Crosley Radio Slimline Jukebox Ad, Featuring The Music Of The Go Devils

Crosley Radio Slimline Jukebox Ad, Featuring The Music Of The Go Devils

We are always stoked when getting a song sync licensed for commercial placement in an advertisement. There isn't a better way to reach new potential new fans than through larger media outlets. Thank you Crosley Radio for the opportunity and for featuring the Go Devils within your new ad for the Slimline Jukebox.

Hand Painted Billboards Used To Dominate The Sunset Strip In Hollywood. What Happened To Real Art?

The Who created one of the most iconic billboard advertisements towering above the Sunset Strip

Hand painted billboards used to dominate the sunset strip in Hollywood throughout the 70's and then a moment in history changed everything. MTV was born and ushered in a new era on the way we consume music and pop culture.

After checking out these great hand painted billboards it only serves as a reminder as to how much an iconic album meant back in the day. Artwork was crucial to relaying a message rather then just a few key photos or illustrated lines to post to Instagram to make followers stay attentive. 

We are huge fans of albums as a package and as a way to help an album be accepted by the mass populace, but these billboards are an art form all to themselves.

The Power Of An Image

Using an old advertisement for Marsh Stencil and Ink to showcase where we are today

At an early age, imagery and experience begin to shape the rest of our lives. One of the fond memories I have growing up involves working and playing down at my grandfather's crab house in Wenona, MD. After we fished the floats (soft crabs shed their hard shell), we would then have to clean the soft crabs and prepare them to be shipped out.

So many times I would look at the wax boxes for shipping along with stencils that had to be applied and was always curious about how it all worked. Not that it was anything complicated but maybe it was at that moment when the seed had to have been planted to thoroughly enjoy branding and entrepreneurship. As soon as the family name went on the wax boxes with the Marsh Stencil and ink brush, it was one of the final processes before the crabs could be driven to market and the watermen would finally get paid for their week of hard work.

When I found this old advertisment in a design magazine, all I could think of was how proud I was to see those stencils being applied to wax boxes to ship our freshly caught seafood. It would make me damn proud to have my grandfather still around to see the work I do today and to let him know how much I appreciate the value of hard work and the smell of salty air by the sea. Would be great to enjoy a puff on a cigar together and watch all the watermen coming in out of the harbor at the back of the crab house and just talk about anything. Thanks for the memories Pop Pop.

Check out the video below about Alan Parks from Tangier Island, VA. Nuthin' better than a good ol' tide wooder accent and hearing talk about the bay.

Found this photo on flickr of the old family crabhouse in Wenona, MD. Wish I could go back in time...

Are We Just Suckers For A Beautiful Woman On A Motorcycle?

Are we all just suckers for a checking out a beautiful woman on a motorcycle? Yep, we probably are, but the hell with it. As long as ya don't buy into the hype of these fashion houses trying to sell their version of the counter culture, they maybe it can slide.

We totally understand that the fashionistas will hop on every trend band wagon, along with all the poseur hipsters, when it comes to underground culture. But this is all cyclical and they will mosey on as fast as they rolled into town and life will continue to move forward as it always will.

With those opening words and a justification of our posting fashionta photos, please forgive us for staring at such beautiful women. We just can't help ourselves and our Martian ways.

Keira Knightley en Ducati 750 SS pour Chanel ! Vidéo automoto sélectionnée dans Moteurs

Moschino advertising with gorgeous lady on a Captain America inspired Panhead

Ralph Lauren has a lady by a Triumph

Super model Gisele Bundchen always looks amazing

Chanel even went so far as to have a custom bike built

Gorgous lady on a Triumph

Keira Knightley on a Ducati 750

Gisele Bundchen on a Mad Max inspired bike ready for the apocalypse

Keira Knightley in an ad for Chanel

Sexy lady on a older Honda

Coca Cola And Spotify Equal Pop Fizzle?

Advertising runs everything we know, plain and simple. If it wasn't for advertising would we have all the shows on TV? I highly doubt it, as there would be a lack of money to produce such entities. This convergence is good and bad, but at least if you can see through the crap and understand its just marketing. Hell, use the service as needed without feeling like you have to drink a coke to enjoy the streaming music of Spotify.

Personally, we hope that Spotify does well. Not in the sense that it is a perfect service, but it serves a purpose and could potentially help more bands to be heard. It isn't the best thing since sliced bread, but its a start at a solid music streaming service, which can cue up most anything you want on demand. Other services are offering similar products, but Spotify seems to be taking the lead or at least getting the most attention. If Coca-Cola can inject advertising dollars and help to get the bands paid from the streams instead of the paltry amounts that Spotify pays now, then great.

So here it is Coke, use this Spotify partnership as a platform for the streaming music service to better pay the bands. If both of yall cannot do that, well move on to the next batch of sheep.

See the original article on Hypebot.com

Coca Cola and Spotify are creating new partnership for music streaming

"Yesterday Spotify and CocaCola announced a major partnership. Brands have taken an interesting role beyond just ad dollars at Spotify starting with its July 2011 launch. I know this because I worked with Chevy to partner with blogs/publishers to generate editorial exposure for Spotify and Chevy in exchange for advance access to the streaming service for their readers. It seemed only suitable that Spotify would try to evolve this symbiotic relationship with brands even further.

During the morning talk, Spotify founder Daniel Ek made at Ad Age's Digital Conference, he kept referring to Spotify as a platform as opposed to simply a streaming service. Depending on the brand, having a Spotify app might even be more important than having a Pinterest or Instagram account because of the emotional role music plays in people's everyday lives. To quote a Coca-cola rep, "we're trying to develop a Coca-Cola experience within Spotify." 


On the surface this partnership sounds pretty innovative. Coca-cola will tie Spotify into their global marketing efforts (including Olympics, FIFA, and various live events) and help Spotify launch their service in new markets. Spotify will help Coca-Cola look cool by injecting them into the conversation of music fans. In addition, the two partnered this past weekend to host a friendly competition between 6 different hack teams. The winner, named "London Calling," will be an integral part of the public launch of this partnership. 


However, the whole event was presented very ambiguously and vague without going into much specifics. Since this all was kept fairly abstruse, it's hard to ignore whether or not how the listening community will react to an even deeper branded experience when some already see Spotify ads as an interruption? On the flipside, Spotify insisted at the Press Event that "this is not an advertising campaign [with Coca-cola]." In addition, Daniel sited Subaru's First Car playlist as a successful brand in his Ad Age presentation by saying that the average person on the playlist listened for an average of 70+minutes. People shared and spoke about what song defined their first car, and Subaru wins because they're at the core of conversation.


Discovery & Amplification
I guess my gut insists that in order for the execution of this partnership to be successful, Coca-cola needs to improve the Discovery and Amplification experiences of listeners without inauthentically injecting their beverages into conversation."

Evolution Of Automobile Logos

Design and illustration are a huge part of what we enjoy, so it should come as no shock that once we found this article on the evolution of a few automobile logos we just had to repost it. Ever curious about where Buick or BMW got their start, well read on. To understand a logo that is complex and exhibits a deeper meaning, is a direct window into the soul of a company. 

In our current cookie cutter culture, logos are a bit more modern and clean, but they still strive to reflect the culture or "perceived" depth they are supposed to represent. Seeing how Ford Motor Company logo has evolved, is peering back into the progression of our 20th century history and for each logo iteration we can easily compare it to the era, it reflected. Personally I am a huge fan of the 1912 period Ford logo as its elegant, futuristic and looks as if it they were predicting what an electronic gauge might look like, in the wing area of the shape.

Link to original article on Neatorama

"This article should come in handy for the next time you’re stuck in traffic: have you ever wondered why the Audi in front of you has a logo of four interlocked rings? Did you know that the Cadillac emblem was inspired by a family crest of a nobleman who later turned out to be a fraud? Or that Volkswagen was Hitler’s idea?

We took a look at the evolution of tech logos before. Today, let’s take a look at the fascinating stories behind the logos of some of the most popular cars in the world:

Alfa Romeo

History of Alfa Romero Car Logos

Source: Cartype

Surprise! Alfa Romeo, the car manufacturer and pride of Italy, traced its beginnings to France. In 1910, Milan aristocrat Cavaliere Ugo Stella collaborated with the French car company Darracq to market the line in Italy. When the partnership failed, Stella moved the company and renamed it Anonima Lombarda Fabbrica Automobili (Lombard Automobile Factory, Public Company) or A.L.F.A. 

 

Alfa Romeo’s distinctive logo was created in 1910 by a draftsman named Romano Cattaneo. One day, while waiting for a tram at the Piazza Castello station in Milan, he was inspired by the red cross in the Milan Flag and the Coat of Arms of the noble House of Visconti, which featured a biscione (grass snake) with a man in its jaws, symbolizing "Visconti’s enemies that the snake [was] always ready to destroy." (Source) Two Savoia dynasty knots separated the words ALFA and MILANO.

The Romeo part came in 1916 when Neapolitan businessman Nicola Romeo bought the company and converted its factories to produce munitions and machineries for World War I. After the war, the company went back to producing cars and took on its owner’s last name to become Alfa Romeo.

Aston Martin

Aston Martin logos

In 1913, Lionel Martin and Robert Bamford founded a company that later would become Aston Martin. At the time, Martin & Bamford Limited produced Singers racing cars, but the duo wanted to create a more sophisticated model of their own. They named their first car Aston Martin after the founder Lionel Martin and the Aston Clinton hill climb racing course where their Singers car had won previously.

We can’t talk about Aston Martin without mentioning James Bond. In 1959, Ian Fleming put his super spy James Bond in an Aston Martin DB Mark III. When it was made into a movie in 1964, Bond drove an updated, supersleek silver Aston Martin DB5 (complete with machine gun, passenger ejector seat, and revolving number plates!)

James Bond and his Aston Martin DB5 in Goldfinger

Interestingly, Ian Fleming himself didn’t drive Aston Martin. He preferred the 1963 Studebaker Avanti!

Audi

Audi Logos

German engineer August Horch, who used to work for Karl Benz, founded his own automobile company A. Horch & Cie in 1899. A decade later, he was forced out of his own company and set up a new company in another town and continued using the Horch brand. His former partners sued him, and August Horch was forced to look for a new name.

When Horch was talking to his business partner Franz Fikentscher at Franz’s apartment, Franz’s son came up with the name Audi:

During this meeting Franz’s son was quietly studying Latin in a corner of the room. Several times he looked like he was on the verge of saying something but would just swallow his words and continue working, until he finally blurted out, "Father – audiatur et altera pars… wouldn’t it be a good idea to call it audi instead of horch?". "Horch!" in German means "Hark!" or "listen", which is "Audi" in Latin. The idea was enthusiastically accepted by everyone attending the meeting. (Source: Wikipedia, A History of Progress (1996) – Chronicle of the Audi AG)

And so Audiwerke GmbH was born in 1910. In 1932, four car makers Audi, Horch, DKW, and Wanderer merged to form Auto Union. The logo of Auto Union, four interlinked rings that would later become the modern Audi logo, was used only in racing cars – the four factories continued to produce cars under their own names and emblems.

Four car companies became Auto Union (1932)

Fast forward to 1985 (skipping a whole lot of history), when Auto Union ultimately became the Audi we know today.

BMW

BMW logo changes and redesigns

Source: Motorcycle

In 1913, Karl Friedrich Rapp and Gustav Otto founded two separate aircraft factories that would later merge to form BMW or Bayerische Motoren Werke AG (Bavarian Motor Works). Rapp and Otto actually had little to do with BMW’s manufacturing of cars. Josef Popp, Max Friz and Camillo Castiglioni were the ones who played big roles in making BMW a modern car manufacturer.

Source: Cartype

 

The circular BMW logo was a representation of a spinning propeller of a Bavarian Luftwaffe. At the time, aircrafts were painted with regional colors and the colors of the Bavarian flag were white and blue. It is said that the pilot saw the propeller as alternating segments of white and blue, hence the logo. The roundel was a nod to Karl Rapp’s original company.

During World War I, BMW was a major supplier of airplane engines

(and later airplanes such as the Red Baron)

(thanks Redditors!) to the German government. After the war, Germany was forbidden by the Treaty of Versailles to manufacture airplanes and BMW was forced to change its business: it first made railway brakes before making motorized bicycle, motorcycles and cars.

Update 3/6/08: Neatorama readers Dan S. and Bruce Kennedy who pointed out that the idea of BMW logo being derived from spinning propeller was actually an advertisement by the company (scroll down about halfway). Also thanks to klaus who pointed us out to the logo of EMW, which BMW took over in 1928.

Buick

Early Buick emblems (source: Buick Car Club of Australia)

The Buick Motor Company was founded in 1903 by David Dunbar Buick, a Scottish-American inventor who invented the overhead valve engine. If you didn’t recognize the name, you’re not alone – but remember this: Buick, a high school drop out founded a company that later became the world’s largest auto company, General Motors.

At 15 years of age, Buick dropped out of school to work for a plumbing fixture manufacturer. When that business failed, Buick and his friend took it over – but within a few years, Buick had an argument with his partner because he preferred to spend his time tinkering with car engines. Buick sold his share in the company and quit.

With the money, Buick founded the Buick Motor Company and within a few years ran it to the ground. He was kicked out of the company by his partner William "Billy" Durant in 1906 and later sold his stock for a mere $100,000. Had he held on to his shares, it would’ve been worth well over $100 million today. In his later years, Buick held low-paying jobs and couldn’t even afford a telephone. He died penniless as an inspector at the Detroit School of Trades. Ironically, years later Durant himself would be forced out. General Motors, the company that Durant built, refused him pension and he died almost penniless. (Source)

Buick crests and tri-shields (source: Buick Car Club of Australia)

Back to the logo story: Early Buick logos were variations of the cursive word "Buick." In 1930s, General Motor Styling researcher Ralph Pew found a description of the Scottish "Buik" [sic] family crest and decided to use it as a radiator grille decoration. In 1960, the logo incorporated three such shields, to represent the three Buick models then built: LeSabre, Invicta, and Electra.

In 1975, Buick changed their logo to a hawk named "Happy" with the launch of their Skyhawk line. However, in the late 1980s, as the Skyhawk car was retired, Buick went back to the tri-shield logo.

Cadillac

Source: car-nection.com, who has lots more Cadillac emblems.

When Henry Ford left his second automobile company, Henry Ford Company (see below), his financial backers tried to liquidate the company’s assets. An engineer named Henry M. Leland persuaded them to continue the company instead. They listened, and so Cadillac was born.

Cadillac’s first logo was based on a family crest of a minor aristocrat that the company was named after: Antoine de La Mothe, Seigneur de Cadillac (Sir of Cadillac). In 1701, de La Mothe founded Fort Pontchartrain which would later become Detroit. Cadillac was named after de La Mothe in 1902, following a bicentenary celebration of the founding of the city.

Problem was, de La Mothe was never a nobility! Born Antoine Laumet, de La Mothe was forced to leave France for America under a mysterious circumstance (some say he committed a crime or was unable to pay his debt). In the New World, he was able to assume a new identity and cobbled together a famiy crest with elements "borrowed" from, shall we say nobler sources.

Source: car-nection.com

In 1998, Cadillac had a new design philosophy called "art and science" and had its logo redesigned. Gone were the six birds called the merlettes, the crown, and the entire fabricated de La Mothe family crest as the company tried to shake up its stodgy image. The new logo made its debut a few years later, looking positively like it was made by Piet Mondrian!

Fiat

Source: Fiat

Fiat, then named Fabbrica Italiana Automobili Torino (Italian Automobile Factory of Turin), was founded in 1899 by a group of investors, including Giovanni Agnelli who later became its Managing Director. Agnelli bought his shares for $400 (about $10,000 in 2007 money). It’s worth billions now, and there had been an Agnelli in Fiat management ever since. Regardless or perhaps because of its wealth, the Agnelli clan remained a fractious and complicated group of people.

Supposedly, the famous Fiat "scrabble tiles" logo of the 1960s was designed by the company’s Chief Designer who was driving past the Fiat factory during a power outage and saw an outline of the factory’s neon sign against the dark sky (Source: The Language of Auto Emblems)

Ford

Ford Motor Company logo changes over the years

Most people know that Ford was founded by (who else?) Henry Ford. What most people didn’t know was that this was his third automobile company. Ford experimented with cars while working for Thomas Edison, and left to found his first auto company, The Detroit Automobile Company, which went bankrupt in just 2 years. He then built a race car and founded Henry Ford Company. Ford left that one after just one year (the company later became Cadillac – see above).

In 1902, Ford went on to create his third automobile company, the Ford & Malcomson, Ltd., and almost lost that one when sales were slow. He was unable to pay his bills to John and Horace Dodge, who supplied parts. Ford’s partner brought in a group of investors and even convinced the Dodge Brothers to accept shares in the company, which was renamed Ford Motor Company. Later, the Dodge Brothers went on to form their own car company (can you guess what?)

In 1909, Childe Harold Wills, Ford’s first chief engineer and designer (who also help to design the Model T), lend a script font that he created to make his own business card, to create the Ford logo. The famous blue oval was added later for the 1927 Model A – it remained in use until today.

Mazda

Source: Mazda [wikipedia] and Mazda Brand Evolution

Mazda began its life in 1920 as the Toyo Cork Kogyo Co. in Hiroshima, Japan. At the time, there was a cork shortage because of World War I, so the company was founded to process a cork substitute made from the bark of an Abemaki or Chinese cork oak tree. It was a good idea at the time, but shortly afterwards Japan could get real cork again and the company foundered.

In 1927, Jujiro Matsuda came onboard and the company began manufacturing tools, three-wheeled "trucks" and then cars. After World War II, the company formally adopted the name Mazda, which depending on who you ask, stood for the Zoroastrian god Ahura Mazda or an anglicized pronunciation of Matsuda the founder’s name (or both).

In the 1936 logo, the M shaped curve was inspired by the emblem of Hiroshima city. The 1991 and 1992 logos symbolized a wing, the Sun and a circle of light. Mazda’s current logo, nicknamed the "owl" logo, was designed by Rei Yoshimara in 1997. The stylized "M" was meant to look like stretched wings, but many people saw a stylized tulip instead.

Mercedes-Benz

Source: Mercedez-Benz UK

The modern Mercedes-Benz traced its lineage to a 1926 merger of two car companies, Daimler-Motored-Gesellschaft or DMG, founded by Gottlieb Daimler (along with Wilhelm Maybach), and Benz & Cie, founded by Karl Benz. Both Daimler and Benz worked independently to invent internal combustion-powered automobiles. Their factories were actually just 60 miles apart, yet they didn’t know of each other’s early work.

After World War I, the German economy was in tatters, and to survive, the two companies formed a syndicate in 1924, where they would continue to sell their separate brands but would standardize design, share purchasing and advertising. In 1926, however, the two companies merged into Daimler-Benz.

 

The name "Mercedes" came about in 1900. A wealthy European businessman and racing enthusiast named Emil Jellinek began selling Daimler’s cars. He wanted a faster car, and specified a new engine to be designed by Maybach and to be named after his 10-year-old daughter’s nickname, Mercédès or Spanish for "grace."

"Mercy" (See below)

Jellinek was quite a character. He used to pepper DMG’s engineers with colorful suggestions and criticism such as "Your manure wagon has just broken down on schedule" and "You are all donkeys". However, as he actually sold a lot of cars, he was tolerated and even listened to. Later, Jellinek would add Mercedes to his own and became Emil Jellinek-Mercedes. (Source: My Father Mr. Mercedes by Guy Jellinek-Mercedes and MBUSA Biographies)

The star in Daimler’s logo came from an old postcard where Gottlieb Daimler had drawn a star above the picture of his house and wrote that "this star would one day shine over [his] own factory to symbolize prosperity." The three-pointed star symbolized Daimler’s ambition of making vehicles "on land, on water and in the air." (Source: Daimler)

After the merger, a new logo was designed. It combined the symbols of the two companies: the three-pointed star of DMG and the laurel wreath of Benz.

Update 2/18/08: There’s a dispute on the origin of the name “Mercedes.” According to Baby Names World, Mercedes is a girl’s name of Spanish origin meaning “Mercy.” It was taken from the Virgin Mary’s liturgical title “Maria de las Mercedes” (Mary of the Mercies; ‘Our Lady of Ransom’):

Latin ‘mercedes’ originally meant ‘wages’ or ‘ransom’.
In Christian theology, Christ’s sacrifice is regarded as a ‘ransom for the sins of mankind’, hence an ‘act of ransom’ was seen as identical with an ‘act of mercy’.

Mitsubishi

Source: Mitsubishi

 

In 1854 feudal Japan, a man named Yataro Iwasaki, son of a provincial farmer whose grandfather sold the family’s samurai status to settle some debt, began his career on the wrong foot: he was called home from school at the age of 19 when his father was injured in a dispute with the village leader. Iwasaki asked a local magistrate to hear his case, and when refused, accused the man of corruption. Iwasaki was promptly jailed for seven months.

Fast forward to 1868: Iwasaki was working for the Tosa clan when the Meiji Restoration abolished Japan’s feudal clan system. He acquired Tsukumo Shokai, the Tosa clan’s shipping business and renamed it Mitsubishi in 1873. 

It was a fourth-generation Iwasaki, a man named Kayota Iwasaki, who turned Mitsubishi into a giant corporate group that included an automobile manufacturing company, Mitsubishi Motors.

The name Mitsubishi was a combination of the words "mitsu" (three) and "hishi" (water chestnut, used in Japan to mean a rhombus or a diamond shape). The official translation of the name was "three diamonds."

The Mitsubishi logo was a combination of the Iwasaki family crest, three stacked diamonds, and the three-leaf crest of the Tosa Clan.

Peugeot

Source: Peugeot Fan Club

Peugeot got its start in 1812 in Montbeliard, France, when two brothers, Jean-Pierre and Jean-Frédéric Peugeot converted their windmill into a steel mill. Their first products were rolled steel for saw blades and clock springs, as well as cylindrical steel rods. For decades, the Peugeot family business made metal goods, machine tools, crinoline dresses, umbrellas, wire wheels, irons, sewing machines, kitchen gadgets and by 1885, bicycles.

Indeed, Peugeot’s entry into the automobile business was by way of bicycles. At the time, the company was one of the largest bicycle manufacturers in France. In 1889, Armand Peugeot created the company’s first steam-powered car. A year later, he abandoned steam in favor of gas-powered internal combustion engine after meeting Gottlieb Daimler.

The Peugeot "lion" logo was designed by jeweler and engraver Justin Blazer in 1847. It was based on the flag of the Région Franche-Comté. The logo was stamped on Peugeot kitchen gadgets to denote the quality of their steel. It took Armand 14 years to convince his family that cars could be a moneymaker. Only then did they allow him to use the Peugeot lion logo. (Source: Independent)

Now, you may not drive a Peugeot car, but I bet you’ve used a Peugeot invention of 1842: the peppermill. The mill’smechanism was so reliable that it remained virtually unchanged until today.

Renault

Source: Renault

Louis Renault was 21 when he made his first car in the backyard of his parent’s home. He soon got orders for cars, so in 1898, along with his brothers and friends, Louis opened the company Société Renault Frères in Boulogne-Billancourt, France.

The first Renault logo, drawn in 1900 featured the three initials of the Renault brothers: Louis, Ferdinand and Marcel. In 1906, the logo changed to a front end of a car enclosed in a gear wheel. 

Renault FT-17 tank, driven by American troops, going forward to the battle line in the Forest of Argonne. (Source: The National Archives)

During World War I, Renault manufactured light tanks for the Allies called the Renault FT-17. This was so popular that after the war, Renault actually changed its logo into a tank. The diamond shape was introduced in 1925 and remained until today. The modern Renault logo was created in 1972 by Victor Vasarely [offical website | wikipedia], the father of Op art (or optical art).

Saab

If you’ve ever seen a Saab car commercial, then you’d know that the company was "born from jets". You wouldn’t know it from the car’s staid style, but historically this was accurate: In 1937, an aircraft company called Svenska Aeroplan Aktiebolaget ("Swedish Aeroplane Limited" or simply SAAB) was created to meet the needs of the Swedish Air Force.

When World War II ended, SAAB the airplane company started making cars to diversify its business. The first car it made was a prototype called the the Saab 92001 or ursaab (meaning "original Saab") in 1946. It was test-driven for nearly 330,000 miles (530,000 km) in utter secrecy, usually on narrow and muddy forest roads in the early mornings or late nights.

In 1947, the Saab Automobile company was incorporated. The company’s first car was the Saab 92, named because it was simply the company’s 92nd design project (the previous 91 had all been aircraft).

The griffen logo, featuring the head of a mythological beast that had a body of a lion and head and wings of an eagle, came from Vadis-Scania, a truck manufacturer that merged with SAAB (airplane) company. The griffen was a coat of arms of the province Scania.

In 2000, Saab Automobile company was bought out by General Motors, and thus no longer had any connection with SAAB outside of its history and logo similarities.

Source: The Saab Brand, Saab History

Confused? Don’t worry about it, just enjoy the pictures.

Volkswagen

Source: TheSamba

You wouldn’t know it from the company’s website but Volkswagen (German for "People’s Car") can trace its history straight to the villain of World War II: Adolf Hitler. 

Here’s the short version of the story: After World War I, Germany’s economy was shot and cars cost more than most people can afford. When Hitler rose to power and became Chancellor, he spoke at the 1933 Berlin Auto Show of his idea to create a new and affordable car.

At the same time, Ferdinand Porsche (yes, that Porsche) was designing an odd-looking yet inexpensive car (which would later become the Volkswagen Beetle). Porsche met with Hitler in 1934, who asked that the car to have the following specifications: it should have a top speed of 100 km/h (62 mph), a fuel consumption of 42 mpg, and could carry 2 adults and 3 children. He said the car should look like a Maikaefer – a May beetle and even gave Porsche a sketch of the basic design. Porsche promised to deliver the design, with prototype cars to be built by Daimler-Benz.

In 1937, the Gesellschaft zur Vorbereitung des Deutschen Volkswagens mbH was created (it became simply Volkswagenwerk GmbH a year later). In 1938, Hitler opened the state-funded Volkswagen factory in Wolfsburg, which was to produce the KdF-wagen (kraft durch freude, meaning "strength through joy"). Few were actually built, instead, the factory (employing forced labor) churned out military car, based on the same chassis: the Kübelwagen, Schwimmwagen, and Kommandeurwagen

It was later found out that Hitler had this in mind all along. He added an extra secret specification to Porsche’s design: the car was to be able to carry 3 men, a machine gun, and ammunition.

After Germany was defeated in World War II, the British took over the Volkswagen factory and the KdF-Wagen was renamed the Beetle. The British then sought to give control of the company – first they asked the Ford Motor Company, then the French Government, other British car manufacturers and lastly, Fiat. All turned down this "free offer" because they thought the Beetle’s design was inferior and that the company would be a money drain. (Source: The Auto Channel)

So, the British gave the Volkswagen company back to the German government in a trust. Later, having sold more than 21 million cars, the Volkswagen Beetle would become one of the world’s best selling cars ever.

The VW logo itself was supposedly designed by Franz Xavier Reimspiess, an employee of Porsche, during an office logo design competition. He was given a one time payment of 100 Reichsmarks (about $400).

---

If you didn’t see your favorite car’s logo history, chances are it is because its logo didn’t change much over the years. There are also dozens of large car companies in the world (many more if you counted the defunct ones), and we couldn’t fit every single one in this article. If I missed anything, please let me know in the comment.

Advertising Killed the Radio Star: How Pop Music and TV Ads Became Inseparable

Ever heard of the term synchronization? Are you in a band that likes to make money instead of eating Ramen at truck stops? Well, a dilemma may be on hand at some point if you are lucky, talented and willing to see how far you can push your music career. What if you happen to pen a song that is so damn catchy and the melody makes everyday folks want to sing along, yet you feel tormented about losing your artistic integrity. Quite the conundrum isn't it?

There will always be the individuals who talk on who sells out, or what is cool and what is the new buzz, but guess what, they don't pay your bills. Trends come and go, but careers can be made in an instant (don't ever forget that the Beatles were only around for about eight years). Remember that amazing lick you just whipped up on the guitar and recorded it with your iphone, what if you could get that out to the masses in another format such as advertising. This might help the Ramen noodle budget turn into sushi addiction while riding in a bus, compared to an old church van.

This is a slippery slope when it comes to what we term artistic integrity, but our popular culture is moving towards the diet of fast food compared to home cooked meals. So think on the decision about where your music goes and what company's advertising you might potentially work with. Did the Transplants write about hair care initially? Don't think so, but I hope they got paid well for the song.

Dig into the article below, re-posted from Time Magazine online and see what you think about having music and advertising working together. Would you as a band member be critical on the type of company who wanted to use your song? Or would you rather take a payout and put that money in the back pocket and start to work on the next batch of songs?

Link to original article on Time.com

"Chances are you’ve heard indie singer-songwriter Ingrid Michaelson. But not on the radio. Or in a music video. And probably not from buying her album, or even downloading her songs from iTunes.

Instead, you might’ve seen an Old Navy commercial featuring the 32-year-old’s lilting “The Way I Am,” a song that seems almost too perfect for selling sweaters. Or the Google Chrome ad with an instrumental version of her song “Sort Of.” Then there’s the Mott’s Apple Juice spot, the Ritz Crackers ad and the Stand Up to Cancer commercial, all with Michaelson’s catchy, sunny single “Be OK.”

Those ads might’ve been broadcast while you were watching Grey’s Anatomy, One Tree Hill, Parenthood, Hellcats, Scrubs, Bones, The Big C, Brothers & Sisters, Army Wives, Pretty Little Liars or Body of Proof — all television shows, and all of them featuring Michaelson’s music. And we haven’t even gotten to the movies and DVDs that include her songs.

The ways listeners are discovering Michaelson, a skilled multi-instrumentalist and vocalist who writes unequivocally upbeat songs, says nothing about her exceptional talent but everything about the music industry — or lack thereof — which has become a dwindling yet evolving business in which ads break emerging artists and TV spots are music videos.

Last year, worldwide licensing revenue from synchronization — a fancy term for pop music in ads — hit an all-time high at $2.5 billion, according to Heartbeats International, a music-branding agency. The tangled relationship between popular music and advertising has evolved over the past decade. Many in rock ’n’ roll long believed that any artist helping to sell something was “selling out.” Today, our consumerist culture has fallen in love and married our most popular art form — and the old arguments about using pop music to sell a product don’t seem to matter in an era when profits for musicians have fallen away. The idea that licensing music is somehow different from selling music through iTunes isn’t taken seriously anymore.

Michaelson, who released her new album, Human Again, on Jan. 24, doesn’t seem worried about any of this. It was far from her mind in 2007 when Old Navy contacted her through her Myspace page and later decided to use “The Way I Am” in an ad. And most of today’s musicians are of the same mind-set.

“The hope when licensing your music is that a few people will like what they hear,” Michaelson says. “Then those people will seek out the song and buy the song and/or record and become a fan.”

In fact, she did exactly that — became a fan — when Volkswagen featured the late songwriter Nick Drake’s “Pink Moon” in 1999, in an ad that many in the industry saw as a game changer — and that some say was work of art in its own right.

“There are so many emerging artists. Very few of them endorse the philosophy that it’s selling out in any way,” says Josh Rabinowitz, senior vice president and director for ad agency Grey Worldwide. “It’s not even a part of their culture anymore.”

So why isn’t licensing music for advertising selling out? How did we get from Neil Young singing that shilling for Pepsi would make him look like a joke to pop musicians writing songs specifically for TV spots? As Americans approach Super Bowl Sunday, we’ll see a number of popular bands featured in ads — OK Go and Mötley Crüe, to name two — and likely a few emerging artists who a decade ago would have never considered being in an ad. Somehow, the line between pop music and advertising became blurry and then disappeared altogether. How’d that happen?

The Jingle’s Jangled Morning
Almost a century ago, songs in commercials were recognizably distinct from popular music — even though tunes in both genres were often extremely catchy. The jingle was its own art form and had its own artists who realized, before science proved it years later, that melodies get lodged deep in our brains and don’t leave. What better way for consumers to remember your product?

While there’s some debate over the first jingle, many point to “Have You Tried Wheaties?,” a radio ad that aired on Christmas Eve in 1926. Sung by the aptly named Wheaties Quartet, a barbershop male group, the ad melodically asked, “Have you tried Wheaties?/ They’re whole wheat with all the bran/ Won’t you try Wheaties?/ For wheat is the best food of man.” The story goes that Wheaties executives had planned to discontinue the struggling cereal until they noticed that sales had spiked in areas where the jingle aired. After broadcasting the song nationally, Wheaties took off, and the first true commercial tune was a success.

By the 1950s and ’60s, jingles began morphing into full-fledged songs. “See the U.S.A. in your Chevrolet,” “If I were an Oscar Mayer wiener” and “Plop plop/ fizz fizz/ oh what a relief it is!” all became part of the American lexicon. But they remained distinct from what most Americans heard on the radio.

That started to change in the 1980s and ’90s, when now legendary jingle writers like Mary Wood started writing songs like “Everybody Needs a Little KFC” and “7 Up: It’s an Up Thing.” Those songs sounded like, well, songs. Peter Nashel, a composer at Duotone Audio Group in New York City, began writing music for commercials around that time.

“It wasn’t like the jingles from the ’60s and the ’70s,” says Nashel. “This was like the type of music you’d hear if you turned on the radio or MTV, which at the time was exploding.” Musicians like Nashel quickly realized the money that could be made in scoring original music for TV ads, while others saw potential legal problems in the way the industry was evolving.

At the time, Nashel wanted his music to sound like whatever band was hot, but doing so required him to make sure he wasn’t bumping up too close to existing songs. That’s why the company hired guys like Matthew Harris, who studied at the famed Juilliard School of Music. In the mid-’80s, Harris couldn’t find a job teaching, but a new career was opening up: musicology.

As advertising agencies began composing songs for commercials, they started getting sued on the grounds that those songs sounded too close to existing tunes. In the U.S., a country with strong intellectual property rights and copyright protections, it’s fine if you’re a musician and want to cover someone else’s song. But if you’re using a song to sell a product or service, that’s a separate issue.

That’s where musicologists come in. Since 1987, Harris’ job has been to vet ad agencies’ music, a task that requires a vast mental library of songs and the judgment to determine when a musical resemblance creates a legal risk.

“Before I got involved, until just before the ’80s, a jingle was its own genre,” says Harris, who says he has evaluated more than 7,000 songs. “And jingles didn’t sound like pop songs. No one expected them to. They had too much information. They were telling you to take this, drink this, do that. They didn’t need musicologists in those days.”

But after about a decade and a half of sound-alikes — and some infamous and pricey lawsuits, including Bette Midler vs. Ford Motor Company and Tom Waits vs. Frito-Lay – ad agencies and companies had an epiphany: Instead of recording a knockoff, why not get the real thing?

Moby’s Play, Nick Drake’s “Pink Moon” and Napster
In 1999 Moby released Play, an electronic-techno album layered with samples, gospel and house music. It was a mild success at first. Then he decided to license every track — all 18 of them. Suddenly, Play was on TV, it was in movies, it was in advertisements. Since then, it has sold 10 million copies worldwide and is widely thought to have obliterated, once and for all, the wall between popular music and advertising. At the time, Moby’s managers said they made a “conscious effort to create a marketing plan that had nothing to do with radio.”

“I think that by the time Moby did it, it was almost like the floodgates had opened,” says Ray Loewy, composer and sound designer at Tonefarmer, another New York City–based agency that pens music for ads. “I just think the wave was already moving, and he had a really cool album out that everybody loved.”

The beginning of that wave included the Rolling Stones’ licensing “Start Me Up” for Microsoft’s Windows 95, Sting’s singing “Desert Rose” for a Jaguar commercial (while also appearing in the car in the ad) and the use of Drake’s “Pink Moon” in the Volkswagen ad.

Read more: http://business.time.com/2012/02/03/advertising-killed-the-radio-star-how-pop-music-and-tv-ads-became-inseparable/2/#ixzz1lROG2yJB

Also in 1999, a little-known online music-sharing service called Napster debuted, and the industry was about to be transformed. Over the course of the next decade, rock and pop music sales fell by half, and Napster and other sites like it complicated things by planting the idea that consumers didn’t have to pay for music. Then iTunes debuted in 2003, MP3 players like the iPod spiked in popularity, and physical-CD sales plummeted as people downloaded individual songs for less than a dollar instead of buying entire albums. And many just pirated what they wanted for free.

All that money artists had been making needed to be recouped. But it still seemed relatively uncool for musicians, especially newer bands, to hawk products — until Apple changed things. In addition to reinventing the personal computer, the mobile phone, the handheld music player and the tablet, Apple’s Steve Jobs transformed TV advertising and the music industry along with it.

First featuring well-known artists like U2 and Eminem in its iPod ads, the company started including emerging musicians: Jet in 2003, Feist in 2007, CSS in 2008. Apple ads were suddenly the vehicle to break new bands, even becoming Billboard magazine’s No. 1 place for “Maximum Exposure.”

(MORE: Is Freddie Mac Betting Against the American Homeowner?)

“It’s such an overused phrase, particularly in my industry: Advertising is the new radio,” says Loewy. “Well, it kind of is.”

Write Something Happy!
Lynn Grossman is the owner of Secret Road, an artist management and music service that represents unsigned musicians, including Ingrid Michaelson. She started with Secret Road about six years ago, when advertisers were discovering the magic of emerging artists.

Grossman represents two types of musicians: the ones who will allow their music to be in an ad if it’s a company they believe in or an ad they like, and the rest — which is most of them — who are actively trying to get their songs in any commercials. There’s a good way to do that, she says: Stay upbeat.

“We get approached by people usually looking for positive messages in songs,” she says. “Things like, ‘I feel good,’ ‘Life is great,’ ‘I’m the man,’ ‘I feel good about myself,’ or something about coming home or feeling at home. They’re all pretty similar.”

After getting a request, Grossman will either find existing songs from her collection of artists or guide musicians to write songs that the company wants. When Michaelson’s “The Way I Am” got picked up by Old Navy, it was no accident that clothing was in the lyrics.

“I think Old Navy actually looked for sweater,” Grossman says. Michaelson’s song has since sold 1.5 million copies.

Singing for Expedia, Singing for Allstate
While Michaelson isn’t writing songs specifically for ads, some artists are. Matt Mahaffey is the lead singer of the Nashville-based pop-rock band Self. But you’ve probably heard “Expedia — dotcom!” rather than Gizmodgery, an inventive Self album recorded with all kids’ toys.

“They hired some nasally dude to do it now,” says Mahaffey of the jingle for Expedia, a travel website. “But I wrote that.”

Mahaffey writes compositions for movies, commercials and cartoons, and also composes pneumonics, which are essentially micro-jingles. Is it discouraging to him that he makes more money from three-second ad spots than from his Self work?

“Oh, it’s a bummer,” he says. “But I’ll get paid a lot more to do a 30-second commercial than for something with the band, and it will take less time to do it.”

An emerging indie artist can get $10,000 for a song for a 30-second ad, while bigger acts can earn up to $1 million. “You can’t do that with a major label,” he says.

Jason Wade views the changing landscape similarly. Better known for alt-rock songs like “Hanging by a Moment” with his band Lifehouse, Wade was approached by Allstate a few years ago to pen a song for one of its auto-insurance ads.

“I can remember it like it was yesterday,” says Wade, recalling when Allstate sent him a 30-second clip of the TV spot. “A friend of mine died in a car accident when he was 16, and when I saw the clip, I had this visceral reaction. I had my guitar, I picked it up, and it was almost like I was channeling something. The whole song took, like, 10, 15 minutes to write.”

“Our band started out in the post-grunge movement, and doing anything commercial was kind of a sellout. But it’s evolved since then,” he says. “If it was just about hacking a song out, I wouldn’t be interested.”

While Wade says he feels bad for emerging bands because it’s so difficult for them make a living now, he thinks advertisers are interested in just those sorts of musicians because they’re new and exciting.

In fact, the movement toward emerging artists has cut into the business for composers like Loewy, who has been writing music for TV spots for years. “I think everybody in my business would say there is much less work for people like us,” Loewy says. “What we do isn’t necessarily cheap.”

Original music written by people like Loewy, Nashel and Rabinowitz can cost $30,000 for a 30-second spot. And Loewy says fewer advertisers seem to be asking him to make knockoffs of existing songs. There have been too many lawsuits.

But composers like Rabinowitz are adapting; he’s constantly bringing in new artists and musicians that advertisers might want to use. “There’s been a migration from the record world into my world,” he says.

Has that migration gone too far? After all, indie-sounding songs have become almost commonplace in the ad world.

But maybe pop music and commercials are just a perfect match, and more similar than we thought. Michaelson’s commercial output certainly doesn’t appear to be slowing. Grossman says two more songs off her latest album will be licensed soon. And, she adds, “I expect a lot more to come.”"

 - Josh Sanburn