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11 Successful Products Originally Invented for Something Else

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jamie, flickr

Although some of these are sort of cringe-inducing in their original applications, they found new life—and commercial popularity—in unintended ways.

1. Kotex

During World War I, Kimberly-Clark produced wadding for surgical dressing made out of a relatively new material called Cellucotton. It worked just fine for treating battle wounds, but the Red Cross nurses found that the super absorbent material also had personal hygiene benefits. After the war, the market for surgical wadding dropped off, but the company found a new market for "sanitary napkins." The new product was given the name Kotex, short for "cotton texture," and was openly advertised as a re-purposing of the war material.

2. Kleenex

The public was slow to come around on the idea of disposable, publicly marketed sanitary pads, and while they waited for the tides to turn, Kimberly-Clark found another use for its supply of creped wadding. Scientists created the super thin, soft tissues we know today before they even knew what it would be used for. Initially, marketers promoted it as a replacement for "cold cream towels," which were used to apply skincare serums. Ads focusing on the cosmetic value—calling it "the new secret of keeping a pretty skin as used by famous movie stars"—sold Kleenex from its inception in 1924 until nose-needs were introduced into the marketing campaign in 1930.

3. Bubble Wrap

A bubble wrap-lined room seems like the sort of idea that would come about after people everywhere had become obsessed with the satisfying sensation of popping the bubbles that keep our fragile items safe in transit. And yet, wallpaper was actually the original intent behind engineer Al Fielding and Swiss inventor Marc Chavannes' invention. Turns out, the market for textured wallpaper was not what they had hoped, and the pair struggled to find an alternate angle. Despite some viability, the plan to pitch the material as an insulator for greenhouses didn't pan out either. Then, in 1959, IBM had announced their new 1401 variable word length computer, and Fielding and Chavannes had an idea. They pitched bubble wrap as a packaging material for the fragile new technologies, and IBM agreed to give it a try. From there, bubble wrap found new purpose and people were left wishing they had whole rooms lined with the stuff. Probably.

4. Nalgene

The favorite water bottle of especially active outdoorsy folk can trace its history back to the laboratory. Nalge Company, in upstate New York, developed a line of polyethylene laboratory equipment that could withstand high temperatures and reactive chemicals, and, unlike glass containers, be virtually unbreakable. This worked wonderfully for centrifuge bottles, filter units, storage tanks, etc, but in the 1970s, Nalgene’s president Marsh Hyman heard that some of the scientists had found a second use for the containers out on the trails. To test the viability of this alternate application, he took an assortment of Nalgene products to a campout with his son’s Boy Scout troop. The containers were a hit with the campers. It took some more developments in the material before Nalgene would advertise water bottles but they held on to their laboratory roots.

5. Lysol

mrbill, Flickr

OK, there's a lot to unpack here. Let's start with the basics: In the first half of the 20th century, Lysol was advertised as a "vaginal douche." At the time, birth control methods like condoms and diaphragms were expensive and difficult to come by. So the Lysol ads hinted at an additional benefit for their feminine hygiene product: contraception. Of course, not only did Lysol fail to prevent pregnancy, it was incredibly dangerous down there, despite marketing claims to the contrary. To add misogynistic insult to inflamed genital injury, the ads appealed to women's insecurities with thinly—or not at all—veiled implications that a husband's infidelity or marital displeasure was the direct result of his wife's, um, uncleanliness and rampant fertility.

6. Listerine

Jamie, Flickr

Listerine was invented 135 years ago, first as a surgical antiseptic, but also as a cure for gonorrhea (don’t try that at home). An article from 1888 recommends Listerine "for sweaty feet, and soft corns, developing between the toes." Over the course of the next century, it was marketed as a refreshing additive to cigarettes, a cure for the common cold, and as a dandruff treatment. But it was in the 1920s that the powerful, germ-killing liquid finally landed on its most lucrative use as a magical cure for bad breath.

7. Propecia

Propecia, that ubiquitous drug used to treat male-pattern baldness, was originally marketed as Proscar, a drug to treat the benign enlargement of the prostate. After five years on the market in the 1990s, it became clear that one of the side effects of Proscar was—you can practically see the money signs flashing in the pharmaceutical marketers’ eyes—hair growth on bald men. Cha-ching!

8. Viagra

Viagra, or Sildenafil, as it's officially known, was originally conceived as a treatment for hypertension, angina, and other symptoms of heart disease. But Phase I clinical trials revealed that while the drug wasn’t great at treating what it was supposed to treat, male test subjects were experiencing a rather unexpected side effect: erections. A few years later, in 1998, the drug took U.S. markets by storm as a treatment for penile dysfunction and became an overnight success. It now rakes in an estimated $1.9 billion a year.

9. Brandy

Brandy, that delightful, caramel-colored after dinner drink, started off as a byproduct of transporting wine. About 900 years ago, merchants would essentially boil the water off of large quantities of wine in order to both transport it more easily, and save on customs taxes, which were levied by volume. After a while, a few of these merchants, bored perhaps after a long day on the road, dipped into their inventory and discovered that the concentrated, or distilled, wine actually tasted pretty darn good. Voila! Brandy was born.

10. Coca-Cola

SenseiAlan, Flickr

Coca-Cola, one of the world’s most famous brand names, was originally invented as an alternative to morphine addiction, and to treat headaches and relieve anxiety. Coke’s inventor, John Pemberton—a Confederate veteran of the Civil War who himself suffered from a morphine addiction—first invented a sweet, alcoholic drink infused with coca leaves for an extra kick. He called it Pemberton’s French Wine Coca. It would be another two decades before that recipe was honed, sweetened, carbonated and, eventually, marketed into what it is today: the most popular soda in the world.

11. Play-Doh

Play-Doh, that strange, brightly colored, salty clay that all of us grew up molding and poking (and, occasionally, nibbling), was first invented in the 1930s by a soap manufacturer named Cleo McVickers, who thought he’d hit upon a fantastic wallpaper cleaner. It wasn’t for another 20 years that McVicker’s son, Joseph, repurposed the goop as clay for pre-schoolers and called it Play-Doh, a product that remains wildly popular among the under-5 crowd today.

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20 Facts About Your Favorite Coen Brothers’ Movies
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Gramercy Pictures

Ethan Coen turns 60 years old today, if you can believe it. Since bursting onto the scene in 1984 with the cult classic Blood Simple, the younger half of (arguably) the most dynamic moviemaking sibling duo in Hollywood has helped create some of the most memorable and quirky films in cinematic history, from Raising Arizona to Fargo and The Big Lebowski to No Country For Old Men. To celebrate the monumental birthday of one of the great writer-directors of our time (though he’s mostly uncredited as a director), here are some facts about your favorite Coen brothers’s movies.

1. THE COENS THINK BLOOD SIMPLE IS “PRETTY DAMN BAD.”

Fifteen years after Blood Simple’s release, the Coens reflected upon their first feature in the 2000 book My First Movie. “It’s crude, there’s no getting around it,” Ethan said. “On the other hand, it’s all confused with the actual process of making the movie and finishing the movie which, by and large, was a positive experience,” Joel said. “You never get entirely divorced from it that way. So, I don’t know. It’s a movie that I have a certain affection for. But I think it’s pretty damn bad!”

2. KEVIN COSTNER AND RICHARD JENKINS AUDITIONED FOR RAISING ARIZONA.

Kevin Costner auditioned three times to play H.I., only to see Nicolas Cage snag the role. Richard Jenkins had his first of many auditions for the Coens for Raising Arizona. He also (unsuccessfully) auditioned for Miller's Crossing (1990) and Fargo (1996) before calling it quits with the Coens. In 2001, Joel and Ethan cast Jenkins in The Man Who Wasn't There, even though he had never auditioned for it.

3. THE BROTHERS TURNED DOWN BATMAN TO MAKE MILLER’S CROSSING.

After Raising Arizona’s success established them as more than one-hit indie film wonders, the Coens had some options with regard to what project they could tackle next. Reportedly, their success meant that they were among the filmmakers being considered to make Batman for Warner Bros. Of course, the Coens ultimately decided to go the less commercial route, and Tim Burton ended up telling the story of The Dark Knight on the big screen.

4. BARTON FINK AND W.P. MAYHEW WERE LOOSELY BASED ON CLIFFORD ODETS AND WILLIAM FAULKNER.

The Coens acknowledge that Fink and Odets had similar backgrounds, but they had different personalities: Odets was extroverted, for one thing. Turturro, not his directors, read Odets’ 1940 journal. The Coens acknowledged that John Mahoney (Mayhew) looks a lot like the The Sound and the Fury author.

5. THE COENS'S WEB OF DECEPTION IN FARGO GOES EVEN FURTHER THAN THE OPENING CREDITS. 

While the tag on the beginning of the movie reads “This is a true story. The events depicted in this film took place in Minnesota in 1987,” Fargo is, by no stretch of the imagination, a true story. During the film's press tour, the Coens admitted that while not pinpoint accurate, the story was indeed inspired by a similar crime that occurred in Minnesota, with Joel stating “In its general structure, the film is based on a real event, but the details of the story and the characters are fictional.”

However, any and all efforts to uncover anything resembling such a crime ever occurring in Minnesota come up empty, and in an introduction to the published script, Ethan pretty much admitted as much, writing that Fargo “aims to be both homey and exotic, and pretends to be true." 

6. THEY WANTED MARLON BRANDO TO PLAY JEFFREY LEBOWSKI.

According to Alex Belth, who wrote the e-book The Dudes Abide on his time spent working as an assistant to the Coens, casting the role of Jeffrey Lebowski was one of the last decisions made before filming. Names tossed around for the role included Robert Duvall (who passed because he wasn’t fond of the script), Anthony Hopkins (who passed since he had no interest in playing an American), and Gene Hackman (who was taking a break at the time). A second “wish list” included an oddball “who’s who," including Norman Mailer, George C. Scott, Jerry Falwell, Gore Vidal, Andy Griffith, William F. Buckley, and Ernest Borgnine.

The Coens’ ultimate Big Lebowski, however, was the enigmatic Marlon Brando, who by that time was reaching the end of his career (and life). Apparently, the Coens amused themselves by quoting some of their favorite Jeffrey Lebowski lines (“Strong men also cry”) in a Brando accent. The role would eventually go to the not-particularly-famous—albeit pitch-perfect—veteran character actor David Huddleston. In true Dude fashion, it all worked out in the end.

7. JOEL COEN WOOED FRANCES MCDORMAND ON THE SET OF BLOOD SIMPLE.

Coen and McDormand fell in love while making Blood Simple and got married a couple of years later, after production wrapped. McDormand told The Daily Beast about the moment when she roped him in. “I’d only brought one book to read to Austin, Texas, where we were filming, and I asked him if there was anything he’d recommend,” she said. “He brought me a box of James M. Cain and Raymond Chandler paperbacks, and I said, ‘Which one should I start with?’ And he said, ‘The Postman Always Rings Twice.’ I read it, and it was one of the sexiest f*ckin’ books I’ve ever read. A couple of nights later, I said, ‘Would you like to come over and discuss the book?’ That did it. He seduced me with literature. And then we discussed books and drank hot chocolate for several evenings. It was f*ckin’ hot. Keep it across the room for as long as you can—that’s a very important element.”

8. O BROTHER, WHERE ART THOU? WAS ORIGINALLY INSPIRED BY THE WIZARD OF OZ.

Joel Coen revealed as much at the 15th anniversary reunion. “It started as a 'three saps on the run' kind of movie, and then at a certain point we looked at each other and said, 'You know, they're trying to get home—let's just say this is The Odyssey. We were thinking of it more as The Wizard of Oz. We wanted the tag on the movie to be: 'There's No Place Like Home.’”

9. THE ACTORS IN FARGO WENT THROUGH EXTENSIVE TRAINING TO GET THEIR ACCENTS RIGHT.

Having grown up in Minnesota, the Coens were more than familiar with the idiosyncrasies of the “Minnesota nice” accent, but much of the cast—including Frances McDormand and William H. Macy—needed coaching to get the intricacies right. Actors were even given copies of the scripts with extensive pronunciation notes. According to dialect coach Larissa Kokernot, who also appeared as one of the prostitutes Gaear and Carl rendezvous with in Brainerd, the “musicality” of the Minnesota nice accent comes from a place of “wanting people to agree with each other and get along.” This homey sensibility, contrasted with the ugly crimes committed throughout the movie, is, of course, one of the major reasons why the dark comedy is such an enduring classic.

10. NICOLAS CAGE'S HAIR REACTED TO H.I.'S STRESS LEVEL IN RAISING ARIZONA.

Ethan claimed that Cage was "crazy about his Woody Woodpecker haircut. The more difficulties his character got in, the bigger the wave in his hair got. There was a strange connection between the character and his hair."

11. A PROP FROM THE HUDSUCKER PROXY INSPIRED THE MAN WHO WASN’T THERE.

A bit of set dressing from 1994’s The Hudsucker Proxy eventually led to 2001’s The Man Who Wasn’t There. In a barbershop scene, there’s a poster hanging in the background that featured a range of men’s hairstyles from the 1940s. The brothers liked the prop and kept it, and it’s what eventually served as the inspiration for The Man Who Wasn’t There.

12. GEORGE CLOONEY SIGNED ON TO O BROTHER, WHERE ART THOU? BEFORE EVEN READING THE SCRIPT.

The brothers visited George Clooney in Phoenix while he was making Three Kings (1999), wanting to work with him after seeing his performance in Out of Sight (1998). Moments after they put their script on Clooney’s hotel room table, the actor said “Great, I’m in.”

13. A SNAG IN THE MILLER’S CROSSING SCRIPT ULTIMATELY LED TO BARTON FINK.

Miller’s Crossing is a complicated beast, full of characters double-crossing each other and scheming for mob supremacy. In fact, it’s so complicated that at one point during the writing process the Coens had to take a break. It turned out to be a productive one: While Miller’s Crossing was on pause, the brothers wrote the screenplay for Barton Fink, the story of a writer who can’t finish a script.

14. INTOLERABLE CRUELTY IS THE FIRST COEN MOVIE THAT WASN’T THE BROTHERS’ ORIGINAL IDEA.

In 1995, the Coens rewrote a script originally penned by other screenwriters, Robert Ramsey, Matthew Stone, and John Romano. They didn’t decide to direct the movie, which became Intolerable Cruelty, until 2003.

15. THE LADYKILLERS WAS WRITTEN FOR BARRY SONNENFELD TO DIRECT.

The Coens effortlessly jump from crime thriller to comedy without missing a beat. So when they were commissioned to write a remake of the British black comedy The Ladykillers for director Barry Sonnenfeld, it seemed to fall in line with their cinematic sensibilities. When Sonnenfeld dropped out of the project, the Coens were hired to direct the film.

16. BURN AFTER READING MARKED THE FIRST TIME SINCE MILLER’S CROSSING THAT THE COENS DIDN’T WORK WITH THEIR USUAL CINEMATOGRAPHER, ROGER DEAKINS.

Instead, eventual Academy Award-winner Emmanuel Lubezki acted as the director of photography. The Coens would work with Deakins again on every one of their films until 2013’s Inside Llewyn Davis.

17. IT TOOK SOME CONVINCING TO GET JAVIER BARDEM TO SAY “YES” TO NO COUNTRY FOR OLD MEN

Though it’s hard to imagine No Country for Old Men without Javier Bardem’s menacing—and Oscar-winning—performance as antagonist Anton Chigurh, he almost passed on the role. “It’s not something I especially like, killing people—even in movies,” Bardem said of his disdain for violence. “When the Coens called, I said, ‘Listen, I’m the wrong actor. I don’t drive, I speak bad English, and I hate violence.’ They laughed and said, ‘Maybe that’s why we called you.”’

18. PATTON OSWALT AUDITIONED FOR A SERIOUS MAN.

Patton Oswalt auditioned for the role of the obnoxious Arthur Gopnik in A Serious Man, a part that ultimately went to Richard Kind. Oswalt talked about his audition while appearing on Marc Maron’s WTF podcast, in which it was also revealed that Maron was being considered for the lead role of Larry Gopnik (the role that earned Michael Stuhlbarg his first, and so far only, Golden Globe nomination). 

19. THE CAT IN INSIDE LLEWYN DAVIS WAS “A NIGHTMARE.”

Ulysses, the orange cat who practically stole Inside Llewyn Davis away from Oscar Isaac, was reportedly a bit of a diva. "The cat was a nightmare,” Ethan Coen said on the DVD commentary. “The trainer warned us and she was right. She said, uh, "Dogs like to please you. The cat only likes to please itself.’ A cat basically is impossible to train. We have a lot of footage of cats doing things we don't want them to do, if anyone's interested; I don't know if there's a market for that."

20. THE COEN BROTHERS PROBABLY DON’T LOVE THE BIG LEBOWSKI AS MUCH AS YOU DO. 

We’re assuming the Coen Brothers are plenty fond of The Dude: after all, he doesn’t end up facing imminent death or tragedy, which is more than most of their protagonists have going for them. But in a rare Coen Brothers interview in 2009, Joel Coen flatly stated, “That movie has more of an enduring fascination for other people than it does for us.”

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‘American Gothic’ Became Famous Because Many People Saw It as a Joke
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Wikimedia Commons // Public Domain

In 1930, Iowan artist Grant Wood painted a simple portrait of a farmer and his wife (really his dentist and sister) standing solemnly in front of an all-American farmhouse. American Gothic has since inspired endless parodies and is regarded as one of the country’s most iconic works of art. But when it first came out, few people would have guessed it would become the classic it is today. Vox explains the painting’s unexpected path to fame in the latest installment of the new video series Overrated.

According to host Phil Edwards, American Gothic made a muted splash when it first hit the art scene. The work was awarded a third-place bronze medal in a contest at the Chicago Art Institute. When Wood sold the painting to the museum later on, he received just $300 for it. But the piece’s momentum didn’t stop there. It turned out that American Gothic’s debut at a time when urban and rural ideals were clashing helped it become the defining image of the era. The painting had something for everyone: Metropolitans like Gertrude Stein saw it as a satire of simple farm life in Middle America. Actual farmers and their families, on the other hand, welcomed it as celebration of their lifestyle and work ethic at a time when the Great Depression made it hard to take pride in anything.

Wood didn’t do much to clear up the work’s true meaning. He stated, "There is satire in it, but only as there is satire in any realistic statement. These are types of people I have known all my life. I tried to characterize them truthfully—to make them more like themselves than they were in actual life."

Rather than suffering from its ambiguity, American Gothic has been immortalized by it. The country has changed a lot in the past century, but the painting’s dual roles as a straight masterpiece and a format for skewering American culture still endure today.

Get the full story from Vox below.

[h/t Vox]

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