Tuesday’s ad is for “Foster’s Lager,” from 1983. This ad was made for Carlton & United, who made Foster’s Lager, although it was later part of AB-InBev but more recently was sold to Asahi. It was started by two American brothers who emigrated to Australia in 1886, and started selling it in 1889. In 1907, the Foster brothers merged with four other Melbourne breweries to created Carlton & United Breweries. The Foster’s brand barely sells in Australia, but began importing to the UK and the US in the early 1970s, and thanks to very successful advertising became a popular international brand. This one features the Australian rock band Men at Work, best known for their hits “Down Under” and “Who Can It Be Now?”
Today is the birthday of Coletta Möritz (September 19, 1860-November 30, 1953). Möritz was essentially Bavaria’s first pin-up girl, nicknamed “the beauty of Munich,” a waitress discovered by painter Friedrich August Kaulbach, who painted her on top of a barrel holding eleven mugs of beer, while instead of wearing a cap on her head, has a target instead. That’s because after doing a sketch of Möritz in 1878, when she was 18, he painted a large banner, roughly 9 x 16 feet, which hung outside a beer tent for a national shooting competition in July of 1881, in the same spot in Munich where Oktoberfest is held. The painting was called “Die Schützenliesl,” (which means “the shooting Liesl,” which was a popular German name derived from Elizabeth, or sometimes “the Marksmen’s Lisa”) and was an immediate hit. For the rest of her life — she lived to be 93 — Coletta was known as die Schützenliesl, and was also painted by other well-known artists while continuing to work as a waitress.
The Schützenliesl painting has gone on to become a Bavarian cultural symbol, used on beer labels, postcards and as a logo. In 1905, an operetta, “Die Schützenliesel,” was written by Austrian composer Edmund Eysler, with the libretto by Leo Stein and Carl Lindau.
Her story appears well-known in Germany, Austria and Eastern Europe, but much less so everywhere else. You can find it all over German websites, such as the Falk Report, Über das Leben der Münchner “Schützenliesl” Coletta, Augsburger Allgemeine, two articles on Merkur — Bavaria’s First Pin-up Girl and “I am the great-grandson of Schützenliesl” — and the Croatian Pivnica.
A photograph of Coletta when she was 22.
Here’s one of the few accounts I could find in English, from a newsletter for the German-American Society of Sarasota:
Over 150 years ago, on September 19, 1860, there was born in the village of Ebenried, Bavaria, a child who was to become one of the most admired and colorful figures in the history of Bavaria and beyond. Born Colletta Möritz, she would become “die Schützenliesl” (the Marksmen’s Lisa), beloved by all who knew her, as well as by those who knew her only through pictures of her that circulated widely. Even to this day, after she is long gone from the public scene, the well-known song “Die Schützenliesl” is played – and sung heartily.
When Colletta’s unmarried mother, Marianne Möritz, found village life too confining, she moved with her child to the capital city of Munich. As soon as Colletta grew to school age, she was given over to the poor sisters in the Au (Armen Schulschwestern) for child care and schooling. These sisters had a convent, the only one in those days where girls were trained to become teachers. Colletta yearned to become a handicraft teacher (one who would teach skills such as knitting and sewing). Her mother, meantime, became independent by opening her own second-hand shop in Munich.
As Colletta was growing up she met many Munich artists who frequented her mother’s shop, looking for old costumes to use for historical paintings or for decorating their studios. It was not just at her mother’s shop, however, where Colletta met these artists, but also at her first place of employment, where she worked as a beer hall girl. (She had failed to continue her dream of becoming a teacher because of money problems.) So by age 16 she was serving beer at the Sterneckerbräu, a popular beer hall frequented by the same artists she had seen at her mother’s shop.
The beer hall proprietor observed this new beer Mädchen and was delighted with the fact that she was such a quick learner, that she could carry 12 Maβ of beer from the basement to the Gaststube, and he noted that in spite of the hard work and menial pay, she was always cheerful. (Note: one Maβ of beer is 1 liter). Colletta was so successful at her job that she became a Kellnerin (waitress) for George Probst, who owned the Brauhauskeller. Although well known and admired, Colletta’s fame was yet to grow from these early contacts. At this point she was just a likeable and pretty beer hall girl – if unusually popular with guests.
Colletta’s world began to explode in 1881, when the 7th Deutsche Bundesschieβen was organized in Munich. A Bundesschieβen is a national shooting match, and this one became a festival of huge proportions. Marksmen from far and wide attended these shooting competitions. It so happened that one of the artists who had come to know Colletta as a beer hall girl was the famous painter Friedrich August Kaulbach. One day Kaulbach was sitting in the Sterneckerbräu tent, before the festival opened, when he suddenly had an idea – he would paint Colletta on a beer tent sign. He asked Colletta to model for him; having her hold mugs of beer in her hands and having her lift a foot as though she was dancing on a barrel. To develop the theme of the “Liesl” as a “marksmen Lisa” he added a marksman’s target to the side of her head. After he made the sketch, he took it to his studio and painted it – ready for display
Positioned on the festival field, called the Theresienwiese, were placed four beer tents (really houses), with names like “Zum wilden Jäger” (to the wild hunter), “Zum blinden Schützen” (to the blind marksman, “Zum goldenen Hirschen” (to the golden stag), and “Zur Schützenliesl” (to the marksmen Lisa). This “Gastwirtschaft” – Zur Schützenliesl – displayed prominently the Kaulbach painting. There she was, the famous Kellnerin, with her swinging skirt, and carrying 11 – not the typical 12 – overflowing mugs of Sterneckerbräu beer. The Schützenliesl, dancing on a barrel, seemed to be floating through the Bavarian beer heaven. When the Schützenfest began, hordes of people tried to get a seat in the Schützenliesl Gastwirtschaft. They wanted to sit under the Schützenliesl picture and have the real Schützenliesl bring a Maβ of beer to them. Not only did the Schützenliesl conquer the hearts of the marksmen themselves, but of all the festival visitors. Whether they were Munich natives or visitors from outside Munich, they headed for the Schützenliesl Gastwirtschaft. There the beer was flowing like a river.
Later, as an old woman, Colletta recalled, “During the whole festival, our tent was packed because everyone wanted their beer served by the Schützenliesl”. The Augsburger Abendzeitung (an Augsburg newspaper, 26 July 1881) reported on that scene: “Attached to the festival tent is the Wirtschaft to the Schützenliesl of Mr. Massinger. The idyllic tower with the red-covered roof and the stork perching on top of it would have been enough to catch the eye of those looking for a Wirtschaft. But then our F.A. Kaulbach draws a ’Liesl’ on it, one so fresh, so voluptuous, so seducing as no marksman has ever seen. It is curious but this lifeless picture seems to be the main attraction. Every nook and cranny was filled with people. One day about 8 o’clock in the evening, the proprietor raced in among the masses, pale from shock, saying that the beer supply was used up to the last drop and thousands of unfortunate beer drinkers were sitting there with their tongues drooping. After a fearful hour, only a few had left their hard-won places, the rattling of a beer wagon could be heard. The steeds raced mightily toward the tent and after a 30-minute battle, the beer was back.” According to a Munich newspaper, 16,300 Maβ of beer were drunk in the Schützenliesl Wirtschaft on the last evening of the shooting contest.
The famous Kaulbach painting of the Schützenliesl hangs today in the Festsaal of the “Münchner Haupt”, short for “Königlich privilegierte Haup.”
Here’s a translation of an article entitled “‘Schützenliesl’ is symbolic figure,” from an Exhibition of the House of Bavarian History:
In Bavaria the 19th century the inn was a place dominated by men. But what would the Bavarian festival culture without the female member? For International Women’s Day on March 08, we tell the story of Schützenliesl that it has brought to successful businesswoman and advertising icon from simple Biermadl. Even today it is a well known symbolic figure.
Coletta Möritz (1860-1953) was born near Pöttmes in Aichach-Friedberg, an illegitimate child of a small farmer’s daughter and worked after moving her mother at 16 years as Biermadl, ie auxiliary waitress at Sternecker Brau im Tal in Munich.
There perverted also members of the society of artists “tomfoolery”, among them Friedrich August Kaulbach (1850-1920), which struck the attractive beer girl. So he asked in 1878 Coletta Möritz to stand him for a sketch model. The motive of this sketch it was then that the young Coletta could be for advertising icon.
The “Schützenliesl” (here a Landshuter Protect disc of 1881), a dashing beer waitress, is a popular symbol of the Bavarian festival culture. For over a hundred years, it keeps popping up in beer commercials and was immortalized in the eponymous song – an early “Wiesnhit”. Behind the legendary figure hides the waitress and hostess later Coletta Möritz (1860-1953), who came from near Pöttmes. In 1878 the young “Biermadl” was none other than the Bavarian prince and painter Friedrich August von Kaulbach model. For the VII. German federal shooting, which took place in late July 1881 the Theresienwiese, painted Kaulbach the Beautiful Coletta then as “Schützenliesl”. The colossal painting served as exterior decoration of the across Bierbude, in which the young woman also availed itself. For that time the picture was a bold presentation, it excited at the festival and beyond once a stir. Logically also be seen on the few months later bombarded memory disk Landshuter fire Schützengesellschaft that invoked the spirit of the Federal shooting again the “Schützenliesl”.
And here’s a third painting she modeled for, entitled Schützenfest, created by Johann Heinrich Hasselhorst in 1887.
After World War 2, a German songwriter Gerhard Winkler wrote a song entitled “Schützenliesl” in 1952. It was the first post-war Oktoberfest hit and remains a staple of the songs sung in the tents during Oktoberfest. The version below is performed by Marianne & Michael.
Coletta was married twice, and had twelve children. She worked in restaurants and beer halls her entire life, and lived to be 93. Throughout Europe, she’s a famous figure, although especially at Oktoberfest.
Coletta in her later life.
Tuesday’s ad is for “Rainier Beer,” from 1917. This ad was made for the Seattle Brewing & Malting Co., who made Rainier Beer, and was later known as the Rainier Brewing Company of Seattle, Washington. This one is the sheet music to a song entitled “There’s Something Else Goes With It,” which is “Dedicated to Glorious Old Rainier.” The words and music were written by J. Louis MacEvoy.
Today is Sam Calagione’s 52nd birthday. Sam is the owner and marketing genius behind Delaware’s successful Dogfish Head Brewing. Sam’s also a great guy, and a (former?) rap singer of sorts, with his duo (along with his former head brewer Bryan Selders) the Pain Relievaz. See the bottom of this post for a couple videos of him singing after hours at Pike Brewery during the Craft Brewers Conference when it was held in Seattle. Join me in wishing Sam a very happy birthday.
This first video is “I Got Busy with an A-B Salesgirl,” the Pain Relievaz’ first hit single.
The second video is “West Coast Poseurs,” a smackdown to the hoppy West Coast beer and brewers.
Here’s a short biography of Vejvoda, from his Wikipedia page:
Vejvoda was born and died in Zbraslav. He learned to play the fiddle and flugelhorn in a band led by his father. Later he played these instruments in a military band. He started to compose in the 1920s while he worked as a bartender in a pub owned by his father-in-law. In 1929 he wrote the Modřanská polka named after Modřany, a suburb of Prague where it was played the first time. This catchy tune became a hit and allowed Vejvoda to pursue music as a full-time professional. It was published in 1934 with lyrics Škoda lásky, kterou jsem tobě dala… Publishing house Shapiro Bernstein acquired the rights shortly before World War II and the polka, now the “Beer Barrel Polka” with the English lyrics “Roll out the barrel…”, became the most popular song of the Allies in the West, although the original Czech lyrics have a very different meaning and do not speak about beer. After the war this polka became popular around the world, in German-speaking countries as “Rosamunde.”
And here’s the story of his famous song:
“Beer Barrel Polka”, also known as “The Barrel Polka” and “Roll Out the Barrel”, is a song which became popular worldwide during World War II. The music was composed by the Czech musician Jaromír Vejvoda in 1927. Eduard Ingriš wrote the first arrangement of the piece, after Vejvoda came upon the melody and sought Ingriš’s help in refining it. At that time, it was played without lyrics as “Modřanská polka” (“Polka of Modřany”). Its first text was written later (in 1934) by Václav Zeman – with the title “Škoda lásky” (“Wasted Love”).
The polka became famous around the world. In June 1939, “Beer Barrel Polka”, as recorded by Will Glahé, was number one on the Hit Parade. This version was distributed by Shapiro Bernstein. Glahé’s earlier 1934 recording sold many copies in its German version Rosamunde (it is possible the reason for the rapid spread was due to the occupation of Czechoslovakia by Nazi Germany, and subsequent emigration of thousands of Czechs to other parts of the world, bringing this catchy tune with them). The authors of the English lyrics were Lew Brown and Wladimir Timm. Meanwhile, the song was recorded and played by many others such as Andrews Sisters in 1939, Glenn Miller Orchestra, Benny Goodman, Bobby Vinton, Billie Holiday, and Joe Patek who sold over a million copies of his album “Beer Barrel Polka.”
During World War II, versions in many other languages were created and the song was popular among soldiers, regardless of their allegiances. It was claimed many times that the song was written in the country where it had just become a hit. Its actual composer was not widely known until after the war.
The first hit recording of the song under the name we all know it by today was in 1939, by Will Glahé.
And this more recent recording is by Frankie Yankovic and His Yanks.
Sunday’s ad is for “Miller Lite,” from 1985. This ad was made for the Miller Brewing Co., and was part of their long-running “Tastes Great!…Less Filling!” advertising campaign. It was created in 1973 by the McCann-Erickson Worldwide ad agency and was ranked by Advertising Age magazine as the eighth best advertising campaign in history. They were primarily television commercials but they did create print ads to support the TV spots. They began with a trend of using former athletes along with a few notable celebrities that continued throughout the campaign. This one features jazz musician Howard Johnson, shown in the ad with a baritone saxophone.
Friday’s ad is for “Budweiser,” from 1958. This ad was made for Anheuser-Busch, and was part of their series using the tagline. “Where there’s Life … there’s Bud,” which ran from the 1950s into the 1960s, and this one features a woman lying on the floor, cigarette in hand, next to a speaker with her head practically on an LP. She watches as someone is pouring her a beer. The text begins: “Have You Heard.” The album by her head, unlike yesterday’s, is from Columbia and appears to be Serenade, by Sammy Kaye. I think they made another actual album of Budweiser music, using the same model and set from this ad, too. See below for more about that.
This appears to be an album cover although there’s no information on the cover apart from the Budweiser tagline. Given the LP depicted is on Columbia Records, I presume that’s who made this one, but I haven’t been able to find any additional information so I can’t be sure. But at least she managed to get off the floor.
Thursday’s ad is for “Budweiser,” from 1960. This ad was made for Anheuser-Busch, and was part of their series using the tagline. “Where there’s Life … there’s Bud,” which ran from the 1950s into the 1960s, and this one features a woman holding an RCA Victor LP record while a man is pouring her a beer. The text begins: “Special Lyrics.” But look just to the right of her head and you’ll see the cover of an album featuring the same photo from the ad. How meta! But that’s because they made an actual album of Budweiser music. See below for more about that.
LSP-2191 Living Stereo with the Miracle Surface, RCA Victor records. It was released in 1960 in conjunction with the ad. The band was the “Orchestra and Chorus, Conducted by Russ David. He was a pianist and bandleader from St. Louis, Missouri.
On the back cover: A Sampler of the ’58 sound of Budweiser.
Here’s the track list from the LP:
- Where There’s Life
- All Of My Life
- Into Each Life Some Rain Must Fall
- Give Me The Simple Life
- If I Had My Life To Live Over
- Love The Life I’m Living
- Life Is Just A Bowl Of Cherries
- These Will Be The Best Years Of Our Life
- There’s A Lull In My Life
- The Best Things In Life Are Free
- Life Is So Peculiar
- Ah, Sweet Mystery Of Life
They also apparently produced a Mono version of the album, which you can actually buy on Amazon.
Today is the 46th birthday of Bryan Selders, who until 2011, he was lead brewer of Dogfish Head Craft Brewery and one-half of the hip hop duo The Pain Relievaz, before leaving the industry temporarily to do web design at Inclind. He later returned to brewing, and became the brewmaster at Post Brewing in Colorado. But more recently, he’s returned to Dogfish Head as their brewing ambassador. I first met Bryan at Hop School in Yakima, Washington years ago and he’s a terrifically talented and fun person. Join me in wishing Bryan a very happy birthday.
Note: All photos purloined from Facebook.
Thursday’s ad is for Schaefer Beer, “first produced in New York City during 1842 by the F. & M. Schaefer Brewing Company.” This ad, from 1946, features a Sousaphone player wearing a band uniform and drinking a beer. “You Can’t Beat It!” he seems to be saying, but I’m not sure if he’s talking about playing in a band or drinking a beer while playing in a band. This takes me back to my high school days when over the summers, I played in a semi-pro marching band where we were paid to march in fireman’s parades, and afterwards there was usually kegs of beer for us.