Candy Crush: The Bizarre History of Those '90s Mentos Commercials

MathUser13 via YouTube
MathUser13 via YouTube

In the fall of 1996, Liam Killeen walked into a convenience store in Erlanger, Kentucky, near the U.S. offices of Van Melle (now known as Perfetti Van Melle), the candymaker behind Mentos. While paying for his purchase, Killeen—Mentos's vice president of marketing—noticed that the cashier was eyeing him with a mixture of suspicion and disgust.

Killeen asked if there was a problem. She pointed to the Mentos logo on the company jacket he was wearing. “Mentos?” she spat. “I hate those commercials. They’re so cornball! So stupid!”

It was not the first time Killeen had heard such a strong, visceral reaction to the ad campaign he helped devise. Beginning in 1992, the Netherlands-based confectioners had stormed the States with a series of inexplicably odd television spots that featured an earwig of a song (“Fresh Goes Better”), hammy acting, and a general sense that the ads were trying to approximate American culture rather than actually be a part of it—not unlike a robot mimicking the emotions of its human counterparts.

Some people loved the ads; a lot of people didn’t. (In 1994, USA Today voted it one of the worst advertising campaigns.) But the ads did what they were supposed to do. In 1991, Van Melle sold $20 million worth of the hard candies. In 1994, that number doubled to $40 million. By 1996, it had tripled to $120 million. By either design or accident, Mentos became a leader in the sweets industry by producing commercials that were almost incomprehensibly stupid.

It was during a train ride to Poland in 1932 that brothers Michael and Pierre van Melle originally had the inspiration to develop and market a peppermint-flavored caramel candy. Calling the bite-sized pieces Mentos, Van Melle began exporting them in the 1950s; in 1972, Mentos arrived stateside.

With minimal marketing and little name recognition, Mentos were largely lost in candy aisles, selling modestly for nearly 20 years. Around the time Killeen joined the U.S. sales office in 1991, the decision was made to begin a more aggressive grab for market share. First, Mentos would reduce the number of available flavors from 50 to just two: mint and mixed fruit. Second, they would pursue a global ad campaign marketed directly to consumers instead of the trade ads Van Melle had typically produced for candy distributors and suppliers.

Ad agency Pahnke & Partners out of Hamburg, Germany was enlisted to conceptualize the spots, which had several recurring themes: A young, attractive couple would find themselves in some sort of bind that would usually be remedied by popping a Mentos and subsequently having a spark of inspiration. One of the leads would hold up the Mentos package and give a thumbs up. Throughout, a song would play that was intended to sound catchy no matter where in the world the commercials were airing.

In one spot, a man decides to don a tablecloth and pretend to be a waiter in order to garner better service. In another, traffic impedes two lovers from embracing. At the climax of the 30-second spots, a brand slogan—“The Freshmaker”—would appear onscreen.

Viewers who spotted the ads when they premiered in July 1992 were driven to distraction by one intangible: The ads seemed disconnected from actual human behavior, and the song itself was critiqued for appearing to be an English translation that didn’t get the lyrics quite right. (“It doesn’t matter what comes, fresh goes better in life.”)

By the mid-1990s, both news media and the burgeoning world of the internet had become preoccupied with the unreality of Mentos. Much of the speculation revolved around whether the commercials were shot in the U.S. or elsewhere. (According to the company, three of the commercials were shot in the States, while seven were produced overseas.) An early "Mentos FAQ" was set up by Purdue University student Heath Doerr, who pored over minutiae in a way that would foreshadow the obsessive online fan cultures that followed.

Van Melle recognized a phenomenon when they saw it and rarely responded to media requests for information about the campaign. "It's almost more fun to have consumers off on their own," Mentos brand manager Tricia Gold told The New York Times in 1995. "If we added our input, it would stop the free flow of information."

People could mock and inspect the ads all they wanted. For Van Melle, the curiosity led to brand awareness that couldn’t have been obtained purely through ad buys. By 1996, Mentos had reached $135 million in sales and was being mentioned or parodied in a number of high-profile spots. The Foo Fighters released a video, “Big Me,” which mocked the cheesiness of the ads; the candy was name-dropped in 1995’s Clueless; the brand got sustained exposure during an entire season of Baywatch.

The novelty began to wear off around 1999, when Mentos's sales had leveled despite major growth in what Ad Age dubbed the “strong mint category” of treats. Altoids was eating into market share, and Mentos-sponsored college concerts weren’t making much of a dent. After roughly a decade of near-constant rotation, the Freshmaker campaign began to settle down in 2002. Despite their reduced role in popular culture, Mentos remain a top-ranked mint in the confection business.

Jesse Peretz, who directed the Foo Fighters's parody video, may have summed up Mentos mania best. “The commercials,” he told Entertainment Weekly, “are total lobotomized happiness.”

Kodak’s New Cameras Don't Just Take Photos—They Also Print Them

Your Instagram account wishes it had this clout.
Your Instagram account wishes it had this clout.
Kodak

Snapping a photo and immediately sharing it on social media is definitely convenient, but there’s still something so satisfying about having the printed photo—like you’re actually holding the memory in your hands. Kodak’s new STEP cameras now offer the best of both worlds.

As its name implies, the Kodak STEP Instant Print Digital Camera, available for $70 on Amazon, lets you take a picture and print it out on that very same device. Not only do you get to skip the irksome process of uploading photos to your computer and printing them on your bulky, non-portable printer (or worse yet, having to wait for your local pharmacy to print them for you), but you never need to bother with ink cartridges or toner, either. The Kodak STEP comes with special 2-inch-by-3-inch printing paper inlaid with color crystals that bring your image to life. There’s also an adhesive layer on the back, so you can easily stick your photos to laptop covers, scrapbooks, or whatever else could use a little adornment.

There's a 10-second self-timer, so you don't have to ask strangers to take your group photos.Kodak

For those of you who want to give your photos some added flair, you might like the Kodak STEP Touch, available for $130 from Amazon. It’s similar to the regular Kodak STEP, but the LCD touch screen allows you to edit your photos before you print them; you can also shoot short videos and even share your content straight to social media.

If you want to print photos from your smartphone gallery, there's the Kodak STEP Instant Mobile Photo Printer. This portable $80 printer connects to any iOS or Android device with Bluetooth capabilities and can print whatever photos you send to it.

The Kodak STEP Instant Mobile Photo Printer connects to an app that allows you to add filters and other effects to your photos. Kodak

All three Kodak STEP devices come with some of that magical printer paper, but you can order additional refills, too—a 20-sheet set costs $8 on Amazon.

This article contains affiliate links to products selected by our editors. Mental Floss may receive a commission for purchases made through these links.

The Brief, Bizarre Pro Wrestling Career of Andy Kaufman

Andy Kaufman.
Andy Kaufman.
Joan Adlen Photography, Getty Images

For a period of time in the early 1980s, the most hated man in Memphis, Tennessee, was a comedian from Long Island.

Andy Kaufman had spent years as a stand-up comic perfecting his own peculiar brand of antagonistic performance art, inciting anger among audiences by reading verbatim from The Great Gatsby, pantomiming the theme song from Mighty Mouse, and taking naps onstage. Even as he enjoyed mainstream success with a prominent role as Latka Gravas on the popular sitcom Taxi, Kaufman still yearned to stir discontent. He was, in the vernacular of professional wrestling, a “heel”—someone who draws attention by riling up crowds.

In 1981, Kaufman decided to adopt a heel persona where it would be best served: in the ring. With little athletic ability, no experience, and relatively little money to be earned, he became a professional wrestler and one of the biggest attractions the Memphis area had ever seen.

He did this by challenging and wrestling women.

 

Kaufman had grown up on Long Island and perfected his craft in unpaid appearances in comedy clubs before garnering attention for his guest spots on Saturday Night Live. Taxi followed, as did a successful tour, where Kaufman would do anything from impersonate Elvis Presley to escort 2000 fans out for milk and cookies after performing at Carnegie Hall.

As a child, Kaufman had been a fan of professional wrestling and an admirer of “Nature Boy” Buddy Rogers. He once saw Rogers grapple with Bruno Sammartino at Madison Square Garden, with Rogers—the villain—drawing boos from the crowd. It was this memory that probably came calling back to Kaufman when, in 1977, he began issuing challenges to women in the audience. If they pinned him, he said, he would give them $1000.

Andy Kaufman’s wrestling memorabilia on display at New York City's Maccarone gallery.Jack Szwergold via Flickr // CC BY-NC 2.0

Estimates on how many times Kaufman wrestled with a woman range from 60 to more than 400. Though some matches may have been staged, Kaufman did appear to be engaged in real physical contests with many of the volunteers. While it had the expected result for his audience—they were alternately amused and confused—Kaufman wanted to do it on a larger stage. He made his proposal during an appearance on Saturday Night Live on October 20, 1979, wearing his now-familiar wrestling outfit of black trunks over white long johns. Kaufman explained that he wasn’t interested in wrestling men because they might beat him, but he would take on any woman who dared.

A pregnant woman volunteered, but Kaufman refused to wrestle her. Instead, he faced Mimi Lambert, a dancer and Lacoste sportswear heiress, who was pinned after several minutes. For no apparent reason, a triumphant Kaufman then challenged Olympic swimmer Diana Nyad to a match, with $10,000 on the line if she won, before clucking like a chicken.

 

Andy Kaufman returned to Saturday Night Live several more times that year to continue his challenges, at one point even “threatening” host (and future Golden Girl) Bea Arthur.

Finally, Kaufman found an opponent in Diana Peckham, the daughter of Olympic wrestling coach James Peckham, and wrestled her on the December 22, 1979 episode of SNL. Though Kaufman had childhood hero Buddy Rogers in his corner, he was unable to beat Peckham and the bout was declared a draw.

Kaufman then began phoning wrestling promoters, including prominent New York promoter Vince McMahon Sr., and told them he had crowned himself the World Inter-Gender Wrestling Champion and was willing to defend his title against all comers. He was undefeated, save for one loss to six women at once at a Chippendales club in Los Angeles.

As usual, Kaufman was ahead of his time. This was in 1981, years before McMahon’s son, Vince McMahon Jr., would elevate the business with spectacles like WrestleMania and celebrity appearances by Mr. T, Cyndi Lauper, and Liberace. In a short while, he likely would have been welcomed into the fold. But McMahon Sr., a wrestling traditionalist, wasn't interested.

Dismayed, Kaufman turned to friend and wrestling journalist Bill Apter, who recommended the comedian get in touch with Jerry Lawler, the most popular wrestler in Memphis. With partner Jerry Jarrett, Lawler ran the region's Continental Wrestling Association, or CWA. Lawler was intrigued by the proposal and suggested Kaufman come to Memphis. While he had no real in-ring ability, he was recognizable and his male chauvinist persona was likely to draw attention.

For months, Kaufman sent in tapes taunting the locals. On October 12, 1981, Kaufman finally appeared at Tennessee's Mid-South Coliseum and wrestled three women in a row. On November 23, he took on four women. The fourth, Foxy Brown, managed to wrestle Kaufman to a draw. Both Lawler and Kaufman knew a rematch with Brown—with Lawler in her corner—would be a success.

It was. Kaufman defeated Brown convincingly on November 30, 1981, which led to Lawler jumping into the ring to confront Kaufman for his unsportsmanlike conduct. It was at this point that Kaufman and Lawler realized they had something special. Lawler, the Memphis hero, was standing up to Kaufman, the Hollywood outsider who had no respect for women. The crowd’s response was electrifying to Kaufman, who saw an opportunity to take his admiration of Buddy Rogers one step further and actually wrestle a man.

 

For months, viewers of local pro wrestling programming in Memphis watched as Kaufman sent in more videos heckling them. “I’m from Hollywood!” he said. He taught them how to use soap, a skill he insisted they lacked, and played into offensive Southern stereotypes. He insisted women “belonged in the kitchen” and that their time was best spent “scrubbing potatoes.” If Kaufman were to ever walk down the streets of Memphis unescorted, it could have been a problem.

Finally, Kaufman and Lawler squared off on April 5, 1982. Roughly 11,200 fans showed up to the Mid-South Coliseum eager to see Lawler silence Kaufman, invested in the outcome even though a portion of them probably realized the two were playing roles. (They had even rehearsed moves at referee Jerry Calhoun’s house two nights prior.) The bout lasted less than seven minutes, with Kaufman spending much of that time avoiding Lawler and offering little offense beyond a simple headlock. Finally, the wrestler got his hands on the comedian, sending him to the mat with consecutive piledrivers.

It was far from the end of the show. Kaufman spent 15 minutes in the ring, legs twitching, before insisting Lawler call for an ambulance. (Lawler told him it would cost $250 for the real thing to arrive. Kaufman promised he would pay for it.) He was hauled off on a stretcher and spent the next several days giving interviews from a hospital bed, insisting he had suffered real injuries in a legitimate contest. While Kaufman told Lawler the piledrivers had hurt him, it was unlikely the injuries were severe enough to require a three-day hospital stay.

Yet Kaufman's testimony was apparently enough to mislead The New York Times, which reported on his convalescence as being legitimate:

“[Lawler] insisted the bout be a real thing. It was, too … As a result, said George Shapiro, the comedian’s manager, Mr. Kaufman suffered cuts on the top of his head, strained neck muscles, and a compressed space between the fourth and fifth vertebra. Hospital officials listed him in good condition yesterday.”

In a 2012 piece for CNN, author Wayne Drash recalled being a kid in Memphis and going to school the day after the bout. A child who was convinced Kaufman was really hurt suggested the class pray for him. He was booed.

 

Though their rivalry had seemingly reached a conclusion, Kaufman and Lawler believed they could continue their feud on a larger stage. On July 28, 1982, the two were booked to appear on Late Night with David Letterman, which had only been on the air since February of that year. During the interview, Kaufman—sporting a neck brace—continued his vitriol against Lawler, which led to the wrestler slapping him across the face while a bewildered Letterman watched.

As with Kaufman’s “injuries,” the mainstream media was slow to recognize that the incident was orchestrated. Kaufman helped legitimize it by filing a $200 million lawsuit against NBC, insisting he would soon take it over and make it an all-wrestling network. The bouts with Lawler continued to draw crowds in Memphis as well as Indiana and Florida, which prompted Vince McMahon Jr. to later tell Lawler that he was jealous of the Memphis wrestling territory. It had master heel Andy Kaufman at its disposal.

Kaufman never lost his taste for wrestling. He appeared in 1983’s My Breakfast with Blassie, a parody of the chatty 1981 character piece My Dinner with Andre, alongside famous wrestler “Classy” Freddie Blassie. He also played a ring referee in Teaneck Tanzi, a Broadway musical about a woman (Deborah Harry of Blondie fame) who wrestles the men in her life. It opened and closed in one night.

Kaufman succumbed to lung cancer at the age of 35 on May 16, 1984. Had he lived, he would likely have continued to climb between the ropes. Recalling their time together, Lawler once said that Kaufman expressed a wish. If only he could quit acting, he said, he wanted to wrestle full-time.

 

Additional Sources:
Lost in the Funhouse: The Life and Mind of Andy Kaufman.