Vintage Toronto Ads: Colouring Contests

Originally published on Torontoist on August 26, 2015.

Before reading this column any further, grab the nearest pack of coloured pencils, crayons, or markers, or open up your favourite digital art program. Have we got a colouring bonanza for you!

Long before adult colouring books topped the Amazon charts, there was the humble colouring contest. It was a simple gimmick: draw interest in your brand, event, publication, or store by reeling in kids with promises of prizes if they applied their artistic skills (or lack thereof) to simple line drawings based on popular shows or seasonal icons. For their efforts, they might win pocket change, a bicycle, a chance to meet their idols, or bragging rights at the playground.

Today’s selection of ads spotlights past opportunities to dazzle judges with your colouring skill. Let your creativity run wild!

Click on any of the following images for larger versions.

Robertson Brothers Colouring Contest

Toronto Star, March 23, 1928.

  Treasure Island Colouring Contest

The Globe, December 4, 1934 and December 5, 1934.

From the August 18, 1934 New York Times review of Treasure Island:

Although there are occasional studio interpolations, the present screen offering is a moderately satisfactory production. It has not the force or depth of the parent work and, kind as one might wish to be to the adaptation, it always seems synthetic. However, hitherto on the stage and in two silent films of the same subject, the role of Jim Hawkins has been acted by a girl. One is spared this weakness in this picture, for that able juvenile, Jackie Cooper, plays Jim, and, although he may not impress one as being the Jim of the book, he does fairly well.

Star Weekly Christmas Colouring Contest Toronto Star, December 5, 1940.

Christmas colouring contests have long been a holiday staple. In this case, they may have also provided a boost to the Star’s sister publication, Star Weekly.

Roy Rogers Colouring Contest

Toronto Star, September 11, 1954 and September 19, 1954.

Forget the beautiful statue of the “King of the Cowboys” riding his trusty horse Trigger; the real thrill for most winners would have been spending a few moments with Roy and Dale at the 1954 CNE. A photo published in the Star of 11-year-old victors John Goslinga and Alfred Kemp depicted them in full cowboy regalia, as if they were ready to be extras in one of Roy’s horse operas.

Davy Crockett Colouring Contest

Toronto Star, September 12, 1955 (left) and September 13, 1955 (right).

A year after the Roy Rogers contest, the Star capitalized on the success of Davy Crockett. Note flattering depictions of aboriginals and women.

Parkay Colouring Contest

Globe and Mail, April 19, 1955.

Faster than a bicycle going downhill! More powerful than a butter churn! Spreads margarine on toast with a single stroke! It’s a bird, it’s a plane…it’s PARKAYBOY!

20150826nipper

Toronto Star, October 9, 1956.

Simpsons gets in on the colouring contest action with RCA Victor’s venerable mascot, Nipper.

20150826mickeymouse

Toronto Star, November 21, 1956.

We (and Disney’s lawyers) can only hope that the actual drawing of Mickey and Minnie used for Dominion’s Ice Capades tie-in was superior to this spartan sketch.

20150826clown

Toronto Sun, April 19, 1972.

How terrfying can you make this clown?

20150826chewbacca

Toronto Sun, November 20, 1977.

A previous post covered the story of dinner with Chewbacca.

20150826chinesecostume

Toronto Star, August 6, 1977.

The Star’s kids page launched its first colouring contest with this detailed pair of figures who would have looked at home in the Royal Ontario Museum. A trip to the ROM might have been preferable to the grand prize: a chance to see the first-year Blue Jays drop both ends of a doubleheader against the New York Yankees. The first game was a 15-0 blowout, which saw future Jay Cliff Johnson hit two homers. The Yankees were gracious during the second match, with only a 2-0 victory.

20150826mlblogos

Toronto Star, May 28, 1978.

More colouring, more baseball, happier results for the Blue Jays. The prize winner saw the home team defeat the Orioles in another doubleheader by scores of 6-2 and 9-8. It was the franchise’s first doubleheader sweep at Exhibition Stadium.

20150826metrozoo

Toronto Star, September 2, 1984.

Who better to represent a teddy bear picnic at the Metro Zoo than Winnie the Pooh? We wonder if, a year or two later, the celebrity mascot would have been Teddy Ruxpin.

20150826creeds

Toronto Life, April 1973.

While not promoting a colouring contest, this ad for the fashionable Bloor Street clothier fits the mood of a modern adult colouring book.

ADDITIONAL MATERIAL

star 1954-09-07 roy rogers contest winners

Toronto Star, September 7, 1954.

star 1955-08-25 winner of crockett contest

Toronto Star, August 25, 1955. Click on image for larger version.

While the winners of the Star‘s Roy Rogers contest only received a small corner of a page, the winners of the paper’s Davy Crockett took up most of the front page of the second section. Sadly, none of them posed with series stars Fess Parker and Buddy Ebsen.

Vintage Toronto Ads: Let’s Go to the (Pre- and Post-War) Ex

Part One: A Thousand Things to See for Everyone

Originally published on Torontoist on August 14, 2007.

2007_08_14cne30s.jpgSources: National Home Monthly, August 1937 (left), August 1939 (right).

The Canadian National Exhibition opens this week, bringing with it nearly 130 years of tradition, from its beginnings as an industrial showcase to its current role as a signal that summer is drawing to a close. Today’s pair of ads provide a glimpse of what the Ex was like on the cusp of World War II, before it was closed for wartime activities.

The “new amusement area” touted in 1937 proved significant, as it marked the beginning of the CNE’s long relationship with James “Patty” Conklin and the Conklin organization (now folded into the North American Midway Entertainment following several mergers in the carny world). The first year of the contract was not lucrative for Conklin or the CNE due to a polio epidemic that struck the city. Parents were urged to keep their children away from the fair to lower the risk of transmission. The effect was short-lived, as attendance bounced back by the turn of the decade.

That Toronto was still firmly tied to the British Empire is evident in both ads. George VI’s coronation in 1937 is duly noted, with that year’s nightly fireworks show dedicated to the onward march of Britannia. For 1939, note the placement of the pictures of the British exhibits and the promise of “two famous English bands.” No comment for the 48 groups from elsewhere.

The swing era was in full bloom by 1939, with a highly impressive slate of big bands that year. American saxophonist Glen Gray’s group earned its name, the Casa Loma Orchestra, after a residency at the Toronto landmark during its brief phase as a hotel in the late 1920s.

Several of these bands were signed to RCA Victor records, whose corporate parent showcased the future with its television display even though Toronto was 13 years away from its first station. Another RCA division, NBC, launched its TV broadcasting service in April at the continent’s largest exhibition of the year, the New York World’s Fair.

After the 1941 edition of the CNE, the grounds were turned over to the military for training purposes, with the fair put on hiatus until 1947.

Part Two: Welcome Back CNE

Originally published on Torontoist on August 21, 2007.

2007_08_21_cne47.jpg

Source: National Home Monthly, July 1947.

As mentioned in last week’s ad, the Canadian National Exhibition took a break during World War II. Once the war was over, the existing buildings were modernized to prepare for the Ex’s return. “From acting as a depot through which passed thousands of young Canadians to the theatres of war,” noted a Toronto Telegram editorial, “it now reverts to its role as the window through which the world may glimpse the peacetime strength and wealth of the country in all its amazing variety.”

The CNE was officially opened, after a concert by the United States Navy Band, by Prime Minister William Lyon Mackenzie King on August 22. King emphasized that Canada’s postwar stability was linked to the recovery of Great Britain’s economy, which saw a series of austerity measures introduced the following week. As recounted that evening in the Telegram, King noted that “the Exhibition affords a vivid illustration of our Canadian way of life. More may be seen here in a day than might be learned from books in a month.” Over 103,000 people passed through the gates that day, the first a pair of children from Springhurst—the first adult, according to the Telegram—”was an annoyed CNE worker who had forgotten his pass.”

The next day saw 273,000 visitors, many on hand for “Warrior’s Day,” a salute to veterans.

The Globe and Mail pondered what would bring people to the fair in an editorial on opening day eve:

What actually drives the people to the Exhibition? Undoubtedly the advance notices on such things as rides, sideshows, marathon swims, speedboat races, baby contests, fireworks displays and so on are the primary eye-catchers. But we will wager that more people will want to see the new automobile with three front headlights than will rush over to the sword swallower’s tent. More will want to see in action the television set they would like for their own living room than the careening speedboat which they never will be able to afford.

One lasting memento of this edition was a short produced by the National Film BoardJohnny at the Fair. The film follows the adventures of “Johnny,” a four-year-old who wanders away from his parents and explores the grounds, meeting all of the celebrities on hand that year. Among those he encounters: Prime Minister King, boxing great Joe Louis, skater Barbara Ann Scott, and comedians Olsen and Johnson (best known for their anarchic revue Hellzapoppin’). “Johnny” was chosen from hundreds of children who auditioned. In a Globe and Mail interview, his mother believed that he won “because he was born with a pleasing personality…or maybe it’s because his father is a kibitzer—a prankster, I mean.”

Johnny at the Fair gained new life in the 1990s, when it was lovingly mocked by the crew of Mystery Science Theatre 3000. As for “Johnny,” he fared well in adulthood, growing up to be artist Charles Pachter. The film is being shown at this year’s CNE, along with a documentary reuniting Pachter and director Jack Olsen.

Additional material from the August 21, 1947 edition of the Globe and Mail, and the August 21, 1947 and August 22, 1947 editions of the Telegram.