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10 Important Facts About A Christmas Story's Leg Lamp

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When A Christmas Story was first released in 1983, it was a sleeper that attracted only a small (but quite cultish) following. Over the past three decades, however, the film has steadily become a holiday staple on par with classics like A Charlie Brown Christmas and Miracle on 34th Street. And as the film itself has grown in popularity, so has one of its most recognizable props: the leg lamp, that glowing gam otherwise known as “A Major Award.”

1.THE LEG LAMP WAS INSPIRED BY AN OLD-SCHOOL SOFT DRINK

Before A Christmas Story was a movie, it was a series of short stories that appeared in two different volumes by the late writer and radio personality Jean Shepherd. The books, In God We Trust: All Others Pay Cash and Wanda Hickey’s Night of Golden Memories and Other Disasters, were fictionalized accounts of Shepherd’s childhood in Depression-era Indiana (though the movie was filmed mostly in Cleveland). Shepherd describes the leg lamp and his father’s obsession with it in a 1966 story titled “My Old Man and the Lascivious Special Award that Heralded the Birth of Pop Art.” 

According to A Christmas Story House and Museum (yep, there’s an entire museum dedicated to the subject), Shepherd imagined the leg lamp after seeing an illuminated Nehi Soda advertisement, which featured two shapely disembodied legs up to the knee. Shepherd gave cloaked credit to Nehi by writing that the Old Man’s crossword contest was sponsored by an “orange pop” company whose name “was a play on words, involving the lady’s knee.”

When the lamp finally arrives in Shepherd’s essay, he writes, “From ankle to thigh the translucent flesh radiated a vibrant, sensual, luminous orange-yellow-pinkish nimbus of Pagan fire. All it needed was tom-toms and maybe a gong or two. And a tenor singing in a high, quavery, earnest voice: ‘A pretty girl/Is like a melody…’”

2. BUT IT WAS IMMORTALIZED BY PRODUCTION DESIGNER REUBEN FREED

Uncertain of just what a leg lamp should look like, A Christmas Story’s production designer Reuben Freed created a quick sketch and showed it to Shepherd, who surprisingly approved it right away. “I immediately thought of something I had seen in my mother’s front room, which was sort of a gold-colored silk lampshade, pleated with fringe around it,” Freed told Cleveland magazine in 2009. “I thought of it immediately and never thought of anything else—just that classic, big ugly shape.”

3. THE “ORIGINAL” LEG LAMP NO LONGER EXISTS

Finding an original leg lamp is considered the ultimate feat for A Christmas Story aficionados, according to Caseen Gaines in A Christmas Story: Behind the Scenes of a Holiday Classic. But “the likelihood of finding one is about as great as locating Pee Wee Herman’s bicycle in the basement of the Alamo.” Freed produced three leg lamps for the movie, but none of them survived the production. All three were broken during filming.

4. THERE’S A SIMPLE EXPLANATION FOR “HIS END UP” (THOUGH NOT FOR THE OLD MAN’S MISPRONUNCIATION OF “FRAGILE”)

When the leg lamp arrives at Ralphie’s house in the movie, it’s in a crate labeled not only with the infamous “FRAGILE,” but also “HIS END UP.” Though the use of “his” in place of “this” might seem like a subtle joke, the crate was indeed originally labeled “THIS END UP,” but no one had bothered to measure the container before trying to wheel it through the door. Jim Moralevitz, an actor who played one of the leg-lamp delivery guys, told Cleveland’s News-Herald, “I had the pleasure of delivering the major award 30 years ago. Unfortunately, the crate was so wide that it wouldn’t fit through the door. So they called in the carpenters and they took four inches off.” 

5. THE LEG LAMP IS BIG IN CLEVELAND

A Christmas Story House and Museum

Because much of A Christmas Story was filmed in Cleveland, the city has embraced the movie as its own (possibly to the resentment of Shepherd’s native Indiana). As part of Cleveland’s annual Winterfest and to celebrate the movie’s 30th anniversary this year, Terminal Tower in Cleveland’s Public Square was turned into a giant leg lamp, complete with a red garter.

The tower can be seen, sans leg-lamp accoutrements, in A Christmas Story’s first few opening shots, looming over Higbee’s department store, where Ralphie first spots the coveted Red Ryder BB gun.

6. AND ALSO IN…LONG ISLAND.

Eight years ago, the Reichert family, owners of the Northport Hardware Store in Northport, Long Island, got a goofy idea after attending the mayor’s Christmas-tree lighting ceremony. They rustled through the store’s generous stock of leg lamps, called over some of the guys from the bar next door, and ceremoniously lit one of the lamps in the store’s picture window. Then they all cheered.

Somehow the Reicherts’ lighting of the leg lamp caught on and it has become an annual Northport tradition. It’s even included in the mayor’s rounds after the Christmas-tree shebang, according to Northport Hardware Store co-owner Jim Reichert. “It’s really ended up building in popularity,” Reichert said. “We had between 800 and 900 people this year.”

The event has become much more sophisticated since its inception, with the high school dance team forming a kick line, a local child actor named Chris Gentry playing the part of Ralphie, and the town electrician dressing in the movie’s iconic pink bunny suit. “Everything goes pitch dark, and Ralphie throws the switch,” Reichert says with glee. “If it isn’t snowing, we put a snow machine on the roof.” 

7. IT’S A HIT ON HALLOWEEN

The leg lamp has become so popular that one can now purchase ready-made Halloween costumes in its likeness. But Josh Sundquist, a paralympian, motivational speaker and author who lost his leg to cancer when he was nine years old, won Halloween last year when he decided to make his own leg lamp costume. He even shaved his leg for authenticity.

8. AND A STAR ON THE STAGE FROM NEW YORK TO L.A.


Ralphie (Matt Walker), Randy (Beth Kennedy), Lampy (Monica Schneider) and Old Man (Rick Batalla) in Troubadour Theater Company’s A Christmas Westside Story at the Falcon Theatre. Photo by Chelsea Sutton.

Last year, A Christmas Story: The Musical opened on Broadway at the Lunt-Fontanne Theater. Much like at the Northport Hardware spectacle on Long Island, the leg lamp was celebrated with a kick line—only the Broadway chorus kicked up not only their own legs but also fishnet-clad leg lamps.

The year before, at the Falcon Theatre in Burbank, CA, the Troubadour Theater Company performed “A Christmas Westside Story," a mashup of A Christmas Story and the epic tale of the Sharks and the Jets. What song did the leg lamp get to sing? None other than “I Feel Pretty.” 

9. THE LEG LAMP HAS SUMMITED MT. EVEREST (IN A WAY)

According to a post-Christmas press release that highlighted Amazon’s seasonal sales last year, the online retail giant boasted: “If you stacked every Christmas Story Leg Lamp purchased by Amazon customers this holiday season, the height would reach the top of Mt. Everest.”

10. AND GIVEN RISE TO A HILARIOUS CATCHPHRASE

Fra-gee-lay. It must be Italian!

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This 'Smokeless' Fire Pit Promises a More Efficient Burn
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For thousands of years, people have gathered around open flames to cook food, find warmth, and share stories deep into the night. Campfires have been around since the dawn of humanity, but what if there was a way to use modern technology to make them even better? The people at BioLite believe they've found one.

The FirePit is the outdoor gadget startup's answer to the recreational, backyard fire. It offers the same benefits as a more conventional product: a space for building wood or charcoal fires, a removable grate for grilling, and metal screens on each side to protect onlookers from embers. But the yellow battery pack is what sets it apart from anything else on the market. With the press of a button, a fan inside the FirePit stokes a hotter, more efficient blaze without producing all of the smoke and soot people are used to.

Couple sitting by a firepit on the beach.
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"Air injection makes the fire burn more completely," Ryan Gist, one of the lead engineers on the project, told Mental Floss. "So you basically get all the energy out of your fuel." The result is a fire you can enjoy without worrying about your eyes and throat burning, moving your chair every five minutes to avoid a gust of smoke, or having your clothes stink for weeks.

It also makes for a fire capable of burning longer and brighter with less wood. Smoke is made of tiny fuel particles that haven't fully burned up. Using a fan, the FirePit can draw that runaway fuel back into the fire before it has a chance to escape. "It's like when you're stuck on the highway behind a truck and it's got black stuff coming out of the tailpipe," BioLite marketing director Erica Rosen told Mental Floss. "When you see black stuff coming out of a fire, it's the same thing. So what we've done is, we've given fire a tuneup."

FirePit's built-in fan makes the fire easy to control. If campfire gazers want to see big, roaring flames through the box's X-ray mesh, they can turn the air down low. The higher fan setting produces a smaller, more intense burn, which is perfect for chilly autumn nights. Adjusting the blaze can be done remotely with the BioLite Energy app or manually from the control panel on top of the battery pack.

People sitting by a fire.
BioLite

BioLite designed the FirePit for backyards, but its foldable legs make it convenient to carry to the beach, a campsite, or anywhere else where you might bring a cooler of the same size. Once it's cooled down after an evening of grilling hot dogs and toasting marshmallows, the pit fits neatly into its solar panel case, where it can recharge in time for the following night (the battery also features a USB plug for charging indoors).

The FirePit recently debuted on Kickstarter, where it's available along with its solar carrying case for a special deal of $169 (once the first 300 FirePits go, it will be sold for the regular price of $199). To help the campaign reach its $100,000 funding goal, you can reserve yours today with shipping estimated for May of next year.

Skewers cooking on a grill.
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All images courtesy of BioLite.

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13 Stylish Facts About dELiA*s
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Lucy Quintanilla

Millennial women across the United States will remember rushing to their mailboxes after school to grab the hottest catalog of the ‘90s: dELiA*s. The groundbreaking magalog, which debuted in 1994, was, by 1998, sending out 55 million catalogs a year. REaD oN fOr A fEw fUN fACts aBoUt dELiA*s.

1. THE COMPANY WAS FOUNDED BY TWO MALE YALE GRADS.

Stephen Kahn and Christopher Edgar, former Yale roommates, were in their 20s when they started dELiA*s in New York in 1993. Kahn—who, after Yale, had studied political philosophy and Victorian history at Oxford—had taken a job at the brokerage firm PaineWebber and was studying for his MBA at night. But he was bored. He wanted to run his own company. “I was interested in being more creative,” Kahn told Crain’s New York Business in 1998. “And I wanted to make a lot of money.” He convinced Edgar to leave his comparative literature Ph.D. program at Columbia University to start the company. Kahn provided $100,000 of his own money, and his father provided another $100,000.

2. DELIA*S WAS ORIGINALLY AIMED AT COLLEGE-AGED WOMEN.

In the early ‘90s, 90 percent of catalogs were aimed at women aged 30 to 50; it was seeing fashionable undergrads at Columbia that inspired Kahn and Edgar to launch a catalog aimed at selling clothes to college-aged women. They called the catalog dELiA*s. (Where that name came from is a mystery.) Initially, they created 20,000 catalogs and, in 1994, hired students to distribute them around college campuses.

But the response from college women, Kahn told Chief Marketer in 1998, was “lukewarm.” After running ads for the catalog in a few magazines, they found a new market: the college students’ little sisters. “We got a huge response from high school kids,” Kahn said. “So basically the market found us.”

They expanded their customer base to include 10- to 24-year-olds with the goal of giving girls who might not live in areas with tons of shops for them an opportunity to buy cool clothes. (Fortune’s summation of the company’s strategy, from a 1997 article, is too amazing not to share: “Today’s average 14-year-old girl in Des Moines is just as hip to what’s hot as the 14-year-old in suburban Los Angeles … She, too, wants shiny avalanche pants and baby-T’s, but she’s stuck in the backwoods with nowhere to shop but her local Wal-Mart. Delia’s body glitter, like Dorothy’s red shoes, transports her from the farm to Melrose Avenue.”) “We felt that this group was not well served,” Edgar told The New York Times in 1997. “There wasn’t a recognition of these kids as real consumers.”

The first catalog hit campuses in the fall 1994, and quickly became a hit: Within four years, the company had annual sales of $158 million. When it went public in 1996, Kahn’s 57 percent share of the stock was worth $163 million.

3. KAHN AND EDGAR WOOED INVESTORS BY COMPARING dELiA*s TO MTV.

In the ‘90s, it was tough to get investors to put their money into catalogs. According to the Los Angeles Times, they “often doubted that teens will bother to leaf through pages and manipulate measuring tapes.” But dELiA*s was able to land financing by comparing its catalog to MTV’s programming. “We told them to think of us as a ‘channel’ through which you can program different types of apparel brands,” Evan Guillemin, the company's chief financial officer, told the Los Angeles Times in 1997. “We, like MTV, stay constant … but we’ll provide them with a constantly changing assortment of designs and brands.”

4. CREATIVE DIRECTOR CHARLENE BENSON HAD A DAY JOB AND WORKED ON DELIA*S AT NIGHT FOR THE FIRST YEAR.

The cover of the first-ever dELiA*s catalog
The cover of the first-ever dELiA*s catalog.
Courtesy of Charlene Benson

With its irregular capitalization and engaging photos, dELiA*s was a standout from the start. That strategy came from creative director Charlene Benson and her collaborators. Benson was the art director of Mademoiselle magazine when she got the dELiA*s gig—and she kept that day job for a full year while producing the catalog at night.

How Benson got the dELiA*s job is what she calls a “folksy” story: One of her friends, the writer Hilton Als, met Kahn at an art show, and they got to talking about the catalog. Benson went in for an interview. The office was casual; “It looked like they had collected all the furniture off the street,” Benson tells Mental Floss. “They didn’t really have an idea of what it should be yet. They wanted to know if I knew how to put together a photo shoot, how to do the layout, how to talk to printers. It was more of the business part of it.”

Given pretty much free rein—albeit on a shoestring budget—Benson hired some help and got to work … at night, after she finished at her day job. And though she loved working at Mademoiselle (which was, she says, “wonderful”), dELiA*s gave her a different kind of opportunity. “I did all of the things that I didn’t get to do at Mademoiselle—choose the pictures where the girls were making faces, and have kind of more chaotic layouts, and just have a certain kind of fun and a certain kind of real girl-ness that I always missed working at a Condé Nast fashion magazine,” she says.

That included randomly capitalized type. “We really liked that mixed up and down type,” Benson says. “Sassy had kind of done something like that [before dELiA*s] and we really liked it. But because I was such a bad typist a lot of times my typing would kind of look like that, so it was like, ‘This feels right.’”

Benson didn’t do any market research to create the catalog, but she did look at teen magazines that were available at the time. “When I looked at teen stuff it was a lot of ‘how to kiss a boy,’ or ‘how to know if he likes you.’” She and her team decided to do the opposite: “It was kind of like, ‘Let’s do something where that’s not in the picture yet or maybe it’s not the most important thing to her—that she’s more creative, and she’s more interesting, and she’s more about her friends still.”

The copy in the catalog (an example: “wOulD YoU rAtHeR bE iN a cAve oF sNakEs oR a bAthTub fUlL oF sluGs?”) also reflected that—something Benson says parents appreciated. “I got a lot of nice notes from moms that would be like, ‘Oh thank you for the funny copy. My daughter and I had a really beautiful moment reading it together.’”

The first catalog, which Benson says “wasn’t totally baked,” was a huge success; Edgar came back to Benson in two months and said they’d sold every piece of merchandise. “He was like, ‘So we want to do another one,’ and I was like ‘Wow, didn’t you find that first one really difficult?’,” Benson says, laughing. “And so we did another one. ... I did that for a year and was still working at Mademoiselle and I just basically had no life,” Benson says. After that year, Kahn and Edgar asked Benson to come on full-time, and she left Mademoiselle. “That’s really when we made the catalog grow.”

5. THERE WAS A “FICTIONAL DELIA.”

Though no one knows where the name Delia came from (Benson calls it "one of the great mysteries"), according to Jim Trzaska, dELiA*s' photo producer, there was a fictional Delia who “was supposed to be a girl’s girl who loved hanging out with her friends above all else, and dressed for herself rather than to attract boys. That naturally set the tone at the photo shoots as well.”

6. THE CREW HAD A STRATEGY FOR MAKING PHOTO SHOOTS FUN.

A page from the Summer '97 dELiA*s catalog.

Rarely will you find a girl in a dELiA*s catalog smiling; she’s more likely to be making a funny face or looking like she’s having the time of her life. They were looking for a particular type of girl, Benson says—someone who was expressive. "Sometimes I would ask them, 'Do you want to be an actress someday?' The actual shoots were super fun. We just had the funniest crew, and the stylist that we worked with consistently, Galadriel Masterson, was just really, really funny and she had this way of teaching the girls how to be on set and how to express themselves. She had a really good idea for how to put the stuff together because we weren’t match-y and we weren’t outfit-y. We just shot a lot of film until we got the funny pictures we wanted." Benson brought on Kevin Hatt to photograph the early catalogs, and later, Mei Tao shot them.

According to the models who participated in those shoots—who typically had already appeared in teen mags like Seventeen—they really were awesome. “Every single one was fun,” model Kim Matulova told MTV. “There was always a lot of energy and it was very natural, unforced, and spur-of-the-moment. [The photographer] would just turn on the music and let us girls do our thing, and he’d capture it.”

The photographer shot on Polaroid, and the models would get to take some photos home at the end of the shoot. “I have a huge box at my mom’s house full of old Polaroids and outtakes,” Matulova said.

A page from the Summer '97 dELiA*s catalog.

The crew also had a strategy for getting girls to let loose. “One thing that always got a big reaction from everyone on set was a fake boy named ‘Billy’ who was invented by our lead stylist, Galadriel Masterson,” Trzaska told Refinery 29. “Depending on what kind of mood we needed from the model, ‘Billy’ could be anyone from a shady ex-boyfriend to a bratty little brother or a gay best friend. He definitely helped us get the shot on more than one occasion.”

7. YOU MIGHT FIND SOME FAMOUS FACES IN YOUR OLD CATALOGS.

Miranda Kerr, Brooklyn Decker, Rosie Huntington-Whiteley, Cassie, and Krysten Ritter all struck a pose for dELiA*s back in the day.

8. AT ITS PEAK, THE COMPANY GOT THOUSANDS OF CATALOG REQUESTS DAILY.

Courtesy of Charlene Benson

According to Chief Marketer, by August 1998, Delia’s was receiving 3000 to 5000 catalog requests every single day. (Some outlets suggest the number was as high as 7000 requests a day.) The company had a whopping 5 million names in its database, each one accompanied by its precise order history.

According to The Cut, 4 million people—or 10 percent of the 40 million female Millennials currently living in the United States—have requested a dELiA*s catalog.

9. THERE WERE PLENTY OF COPYCATS.

Not surprisingly, dELiA*s' massive success led to a number of “magalog” competitors, including Zoe, Wet Seal, moXiegirl (or mXg), Alloy, Airshop, and Just Nikki. But Kahn was not threatened by the competition. “People will try to play catch-up,” he told Chief Marketer. “There will be a shakeout on the imitator side. Most of these guys will lose a lot of money for a long time.”

10. THERE WAS A SPIN-OFF FOR BOYS.

Droog, a.k.a. dELiA*s for boys, launched in 1998. Though it, too, aimed for a market Kahn and Co. thought was untapped, its approach was different than its big sister’s: Instead of being shot in a studio, Droog was shot in fields and parking lots. Its centerfold featured a car, shot head on, bearing a license plate which read “Droog.” The name was the result of a company contest. It was, Kahn told Catalog Age in 1999, a “natural progression from dELiA*s” that featured “streetwear, workwear, and urban and athletic lines.”

Sadly, Droog did not find the same success as dELiA*s; according to Catalog Age, it folded in 2000.

11. THERE WAS A CATALOG FOR HOME FURNISHINGS, TOO.

Contents, which featured roomwares for teens, launched in the late ‘90s. Says Benson, who collaborated with a designer named Whitney Delgado on the catalog: "I love the pictures so much, and those crazy rooms that we built."

12. THE BRICK-AND-MORTAR STORES POSED A PARTICULAR CHALLENGE FOR BENSON.

A Delia's storefront.
Mike Mozart, Flickr // CC BY 2.0

Following the launch of its website in 1998 (which, according to Chain Store Age accounted for two to three percent of the company's total sales in just two weeks online), dELiA*s began opening brick-and-mortar stores in 1999. Creating the look of the stores was, according to Benson, a tough but rewarding assignment.

To help, the company enlisted visual merchandiser Renee Viola and hired store designer John Farnum, who had worked with Nike. “The tricky part was like ‘OK, we have this thing, it looks like this and feels like this in print. How do we bring what’s happening here into the stores?’” she says. “We didn’t want to lose what we had. From a design standpoint and a building creative team standpoint, it was super fun—I haven’t been in a store development process that was so collaborative since. It was quite wonderful.”

13. THE COMPANY WAS SOLD, WENT OUT OF BUSINESS, AND CAME BACK FROM THE DEAD.

In 2003, amidst decreasing sales, dELiA*s was sold to Alloy, its former competitor, for $50 million. (Catalog Age called it “one of the hottest pairings in teendom since Britney and Justin.”) Alloy at first absorbed the company; then, two years later, spun it off again so it was a separate entity. In 2014, after it lost $57 million, dELiA*s filed for bankruptcy; all of its retail locations and its website were shuttered by March 2015.

But that wasn’t the end. In early 2015, Delia’s was purchased by Steve Russo and other investors and relaunched that August. “In speaking to women who came of age in the ‘90s, they all said they couldn’t wait to receive their dELiA*s catalog in the mail after school,” Russo told The Huffington Post. “The company in those days was visionary, with its inclusive product assortment. We saw an opportunity to revive that excitement in every girl again through print catalogs, exciting new social media campaigns, and a strong e-commerce presence.” You can shop here.

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