Friday, October 9, 2015

When Cincinnati pulled the plug on Alice Cooper

When shock rocker Alice Cooper was introduced to television audiences on a late night rock concert show, his outrageous stage presence proved to be way too cool for TV.

It happened on on November 24, 1972 on the first of a series of ABC late night specials called "In Concert." Alice Cooper was billed as "special guest" in a program that would also include concert performances by Curtis Mayfield, Seals & Crofts and Bo Diddley. Cooper's performance, taped a few weeks earlier at Hofstra University in Hempstead, New York, kicked off the television special. It was far beyond standard TV musical fare, more shocking to the average viewer of the time than the mop-topped Beatles on the Ed Sullivan Show or even the destructive, explosive performance of the Who on the Smothers Brothers Comedy Hour.

The show opened with the roar of highly amplified electric guitars and slamming drums in an arena full of charged-up college students, and a heavily intoxicated Alice Cooper, wearing ghoulish black makeup around his eyes, glitter pants and a cotton shirt that gets torn to shreds by fans grabbing at him as he is escorted to the stage by security officers. He stumbles up on stage, and while swigging from a bottle of Budweiser, grabs a microphone and completely forgets the first verse of his hit song, "I'm Eighteen," singing, "MYYYYYY, my, my, my, my, yeah..." in place of the lyrics. He later sings the chorus and improvises other lyrics for the song.

When that highly-charged performance was over, the show broke for commercials, then came back with Alice performing a "West Side Story"-inspired number called "Gutter Cat Vs. the Jets." In this performance, he essentially molests a metal garbage can and pulls out a switch-blade knife on camera.

It was all too much for Lawrence H. Rogers II, owner of the ABC affiliate in Cincinnati at the time, WKRC-TV Channel 12. He was so mortified by what he saw he ordered the engineer on duty at his station to yank the show off the air immediately. But Channel 12's decision to protect and shield its viewers from Alice Cooper's violent theatrics sparked an immediate backlash from Cincinnati rock fans watching the show. They responded within minutes, inundating the station with phoned-in bomb threats. Meanwhile, carloads of youths showed up, picketing the station. Some 4,000 letters of protest, many profane, poured in over the next few days, the biggest mail load that station officials could remember.

WKRC station manager Ro Grignon told TV Guide magazine that he wasn't opposed to rock concerts. "In fact, we think they're going to be a smashing success. We simply found Alice Cooper a little tense."

Meanwhile, the ABC affiliate in Kingsport, Tennessee complained to the network about the performance, but ran it in its entirety nonetheless. WPVI-TV in Philadelphia ran the show on tape delay at 1:30 a.m. Channel 12 in Cincinnati later televised an edited version of the show, sans Alice, to give viewers a chance to enjoy the other, less offensive acts on the bill. The next "In Concert" special was sent to affiliate managers via closed-circuit for approval before broadcast.

Sunday, August 9, 2015

The Destruction of the Hopkins Theater

Thirty years ago, a landmark streamline-style movie theater in Hopkins, MN (a suburb west of Minneapolis) came crashing down on the corner of Fifth and Excelsior Avenues after forty-four years of operation, to make way for an automobile dealership--a dealership that itself wouldn't last much more than a decade. The demise and demolition of the old Hopkins Theater happened in almost a blink of an eye, and came as a shock to many.

Just days before it came down, I was able to walk through the theater one last time and pick up a few souvenirs including old tickets, movie press packets, a theater catalog from the 1970s, an actual piece of film in the projectionist booth, lots of other paper items, even the sign on the door announcing the theater was closed. In 2008, I had the opprotunity to meet former owner Harold Engler, who showed me some of his own pictures and souvenirs of the old theater, and gave me insight on its history, and why he ultimately closed it down.

The Hopkins Theater in 1942
The Hopkins Theater, built by brothers Abraham and Louis Engler, opened with great fanfare on the evening of Saturday, August 20, 1941. The mayor of Hopkins and the city councilmen were there along with some special guests, while the Hopkins municipal band played in the lobby. People came from all over to see the new, modern theater. When it opened, the theater seated 1,200 and had amenities that included staggered seating, so that no one would be seated directly in front of someone else, love seats at the end of every other row, a spacious balcony, a state-of-the-art sound system, an acoustic board celing, air conditioning in the summer (when almost no homes and few businesses had it), smoking loges, and a smart, ultra-modern design. The theater building was topped with a 40 foot tall, eight-sided metal tower displaying over 5,000 feet of neon, with the word HOPKINS spelled out vertically on four alternating sides. The full 40-ft display lit up at night in multiple colors and could be seen from blocks away. It served as an unofficial gateway to the city, letting you know exactly where you were.
Newspaper ad for the grand opening
of the Hopkins Theater on August 20, 1941.
The movie shown on that first night was, appropriately, "Sis Hopkins," a comedy starring Judy Canova, Bob Crosby and Jerry Colonna.

In the early years of the Hopkins Theater there was no television, so "going to the movies" once or twice a week was a way of life for much of the population, no matter what town they lived in. Harold Engler recalls that in the early days, theater patrons were treated to a full two-hour evening program. It would begin at seven p.m. with coming attractions, a newsreel (the closest thing anyone had to television news then) and cartoons such as Tom & Jerry, Bugs Bunny and Woody Woodpecker. At 7:30 the movie would start, and in those days the feature would change every Wednesday and Sunday, to keep people coming back to the theater. During the Second World War, which the United States entered just months after the Hopkins Theater opened, a big booth in the lobby sold war bonds, and posters throughout the theater encouraged patrons to buy more bonds.

As a boy, Harold Engler grew up in the theater. By junior high he was doing many of the jobs there, including working behind the candy counter and selling tickets. At age 17, before he graduated from high school, his father Abraham fell seriously ill and the decision was made to make Harold part owner of the theater. The teenager took over his dad’s duties, which included buying the movies, bookkeeping and advertising. “All those [newspaper] ads were handmade,” he says. “We didn’t have fax machines or copy machines then. I thought carbon paper was the greatest thing on earth.”

In 1948, the first television station went on the air in the Twin Cities and that changed the habits of moviegoers. “It hurt the theater business a lot for a while,” Harold says. “There was nothing we could do but wait it out. Thousands of theaters froze throughout the country. Then Cinemascope came in, in 1953, and that was the resurgence of the industry. Big, big screen and stereophonic sound. We had surround sound all the way around. We were one of the first theaters to put it in. Any innovation that came along, we had it right away. Then people started to come back to the movies.

“Prior to that, movies were really bad. When TV hit, they just weren’t making good movies. So the timing was really disastrous. People could stay home and could watch all this junk for free instead of coming to the theater to see it for fifty cents. So it woke up the moviemakers, and they started to make bigger and better movies. After that, theater attendance just soared.”    

Harold Engler takes pride in the innovations that his father, and later himself, came up with at the Hopkins. From the beginning, the theater had features such as black lighting hidden in the isle seats that reflected off the carpeting in the auditorium, so people could find their way down the isles without the lighting distracting the patrons watching the movies. There was a crying room for parents to take their crying babies. Decades before restaurants had smoking sections the Hopkins Theater had its own smoking loges in the back four rows, where patrons paid an extra nickel for the privilege of smoking while watching the movie. (The nickel fee was later dropped.)  In addition to the nightly features, the theater was famous for its weekend kiddie matinees. There would be traffic jams leading into the city of Hopkins every Saturday as parents from all over dropped off and picked up large groups of children at the theater.

“I liked doing innovative things,” Harold says. “I would look at what our competitors were doing and I’d try to figure out what we could do different. We were the first theater to run all day long outside of downtown Minneapolis. The Uptown [a similar-style neighborhood theater in Minneapolis] used to, but we were the first suburban theater to run all day for bargain matinees ‘til 6 o’clock. We put in Tuesday movie specials. It cost a buck to get in. I loved to do stuff like that, just trying to get people interested in coming to our theater.”

Other promotions he had included a Wednesday two-for-one night sponsored by Dayton’s department stores where with a special Dayton’s card a moviegoer could bring a friend and get two admissions for the price of one. For senior citizens there was a Golden Age Club where seniors could get in for a reduced price with their Golden Age cards. This promotion brought a letter of commendation from Mayor Charles Stenvig of Minneapolis. But probably the most popular promotion was the Birthday Club. “We used to give prizes to all the kids that came in for birthday parties. And then we gave the Birthday Girl or Birthday Boy a bigger prize or nicer prize. We seated them all in one area together so they’d always be together,” Harold recalls.

By the 1960s, the movie theater business had changed greatly since the forties when the Hopkins first opened, and Harold Engler and his partners, who included a brother and two cousins, stayed on top of the trends and innovation. Retail space was built around the theater building and the Englers brought in new businesses that they either owned outright or leased to others, including a liquor store, a convenience store, a florist, an appliance shop and a small café.

The features no longer changed every Wednesday and Sunday. The era of the blockbuster had begun and a particularly successful movie could be on the marquee for weeks. The average run for a really good movie at the Hopkins in the early sixties was three weeks or less, but in 1965, the James Bond feature “Goldfinger” broke the records. On its Friday premiere it drew the biggest house in the theater’s history and the next night the crowds were even bigger, according to an article in the Hopkins Sun, a local newspaper. “Goldfinger” ran for almost two months, which was almost unprecedented then. After that, however, bigger movies had longer runs. There were also fewer movies being made than there were in the forties, which meant the features were more expensive for the theater operators to buy, so they had to run longer to recoup the costs.

As the trend toward box office blockbusters with longer theater runs continued, the Hopkins was one of the first theaters in the country to become a multiplex; several screens under one roof. Just about all theaters are like that now but in the late sixties when the idea first came to Harold Engler, the concept was radical.

“I heard about a theater in Kansas City that had four screens. There happened to be a theater convention down there and I went down to see it [the four-screen theater] but I couldn’t get anybody to come with me. They thought it was just nuts. It wasn’t accepted. So I took a cab and went to this theater [owned by the company that later became the AMC Theaters chain] and took a look at it. I was enthralled. They had automated equipment in the projectionist booth, one candy counter, one box office and four screens. I thought, this is it! I came back, and I talked my partners into converting the upstairs balcony of the theater.”

In 1971, the Hopkins Theater became the Hopkins 1-2. The balcony was converted into a second smaller theater by suspending a screen and floor over the main theater with steel girders. Some thought there had to be some funny business going on with that second theater in the balcony. “Everyone seems to think we’re going to start running dirty films upstairs. We aren’t,” Harold Engler explained to Minneapolis Tribune columnist Will Jones as the new theater was getting ready to open. “But I think it would be a good idea to have a film with adult appeal playing in one theater and, say, a Disney in the other one.”

Downstairs, where the smoking loges were, a new automated projection booth was built, making the Hopkins the first theater in the area to be fully automated. Instead of having a projectionist in the booth threading a reel into a projector and having to manually switch to a second and third reel every twenty minutes or so, all the reels could be spliced together onto one huge reel on a projector positioned horizontally on the floor of the booth and it would run automatically. At the push of a button, the lights would go down, the movie would start and run by itself until the end when the lights would automatically go back up and the film would rewind automatically. No projectionist needed except to watch over things.

“The union was not very happy with us,” Harold says. “We eliminated the projectionist. What we actually did was take our projectionist and made him the theater manager and operator, and paid him more money. He was still union, but we only paid one person instead of having multiple projectionists. We became multiple choice. You didn’t see just a Betty Grable movie, you could see a Betty Grable movie and an Edward G. Robinson movie.” (Not that the Hopkins was exactly showing those kinds of movies in 1971.) “You could see a murder mystery and a musical. It was unheard of to have more than one screen. And then everybody started doing it.”

In 1973 a third theater was built in some of the former retail space that was connected to the building. The numbers 1-2-3 were painted in bold black and white squares on the sides of the big neon tower, alternating with the word HOPKINS.

In 1981 yet a fourth theater was put in, in the old liquor store that was located in another part of the building. It was a tiny one with just 150 seats that would be good for showing independent and niche films. But there was resistance from the City of Hopkins.

Harold recalls, “The architect came back and said, yeah, we can put a theater in there, and I said ‘well go to the city and get a building permit. I’d like to have it open by Labor Day.’ He came back and said the city won’t give you a building permit. They said you don’t have enough parking spaces. They had a ratio of so many seats to parking spots. It was so stupid.”

The son of one of Harold’s business partners volunteered to go down and talk to the city administrators. He offered to remove some 300 seats from the main auditorium in exchange for allowing the fourth theater but the city still objected on the grounds that there would be parking problems. So Harold went to some of the neighboring businesses, many of which weren’t open on weekends or evenings when the theater traffic would be heaviest, and got them to agree to allow use of their lots for overflow parking. Finally the city relented and allowed the fourth theater to be built, with the stipulation that seats be removed from the main auditorium.

“About two, three months later we were ready to open the theater, the seats were out, we had them taken out, and I called the seat man and said I want them back in by Friday,” Harold says. “‘They’ll be there,’ I was assured.  So we had them reinstalled. I came to the office the next day [and] my partner’s son called me and said, ‘What are you doing?’ I said ‘We’re putting the seats back.’ He says, ‘You can’t do that! I promised the city that I’d take them out.’ And I said, ‘But I didn’t promise the city I’d take them out. So if they call you, you have them call me.’ They never said a word.”

Over the years, Harold and his partners purchased or built dozens of neighborhood theaters in the Twin Cities area and Engler Theaters became a well-known and successful chain in the region. The crown jewel was the Hopkins, so naturally when an automobile dealer named Rudy Luther asked Harold if he’d be interested in selling his prime location on Fifth and Excelsior Avenue to him, the answer was a definite no. Absolutely not. Harold tells the story.

“The theater was doing very well. We had no thought of ever selling it. Then I got a phone call one day from Rudy Luther, and he wanted to buy the theater [property] and I said it’s not for sale. It’s been in the family, my father built it and it’s doing very well. But it got us thinking, and we sat down with the family and decided ‘Let’s go to our accountants and see what they think it would be worth.’ So we decided to come up with a figure and we called him back.

“I’ll never forget, he looked at me and he said, ‘Do you think you’re in Hollywood?’ I said, ‘Well, this isn’t just a piece of property. It’s a growing business that’s been in our family for umpteen years, it makes a profit. If you sold one of your car agencies with a big building on it and you were making money on it wouldn’t you ask a lot?’ He accepted our offer and he bought the theater from us and that was the end of it. I never got one phone call from the city, the chamber of commerce, another businessman, nobody saying ‘What can we do to keep you in Hopkins? Can we find you another location?’ I would have built again. Nobody showed any interest whatsoever.

“Then I get this call, this is how the city operated. I got a call from Rudy Luther’s general manager. ‘Would you come to a city planning meeting? They’re giving us a real hard time about giving us a license to run the car lot.’ So I sit in the back, the place is packed, and Luther’s people are making presentations. They showed pictures of this beautiful building and the shrubbery and the trees, the whole thing, and the city is saying ‘Oh, we don’t want another agency up there.’ Finally I raised my hand. A lady looked down and said, ‘I think Mr. Engler is in attendance. That’s him back there.’ So I stood up and I said, ‘Do you know, folks, you ought to be proud and excited to have a merchant like Rudy Luther, successful automobile agency, to want to build this beautiful building on the corner of Fifth and Excelsior Avenue. Because, the theater’s not going to be there anymore. It’s all over with.”

Leaflet from the ill-fated
"Save the Tower" campaign.
The last stand for the Hopkins Theater was on July 16, 1985. “GOODBYE HOPKINS. THE END IS TONIGHT” read the marquee. All 1,320 seats in the four theaters were packed with patrons who came from all over to see the grand cinema for the last time. The features shown that night were “The Gods Must Be Crazy,” “Emerald Forest,” “Fiddler On the Roof” and “Beverly Hills Cop.” When the night was over and the lights were shut off for good, a sign taped to the door informed passersby that the theater was closed and suggested they can see “The Gods Must Be Crazy” at Studio 97, another Engler theater.

Before the bulldozers came there was a frantic effort on the part of some area residents to “save the tower.” The idea behind the Save the Tower campaign was to raise enough money to dismantle the big Hopkins tower before the building was demolished, and then re-erect it somewhere in Hopkins as a local landmark. The group collected over 3,800 signatures on petitions during the 1985 Raspberry Festival (the town's big summer event) to convince the city this was a worthy endeavor and even Rudy Luther made a token contribution to the effort. The group tried to raise $7,000 by Monday, August 19, 1985.

The whole thing was an exercise in futility. Not only were they unable to raise the money, but, “we offered the City of Hopkins the tower for free,” Harold Engler says. “But the city wasn’t interested. They weren’t interested in keeping the theater either, by the way.”

It was around August 30, 1985 that a crowd gathered in the back parking lot of the theater and other strategic viewing locations around the block as a backhoe, starting on the east end where the auditorium was, smashed the building scoop by scoop, turning 44 years of memories into dust. The big tower continued to stand stoically on the other end as the backhoe slowly bulldozed its way toward it.

Souvenirs picked up inside the
Hopkins Theater days before it was demolished.
To prevent the 40-foot tower from falling into the street and on adjacent buildings, long cables were wrapped around it and attached to the bulldozer. The bulldozer pulled forward in the other direction and the mighty tower buckled, doubled over and came crashing down into the rubble.

Harold Engler was not among the crowd that came to watch the demolition. “I left town. I left town," he says. "I was gone for a week. I couldn’t be around. I couldn’t go past that corner for several years. I couldn’t go by until long after the new building was built.” Shortly thereafter, Harold sold off the rest of the theaters he owned and got out of the business.

Rudy Luther’s Hopkins Honda opened for business at the former theater location in early 1986, but it only operated until the mid 1990s. Meanwhile, for more than a decade the city of Hopkins had no movie theater. Then in 1997, in something of a turnabout, the historic Suburban Chevrolet dealership further down the main street was demolished so the city could build a new Hopkins Cinema 6, a six-screen second-run movie theater. Harold Engler had nothing to do with the building or operating of this newer theater.

Read a more in-depth version of the Hopkins Theater story in the Chronicles from the Analog Age book, published by Studio Z-7 Publishing.

Friday, July 3, 2015


"BEER PARTY/USA is a unique entertainment idea that is traditional, patriotic Americana, yet new and fresh. In concept, it captures the spirit of America--the big parade down Main Street, U.S.A., the carnival highlights of national holidays, the band concert on the village green. In essence, it connotes good fellowship, fun, gaiety, and the supurb quality of American beers." So reads a 36-page booklet published sometime in the 1960s by the United States Brewers Association called "BEER PARTY/USA."

Click photo for greater detail.
The booklet continues. "Everything about your BEER PARTY/USA should be American. Appropriate music can set the stage, from the lilting melodies of Victor Herbert and the homespun tunes of the "Gay Nineties" to the orchestrations of Cole Porter and selections from the latest Broadway hits. The basic decor should be red, white and blue--the nation's colors, but you may add a shade or two of your own to fit the occasion."

"BEER PARTY/USA" is an interesting bit of ephemera from what a lot of people these days would call the "Mad Men" era, reflecting the optimistic side of the Kennedy-Johnson years of the early 1960s, a time of leisure, suburbia, unbridled patriotism in the face of a percieved communist menace, lounge music, dreams of flying to the moon, and of course, plastics. It might have also been the era of martinis and tiki drinks, but this booklet was from the Brewers Association, so it was all about defining and promoting beer as the true all-American party beverage for all occasions.

Although the vast majority of American beers at the time were virtually alike--the variety of brands, labels, packaging and advertising were far more interesting than the mild flavored, basic yellow brew they all represented--the booklet stresses the importance in putting much thought in choosing and serving the right beer for your party.
Click photo for greater detail.

"One of the first decisions--how to serve your beer. Will it be in bottles--and if so, the easy non-returnable or returnable? Will it be in cans--easy-open or regular? Or is this THE party for a keg of draught beer? Much depends on the particular occasion and how many people will attend...

"For those assisting at the party, whether family or friends or paid help, be sure to let them know in advance your plans and needs. Who will bring the ice to cool the beer?"

It even suggests having someone play the role of Mr. Beer Opener. "To get the party started and to keep it moving, the host or a friend might be MR. BEER OPENER for the evening--perhaps with appropriate dress and big tag identification. Not only does he open and serve the cans or bottles, or tap the keg of beer; he helps open the party, open the conversation, provide the informality, the spark, the conviviality which sets the pace for a happy occasion."

Click photo for greater detail.
The booklet goes on with ideas for entertainment and party decor. "Gather all your old (or new) magazines and newspapers. Cut out pictures and advertisements, paste them on shirt cardboards, and with a felt marker print underneath and alongside funny quotations or sayings pertaining to the BEER PARTY/USA occasion. Hang or tape the pictures around the house or apartment; put lots in the area where the beer is being served...

"Everyone agrees that music sets any BEER PARTY/USA in full swing. It can be any type of presentation. The phonograph generally proves most practical. Before guests arrive, select a variety of records. You can then relax and enjoy the evening. If you are lucky enough to have 'home' musicians on the guest list, ask them to 'bring-a-long' their insturments and you've got ready-made festivity for the affair! Have song sheets available. Choose some old and some new 'favorite' tunes. Type the words on paper for each guest. It's great to have a piano, but if you don't, there's usually one good voice to start the singing. Then just watch and listen--they'll never stop!"
For party decorations, the booklet suggests using old beer bottles for flowers and as candle holders, and for the dinnertable centerpiece, "Include beer bottles, beer drawings or some allusion to beer in the display." It also suggests spray painting artichokes and lemons in a red, white and blue color scheme, and suggestions for a "patio candlerama."
"Beer bottles are more attractive than ever before. You can achieve many unique designs by decorating beer bottles with paint, ribbons, jewels and other decorative ornaments. They can be used for flower vases, candle holders or favors for your guests...Small artificial flowers around the base of the bottle can be most attractive."
There's a section on tips for serving beer, tips on properly displaying the flag and bunting, seasonal "BEER PARTIES/USA," birthday and anniversary "BEER PARTIES/USA," and beer recipies including "Brewmaster's Steak," "Beer-Glazed Ham," "Beer-Becued Spareribs," "Beer Cheese Wafers," and even "Birthday Beer Cake."
There's also a section on Social Hints. "Nowadays there are less rigid party rules than in the past," the booklet acknowleges. "The hour for your party and the placing of your table and your silverware may be to your choosing--provided it is done tastefully and thoughtfully."
But even in the 1960s, there were still some rigid (and some might say sexist) rules regarding introductions. "It's difficult for many of us to remember proper form on introductions. Here's a good tip: with two important exceptions, gentlemen are always introduced TO ladies. The proper form goes like this: 'Mr. Jones, this is Mrs. Smith.' Or, 'Mrs. Smith, may I present Mr. Jones.' The two exceptions are clergymen and important public officials. In these instances, reverse it, as follows: 'Mrs. Smith, this is Reverend Jones.' Or, 'Mayor Jones, may I present Mrs. Smith.'"
Throughout the booklet, the word "gay" is used a lot--presumably the archaic old meaning of the word. "Use color, a gay tablecloth, bright napkins," it suggests in setting up a buffet table. Another suggestion: "if you're not good at names, or it's a large party, use name tags--the simple stick-on kind, which come in gay colors." It all adds up to a very gay BEER PARTY/USA.


Sunday, April 5, 2015

Who Was the Man on the Gablinger's Can? Or: The Real 'Father' of Light Beer

Perplexing as it is to those of us who actually enjoy beer, the most popular brews in the United States, hands-down, are so-called light beers made by massive, big corporations. Consumed primarily by young doofuses who have a complete inability to think beyond the scope of commercials they see on ESPN. Decades ago, "light" beer was simply a distinction from "dark" or "heavy" beer. The first "light" beer as currently defined was not Miller Lite (nor did Miller even originate Lite), but it was a product introduced in 1967 called Gablinger's Beer, distributed by a subsidiary of Rheingold Breweries, Inc. of New York called Forrest Brewing Company. (And in spite of errorneous information in several Web articles, Gablinger's was never specifically marketed as "diet beer.")

1967 ad for Gablinger's beer.

The slogan, appearing on cartons and point-of-purchase displays in strong typeography was "GABLINGER'S BEER DOESN'T FILL YOU UP." Ad copy boasted that it had no carbohydrates, no fat, and 0.25% protein, making it sound downright healthy. The beer was pale in color, and undoubtedly pale in taste, but advertising claimed it tasted just as good as any other beer.
Labels on cans and bottles featured a drawing of a rather plain-looking middle-aged man in a suit, who looked like he could have been your high school shop or business teacher.

The man was a real person named Hersch Gablinger, a Swiss researcher who developed the technique for eliminating carbohydrates from beer, according to a piece in the May 1967 issue of the trade magazine Modern Packaging. He gave his permission to allow his image to be used on the packages. The process he had developed, according to Modern Packaging, "is claimed to enable consumers to quaff the brew without getting a 'filled-up' feeling."

Gablinger's was sold mostly in Rheingold's marketing area in the eastern US. Meanwhile, Chicago-based Meister Brau came up with its own low carb, low cal beer called Meister Brau Lite, introduced in 1968. While Gablinger's had a distinctly masculine-looking package, Meister Brau tried to appeal to women with its Lite packaging, and even attempted to launch a whole line of dietetic food products with the Lite name, similar to the Weight Watchers product line.

Neither Gablinger's nor Meister Brau Lite really caught on, however. Meister Brau in particular saw hard times and in 1972 sold its brands including Lite to Miller Brewing Company of Milwaukee, Wisconsin. To make a long story short, Miller redesigned the packaging and relaunched Lite under its own name, came up with an ingenious marketing strategy using macho ex-jocks and others in humorous commercials, and soon the brand took off, forcing competing brewers to come up with their own light (but not Lite) beers. Soon, light beers would overtake sales of so-called regular beers.

Meanwhile, Gablinger's beer continued to struggle in spite of the new popularity of light beers. In 1976 the packaging was changed, in attempt to broaden appeal and make the packages stand out more on retailer's shelves. The dark brown background color was replaced with bright orange. The portrait of Hersch Gablinger was dropped, replaced by a depiction of a man and woman raising mugs of surprisingly dark-looking beers (the complete opposite of Gablinger's) while seated at a table in what looks like a fast food restaurant. Though most likely unintended, the image looked strikingly similar to one used by Farrell's Ice Cream Parlour Restaurants. In fact, the cans looked more like diet soda pop cans than beer cans.
By the 1980s, Gablingr's beer was no more, the trademark registration canceled in 1984, and Hersch Gablinger, whose discovery would launch an astronomically successful product category for the brewing industry, would be completely forgotten about.

Sunday, March 22, 2015

Old Snapshots Volume 1--Quirky Short Stories from Out of the Past

I have just published my first ebook and my first collection of semi-fictional short stories, called "Old Snapshots Volume 1--Quirky Short Stories from Out of the Past." As I like to say about this collection, "All of these stories could have happened...maybe."

Cointaining thirteen stories totalling just under 21,000 words, it's a bit short to publish as a print book. And as "Volume 1" in the title suggests, there may be more to come soon. But the stories are a good, fun read for a mere $4.99 on whatever device you care to read them. Especially if you remember or are interested in everyday life in the later decades of the 20th century.

"Old Snapshots" includes stories about an underground radio station with a mysterious "seductive" voice. A psychedelic party at Grandma's house. The friendship between a lonely young woman and a 12-year-old boy. A rock 'n' roll band that tried to "get with the '80s." Teenage boys bested by a 13-year-old female cousin. A cute and sweet girlfriend from hell. The misadventures of a nightclub dee-jay-for-a-day. A junkyard where the neighborhood kids hung out. How a young waitress handled an unruly teenage friend. A beer can monument and the woman who hated it. A really, really nasty old man hosting a bizarre public access cable show. The adversarial friendship between a cynical male writer and his younger female editor. A civil defense alert.

"Old Snapshots" is available via and various ebook retailers. For more information, check out You can also find out more about this, my print publications and and a few free online articles similar to what you've read on the Analog Age Blog by going to