Global Trends

HIGH 50: The Pre-Senior Generation

Reading about this website publication, which describes itself as a “global community for people over the age of 50,” brought to mind a recent news story about the rise of “marijuana parties” thrown by aging baby boomers living in retirement villages. The 50+ crowd is a lot more youthful and hip than it used to be. Its ranks include some of the world’s most celebrated “hunks” – Brad Pitt, Colin Firth, Johnny Depp, to name a few. So, it is interesting that the only 50+ publication that comes to mind is AARP’s. Its story content feels aimed at soon-to-be geriatrics, and its advertising weighs heavily toward adult diapers, chair lifts for stairs, arthritis drugs and walk-in bathtubs. Both the design and content of the AARP magazine feel like they were meant to appeal to the generation who lived through the Great Depression and World War II. Age 50 was probably set as the dividing line for seniors around 1950 when life expectancy in the U.S. was 65.

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Brand Logos

WWII Military Logos by Disney

Logos are not just for corporations and sports teams. During World War II, virtually every unit in the U.S. military adopted logos that they emblazoned on aircraft, ships, boats, jeeps, tanks, bomber jackets, trinkets, and bombs and torpedos. The main provider of such insignias was the Disney Studios in Burbank.

First asked to create a humorous logo for a Naval Reserve Squadron stationed at Floyd Bennett Field in New York, the Disney Studios quickly found itself inundated with requests to draw emblems for other military units kamagra online australia as well. Disney had to assign five artists full-time to the task, but never charged a dime. “The insignia meant a lot to the men who were fighting…I had to do it…I owed it to them,” Walt Disney explained later.

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Announcements

Delphine’s Show Opens at Smithsonian Today

An exhibition of “The Art of Gaman: Arts and Crafts from the Japanese American Internment Camps, 1942-1946” opens today at the Smithsonian American Art Museum’s Renwick Gallery in Washington D.C. It is curated by @Issue’s very own editor, Delphine Hirasuna, and based on her book of the same name, which was designed by @Issue’s very own design director, Kit Hinrichs.

The exhibition (and book) features art and objects made by some of the 120,000 ethnic Japanese who lived on the U.S. West Coast and were forced into barbed wire enclosed/heavily guarded internment camps for the duration of World War II. Allowed to take only what they could carry, they were sent to live in remote uninhabited locations in the deserts and swamps.

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