Source: Sci-fi Covers
Source: vintage everyday
Source: The Grim Gallery: Exhibit 1881
French grande for MIRAGE (Edward Dmytryk, USA, 1965)
Designer: Guy Gérard Noël (1912-1994)
Poster source: Posteritati
Source: Wall Street Journal
PLATE IX by jlillard
The Lone Ranger Wheaties Poster (General Mills, 1957).
Starring Clayton Moore. Featured in this lot is a nearly life-sized poster of the Lone Ranger, which was offered as a mail-in prize by General Mills to promote Wheaties Cereal.
On Tuesday, AccuWeather.com shared a graphic that showed a rainy day in the Northeast.
Needless to say, the graphic certainly got a rise out of the news anchors at WGN.
The image made the rounds on social media on Tuesday…
I’m Making Bombs and Buying Bonds! (victory loan drive) « Je fabrique des bombes et j’achète des obligations! » : campagne d’obligations de la Victoire
German 1966 re-release poster for THE SEVEN YEAR ITCH (Billy Wilder, USA, 1955)
Poster source: Heritage Auctions
Marilyn Monroe would have been 89 today.
Cover Art by Matt Baker, the first (known) African American Comic Book Artist.
The falling men on a 1967 LIFE cover seem to presage the falling man in the AMC show’s opening credits
Eliza Berman writes: Analyzing the title sequence to Mad Men has become something of a sport for the show’s fans. Does the suited man hurtling toward earth foreshadow protagonist/anti-hero Don Draper’s literal death or his figurative demise? Does it echo the chilling photograph of a man who jumped from a burning World Trade Center tower? (Showrunner Matthew Weiner has said emphatically that it does not.) Whatever it represents, where did Imaginary Forces, the agency that produced the sequence, get the idea?
Here’s another idea: it’s now been pointed out that the design has many similarities to a 1967 LIFE Magazine cover, the first in a four-part series on “The Struggle To Be an Individual.” The cover, like Mad Men’s credits, features silhouetted men against the backdrop of a 1960s-era skyscraper. Both suggest a sense of helplessness, of ceding control to powerful forces beyond one’s self.
“The cover, like Mad Men’s credits, features silhouetted men against the backdrop of a 1960s-era skyscraper. Both suggest a sense of helplessness, of ceding control to powerful forces beyond one’s self.”
The Imaginary Forces team that produced the credits has spoken about some of the inspiration behind the design. Weiner initially approached them with the skeleton of an idea — a man walks into an office building, takes the elevator to the top and jumps — and they began developing storyboards. Those boards included a Volkswagen ad, movie stills and, as designer Steve Fuller told Print, “the design stew that’s been swirling around in our head over the last 15 years since we left college.”
Though AMC could not confirm, as of publication time, whether this particular LIFE cover ever made it onto those storyboards, the photo essay the cover advertises in many ways articulates the existential crises Draper faces in Mad Men. As an ad man, Draper sells access to an American dream he himself hasn’t entirely bought into. Even as he accumulates successes in the boardroom and the bedroom, the satisfaction never lasts longer than a few drags of a cigarette that might kill him anyway.
The ethos of the 1960s is, of course, omnipresent in Mad Men — and not just in its fastidious commitment to the furniture and fashions of the time. In post-WWII America, many Americans had settled into the comfort of corporate jobs that afforded them the same white picket fence and station wagon their neighbors boasted. Responding to that phenomenon, books like William H. Whyte’s The Organization Man, published in the mid-1950s, lamented how modern workers’ collectivist group-think ran in opposition to creativity and innovation. Read the rest of this entry »
Popular Mechanics, 1953