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The Stories Behind 10 Famous Product Placements

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1. Junior Mints, Seinfeld

"Who's gonna turn down a Junior Mint? It's chocolate, it's peppermint, it's delicious!" Were truer words ever spoken? But it might not have been that way—other candy companies were originally asked for permission to place their product in that episode. Not seeing the humor in having their bread-and-butter fall into the open chest cavity of a patient, Seinfeld was turned down by M&Ms and Lifesavers (among others) before finally getting to the Junior Mint people. No money exchanged hands between Tootsie Roll (Junior Mints' parent company) and Seinfeld. With the amount of product exposure Junior Mints gained from that episode, that's quite a deal. Watch a clip here.

2. Reese's Pieces, E.T.

Between Seinfeld and E.T., M&Ms has really missed some huge marketing opportunities (not that the company is exactly hurting). The rumor is that Mars, Inc., just didn't think this was a worthwhile movie on which to spend their advertising dollars, but no one has ever substantiated that fact. Whatever the reason is, it was a big mistake—Mars' competitor, Hershey, snapped up the opportunity to promote Reese's Pieces. Hershey agreed to spend $1 million promoting E.T. in exchange for the rights to use E.T. in its ads. The payoff was huge—the delightful little peanut butter candies (can you tell I like Reese's Pieces?) saw a reported 65% jump in profits just two weeks after the movie's premiere.

3. Ray-Ban, Risky Business

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I used to love that episode of Saved by the Bell when Zack, Slater and Screech are home alone and they bust out some Risky Business-style moves wearing socks and using brooms as guitars. Anyway. Back to Business. At the time, the Wayfarer sunglasses Tom Cruise modeled in that movie were pretty much biting the dust. Annual sales were only about 18,000. After Tom Cruise wore them in the movie (and on the cover of the movie) in 1983, sales skyrocketed to 360,000. By 1989, Ray-Ban had sold more than four million of the Wayfarer model. A bit of trivia for you: Audrey Hepburn wore Wayfarers in Breakfast at Tiffany's, Don Johnson wore them in Miami Vice, Bruce Willis wore them in Moonlighting and ol' Tom Cruise tried them on again for Top Gun. Why such the gap between Audrey and the 80's revival? Well, in 1982, Ray-Ban inked a contract with a product placement company: $50,000 per year to put Ray-Bans in movies and television.

4. Fed-Ex, Cast Away

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You cannot escape the product placement of Fed-Ex in Cast Away. It's literally everywhere. And what great publicity—when Fed-Ex manager Chuck Noland washes up on a deserted island, he collects all of the Fed-Ex boxes that washed up with him. While he ends up opening most of them to aid in his survival on the island, he leaves one unopened and returns it to its rightful owner when he makes it back to land many years later. How's that for reliability? CEO Fred Smith even had a cameo in the movie. And what did Fed-Ex pay for all of this? Absolutely nothing. They were reluctant to allow their image and brand to be used at first—the plane crash scene really bothered them. But ultimately, they decided that the movie had a good message and the brand awareness they would get would be worth it.

5. Reebok, Jerry Maguire

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This one should be titled "When product placement goes bad." If you think back hard enough, you will remember that Cuba Gooding, Jr's character, Rod Tidwell, held a grudge against Reebok for the entire movie because Reebok wouldn't use him in their ads. Reebok provided more than $1.5 million in merchandise, ads and promotional materials to be featured in the movie because they thought the ending of the movie would be a little different. Over the closing credits, a fake Reebok commercial was supposed to be shown with Reebok saying, "Rod Tidwell. We ignored him for years. We were wrong. We're sorry." However, that scene got cut. So Reebok ended up investing $1.5 million to have their brand disparaged for a couple of hours. They sued and TriStar pictures settled out-of-court for an undisclosed amount.

6. White Castle, Harold and Kumar Go to White Castle

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The other day, Higgins posted about deal-breaker books. I could see this being a deal-breaker movie, but I'll admit it anyway—I love Harold and Kumar. (White Castle is OK.) Because of its national recognition, Krispy Kreme was also approached to play a role in the movie. Krispy Kreme was not thrilled by the idea of the brand being so closely associated with a Cheech-and-Chong-esque movie and turned them down. White Castle had no qualms about being featured and even agreed to promote the film with collectible cups, radio ads and signage. They didn't pay a dime for product placement, however.

7. Staples, The Office

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Anyone who is a fan of The Office knows that Staples is Dunder-Mifflin's biggest competitor. That's not just a mere coincidence. The Office has product placement deals with Staples, Hewlett Packard and Activision's Call of Duty computer game, among others. But the Staples deal is undoubtedly the one that is referenced the most. Not only is the brand mentioned as DM's biggest competitor, but Staples products are shown in virtually every episode. Look closely next time you watch and you could find anything from Staples-brand blank CDs to Staples-brand fax paper. A Staples shredder was even an integral part of one episode, where Kevin demonstrates the power of the shredder by using it to make a salad. While I wasn't able to find how much Staples coughs up to be featured so prominently in the show, it's clear that they are very proud of their affiliation. When one episode featured Dwight quitting his job at Staples to return to Dunder Mifflin, Staples released this memo. A company with a sense of humor? Makes me want to buy my pens there.

8. BMW Z3, GoldenEye

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James Bond is apparently one of the most powerful car salesmen in the world. After driving Aston Martins for years, 007 found himself equipped with a BMW Z3 Roadster in 1995's GoldenEye. Sure, it cost them $3 million, but people saw the movie and fell in love with the Roadster. BMW made $240 million in advance sales alone.

9. Slinky, Etch-a-Sketch, Mr. Potato Head; Toy Story

I am a testament to the power of the product placement in Toy Story. But I'll get to that in a minute. When the movie came out in 1995, classic toys like Mr. Potato Head and Slinky weren't doing so great. After being featured as characters in the Pixar/Disney film, sales soared immediately. Etch-a-Sketch saw a 4500% boost. Slinkys were no longer being produced because they weren't profitable. Post-Toy Story, Slinky received 20,000 orders, which revitalized the company. Mr. Potato Head sales jumped 800%. And that's where I come in. I am a sucker for those big displays at Disney World and Disneyland where you can go through the bin of Potato Head parts and shove as many will fit into a box for $19. I have a ridiculous number of parts, from Tinkerbell's wings to Dumbo's ears to Cruella DeVil's purse. That's double branding right there. Genius.

10. Nuprin, Doritos, Pepsi, Pizza Hut, Reebok; Wayne's World

Finally, we get to my favorite. The fact that I just rattled off all of the brands featured in this brief clip from a movie that came out 16 years ago just goes to show you how effective product placement can be.

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13 Salty Facts About Mr. Peanut
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In 2016, the dapper little legume known as Mr. Peanut celebrated his 100th year of peddling Planters peanuts, putting him on the Mount Rushmore of food mascots. As the literal face of America's peanut industry, we’ve assembled some facts and history about this shell of a man in honor of National Peanut Day (which is today, September 13).

1. HE WAS CREATED BY A 14-YEAR-OLD.

Mr. Peanut wasn’t hatched from a cynical ad firm brainstorming session. His adorable visage was the product of a 14-year-old from Suffolk, Virginia named Antonio Gentile. Gentile entered a contest held by the Planters Chocolate and Nut Company in 1916 to crown a new peanut mascot. The aspiring Don Draper sketched out a doodle of a “Mr. P. Nut” strutting with a cane. After getting freshened up by a graphic designer—including donning his trademark spats and monocle—Gentile’s design was picked up and he was awarded $5.

(Postscript: The Gentile family became friendly with the Obici family, owners of the Planters empire, and Gentile’s nephews once suggested that the Obicis helped put him through medical school; he became a surgeon.)

2. HE HAS A FULL NAME.

According to Planters, Mr. Peanut is something of an informal moniker. The full name given to him by Gentile was Bartholomew Richard Fitzgerald-Smythe.

3. HE ONCE WEIGHED OVER 300 POUNDS.

Although peanuts can be a highly sensible snack, full of healthy fats and protein, they can also be a source of too many calories. Case in point: the 300-pound cast iron Mr. Peanut, a display item made in the 1920s and 1930s. Planters would use the heavyset mascot on top of a fence post at their Wilkes-Barre, Pennsylvania factory.

4. HE SURVIVED THE GREAT DEPRESSION.

During the economic downturn of the 1930s, things like “snacks” and “nutrition” suddenly became optional rather than expected. Though many food products struggled to cope with slimmed-down wallets, Planters plastered Mr. Peanut on bags of peanuts that sold for just five cents each. Declaring it a “nickel lunch,” the company was able to use the affordability of peanuts as a selling point.

5. HE WENT TO WAR.

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Specifically, World War II. When the U.S. entered the conflict, Mr. Peanut volunteered for service as a character featured on stamps and propaganda posters.

6. HE’S A MONOCLE ENTHUSIAST.

Food mascots rarely take sides on hot-button issues, but Mr. Peanut made an exception in 2014 when a fashion movement threatened the return of the monocle. After getting wind of men wearing the single-lens reading accessory, Mr. P issued a press release stating that he took notice of the “hipsters” following in his “stylish footsteps” and implied few could pull it off. The monocle has yet to fully re-emerge.

7. THE NUTMOBILE PREDATES THE WIENERMOBILE.

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Though the Oscar Mayer Wienermobile usually takes most of the engine-driven PR credit, Planters actually introduced the NUTMobile, a shell-shaped portable advertising car, in 1935—a year prior to the Wienermobile’s introduction. A Planters salesman designed and drove the car, adding a decorative Mr. Peanut passenger behind him. (Mr. Peanut did not operate the vehicle because Mr. Peanut is not real.)

8. HE’S IN THE SMITHSONIAN.

How influential has Mr. Peanut been to the food industry? In 2013, the Smithsonian admitted his cast-iron incarnation into its National Museum of American History. The statue was exhibited as part of a series on marketing for the institution’s American Enterprise series; Antonio Gentile’s family also donated his original sketches for posterity.

9. FANS DIDN’T WANT HIM TO CHANGE.

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For the company's 100th anniversary in 2006, Planters held an online vote to see whether peanut aficionados wanted to see Mr. Peanut experiment with a sartorial change: Fans could vote for adding cufflinks, a bow tie, or a pocket watch. In the end, the ballot determined they wanted to keep him just the way he is.

10. HE HAS A FAN CLUB.

Mr. Peanut has appeared in so many different licensed products in an effort to expand his popularity—clocks, peanut butter grinders, and coloring books among them—that a collector was having trouble keeping track of them all. In 1978, Judith Walthall founded Peanut Pals, a Mr. Peanut appreciation club that circulates a newsletter and holds conventions. You can join for $20—practically peanuts.

11. HE HAS REMAINED MOSTLY SILENT.

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Mr. Peanut was already a few decades old when television came into prominence, which afforded him an opportunity to jump off packaging and magazine pages. Despite the new medium, Planters decided they liked him best when he didn’t talk—at all. The mascot was silent all the way up until 2010, when Robert Downey Jr. was commissioned to deliver his first lines. Bill Hader currently provides his voice.

12. HE FOUND A BUDDY.

When Planters unveiled an updated Mr. Peanut for contemporary audiences in 2010, he was sporting a grey flannel suit as well as a new sidekick—Benson, a shorter, single-peanut tagalong. A Planters spokesman clarified to The New York Times that the two are “just friends” and live in separate residences.

13. HE ONCE RAN FOR MAYOR OF VANCOUVER.

Amid a burgeoning alternative art scene in 1970s Vancouver, a performance artist named Vincent Trasov decided it would be interesting to run for mayor of the city while in the guise of Mr. Peanut. Hailing from the “Peanut Party” and meant to be a commentary of the Nixon-era absurdities of politics, he was endorsed by novelist William S. Burroughs and received 2685 ballots—3.4 percent of the vote.

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A Brief History of DayGlo
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In 1933, a student at the University of California named Bob Switzer fell and hit his head. He had been removing boxes from a freight car for a summer job when he tumbled off the loading dock and was knocked unconscious.

Months later, Switzer awoke from a coma with blurred vision. To continue his recuperation, his doctor recommended avoiding bright light. His father, a pharmacist, turned his shop's basement into a darkroom for Bob's recovery.

That sparked Bob’s interest in ultraviolet, or black, light. Bob's younger brother, Joe, was a chemistry student and an amateur magician who was also interested in the black arts—playing with ultraviolet light and fluorescence (not sorcery) to create the illusion of objects appearing and disappearing on a darkened stage. Hoping to find chemical compounds that would glow in UV light, the brothers mixed the pharmacy’s supply of Murine eye wash with alcohol and white shellac, which created a fluorescent yellow substance under black lights.

The Switzer brothers’ breakthrough would eventually lead to their development of a dazzling fluorescent rainbow of pigments, which they trademarked as DayGlo colors. From traffic-cone orange to Pepto Bismol pink to yellow the shade of Mountain Dew, DayGlo’s colors have been used in industrial machinery, safety equipment, and psychedelic posters. The eye-popping palette has been saving lives and expanding consciousness for more than eight decades.

At first, Joe put the yellow dye to work in his magic show. In his signature act, a woman appeared on a darkened stage wearing a costume and headdress of fluorescent painted paper. Lit only by UV light, Joe would take the woman’s headdress off in one direction while the woman danced in the opposite direction, so her head appeared to separate from her body. With this trick, Joe won the prize at the Pacific Coast Association of Magicians in 1934 and created a fan base willing to spend $10 a pint for fluorescent paints. Bob and Joe thus established their first company, Fluor-S-Art Co.

By the summer of 1935 the Switzers had moved to Cleveland, where they worked for a subsidiary of Warner Brothers, creating dramatic special-effects scenes called “midnight paintings” for movie theater lobbies. The glowing tableaux appeared to transform when a black spotlight switched to a white light. This effect worked well in the darkness of theaters. But when the brothers tried to branch out to painting traditional billboards and store advertisements, regular white light sources faded the colors.

Bob and Joe continued to experiment, hoping to create a luminous paint that shined in daylight. In 1936 they created their first batch of pigments that reflected visible color from the spectrum, while also absorbing and transforming UV wavelengths of colors lower in the spectrum. As a result, viewers perceived a more intense, dazzling color. The first products were patented in 1937 as DayGlo fluorescents.

Initially, DayGlo colors were used for commercial advertisements. But when World War II erupted, the dyes found a new niche. The military spent $12 million on DayGlo dyes for safety applications like flags or painted signals that could be seen by airplanes 10,000 feet in the air, buoys that marked where underwater mines had been cleared, and suits worn by aircraft carrier crew to guide nighttime plane landings. Thanks to the colors’ use in safety fabrics, Joe and Bob Switzer became very rich.

During this time, the Switzers also developed black light penetrants, a type of pigment that reveals flaws in machinery when painted on the metal parts and exposed to UV light. Patented as Magnaglo and Zyglo, they became widely used by the U.S. Air Force for ensuring the integrity of airplane parts.

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After World War II, Bob and Joe founded Switzer Brothers, Inc., later renamed the DayGlo Color Corporation. The company continued its production of flaw-revealing pigments, but now began to experiment with producing daylight fluorescent colors for consumer product packaging. In 1957, the company patented a process that combined fluorescent dye with a polymer, which gave the dye greater light stability for use as outdoor paints as well as in traditional printing applications.

The company convinced advertisers to adopt its super-fluorescent inks and papers, and in 1959, Proctor & Gamble opted to package its Tide laundry detergent, the first heavy-duty synthetic soap, in the Switzers' Blaze Orange hue. Soon, the DayGlo fad expanded from supermarket shelves to clothing, toys, and rock n’ roll posters in the 1960s. Pop artists like Peter Max and Andy Warhol incorporated psychedelic colors into trippy paintings and lithographs.

DayGlo eventually reached the zenith of pop culture relevance when the Beatles wore military-style suits in DayGlo colors on the cover of Sgt. Pepper’s Lonely Hearts Club Band in 1967.

The Switzer brothers’ legacy shines on in their rainbow of trademark high-visibility tones—Saturn Yellow, Blaze Orange, Aurora Pink, Neon Red, Corona Magenta, Signal Green and many more—that are found on everything from food wrappers to public safety workers today.

In 2012, the American Chemical Society awarded DayGlo Color Corporation a national historic chemical landmark designation for the development of its pigments, citing the Switzer brothers' inventions as a “symbol of safety and protection that improve our daily lives.”

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