!

Cop: O.K. Schultz, against the wall. Frisk him, Farrington.

Farrington: Hm ... nice crease, Schultz .. . who does your pressing?

Schultz: It's poimanent press. Myoid lady dumps loads of it in da new Westinghouse Heavy Duty Washer.

(Scene switches to Schultz's " Old Lady") She says it's programmed for poimanent press. She just pushes da delicate button if it's delicate poimanent press ... or da sturdy button if it's sturdy poimanent press.

Dat Westinghouse Heavy Duty Washer makes it easy for her to do enormous 16-pound loads of poimanent press.

Westinghouse does me poimanent press. Because ... ya never know.

(VO.): You can be sure . .. if it's Westinghouse.

At Bensusan, art director Donn Resnick, writer At Bensusen/ Donn Resnick, producers Focus Presentations, prod. company Boris Kaufman, photographer Max Katz, director McCann-Erickson , Inc., agency Westinghouse, client

50

2

TELEVISION COMMERCIALS

(VO.): When you have a little scratch ... it's a dirty world.

Yes ... it's a dirty world , so even the smallest scratch can get infected. See why you need a Band-Aid Sheer Strip. It keeps dirt out ... and lets healing air in. So protect every little scratch with a Band-Aid Sheer Strip.

Made only by Johnson. & Johnson.

Hil Covington, art director Richard Olmsted, writer Hil Covington / Joe Rein, producers Horn-Griner, prod. company Norman Griner, director Young & Rubicam, Inc., agency Johnson & Johnson BAND-AID Sheer Strip, client 2

(VO.): If you're hung up on foam ... don't come to us.

But if you want a drink that's low on carbonation, yet long on character ... try Country Club Malt Liquor ... less filling ... more body ...

This Country Club is a gasser ... without the gas.

John Koelle, art director/ designer/ producer Arnold Paley, writer V P. I., prod. company Arkos Farkas, photographer Jack Goodford, director Kikuo Kawasaki, editor Allen , Anderson, N iefeld & Paley, agency Pearl Brewing Company, client

51

1

2

TELEVISION COMMERCIALS

Captain Neat: Hi dear, I'm home!

Wife: What happened? You look like you flew through a compost heap.

Neat: I flew through a compost heap.

Wife: Oh. Good thing we have our Westinghouse Heavy Duty Washer. It does 16-pound loads as fast as you can get 'em dirty.

First I weigh them. The Weigh-to:Save lid tells me how big the load is ... and how much detergent and water I need. Then I set the water-saver dial.

Neat: You can't clean up filth looking wrinkled and sloppy. No sir. Just set those dials for permanent press and it does 16 pounds of capes and leotards and copywrited Captain Neat Emblems.

Wife: Here dear.

Neat: Thanks love. Well, I'm off to fight for cleanliness.

Wife: Go out the door.

Neat: I just check all my pleats and spotlessness.

Wife: The door.

Neat: Perfect again today, thanks to my Westinghouse Washer. Neatness Counts!!!

Wife: The door.

Neat: (Voice trails off as he zooms away) You can be sure ... if it's Westingh-o-u-s-e!

AI Bensusan, art director/ designer Donn Resnick, writer AI Bensusan/ Donn Resnick, producers Pelican Films, prod. company Morty Gerstein, animator/ director Gene Klavan / Claiborne Cary, voices McCann-Erickson, Inc., agency Westinghouse, client 2 (VO.): "Beautiful, isn't it? And hostile, the most hostile world man has ever challenged. Here, water pressure can cripple, normal air mixtures warpt the mind, a too-rapid rise to the surface can kill. Yet men are working here today:' This beautifully photographed and edited 3-minute commerciaL describes the commuting vehicles and methods and the Life support systems that allow divers to work on the bottom of the ocean and stay down as long as a week.

(VO.): "Why all of this? Vast reserves of oil and minerals, food in limitless quantities ... they're all here. And here they will stay until men can get them out. That's why Union Carbide's here:'

@

You can be sure 52

Donald Egensteiner, art director Charles Blood, writer Neil Tardio, producer V P. I., prod. company Dave Quaid / Lamar Boren / Bernie Campoli, photographers Dave Quaid, director Young & Rubicam, Inc., agency Union Carbide, client

2

TELEVISION COMMERCIALS

Anncr: New Shower to Shower is what you want it to be.

For a woman, softness, smoothness ... for a man, brisk stimulation ... for both, a totally new sensation of freshness ... because this body powder gives you deodorant protection ... that lasts from shower to shower.

New Shower to Shower ... every place it touches turns to freshness.

Maurice Mahler/ Sheldon Goldberg, art directors John Burghardt/ Rosanne Verlen, writers Roberto Mitrotti, producer Audio Productions, prod. company Dick Miller, photographer/ director Young & Rubicam , Inc., agency Johnson & Johnson Shower to Shower, client 2

Anncr: Welcome to detergent land ... where all things are possible.

(Sounds accompanying action of washing machine breaking through ceiling, man getting struck, knight falling off horse) In real life, any detergent can do a better job when you add detergent booster ...

Climaline.

The laundry additive that softens water ... breaks down grease .. . and brightens all fabrics.

Climaline is not a miracle worker, it just does the job that miracle detergents can't do alone.

Climaline ... the real life detergent booster.

John Koelle, art director/ designer Arnold Paley, writer John Koelle/ Connie Dorman, producers Televideo, prod. company Ray Long, photographer Joe Balogna, director Allen, Anderson, Niefeld & Paley ,agency The Climalene Company, client

53

2

TELEVISION COMMERCIALS

(V.O.): Toni would like you to meet our color consultants.

All fourteen of them.

They helped us develop a new shampoo-in hair coloring.

We wanted to know why a child's hair color is so pure ... so innocent ... and we found out.

We found there was a quiet, unobvious tone to each strand we examined. As if nature had put in some sort of "quietener:' So we, Toni, developed a new formula that does the same thing. It quiets down hair color. Now, if you want innocent color, you can get innocent color, from Toni.

Permanent hair coloring so new and different, it takes only 10 minutes to shampoo in. Covers completely. And it won't wash out.

Fourteen innocent colors. One of them is you, babe.

Bob Wilvers, art director Rene Guion, writer Bob Wilvers/Rene Guion, producers James Garrett & Partners, prod. company David Watkins, photographer Terry Greene, director Jack Tinker & Partners, Inc., agency Toni Company, client 2

(V.O.): Salmon are incredible creatures. You probably know how they run once a year on their determined swim upstream to the place where they were born. How they fight every obstacle nature puts in their way and keep on going.

What you might not know is that salmon is one of the tastiest foods in the world ... and nourishing, rich in protein and vitamins ... low in fat and calories.

That's why Bumble Bee goes to such lengths to bring it to you as fresh as fresh salmon. We drain, prepare, can and cook our salmon swiftly ... right there at the waters edge ... before any of that marvelous salmon flavor can escape. That's how Bumble Bee is able to bring you canned salmon at its best. No other canned salmon in the whole world can taste fresher than Bumble Bee. It's a fish story ... but a true one.

Ernest Costa, art director Mel Richman, writer Tobe Fedder, producer TV Graphics, prod. company Larry Pahle, photographer Bernie Rubin, director Richard K. Manoff, Inc., agency Bumble Bee Seafoods, client

54

2

TELEVISION COMMERCIALS

(VO.): In New York, you've really got to know what you're doing.

Either you're a pro ... or you're not.

In this town, you can't fail.

Same thing with beer.

You know how many beers are trying to make it in New York today?

302 different brands . .. from all over.

But the only one that's made it to the top is Rheingold.

In this town, either you have it or you don't.

Bob Gage, art director/ designer David Reider, writer Lee Tredanaria, producer Elliot Unger Elliot, prod. company Doyle Dane Bernbach, Inc., agency Rheingold, client 2

Anncr: No matter what his face is like ... you can give him a shave that is three hours closer.

Give him this new invention ... the Remington Selectro shaver.

He dials S-l for his neck ... S-2, 3, or 4 ... and a dial adjusts the cutting edge to fit his face ... more cutting edge for tougher beards.

Dial "trim" for sideburns ... dial clean ... and it's gone.

Now you can shave just once every 24 hours and get a shave that's three hours closer.

Our closest shave ever ... no matter what his face is like.

See the new Selectro shavers now at your Remington dealer.

Roger Flint, art director Alex Kroll / Roger Flint, writers Lloyd Bethune, producer Derujinsky, prod. company Gleb Derujinsky, photographer/ director Young & Rubicam, Inc., agency Remington, client

55

2

TELEVISION COMMERCIALS

Anncr: When you own a Polaroid Colorpak Camera ... even as the moment is slipping away ... you can hold it in your hands.

Is there any other way to take a picture?

Bob Gage, art director/producer Phyllis Robinson, writer Lee Tredanaria, producer Elliot Unger Elliot, prod. company Doyle Dane Bernbach, Inc., agency Polaroid, client 2 Model: I'm one of those girls who, when your husband sees me on TV, you say ... "Harry, you should see her in real life. She's nothing but skin and bones:' But look, let's be friends ...

I want to show you something.

Now, what I want to show you is a good tasting liquid diet for a change.

It's called Carnation Slender. Now ... I don't know if you're interested in liquid diets or not, but you can see why I have to be.

It comes in - well, I guess you'd call it - a packet.

And you add cold, fresh milk.

I tell you this ... with Carnation Slender, you won't think you're drinking any 225 calorie liquid diet.

Excuse me ...

Frank Kirk, art director/ designer/ producer Dick Tarlow, writer Horn-Griner, prod. company Steve Horn, photographer/ director Jack Tinker & Partners, Inc., agency Carnation Company, client

56

1

2

TELEVISION COMMERCIALS

Anncr: Every year one out of two Americans never goes farther than 200 miles from home. Unbelievable, isn't it.

In less time than it takes to drive that distance, Eastern Airlines can have you in Bermuda ... cycling to shops, restaurants, and old pirate caves .. . sailing where yachts race for the Bermuda Cup ... lifting a pint of bitters at an English pub.

You can charge your whole vacation with Eastern's charge-a-trip plan.

We'll do everything we can to get you to go to Bermuda.

We want everyone to fly.

Stan Dragoti, art director Bob Elgort, writer Arthur Harris, producer Audio Productions, prod. company J ames Wong Howe/ Mike Zingale, photographers James Wong Howe, director Young & Rubicam, Inc., agency Eastern Airlines, client 2

(Ballad) A day out here starts at sun-up Here in Marlboro country.

It stretches till the sun goes down.

All day they're cuttin' steers and ropin' They're brandin' and they're hopin' Saturday night will soon come rollin' round.

Out here they smoke for flavor here in Marlboro country.

Another cigarette's just not the same.

There's only one real cigarette in Marlboro Country.

How D'ya think the country got its name?

Anncr. (VO.): Marlboro Country! More than just today's West. Marlboro country is anywhere ... anywhere you light up for real tobacco flavor.

So - come to where the flavor is ...

Come to Marlboro Country.

Neil McBain, art director Norm Muse, writer Bob Mayberry, producer Film Fair/Bernstein, prod. companies Cal Bernstein/ Jim Crabe, photographers Gus Jekel, director Dick Marx, music Leo Burnett Company, agency Phillip Morris, Inc., client

57

1

2

TELEVISION COMMERCIALS

Anncr: This little box is lined with Union Carbide's super insulation. It's not much to look at. Just a layer of paper, a layer of foil, layer of paper, and so on ... as thick or as thin as you need it.

But when it comes to keeping something cold, or hot, or keeping something from getting cold, or hot ... it's 25 to 100 times better than anything we have had before. ' One inch of super insulation wrapped around a railroad tank car can keep liquid helium at 420 degrees below zero ... all the way from New York to Los Angeles.

A half inch of it can be two thousand degrees hot on one side and cool to the touch on the other.

Tell you what ... you could put a super insulated container of coffee in your freezer, take it out a month later, and it would still be hot.

If you don't think it's as good as we say it is ... watch the birdie.

Clement D. McCarthy, art director Charles Blood, writer Neil Tardio, producer V. P. I., prod. company Dave Quaid, photographer/ director Young & Rubicam, Inc., agency Union Carbide, client 2

(Live sound and stopwatch ticking) (v.O.): If all your cookware were coated with"Tefton"Du Pont's non-stick, no-scour finish - you could clean six pans in just 60 seconds.

Would you believe five?

Phil Schulman, art director Don Tucker, writer Gary Simpson, producer Film Fair, prod. company N. W Ayer & Son, Inc., agency E. I. Du Pont De Nemours & Company, Inc.-Tefton, client

58

TELEVISION COMMERCIALS

2

1

(VO.): Sit down to a big meal in Maine sometime and chances are you'll get seafood. A thick clam chowder to still your appetite a little ; and a big bowl of steamers in melted butter. Some how you can't leave them alone. So that by the time the main course rolls around - a tender lobster, boiled in salt water - you already feel like dinner's over.

And then you bring in dessert . . .

It's just what you need , a little Jell-O gelatin to refresh you. Sure, there's always room for Jell-O, but it's more than that.

It's so cool and light and sweet with fresh fruit taste, it's actually refreshing. And that's really a funny thing to call a dessert. Usually, it's just the opposite.

Jell-O is the refreshing dessert . .. from General Foods.

.

~A,.:~..,;.;..r"tIr,, ,..

,,,, . ..... - ~ " ;.,. .-!A . .-.'-'"

-

i·

I

' '.: .Irv, i. •• -, \'...;... . . .,

'

,

J ,

Bob Eggers, art director Olivia Trager, writer Neil Tardio, producer M. p. 0 ., prod. company Stan Merridith, photographer Ma rshall Stone, director Tony Isidore, concept Young & Rubicam, Inc., agency General Foods-Jell-O Gelatin , client 2

(Full animation, psychedelic art style) (VO.) : Chicken of the Sea Tuna!

What does it have that other tunas do not have?

Besides being so mild, so moist, so marvellous . .. because it's all prime fillet ... tender, mild , wild and groovy prime fillet . . . but besides all of that, what's it have the others haven't?

Personality!

Chicken of the Sea Tuna.

Gordon Bellamy, art director/ producer Bud Arnold, writer Pat Maloney, designer Stars and Stripes Forever, Inc., prod company Len Glaser, animator/ director Dancer Fitzgerald Sample, agency Van Camp Sea Food Company, client

59

TELEVISION COMMERCIALS

2

.... ....

~

JjJ ...

/

..

-

..

Counselor: Control yourself! You say one thing ... your stomach says another ...

Man: We don't get along. Heaven knows, I've tried.

Stomach: Sure he's tried. He gave up hot tamales.

Now he's on a new kick ... pepperonni pizzas ... and I was just getting used to hot tamales ...

Man: I like pepperonni pizzas ...

Stomach: Do you like heartburn? Well, you're going to get it every time you eat a pepperonni pizza ... and that's a promise.

Counselor: Gentlemen!

Stomach: And the way he stuffs himself at his mother's.

Man: You always hated my mother.

Stomach: Are you going to start that business all over again?

Counselor: This isn't getting us anywhere. Obviously you've never tried Alka-Seltzer. (To stomach) Now you, you can't expect him to give up the food he loves.

Man does not live by bread alone.

Stomach: Oh, please!

Counselor: (To man) And you . .. when you eat spicy foods when you overeat - help your stomach out. Alka-Seltzer has alkalizers which will calm your upset stomach and neutralize excess acidity. It even has a pain reliever for your head.

Stomach: Listen, that's not my department.

Counselor: You take care of him. He won't bother you.

Stomach: Well, I'll try, if you will .

John Danza, art director/ designer Bob Schulman, writer Electra, prod. company George Ranata, animator Jack Tinker & Partners, Inc., agency Miles Laboratories, client 2

(v.O.): It's an ugly little bug. It can go about 27 miles on one gallon of gas and about 40,000 miles on one set of tires.

It's just right to take your father to the train, or the children to school, or for taking mother to the grocery store, the drug store ... and all the enchanting places mothers go when everyone else is working.

But, alas, it wasn't beautiful. So for any important occasion, the poor, ugly little bug would be replaced by a big, beautiful chariot drawn by 300 horses. Then after a time , a curious thing happened ... the big, beautiful chariot didn't get more beautiful ... while the ugly little bug didn't get uglier. The moral being, if you want to show you've gotten something, get a big, beautiful chariot ... but if you simply want to get somewhere, get a bug.

Roy Grace, art director/ designer Charles Ewell, writer Jerry Gold, producer Gryphon Productions, prod. company Ray Favata, animator Ed Seaman, director Herman Edel Associates, music Doyle Dane Bernbach, Inc., agency Volkswagen, client

60

2

TELEVISION COMMERCIALS

1 She: What's that?

He: It's me new Remington Cordless.

She: It's got a cord!

He: It just happens to be one of the world's most powerful shavers.

She: It's got a cord!

He: It's got 34;8 cutting edges. I counted 'em.

She: How much?

He: Fourteen pounds, eighteen and six.

She: Fourteen pounds, eighteen and six!

A cordless shaver, with a cord?

Huh! (Pulls cord out of shaver) He: The cord's for recharging. (Exits shaving) She: I wish he wouldn't slam that door.

Jack Sheridan, art director/ producer John Withers, writer James Garrett & Partners, prod. company Doyle Dane Bernbach, Ltd., agency Remington, client

REMINGTON CORDLESS LEKTRONICII

£14.18.6

2 (Mixed voices): Hey, Man! This is a commercial about a movie called "Luv~' Luv, a movie called Luv. They made Luv at Columbia. What is Luv? Luv is when your heart goes ... pitter patter, pitter patter, pitter patter. Luv is when you don't have any sense. Luv, what is Luv? According to \Vebster, a feeling of strong personal attachment and mutual understanding.

Luv is a fat little cherub with a bow and arrow.

They made Luv? They made Luv a movie, yeah. Who's in Luv? Jack Lemmon's in Luv. Peter Faulk's in Luv. Elaine May's in Luv. They said it couldn't be done. Luv, what's Luv all about? Luv ... L-U-V, Luv. About a guy who wants to jump off a bridge.

That's Luv. L-U-V, Luv. Luv is a green toe on the foot of desire. Martin Manulis made a production of Luv. Luv is suggested for the mature audience. Hey! Let's hear it for the mature audience. (Cheer) Who's in Luv? Jack Lemmon's in Luv. Peter Faulk's in Luv. Elaine May's in Luv. They're all in Luv. Yeah, make it. Make what? Luv, baby. L-U-V, Luv. Bernard Gruver/ Edward Levitt, art directors Klein-Barzman, writer Bernard Gruver/ Edward Levitt / Bob O'Dowd, designers Bill Melendez, producer/ director Bill Melendez Productions, Inc .! Klein-Barzman, prod. companies Nick Vasu, photographer Edward Levitt/Frank Smith, animators Bill Melendez Productions, Inc., agency Columbia Pictures, client

61

1 •

2

TELEVISION COMMERCIALS

Song: Hey! Meet the swinger, Polaroid swinger. Meet the swinger, Polaroid swinger. It's more than a camera, it's almost alive. It's only nineteen dollars and nil)ty-five. Swing it up ... it says yes ... takes a shot ... count it down ... zip it off.

(Repeat.)

Bob Gage, art director/ designer~ Phyllis Robinson , writer Lee Tredanaria, producer Elliot Unger Elliot, prod. company Doyle Dane Bernbach, Inc., agency Polaroid, client 2

Anncr: A separate tribe exists in America today, with customs and eating habits completely foreign to the rest of us.

Subject to the rapid growth and great stress, they have a curious need for extra iron in their diets ...

50% more iron, every day, than a full grown America .. male.

They're called Teenagers.

Teenagers don't pay much attention to how much iron they need. So we've given up trying to tell them they could get all they need from something called One-A-Day Plus Iron .

But maybe their parents will listen.

Frank Kirk, art director/ designer/ producer Rene Guion, writer Wylde, prod. company Fred Levenson, photographer/ director Jack Tinker & Partners, Inc., agency Miles Laboratories, client

62

TELEVISION COMMERCIALS

2

Man: The Manhattan Shirt Company announces ... ah ... announces the most remarkable break-through in permanent-press, polyester blend shirts.

New Zip-Clean Finish!

Now, worrying about spots and stains ... is a thing of the past. Things like salad dressing ... wine, jelly, gear oil , lipstick, butter.

And more!

Just take off the shirt. Pop it into your home washer, and out of the dryer. Even stubborn stains around collars and cuffs come out without prescrubbing.

New Zip-Clean is available in no-iron, permanently pressed ... Manhattan " Madoco" 80 % Dacron, 20% Cotton. Remember the name .. . Manhattan "Madoco;' now with Zip Clean!

Oh! I almost forgot. It's National Zip-Clean Week at stores selling Manhattan shirts.

Ii )

.

( Regal~ .

I

Joe Camillettil John Murray, art directors John Hayward , writer Joe Camilletti, designer Will Davis, producer Televideo, prod. company Bob Ziller, photographer Joe Bologna, director Needham, Harper & Steers, agency Manhattan Shirt Company, client

OUR t i l m l 2

Sour tastebud: All you people think about are your sweet tastebuds. What about us sour tastebuds?

How about feeding us a good meal?

Regal Crown Sours.

Noel Frankel, art director I designer Dick Tarlow, writer Noel Frankel/Dick Tarlow, producers Pelican, prod. company Al Rezek, photographer Bob Perry, animator Morty Gerstein, director Jack Tinker & Partners, Inc., agency Regal Crown, client

63

2

TELEVISION COMMERCIALS

(v.o.): When you own a Polaroid Colorpak Camera ... even as the day is slipping away ... you can hold it in your hands.

Is there any other way to take pictures?

Bob Gage, art director/ designer Phyllis Robinson, writer Lee Tredanaria, producer Elliot Unger Elliot, prod. company Doyle Dane Bernbach, Inc., agency Polaroid, client 2

Met Fan: Bunt . . . bunt, baby, bunt. BUNT ... BUNT . ..

BUNT! I told you to bunt! They never listen to me.

Anncr: In New York City, everyone's an expert.

Whether it's baseball or beer. There are 302 beers trying to make it in New York today, but only one has made it to the top.

The rich, dry lager Rheingold.

In this town, either you have it ... or you don't.

Met Fan: Why don't they ever listen to me?

Bob G age, art director/ designer Dave Reider, writer Lee Tredanaria, producer Elliot Unger Elliot, prod. company Michael Nebbia, photographer/ director Doyle Dane Bernbach, Inc., agency Rheingold, client

64

TELEVISION COMMERCIALS

2

Anncr: One out of every 5 people is insured by Metropolitan Life.

But to your local Metropolitan man ... there's only one of you. Ask him about our family security check up ... there's no obligation ... except to those you love.

Dick Carroll, art director Fred Hautau, writer Bill Duryea, producer Libra, prod. company Jerry Shore, photographer/ director Grant-Murtaugh, music Young & Rubicam, Inc., agency Metropolitan Life Insurance, client 2

(V.O.): Eastern Airlines invites you to step ashore on the Bahamas.

Be prepared for some surprises. There are over 700 islands ... and something excitingly different on everyone.

Come to the Bahamas. Just a few hours away on Eastern ... but a long way from the ordinary.

We want everyone to fly.

Stan Dragoti, art director Forrest Long, writer Arthur Harris, prod ucer Audio Productions, prod. company Mike Zingale, photographer Bob Vietro, director Grant! Murtaugh, music composer Clay Warnick, music director Young & Rubicam , Inc. , agency Eastern Airlines, client

~ .ASTe ... N V,;,,,

'"

•• '

'.

65

2

TELEVISION COMMERCIALS

1 Anncr: Some people actually believe that old beer is good beer. If this were true, people would have beer cellars. And we'd bottle our vintage beer in nifty-looking decanters. And you could tuck away your oldest beer with the rest of your extra-private stock ... you could save it for extra-special occasions ... serve it in little sophisticated glasses or maybe you'd even whip up a vintage beer sling.

Well, the truth is, the fresher the beer, the better the taste. That's why we brew Black Label locally, all round the country. In fact, you can't buy any good old Carlings Black Label.

Steve Kambanis, art director Harry Gittes, writer Steve Kambanisl Harry Gittes, producers James Garrett & Partners, prod. company Silvio Marazano, director Jack Tinker & Partners, Inc., agency Carling Brewing Company, client 2 Anncr: Eastern Air~es remembers the days when air travel was expensive. When the only people who flew south for a winter vacation were those rich enough to afford it. For many years the idea grew that you had to be wealthy to fly.

That idea is no longer true. The days of expensive air travel are over. Whoever you are ... wherever you travel ... whether you are planning a business trip or a winter vacation ... Eastern makes this the year to fly.

Eastern's regular fares have never been so low.

Special fares are even lower. If you're married, and like to travel family style, Eastern has a family fare. You save 113 on your wife, 213 on each child.

If you're over 21 ... and can spend over one week in the sun, Eastern has an excursion fare ... you save 25 % . If your under 22, and can fly on a stand by basis, Eastern has a youth fare ... you can save 50% .

We don't expect you to remember them all ... that's where your travel agent comes in. He'll select the fare that gives you the greatest savings. He'll even help you open a charge-a-trip account with Eastern.

Between your travel agent and our airline ... you'll begin to get the idea.

We want everyone to fly.

Silvio Galterio, art director Bob Elgort, wnter Stan Dragoti, producer Audio Productions, prod. company Dick Miller, director Stan Applebaum, music composer Clay Warnick, music director Young & Rubicam, Inc., agency Eastern Airlines, client

66

.'

2

. ,-.1j _~ .,

.•.•..........

'"

.'-,,{;

TELEVISION COMMERCIALS

1 Anncr: You can give yourself one of the new little what-cha-ma-call-it boy hairstyles. You can wear that new no-no something-or~other lipstick. You can buy one of those new trouser suits. You can put on the tie and shirt that comes with it. Oh, Brother!

But no matter how you dress, you're still all woman! And you'd better not forget it.

Because women under 55 need things men don't. Like iron. You need 50% more iron than a man, every day.

And you can get that extra 50% you need from this.

New One-A-Day Plus Iron.

Frank Kirk, art director/designer/producer Rene Guion, writer Libra, prod. company Bert Stern, photographer/ director Jack Tinker & Partners, Inc., agency Miles Laboratories, client 2

Anncr: This could be the end of the frost-free refrigerator ... a frosted taste of sugar free Fresca ... it's a blizzard.

Bob Miller, art director Marcella Free, writer Milton Houston, producer V P. I., prod. company Bill Garoni, photographer Leon Prochnik, director Marschalk, agency The Coca-Cola Company-Fresca, client

67

2

TELEVISION COMMERCIALS

Ring Anncr: The feature event .. . an eight-hour match on a cramped, old fashion double bed. In the red pajamas ... Bruiser Collins. In the blue pajamas ...

Strangler Collins.

(Bell ; sounds of crowd cheering) Sports anncr: They both lose.

Now, the rematch on a king-size Beautyrest Supreme.

It's arena is almost two feet wider, 'about one half foot longer.

(Bell ; crowd boos lack of action) Hey, no arm locks, no flips, no battle on this double bed because only Beautyrest Supreme has separate individual coils , both sleepers get more flexible support.

Exclusive simflex cushioning cradles you over the coils. On a Beautyrest Supreme, you just kiss and lay down.

Marvin Lefkowitz, art director Eli Kramer/Dennis Coleman, writers Ted Storb, producer Televideo, prod. company Bert Spielvogel , photographer Larry Goldwasser, director Young & Rubicam, Inc. , agency Simmons Company, client 2 Anncr : Did you ever notice how coffee has its own special way of calming things down ... putting things in their proper perspective? Maybe that's why people like to think things over, over coffee.

The Think Drink.

Marty Goldman, art director/ producer Lois Korey, writer Wylde Films, prod. company Glenn Kirkpatrick, photographer Bob Bean, director McCa nn-Erickson, Inc., agency International Coffee Organization, client

68

2

1494

("..wIn,,,""! of I"" "'h- ... (O~ ..

fi~'K,"ft'\.tnatl .. w

TELEVISION COMMERCIALS

Man: Forgotten Holidays ... hey, where'd this come from?

Woman: Seven-Up, I think.

Man: What is this! You know what that is ... the enactment of the New York dog licensing law? That means a dog can drive.

Woman: Ohhh. Look.

Man: We must get him something.

Woman: That must be hard ... to do that.

Man: This is why they call it "pooC' (Loud Laughter) Woman: Isn't she sweet?

Man: It's a man.

You know why the first sardine was canned? He was incompetent.

Anncr: Don't forget the forgotten holidays. Celebrate with Seven-Up. You'll find everything for a party ... including the Forgotten Holidays Calendar ... at the Seven-Up Wet and Wild Party Center ... in your store.

WashmglOtl '. birthda,

Howard Reiger, art director/ producer Charles Martell, writer Reynolds Ruffins, designer Savage-Friedman, Inc., prod. company Murray Bruce, director J. Walter Thompson Company, agency The Seven-Up Company, client Ha,,,,,, .. 1 Proc.r •• "na"on W.,.,k !)(ol.ns

2

~ Underwater B,lliards Tournament .

Coral Gable • . Flortda

Dealer voice: Here are the keys to your new Buick, Mr. Tuttle.

Mr. Tuttle: Uh-huh.

Dealer voice: Maybe you'd like to give your old car a final check ... make sure you haven't left something behind.

Mr. Tuttle: That's a good idea.

(Music: AId Lang Syne) Anncr: Buick double checked used cars come from the nicest people. People who trade-in for new Buicks. When better used cars are sold, Buick dealers will sell them.

Bob Forgione, art director Austin Hamel, writer Woody Walters, producer M. p. 0 ., prod. company Owen Reisman, photographer Bob Reagan, director McCann-Erickson, Inc., agency Buick, client

69

2

TELEVISION COMMERCIALS

Anncr: Six, seven, eight thousand dollars. Maybe more. That's what it takes to keep up with the competition. That's what college costs.

What's the best kind of life insurance to have?

A John Hancock man won't have any snap answers.

We have so many different plans and options, he'll sit down with you and figure out exactly what you do need. ' Maybe it's a plan that keeps you covered even if you borrow on it for college expenses. Or maybe it's our new plan that lets you buy a modest amount of insurance now, but guarntees that you can get more later ... regardless of your health.

If anybody in this life insurance business can design the right plan for you, it's probably us.

Man: John Hancock, huh ...

Al Bensusan, art director Donn Resnick, writer Diane Lessin, producer M. p. 0., prod. company Carl Guthrie, photographer Dave Nagata, director Grant-Murtaugh, music McCann-Erickson, Inc., agency John Hancock, client 2

(V.O.): If you took all the roads Governor Rockefeller has built ... and all the roads he's widened, and straightened and smoothed out ...

If you took all those roads and laid them end to end, they'd stretch all the way to Hawaii.

(Hawaiian music and surf sound) All the way to Hawaii ... and all the way back.

Bob Reitzfeld, art director Gene Case, writer Bob Reitzfeldl Gene Case, producers Tempo, prod. company Mike Cuesta, photographer I director Jack Tinker & Partners, Inc., agency Friends of Governor Rockefeller, client

70

TELEVISION COMMERCIALS

.' lv . · .\ . .JI, · 'JI ~

Woman: Is that good? Huh? Sometimes I think he loves cheese cake more than he does me. He's a.fanatic ... but with this cheese cake a girl can understand. I mean, it's real great.

It's something new from Jell-O. Jell-O Cheese Cake Mix ... which includes a real cheese filling and a graham cracker crust. That's great, because you don't bake it ... you just mix and chill and it's ready to serve.

Is that great?

Well, it's really great. It's really creamy cheese cake.

Is it creamy?

Well, it is ... it's very creamy. And it's new Jell-O Cheese Cake Mix from General Foods. Real great cheese cake ... no baking.

You like it?

He likes it.

Hil Covington, art director Alvin Hampel, writer Patricia Layman, producer Focus Presentations, prod. company Hugh Bell, photographer Peter Cooper, director Young & Rubicam, Inc., agency General Foods-Jell-O Cheesecake Mix, client

POSTERS 2

Peter Hirsch, art director/ designer Dick Raboy, copywriter Delehanty, Kurnit & Geller, agency Plasterers Institute of Greater New York, client

2

71

1

TIRED OF THE SAME OLD FACES?

3

Fresh beer is like fresh anything.

CoPY,llM «>196] Carling II rewins Company. Cleveland. 0 ,

72

CBC-6' 109

4

POSTERS

Marvin Lefkowitz, art director/ designer Ray Martell, copywriter Stock Photo, photographer Young & Rubicam, Inc., agency Eastern .Airlines, client 2 Robert Tay1or, art director/ designer J ames Braddy, photographer J. Wa1ter Thompson Company, agency The Seven-Up Company, client 3 Steve Kambanis, art director/ designer William Teitelbaum, copywriter Elher Buden, photographer Jack Tinker & Partners, agency Carling Black Label Beer, client

The American ..... a.nc..IN . . . II ..... ~&-a-.

5

TheHandsOfAStranger A FilmOfTheWarBehindTheWarlnVietnam

4 Jay Beckerman, art director/designer Mildred Fie1ds, copywriter Carl Bodmer, illustrator deGarmo, McCaffery, Inc., agency Grolier, Inc., client

5 Eddie Byrd, art director/designer Paul Sa1mon, illustrator Beveridge & Associates, Inc., studio U.S. Information Agency, client

-~-~-S

Jonah Jones July 3 to July 29 I

THE~GRlll l

AI Scully, art director/designer Pacy Markman, copywriter George Elliot, photographer McCann-Er.ick:son, Inc., agency New Yerk Racing Associ~on, <;:1ient

Dining and Dancing like it should be. 65th Floor, Rockefeller Center, Pl7-8970.

ings has returned to ueen .

Big A.

2

1 MISCELLA

YVARAL

NEOUS MOTIONS OF KINETIC SCULPTURE

HAYDEN GALlERY MASSACHU SETTS INSTITUTE OF TECHNOLOGY APRIL 4MAY 2,1967

UECKER

OPENING TUESDAY APRIL 4, 7-9 PM REFRESH MENTS ARTISTS

OSTER

WILL

BE PRESENT

_--

--- --'.

-------- ..

----' ._ _-.. ...

-~-

....

----''''--

---_.- --_.-.. TAKIS -"-"-'- ,---_.-

~~~{~I~~~

ia~_----~~}~~~

HAACKE -..

I! II = ..-

--- __-

REIBACK ... .. .. ~

3

Hawaii

ContinentaJ 76

to love Levy's retJ' .I.-wish Rye

POSTERS

Jacqueline S. Casey, art director! designer Bitite Vinklers, copywriter Committee on the Visual Arts, M. I. T., client 2

Bill Taubin, art director! designer Judy Protost, copywriter Norman Nishamwa, photographer Doyle Dane Bernbach, Inc., agency Levy's, client 3 Bob Dion, art director Nicolas Sid jakov, designer! illustrator Needham, Harper & Steers/West, agency Continental Airlines, client

4 Howard Blume, art director!designer Bob Mondlock, copywriter Mike Ditlove, photographer Tatham-Laird & Kudner, Inc., agency Chicago Area Council Boy Scouts of America, client 5

Bill Caldwell, art director! copywriter! designer Linda Caldwell, client RECORD JACKETS

6 Robert Cato/John Berg, art directors John Crocker, designer Mati Klarwein, illustrator CBS Records, client

77

Strange Mysterious Humorous Startling Ironic Frightening Incredible Ghostly Fascinating Delightful Bizarre Provocative

Stories From North Carolina

78

Robert Cato/ John Berg, art directors John Berg, designer Jerold Schatzberg, photographer CBS Records, client 2 Charles C. McKinney, art director/designer Grady Jeffreys, copywriter The Howard Agency, agency State of North Carolina, client

.. ...- .,

~+"" '~ t f

3 James Griffith, art director/ designer Dick LaPalm, copywriter Judith Friedman, illustrator Mar Ken Ad Agency, agency Chess Records, client 4 Robert Cato/ John Berg, art directors John Berg, designer/illustrator CBS Records, client

5 Sam Alexander, art director Michael Horen, designer/illustrator Riverside Records, client

PACKAGING

4

Jerry Braude, art director/ designer/ illustrator Zane, client 2 Irv Koons / Design 375, designers Irv Koons Associates, Inc., agency WTS - Pharmacraft, client

3 Elliot J. Morrison, art director Ai Carling, designer/ illustrator Stewart & Morrison Ltd., agency Laura Secord Studios, Toronto, client 4 Markus Low, art director Ivan Manson, copywriter Markus Low/Rolf Willimann, designers Michael Gilligan, photographer Geigy Pharmaceuticals, client

5 Phil Meggs, art director/ designer Bill Hart, copywriter Gerry Gersten, illustrator A. H. Robins Company, client

A.H.ROBINS COMPLEAT uFLU"KIT

Markus Low, art director / designer/ ill ustrator Ivan Manson, copywriter Geigy Pharmaceuticals, client 2

Elliot J. Morrison, art director Arthur Irizawa, designer/ illustrator Stewart & Morrison Ltd., agency Ontario Food Council Province of Ontario, client

TRADEMARKS 5

3 John Casado, art dire~tor / designer John Casado Design, studio Hixson & Jorgensen, Inc., agency Murdock Inc., client 4 Vance Jonson, art director/designer Knudsen Creamery Company, client

6

5 Herb Lubalin, art director/designer Tom Carnase/ Robert Lubalin, lettering Herb Lubalin, Inc., agency Young & Rubicam New York Economic Development Council, client 6 Michael Reid, art director/ designer Bess & Associates, Inc., client 7 William Kissiloff, art director/designer Kissiloff & Wimmershoff, Inc., agency Canadian Pulp & Paper Assoc., Ltd., client 8 Fabian Melgar, art director/ designer/ client 9 Ken Ayres, art director/designer Lloyd Kirkpatrick, illustrator Ken Ayres Design, studio Sam's Attic, client

83

I HI ,()

TRADEMARKS Carl Seltzer, art director/designer United Semiconductor Assoc., client 2

Imagenetics Incorpor~ted, art director Appelbaum & Curtis, Inc., designer/agency U nifair-Incorporated, client 3 Gil Drexhage, art director/designer Drexhage & Masengill, agency Aquastat, Inc., client

J 10 EAST 58TH STREET, NEW YORK, NEW YORK 10022, MU 8·41374

LETTERHEADS 4 7

~~"

Mi

'"

."Yi

~t-)«

%

~'I)) ~.'i~._

Roger Cook/ Don Shanosky, art directors/ designers Cook & Shanosky Assoc., Inc., client 5 Tom Woodward, art director/ designer Colortone House, client

6 Roger Zimmerman, art director/designer Hiro, client 7

f----------- ------

85

2 S . . J"I.l Lubal.". lO~4 \\;'(sr Broad"";a .... \X·o,,,lint'rr. Ntw 'ork ., l/lof-H.1nklln 4",l(,~}

1 -'~;t'

3

86

..

4

LETTERHEADS

5

1234567890

1 Kurt Weihs, art director/designer/illustrator Papert, Koenig & Lois, Inc., agency Solex-Century Cycle Company Inc., client 2

Sylvia Lubalin, art director/ client Herb Lubalin, designer Tom Carnase, lettering 3 Primo Angeli, art director/designer Design Forum, client 4 Thomas D. Lowes, art director/ photographer James G. Halt, designer Thomas Lowes Associates, client

5 Nicole Archer/George Delmerico, art directors/ designers Student Government Assoc.-Pratt Institiute, client THE PRATTONIAi STUDENT CENTER 1 PRATT INSTITUTE 1 BROOKLYN, NEW YORK 111205 1MA 2-22001 EXTENSION 232

6 James Richardson, art director/designer Lemon Tree, client

<I The Mods, symbols 01 Ihe new, now cui· lureoflheStnp t>Acheerful happenmg al Clark Street. centerofStripnightlile

<lThesceneet/l's80ss(theoldCiro's). nowoneoftheStnp'steennlghtclubs t>Oencers are dwarfed by giant Pop Art posters.

88

3

LETTERHEADS

Paul A. Grella, art director! designer Richard B. Torrey, client

SELF-PROMOTION 2 Roger Kennedy, designer Ralph Gibson, photographer Rick Alcayaga, lettering Roger Kennedy Graphics, client

3 Don Trousdell , art director! copywriter Don Trousdell ! Ron Mabey, designers Nancy Bukovnik! Linda Podojil ! Ron Mabey!

George Macalla! Mel O'Hara! Ed Repicky, illustrators Frank Alekandrowicz, photographer Perlmuter Printing Company, printing Pitt Studios, studio Perlmuter Printing Company, client 4 Bob Hohnstock, art director! copywriter! designer Arnaud Maggs, photographer TDF Artists, Ltd ., client

1 FLIP~

DESIGNI

NG

DESIGNI NG

.

DESIGNI NG

DESIGNI

DESIGNI

DESIGNI

90

I·

4

SELF-PROMOTION

Norman Graber, art directorl copywriter I designer Norman Graber, Inc., client 2 James D. Gillespie, art directorl designer James D. Gillespie/ Vince Fiore, copywriters James D. Gillespie & Associates, agency Richmond Art Directors Club, client

3 John Gorham, art director I copywriterI designer I illustrator John Gorham Graphic Design, client 4

Tom Woodward, art director I designer I photographer Stat Housel Halftone Housel Colortone House, clients

91

1

TRADEMARKS

~ Quad Typolraph.,..,lnc:.

~

~~~t~~~f=S~~ed

on the typographic square .•.

a quad.

Thefourpartsrepresent

service areas.

-

92

SELF-PROMOTION

Mo Lebowitz, art director I copywriterI designer The Design Organization, Inc., client 2 Robert Pease, art directorl designer Don Hadley, copywriter Craig Simpsoni Jack Allen Studio, photographers T & J Graphic Arts, printer Spartan Typographers, type Robert Pease & Company, agency Art Directors & Artists Club of San Francisco, client 3 Herb Lubalin, art director/copywriter Herb Lubalinl Alan Peckolick, designers Charles B. Slackmanl John Alcorn, illustrators Anthony Hyde, photographer Herb Lubalin, Inc., agency Sanders Printing Corporation, client

gt~ltleIUck.

BE

glory con be yours.

Certificates Certificates of Merit.

Certificates of Distinction.

Certificates of Distinctive Merit.

Awards Awards of Merit.

Awards of Distinction.

Awards of Distinctive Merit.

Medals

2

ANNUAL REPORT

Robert M. Runyan, art director Maurice Yanez, designer Kurt Lenk/Tom Carroll, photographers Robert Miles Runyan & Assoc., agency Teledyne, Inc., client 2

George Kakas, art director Sandy Lienesch, copywriter Joe Cibere, designer Paul Agnew, photographer H H Art Studio, Inc., studio NCR Employees Credit Union Inc., client

Itf,Iphl. Seh.r."PrMklenI

.... 011 L An'*,t.'Ilee PrMldetlt P. O. ONIotI. T~

" , , - -,

MI/vIf'l f . L... L.ow.II E. 81W1 k.

ThotnN C. pww, R\cNtd (. LIHI'""o.

:::"'\O:~w:oE=~ ~d.

_ _ ·""-:Wc...-...a.c:.....I. l...

TMc:t.cIotUfIiOnOwt.

---

'-

==IJvoId .. . c.. ... _

n4I .......

'41""1 ........

c-

00- _ _

....=:=~ -~

..__ ._._-_ .... _ . _-. - ._ .. _ _-_ _..__--_ .. _..._-_ -_. ._--_ ..... __....__--............-._..---_ _ ---_ -...._.._.._ .. .... _--_ _-----.. _.. _----------.. -......-_----..... _--- -----._--------_ _. .._..__.. _----_ . _--_._ . ._.. _------------"--_ ..

--_ -_---------........---_ .. ~MnWIO'

Q I,I.t&

UndMdMIMf1'IIftO*

25UII

-_._-___ .. - - _

..

_

....

_ _ .. _ _ .. .. OOCII . . _

...

...

~~-...,....,theer..MI..Waft,.WMtItMc.

... oper.tIan"' .,. ....... MdtheNeloMlc..n"-ellWc-.

1*'Ir. -~,...IIM~_beoItlO"'. TM*""Y

==':.:'-. .,. . . .:;. _. .

-.... ==:-':::::='::C:;~af.':;

-OOOd_the ....... wtIobllle\tot ... ll,thelloryaftlllCted"

~~-~~

........ .,~ ...... ~ n.l . .

TtwCrecNt UNon Ownl.

.11Ull,D

... 11,1 - ' -

. . . U'7,111

'.....'

••••••

.. ...

..,-.l,JI5

E....-: U . . .....

FeMltldtu• ••.

EcIuc:ItionIiI ••••

~ •

'PI

'"

----_ _---_ _---_ __"'----_ __,

2,2311,411

01 .1.

--~ ___ """_10 ___ ••____ _

..... .... . ..

. -- - - _ -... _"'00-=-... _ .

§-~~~7~~5

==-==_01:::.:==-_-,,=:,:,0:.=.:

=::--:.:...-=::...-=--:".:::.~:-:..-

@'E~:±::"=::'==F--=-=

63D,a

'..... ......

11I,'U

n.,I7I

.... .....

."..

OUworpentl"'~ "

lt1,e4

::-'~.b.~tr"- . :.......... ::::::. ::: ~-:==-ree; ~, , '

1~

....

EqlllptNntll'l(lmelnt.lnlncl._.

8uIdInQWldIl'lllll*-- . .

1..IndfoMed~ ;

'.........

~

........•

sn._·I~

61 2_

00- _

.....

.,~-

,.""""

I.otI.-

-==="- '. . . . ...............

-~

...... ............ ..... ,.., .... a.a...a-.,. '...

...

. . . : : : .,.:: ,....,

~~ ~~~A ....... :.. ::""A~:

~ : ~peldll'l'..... e.&~II.I_

.. ..........

''-'-

•••• ~

T. . . - - . . . , . . . . ,.,.....~ .........

I.

W.hrM.-NnecItIwIStI'-tofFilwldll Con6IlIofIof THE NCR UoIPlO'I'EUCRlOIT UNION. lNC. .. of DIcemO«II. Wldtlwl"'MI~ofR..uhlofOper.tIoNIMUI'IdMdIod EIr~lortlwl,.,.ttltnMOed. OIIr •• wNnItIonWN~," _cs.nc.wfth~KCeCI'IMlMHltIne·landttcla,Wldac>

cordlngfylndt.tOedlUChtelttoflhlKCOUnUno_o.ltldlUCh ::..:=oceol,lr. . . . weeorl.ldlf.dlllC...."'n

~=:=~o:=.:=c:.

IneIpr..tfelrtytMfllllndllpoe/1IIMI.tMCf'MHunIorIlt ~SI . I"IM""''''''ofItlOC*ltlonl''the,.,. t'-en6Id ," _tonnItywlttlOlftll'''''~ecc:ountIne

orind"...l9Ptlldon ..... cantIIt..... wltII1heI.oftllltnOlChno ,.,.fte.oIlortllldW\Ol. whk:n _...-.lncanputlng

--1nW-.. -..cnbM '" 7~4-~;

95

Cf,pllel ~"~ 1UlIIor...cl 5,000.000 _ ,. . .111

UniQu..,III.,..

E

1*......

5.000,000

3.110,' "

Co.l_-"_oI<lMtion

_~Led~"'''

.-_--_ .. _-_ _M"_ " ___

------

ANNUAL REPORT

1 Wayne Webb, art director/designer Brad Sebstad, copywriter Milton Glaser, illustrator Robert VQgele, Inc., agency The Ansul Company, client 2 Arnold Saks, art director I designer Jonathan Rinehart, copywriter Arthur Schatz, photographer Ward&Saks,agency Eastern Airlines, client

An airplane flight. the enrichment of travel to once-distant places. Is not a sometime thing. fliingers through evenings that begin with "Remember ... " and will be bom again when someone says. "Why don't we fly to ...•

Revenues : The 43-day machinists' strike and delayed aircraft deliveries resulted in a 2.1", reduction In operating revenues to $501 million In 1966 from $511.6 million In 1965. The Impact of these adverse factors Is shown by the following quarterly comparisons :

Per Cent Change-l966 Versus 1965 Quarter

Available Seat Miles

Revenue Passenaer Miles

First

+ 7.5%

+12.2",

Second

+ 7.5

+17.6

Third

-43.7

-46.1

Fourth

+ 8.4

+12.1

Total Year

-

4.9

Operating Expenses: The 43-day suspension of service impairs the validity of expense comparisons between 1966 and earlier years. Certain costs continue unchanged even though no operations are performed : examples of these are rentals, depreciation, and interest on borrowed funds. Eastern felt a responsibility to the traveling public during the emergency conditions caused by the strike, particularly to those who had originally selected Eastern to provide their transportation, and maintained a staff (at substantially reduced levels) for continuing public contact. We also retained those personnel required for a state of readiness for resumption of service and for the preservation of corporate assets. Therefore, notwithstanding vigorous and 'prompt action to reduce personnel and establish substantially lower rates of pay for those remaining, revenue losses could not be fully matched by expense reductions.

Total operating expenses of $4n mil/Ion represent a 1", increase over the preceding year. Salaries, wages and employee benefits constitute by a wide margin the largest expense item and in 1966 were 42A", of total operating expenses. Depreciation and amortization charges 01 $39.9 million were $9.3 million below the preceding year, as a result of (a) extending the useful life of the Electra fleet In the latter half of 1965 and (b) accelerating In .. 1965 amortization of deferred preoperatlng costs Incurred in prior periods concurrent wlth the decision to discontinue such deferrals in favor of recognizing such preoperatlng costs as charges against Income as they are incurred.

In this connection, it Is important to note that a substantial portion of the $26 million pilot training cost incur-red in 1966 would have been deferred for future amortization under the earlier accounting polley, and the favorable Impact upon 1966 earnings by those deferrals would have been only partially offset by amortization charges under the earlier accounting procedure.

97

11111

Can she bake

She can bake

a cherry pie

a cherry pie

Billy Boy

in the twinkling

Billy Boy

of an eye

1 John Massey, art director John R. Rieben, designer Container Corporation or America, cHent

INSTITUTIONAL BROCHURE 2

Robert M. Runyan/Tony Gallegos, art directors FTed C. Kidder, designer Paul Hauge, illustrator Dave Holt, photographer Robert Miles Runyan & Associates, agency McDonneH Douglas Corporation, client

1

•

• EXTERIORS. Wi thin a 3-hour radius 01 San Francisco you can film

powder skiers or waler skiers, Ihe vmeyards of Napa and Sonoma Valleys, Ihe pnmitrlle Trinily Alps the rugged Mendocino coast,lhegianlRedwoods ofHumboldl, lhedash

Hveaction animation humor

and foam 01 Big Sur.

COMPLETE STUDto FACILITI ES. We offer complete animation service i ncludi ng special graphic technlques, We'veaslrong leaning toward the fresh, Ihe unusuat, the persuasive.

(Our Director of Animation's credits include a film quite recently nominaled for an Oscar,)

The West Is Inaction every month of the year.

CLIMATE. All you've heard is true. Nine monlhs of the year San FranCISCO IS weather-proof. Friendly skies atlracl film crews from all over Iheworld.

But we know every hgtu and shadow, every way localch Ihe magic.

This IS our homelown.

Imagination, Inc. (within

:a~~:~~_~~~t~:eu~:cSF

Bay)

produclion house wilh a liking l or awards

We've won more nallonal

INTERIORS. Excellent fac ililies lorbolh insert and sound work. including one 01 the largest. most modern TV commercial sound stages In Ihe country

and Inlernationat awards for TVcommercialS,radiQ commercIals and original music Ihan any other

in'~~:~i;;t.hOUse Awards, however, are yesterday. This brochure is aboul San FranciSCQ,

::;~~~:~~n,

Inc.and

2

One of Ihe most serious problems facing America today is automobile safety. The statistics both In terms of death and costs to the American people reach new heights every year. Whi le we ha .... e many problems confronti ng America toda)', automobil e safety must certainly be considered as one of the most significant.

With th is in mind, Group W, Westing house Broadcasting Company, prepa red a series of seven doc umentary program s on car safety. Th is series was titled " The Controversial Car" and was first broadcast on all of our Group W rad io stat ions early in 1965. We have received so many inquiries concern ing the material co n ~ la lMed In these programs that we thought It would be of great public service to put some o f this material Into a booklet .

I urge you to read the male ria l carefully and hope you can put it to use in driving your automobile. I further hope the material will he lp, even if in only a small way, to prevent the tragedies wh ich affect so many American famil ies as they drive along our highways

Donald H. McGannon Pre.ldent andChairmanof theBoard Wa. tinghouse Sroa dcastlng Company, Inc:

THE CONTROVERSIAl CAR

100

1.

San Francl$O attracls scores 01 nalionally known free-lance artists, designers, still photographers and illustrators. The kind who areollenusedforprinl,

but rarely lor fttm. We're

~~~~;~~~ talents o f some

• :'~:~:!'m~t~~~r:sy=~ San Franclsco'smosl successful entertainment.

Thissalir icalrepertory group (18 slrong) oilers a range of comedy and dramaliC lalenltnat c an'l be duplicated anywhere.

They're eager and inventive - and have an exclusive working arrangement with Imagination, lnc, forTV and radio commercials.

The famed Actors' Workshop is here. Plus many other

i;~~~::~::" groups drawn

Jingles and music tracks trom Ihe pen of John Magnuson have been on radio and TV regul arly since 1954 . He's also presldentoflmag lnalfon, Inc, ElIsworthMllburn. oneotlheWesl'sbesl young composerl, Iivel In San Franci sco, and works

Standard Oil ofCal1f.

Bank 01 America ForemoslDairies Del MonleFoods QantasAirways General Mills Pac ific Telephone Dodge Dealers RalslonPurina LejonChampagneCellars Blue Crass Van Camp Tuna Malson NavigallonCo. Wells Fargo Bank PacllicGas&Electric SunsweelPrunes Hills Bros. Coffee Dole Pineapple Roman Meal Bread Cl ing Peach Board GhirardelliChocolale OrthoGardenSprays U. S. Alr Force Malhemat lcsAssn 01 America Depl. 01 Ihe Interi or

This Is anolherofour specialties. We' ll be happy 10 send you a sampling or produce a demoal a nominal cos!.

~~~::~~:~I~~: Inc. on

INSTITUTIONAL BROCHURE

Nicolas Sidjakov, art director/designer John Magnuson, copywriter Nicolas Sidjakov, Graphics, agency Imagination, Inc., client 2

Bid requests are answered promplly. A current IiIm demo and audiolape demo are available upon request Call or wrile John Magnuson

Gips & Danne, art director/agency Philip Gips, designer Leon Golomb, photogarpher Westinghouse Broadcasting Co., client 3

John Kuchera, art director/designer Jim Morey, copywriter Champion Paper Company/Rochester Fire Dept., photographers Hutchins Advertising, agency Automatic Sprinkler Corporation, client

3

Ot!:~.tiitFOf~atnplt..wa.

t,Sllppty'fOU.lmIKl,sllJ'!4l1gUt.. ~t~jlhju.oiff.. ancl $"OIl!ntlAtiOMH, ~ M• • 09~ 1Wl'W)' ot)'O\l~ ""'0fIMY to &term:IM.h:af ~Id' be prole;ClM, eN MIlt to Nfl. at:eomptllh it.. ~ O,"UN ~ ~ IIPl'f~'l101'1~n; yOI#' IImIr~ ~ t o . ~ p~Iv'" ,~potsIbM 1:0 ~u ~t!itPf~~

an.

.rutm_w.laIte<t

" Ativm ~ j)Ut' om~ IIfIG WQdf; up ., m. pl'Ot.cl~ ~. compllBltl .1IP~tnc"'IW~teCOmmondatlof\t

.5. AA., m. cJlnmv. If yo\! 4t&it'~. _ HIIrf\ WI "'~"9 III ftMrw:fr'IO; l'if ktumq prootMn to nMNI$ r<W' ln4'~ ,.,q\l~~, \Ii!.n$lIfffCMi'rCOl'!'lp'-'.fi'.lH'o1.c~.ytmt.m.~OIIrtr41/1edttr.

proU!tt<OnGOMt'V¢ll(Hlcr'Wt*'

00 . . . . . . . . . .'

NcM:bt .. ~.sMUW+UIIm.reglll"f~'Mmfil'll~ P'Dft1lMfOI'ycM.i·tom.kewte'JW'~it''U9'ilO;.!fI!",",

In acdlffOl\ IN.~ of 1W~ ¢~IeMl: ~llfd'l, dMJgI> W

~I'

MIfllnQ fcl!ll'-s 1I'Id.1C~~d ~~I.tYlWnlf,,~ve-mll· .141O)'OU"~~p1Mf1IYIt}l~

J,,,d' "'-'\.ll~~" $pr1n.klat ",. pf'lUG1~ lUl~if\g t~~elHl'''laIPl!• • , ()ovitt 4OU!ltlt~ll~lM. at41i avt..<l®!+tl>M::p ~""l~iIfflg!ncMPfjJ'1g .tiOl~I'*I~lnf;;)((fttitIQfl,"WCllla.lnspectioA ..1"Vk*'nI:llln.J')C· iNIPl~ "'ou·r.~fOt "~" 8pf1ni:kttprotectlon ., Wh,not~IU

Tht _1It')lQw

~~'.

epr~,.

llr. lU'otktion comract ...

• ign.d, ltul ~)l0Ut ~ It. "rOllle_ aplMt a&vuta«n;

nt..1Iftd ,"- fMt* ~1If iMu(anta p'1M'!;WPt ~ go wa~, Don'1.~.. wrtnfi·1I Ctll utpatard.,.

Tim Bridger, art director Dick MerriU, copywriter Nicolas Sidjakov, designer/ illustrator McCann-Erickson, Inc., agency Southern California Gas Company, client

Sra.t1cr-HiJlonHotel

Ju.ne28, 1967

NASTEl. OI' CEJl040 NII!S

SaryG_.

SpttilliCOtUullIJIU,

Soutbem Californiro Gas Company

F. M . Banb,

~;.un:. Boyd.

Clwirlf'lM o/ w8oard r",d Chi~ Executive Ol/icrr.

Southern California Gas Company

Fnt Methodisl OlW'Choll....oi Angcks

~~~~Jacob5, Southern California Gas Company

~;~~t~w~r«~~:enenbaum, Pacific SouthWeit Region, UniledSynagogueoCAmerica

RoIxn W. Miller, CMirmtlll oJ Ihe Board,

PatitkLightlngCorpOrBtioo

It'. 1967. 100 yean lince the 0 ..

Company firsl opcoed iu doon.

A handful ol ltora aDdhotdswere itI fintcuslomcn.Andtbepiliaht ..... the tint use 01 lhetuel.

In 1908 W GlJ!f C(HJIpatlJ b«onu ON!

0/ the /irst 10 ad0pllM (ll4wmobllt:.

Today !he psliplI is just an outdoor decoratioo. Butthedcmaodfocps -the Deeds that have dcvc10pcd ovC'r the put 100 yean-has made it the numberooeenerX,YlOUCeioSoutbem

California. Today 5,200 Gu Company cmployeaand38,900milesotpipdine u1inicapital provided by 72.000 inveitor-owncnbrinSPlscrviceto

=~~~=;?u:~=~r

- is ICrvedby thelargcttnaturaJgu diatribuOOoI)'Steminthewodd.

That'. today. Butwhatol.tomonow?

RiJht now it secms ccrtain that the change.lhatwillbetak.iDgplaceover theneJtl 100yeanwiU totally eclipse anythinJthat has happened in the hut 100. And thal'l eltciting. h'.one o(thereasonswhybirthdays&reto

At !he Southern California Gas Company, member 0( the Pacific Lighting System, wc're proud o(whet'e we·vebec.n. Slightlyoverwhelmedby where we are. But mOlt imponant of a11. wc'relooJcingforwardlowbere wc're going ... u we begin oursecood

important. They make youllop and

cenluryo(Krvice

reaUy]ooJc at wherc you've been, where you are. and where you'reJOing C(HJIing: 2QOOmphjelam:ra/1 powtredbyliql4idlUll/.lr(l/IflU.

Comillg: /Mceilinl"slUperuhdlCUoven that cookslro1.tfl/oods wilh/orr:edlllr,

lots of countrlel form their own alrllnn. But .I'ar as we know thlill the first time an airline ha. formed its own country.

Continental Airtlnn hal .•. to Ihow people where our Proud Blrdl go, and more Important, to lhow how we are different Our ditlerence II pride I Though theC.S.A. Iin'treally real, thll dllference - ouralmott patriotic pride -II . like real countrles, lhe Contlnental States 01 America has lymbOls you can lee. We have a territorial map, a motto " Semper Cum Superbla." end stlag. Thelhreeltrlpes In our flag Itand for the three original Ilat81 we began serving In 193<4 (Texas, New Mexico and Colorado). The nine liars repr&Hnl the nine statel we prelently serve (Arizona, California.

Colorado, l111noll, Kan..l , Mllsourl, New Mexico, Oklahoma and Texal). And, ItICo{Ofl-gold, white and black-are the same as the co{orl of Contln.ntal Alrl1nes.

Th.r.ar.manythlngllodiecoveraboultheContlnental Stales of America. In the remainder of Ihi. booklet you will I.am a IJttle about our geography ... our First ladlel and GoodWill AmbaSl8dofl ... ournaliv. blrdlandlhelrhabltatl.

You will also learn why Continental'. peopl. tak••n almost palrioticpride lnthelrjobs,inthem.elv... . nd inthelralrline. So welcome 10 the C.S.A. U you·r. . ..'orelgner ... once you discover our country-.nd our alrllne -you may nev.r be utialladwlthyourO{dalr1 lneagaln.

MHt the Popul.uon of the C.S .A.

If you could find fietllioua countries In an atlu, you would find the Continental Stal.. of America. And you'd learn some major l&Cta about our country : like our capital II lOi Angeles; our major Indu.try il air tranaportation ; we have 7.000 miles 01 " hlghwaYI" In the Ikl.. ; and a population of 5,200. Thlapopulallon la nol what YOU'd expec::t to lind In. normalcountry. ltconslatlof holtessea.lUghlof11cera, alrcrattmechanlcl, flight kitChen personfWII , meteorologilla, Inalructors - and 10 on-not to menllon office ataffl. and lOp executlv...

Theee people take an almoet patriollc pride In Continental AlrUnee. And because of this. we reler to them In a vary apeclal way. Our lovely ho.tesses. for example, aracaJled " Flrat Ladlea" bec.use 01 the way they greet you and make you feel comfortable, conlldent, elmosl at home aboard our Gotden Jeta. We ref8f to our Dlrectora ofPllSIIeng.rServlcel, whoareon all our 4-englne Jela. u: our " Good Will Ambassadors" becau.. they go out of their way 10 make you feel like a vlaiting dignitary.

OUr gata petsonnel and reaervatlonlata .re called " Cultoma Aganta " becau.. they arrange for your entry Into the Cor:tlnenlal Slatea 01 Am.rica.

In lact, don't be surprlaed II Ihey greet you by aayfng. ''Welcome to the C.S.A." The population of the C.S.A. aJ.a InclUdes our " 45-Mlnute Men"traJned cargoapeciailltl who led a small rlWo{utlon In cargo handling.

Continental can load your air frelgh l up 1045 mlnutea before takeoff, and have II ready lor plck-op only 45 minul81 after landing.

Th... , and all our peopl., ar. known lor their handsome appearance. thelr ..actlngtho(oughneu; . ~lorthelrextfaord l naryamounlolprtde.

You'll find they extend themaetves al.vary lurn. Answer quesUona more willingly and more fully. It lan'l 80 much!:h!! they do, but ralher ~ they do It. With a great deal 01 personal pride I And that'l what leellSO good when you t ra~'ellntheContinental States 01 Amerlca l

Growfng Plac:. With Pride I

In addillon to being able to ahow peopl. exactlywhafa we go, anothttr benellt of having our own counlry la Ihat It makes Iteaay to announceterrltOflaJ axpansion. AI this booklet Is being written, Conllnental Airlines Is awaiting the announcament by the Civil Aeronautics Board of new route awards In the Northwest-Southw..t C....

Continent.I hat been recommended by the CAB Examiner fOf new routes In thla c .... (This may mean we'lI be adding tome new stara to our flag pretty soon.) The new ltates Involved are Washington, Or.n, Idaho, Utah and loulaiana. The new cities Involved are SeaWe/ T.coma. Portland, BoIM, Salt lake City, New Orleans and St.loull. (In addition, some current cities in the C.SA may receive some new non-stop service.)

AI the Continental St.t.. 01 America grows, It will continue to grow with pride. We have pledged to the CAB and 10 the new Itates and communitl..

Involved to bring the aameoutat.ndlng values (like the cornfortable 3-and-2 Club Coach aeatlng In I!! ourjetl) now enJoyed In the 9 atates of the C.SA Soon we hope 10 be atlte to take you to many new places. In the meantime, come trave! wllh us In our present territory and feel thedlfferenceprfde makes. LetConlinentalarrangelt - orletyourtravel&genthandlethedetall • .

He'. an expert on unuaual plaeet - includlng the one called the ConllnentalStates of America I

104

2

INSTITUTIONAL BROCHURE

Gene Despard/Bob Dion/Forrest Sigwart, art directors Mike Jolivette, copywriter Forrest Sigwart, designer Charles White III, illustrator Cal Bernstein, photographer Needham, Harper & Steers, Inc., agency Continental Airlines, client

CAI'AlIlllTIlS AIID CREDENTIAlS TilE A"SlIl COMPA'"

RECTRO COMTROlS DIVISION

2 Wayne Webb, art director/designer Brad Sebstad, copywriter Mas Nakagawa/Wayne Webb, i1Iustrator Robert Vogele, Inc., agency The Ansul Company, client

Msufs Electro CoAtltllS OivieiO() lS exCflAi\.ety ~ In the custom de\!aIoptnent. deaign ,.jiM tf'WtfIU1acture Of fwttcboa and swttehl"V ty8tem$.. W. ",.. ~f-':~t'. Th/s'6BIIWftdo...

•

"-"hettl'll&r dtffkolt eJa.ctncaf controt probl€'m$ eXis\o AnsuJ i$ ready" to apply Its st(l1ls, e"~'ienc.e: and Imagif\8fiOfl.ln the past. thisemph~ 0l'I tec:htUcaf lrrt'lO\1Ihon Iln<i cretdrve Probfern-80hling has man1 t:OIICentrah01\ 111 atrtraft .

• ~andordn..mce

Specifjoaffy, Aft$Ut pr:Qduoea "MP$on'~ high CUrTO"t rotary and .toggt. SWitcheS. w. also produce'poWf:iot fransft\t ewitehea-. grjpe.J)tnQ.»nta. con'rot ~ts and eoIid , state awitchlnq s.Ystem ... W. grew Oil with the 8-lrcraft induetry and hoJd pr.)pr~Wy ,tghIC to Ii nwnJXtr of $)O$,Uve action 8Wtto:he:t for flight COf\trot ~'Mason " tirafld trim nap aM 8lIriace control awitt'hee al1d pilot control grt~.

We bali. applied the SMWl COI'll;&f)tc end cfeytC8$ fo twrospace 8M Qrdnance . and have a<1ded Impact .nd inertia SWitches. ··sat~' · and "arm'" cwitctring $y8temt. e(ectn~tly OPerated pQw&r trenefer and rotary sWitching .Yttems.

CAPASILITIES

105

2.

Gary Andrews, art director/ designer Frank Haller, copywriter TQwn Studio, illustrator Batten, Barton, Durstine & Osborn, Inc., agency Koppers Company~ Inc., cHent

The food Industry is Ihc latest example of new applications for Dylite' foam plastic, This light, white, resilient foam plaslic IS the fastest growing packaging material on the market and new applicatIOns a'a popping up all the time.

F,esh fruit and produce nnw are being packed In Dy"te foam plastic. The feather·light and rugged Dyllte foam cartons make air transport shipments practical on a targe scale. Britisl1 house /fjves soon be serving fresh fruit that was picked in Ihe "New World"

Advance in packaging material

glass and electronic equipment were the first to lake advantage of the superior shock resistance of thiS versat,le foam plastic. Molded to fit the contours of lhe product II holds, Dylite components v"tually elllninale In-transit d,amagc. Because it is an inexpensive matell.l. and greatly reduces packmg time, many companies have found this supenor parkaging concept costs less than old methods,

recent aSSignments IS to sdence the roar Of new turOOJeH)owered trains.

The tratns will soon be ZIPPing passengers between Boston and Providence at speeds Vlell over 100 miles per hour, as part of a test project for the Northeast Corridor rapld transit system. The turbejet engines Vlont roar, because they will be equipped With Koppers·bullt nOise suppressors. We have developed

Advance in env i ronmen~1 control

compressors, generating plants, and large marme engInes. On a less exciting lev~! <Out no I we even make sound traps fer air c;ond;tionlng and ventiiatmg systems, AnylhmB you want hushed up?

So It'S kmd of hard to beheve they tune m towmeadSlhalsaylhmgshke

"Awine as precious as your sterling silver "

~Magllifique! "

"VV5t~ueN "FORMIDABLE" "Awine whose taste Is BBOOnd only to yours.•

- it'_ lb-ISIS

The VW Karmann Ghia.

To begin with, it's a car-full.of Volkswagen parts.

PRODUCT /SERVICE BROCHURE

Robert H. MaHarry, art director/designer James Morey, copywriter Harry Wasserbauer, illustrator Tony Cerra/ Pete Scolamiero, photographers Hutchins Advertising, agency Hammondsport Wineries, client

2 Lee Epstein, art director/designer Ray Myers, copywriter George Elliot, photographer Doyle Dane Bernbach, Inc., agency Volkswagen, client

Some of the Karmann Ghia's lines are impossible to form on. press. Or by welding together two pieces 01 steel. So they're sculptured instead.

This man is one of Karmann's 16 sculptors. Irs his job to create the sweeping lines at the corners 01 the windshield. The I

metal he uses is pewter-expensive English pewter --and after it becomes workable at 350°F. , he shapes it with a beechwood tool into the line our Italian designer Insisted upon.

Now sculptors aren't machines, (Neither are the men, below, who put a IInishing touch on the sculpting and smoothinll.) So it's sale to say they'll never turn out two Karmann Ghias exactly alike.

In this day and age, some people would consider that an achievement.

109

2 CLIENT LIST

KGO RADIO

PRODUCT /SERVICE BROCHURE

RoBin S. Binzer, art director! designer Mac M. Churchill, copywriter Ron Borowski, photographer HUfvis, Binzer & Churchill, Inc., agency A. N. Palmer Company, client

MOVING COMPANIES Bekins Van & Storage

Global Van lines Lyon Van 60 Storage Smyth Movers

HOUSEHOLD PRODUCTS Abbey Carpets Ajax Bellings Furni ture Co. Conklin Bros. Carpels Crew Decor ators. Inc Epic Floor Wax FQrmula409

Frigidaire

G E. Appliances Lampelte Lewis & Lewis Carpels M cBride s Piano & Organs Morlenson's Rug CleanerS Muntz TV Niagara Cyclo Massage PacifiC Aw nings Packard-Bell TV

Pine Min. Logs RCA Victor

Ae--nuzit Rescue Soap Pads Rl nso Ronson Corp.

Sealy MaUress Spring Maid linens Sure-Lock Voice of Musi c Wash N Dri Zud

DRUGS AND T OILETRIES

Anaeln Ban Bath Talc Breck Shampoo Caryl Richards Hair Spray ChanelNo.5 Chantilly Pcrlume Corn Huskers Excedrin

RETAIL STORES/CLOTHINQ Alec Dept. Store BavnanShirls Bond'. Cloth,"\!

=r~~ Stockings

C8nlrece Stocl<lngs

cta, Jackson Furniture Colony Shoppe Cart Appliance Stores Emporium Grod Heim of Sun Valley tilltenberg.rs I ndustrla1 Specially Store J. C. Penney Co. Macy& Merril • Drug Stor...

Mission Sireet Merchonls ModeO'Oay Montgomery Ward Pauson· s Menl Stores Peggy Juliettes

Ipana Jade East Luden's Cough Drops Mentholatum Co. Ray Drug Co. Resolve

SoflStroke Vitalis Waran Pacific Enzymes

II TDILBTBIB sII

n·.

Richt.,r'9Interiors.

Weinstein Stores Wh....l.r·s Shops

NEWSPAPERS/ MAGAZINES Setter Homes & Ga(dens Changing Times Golden Gate Mag . Co. Look Magazine MocLaln Medical Encyclopedia Reader's DIgest

TOB ACCO COMPANIES American Tobacco Co. liggett & Myers P. Lorillard Co. R. J. Reynolds U.S. Tobacco Co.

1

N_ ..... _"-

• .-.-./u._

_

yw. .........

N_~"" ...,,~

••

,--..u. ..... ___

................... r _

......

~_ ~

a.--...,..~_

........... r ___ ......

.--........., ....... ....

N_.....-- .............. __ ... _,. ........,.

7'~_-,- ,

_~""-'",.,..... __ __a ........

... ..,.... ..........

. . . - . _ . . . . .. . . . . ~

.......... .....

Noblet "SNperieNr" series

1I . . . ...w.,;- . ~'

......... _ ...~I~• ...,

.,--fIIII...... -'·•..,.,., ,-,_,,,,,,, ...... ....._

_.. - - ...... _.--..-.. ..........

,.,...,."..._-' ....

~

_~'. -""N~.'-.

"" _""M __ a r - _ ~,

_ - . __,.".. ___ ",IN. __ _ a.-"",,...,,.,u_ ...... ... ........ _-'- ..... , ,.......,.. ,., _,.."--..,,,. ~.

....... _ ,.... -'--*.,.,.." _

.u.IiH~"

~

., ........ , . . ." - ..•___ • y - ........... '-8.,-_ _,._"""",.,,_, pt,. . ._ _ , __ .. .n_. _In ~---

__ N_ ...._A' .".,

AJ

~

r~_"""'"",.

, A'

........ __ ".....",..__..._ ~_~

I<W.. _ _ _ _ _ _ , * , -

_ _ ..

••• . ."""_-'.<H'''''"""" ........

'• ...........-... ,.._ ~,...,

1aM'-' ......... _ _ _ _

112

1 Howard Rieger, art director Don McCauley/William Pitman, copywriters Wayne Webb, designer Young.& Rubicam, Inc., agency G. Leblanc Corporation, client

CATALOG 2

thr~ small plasten of th~ early fiftin, the Female Fig Lelll, appar~tly mode1ed from a female groin; theObject-dll.rt, its phallic companion piece: and the Wedge 01 Chll!Jtity. with its touching inscription for his wife Temy, ar~ actually as Funk ucan be. Jean Arp,oneof the original leaden of Dada in Zurich, alllO comes to mind. particularly with his laterbiomorphic forms existing in the world between abstraction and figuration. But then.

Arp'scarefullymodeledorcarved lCulptureshaveapantheisticspiritwhich would be anathema to the irrc:verence of Funk. Closer, perhaps, a.re cmsin Surrealist objects, like M~ret Oppenheim's fur-lined tea cup or Mire's Objet P~tique. astufl'edparrotpcrchedonhis

wooden branch. lurmounting a ball swinging fr~ly on a string. adjacent to a

Joen Miro. Poet;cOb;.ct . ( 1936) . Stull.d poIrrot on wood perch, lluft'.d.Uir ,toc:idngwlth velvet •• rt .... ndpe.,.....hoe.l»pendedineutOUI fnome, derbyhet, h.nginlaH'kbel1,eelluloidbh .ndenlf.vedmep.ll%.ll'I•• 10Yo -. ColJectMln, The Mu-eum M Modem Art, N_ York.

Qift of Mr . • nd M .... Pi_", Mui_.

dangling ladY'1 leg. all !Jupported by a man's dented hat. Objects like these are, I think, real prototypes for the current Funk,esp«:iallyinthe!Jimilarirrcverence. satire. and frttassoc iation. Like Dada and Surrealism. Funk has created a world whereevcrything is possible but nothing isprobable. Thereisalsoan important d;Herence in attitude in the more recent approach. Dada set out to attack and combat the moral hypocrisy of the public ; Surrealism in itsproc:iigioul publications and manifestos and programshopC!dtoestablishantwand irrational order based on th~ rcvolutionary but contradictory doctrines of Man: and Freud ; but Funk doe:s not care about public morality. Its concerns areofa highlyJ>er'SORalnature : the Funk artists know too w~n that a fraudulent moralityisafactoftheirworld, and

Accessories

"""-<'J(IOIfYV\l_9~"""'"

lMlot6oef. . _ ' ....... lOU'(.. "

_1oei(...tt.oJl"Mtt;t .._

1M1~0"'''''''~-

or How to have more fun while driving your VW

-

I. ~""""~~ 1Mt1_~"""""_ """'1I'_.dAA.~""kM

..... - ' - ' - ....

10_'""' .... r"" ..... _ ~"...p,. . . . ~_-oooo....cw.' ....

4.D_~~'''''_'''~ ... ~~!IfllI.kIt:.l_ ~.t!JI

__

. . ..

'~lIwltto.~p</IW'

.-.-~

"V""" ...

_.H~Iy~""~ .-._H6I.",.,-_..lUI 'I'fII."w. b\.>Iv.... __ $~'1-,

~

t_""'"

_ _ ~, .........1<1

-.. . . . c.. _

... ___ .... ....

.. ........ r"....~~..

,'..,011 ... "..

,...~oa" .... w;"'.~of"'--..'f'IIU_ ..., ... ·.. ... _ _ _

'""'*''fOII't_ ..

_ _ _ P.)'OIo(U<1I ,fI~/I>IIIIlIIll

~~IIIoaIooll·lIl\II,.."'OMoCt

c~Io·

••_

~.-...aI!r9l"~'''''''

-...

,De., . . ~ ..... SI.- .. tutt

_l.....,.t>oIn. .. ~-.t

~"",

~-

_-' ...

..... It_,..,""-_

.o.w .... ""' ....... ~

...._....

1.0,.,... . . . . . HIpII,~~

_~

'-.a..l.~IfeNW\f_

_

..-""C

. . . No--..

....... q.. _

INII-<~ ..

~- .........~ ... -II'II

..... IIIittIo~~1o.-

rtont_ .............. .....

3. 1IoMr .... ,.... . 1l\It_~ ~\If. . . . ~WWI~ ~91\..,..,...~

.""'~f _

c..o..r .............. IM ......_ ... ~/OfIMfeo-,,\otot_

.... I\oOfI~ """*-...,. ..... -.

"-1t~ .,

L.,_ ...... .,",_H(IIIW>iy ___ ""1 ..... ..,.1111-".. .....,~_

H~~~ ,,~I/W.

..--~foQt!<Io~<"I­ -.~tartoelw"'_

..........

(HI) rAUN AND GOAT tr. .... ".hho•• ' luo• . U .... L.w"'.ull,"_c1tLO< • • l l t.t1 1J~ leJI,

51....... II~ .......",'"' (",,"'" 110' AI.. ",.,HI In "L",I"

""1oft 11t",,'u

... "Ul......... ....... , ~

...."s""c... .-v.... ,..,.~ .....-... I_

P,I.-.,.CIIIlK1itt1o. l.ftAII...I...

V'" HEAD OF A WOMAN ITif~.~ f~"'''''J 1f"/ 60. u ... t...", .~IIII 'I..... (.leu, :No. U l I t"

51&.... ~ ........ _"'H("'"IoIIJO' M,.".M .. NoII_St_. t..oA" •• 1H

1_' PLANT WITH UTrU lULLS I"C.., ...... _" .. , 1'-" /60. U .. ol.....~II .. II..'"(.I"' •• • • u I ' .".

51... 0<I ...0I ....... IH •• 01( ... i''''''JO' M'. ...dM,.N<HI_Si_. t...A .... w.

114

(»I,SrtCTATOI.S ([o, ~~ ••" ••• , ".,. Ul ..... . ,II,UJIf •• - . M.JoI1 .

Cr.,.. _

s...... ~............... (,",,1 _ . ).

Ir~.'''''' "'pH. ""ItUlloHItyWll..... c...,.·. ..rco-IeaII.l ............ "portfeH. ..IIIo_..... Pk... _IIt ........plI ..... NIIo4I........ . . . .

.tt... $.ouc...,...c..n•..,. ..I'C ......... I_ry-r..........,.IM..

W. . .... M... hlbt..M..a., LIIooIUopIn.

3

Peter Adler, art director/ designer Keith Connes, copywriter Carl Fischer, photographer Adler, Schwartz, Inc., agency Volkswagen, client 2 Norman Gollin/Keith Bright, art directors/ designers Gloria Cortella/ Joan Quiter/ Abria Feinblat, copywriters Pablo Picasso, illustrator GoUin & Bright, Inc., studio Los Angeles County .Museum of Art, client

FOLDERS AND ANNOUNCEMENTS 3 Peter M. Krohn, art director/copywriter Dennis Goddard, designer Dick Lotz, photographer Designers Three, Inc., agency Standard Desk, Ltd., client 4 John Massey, art director Walburn Newcomet, copywriter Steve Keller, designer N. W Ayer & Sons, agency Container Corporation of America, client

4

Container Corporation of America cordially invites you to attend its POPAI cocktail reception Wednesday evening, October 19, from six until eight-thirty o 'clock in the Green Room of the New York Hilton at Rockefeller Center

115

an exhibition of contemporary dutch graphics circulated by the traveling exhibition service of the smithsonian institute ~III open at kent state university's union gallery on ianuary the fifteenth and ~ill continue through the fifth of february

~---

--I

Jt

~.-

3C'

)BOSTO~lftdMAI IiE I 2346

L-..-.

FOLDERS AND ANNOUNCEMENTS

J. Charles Walker, art director/ copywriter/ designer / illustrator / photographer Kent State University School of Art, client 2

3 James Miho, art director Richard Corrigan, copywriter George TschernylJames Miho, designers John Naso, photographer Needham. Harper & Steers, agency Champion Papers, client 4

Richard Nava, art director/ designer Bob Malmud, copywriter Peter Papodopolous, photographer Delehanty, Kurnit & Geller, agency Talon, Inc., client

The Talon Zephyr some people just

1

2

Henry R. Luce

From FYI, The Company New,le"er,March 3, 1967- by Roberr Elson

n the last Friday that he was in the office Harry Luce was

O

having luncheon with a half dozen top editors of TIME.

0

sooner had they finished otdering than he began to pull

from his pockets articles torn from the Phoenix papets. The questions

began rapid fire. Was there a story for TIME in this one? What was behind the transfer of the Air Force general ftom the National Air College? Shouldn't we be doing something more about Rhodesia? The editors looked at each ocher and smiled. It was like old times; Harry Luce was at work suggesting, asking, prodding.

He resigned his title of E<jjtoc-in-Chief in 1964 because he said he wanted to take things a little easier. He never did, really. He was as deeply interested and involved in what the magazines were reporting and what was going on in the world around him as before. But there were some differences. Phoenix gave him a sense of detachment and a little different perspective. His schedule was less crowded; his desk was in his bedroom and he worked at his convenience. In the afternoon, attended by his favorite caddy, Andy, who always improved the lies, he usually played nine holes of gol£ He was never idle. From Phoenix the daily mail brought to the 34 th floor a stream of letters, memos, clippings. He found time in the last 12 months to write and give a dozen speeches; he was deeply involved in the drive for the $50 Million Fund for Capital

eeds of the United Presbyterian Church in the U.S.A. ; h~

accompanied a group of business leaders on their TIME-sponsored trip to Eastern Europe. He always found time for the great company occasionsLIFE 'S annual Hunt Ball where last year he asked and answered questions from the staff; the Managing Editor's Dinner on TIME where he showed himself a covet-to-cover reader by reminding his writers that he 12

118

Chris Blum, art director Chuck Wertman, illustrator Dancer, Fitzgerald, Sample, agency Art Directors & Artists Club of San Francisco, client

OF COMPLETE UNIT

EDITORIAL AND ADVERTISING

tuc ~~~tlli&t

t11 ltttCe I .

driltfW:

, nl.~

s.v;: fMM,;ISCQ ~W.\t

rIodav is the last time tonight will happen .

119

PROJECTION in literature

How de Andy'. ~r.onal feeling. af/eettheWQ.ybtellltthi.st0'71 o/prejudice in a .mall town?

The strangers that came to town THE FIRST OF APRIL came dark and stormy, with silver whips of lightning cracking open the lowering clouds that seemed to skim the treetops. My brother Tom and It re<:(Ivering from cold3 nnd tired of reading and listeningto the radio, lurned to the bigliv. lng-room window of our house on Sy· ringa Street "Here they come, Mother," cried Tom as a big truck drove up and :!~~:~~~ :;:e:~.of the empty cottage Mother hurried in from the kitchen and looked out. That truck, we knew, contained the Duvitch family and all their earthly posselSlions. We had been watching out for them all afternoon with rather mixed emotions. They were immigrants, and the first of their nationality to settle in oursmalJLown.

Mr. Duvit(:h and the biggefltboy carefully helped Mrs. Duvitch from the truck and walked her into the house, supporting her all the way.

Another big boy followed, carrying a

was true that my father had not come home to aleep for many days now and I eould make as mueh noise aI I wanted. Though J had not known why

well-bundled baby. A stream of young Duvitches, accompanied by a big brown houndlike dog, poured out of the back ofLhe truck and stood huddled in the rain In a few moments, Mr. Duvitch and his sonll returned, and they began unloading the truck. All it turned

~~~ :~::s ~:~:r~l~o~~~~s t:\~:v;i~~:

the Duvitches had been on the move, to eSC8pe bombings, starvation, or sep· aration. Now every Duvitch capable of two. legged locomotion pitched in and helped carry the thinga in from the truck. In no time atall,ltaeemed, the trud was empty and the Du· ~~"!.h~~m:~re ahut up tight in their That waa the signal for Mother lo step into our kitchen. She returned, carrying a basket containing a vac· uum jug of chicken soup, a newly baked tuna.-fiah casaerole, a loaf of fresh I)relld,llnd a chocolate cake,

Whenever we asked why father had left, she would tell ua that we were too young to know.

~: ::: :!t~~!'r; t~a~h:~nh!l~a~~~~ ~h~~ee:f~:~n~ ~o~:t~:rv~l! d~ t~:! ~

tions at me. But it had never occurred to me that hia abf!ence would mean that there would be no food.

"Jdon'tknow," J laid.

"Who brings rood into the house!" my mother BIked me.

"Papa," I said. " He always brought food."

"Well, your father ian't here now,"ahesaid.

"Where is he!"

"I don't know," she aaid "But I'm hungry," I whimpered, atomping my feet.

"You'll have to wait until I get a job and buy food," Iheaaid.

As the days slid past the image of my rather became associated with my pangs of hunger, and whenever J felt hunger I thought of him with a deep biologicalbitterneaa.

My mother finally went Lo work as a cook and left me and my brother alone in the flat each day with a loaf of bread and a pot of tea. When ahe returned at evening she would be tired and dispirited and would cry a lot. Sometimes, when she waa in despair,8hewouldcallustoherandtalk to us ror houra, telling us that we now had no father, that our lives would be difl'erent from those of other children, that we must learn aS800n as possible to take care of ourselves, to dress ouraelve8, to prepare our own food; that we must take upon ounelves the rellponsibility of the flat while ahe worked. Half frightened, we would promise aolem nly. We did not understand what had happened between our father and our mother and the m08t that these long talkA did to us waa to make ua feel a vague dread.

shopping for rood. She took me to the corner atore Lo ahow me the way. J was proud; I relt like a grownup. The next afternoon I looped the bBlket over my arm and went down the pavement toward the IItore. When I reached the corner, a gang of boys grabbed me, knocked me down, snatched the baskett took the money, and sent me running home in panic.

That evening I told my mother what had happened, butllhe made no com· ment; she Syt down at once, wrote an· other note, gave me more money, and sent me out to the grocery again. I crept down t.he steps and saw the aame gang of boys playing down the street. t ran back inLo the house.

"What's the matter!" my mother asked. " It'a thoae aame boy.," I aaid.

"They'll beat me."

"You've got to get over th.t," she aaid."Now, roon." " J'macared," laaid.

"Co on and don't pay any attentionLothem,"aheaaid.

I went out of the door and walked briskly down the aidewalk, praying that the eang would not moleat me.

But when I came abreast of them someone shouted, "There he ia!"

They came toward me and I broke into a wild run toward home. They overtook me and flung me to the pavement. I yelled, pleaded, kicked, but they wrenched the money out of my hand. They yanked me to my feet, Kave me a few slaps, and sent me home sobbing. My mother met me at the door.

"They b-beat m-me," I gasped.

"They t·t-took the m-money."

3

Keith Bright! Norman GoBin, art directors/ desoigners Norman Gollin / Keith.Bright/ Patrick Blackwell/ Mike Salisbury/ John Van Hamersveld / Keith Finch/ Honeya Thompson/ Charles E. White III, iIJustrators Jeffries Banknote Company, client

2 Hal Kearney, art director Pooley / Daniel! Farrell / Grommonl Niles, writers Robert Amft, designer Scott, Foresman & Company, client 3

Herb Lubalin, art director Herb Lubalin / Fran Elfenbein, designers Gary Winogrand, photographer Tom Carnase/ Fran Elfenbein, lettering Herb Lubalin, Inc., agency World, client 4 448 Pat Steir, art director Robert Pearlman, designer John Cavalieri, metal sculpture Mixed Media, Inc. , agency Harper & Row, client

2

Jack Ludwig

ABOVE

An Introductory Anthology of Selections and Criticism Edited by DOUGLAS M. DAVIS 0204 A OUnON PAPERBACK ORIGINAL $2.45 In Canada, $2.95

3

A Biography by

Charles Norman

D 202 A Dutton Papcrback $1.45 In Canado, $1.75

122

Herbert S. Parmet and Marie B. Hecht

5

BOOKS

Cy Nelson, art director James McMullan, designer/ illustrator / photographer Push Pin Studios, Inc. , studio Dutton Publishers, client Garlic. the ItlO6t Impu(W1t m~ber of -the

down w~tb 8. (tfk Of' PfiI.J)l::r towcl. I( yoo do

lily family, M:s been wnt\k:1inc noeea. de lighttng f..e.stt- bud. and au.amc CMlrovc~:rIY €or cetllur~ Some loathe It, some love it ;

get the ,arUc odor on your handa, rub them. ..."th selt Of baking.ooa or lemon julCt and rink with eold wat.a. Anyth.11l& ~hat he, touched tilt gftftk ,book! be rinaed in cold '4"lt'r flrfi . thcn in hdl. 8OQP), water Be extra I;8;r(fuJ when ",utem, garhc ~ 11 buNlJ casuy. at¥.'l if ~t doe., it givt3." tx .....

no one: 1ms f:'V-et1tQ0t' on record ., ha\'lng no oprnionilo~ll it'

'J1wo hraelitu complain(d to M<*'t that there W,,$1.)' 1 a~y ia.rbc: In the de$ol!rt lilee

Lh.tTe ""'at baf;:k- 111 Egypt. The late l..otnt D~t , nutstert.'hd()flhe all!. Hotels, rbll;P«I dixed. "Oartic is tht Fifth Element. As 1m pon.ant to our e¥l$t(t)Ce •• earth, air, I1fe fIJ'Jd water.. WIthout g.eTlic 1 IlMPly wouW not care to livt;," Garlic-ha.ters.att': jUit a' ad...ro.ant. A1 ~~ }(1", of Castile, ton1fl\M(.\ed hit: knights to for-swetU' U:.rlic fDr a month berQre: they I;'l\tc«i hit ptncttce· In l.l:nciuu G«e<::t', thQk who had. uten Ca.rlk were 1\Ot allowed tf) tutu the tt'rnpta of the grral mothltt (Odd6s Cyl:)de.

Amt:ocana u;fi to consider garlk ,l,nct:ly .. «S.toftln, tor t.he lowo' <:t.Qes, Now more prIM: is u~ in lhe United Staret than Pt'Pper (Qvtr $1 mUhon. pt)l.Ind. ennuaUy), and the ~nc:t!nt bulb tsan imPOrtant demtnt In the C\1ff'1mt c:rue for haute CUI,UM Withtuc:h f:e.rventand contraddory opin ion. s~mc-t.hf' humblr pr1k clove, t$ it a!l}' v."'Otldet that tbt:. novice cook ap· proaehcs it with $lOme tiO'u(hty' 'fW! faett ••~ that the bighly odarif11:fOU' Iea.atune dOC!t ~trir.e: some tP«U\l handlin,_ ll'. a

tremf:ly unpk••nt taste and odac'.

Keep «.,tic. bulbi ifi a ('-'001, dry place:.

Those tmy witt prlk alld par;l:ey basktt. (ound to CQQ.lnng sptclalty :f;tOTU are qWtt Inexpensive, and a "f!J:Y d:ec:l)I'lIittve wa,Y to k~p garlN:. Jl,ltt as ~ffe<;;.tive i.a kcepina ff"¢Jh

Rarhe in t.\thtly 5Caled pla-s:tk bags in tbe refriJUltnr, Garlic d(1Vet mtI.Y be~. mitlCf'd, masht<t, .lJeed or 'limply cut in Jtalf to tt IClI.te t.beir pote1b:)f. (Watch out-a garlic clove put throut;ha g.rt~ p!"oa i$ tlw! equal of .lmo.t. tllm' dove. ctwpped Of minced.)

A handy W'W to .flayOf''' kmi-eoobd dith i.e to rot II garbe c\ov~ io half, $pear the halvee with tOQt.hpitks, .nr:t r'ti'llOve ~ via t~ twthpH:1J befort.lI¢tVl;nt Alnna ";th th~ OlJTcnt gatlk. !:loonl luis ~ a

ran of aarhe prooucts that rUml

Nlte the ~

rO( f»Qnthne.. puncrung. etc::,

Allhouch purim iNilt-Otl u~~ tr«h garbe, they don't deny tM\ the dehydrAted type is. quicker- to USI( and. ea.kr to ~lflJfe .<:e\) '

to u.x. ooIy fwo Itlcriic _04 onion.. The: ""tlie: clove has -aJmost f\(). odor until it's WRd

r.trly than (,nh Kar1~j because gatl« clovc..lllce people. 'Vary in lite, G~y .tor:ea MWtl«k: garlic- in many e;ui..ea, 4Uth at wuuu.. ~'ninced~ chlPJ~ pow der, dUi jui.u ltnU Uq.Wd &aflk (t1ttre',..

Wl once It tt, tbt' (ragr&nee

di.lflH'entt'), tarlkllt\~ ll'\eatt~Rf

coodideat()ba;v.¢--.~i.alchoppUle:bQd,r4

9f'~.

(i'!) my. Oil ~dyt.hjn. it tovebQ, Wlkn· .cbopp:tt.l&. ,.rlk. hold rhe dove

Md earth: jptM t1(J~ t'g'~\')ti6rt. ~ ()f p:tl.k.ftavoredd~'~(:lIt':1.).:t®tqn..

Gttl1tl.C to ltrn)w the glll'lie fll:ml.!y it '" ije·

Ughtful prQject. Slatt withCarlic powder. Very potent 1 R¢lC3eet It• .8Ii\"Or imrMdi.tdy in h(){. Of' co1d diahe.,

aott',tnebett Producl'for.dJuttmgte*sooing ilt 1M taft minute.

Although th~lk.Uy Hi te*spooott of ,arlic powder rqup.l, t)~ aVe1'ace dove of

J.nie, iC.!xst to UaTt ftavor~ " d~ (4 to 6 portKlI\t) wilh 1,11; tC8tJ»6fl. tben taut".

A4drarlicpowder'totne8!t4. S8'1.«:t$,tiOUPI ;

anytbtnlit that nceds II: bit of a lift.

hllta nt mltaced garlic 1oola< a titde lIIre 'WSattlt! .cede. It wor;Jrs beat in hot mi.~ turn "'00 18ku g,'boutH) mitUtlft ~k:inc

2 Lydia Rosier, art director Fred Harsh, designer Harsh-Finegold, Inc., agency William Morrow & Company, client

tinlt t.1) rt-Iea,1 t jra ruu power. tn (!Qk,lli.qui(fs itn~:bI:lOOut'Mhourot.ittiul.m'B:tq\ll:te run potenc;:y. Ta.tant rnJl~td gatIk '~'Mly

.,a concentrated ... 'ClI.rlk powdt!'l'. Soli tea_poon equals Ont averal{f:' el(l¥tl. Great

in stews and pkltl«i vegeu.blu,

CerUc talt t. leu potent; ''!i tea$pO(ln equal• ., ,arUc dove_ $J~ It is garlk powde! roiud with tabk saltf cut dowp dl«' amount of ,:alt . Vat it when YOO'ff "f\ymg blind"-yw tan 'Prink-It' it wnh 1\ fairly hbtt..1 hand. E.pec;-.Uy good {Ot' barbetu· ill'. Lilt:e prlic J'IOWder. it tdea~ ita Rilvor immediately, 'fry it on hrol.'«l foods. ....... (.b,cken. chop... fish. _leeb. tom~toea, There', also a :\lQrhe:talt on t~~el tl!.8t

3

Cy Nelson, art director Milton Glaser, designer/ illustrator Push Pin Studios, studio Dutton Publishers, client

rottta;ill&bri,htft~k4of~rJl~y .

Carllc cbips a;r( <lehydratf:tl biu til g,artk. and tt'lAy be .us«l in. p.l'ru!e .ar rr~ah ga,lk whel1 ~n bhs are need<:d in 4: ~. ,pe.On(·tt~th.teasP«KI-~u.I.(l.nt;"~ce: &&rl;\cif!bvt f

Uq .. td ,arUe itl J1i~IY~n-.tetl,

Sl.lolrtwhb,

{eontin.iii..¢o:npitge

4 Margot Herr, art director Alan Peckolick, designer Tom Carnase, lettering Alan Peckolick Graphic Design, studio Macmillan, client

EDITORIAL

5 Herb Bleiweiss/ Bruce Danbrot, art directors Bruce Danbrot, designer Mike Cuesta, photographer Ladies Home Journal, client 6 Dugald Stermer, art director/designer Mark Raskin, copywriter Carl Fischer, photographer Ramparts Magazine, client

~!~e: li~ ~~::!::ia~s·~~e:~a:e~ and. rora breath of April. brulb the M.utred eho~ with I ~ cup o( melted mint jelly. Bake 16 ml1tuta mOn!.

Bring to the table accompanied by :ne:l:~~~=~h of lemon wedgetl

In the Near Eut they are IIhWt kebabeorkabobe. The R~.na havetheirahaahlik,theGreeb . .. .at!v\akia. All through hiatory, men hive been akewerinr tendB piecaof meat and broiling them overglo'Ningfirea.Ma.trecipe.call for hunklof tenderlamb,Butou ... economically UIeI. Iamb plt.tti•.

Anotbe!'eeooomlea.l plus-""eteam the lamb p6ttie. with lamb kld-

ne YI-deliciousandall·loo-ohennerlect.ed. 1:::\'en timid t'iltet1l ""iII Illree,it·laninspiredeombinltion.

Lightly mix 1 lb. lamb pattie! (aboul2 cup&(tOUnd hl.mb) with H c:uppackatedaeallOned bread crumbi, teupoon I ~ tH· apoonpepper.lellC,IHghtlybeaten.

With wet handl. lhape into 12 balla.Cook6Iambkldne)'llSminuteeinlqt. boilinr_ter. Dnain. lIave ready 3 lemonl, quartered, and 6 thick wedll8olonion. Now aaeembleaixlkeweratn thil;fuh· ion : flrata",-edpof lemon. then. lamb meatball,a wedp of onion, a kklMy, .notht':rmeatball,anolher Iemon""edp, To top itan. a eheny

I

_It.

~::~. ~I~q~:'!a:~ :::~~

on a broiler p6n. Bru&h""ith pack· aged inltant meat marinade, diluted with water acconlinr to

~:a~r~~:":roi~1i1 ;in~!: lonl'!r. Sen'e with a Hourilh!

By POPPY CANNON The next time you'A! about to order lomb choPi for four or aix, why not have. inatead. a rack 01 lamb '! The aame chos». but all in one pieee. The butcher ahould removethecliine (baekbone).

To ..rvesix, you will ni!edt'A'o racb(leventoeightribaperrack, or It.bout two ribiJ pe:r penon ), Rub with a cut clove of prlic or with Itea.poonprlicpowder.Plac:eon a rack in aahallow pan, bruah with 2 tab!eapoon.melted buuer.mar-

Mary had a little lamb- on the table. But if she was like thousands of other Marys in this country, her lamb was gray, dull, dry. Overdone!

For the best taste and texture, lamb in all its forms-even chops-should, at heart, verge on the pink side. Then and only then is it tasty, juicy, with real zing.

But on the other hand, lamb is not too appealing when it is red-rare. Nor are we absolutely sold on low

temperatures (or roasting lamb. The flavor, we insist, is better when the heat is higher. For a fine roast of lamb, we

:~i:eorr~:= !ii;h'1o~~r ;~~

turn the oven up to 3750 and use these timings: For a truly rare, and succulent, roast. 20 minutes per pound plus 20 minutes more, which brings a meat thennometer to 140° .

rrain,aa the picture showa.

Admittedly mOlt lees of lamb

ti,i!1 !::~ta~~k~l1i~t~e~~~ .rit, with Or without the bone.

!tre~~~h::;~ a:t~:te~~~~:;

1_.

meat is balanced. The cookinr time ia about IS minut" per pound, or until the meat thermometerre(iate... IW lor ... reor ~~:~~ 180" lor (ahamelully ) well-

dium,TOIl8tat37S· 25 minutetper :,uunndlil p~:.~nt~:::O::rin~~:~ 150", M8nwhile, prepare 12roay

For medium, but still a

i~~ ~~~~t:~~~

until barely tender.Drain,tben

meat thermometer.

inP:i~~:[~=~o~~ ~~~ P~t :~i:~:?:Ee~~~ ~;:u!0r!:i~?:~::~

Yea .... eo in LoBtU,£poqlU. the Beautiful E ..... when Edwardwu Prince 01 Waleland the Jeney Lily (Lana-try) the toalt of two continenti, elepnt hOlllftlel .erved at their mOllt e!epnt dinner parties a crown rout 01 Iamb.

OurgenerationiinotalwaYlexperienced in the crown depart.ment.A&kYOl.lrbutchertoprepaA! one for you by usinr two rib

III'"

rout. (naco) with the backbone remo\"ed,1O that they can be bent

h:~ :a~tA~:I:nt!n~~i:~e: away lrom the end. or the rib bonea. Save the trimminp (or our ahilhkebabh!!Cipe.

U you want to be caRey about money, time or effort, try the Mock Crown Rout on page 116, made with ordinary rib ehopL

..

Mould delight YOW' hunf")' fam· i1y-even the boyl and the men.

TOlerveaix,yOU will need ador.en chopa cut about J~ inch thiek: ahoulder, loin or boneleMrib ehopl.

~• • • • • • • • • ..,.

~=~~:;~r~l~~~~~r:~~

~ ~i~ &~~:~~;~~~::E::i J4 The Swed" have wonderlulakill with dill. and altlO with lamb. And here'. a recipe that Iho" otf both: rout lamb with I rrsl[J'l.nt dill

"'Ute. We've deboned our leI(ol lamb, butleftthelhankinlattto hold lberout tofCtllher. Debon-

Thil tlorioully lOupy oven· braiaed Jamb can beterved like a Fren~h pol all fe.. First «)Utw, a

:~'c:::na~~~t!:::=

the bronr.e-brown ahanka, -.Jr· rounded by vetetab\el. And ju.t enough I[J'I.vy for dUnking. The IIIlCreto(thelUceulentlamblhanka ill the method we u.e: braiJ!ing.

:~::,:~~~~=::~

po~:::~;l~~~~:~~

new

littJe pink, 25 minutes per pound plosan extra 25 minutes: 160° on the Well done, but still edible, 35 minutes per pound plus an extra 35 minutes: 160° on the meat thermometer.

And Cor the intransigents who insist on very well-done lamb, keep going WI the thermometer reads 180°. But set the oven at 325°, so as not to dry the roast out. Very well-done needs 25 minutes per pound, plus 40 minutes extra.

But a lamb is not made entirely DC roasls. Here on these pages, and continued on page 116, are other t.houghls. ol.her ways with lamb.

ing makes it much euier to carve.

Slice up and downagainat the

teupoon pepper, 1 tableepoon lemon juice, 1 ell, Ilightly t-ten. and K cup chopped onton. Seuon lamb choJ»""ith IftIlt, uaingabout 1 teupOOh.Place l{ cuPRUffinl(on each of lhe6chOJ»,top with the other 6 and tieelleh pair together withatring.orpinwithtoothpickL

any exceal fat. Coat well with J4 cup Hour. Brown evenly in I{CUp veretableoilinaheavyovenproo( keUle. Add I I.., cupa hot water, 2 veptabJe bouillon tubes. 1 dove p.rlM:. cruahed; 2 ItI.lb celery, chopped; Jt eup chopped onions. 1 tab1espoonlemonjuice,lteaapOOn oregano,2t.eupoonl.lt, }-l tel.· 8pOOn pepper. Covet and bake at

~~n~:r.l ~ bours.oruntilmeat About 20 mmutea be(ore RrVin&'. heat in aep6rat.epanll-l.b. ca.neach ofamallwholllwhit.eoniona.amall whole potatoeaand baby carrota.

Cook a Ilkm. pIlt:kapfro;r.en peas according to packaredireetiona.

Drain "nd p!atoe around lamb in deep aervinr dt-h. Bounteoua for 6.

fa n

Paul Goodman says, tl don't give a rap who killed Jack Kennedy!'

Harry Golden:ttSenator Kennedy told me,tThe family is satisfied there was this one fellow! He couldn't even mention Oswald's name!" Dwight Macdonald: ttH 1 had to say yes or no to Oswald's sole guilt,l(1 still sayyes!' Melvin Belli:ttThe real villain in this piece is that latter.. day King Farouk, J. Edgar Hoover!' Mark Lane: ttl myself don't see any evidence that President Johnson was the assassin'!

Other comments by Allen Ginsberg, Arthur Miller, Al Capp, Cleveland Amory, John Updike,Theodore Bikel, Marya Mannes, Gordon Allport, and many others. "",;iM,~~:EE

:

EDITORIAL

Herb Lubalin. art director Herb Lubalin/ Fran Elfenbein. designers Fran Elfenbein. illustrator Curtis Publishing, client 2

Herb Bleiweiss/Neil Costa, art directors Neil Costa, designer Henry Sandbank, photographer Ladies Home Journal, elient

3 Herb Lubalin, art director/ designer James Grashow, illustrator Fact Magazine, client

Help Wa nt ed : H onest, lntell igent Peo ple To Run Employ ment Agencies

By Malcolm Maraol;n

Remember that job you were so interested in? A man who was a n employment-age ncy interviewer telis why you didn't get it L u t February, my wife and I moiled to New I been I yen 0( unprecedented economk e.xpan· YorlCilYlnd imm«hately ICt about Iookin.for .robs Our carefully wntten rUumb announced Ihal"-''e""crebolh25.yt.r~ldcolle&e&raduales,

andhadbcenworlClnlinlheCaribbeinforlhe pa5l 2 )'clrs. lrenewantedajobulptycno. loaic.] r(S(:arch luislanl. "'hile I myself was (t)' pically)undecidedabout'What l wanledlodo We turncdtothe HelpWantedteC'tionofthc Sunday New York T"tIu. It was u daulin~ .,an Oriental bazaar. Some 300 employment aacn· ciCJhad spreadthcirwarcso\,cr'sopalCS,.nd wuh such enlic lng catchWOfd5 as "HI pay, ~ " Ex· clusiY'C a,ent forA· 1 company on thc ao," "Rcal opportunity," and "Gc.nc.rations of cxpen luid. anee."

Thc. two of us plunled in.

In the dreary wceb thai rollowed. my wifc and I bcca mcvery..-cl1acquaintedwuh dozcns of Manhattan cmployment agcncac.. But that w.s all. The. minute we belan to aift through the mcrchandlsc, theOricntalbazaarprovcditsclfa mlrlGc. With sickcninl relularilY, "ElIchinl creIII1\'e work for Hi S"tumedinto cleric.ljobs pay.

Inl hardly more than the minimum wage. BUI "Orabwhatyoucln,"wtwercloId, 'Ihelabor m:lrket is In bad shapc ..... Febt"u.ry is . terrible month to bc out of work." "The stock market is shaky," We he.rd 10 m.ny bleak forecuts that wccven bc!lan todoubllhcfactthat 1966 has

lIonandopportunilY .

We had alrtlOi1 exhausted our patience. our resumes. Ind our moncy when I happencd 10 IPply 10 an emplo)ment agency thai speci.lized in Ihcpublishlnltield. TheI.cncyiuelrotfrrcdmc.

• JOb a5 an interviewer and "reader," (A reader studlCSlncjob-opcninpreportedbyemployen and,bcforeplacinganad,scarchc:sthrouahtbe agency's files for qualified applICants.) The ~ manwooowncdandmana&edthcagencyscemed cOfIaenlld. Thcpaywasdcccnt. l ccnalnlynccdcd work. So I accepted. And f«the next fcw mon ths.

I paTlookinonc:of thcnut ru thlCSl.fraudulcnt, and dlSlu511 nl buslnc:sJeS now goina-a racket th. t the economist John C1.r.le once ranked ...econdonlytopatcnt mcdlCinesu"bc:stableto thriH! o n the markctinl of falsc prclcnses."

After I quit, I spent 2 monthslookinl inlO the whole employment.aacncy lituation 10 find oot whether my own expenencc was unusual. I reudcloscloIOO.rticlcs,pamphlclS..ndbooks, wrote about two doun letters requesting infor· mOluon from authoritIeS, traveled to Inc Statc capllal 10 acqu.int myself with the St.tc laws andle,Isllton,sludtcdre:lcVlnltOUrtclJCS.lnd lfItcrvic.... cdmanypcopleconncc:tcd .... iththepcr. sonnel field.

In rcsponsc 10 onc of my lettcrs, Nel)On M Bortz, dIrector of the U.S. Burc.u of Labor

Who Kill ed Kenn edy?

The answers of 41 celebrities and authorities ........... RemcmberthosclloncswhcnM.ri· IynMonroedicd,.bouther tryinl10 tdephonc Bobby Kenncdy? Or tholc rumon bac:k in 1945

(noted in DavMt J. Jacobson'. ADDir. of DlJm.

::=~!;~e::~::~:';t-;I~:!!:,;.~ wun'treallykillcdin.motort::yc!caa:idcnt,but WIS layina low bccall5C he WIS hideously diafigured?

Maybe you .bo recall readinlthat Mrs. WarTcnG. H.rdin, poUoncd hcrhusband becall5C he 111'11 foolina a round wilh anna P .

Briuon(Guton 8. Means, TheS,rDn,.D.alh 0/ PrtJide,u Hardin" 1930). Hucy Lon, wun't .hot by Dr. C.rl Austin Weiu Jr., but by hiJ own body,uardl(notcdinStanOp!owski'I TheUm,J of LouisiDfIQ,I960), The Archdukc Ferdinand, whole de.th triuc-rcd World W.r I, was lUlllinatedby Frcemasons (noted in Vl.dimirDcdi· jcr'.The RotUJloSDrajevo,I966). JohnWilkcs Booth ....as ncvercapturcd-the Secret Service killcdthewfOOlm.n,the.nburitedthcirmistake (Dame Rumor), Altern.tely. Booth'. crime wa. instilated by Jesuiu: ( Burkc McC.ny, Th.Suppressed Trulh Aboul Ihe AUlWinadofl 01 AbrD' hDmUncolfl,1922). Presidcn tMcKinley'.aua,s. tination WIS masterminded by Emm. Goldman,

~~::~:i~~ il:U:~ :~~~lI~e;:~=:~ su.ltofhisbc:in, M.phil.Ddc:rCTwboh.dcl.n.

dcsune.ffain" (Dam.t Rumor) .

If you'rc. sludcnl of hiJtory, you also know that Mourt was done in by Sa/icri, that An.... tlSl.wlln'tsl.ininSibe:ria (dcspitethchistOTy boob),.nd lhat Jcuc J.mcsliY'Cdloaripeold .p:(dcspitc Robert Ford). Joan of Arc burned . t the stake? Accordin, 100nc histori.n, she rc· c.ntcd and ran oBwilh a carpenter. Napoleon didn't dlC in 182 1.onSt.Hele na.bulin 1834, in England (American hiltorian P.P. Ebeyer, in Re~'daliom Conc,rni" , Napolnm', £sca", lrom S,. He/efllJ, 1947,says.phoneyC0rp5Cwaluscd).

Thc fact iSlh.t tnc untimely or unexpected dea th of.lmost every celebratcdpcrsonsctsthe rumormonler. monacrin,. Pcrh.pa: the sudden endinaof.lOIrin,carcerilso.bsurd th. tpcoplcmust lampcr with rc.lity, or at least invent a more .ppropriale, ma,niticent death. Perhapl ptOplcnecdanothcrshocktoolfsctthcfir" s~k , accordin'tothelawthateveryemolional

action huarcaction. And perhaps when Ihcpersonwhodicdwasyoun,.ndlifled,pcoplesimply cannot masterlhcir,rid,.nd thcevcntbccomes • h.untin,obsession; .nd like all obICssions pcoplcmullitovcrandover.aain,in.llsoruofncw w')1i,hopin,ilwillaoaw.y.

The public'. obsession with the death of President Kcnnedywill nc\'ef 10 IW'Y. NOOlher event in the livcsof most people lod.ywUIO tralic and traum.tic. Three yUrt Iller, wtlile

neverflWldeeproteemgo. Ryltnsatonlhef.osAngelesbencl'l fOUrytlM,s,theBrown.ldellnesforone; lhttnIedC/ev.'end toCWOdivl.,ontlt/es, orntleeguechamplon.hip. He'.Dr. Ryenfor It meth Ph.D. tMsls but knows his abstract tlalr bear. little upon skill asaquertefback , TheJels' lnslents~ss. JoeNemeth ,

limits his sludytolhepl.yboolc.ndchlch, endsCOf.S heevlly.

126

4 CA MAGAZINE' VOLUME 9. NUMBER 1. 1967 • $2.50

EDITORIAL

Allen Hurlburt, art director Joseph Tarallo, designer Marvin E. Newman/ Paul Fusco, photographers Look Magazine, client 2 Herb Bleiweiss/ Bruce Danbrot, art directors Bruce Danbrot, designer Me1vin Sokolsky, photographer Ladies Home Journal, client 3

George Lois, art director/ designer Papert, Koenig, Lois, Inc., agency Esquire Magazine, client 4 Dick Coyne, art director Jean A. Coyne, designer Bill Arbogast, photographer CA Magazine, client

5

5 Jack Lefkowitz, art director/ designer Jack Lefkowitz Graphics, studio Industrial 'Launderer Magazine, client

127

y Q.&jt.h, J.t'g~. l ..csty. Iooing'~:,7~,.::! of gr«eo for~ fcsci ruttiolt ...

football is an tntird'y AmeriCln 8~lM ; it is played nowher~ else on e.uth. "h~ physk.l .and ment..1 science of it is awesom~ .nd. compliC:.ated. making ita sport for a relattwly &w mm. who C::.ln match the strict requlrements it demolnds.

'TM:re is a defi.ni~ pride in playing in t~ National Football Leol8ue. It RepS down out of history, ul'T'iH by the n.met of the colorful, scmi-Iegend.ary &guru who iUurnin.ated. the genesis ~..rt of pro-foothall. This Mrit~ atthou.s:h unl poken. is d~l y undHstood. by the youth.ful gl.nu who pl.Y' the modern ,.arne of the Sixttn.

As pl.yen in the NFL~ they ue members of .. unIque fr.:attmity of ftghtin& mm. f.66tball is~ In tht last .,,;.Iysis., a form of w.ar-~ most primitive war Fought among ddUful ..rmi~ of men who battle without wt:,apons, It is an Inh!:nse game that deman~ oomplt'te devotion from those who play it, but rew.'rds them handsomtly ror their dH'ic:ation.

Compensation comes In many forms. At.an age when most youl\B men .are relatively unStttJed and are seKlng th~ security ind rewards of caretrs, the profusiOnal football pl.l:yet Is heinl \Yd.1 rew.a:NJed in mOMy .lnd rtcocnition. [n thb uniq~I'Y Am~rica n s.me, uniqu~ly Amerkan opportunitte develop. 'Tl\4! g,:nne recognizes not only tM AII - Ameri~ glamour boys, who enm- the same richly rewarded off th~r roUegiate reputations, but it also paves .wnues for the unknowns.

The glIM i5 structured on 'these men of Horatio Alger stripe. The low draft cho~ or fret agmt who makes good is perhaps the most rtwarding aspect of the ~ ting and to-Iching depoartm\!nb of pro footb.a.lI. For every Cale Sayers, Tommy Nobis o r Donny Anderson who comes into the I\!asue, a Johnny Unitas, Leroy Ke.lly, O.ave lonn, Come.U Gt'e~n Or Spider l ockhut is developed from the sma llarrny of ur'lknown men who i ~k berths on pro football le.ms.

For n\!uly two .generation s men like these havt brough.t dexterity and 'trength, rouU.ge and perseY'tranct:, pride and d\!votlon to the game. They have stirred millions of fans to excitement • • dmi.ration. r HpKt and affKtion. They become the mdurins pros, the tradition builders.. Over the ye.ars they h.ve rrsponded to the rigorous challenge of their same. They hlV~ met the chillenge Ind emHged fun Masters of thernselVfl: .tnd their job. The hiStory of pro football is illuminated by their names and their deeds.

1. lim Thorpe., 2. Ceorge Ha/ttl, J. Curley Lttmbi!ttu, 4. Beattie Feath~rs, s . Da,,"), FOrht1tt"n. 6. Johnny Blood.

7. Li"k Lyman, 8. E.rntt" N~h's, 9. Clarki! Hi"kle, 10. Duke Slater, ll. Don Hutson, 12. Bronko NagurJki, 13. Ken Strong, 14. Bob Watt!rfield, .15. Mel Hein, 16. RId Gumg,", 17. 1920 Decatur Staleys, 18. Sill Hewitf.

19. Ceorge! McA.ffee, Bufldog Tumer, Sid bckmo:m, 20_ Kenny W.uhin8ton, 21. Otto Craham. 22. Bill Dudley, 23. Bobby i.aJ/ne, 24. Joe Perry, 25. Norm Van Brocklin, 26. Sammy Baugh. 27. Steve Van Blmln, 28. Y. A.. Tittle, 29. Leo Nomellini, .30, E.lroy HitlCh, .31. Doak Wltlkltr, .U. Kyle Rote, JJ. Toe Schmidt, J4. Jimmy Brown_

Here is how one teacher handles it Thomas J. Shelley, a teacher of eco· nomics and history, in Yonkers, New York, explains his graphic method of describing just what so· cialism means: "As a teacher in the public schools, I find that the socialist· communist Idea of 'taking fromeach according to his ability,' and giving 'to each according to his need' is now generally accepted without question by most of our pupils. In an effort to explain the fallacy in this theory, I sometimeslry this approachwith my pupHs:

"When one of the brighter or harder-working pupils makes a grade of 95 on a test, I suggest that I take away 20 points and give them to a student who has made only 55 points on his test. Thus each would contribute according to his abillty and--since both would have a pass· ing mark-each would receive according to his need. After I have juggled the grades of all the other pupils in this fashion, the result is usually a 'common ownership ' grade of between 75 and 8O-the minimum needed for passing, or for survival. Then I speculate with the pupils as to the probable resul ts if I actually used the socialistic theory for grading papers. ';first, the highly productive pupils-and they are always in a minority in school as well as lifewould soon lose all incentive for producing. Why strive to make a high grade if part of It is taken from you by 'authority' and given to someone else?

"Second, the less productive puplls-a majority in school as else· where-would, for a time, be reo lieved of the necessity to study or to produce. This socialist-communist system would continue until the high producers had sunk-or had been driven down-to the level of the low producers. At that point, in order for anyone to survive, the 'authority' would have no alterna· tive but to begin a system of com· pulsory labor and punishments against even the low producers.

They, of course, would then com· plain bitterly, but without under· standing.

"Finally, I return the discussion to the Ideas of freedom and enterprise-the market economy-where each person has freedom of choice and is responsible for his own de· cisionsandwelfa re.

"Gratifyingly enough, most of my pupils then understand what I mean when I explain that socialism--even in a democracy-will eventually result in a living death for all except the 'authorities' and a few of their favorite lackeys."

3

EDITORIAL

David Boss, art director/ copywriter / designer National Football ~eaglle Properties, Inc., agency Kimberly-Clark, client

COMPANY PUBLICATION 2 Eddie Byrd, art director/designer/illustrator Thomas J. Shelley, copywriter Beveridge & Associates, Inc., studio The Chesapeake & Potomac Telephone Companies, client

3 Richard Rogers, art director/designer Lionel L. Fisher, copywriter Jack Reich, photographer Champion Papers, client

129

BIBLU HEBRAICA,

EV£RNII)() VAN Df.R 1l000lrr,

POEMS OF THE PROPH ET'S HtlSl t~ "0' Ju,ow,,? IuSIlhou 1101 MII,d Tbtlt tM ~Wrlllsl"', GoJ, 11M Lo,d, The CUlltO' O/Ihe ~nds ollh~ ~ilrth, FiI,nlelh"ol,neillH,isr«lIry? Th~,e is nO ullrching 0/ his IInd~rstll"ding

For unro III II chdd i.s born, U"loJlstlJOnu&,pen

And Ih~gov~,,,,,,e,,/

slull be upon hu shoulJn And his name sbalf be ca/led WonJer!lIl.

Tob'ingo""tlHpmon~rs/,o"'lbepmon, A"d lh~trftbtlrsit,,,d.,kntu

TIN everumin"FtltlHr,

IHj"cr~,muhs'r~"glh.

rs!~~~':'~1" 0/ Pellct!.

And tlH YOllnglllt"slutlllllurly/aJl

OlltO/lhe prison hous~ I 11m lhe Lo,dTh4tlS"'7"II"u' And "'y,lo" wiJI 1 nol ,;w 10 ilnother, N~ilht', my prtlis~ 10 , rlllJt'1f imll,es.

BullluylhatWilIlIlPOlflh~Lo,J

IkholJ, lhe/o'me'lhin'JiI,~co",eto/'ilSS ,

H~giwlhPOWfftotlH/II;nl ,

Co""ullor,

And 101M", Ibtl, b.w "0 m"hl

T~"",ht,GoJ.

Com/ortye,com/orl'P",yprople, SlIlIb 'JOur GoJ. S~tlltyeco"'lo,t.bl,toJnulllle""

E&ltnlheYOlllhsshaJl/II"'t;l1Idh~r«lIry,

U lIS 1M ~or«' 01 1M fi~JJ

Th~ , ' IIU wllhut/h, the /lowu 1;ui~lh :

A"dcryunloln" Tlutbtrwar/arehllJccompiished,

BtCIIUU the sptril o/,Iu Lo,d blor«Jbllponil:

Thatlwrinil{ui1l u ptlrJoned '

SllulyJlHptOpI~U"IISS

FOfslNhtlthrecetwdo/tIHLA ,J'shllnJ doubie/orll1llwrs;IIs

Thevoiuo/him

Tlug,lISsw,tlHreth, lheJlor«rllldttb BIOI 1M wo,d 01 010' God sbsll slllnd 10' ~w' Zion, I""hringttl good tidings,

tlwtcr;etbinIMwi!Jnneu,

G~tlhuupinIOlhthighmountlll1f;

Prepare'PtMW4l.o/llwLord,

OJuusaJ~""IIuJb"ng~stgoodljJl1I'S,

MaJuIlrtli,ht""hedesn' "b'ghWfil'j/orourGoJ

LltIlPlbyvo,uwlthst'~ngth,

o

L/litup,b~"ota/'lIjd;

EWfyvafleysba/lbe exa/led, AndewfymolUfuwlandhiJl

Sllyu"lotht!citj~sol Jlldllh,

slHJJlbemwielow A"d tIN crooJud sh,.rl M",dlic-Slrtll,bt.

IkbolJ, IMLo,dGodwdlco",twilhstrong"'nd, Andhutl,,,,slull,IlJe/orh,,,, ·

A"dtheroughpillusp14i,,'

And the tio'1 0/ lIN um/ Ihdfl ~ rtwilled.

A"dallpesbslusllsuillogetberFor'M moutho/the Lo,dharbspolun it.

The IHJ;U I4IJ,C'l

130

A"d,'lH!tMe/or.coWnilnlo/IMpt'Opit', For. II,ht o/IIH Gt'1f',/eJ, Too/'t'ntht'hlilldt~s,

slull,~n~WIMtrSI'~nglb, T~ Jlull mOlllft lip wah w,,,gs liS tllgln;

A"dnewth,1f&sdoJd«l4,e Ik/o,t'tMysprilfg/o, thI uIJJOIlO/lhe",

ThtYJhallrun,l",dnQlbtWtllry;

Si",U"IOIMLD,J.tr~WJD""

;::~~~ :t,/~~k, iJlfJ "ol/lIinl How Mtllltllul llpon tlHtrfOtl"lili"s A,t' tlM/eeJ a/him Thlltpuh/isJulhpt'lICt', Thatb,jng~tb,ooJ lidings01 ,ood; TbdlpllbiislHlbstllwlio,,; Th4tSililhlltrloZio",

:~~~~;~il.nt!thl ThtlsSIl,thGoJlbtLmd,

TMsp",to/k"owl~d,t'

IIndstrtulHdtbtmOtll;

Illldo/lbe/tll' O/tbt" Lo, J ..

And slull mj/k~ hi", 01 q"ick unJ~,st.lldi", in tbt"/t'II,o/tlHLo, d.

And bt"sht#/notjuJ,t!

H~thalspr~lIdlo"btlHtll'lh,

And his wo,k be/o,~ hi",

lI"dth41 whichcomtthout a/it, Htlh4tgiwlhbrelllh IInlO tlH people llpon it,

H~sh4J/'lIlbt,tbe14",bswllbhjs{1'''',

A"dcfJrrytJu""nhubosom,

A/IJl~shisgf(m,

AndshaJlg~nl/yltadthou

And 1111 1M goodlin~u Ih~r~o/

thalll,twith,allng

AndtlNrt'slul/comt'/O,lh.roJ OIlIO/IMslt'nro/Jtsst', AnJIl BrllltCb sh4iJ g,ow 0111 olhn rools A"dthtspi, ,,o!IIHLmd slxJllust " ponhim, TbesptrttolwisJo",.tulllndusl.JUi,n" Tbt"spmto/colllIst'lllnJ"""hl,

Ht'th.lcrt'fl/~Jlbebt"ilwns,

Ikhold,bjsrtl~{1,djswilhhi""

Htsh4Jl/t~dhuJlockl,k~fJsJuplH,d

AlldllillNt'JJhnein,

::'::'::~' :~o" tIN inhllb,,",,1S the,eo/

Th4lhring~th,oodliJings,

&hoJd your God.'

And~s(ljd,Wlulslul/lcry?

A"d hisp,j/;u/romllu t"Jol 1M t,/fth, Y~tbd"odownloIMuil,

./I~, thes"ht()/b,s~~s.

Andspiri'lolbt"mlh4JWIIlktlHr~;n '

Nt,tlNrr~p'ow

I lheLordbiJlltcllllt'dtbtein,ighlt'ollsntst, And wiU hold th,ne h."d, lind WIll keep tbe~.

"'te'tbt"h~.'in l.olhut'lIrs

Butwith,ighlt'OII.sntss

COMPANY PUBLICATION

Jack Golden/ Jack Seiden/Florence Graham, art directors Marge Laning, copywriter Jack Golden, designer Irving Elkin, photographer Designers Three, Inc., studio Brown Company, client

2

fluor·o·scope

summer 1961

2 Richard C. Runyon, art director/ designer Robert LiljenwalJ/ Les Reed/Walter Russler, writers Brian Reilly, editor George Bartell/ Don Weller/Gene Coe, illustrators Richard C. Runyon Design, photographer/studio Julie Morris/ John Rosenkranz, production The Fluor Corporation, client

metamorphosis

"Everything iJin 0 slatl' oj metamorphosis. Tholl tllyst:l/ aTt: in

by 20S0. that figure will likely be 50 percent.

I'vulos';IISc/rangeand in cort'llprio'l10 corrttspond:so is the whole un;ver.I'e:'

Sociologists and psychologisu fear the effects of crowded li ... ing on the individual's identity. There are already signslhatftUIOmalion,whileheJpinglhe

Twentieth-century man is creating a complettly new world for himself. The new world is, quile literally, one of technological revolulion The roots of this new technological age reach back to the industrial revolulion, which began one of the most significanttransitionsinthehisloryof mankind - when man began to move from an agricultural environment.

Like the industrial revolution, the agcoftcchnology is making life better for more people , But. also like that event of two centuries ago, it is creating a profusion of new problems While science and technology have helped reduce hunger, alleviate disease and increase longe.vity, they also have created air and waler pollution, traffic jams, nuclear weapons - and crowds.

Crowds, in fact, are one of the bittersweel characteristics of the new age.

And they show every sign of expand ing : 2.5 percent of all the people who ever lived are alive today. By the end of this century, more than six billion people will be inhabiting the earth Crowded living is already~way life in many areas of the world . Sprawling megalopolises, cities growing together with only faint lines of demarcation, are III ready taking shape on both the ea,t and west coasts of the United SI3tC,\. One urbanitalion cxperl predich thai one-fourth of all the peopic in the .... orld in Ihe )'ear lOOO will be living in citie.!>of 100,000 or morl! :

01

cilizen live Ihe good lire, can creale soci:al problems, causing man to become alienated from himself and his sociely as he loses Ihe ramiliarilyorlhe past.

Ironically, while SOlutions to th~ 20th-cr:ntury problems arr: br:ing sought, two-thirds oethe people in the world are not able to experience either the good or the bad aspeclS o(the technoJogical revolution. They are the citiz..cns of the underdeveloped nations; they are the people who Jack adequate educational facitities, who don't have modern medical techniques, who fight spiraling birth rates, who struggle for sufficient food.

The disparity between these "havenot'" nations and the highly developed,

alHl,lent I;o\.lolries is one or the most alarming problems the changing world faces. Even those nations which have not been completely bypa.~sed find the technological revolution offers mixed rewards. New drugs and vaccines, for example. help 10 reduce the mortality rate - yet high birth rates go unchecked.

There are some. like international affairs analyst Herman Kahn, who feel that Ihi.!> picture will be complelelydifferent by 2000. Kahn predicts that nearly all nalion~ will be highly industrialized or well on their way to indlhtrializstion by then. with only one -eighth of the world's population ,till living in pre-induslrialsocieties On the olher hand, there are many who feci that the gap will grow even larg,c r. Dr. Jame.<i Bonner. biochemi,t 3t California In .. titute of Technology

and one of the authors of "The Next H undred Y~ars;' fears that the developed nalions and the "have-not" countries are on a collision course. By 2050, he says, the ultimate result may be that "the rich and strong will devour the poor and weak :' 80th pessimisls and optimists. however. agree that this is the century of change. And most agree that this is one of the two most significant period in tht history of mankind, comparable only 10 mankind's transition from bar· barismto civiliution.

This modern transition, however, continues to be shadowed by ils Buendant problems, which range from workers' fears about losing their jobs tosludents' uncertainties about plannmgcareers.

Banks and relailer~, processors and manufacturers. schools and service firms - all are automating their operations al a rapid pace. Efficiency and production increase as a result,and the work force often detreases or remains constant. The U .S. chemical industry, for example. has maintained a relativelyconstant level of employment for production and maintenance work~rs since the mid.1950s, yel its production has more than doubled .

In that same indu.stry 20 years ago there were three production workers for every non-production worker.

Today the ratio is approximately 1..5 production workers for each nonproduction employee, quickly moving closer to a one-to-one ratio In many situations, computers are replacing filc clerks and automatic production techniques are replacing assembly·line workers. One of the iro· nies of an automated society is that most of these jobs are those that ordinarily would be filled by school drop-

131

2 Your bangs go down to there. You're wild about the new dances. You're trying out for cheerleader. You really go for short-short skirts. FOR YOU ...THE YOUNG TORONTO SHOPS. Your shops for your look! Grannies. westerns. jams and jellies. if it's the boss-wave in Young Toronto fashions. we've got it! Our lively shops are jumping with all that's really great in coats. suits. dresses. sportswear and

k ookie accessories. In your Mad Mod shop you'll see wild ones with the London and French mod looks while in our You.ng Petites all the with -it styles are made to fit your petite figure. Studio E is where you see the way-out things, t.he what's next things! This big beat trio of shops is part of our Young Toronto Shops, where all the action is! Queen Street.

EATON'S

4

ILLUSTRATION

1 Norman Schoenfeld, art director Milton Glaser, illustrator Push Pin Studio, studio True Magazine, client 2 Jack Secord, art director Kathy"Bassel, copywriter Arnaud Maggs, designer Gerry Sevier, illustrator Eatons, client

3

4 Rob Lawton, art director Tom Bailey, designer/ illustrator Dallas/ Fort Worth Art Directors Club, client

5 William Cadge, art director/designer Robert Vickrey, illustrator Redbook Magazine, client

two huge dinosaur skeletons at Carnegie Museum.

Water is important in the life of Penntylvania . Itmakel the state a flIhing and booting playground, Philadelphia , t.om. of Independence Hall and the l iberty Bell, is one of the MItiori's busied seoportt. Huge fre ighters steam to its vast docks and warehouses in Southeastern P6nMylvania. Mighty warships stand to at the Navy Yard there, Diagonally across the stole, in the norttIwestem comer, ocean-going veuels visit Erie, too. By way of the Greal lake. and the St. lawrence Seaway, ships from Erie visit pom allover the world .

And, although it may come as a surprise to you, there's a third port. Pittsburgh II OM of the busies' horbors in the world, ltsthreeriverscarrymoretonnageeact. year than the Panama Conal. Towboats from Pittsburgh corry cargo 10 the Gulf Coast and New Orleans thousands of miles away, You'tI flnd many touches of Old Europe in Penlllylvonia, At Old Economy, neorAmbridge, YrN can visit the restored settlement founded by a groupwhichA.d Germony, The Pennsylvania Dutch settlements add a touch of yesterday to restful farm areas, Heltsigns there odd acolorlul note to farm buildings. At Boalsburg, you can visil a chapel in which the famityof Oristopher Columbus worshipped. It wa.dismantled in Spain and re-erected in Pemsytvania in 1919, On the upper SusquehanMlin Bradford County, youwill see French Azilum where french refugees built a log palace and a kJg village as a soncluary for Queen Marie Antoinette. But she never got to use it.

In Bethlehem's Central Moravian Church at Christmas and Easter, you can lislen 10 on unusual Trombone Choir. On Mount Penn above Reading, you can see The Pogoda, .seven .tories of Japanese ardlitedurerising in the Pennsylvania Dutch hills, Pennsylvania is worth visiting at any time of the . year. EocfIseason has ils own charm. The subtlety afsprin9bewitcfle. exlensiveorchard.with the pastels of apple, pear, and cherry blouoms. Summer'. heat and glare is softened by the PervwYNania mountains. Autumn explodes uponthe.tate in a riot of color thot makes every country road a special kind of art gallery. And, in recent years, Wil'!tl!tf wim ih white $Oftneu has attracted ever-growing numben to PemsYNania'sdti slopes and lodges.

Indiana County in PermYNania is the Christmas Tree Capital of the World, It raise. more Christmas trees commercially than any other area. And children are fascinated by the real-life verstonof a fairy tale villain ot Kane. The only remaining pock of fierce Iobawa'Nes is on display in captivity ihere.

Of the many """"",,..,ts in PennsYNania, perhaps the most unusuol is on entire mountoincalled Hawk Mountain. The air currents around it attract migrating hawks. Hunters were beginning to sJoughterthesehawbuntilMllurelo\tenollO¥ertheworid contributed to a fund so that they could bvy the mountoin and prote<tthebird..

You can toke yaur choice of mony InIIUOI ride, in

FOR KIDS OF ALL AGES WANNA RtDE ON THE WAWA ? llyoy',.. near Phft.o.lphl• • 'I'OU',.. rlNr 1M WAWA & Concord't'IIIe R..I\"OIId. Oon""''-it.SIOpInConeonMIMo; 21"'1I. . _~ofPhIl""lpnlaon ~.' . TMr.fllrlp ...III' 1I1.... )'OU .

~~:~~~I:~T =-':t!~:~:ue:~~w:" or

~~:-

B..awIn.ngI~, ToQ*lIlle"' ,90:Umlles

_ t of AI""lown on Rou .. 'lancI tum noftfIonAou" 143 to KMlpton. PL IHntlf'OCOMOI

fEE. A WESTERN PIONEER TOWN Oon', ml .. Moon V. 11ey al Mllfon:l. r -r lhejunclionolRou. . land2Oll. TIWre', a storybooktown, . reelllClc:WMIem

flb-kIwft, and a pmefatm'Wilfl mo,.. than IOOdlff. ren, ...11dand cIon'Ihllc anl maJ'anclbirlil, FEm THE CHICKENS . . tot . . . . ...UhOlcl MKOoMId on

hhlr_ I IHlghPolnllnnonAou.1I1

--~ ~,:,u=:~~!~~,,:I~u:..,cS.er

WlIdAnltNolftml. M&nyolltM """~'"

___ enouu"la

2

ILLUSTRATION

Ron Layport, art director A. DiBernardo, copywriter Ron Layportl Aubrey Lee Assoc., designers Dan BridyI Aubrey Lee Assoc., illustrators Ketchum MacLeod & Grove, Inc., agency Commonwealth of Pennsylvania, client 2 Neil W Motts, art di\ector I designer I illustrator Neil W Motts, client 3

William Cadge, art director Teresa Alfieri, designer Mark English, illustrator Redbook Magazine, client

135

Keith Bright/Norman Gollin, art directors/ designers Norman GoBin/Keith Bright/Patrick Blackwell/ Mike Salisbury / John Van Hamersveld/ Keith Finch/ Honeya Thompson/ Charles E. White III, illustrators Jeffries Banknote Company, client

Bob Dion, art director Mi'ke Jolivette, copywriter Norman GoUin/Keith Bright, designers Charles E. White III, illustrator Peter James Samerjan, photographer Needham, Harper & Steers, Inc., agency Continental Airlines, client

2

ILLUSTRATION

1 Dugald Stermer, art director Judy Stone, copywriter Charles White III, designer/illustrator Ramparts Magazine, client 2 Ramona Pemberton, art director Norman Kohn, illustrator Norman Kohn Studio, studio Montag, Inc., client 3 Arthur Paul, art director/ designer Frank Bozzo, illustrator Playboy Magazine, client

toda.fs college students-disenchanted with a world they never made and more activist than ever bifore-are America's emergent power elite opinion By

PAUL GOODMAN PJ.£OICTlQNS about the fUllIn: of America

during the next ~ncnlion are lik.ely to be: in one of two sharply contJ"asling moods.

On the one hand, the orthodox li~ral, foresee a Greal Society in which aU will

live in suburban comfort or the equivalent; given a Head Sun and Job Tr.ain· ing. Nqrocs will go to college like everyone else, will be splendidly employed and live in integrated neighborhoods; billboards will be 200 yards off new highways, and the aru will flourish in many Lincoln Ct.nters. On the other hand. gloomy social crilics, and onhodox conservativ~ , see that we arc headed uraight for 1981, when cnryonc's li£e will be regiment~ from the cradle to the grave by the diclator in Washington : administrative

dou'£fe talklnd Newspeak will be the only language; NtgToes will be lept at bay by the police (according to the social critics) or will be the pampered shock troops of demagogs (accordi ng to the const'rvatives); we will all be serial numbc:n; civi l libenies and independent tntUprise will be no mort, Yet these predictions ha\'e much in rommon. They a.uume tht con· tinuation o f the same trends and altitudes that all!: now In full sway. Thcrc will be increasing ccntralization in dttision mai.ing, increasing mass educa· lion as we now know it, a stepped.up rale of technical growth and a grow. ing Gros.s National Product, and morc Ule of a technological SlyJe-.of "planning' or "social enginttring," depending (conlitH/t!d on ~gt! }"2)

139

ILLUSTRATION

William Cadge, art director Alex Sanchez, designer John Alcorn, illustrator Redbook Magazine, client

PHOTOGRAPHY 2 Salvatore Lodico, art director/ copywriter/ designer George Elliot, photographer Young & Rubicam, Inc., agency General Cigar Company, client 3 Salvatore Lodico, art director/ designer Richard Olmsted, copywriter George Elliot, photographer Young & Rubicam, Inc., agency Johnson & Johnson, client

4 Onofrio Paccione, art director/ designer/ photographer Alice Morroz/ Joan Po snick, copywriters Leber Katz Paccione, agency Revlon, client

'Silk of Intimate' The fir.! full.length fragrance.

Silkens and perfumes your skin from head 10 toe.

Cherished as one of the world's ~e \ en great fragrances.

Created by Revlon.

141

142

3

PHOTOGRAPHY Joe Phair, art director Bob Tulp, copywriter Tony Ficalora, photographer Ketchum MacLeod & Grove, agency Veeder-Root, client 2 Bob Seidemann, art director/ designer/ photographer Berkeley Bonaparte, client

3 William Cadge, art director Len Fury, designer Bernard Gray, photographer Redbook Magazine, client 4 Allen Hurlburt, art director William Hopkins, designer Douglas Kirkland, photographer Look Magazine, client

143

144

PHOTOGRAPHY William Cadge, art director Teresa Alfieri, designer Richard Noble, photographer Redbook Magazine, client 2

Allen Hurlburt, art director/designer OUo Storch, photographer Look Magazine, client

3 Allen Hurlburt, art director/designer Bruce Davidson, photographer Look Magazine, client GREETING CARDS 4 Norman Gollin/ Keith Bright, art directors/ designers Norman Gollin, copywriter Keith Bright, illustrator GoUin & Bright, Inc., client

4

o

o

0

o

o 0o° 0 0 o

GoUin & Bright, Inc.

145

1

G~ '~T,-:;::;;

c;~~ _

aO mapear

P!lrtn dge tree

GREETING CARDS

R. O. Blechman, art directorl copywriterl designerl illustrator deGarmo, McCaffery Inc., client

3

2 Louis N . Mainieri, art director I designer Linda Kaye Recker, illustrator Frankl James Productions, agency Kohler and Sons Printers, clients

MISCELLANEOUS 3 Dick Bell, art director Michel F. Dattel , copywriter I designer KNXT (CBS Television), client 4 Mo Lebowitz, art director I copywriter I designer Frank Chesekl Aron & Falcone, illustrators The Design Organization, Inc., client 4

A rollo for friomdsofThe Antique Presscont.tining unquestionably the finest coJ\cctlon of(3lqu Uon·marks ~erobtamdbYlht"Pror. Porthose who will ask. they Wefe lhert"Sultofqucrlaby theProp.whllejudging the N~Jrrxy ArtDlrectorssbow. They w reandireaed byJadMarmaras for Ctba and deslgnt"d atAron ..

Falcone Incorporated by PrankChesek. How s that forvery mtrlcatr answm about compllcated questions?

TIle AIldqae Press.

...•:

:••...

147

MISCELLANEOUS

Lawrence W Duke, art director / copywriter/ designer McCann-Erickson, Inc., agency Golden Grain Macaroni Company, client 2 Roger Kennedy, art director Roger Kennedy/William Rietkerk/ Gordon Bird, designers Hal Adams, client

148

Index to art directors and designers A

D

Adler, Peter 115 Alexander, Sam 79 Alfieri, Teresa 135, 145 Amberger, Michael 33 Amit, Robert 121 Ammirati, Ralph 39 Andrews, Gary 107 Angeli, Primo 87 Appelbaum & Curtis, Inc. Archer, Nicole 87, 103 Armand, Paul 29 Ayres, Ken 83

Danbrot, Bruce 123, 127 Danza, John 60 Delmerico, George 87, 103 Design 375 81 Designers & Partners, Inc. 107 Despard, Gene 45, 105 Deutsch, Dave 19 Dion,Bob 75,77,105,137 Dragoti, Stan 57, 65 Drayton, Richard 45 Drexhage, Gil 85 Duke, Lawrence W. 148 Duskin, Ken 17, 21, 25

85

B Bailey, Tom 133 Beckerman, Al 29, 45 Beckerman, Jay 73 Bell, Dick 147 Bellamy, Gordon 59 Bennett, Dick 37 Bensusan, Al 37, 50, 52, 70 Berg,John 77,79 Binzer, Rollin S. 111 Bird, Gordon 148 Blechman, R. O. 147 Bleiweiss, Herb 123, 125, 127 Blum, Chris 119 Blume, Howard 77 Boehme, Donald 43 Braude, Jerry 81 Bridger, Tim 103 Bright, Keith 41, 115, 121, 137, 145 Brown, Jim 39, 47 Bua, Chuck 23 Byrd, Eddie 73, 129

C Cadge, William 133, 135, 141, 143, 145 Caldwell, Bill 77 Camilletti, Joe 63 Carling, Al 81 Carroll, Dick 65 Casado, John 83 Casey, Jacqueline S. 77 Cato, Robert 77, 79 Christman, Gerry 107 Cibere, Joe 95 Cipolla, Joe 27 ..

Cook, Roger 85, 117 Costa, Ernest 54 Costa, Neil 125 Covington, Hil 51, 71 Crocker, John 77

E Egensteiner, Donald 27, 52 Eggers, Bob 59 Elfenbein, Fran 121, 125 Epstein, Lee 109 Evans, John 43

F Fisher, Jon 37 Flint, Roger 49, 55 Forgione, Bob 69 Foyn, David 35 Frankel, Noel 63 Freeman, Robert 33 Fristachi, Frank 49 Fury, Len 143

G Gabor, Harvey 19 Gage,Bob 23,55,56,62,64 Gallegos, Tony 99 Galterio, Silvio 66 Gillespie, James D. 91 Gips & Danne 101 Gips, Philip 101 Giraldi, Robert 35 Gisonde, Nick 41 Glaser, Milton 85, 123 Goddard, Dennis 115 Goldberg, Sheldon 53 Golden, Jack 131 Goldman, Marty 68 Gollin & Bright, Inc. 75 Gollin, Norman 41, 115, 121, 137, 145 Gomes, George 23 Gorham, John 91 Graber, Norman 91 Grace, Roy 19, 60 Graff, Stephen 43

Graham, Florence 131 Grella, Paul A. 89 Griffith, James 79 Gruver, Bernard 61

H Halladay, Robert 33 Halt, James G. 87 Harsh, Fred 123 Herr, Margot 123 Hirsch, Peter 29, 71 Hohnstock, Bob 89 Hopkins, William 143 Horen, Michael 79 Hurlburt, Allen 127, 143, 145

I Imagenetics Incorporated Irizawa, Arthur 83

85

J Jones, Stan 21 Jonson, Vance 83

K Kakas, George 95 Kambanis, Steve 66, 73 Kamifuji, Tom 47 Kearney, Hal 121 Keller, Steve 115 Kennedy, Roger 89, 148 Kidder, Fred C. 99 Kintzing, Charles L. 43 Kirk, Frank 56,62,67 Kissiloff, William 83 Koelle, John 53, 69 Koons, Irv 81 Krohn, Peter M. 115 Kuchera, John 101

L Lane, Carol 49 Larsen, Marget 33 Lawton, Rob 133 Layport, Ron 135 Lebowitz, Mo 93, 147 Aubrey Lee Assoc. 135 Lefkowitz, Jack 127 Lefkowitz, Marvin 17, 68, 73 Levitt, Edward 61 Lodico, Salvatore 21, 49, 141 Lois, George 127 Low, Markus 81, 83 Lowes, Thomas D. 87

151

INDEX TO ART DIR ECTORS AND DESIGNERS

Lubalin, Herb 33, 35, 83, 87, 93, 121, 125 Lubalin, Sylvia 31, 87

M Mabey, Ron 89 Maggs, Arnaud 133 MaHarry, Robert H. 109 Mahler, Maurice 53 Mainieri, Louis N. 147 Massey, John 99, 115 McBain, Neil 57 McCaffery, William A. 75 McCarthy, Clement D. 58 McKinney, Charles C. 79 McMullan, James 123 Meggs, Phil 81 Melgar, Fabian 83 Melze, Dorothy 33 Miho, James 117 Miller, Bob 67 Mock, Peter 47 Montgomery, Bruce 113 Morrison, Elliot J. 81, 83 Motts, Neil W. 135 Murphy, Harry 111 Murray, John 63

N Nava, Richard 117 Nelson, Cy 123

o O'Dowd, Bob

61

p Paccione, Onofrio

141

Pappas, Louis 107 Paul, Arthur 139 Pease, Robert 93 - Peckolick, Alan 93, 123 Pearlman, Robert 121 Pemberton, Ramona 139 Phair, Joe 143 Piera, Ricardo 41

Siedemann, Bob 143 Sigwart, Forrest 105 Sirowitz, Len 19, 29, 33, 35 Sklar, Herbert H. 33 Steigelman, Robert 19 Steir, Pat 121 Stermer, Dugald 123, 139 Stong, Frank 31

R

T

Reid, Michael 83 Reitzfeld, Bob 70 Richards, Stan 35 Richardson, James 87 Rieben, John R. 99 Rieger, Howard 69, 113 Rietkerk, William 148 Rogers, Richard 129 Rosier, Lydia 123 Runyan, Robert M. 95, 99 Runyon, Richard C. 131 Russo, Howard 50 Rustom , Mel 39

Tarallo, Joseph 127 Taubin, Bill 19, 25, 77 Taylor, Art 25 Taylor, Robert 73 Tesch, Mike 39 Trousdell, Don 89 Tscherny, George 117

S Saks, Arnold 97, 119 Sanchez, Alex 141 Sant, Mel 75 Schaffer, Jules 31 Schoenfeld, Norman 133 Schulman, Phil 58 Scully, Al 75 Secord, Jack 133 Seiden, Jack 131 Seltzer, Carl 85 Shanosky, Don 85 Sheridan, Jack 61 Sidjakov, Nicolas 25, 77, 101, 103, 119

W Walker, J. Charles 117 Webb, Wayne 97, 105, 113 Weihs, Kurt 143 White, Charles III 139 Whitworth, Neil 35 Williman, Rolf 81 Wilvers, Bob 21, 54 Woodward, Tom 85,91 Wuilleumier, Milt 31,75

y Yamashita, Mas 33 Yanez, Maurice 95 Yochum, Elmer E. 45

z Zimmerman, Roger 85 Zlotnick, Bernie 23

Index to writers A Arnold, Bud

59

B Baker,Bob 31,75 Ball, Arlene 43 Barton, Bruce 19 Bassel, Kathy 133 Begel, Tom 119 Bigelow, Ed 33 Blood, Charles 52, 58

152

Blechman, R. O. 147 Brammer, Carl 45 Burghardt, John 53

C Caldwell, Bill 77 Cappiello, Tony 29 Case, Gene 21, 70 Charof, Ken 41 Churchill, Mac M. 111

Cohen, Deanna 39 Coleman, Dennis 17, 68 Connes, Keith 115 Corrigan, Richard 117 Cortella, Gloria 115

D Dattel, Michel F. 147 Di Bernardo, A. 135 Dreyfus, Harold 41

ART DIRECTORS CLUB OF CHICAGO

OFflCEl!S He~1I I'JOth Prrsid..",

\,ltoy Wlobust>. Rm V'c""P~$ideTl! Edwitd 6row.. ,. SI!'«IIIO Vice ,',,,sidtn( AI Pal me'. Sene!lf)' WilhalJ\ NQ • Tlt'a"""f 80AltO MEMaUS £d....d Collin. a"m.lJd !toer H_'rLund Em>! CQh~

Ralph flnc!>

$USTAJNINC MEMllEItS A~n hboulones "'.....'iun Natlol'lal llank & Trusl Co.. &r\ldno 11'1 Suppty Co.

I. M. lIuntbc~, IOC , teo flurnen Co., Inc. C(III",s, Mille, & ~ulc"inlli , Inc. C(w>llhnl'r C011l¢JaliOn of Am"flca O'A,C\' A~w)'l ng Co. f,nC .., & Ktf'iSll' Fted~ric R:,,<iI!r Co.

j'byeH(l(batt, Inc , I,,~rna!ioml M... erah &. Cl>rmkal Corp ,

N t'dhalJ\. Harpel & Steers, Inc. North Ad~ert'lltl8. tn<.

Mc:C, ,,,,· E,ickfCn, In(, Itobforl tI.,II.,& .... U«.al"l. loc,

I. Wallet Thompson Co.

Ed...."d H. We,n Co WCN foe.

6 E lik~ ~I . ChIC ~S() . III WWl

Sl ] 74~

INDEX TO WRITERS

Duke, Lawrence W.

148

E Elgort, Bob 51, 66 Ewell, Charles 23, 60

F Fabian, Joyce 75 Feinblat, Abria 115 Femina, Jerry Della 29 Fields, Mildred 73 Fisher, Lionel L. 129 Flint, Roger 55 Fiore, Vince 91 Fi tzhugh, Dick 43 Forsman, Donna 19 Free, Marcella 67

G Gillespie, James D. 91 Gittes, Harry 66 Glass, Alan 37 Glass, Marilyn 33 Gollin, Norman 145 Gorham, John 91 Graber, Norman 91 Grant, Regina 23 Guion, Rene 54, 62, 67 Guthrie, Sallie 27

H Hadley, Don 93 Halladay, Robert 33 Haller, Frank 107 Hamel, Austin 69, 71 Hart, Bill 81 Hautau, Fred 65 Hayward, John 63 Himelick, Alan 23 Hohnstock, Bob 89 Honig, Marvin 17,21, 25

39

Q Quiter, Joan

L Laning, Marge 131 La Palm, Dick 79 Lawson, Jim 47 Lebowitz, Mo 93, 147 Levenson, Bob 33, 35 Lienesch, Sandy 95 Liljenwall, Robert 131 Lodico, Salvatore 21, 141 Long, Forrest 65 Lubalin, Herb 33, 93 Lubalin, Peter 27

115

R Raboy, Dick 71 Raskin, Mark 123 Reed, Les 131 Reider, David 55, 64 Resnick, Donn 50, 52, 70 Richards, Stan 35 Richman, Mel 54 Rinehart, Jonathan 97 Robinson, Phyllis 23, 56, 62, 64 Russell, Walter 131

M

s

Magnuson, John 101 Malmud, Bob 117 Mander, Jerry 33 Manson, Ivan 81, 83 Markman, Pacy 75 Martell, Charles 69 Martell, Ray 73 McCabe, Ed 39 McCauley, Don 113 McFadden, Terry 31 Meadow, Leon 19 Merritt, Dick 103 Mimnaugh, John 41 Mondlock, Bob 77 Morey, Jim 101, 109 Morroz, Alice 141 Muse, Norm 57 Myers, Ray 109

Saslaw, Dave 39, 47 Schulman, Bob 60 Sebstad, Brad 97, 105 Sedutto, Bill 47 Seiden, Len 31 Sharfman, Mort 29 Shelley, Thomas J. 129 Solari, Norman 19 Spinner, Laurence 27 Stark, Evan 19 Stone, Judy 139 Symons, Richard 49

T Tarlow, Richard 56, 63 Teitelbaum, William 73 Trager, Olivia 59 Trousdell, Don 89 Tucker, Don 58 Tulp, Bob 143

N Neola, Mari-Jo 47 Newcomet, Walburn Noble, John 19

115

V

J

o

Veder, Bob 37 Verlen, Rosanne 53 Vinklers, Bitite 77

Jeffreys, Grady 79 Jolivette, Mike 45, 105, 137

O'Brien, William 43 Olmsted, Richard 49, 51, 141 Overman, Tony 31

W

K Kaplan, Barbara 25 Karp, Marshall 49 Katz, Paul 29 Kelloway, Don 35 Klein-Barzman 61 Kollewe, Chuck 25 Korey, Lois 68 Kramer, Eli 68

154

Puris, Marty

Krohn, Peter M. 115 Kroll, Alex 55 _ Kruger, Helen 37 Kurz, Bob 35

p Paley, Arnold 51, 53 Piano, Tony 29 Pitman, William 113 Plapler, Larry 43 Posnick, Joan 141 Protost, Judy 77 Proulix, Cynthia 35

Walker, J. Charles 117 Weiss, Burton 45, 75 Wells, Joel 107 White, William 50 Withers, John 61 Wyse, Lois 31, 35

z Zaccaro, Bernie

45

~~ A shrin~!

S~~ k~~pins far from th~ sarJ~n-lishts, h~r~ {Ioat

wilJ birds, sl~~pins.~~

Haiku poetry is one of the several arts that is practiced in Japan. The reader may have many different interpretations of the same poem. In this illustration the designer used the magicofDay-Glo* for a visual translation.

Ideas with dimensions ... require a color with extra strength and extra impact. Day-Glo introduces a new medium with the clean, bold stroke of fluorescent color. Practical, too ... whether you specify lithography, letterpress, gravure or silk screen. So when you want to make a good illustration better ... Go Day-Glo. 0 For more visuals that show the versatility of Day-Glo, send for press sheets. You'll see how Day-Glo goes for fashion ... for industrial use ... for food ... for abstract design. (Crocker Day-Glo paper is also available.) Free, of course, by writing to Day-Glo Color Division, Switzer Brothers, Incorporated, 4732 St. Clair Avenue, Cleveland, Ohio 44103.

PrInted one impression with Arc Yellow.

Rocket Red. lJIld Black. .DAY·GLO is the registered trademark of Switzer Bros., Inc.

Index to illustrators and photographers

A

D

K

Adams, George 35 Agnew, Paul 95 Alcayaga, Rick 89 Alcorn, John 93, 141 Alekandrowicz, Frank 89 Allen, Jack 93 Aron & Falcone 147 A vedon, Richard 23 Axenfield, Jane 111

Dattel, Michael F. 147 Davidson, Bruce 145 Delsarte, Louis 103 Designers & Partners, Inc. 107 Dippel, George 33 Ditlove, Mike 77 Chuck Diven Photography 33

Kane, Art 49 Kirkland, Douglas 143 Kirkpatrick, Lloyd 83 Klarwein, Mati 77 Kohn, Norman 139 Kreiger, Harold 17, 21, 25

B Bahrt, Irv 35 Bailey, Tom 133 Bartell, George 131 Bauman, Marty 19 Beck, Art 43 Becker, Harold 27 Bensusan, Al 37 Berg, John 79 Bernstein, Cal 105 Birdy, Dan 135 Blackwell, Patrick 121 Blechman, R. O. 147 Bodmer, Carl 73 Bordas, Bill 45 Borowski, Ron 111 Bozzo, Frank 139 Braddy, James 73 Braude, Jerry 81 Bright, Keith 121, 145 Brown, Jim 39, 47 Bryant, Arlen 35 Buden, Elbert 73 Budin, Elbert 43 Bukovnik, Nancy 89 Byrd, Eddie 129

C Calle, Paul 133 Carling, Al 81 Carnase, Tom 23,29,83, 87, 121, 123 Carroll, Tom 95 Cailor / Resnick 43 Cappiello, Tony 45 Cavalieri, John 121 Cerra, Tony 109 Chesek, Frank 147 Coe, Gene 131 Cohen & Dobbins 45 Cook, Roger 117 Cornelia, Bill 45 Cuesta, Mike 23,49, 123

156

L

E Eisenberg, Steve 25 Eklund, Nils 103 Elfenbein, Fran 121, 125 Elfenbein, Paul 39 Elkin, Irving 131 Elliot, George 21, 75, 109, 141 English, Mark 135

M

F Ficalora, Tony 143 Finch, Keith 121 Fischer, Carl 115, 123 Frank, Bob 19 Freidman, Judith 79 Fusco, Paul 127

G Gardner, Bernard 21 Gersten, Gerry 81 Gibson, Ralph 89 Gilligan, Michael 81 Glaser, Milton 97, 123, 133 Gollin & Bright 75, 121 Golomb, Leon 101 Gorham, John 91 Grashow , James 125 Gray, Bernard 143 Gross, Ralph 45

H Halladay, Robert 33 Hamburg, Harry 21, 39 Hauge, Paul 99 Helburn, Bill 27 Holt, Dave 99 Horen, Michael 79 Horowitz, Irwin 31 Hyde, Anthony 93

I Irizawa, Arthur

Larssen, Lee 41 Aubrey Lee Assoc. 135 Lenk, Kurt 95 Lotz, Dick 115 Low, Marcus 82 Lowes, Thomas D. 87 Lubalin, Robert 83

83

Mabey, Ron 89 Macalla, George 89 Maggs, Arnaud 89 Mallis, Stephanie 103 Manhattan Postcard Company Mapplethorpe, Robert 103 Mazer, Ira 19 McCaffery, William A. 75 McMullan, James 123 Morris, Julie 131 Motts, Neil W 135 Murphy, Beverly 111

39

N N aganuma, Tony 47 Nakagawa, Mas 105 Naso, John 117 Newman, Marvin 127 Newsteader, Beb 31 Nishamwa, Norman 77 Noble, Richard 145

o O'Hara, Mel 89 Ornitz, Don 45

p Paccione, Onofrio 141 Palmer, Arthur 31 Papodopolus, Peter 117 Parks, Gordon 49 Perlmuter Printing Company Petrocelli, Tony 41

89

This is the look of the 4th of July on Warren Cameo Dull.

When artist Bob Peak saw the 4th in fluorescents, we saw a few problems in printing. Solution: use two fluorescent and three conventional inks in six impressions ... and print by offset on Warren Cameo Dull.

Our inks included a fluorescent pink, printed in two impressions to intensify

fluorescence; one fluorescent yellow; one black and two blues.

We chose Cameo Dull (basis 100) for two reasons. One, its refined, non-gloss coated surface provides a uniform richness to the darker areas. Two, its brightness ... and its own fluorescence ... supports the fluorescence of the inks.

If you'd like more information, contact your Warren merchant.

~rr@> Everything looks like the 4th of July when you print it on Warren paper.

INDEX TO ILLUSTRATORS AND PHOTOGRAPHERS

Pike, Bob 103 Podojil, Linda 89

R Recker, Linda Kaye 147 Reich, Jack 129 Repicky, Ed 89 Reynolds, Joseph 29 Richards, Dick 23, 29, 33 Rosenkranz, John 131 Runyon, Richard C. 131

s Sabourin, Marcel 35 Sacks, Shelly 37 Salisbury, Mike 121 Salmon, Paul 73 Sandbank, lIenry 19, 125 Samerjan, Peter James 41 , 137

Scaglione, Larry 41 Schatz, Arthur 97 Schatzberg, Jerold 79 Schnall, Leon 33 Schramm, Charles 29,45 Scolamiero, Pete 109 Seidler, N. 19 Sevier, Gerry 133 Sidjakov, Nicolas 25,45, 77, 103, 119 Siedemann, Bob 143 Simpson, Craig 93 Slackman, Charles B. 93 Sokolsky, Melvin 17, 127 Stone/ Langley 39, 47 Storch, Otto 145 Strathy, Georgine 35

T T & J Graphic Arts

93

Thompson, lIoneya 121 Town Studio 45, 107

v Van lIamersved, John Vickery, Robert 133

121

W Walker, J. Charles 117 Wasserbauer, lIarry 109 Webb, Wayne 105 Weihs, Kurt 143 Weller, Don 131 Wertman, Chuck 119 White, Charles III 45, 105, 121, 137, 139 Wilvers, Bob 21 Winogrand, Gary 121 Woodward, Tom 91

Index to TV producers, directors, editors, photographers, animators and production companies A Appelbaum , Stan 49, 66 Audio Productions 53 , 57 , 65, 66

B Bean , Bob 68 Bell, lIugh 71 Bellamy, Gordon 59 Bensusan, Al 50, 52 Bernstein, Cal 57 Bethune, Lloyd 55 Bologna, Joe 53 , 63 Boren, Lamar 52 Bruce, Murray 69

E Herman Edel Associates 60 Electra 60 Elliot Unger Elliot 49, 55, 56, 62,64,

F

c Campoli, Bernie 52 Cary, Claiborne 52 Case, Gene 70 Coleman, Fletcher 49 Cooper, Peter 71 Covington, lIil 51 Crabe, Jim 57 ..

Cuesta, Mike 70

D D avis, Will

Derujinsky, Gleb 55 Deulet, Ted 50 Dorman, Connie 53 Dragoti, Stan 66 D. V. I. 50 Durham, Magi 50 Duryea, Bill 65

63

Farkas, Arkos 51 Favata, Ray 60 Fedder, Tobe 54 Film Fair 57,58 Focus Presentations Frankel, Noel 63

50, 71

H lIarris, Arthur 57, 65 lIirsch, Tibor 50 Hirschensen, Bernie 49 lIorn / Griner 51, 56 Horn, Steve 56 lIouston, Milton 67 Howe, James Wong 57

I

G Garoni, Bill 67 James Garrett & Partners 61,66 Gerstein, Morty 52, 63

Gittes, lIarry 66 Glaser, Len 59 Gold, Jerry 60 Goldman, Marty 68 Goldwasser, Larry 68 Goodford, Jack 51 Grant! Murtaugh 65,70 Greene, Terry 54 Griner, Norman 51 Guion, Rene 54 Guthrie, Carl 70 Gryphon Productions 60

Isidore, Tony 54,

59

J Jekel, Gus

57

159

INDEX TO TV DIRECTORS, PRODUCERS, ETC.

p

K

Storb, Ted

Kambanis, Steve 66 Katz, Max 50 Kaufman, Boris 50 Kawasaki, Kikuo 51 Klavan, Gene 52 Klein/Barzman 61 Kirk, Frank 56, 62, 67 Kirkpatrick, Glenn 68 Koelle,John 51,53

Pahle, Larry 54 Pelican 52, 63 Perry, Bob 63 - P.G.L. Production Inc. Prochnik, Leon 67

L

R

Layman, Patricia 49, 71 Lessin, Diane 70 Levenson, Fred 62 Levitt, Edward 61 Libra 65, 67 Long, Ray 53

Ranata, George 60 Reagan, Bob 69 Reiger, Howard 69 Rein, Joe 51 Reisman, Owen 69 Reitzfeld, Bob 70 Resnick, Donn 50, 52 Rezek, Al 63 Rubin , Bernie 54 Ruffins, Reynolds 69

M M.P.O. 59, 69, 70 Marazano, Silvio 66 Marx, Dick 57 Mayberry, Bob 57 Melendez, Bill 61 Bill Melendez Productions Merridith, Stan 59 Miller, Dick 53, 66 Mitrotti, Robert~ 53

T Tardio, Neil 52, 58, 59 Tarlow, Dick 63 Televideo 53, 63, 68 Tempo 70 Tredanaria, Lee 55, 56, 62, 64 Trettin, Henry 49 TV Graphics 54

49

Q Quaid, Dave

52, 58

V v.P.I.

N Nagata, Dave 70 Nebbia, Michael 49, 64

51, 52, 58, 67

W Walters, Woody 69 Warnick, Clay 65, 66 Watkins, David 54 Wilvers, Bob 54 Wylde Films 62, 68

v

s 61

68

Savage-Friedman, Inc. 69 Seaman, Ed 60 Sheridan, Jack 61 Shore, Jerry 65 Simpson, Gary 58 Smith, Frank 61 Spielvogel, Bert 68 Stars & Stripes Forever, Inc. Stern, Bert 67 Stone, Marshall 59

Vasu, Nick 61 Vietro, Bob 65

Z Ziller, Bob 63 Zingale, Mike 57, 65 59

Index to agencies, clients and publications A Acrilan Warmcoat by Monsanto 75 Adams, Hal 148 Adler, Schwartz, Inc. 115 Allen, Anderson, Niefeld & Paley 51,53 Carl Ally, Inc. 39 American Can Company 43 American Telephone & Telegraph 25 The Ansul Company 97, 105 Appelbaum & Curtis, Inc. 85 Aquastat, Inc. 85 Art Directors & Artists Club of San Francisco Astoria Press 85 Automatic Sprinkler Corporation 101 N. W. Ayer & Son 25,58, 115

B Batten, Barton, Durstine & Osborn, Inc. Bekins Moving & Storage 21

160

107

93, 119

Berkeley Bonaparte 143 Bess & Associates, Inc. 83 Better Vision Institute 19 Beveridge & Associates, Inc. 73 Boise Cascade Papers 119 Boy Scouts of America 77 Bristol Myers Vitalis 49 Brody Corporation 75 Brown Company 131 Buick 69 Bulova Watch Company 27 Bumble Bee Seafoods 54 Leo Burnett Company 57

c Caldwell, Linda 77 Calgon Corporation 45 California Avocado Advisory Board Campbell-Ewald 37

31

Campbell-Mithun, Inc. 107 Canadian Pulp & Paper Assoc ., Ltd. 83 Cancilla, Wren & Knapp 111 Carling Brewing Company 66, 73 Carnation Company 56 CBS Records 77, 79 Century Cycle Company 143 Chalek & Dreyer, Inc. 33 Champion Papers, Inc. 117, 129 Charles of the Ritz 23 The Chesapeake & Potomac Telephone Companies Chess Record Company 79 The Climalene Company 53 Coca-Cola 19, 67 Colortone House 85, 91 Columbia Pictures 61 Committee on the Visual Arts, M.LT. 77 Commonwealth of Pennsylvania 135 Container Corporation of America 99, 115 Continental Airlines 45, 75, 77, 105, 137 Cook & Shanosky Associates, Inc. 85, 117 Crown Zellerbach Corporation 33 Curtis Publishing 125

D Dallas-Fort Worth Art Directors Club The Dallas Times Herald 35

133

129

Dancer, Fitzgerald, Sample, Inc. 59, 119 Dawson, Turner & Jenkins, Inc. 117 deGarmo, McCaffery Inc. 73,75, 147 Delehanty, Kurnit & Geller 29,41,43,49,71,117 Design ~orum 87 Design Organization, Inc. 93, 147 Designers Three Inc. 115 Doyle Dane Bernbach 17, 19, 21,23, 25, 29, 33, 35, 39,43,47,54,60,61,62,64,75,77,109 Harold Dreyfus & Associates 41 Drexage & Masengill 85 E. 1. D u Pont De Nemours & Company 58 Dutton Publishers 123

E Eastern Airlines 23, 57, 65, 66, 73, 97 The T Eaton Company Ltd. 35 Eatons 133 Esquire Magazine 127

F Fact Magazine 125 The Flour Corporation 131 Frank/James Productions 147 Freeman & Gossage, Inc. 33 Fresca 67

Windsor

nJThcdl~CQ)ff

A classic display type of rich color .. . recast by Stephenson Blake to meet popular demand

WINDSOR 10 to 60 point WINDSOR Outline 18 to 60 point WIN'DSOR Elongated 18 to 60 point

For specimen folders, contact your nearest Bauer stock-carrying agent or BAUER ALPHABETS, INC., 305 East 45th Street, New York, N. Y. 10017

161

INDEX TO AGENCIES AND CLIENTS

Friends of Governor Rockefeller

70

G Geigy Pharmaceuticals 81,83 General Cigar Company 21, 141 General Foods-Jell-O 59.71 James D. Gillespie & Associates 91 Gillette 21 Golden Grain Macaroni Company 148 Gollin & Bright, Inc. 145 John Gorham Graphic Design 91 Graber, Norman 91 Grolier, Inc. 73

H Halftone House 91 Hammondsport Wineries 109 John Hancock 70 Harper & Row 121 Harsh-Finegold, Inc. 123 Hertz Corporation 39 Heuer Time Corporation 29 Hiro 85 Hixson & Jorgensen Inc. 83 Hoefer Dieterich & Brown, Inc. 47 The Howard Agency 79 Hurvis, Binzer, Churchill, Inc. 111 Hutchins Advertising 101, 109

I Imagination, Inc. 101 Industrial Launderer Magazine 127 Ingalls Associates 31, 75 International Coffee Organization 68

J Jeffries Banknote Company 121 Johnson & Johnson 49, 51, 141 Roger Kennedy Graphics 89 Kent State University 117 Ketchum MacLeod & Grove 45, 135, 143 KGO Radio 111 Kimberly-Clark Corporation 107 Kissiloff & Wimmershoff, Inc. 83 KNXT (CBS) 147 Knudsen Creamery Company 83 Kohler and Sons Printers 147 Irv Koons Associates 81 Koppers Company 107

L Ladies Home Journal 123, 125, 127 Leber Katz Paccione 27, 141 G. Leblanc Corporation 113 Lemon Tree 87 Levy's 77 Life Magazine 35

162

Longchamps Restaurants 37 Look Magazine 127, 143, 145 Los Angeles County Museum of Art 115 Thomas Lowes Associates 87 Herb Lubalin, Inc. 83, 87, 93, 121, 14,5

M Macmillan 123 Manhattan Shirt Company 63 Richard K. Manoff, Inc. 54 Mar Ken Ad Agency 79 The Marschalk Company 31, 67 Materials Engineering Magazine 45 McCann-Erickson, Inc. 19, 31, 37, 50, 52, 68, 69, 70, 75, 103, 148 McDonnell Douglas Corporation 99 Bill Melendez Productions 61 Melgar, Fabian 83 Merck & Company Inc. 41 Metropolitan Life Insurance 65 Miles Laboratories 50, 60, 62, 67 Mixed Media 121 Mobil Oil Corporation 33, 35,43 Montag, Inc. 139 Phillip Morris, Inc. 57 William Morrow & Company 123 Motts, Neil W 131 Murdock, Inc. 83

N National City Bank 31, 33, 35 NCR Employees Credit Union Inc. 95 Needham Harper & Steers 45, 63, 75, 77, 105, 117, 137 Neiman-Marcus 33 New York Hospital 39 New York Racing Association 75 State of North Carolina 79

o Olin 19, 25 Ontario Food Council

83

P A. N. Palmer Company 111 Papert Koenig & Lois 87, 127 Pearl Brewing Company 51 Robert Pease & Company 93 Perlmuter Printing Company 89 Philco-Ford 47 Plasterers Institute of Greater New York Playboy Magazine 139 Polaroid 23, 39,47, 56, 62, 64 Ponder and Best 41

71

R Ramparts Magazine 123,139 Redbook Magazine 133, 135, 141, 143, 145

INDEX TO AGENCIES AND CLIENTS

Friends of Gover

G Geigy PharnlaCet General Cigar General Foods James D. Gillesp Gillette 21 Golden Grain M GoUin & Bright, John Gorham G Graber, Norman Grolier, Inc. 7

H Halftone House Hammondsport John Hancock Harper & Row Harsh-Finegold, Hertz Corporati Heuer Time Co Hiro 85

I

J J effries BalnkIlot ~ Johnson & John

L

Lemon Tree Levy's 77 Life Magazine

162

35

y

One "WORD" was set with DECA-DRY Transfer Lettering for a fraction of a

penny... and in just seconds.Which one?

WORD No . 3 is the "WORD"that was set with DECA-DRY. Looks the same but there's a big difference. Here's why!

Word No. 1 was hand drawn by an artist ... cost $1.50.

Word No.2 was produced by photo composition ... cost $1.00.

Word No.4 was hand set type ... minimum charge about $5.00. Time? Up to 24 hours!

DECA-DRY "words" are a cinch to set.

Just position ... rub on with pencil or ball point pen and lift sheet. In seconds ... professional quality lettering, on practically any surface, for next to nothing. Take your pick of 77 different styles in a full range of point sizes. In colors , too.

WORD m WORD C?J WORD @] WORD @] Be sure to specify

$2.25/ two sheets

Send for FREE sample and complete catalog today!

Look in the Yellow Pages under Drafting Supplies or Art Supplies for your Dealer's Name.

CHART-PAK. INC. ®

A Subsidiary of Avery Products Corp. 0 26120 River Road . Leeds. Mass. 01053

IllUS TRAT ION SMALLER thAN ACTUAL SIZE.

Introductol'Y Set of 10 tubes

DESIGNERS' GOUACHE Water Colours

INDEX TO AGENCIES AND CLIENTS

Redmond, Marcus & Shure 37 Regal Crown 63 Remington 55, 61 Revlon 141 Rheingold 55, 64 Stan Richards & Associates, Inc. 35 J ames Richardson & Associates 87 Richmond Art Directors Club 91 Ries Cappiello Colwell, Inc. 29, 45 Riverside Records 79 A. H. Robins Company 81 Rumrill-Hoyt, Inc. 41 Robert Miles Runyan & Associates 95, 99 Russian Tea Room 37

s Sam's Attic 83 Sanders Printing Corporation 121 Schrafft's 31 Scott, Foresman & Company 121 Laura Secord Studios 81 Segal, Henry L. 27 The Seven-Up Company 43, 69, 73 Sidjakov, Nicolas 101 Sierra Club 33 Simmons Company 17 Douglas A. Simon Advertising 23 Smucker's 35 Snelling & Snelling 3 1, 75 Sony Corporation 29 Southern California Gas Company 103 Standard Desk, Ltd. 115 Stat House 91 Stewart & Morrison Ltd. 81, 83 Student Government ASSOC.-Pratt Institute Swissair 37

87, 103

T FOR MORE BRILLIANT RENDERING Nothing can equal W & N Designers' Superfine Gouache Colors .. . the finest opaque water colors made. For brush, airbrush, ruling pen, or lettering pen.

Introductory Set of 10 popu lar colors .. .only $ 6. 00 Complete range of 80 colors.

W insor & Newton Inc. 555 Windso r Drive. Secaucus. N.J. 07094

.,t"":

C."Mllan file •• ""1 O.tltS Co •• Ltd., Mofttrul (.lIfo",I," Dls" ibvtofl: ' " 'dliw~,,'re, Co .• S," ",nclsco

166

Talon 29, 41, 117 Tatham-Laird & Kudner, Inc. 77 Teledyne, Inc. 95 J. Walter Thompson Company 43,67,73 TDF Artists, Ltd. 89 Time Inc. 119 Jack Tinker & Partners, Inc. 21, 50, 54, 56, 60, 62, 63,66, 67,70,73 Toni Company 54 Torrey, Richard B. 89 True Magazine 133 Twentieth Century Fox 33

u Unifair-Incorporated 85 Union Carbide Corporation 52, 58 United Semiconductor Associates 85 University Art Museum 113 U. S. Information Agency 73 Utica Cutlery Company 43

v Van Camp Sea Food Company 59 Veeder-Root 143 Rogert Vogele Inc. 97, 105 Volkswagen 17, 19, 21, 23, 25,60, 109, 115

W Ward & Saks 97 Warwick & Legler 43 Westinghouse 50, 52 Westinghouse Broadcasting Company World 121 WTS-Pharmacraft 81 Wyse Advertising 31, 33, 35

49, 101

Send for FREE PERCENTINT and SOLID COLOR CHART!

y

Mico·Type pressure·sensitive transparent acetate sheets feature a wide assort· ment of color tints in workable percent· ages, as well as a full range of beauti· ful solid colors . Only Mico·Type offers such a variety of colors . . . plus a choice of gloss or matte finish, wax or tak adhesive, and 2 different sheet sizes .

Percentint and Solid Color Sheets are easy to use. The artist or draftsman simply peels the color film from the backing sheet and applies on artwork.

Special adhesive adheres smoothly to any surface or shape. Colors are printed on underside of sheet to prevent accidental scratching.

Young & Rubicam 17, 19,21, 23, 27, 35, 49,51, 52, 55, 57, 58, 59, 65, 66, 68, 71, 73, 83, 113, 141

z Zane

81

Want free samples? Attach this ad to your letterhead and send to •..

I

EDITOR'S NOTE: Every effort has been made to insure that credits accurately comply with the information supplied to us. We sincerely regret that inadvertently some names may have been misspelled or omitted. It is not practical for us to publish errata notes in a future issue. However, if we are notified of an error within thirty days, we wi ll be able to issue corrected award certificates.

Materials FOLIO BOOK Extended This new Folio face, available from 6 to 54 point, brings the Bauer Folio family up to 17 variations of widths and weights. Specimens of the entire Folio showing are available from Bauer Alphabets, Dept 73P, 305 East 45th Street, New York, N. Y 10017.

COLOR MATCH SYSTEM

Color Match Papers is a color system consisting of 24 basic colors, each one with four different tints and three different shades. Also inc1ud~s eight warm gray tones, 16 cool gray tones and eight Glo-Brite colors. The color is silk screened on paper to permit erasures and will not stain from rubber cement. Designers can choose from a total of 228 shades. Available in sheet form 18"x 24";

MICO-TVPE,INC. 7005 TUJunf(a Ave • No Hollywood . Calif 91605

Crescent Illustration Boards have long been a favorite among artists.

Their fine surfaces and workability make them a leader in the field~ Don't just take our word for it - write for free samples

today!

CRESCENT CARDBOARD COMPANY OEPARTM ENT 0-11 1240 N. Homan Ave. Chicago, III. 60651

167

MATERIALS (continued) pads 9" x 12"; pads 12" x 18". Also available is a Designer's Pack consisting of a 6" x 9" sheet of each color including Glo-Brite colors, and a Swatch Book showing samples of all Color Match Paper hues. For additional information and prices, contact Craftint Manufacturing Company, 18501 Euclid Avenue, Cleveland, Ohio.

TRANSFER AND CUT-OUT TYPE

Fifteen award-winning faces from the 1966 International Type Face Design Competition are now available in both pressure-transfer and cut-out form. Called "Para-Tipe;' the sheets are 10 x 14 with full alphabets, caps, lower case, numerals, signs, etc. A complete showing of all faces is available in an illustrated brochure from A. I. Friedman, Inc., 25 West 45th Street, New York, N. Y. 10036.

From the British Isles we bring incomparable 100% rag, hand made facing paper. Under perfectly controlled conditions, we carefully mount this fine paper to our equally fine board.

Result: F. J. Head Water Color Board.

Marvelous! At your art materials dealer. Or send for test samples of F. J . Head Water Color Board.

LAYOUT PAD

Artist Layout Pad, features twenty different grade patterns of paper, from offset to envelope in various weights, colors, and finishes. The sheets are scored across the top of this 12 112" x 18 3A" pad to facilitate handling. Layout Pads are available at $1.75 through Champion Papers distributors and District Sales Offices.

NATIONAL CARD, MAT &, BOARD CO.

4318 W. Carroll Ave., Chicago, 111.60624 11422. S. Broadway, Los Angeles 61~ calif. lit Cq!)Odo; Cord & Poper Worb. Ltd.. Peterborough, Ont.

LITERATURE FOR YOUR FILES A request on your letterhead to the following companies will bring you the literature described . .. free, unless otherwise noted.

Index to Advertisers Amsterdam Continental Types Art-O-Graph Inc. Charles T. Bainbridge's Sons Bauer Alphabets Inc. Beckett Paper Company

C-2 14 13 161 149

Champion Paper Inc. Chart-Pak, Inc. Crescent Cardboard Co.

15 166 167

Gilbert Paper Co.

5 12 C-4 167 168

M. Grumbacher Inc. Mergenthaler Linotype Co. Mico-Type Inc. National Card, Mat. and Board Co.

168

"Champion Paper's Selectory" . .. offers a wide variety

Nekoosa-Edwards Paper Co. Rhinelander Division, St. Regis Paper Co. Strathmore Paper Co.

163 153

Switzer Brothers, Inc. S. D. Warren Co.

155 157

Winsor & Newton Inc. X-Acto Precision Tools Inc.

166

7

6

of swatchbooks of cover and text weight papers. Hardcovered binder has eighteen wire spines for easy swatchbook replacement. Available from Champion Papers distributors and district sales offices.

Graphic Planning Kit . .. includes three aids for planning

and presentation of a project: thumbnail paginator sheets for sequence and layout; plotter-checker sheets containing a number of devices for both plotting and checking graphs; graph paper sheets. Kit may be obtained for $1 from Graphics Institute, Inc. , 42 West 39th Street, New York, N. Y. 10018.

Type Gauge . .. shows type cast-offs from 5 point to 16 point, elite and pica typewriter line gauge and inch rule; simplifies and speeds up copy fitting and estimating. A free gauge may be obtained by sending request on company letterhead to H. O. Bullard, Typographers, 150 Va rick Street, New York, N. Y. 10013, or by phoning (212) 255-1770.

"Exploring Graphics: 3" . .. uses the new Mead Terra

line of earth tone papers as a vehicle to demonstrate the effects of solids, screens and combinations in printing color on color. Available from Mead merchants.