Category Archives: 1940s





History of Colgate’s Cashmere Bouquet

By Garland Pollard

NEW YORK – There is something great about a brand that has not only survived a long time, but is still owned by the original company. Such is the case with Cashmere Bouquet, a soap that dates to 1872, and for the whole time, has been made by another Uber-brand, Colgate-Palmolive (NYSE: CL).

According to the website, Cashmere Bouquet Toilet Water was but one product in a long line of “Cashmere Bouquet” products sold in the late 19th century. Colgate was founded in 1806; Cashmere Bouquet was introduced six years after Colgate first introduced perfumed soap. The website points out that even then, Colgate was adept at brand extensions.

In fact, perhaps the Cashmere Bouquet brand, while dated, could be revived and re-extended rather like Keihl’s or Caswell-Massey?

The 1872 introduction of Cashmere Bouquet marked the first milled perfumed toilet soap, and that year it was registered as a Colgate trademark. Then, the product was seen more as a fashion and luxury item. Today, it is a hotel soap brand, as well as sold at discount closeout stores.

Buy a bar today, and you can still smell that familiar smell. The main ingredients for Cashmere Bouquet are pretty good by the way, including sodium tallowate, sodium cocoate, glycerin, fragrance and other materials. Cashmere Bouquet is a most wonderful museum piece; It’s nice to see something still made the old way, with animal fat and lye. And it is Made in the U.S.A.

Today, Colgate still sells the product, along with other soaps that include Irish Spring and Palmolive. In the U.S., the bar soap brand of Palmolive is not emphasized, as the product as seen as a dish detergent. However, in Europe, the U.K., and Australia, Palmolive is seen as more of a special scented natural soap.

Apparently, Colgate actually made the soap until 2005, when a century old factory in Kansas City was closed down and the company turned manufacturing over to a third party.

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Posted by on MonAmerica/Los_Angeles2018-08-13T08:08:00+00:00America/Los_Angeles08bAmerica/Los_AngelesMon, 13 Aug 2018 08:08:00 +0000 31, in 1940s, 1950s, 1960s, culture, vintage advertisement, vintage products



Blondie And Dagwood


Dagwood and Blondie were fun, comical, loving and all about the going-ons of the American family life.

Dagwood Bumstead is a main character in comic artist Chic Young’s long-running comic strip Blondie. He first appeared sometime prior to 17 February 1933.

He was originally heir to the Bumstead Locomotive fortune but was disowned when he married a flapper (originally known as Blondie Boopadoop) whom his family saw as below his class. He has since worked hard at J.C. Dithers & Company (currently as the construction company’s office manager) to support his family. The Bumsteads’ first baby, Alexander, was originally named Baby Dumpling.

 The name of his younger sister, Cookie, was chosen by readers in a national contest. The family circle is rounded out by Daisy the dog.[1] The origin of both Dagwood’s last name and Daisy’s name came from Chic Young’s long-time friend Arthur Bumstead and his dog, Daisy.


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Posted by on MonAmerica/Los_Angeles2018-08-06T10:20:00+00:00America/Los_Angeles08bAmerica/Los_AngelesMon, 06 Aug 2018 10:20:00 +0000 31, in 1940s, 1950s, 1960s, humor, nostalgic



WHEN IT RAINS IT POURS ….America’s Salt History

WHEN IT RAINS IT POURS ….America’s Salt History

Morton Salt is an American company producing salt for food, water conditioning, industrial, agricultural, and road/highway use. Based in Chicago,[1] the business is North America’s leading producer and marketer of salt. It is a subsidiary of the German company K+S.
The company began in Chicago, Illinois, in 1848 as a small sales agency, E. I. Wheeler, started by the Onondaga salt companies to sell their salt to the Midwest. In 1910, the business, which had by that time become both a manufacturer and a merchant of salt, was incorporated as the Morton Salt Company.[2] It was named after the owner and founder, Joy Morton, the son of J. Sterling Morton[3] who founded Arbor Day. Joy Morton starting working for E. I. Wheeler in 1880, buying into the company for $10,000, with which he bought a fleet of lake boats to move salt west.[4] In 1982, the business was purchased by Thiokol Corporation, producing Morton Thiokol Incorporated (MTI). Morton Thiokol divested itself of Morton in 1989, following the 1986 Space Shuttle Challenger disaster, which was blamed on Morton Thiokol products. Morton received the company’s consumer chemical products divisions, while Thiokol retained only the space propulsion systems concern.

In 1999

Morton Salt

was acquired by the Philadelphia-based Rohm and Haas Company, Inc. and operated as a division of that company[2] along with the Canadian Salt Company (which Morton had acquired in 1954).[3]

On 2 April 2009, it was reported that Morton Salt was being acquired by German fertilizer and salt company K+S for a total enterprise value of US$1.7bn.[5] The sale, completed by October 2009, was in conjunction with the Dow Chemical Company’s takeover of Rohm and Haas.[6][7][8]

More on Morton salt history:

How A Little Girl Grew Up To Be An Icon

Watch “Morton Salt Girl’s 100th Birthday” on YouTube

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“Folgers Coffee 1960’s Vintage Ad”


The precursor of the Folger Coffee Company was founded in 1850 in San Francisco, California, U.S., as the Pioneer Steam Coffee and Spice Mills. William H. Bovee, the owner of the Pioneer Steam Coffee and Spice Mills, saw an opportunity to produce roasted and ground coffee ready for brewing. Before that, Californians had to purchase green coffee beans and roast and grind them on their own. To help build his mill, Bovee hired James A. Folger[1] as a carpenter. James had arrived from Nantucket Island at the age of 15 with his two older brothers during the California Gold Rush. In the 1850s, kerosene began to offer a cheaper alternative to whale oil, which had been Nantucket’s life-blood, resulting in the re-purposing of many of its ships to bring coffee from South America to San Francisco.[2] After working at Bovee’s mill for nearly a year, James had saved enough money to stake a claim in the company and headed out to mine for gold. He agreed to carry along samples of coffee and spices, taking orders from grocery stores along the way. Upon his return to San Francisco in 1865, James became a full partner of The Pioneer Steam Coffee and Spice Mills. In 1872, he bought out the other partners and renamed the company to J.A. Folger & Co.

In 1861, James married, and he and his wife had four children. Two of the children worked for the family business. In 1889, James died, and his oldest son, James A. Folger II, stepped into the role of president of J.A. Folger & Co at the age of 26.

In the 1900s, the company began to grow dramatically due primarily to a salesman named Frank P. Atha. Atha sold coffee in the California area, but proposed to James Folger II that he open and manage a Folgers Coffee plant in Texas. The company grew exponentially after Atha opened the Texas plant.

Under the mid-20th century leadership of Peter Folger, the brand became one of the principal coffee concerns in the world’s largest coffee market: North America. Procter & Gamble (P&G) acquired Folger’s in 1963[3] and removed the apostrophe from its name.[citation needed] During P&G’s ownership, Folgers became the number-one coffee brand in America.

P&G announced in January 2008 Folgers would be spun off into a separate Cincinnati-based company.[4] In June 2008, P&G reversed itself and announced Folgers would be acquired by the end of 2008 by The J.M. Smucker Company.[5][6] Utilizing a rare financial technique called a Reverse Morris Trust, Smucker purchased Folgers in November 2008 and made it a subsidiary.


Posted by on MonAmerica/Los_Angeles2018-08-06T08:14:00+00:00America/Los_Angeles08bAmerica/Los_AngelesMon, 06 Aug 2018 08:14:00 +0000 31, in 1940s, 1950s, 1960s, 1970s, classic television, nostalgic, vintage tv commercials



Miranda (1948)

A young married physician discovers a mermaid, and gives into her request to be taken to see London. Comedy and romantic entanglements ensue soon after.

Miranda is a 1948 British comedy film, directed by Ken Annakin and written by Peter Blackmore, who also wrote the play of the same name from which the film was adapted. Denis Waldock provided additional dialogue. A light comedy, the film is about a beautiful and playful mermaid played by Glynis Johns and her effect on Griffith Jones. Googie Withers and Margaret Rutherford are also featured in the film. Glynis Johns and Margaret Rutherford reprised their roles in the 1954 sequel, Mad About Men.

Music for the film was played by the London Symphony Orchestra, conducted by Muir Mathieson. The sound director was B. C, Sewell.

Plot Summary

With his wife uninterested in fishing, Dr. Paul Martin goes on a holiday on the Cornwall coast alone. There he snags Miranda, a mermaid, and is pulled into the water. She keeps him prisoner in her underwater cavern and only lets him go after he agrees to show her London. He disguises her as an invalid patient in a wheelchair and takes her to his home for a month-long stay.

Martin’s wife Clare reluctantly agrees to the arrangement, but gets him to hire someone to look after their guest. He selects Nurse Carey for her eccentric nature and takes her into his confidence. To Paul’s relief, Carey is delighted to be working for a mermaid as she always believed they exist.

Miranda’s seductive nature earns her the admiration of not only Paul, but also his chauffeur Charles, as well as Nigel, the fiancé of Clare’s friend and neighbour Isobel, arousing the jealousy of the women in their lives. Nigel breaks off his engagement, but when he and Charles discover that Miranda has been flirting with both of them, they come to their senses.

Clare finally figures out what sort of creature Miranda really is. Miranda overhears her telling Paul that the public must be told. She wheels herself down to the river and makes her escape.

In the final scene, Miranda is shown on a rock, holding a merbaby on her lap:


Although. the film” Miranda” was produced in the U.K., it was popularized in the United States because Hollywood was known as the film capitol of the world.

Watch “Miranda 1948 British Comedy Film Full Movie Mermaids” on YouTube


Posted by on MonAmerica/Los_Angeles2018-08-06T07:18:00+00:00America/Los_Angeles08bAmerica/Los_AngelesMon, 06 Aug 2018 07:18:00 +0000 31, in 1940s, 1950s, classic film star, classic movies, comedy, nostalgic



The Cotton Club Revisited

“History of the Cotton Club. In 1920, Jack Johnson, the first African-American heavyweight boxing champion, opened the Club Deluxe on 142nd Street and Lenox Avenue in the center of Harlem. Owney Madden, a white gangster, took over operations in 1923, and renamed the venue the Cotton Club.

Dorothy Dandridge image source

American Arts & Culture of the 1920s & the Harlem Renaissance

The Cotton Club was an essential part of the Harlem nightlife in New York City during the 1920s and 1930s. In this lesson, we will discuss the rich history of the club and learn about many famous musicians whose careers were launched there.

The Courtesy of Pinterest

What Is the Cotton Club?
Duke Ellington. . . Cab Calloway. . . Ethel Waters. . . Louis Armstrong. . . Lena Horne. Where could you go to hear all of these musicians, and many others, perform live? If you were around in New York City’s Harlem neighborhood in the 1920s, the hot-spot was the Cotton Club.

History of the Cotton Club

In 1920, Jack Johnson, the first African-American heavyweight boxing champion, opened the Club Deluxe on 142nd Street and Lenox Avenue in the center of Harlem. Owney Madden, a white gangster, took over operations in 1923, and renamed the venue the Cotton Club. Madden expanded the former 400-seat nightclub to 700 seats, and updated the decorations to reflect a stylish ‘plantation environment’ to cater to the upper-class white patrons who came to enjoy the performances of the best jazz musicians of the day. It quickly became the most popular cabaret in Harlem.

The Cotton Club was also an active speakeasy, an illegal drinking spot, during Prohibition and was forced to close several times. Prohibition lasted from 1919 through 1933, and during this time, the manufacturing, transportation, and sale of alcoholic beverages was illegal. Although the Cotton Club was forced to close for serving alcohol, especially Madden’s own blend called ‘Madden’s Number One,’ his political connections enabled him to reopen the club.

The Cotton Club (1923-1935) – Clio

Cab Calloway and dancers at The Cotton Club in 1937

Shows at the Cotton Club typically included musical revues with singers, dancers, comedians, variety acts, and a house band. African-American jazz musicians used the notoriety of performing at the Cotton Club to help launch their careers.

However, it must be noted that cultural stereotypes were initially forced upon them. The primitive decorations in the club, as well as the music, included elements that created a jungle atmosphere. The African-American employees were forced to act as though they lived on plantations or were savages.

On March 19, 1935, the Harlem Race Riot broke out in Harlem due to police brutality and an extended unemployment crisis. Damage to property from the riot totaled over 200 million dollars; 75 people were arrested, three African-Americans were killed, and over 60 more were injured. The Cotton Club’s white patrons felt the neighborhood was unsafe and the nightclub was forced to close. It reopened the end of 1936 in a new location at Broadway and 48th Street, but after failing to regain its former popularity, closed in 1940. article source

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“Cigar Cigarettes! Cigar Cigarettes!” – The History of the Cigarette Girls

The Courtesy of Pinterest

Roaring 20’s and on into the post-prohibition days of the 1930s, cigar girls were a common site roaming nightclubs and bard

Our History of the Cigar Girl begins in pre-war America, during the Roaring Twenties. It was an Era during which America enjoyed considerable prosperity, particularly in her urban centers.

Fueled by this newfound wealth, entrepreneurial restaurateurs began to expand their establishments from pure eateries to “supper clubs,” a destination where patrons could spend an entire evening eating, drinking (despite the prohibition of alcohol), socializing, and listening to live music.

The cigar girl was a common fixture at such clubs. She was an invariably pretty, young girl who wore a bright (often red trimmed in black), short saloon-style dress and sported a pillbox hat. Around her neck, she holstered a tray with a considerable selection of cigars, cigarettes, and various other tobacco products and sundries. Depending on the venue or the wishes of its owner, she might also carry candy, snacks, drinks, chewing gum, flowers, or novelty items.

Her job was more than just selling tobacco products; she became part of the ambiance, mixing among the patrons while adding a touch of class and full-service. The cigar girl relied on her charm, quick wit, and a flirtatious manner to catch the attentions of businessmen, who would tip graciously for the pleasure of speaking with such a beautiful young woman. She is often described as having been the “life of the party,” and thus while her refrain of “cigars, cigarettes?” certainly enticed tobacco buyers, most customers were paying as much for her company as they were for her wares.

She is depicted in many films, with a notable early example from 1924 in the Soviet silent comedy “The Cigarette Girl from Mosselprom” (Papirosnitsa ot Mosselproma) in which a man frequently purchases tobacco from a girl he’s become infatuated with, despite not being a smoker. Within a few years the cigar girl archetype was well-established by Hollywood, and when the Eighteenth Amendment was finally repealed in 1933, she had caught on as a cultural icon: she could be found in restaurants, social clubs, bars, casinos, and even airports. Her popularity continued to soar through the postwar era into the 1950s, when she could be seen at sporting events and in the lobbies of theaters and music halls during intermissions.

Companies like Hollywood Cigarette Girls will send their ladies to your event to distribute cigars, cigarettes and other items to add a touch of old-school class to your party.

But she was ultimately no match for modernity. The mid-1950s brought automated vending machines which worked for free, and could earn the venue-owner a tidy profit besides. Changing attitudes about smoking notwithstanding, she was increasingly seen as a relic of the past.

The Courtesy of Pinterest

These days, you are more likely to see a cigar girl at a Halloween costume party than you are inside NYC’s Algonquin Hotel. But even though she has been largely relegated to a romantic yesteryear curiosity, there is still a demand for her services. A simple internet search reveals numerous companies like Peachy Puffs and Hollywood Cigarette Girls that specialize in hiring out models for private parties and corporate events whose organizers are looking to add a touch of old-school sophistication to their event. Many of these companies even offer cigars and cigarettes on their trays. Who knows? Maybe the cigar girl will make a full-fledged comeback toting some great Acid Cigars and other premium smokes.


You’ve come a long, long way”

Virginia Slims (excerpt)

“We make Virginia Slims expecially for women because they are biologically superior to men”, 1971, via

Virginia Slims were introduced by Philip Morris in 1968 and “marketed as a female-oriented spinoff to their Benson and Hedges brand”. The slogans “You’ve come a long way” and later “It’s a woman thing” and “Find your voice” were supposed to link smoking with “women’s freedom, emancipation, and empowerment” (via). It was not the first product to speak to women “in the language of liberation” but it was the first one that interpreted feminism as something that could sell (Zeisler, 2008).

“Rosemary for president. Someday. Meanwhile you’ve got Virginia Slims. The taste for today’s woman.”, via; 1968, via

Philip Morris continued this strategy and in 2008 launched a campaign targeting women and girls. The “purse pack” – repackaged, compact, pink Virginia Slims – implies that smoking is both feminine and fashionable. “Super slim” communicates the association between smoking and weight loss (via). John T. Landry, former Philip Morris marketing chief: “I knew thinness was a quality worth talking about. It’s an American obsession.” (via).

This gender marketing strategy changed statistics encouraging girls to start smoking. “Six years after the introduction of Virginia Slims, the rate of smoking initiation for 12-year-old girls had increased 110 percent.” (via). In fact, apart from social factors, marketing strategies are considered to be one reason for the rise of smoking among women. Smoking as a symbol of emancipation was the core of the campaign. In 1991, an internal industry document describes the strategy targeting only women as follows: “To convince fashionable, modern, independent and self-confident women aged 20-34 that by smoking VSLM, they are making better/more complete expression of their independence.” (Hitchman & Fong, 2011). The market share grew from 0.24% bo 3.16% (Toll & Ling, 2005).

In the 1980s, the number of cigarettes sold declined dramatically. Women were “a saving grace” who just had to be convinced that a woman “needs her very own cigarette as absolutely as she needs ther own underwear” (via). To women, smoking Virginia Slims meant “independence, slimness, glamour, and liberation”. Despite the equality progresses the commercials showed since the early twentieth century, “the only equality this campaign ended up supporting involved lung cancer. Today, women and men die at similar rates from the diseases.” (via).

The campaign was developed by the Leo Burnett Agency and was launched on 22 July 1968. It was a huge success and the slogan more or less became “a national catch-phrase”. According to a 1986 corporate study, the so-called brand personality was the key to its success (via).

Slogan, catch-phrase and song:

– Virginia Slims commercial from 1970s watch

In 1978, the US-American country music singer-songwriter Loretta Lynn was in the charts with the song “We’ve come a long way, baby”. “The title song was a top ten hit for Lynn, playing on the famous Virginia Slims slogan of the day, You’ve Come a Long Way Baby” (via).
– Loretta Lynn We’ve come a long way, baby watch

Hitchman, S. C. & Fong, T. G. (2011) Gender empowerment and female-to-male smoking prevalence ratios. Bulletin of the World Health Organization; via
New York Times (1986) Why They Stretched The Slims via
Toll, B. A. & Ling, P. M. (2005) The Virginia Slims identity crisis: an inside look at tobacco industry marketing to women. Tobacco Control, 14, 172-180
Zeislere, A. (2008) Feminism and Pop Culture. Berkeley: Seal Press
M. Laura Moazedi



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