box vox

Purple Cow Packaging

Vintage Holloway’s Purple Cow candy wrapper from Jason LieBig’s Flickr Photostream; William’s Purple Cow Lager can from The Beer Can Guide; Milka Chocolate’s purple cow shaped folding carton (via: Packaging of the World); a vintage “purple cow” fruit label for Washington apples for sale on eBay ($250)

Based on an 1895 poem by Gelett Burgess, a “purple cow” generally meant something “out of the ordinary” or something you don’t see every day. As depicted in these vintage packages, each with its whimsical cow illustration, the concept was fine.

I’m not so accepting of the new over-arching definition of “purple cow” as something remarkably innovative, as set forth in Seth Godin’s book, Purple Cow: Transform Your Business by Being Remarkable. Because of this book, some people are now calling any ground-breaking, category disrupting product a “purple cow.”

For some reason, I find this new meaning a loathsome thing. To me, the name “purple cow” diminishes the hard work of innovation, making it sound like something merely capricous.

I doubt Steve Jobs would ever have given one of Apple’s products as insipid a name as “purple cow” and yet all over the place there are people now saying that the iPad and the iPhone are “purple cows.”

You need look no further than the scapbooking craft company The Purple Cows to understand the uncool connotations that this name carries.

Randy Ludacer
Beach Packaging Design

Camouflage Package Design Continued

Lest anyone imagine that camouflage patterns were confined only to beverage packaging, here are some recent examples of camouflage package design, in general.

Because of its star logo, Amour Star seems ready-made for a patriotic camouflage treatment, although it’s debatable how American a “Vienna Sausage” can ever be. (Designed by Bob Oliva)

Jiffy Pop, too, has undergone camouflage treatment. (Via: Lester Of Puppets’s Flickr Photostream)

“Powderflage” powder concealer comes in a camouflage canister. (Note how its camo pattern is made of butterflies.)

Srixon’s camouflaged USO golf balls pack, we’ve mentioned before.

Yoder’s canned bacon comes in a camouflage patterned can.

“A Bathing Ape” (aka: BAPE) has for a while featured camouflage patterns in its branding.

And Huggie’s diapers have also supported our troops through camouflage patterning.

Also: camouflage candy...

and camouflage peanuts, for some reason.

(and one more example, after the fold...)

Roly Poly Clown Containers and the Santa-Clown Hybrid

1: “vintage Russian celluloid roly-poly ding clown doll 60s” (via: eBay); 2: a toy from The Canadian Design Resource site; 3: a Weeble clown from Abraracourcix’s Flickr Photostream; 4: roly poly clown from Live Auctioneers

Following up on Monday’s “Mr. Sprinkles” bottles, another point of reference for their weeble-like bottle shape was probably vintage “roly poly” toys of this type. Sometimes used as containers, as with the “Roly Poly Clown Bubble Bath” bottle on right and the antique “Clown Roly Poly Candy Container” below.

But my real agenda, in bringing this up, is that I needed a way to segue from clowns to Christmas, and the roly poly thing seems to provide that. The grouping of roly poly Santas below is from Sushipot.

Left: 1930s tin roly poly Santa (via: Antique Trader); center: reproduction of a 1900s roly poly Santa tobacco tin container (via: Ruby Lane); on right: Celluloid Sata Claus roly poly toy (also via: Ruby Lane)

But Santa Claus and clowns have more in common than just roly poly toys and containers. They both wear unusual outfits, often with similar hats. It was inevitable that the characters would someday be merged:

Depending on who you ask, Santa Clown is either a hilarious or thoroughly terrifying combination of two well known figures: Santa Claus and a Circus Clown.

What is Santa Clown? (via: Info Barrel)

(Santa Clown imagery, after the fold...)

Mr. Sprinkles Package Design Makeover

An exception to the general waning of CPG clown packaging:

“Mr. Sprinkles,” (whose weeble-like bottle won the 2009 “Gold” award from the National Association of Container Distributors) has recently been redesigned.

Originally the bottle was more closely akin to inflatable punching bag clowns (see inset right) but, while the overall effect of the new package design is less of a fully-embodied, anthropomorphic pack, the new clown illustration is now more identifiable and less threatening. The product still shows through the window into the clown’s sprinkle-filled belly.

The illustration style looks familiar. (Maybe someone knows whose work this is?)

Photo above left comes from the orginal “Mr. Spinkles” trademark filing. The photo above right is from Bakerella.

(See also: Gömböc Bottle)

Randy Ludacer
Beach Packaging Design

Packaging as Prom Theme

Left: conceptual Tide dress photo by Ryan Yoon, styling by Hissa Igarashi (via MKTG); middle: Katell Gelebart’s Little Friskies coat; right: Frank Sorbier’s 2010 recycled wrappers dress

It’s high-concept/high-fashion to dress models in recycled packaging, but the same idea has been a popular prom theme for some time now...

Top left: DuctTapeRockStar’s Doritos bag prom dress; top right: StrawberryOrange’s “recycled prom dress”; middle: Gondabo’s Coke can tuxedo (“Yeah, I made my prom tux out of coke cans... because I'm just that cool...”); bottom left: Molly Burt-Westvig’s Skittles wrapper prom dress; bottom right: AnnieMarie88’s Starburst wrapper prom dress

(See also: Packaging as Wardrobe)

Randy Ludacer
Beach Packaging Design

Hexagonal Halloween Candy Package Design

(A vintage, hexagonal, head-shaped carton with a jack-o’-lantern style die-cut face.) According to the Candy Professor:

“This hexagonal carton is an award winning package distributed by the Sierra Candy Company in 1956.”

Not clear who designed the package or what entitity awarded the award. The same box appears to have also been used by the J.D. Fine Candy Company. (Color photos are from Bindlegrim’s Flickr Photostream; the black and white photo is from Confectioners’s Journal, April 1956)

Randy Ludacer
Beach Packaging Design

Oxydol and Opal

On left is the early (earliest?) package design for Oxydol soap powder, introduced in 1914 by the William Waltke Soap Company. On right is the candy packaging for Opal Pastilles, designed in 1946 by Atli Már Árnason, one of the founders FÍT, the Icelandic Design Center. (via: CoolHunting)

Left: a collection of vintage Oxydol boxes (photo from iCollector.com); on right: varieties of Opal with color as differentiator

A later version of Oxydol was designed by Donald Deskey in 1959 (who also designed the Tide box in 1947) but the design of the early Oxydol box (with the concentric circles) appears to be unknown. Which is to say, that I can find no mention online, so the designer is unknown to me, at least.)

The Opal package with the multi-colored concentric bands contains a fruit-flavored assortment.

(Television commercial for both products and one more thing, after the fold...)

Wrench Shaped Tin Box

WrenchMints come in a “Wrench Shaped Tin Box” designed and patented by company founder, Eddy Rubin.

It first struck me as an oddly oblique concept for a mints package to be wrench shaped, but once I saw their tag-line —“When your breath is broken ... fix it!” — I could appreciate the craftsmanship of its inner logic.

(Rubin’s design patent and one more thing, after the fold...)

Spectral Branding: Color as Part of the Larger Whole

Arda Kissoyan’s rebranding for “Salgado Grand Crus” chocolate uses color to differentiate between varieties. There’s been a lot of recent multicolor package design for chocolate product lines. (See also: Green & Black and 100% Chocolate Cafe)

As with other “Rainbow Array Packaging” (as well as the PANTONE products we were recently looking at) the full effect is in seeing the entire product range. One product by itself is is just one color, but all together they add up to the whole visible spectrum.

In this way, using color as a differentiator is a similar to the “incomplete” package design idea we were looking at yesterday. One might even say that any single color, by itself, is incomplete. A visual need for color completion might tend encourage a consumer to purchase the whole set. Or maybe one just hopes that a favorite color package contains a favorite flavor.

I was also intrigued by Kissoyan’s flavor diagram on the back of these packs...

“The package also contains extensive information about the product and its origin, and graphs representing the aroma descriptors (tasting notes) and the intensity in the mouth (taste intensity) of each type of cocoa.”

Attempting to map flavors on Cartesian coordinates, this chart looks quite a bit like charts mapping color gamut. (See inset on right)

The idea of that colors and flavors are somehow analogous is very reminiscent of color synesthesia which has its own implications for package design.

(Some additional photos of Kissoyan’s package design for “Salgado Grand Crus,” after the fold...)

Package Design on Your iPhone

Inexplicable drawn to Zero Gravity’s both at Gift Fair. When I saw some of their package-design iPhone cases, I figured that’s what must have been calling to me. Not all of their phone cases are designed to resemble consumer packaged goods, but enough so that it raises some questions. We’ve seen other cases of devices being made to look like packaging... cameras, radios and, yes, telephones.

But since Apple is unlikely to come out with cross-branded varieties of iPhone, if you are determined to possess a Velveeta iPhone, it falls to 3rd party venders of iPhone accessories to meet your needs.

Of course, there are also other package-related iPhone cases with different degrees of DIY.

Joanna Behar was experimenting with a candy-branded iPhone—(candy wrappers placed underneath a transparent iPhone case)...

In both of these examples—Zero Gravity’s faux-packaging and Johanna Behar’s DIY candy branding—the glossy plastic surface belies any sincere intention to fool the eye. These are still coveted hi-tech gadgets—with a glossy veneer of ironic low-brow branding.

Another DIY example: “Randomly Ross” has a Flickr Photostream about making iPhone cases from juice boxes and also offers them for sale on ArtBoxe.

Here’s a case in which the packaging cover serves a more truly undercover role:

“I was trying to find a material to make a case for electronic devices that would be durable, but not attract attention. Truth be told, the thing that first attracted me to juice-boxes is that they are ubiquitous and uninteresting. If someone looks into your purse and sees a book, some keys and a juice box, they aren't going to take the juice box. What if they see a brand new iPhone?”

In titling this post, it struck me how “Package Design on Your iPhone” could be interpreted two ways: as a covering to put on your iPhone and as an activity to do on your iPhone. Then I wondered, is there an app for that?

And I’m not the first pose the question. (See: Richard Shear’s Free iPhone package design app)

Randy Ludacer
Beach Packaging Design

 

Worm Bottles

“Worm bottles”—3 kinds:

1. The Lucas Gusano Liquid Candy Bottle

On left: photo of Lucas Gusano candy bottle by Elías Arriazola Lujambio; on right: Lucas Gusano packet & “Salsaghetti” (from Brian Temple’s Flickr Photostream)

You may recognize the Lucas Gusano bottle as another “accordion bottle” of the type we were looking at yesterday. (“Cool collapsible container contracts like an accordion!”)

The segmented shape of the bottle, however, in this case is also a metaphor for “gusano” — the Spanish word for “worm”— specifically, for the type of segmented larva that may or may not be a valid addition to certain alcoholic beverages made in Mexico.

Interestingly, this product also comes in a packet as a hot “salsa” sauce for the gummy worms of Lucas’s “Salsaghetti” candy. Mixing flavors, food ethnicities and metaphors with equal abandon, this candy-as-Mexican/Italian-spaghetti-as-worms product also includes a bit of cross-marketing in the form of a “Gusano” packet. Note how the packet features an illustration of a squirting Gusano candy bottle. (See also: Lucas “Crazy Hair” Candy)

2. Casta Gusano Real Reposado “Worm Bottle”

Casta Gusano Real Reposado is a tequila that comes in a figural, worm shaped bottle, but among true tequila aficionados, the reasons are controversial.

These whimsical bottles always turn a few heads. This product used to be called Gusano Real but the name was later changed to “Casta — Worm Bottle.” When I first saw these I thought they were a major tequila blunder propagated by one of the most common myths and misnomers about tequila. The fact that you’re reading this page means you probably know there are no worms in tequila at all (worms are put in some brands of Mezcal) and thank goodness there is no worm in this particularly good reposado. However, Gusanos (worms) commonly live inside agave plants, and this being a 100% Agave Tequila, distilled & bottled in Mexico, is, I’m sure where the image comes from. Plus a cool looking bottle doesn’t hurt if you’re marketing Tequila.

Poco Tequila

That’s right. It was never tequila that was supposed to have a worm. It was mezcal. (Sometimes.)

It is a misconception that some tequilas contain a ‘worm’ in the bottle. Only certain mezcals, usually from the state of Oaxaca, are ever sold con gusano, and that only began as a marketing gimmick in the 1940s. The worm is actually the larval form of the moth Hypopta agavis that lives on the agave plant. Finding one in the plant during processing indicates an infestation and, correspondingly, a lower quality product. However this misconception continues, and even with all the effort and marketing to represent tequila as a premium—similar to the way cognac is viewed in relation to brandy—there are some opportunist producers for the shooters-and-fun market who blur these boundaries.

Wikipedia entry on Mezcal

Which brings us to #3...

3. Bottles containing worms

On left: Gusano de Maguey in a bottle, waiting to be added to finished Mezcal (via: Wikipedia); on right a mini-bottle of Mezcal with large gusano (photo by Bud Spencer)

Alternate photo caption: Why settle for one measly worm at the bottom of a bottle of mezcal when you could be enjoying an entire jug?

Conclusions? If you’re like me (too old for gummy worms, but have not yet even tasted mezcal), I say: “Don’t get pressured into eating the souvineer gusano!” Choosing not to ingest this 1940s marketing gimmick does not make you culturally shallow or otherwise inauthentic. It just makes you less of a carnival geek.

Randy Ludacer
Beach Packaging Design

Accordion Packs

Although one of the packages above is literally an accordion-shaped package, by “accordion pack” I really mean it more generally, as packages, designed “with features resembling an accordion or its bellows.”

With a need to contain varying quantities of a product, the bellows-like ability to smoothly expand and contract is a useful feature that many packages aspire to. The folded gusset of the once ubiquitous brown paper bag is, perhaps, the simplest application of this mechanism.

Here are 5 (more recent) examples:

1. Auberge du Soleil’s “squeeze box” package (designed by Evelio Mattos of Design Packaging Inc.) uses an accordion-like structure, first to protect, and then to expose its contents...

Built completely out of folding board, the squeeze box concept developed for Auberge du Soleil Napa Valley is 100% recyclable. The hand-made truffles are well protected by the internal divider which moves with the box and allows for optimal product display.

Evelio Mattos, LuxCrux

2. Camille Bloch’s “Accordéon” is an assortment of 6 Swiss chocolate bars, contained in a “twin-pack” of tins, connected by a bellows. According to Global Packaging Gallery, this package includes a “music module which plays Swiss music.” I’m interpreting that to mean that the bellows are merely conceptual, that electronic accordian music is emitted and that this package is a simulacrum and not a fully functioning “wind instrument.” (Correct me if I’m wrong.)

 

3. Popular Noise’s record cover construction for their series of 3-issue “record releases” is also an accordion related package. (via: The Dieline) The bellows-like expansion, is particularly remarkable, considering it appears to be made from a single, unglued piece of rectangular paper:

“The packaging folds out to a beautiful letter-pressed poster containing information about the Journal, the musicians, and the compositional process.”

–The Journal of Popular Noise

(Examples 4 & 5, after the fold...)

Hair Styles & Package Design

When I first saw the “Black Melon Bread” snack bag (on Packaging Uqam) I liked its afro-shaped window, but I wondered (as did Karen Halliburton) whether there wasn’t something mockingly racist about it. Looking into it further, I learned that it’s actually a tie-in product to the manga character known as “Afro Tanaka” (film coming soon) and that there’s another similarly packaged “Afro Tanaka Onigiri Bomb” (on right).

The next thing I wondered about was whether there were other non sequitur “hair products” out there—products that had nothing to do with hair or hair care, but whose package design makes the product look like hair (or a hairstyle). Ogilvy & Mather’s “Rellana Hair” yarn packaging from 2009 (below, left) is a good example.

Lucas “Crazy Hair” candy is another example. (The illustration above, right is by Leonello Calvetti) A hat-shaped cap makes this extruding candy package vaguely anthropomorphic. With or without a hat, this really looks more like a jar growing out of a planter, than a person growing hair, but the package does extrude candy hair.

I was thinking that spaghetti was another likely metaphor for hair. (Or is hair the metaphor for spaghetti?) Looking for an example of that, I found Jaeyoung Ha’s “La Pasta Famiglia”—also anthropomorphic. (and with mouth-shaped die-cut windows) Here, different pasta shapes dictate the hairstyles for each of the family members. (See also: Our Family of Products)

(One more example of non-sequitur hair-style package-design, after the fold...)

Jonna Pedersen: Product Stories & the Inner Lives of Packaging

As branding experts tell it, “narrative marketing” is the best way to sell something. “Tell the product’s story,” they say, “and consumers will listen.” But whatever story the brand chooses to tell, there are other, more personal stories that consumers will also hear.

Danish painter, Jonna Pedersen, explaining her recent focus on packaging, says, “To me, the outside says something about the inside. It’s all about reading the barcode.”

A product logo can unleash half-forgotten memories and sensations. We have all had this experience. Expressing the zeitgeist, consumer products can become cultural icons. Product graphics and packaging obviously matter. Visual impact and narrativity characterize those products that are deemed “classic.”

...A consumer product’s iconography is always ambiguous... A product’s packaging inherently carries a visual or textual content signaling what’s inside. There is no controlling the meanings and values that the consumer subsequently attributes to the product. That is entirely dependent on an individual’s baggage and frames of reference. In principle, the product is open to uncontrollable added meanings.

... Jonna Pedersen’s stories about consumer goods are more than representations of actual objects. They are images of our time. Familiar objects from our cultural heritage are interpreted and painted: graphic imprints and sensual experiences with numerous cultural, social and geographical references. Images of uniquely Danish products alongside images of exotic products, Greek olives or American ketchup, tell a story about an upheaval in Danish (food) culture.

Excerpts from Bente Jensen’s essay, “Product Stories”
from the book Documentary, Jonna Pedersen: Painting

Randy Ludacer
Beach Packaging Design

Kooky Kans

From the “Mixo” dual oil & vinegar bottle of the previous post, we now turn to a different Mixo whose “Kooky Kans” are the latest enterprise of serial entrepreneur, Mike Becker (who previously founded Funko and Flapjack Toys.)

Mixo’s first product line, Kooky Kans combine the look and nostalgia of tin lunch boxes along with the fun of your favorite action figures. I’m filling my Kooky Kans with two things, delicious candy or our super amazing instant playsets we call Kookycraft. Kookycraft is kind of like Japanese Origami meets cereal box cut-outs... of the 60 & 70s.

Mike Becker, Chairman of Fun

 An example of Kookycraft is shown below...

 

Note the can-shaped man in the apron. This is Mr. Mixo, the presumptive company mascot. I was struck by his uncanny resemblance to another anthropomorphic packaging mascot: the Big Shot soda jerk...

(A couple more photos, after the fold...)

2 Oranges: Geometry, Packaging & Ultaviolence

Violent, polyhedral orange chocolate packaging—two kinds:

1. Jessica Comin’s “laranja mecánica” chocolate package (based on Anthony Burgess’s A Clockwork Orange) starts out as a rhombic-dodecahedron which can be turned inside out to form a cube. Although the book and the movie made “ultraviolence” a household word, Comin’s packaging concept is violent only to the extent that one empathizes with a box being turned inside out. (via)

One remarkable thing about her transformable pack, is that both shapes—a cube and a rhombic-dodecahedron—will “close pack.” In fact, the rhombic-dodecahedron was the one close-packing shape that I was still on the lookout for. (The other four close-packing polyedrons with regular faces were already accounted for.)

Like our own interactive Gumball cube-pack, “laranja mecánica” is a novel candy package holding a minimal amount of candy. I figure, only 6 chocolate eyeballs, assuming that one goes into each of the 6 pyramid shaped compartments below.

A similar polyhedral model was constructed by W. W. Ross in the late 1800s. His “Exploded Cube” (below) is part of The University of Arizona’s collection of his dissected wooden polyhedrons.

 

And there’s an animated illustration from Apollonius Math showing how this transformation works...

2. Terry’s Chocolate Oranges (below) also involve polyhedral dissection, but, in Terry’s case, it’s a sphere of chocolate that gets dissected along longitudinal lines.

As for the violence, it’s implicit in the “whack & unwrap” instructions. Many of their television commercials have fun with exaggerating the violence required to open the package. Interesting to note that, in the photo above, the foil-wrapped chocolate orange, was, itself, packaged in a clamshell—the very thing that “wrap rage” was named for.

(The “violent” Whack & Unwrap campaign, after the fold...)

Wacky Packages Display Box

7x8x1.25" deep empty box originally contained 48 packs. Topps 1974. Lid art includes grocery bag containing “Wormy Packages, Quacker Oats, Mrs. Klean.” Edge wear with one corner split. Still glossy and Fine. ($75)

via Hakes

(See also: Wacky Packages, Wacky Pack Anecdote, Wacky Pack Press Sheet, Packy Wacks, Supergraphic Wacky Packs and Wacky Packs: Right or Wrong?)

Randy Ludacer
Beach Packaging Design

Containing a Product / Supporting the Troops

We recently needed a can of WD-40 and the one we bought turned out to be one of their limited edition series of collectible cans to honor American military forces. It made me wonder about this kind of “Support Our Troops” packaging.

There were lots of companies during World War II that made “supporting the war effort” a key element of their advertising. (See: Life Savers at War) Today, I expect, few of our transnational, global corporations would want to be closely associated with any one side of a conflict. Not when there’s so little political consensus and even terrorists are potential customers.

As a marketing strategy, “Supporting the Troops” is similar to other ethical marketing causes. A portion of the proceeds of each purchase are supposed to benefit the troops.

Necco’s “Red White & You” Sweethearts candy, the benefit is delivered via the USO:

As part of the program, New England Confectionery Company donated  Sweethearts for every Operation USO Care Package sent from June through August. Candies were printed with heartfelt sayings like “Miss You,” “Brave One” and “Home Safe.”

Schneider Associates

Srixon Golf Balls also “teamed up” with the USO:

Srixon, a world leader in golf club and golf ball technology, is proud to announce that in support of our troops overseas and the sacrifices they and their families have made in service to our country, Srixon has teamed up with the United Service Organization (USO) to give back to our troops.  From July 1, 2010 through December 31, 2011, we will be donating 5% of net proceeds from the sale of Srixon camouflaged packaged golf products and accessories or those featuring the USO logo, to the USO.

Srixon Blog

WD-40’s troop support proceeds go to three different charities:

Crown Aerosol Packaging North America, a business unit of Crown Holdings Inc. and WD-40 Company are launching a limited edition series of collectible cans to honor American military forces. The series consists of four different designs: three depicting air, sea, and land themes and one combined graphic showcasing all five military branches, including the Coast Guard.

WD-40 Company will donate 10 cents per can purchased to three military charities: Armed Services YMCA, Wounded Warrior Project and Veterans Medical Research Foundation. Crown will also make a donation to each of the charities.

Package Design Magazine

Sometimes, even with the most charitable intentions, a package design can be disturbing.

(Packaging that attempts to honor “the fallen”, after the fold...)

Package as Vending Machine

Another surprisingly elaborate package for the lowly gumballl. A far cry from the simplicity of the Lucky Cat packets, but no more absurd than our own Gumball Cube Pack.

I bought my miniature gumball-dispensing package, on left, at Rite Aid Pharmacy. I found the counter display picture online.

(Some other gumball machine packages, after the fold...)

Mine Enemy’s Candy

Mussolini, Hitler & Hirohito candy boxes, each with an open die-cut mouth (via: Hakes)

I don’t know what it is about candy and war. We’ve had a couple of other posts touching on it... the German Chocolate Hand Grenade... the Candy Bomber...

These candy boxes above, from WWII, feature Axis leaders with die cut mouths, ostensibly a game for children to throw balls into—(the French text on the boxes offers encouragements like “Hitler’s Speech Is Finished” and “A Sharp Movement, It Should Shut Him Up.”)—but I wonder if children didn’t also dispense candy from those mouths.

Which brings us to the War on Terror and Osama bin Laden. While bin Laden has certainly been featured in a number of insulting products here in the United States, children’s candy does not seem to be among them.

Which is not to say that our recently deceased enemy combatant has never appeared on a box of kid’s candy. Consider: Super Osama bin Laden Kulfa Balls.

Photo from: Fullsteam’s Flickr Photostream

Not anti bin Laden candy since it was most popular in Afghanistan and Pakistan and uses that brush script adjective “Super” on the packaging.

In the war on terrorism, this was clearly the enemy’s candy—not meant for consumption in the United States, although, for some reason, available in China.

Manufactured in Pakistan, this product apparently dates back to 2002:

Many vestiges of the Taliban era remain untouched in the beat-up, dusty center of Kandahar, where the ruins of buildings that collapsed during the recent American bombing campaign lie among the ruins of older battles. Venders with carts sell “Super Osama bin Laden Kulfa Balls”—coconut candy manufactured in Pakistan and packaged in pink-and-purple boxes covered with images of bin Laden surrounded by tanks, cruise missiles, and jet fighters.

After the Revolution, by Jon Lee Anderson
The New Yorker, January 28, 2002

Aside from Super Osama bin Laden Kulfa Balls, I know of one other bin Laden candy: Peta’s “Bin Laden Bites” vegan chocolate bars, released in April of last year.

(Photos of Bin Laden Bites packaging, after the fold...)