Monthly Archives: December 2025

From Sandpaper to Scotch

From Sandpaper to Scotch

What I really want is a creative person. You can always hire a Ph.D. to take care of the details.”

— Richard Gurley Drew

Minneapolis, 1921

He was a college dropout, broke, barely getting by. Playing banjo on street corners, collecting coins in a hat just to survive. Taking whatever jobs he could land.

Perhaps out of desperation, he took a menial position testing sandpaper for a small local manufacturer. Working on his own—lunch breaks, evenings, before and after hours—he developed an invention and tried to demo it at a local auto shop.

Failure. A painter yelled, “Take this back to your Scotch bosses.” At the time, “Scotch” was an ethnic slur, meaning cheap or stingy. Embarrassed but undeterred, he returned to experimenting.

That invention would one day make billions of dollars.

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Richard Gurley Drew was born on June 22, 1899, in St. Paul, Minnesota, the third of four children of Edward Albert and Maud Shumway Drew.

Mr Dick Drew, 60-ish

As a teenager, Drew sought ways to earn money. He took odd jobs and played banjo in a band for dances and local events, supplementing his income through music.

Tragedy: In 1916 Richard’s father, Edward, passed away on September 10 at the age of 55, leaving the family to face both financial and emotional challenges. Drew, with just one year of high school remaining, learned early lessons in persistence and self-reliance.

In 1917, he enrolled at the University of Minnesota to study engineering.  After a year and a half, he left without a degree—balancing tuition and school expenses, living expenses, work and study time proved too difficult.

After leaving college, Drew soon enrolled in a correspondence course in machine design, continuing to develop technical skills even while supporting himself with music and odd jobs.

Finally, in 1921, Drew landed a job as a laboratory technician at a small company called Minnesota Mining and Manufacturing, testing their new product, Wetordry.[1] This was the world’s first water-resistant coated abrasive, used by automobile manufacturers to reduce dust and friction that could ruin finishes [2].

Because the company was still small, Drew was often asked to deliver the product to local auto body shops. Two-tone body paint jobs were growing popular in the Roaring Twenties, and at many of the shops he visited, he saw painters struggling to achieve clean, crisp borders between colors. Existing masking methods failed repeatedly, often forcing entire jobs to be redone. He frequently overheard profanity-laced frustration when tapes of the time ruined one paint job after another. One common approach used butcher paper with glues on them; not elegant and often disastrous.

In 1923, in one well-attested account, Drew overheard painters cursing about how existing adhesives and glued paper ruined paint jobs. Motivated, he promised he could come up with a better solution — even though he didn’t yet know how. Until then, he had just stood by and listened. This time he spoke up: “I can produce a tape that will fix your problems.”[3]

It was a brash claim, even outlandish. Who was this sandpaper delivery kid claiming he could solve a problem that frustrated experienced painters and stumped the big adhesive manufacturers?

Drew took the problem back to the company labs. Management was supportive—they were looking for ideas to expand the business—but his primary job remained sandpaper testing. In his spare time, during breaks and evenings, he worked through hundreds of attempts.

He was searching for the impossible: an adhesive strong enough to stay in place during painting but gentle enough to remove without damage.

Drew’s invention at work

The tape had to be sticky, but not too sticky. For two years, he experimented with dozens of materials: vegetable oils, various resins, chicle*, linseed, and glue glycerin. Eventually, he developed a product using a good grade of cabinetmaker’s glue combined with glycerines. [* chicle, see author note’s below]

He took it to an auto paint shop for a demonstration. It was a disaster: a beautiful paint job ruined. Humbled yet determined, he returned to the lab. The painters had called him “Scotch”—cheapskate—because he hadn’t applied adhesive across the entire tape. [4] He actually had been trying to be economical, but in doing so, he had created a product that was worse than useless. He himself was the cheapskate, not his management.

By 1925, the tape was a marketable and profitable product. Soon, Scotch® Masking Tape proved indispensable beyond auto shops. It found uses in painting and decorating, arts and crafts, home repairs, office tasks, and industrial applications. Its versatility and reliability quickly made it a staple in households and workplaces alike. As a nod to the auto body painter’s slur, the word “Scotch” was incorporated into the product’s branding.

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But wait!  He’s not done yet.

Building on the success of Scotch® Masking Tape, Drew turned his attention to a new challenge: a transparent, general-purpose adhesive tape. In the early 1930s, 3M acquired the rights to cellophane, a clear cellulose film originally developed in Europe. Drew saw the potential to create a tape that could adhere without obscuring the surface beneath — ideal for sealing packages, repairing documents, and a variety of household and industrial uses.

Drew’s experiments led to the first commercially successful cellophane adhesive tape, later branded as Scotch® Cellophane Tape. Unlike masking tape, it was clear, allowed visibility of underlying surfaces, and had broad appeal beyond industrial and automotive contexts. By the mid-1930s, it was sold nationwide, quickly becoming a staple in offices, homes, and schools.

Whereas masking tape had solved a specific industrial problem, cellophane tape was a general-purpose tool, cementing Drew’s reputation as an inventive problem-solver and contributing significantly to the growing popularity of 3M products.

Family repair

During the Great Depression, Scotch® tapes were indispensable for households and businesses striving to make limited resources last. They were used for repairing torn papers, patching broken items, sealing packages, protecting surfaces during painting, labeling boxes, bundling materials, and even mending clothing or household items in a pinch. It was used to repair window shades and even hold broken windows together. Toys, envelopes, sheet music. Their versatility and low cost helped people stretch resources, reduce waste, and keep daily life and business running during economic hardships.

After the success of masking tape and cellophane tape, Drew continued to work at 3M for the rest of his career. He remained there until retiring in 1962, contributing to the development of new pressure‑sensitive adhesive products and helping shape 3M’s innovation culture. In 1943 he established and became director of the company’s Products Fabrication Laboratory, a research group that pursued a range of new technologies and served as a precursor to 3M’s later corporate research centers. Over his career Drew was awarded more than 30 U.S. patents and was known within the company as a mentor who encouraged other engineers to explore creative solutions to practical problems

In 1939, at the age of 41, Drew married Lorna Margaret Cassin, who was 31. She preceded him in death in 1959. There are no records showing that the couple had children. Later he married widow Margaret Wood, in 1959; her first husband was killed in the Korean War, in 1950.

Richard Gurley Drew passed away in 1980, age 81, in Santa Barbara, California, where he had lived since his retirement in 1962. He and Lorna are buried side by side, at Lakewood Cemetery, Section 21, Lot 751, in Minneapolis.

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The painter who screamed an ethnic slur at Drew in 1925 never knew he had named some of the most successful products of the 20th century.

Richard Drew: college dropout, banjo player, sandpaper tester, inventor.

The next time someone calls you cheap or stingy, or not good enough—remember Richard Drew.

Richard Drew heard the same thing. And yet, he changed the world…with sticky tape.  His inventions stuck around.

Joe Girard © 2025

Thank you for reading. As always, you can add yourself to the notification list for newly published material by clicking here . Or emailing joe@girardmeister.com

Footnotes.

[1] The name was formally changed to “3M Company ®” in 2002; although they had trademarked that name at its founding in 1902. Over time it simply became known as 3M.

At the time 3M pretty much just made sandpaper.  They had just developed a product called “Wetordry”  (Read: Wet or Dry), the world’s first water-resistant coated abrasive,

[2] Ref MIT – richard-g-drew

[3] https://www.acs.org/education/whatischemistry/landmarks/scotchtape.htm

[4] Technical reasons for the demo failure. No adhesive in center.  The tape could “tent”, float up during operations that already included spray guns that created intense air pressure and vibrations, that could cause the tape to microscopically creep, allowing fine paint mist to sneak underneath, and cause the paint to pull off.

[5] A few uses: House painting and stencil decorating, Arts and Crafts, Home repairs and labeling, Temporary positioning for items like papers, temporary protective coating for sand-blasting, Film and stage production – marking positions, masking surfaces, labeling props, during covid marking the 6 foot (2-meter) spacings on floors, hobby model building.

Author Notes:

  1. Richard Gurley Drew is in the National Inventors Hall of Fame ®  He is also in the Minnesota State Inventors Hall of Fame.
  2. May 27th is National Cellophane Tape Day.
  3. A few sources say he also worked for Johnson & Johnson. I believe this is false. Someone made an error and others copied it.
  4. Chicle: Among the materials he tested was chicle—the natural latex that once formed the base of chewing gum—valued for its elasticity but ultimately too unstable for his purposes. It is the root of the chewing gum product “Chiclet®.”  As chicle grew expensive, gums like Chiclet switched to man-made synthesized version of chicle.

 

Bold Bly

A young woman—twenty-two, penniless, and shabbily attired—is admitted to the Women’s Lunatic Asylum on New York’s Blackwell’s Island. Nothing in that moment hinted at what was about to unfold—or ignite.

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Michael Cochran was born in 1810 in the wild forests of hilly Westmoreland County, just east of Pittsburgh, Pennsylvania. Although his early life remains somewhat obscure, sources suggest he began as a laborer and mill worker. In 1830, he married a local girl, Catherine Murphy. They had ten children before Catherine passed away in 1857.

By 1849, Michael had acquired enough capital and know-how to purchase a mill a few miles north in Armstrong County, along Crooked Creek near its confluence with Cherry Run. The mill proved profitable, and he began to build a village around it, which he named “Cochran’s Mills.” The settlement soon had its own post office and general store—founded by Michael himself. Over time, he was made a local judge and acquired additional land holdings in the area.

Michael then met Mary Jane Kennedy, also recently widowed, and they married in 1859. Mary Jane bore him five more children, all born in Cochran’s Mills. Of his fifteen offspring, thirteen were daughters. Elizabeth, the 12th, arrived on May 5, 1864. One can imagine that life was rather spartan for all of them, despite Michael’s standing in the community.

Michael Cochran passed away in 1870, when Elizabeth was six years old. He died intestate, which carried severe financial consequences for his family.

Because Michael Cochran died intestate, his widow, Mary Jane, was entitled under Pennsylvania probate law to a dower—roughly one-third of the estate for her lifetime. The remaining assets, including the mill, store, and land, were distributed among the children or placed in a trust. While the dower provided some support—probably paid like an annuity at around $400 per year—֫ it was insufficient to maintain the family’s former standard of living, and the trust intended for the younger children was reportedly mismanaged. As a result, Mary Jane and her children were left in financially precarious circumstances, a reality that would shape Elizabeth’s determination.

There was nothing left in Cochran’s Mills for Mary Jane and her children. She moved the family to Pittsburgh, hoping to get enough work to keep the family solvent. It was a long fall from the more comfortable and socially lofty life along Crooked Creek.

By age fifteen, Elizabeth had completed as much education as was available to a girl from a working-class family attending the Common Schools. She went off, some fifty miles to the east and north, to attend Indiana Normal School in Indiana, Pennsylvania, in the rising foothills of the Allegheny Mountains. Normal schools, scattered across the country, were designed to prepare promising young women for work in elementary education—one of the few respectable professions available to women at the time.

Elizabeth’s education at the Indiana Normal School was cut very short; the family lacked the funds to complete even a single school year. She hadn’t even lasted one term. She left with little additional education and no accreditations. She returned to Pittsburgh to find work. But in her heart, she wanted to be a writer; despite having little more than a grade-school education.

One day in January 1885, Elizabeth was reading the Pittsburgh Dispatch when she came across a column titled “What Can Girls Do?” The author argued that women were fit for little beyond the home and unfit for most jobs or professions. Enraged, Elizabeth wrote a blistering but articulate rebuttal, combining passion with logic and moral reasoning. She signed it “Lonely Orphan Girl.”  It was published in the Dispatch. She was a writer!

The Dispatch’s chief editor, George Madden, was so impressed that he publicly called for the anonymous author, this Lonely Orphan Girl, to come forward. Elizabeth did. She was hired on the spot, beginning a career that would make her name known across the country.

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Elizabeth spent roughly two years at the Dispatch, penning columns, many of which blended human-interest stories with social commentary. She covered the plight of working women and children, urban poverty, and the struggles of the poor, displaying a talent for observation and reasoned argument. Her work combined storytelling with advocacy, bringing attention to social conditions that most readers ignored. She conducted on-the-ground investigations, visiting factories, schools, and neighborhoods of shabby row-houses. Though still early in her career, these columns established her as a journalist willing to tackle real-world issues, laying the foundation for the investigative reporting that would later make her famous.

It was while working here, at the Pittsburgh Dispatch, that Elizabeth formally changed her surname to “Cochrane”, adding an “e” at the end.  And, encouraged by the paper’s editor, Madden, she took the nom de plume of “Nellie Bly” (taken from a popular song of the day, chosen for its friendly, memorable, and slightly androgynous quality).

Perceiving Pittsburgh as too small a setting, with limited opportunity for the career she imagined, she left her job and set out for New York — armed only with a collection of her columns and letters, with no certifications, no connections, no high school diploma, and no accolades.

Upon arriving at the New York World, Elizabeth presented her portfolio to the editors and impressed them with her writing, insight, and determination. Joseph Pulitzer himself recognized her talent and quickly offered her a position. At last, she had a platform far larger than Pittsburgh — a citywide, even nationwide—stage on which to pursue the investigative journalism she had long envisioned.

At Pulitzer’s New York World, Elizabeth expanded her reporting beyond Pittsburgh, covering the daily struggles of New Yorkers living in poverty. She wrote about working women enduring long hours in factories, children forced into labor, and street urchins: orphans and abandoned children, whose numbers and conditions still contributed to driving the Orphan Train movement. Her assignments often took her into tenements, crowded schools, and poor neighborhoods, allowing her to document conditions that most citizens never saw. This work helped her build a reputation for attentiveness, compassion, and a willingness to confront the social problems of the city head-on.

It was the days of sensationalism in Newspapers.  Yellow Journalism. It sold papers. Boosted circulation.  Sales and circulation meant more ads, more money, the lifeblood of any profitable business, or one that intended to be profitable.

As such, Cochrane (AKA Nellie Bly, she was going exclusively by “Nellie Bly” now) approached the World’s leaders with a plan. It was approved. Pulitzer, when he became aware, supported it whole heartedly as well.

Nellie took lodging at the Temporary Home for Females, a refuge for women in duress, under the name Nellie Brown, at 84 Second Avenue. She deliberately behaved oddly, with increasing agitation, refusing to sleep, insisting other boarders were dangerous, and repeatedly claiming to be robbed. This behavior alarmed (terrified!) the house matron, who contacted the police after just a few days of her residence.

She was taken to Bellevue hospital for evaluation.  She kept up the charade, now perfected. From there she was sent to the Women’s Lunatic Asylum on Blackwell’s Island.

During her time at the asylum, Bly observed appalling conditions that shocked her. Patients were crowded into unsanitary cells, poorly clothed, and given inadequate food; many were physically restrained with straitjackets, manacles, or heavy chains. Staff treated the “patients” with cruelty and indifference, administering harsh punishments for minor infractions. The facility was understaffed and disorganized, with little medical oversight, and many inmates appeared to be there simply because they were poor, elderly, or socially inconvenient— rather than genuinely mentally ill. Bly documented these abuses, describing both the physical environment and the mistreatment she witnessed, producing a damning exposé that revealed systemic neglect and galvanized public demand for reform.

After ten days the paper, with Pulitzer’s power and gravitas, got her release.

The New York World ran a series of articles by “Nellie Bly” in November, 1887. The reaction was electric. The city was horrified by the reckless abuse. The New York State legislature responded immediately. Investigators were sent to Blackwell’s Island. Bly’s reports were confirmed. Grand Juries were convened.

It was what Pulitzer and his editors wanted: uncovering corruption and government incompetence. Sensationalism. Nellie Bly—Elizabeth Cochrane—was a journalistic star.

Changes soon followed. More and better trained staff. Improved sanitation and living conditions, less crowding. Stricter intake procedures to prevent wrongful commitments—whether by family or foe.

When the papers sold out, Bly was implored to republish the series.  She did, as a book, called Ten Days in a Mad-House, published by Norman Munro. It extended the sensation among the public. It quickly sold out its first run. It became one of the most famous works of investigative journalism of its era. And it is still in print and available. It’s still referenced today as well.

The immediate aftermath of her exposé elevated Nellie Bly to national fame. She continued writing for the World, leveraging her notoriety to pursue other investigative assignments and human-interest stories. She traveled extensively, reporting from locations and situations few women of the era could access, including prisons, factories, and hospitals.

In 1888, she embarked on her most famous adventure: an attempt to travel around the world in fewer than 80 days, inspired by Jules Verne’s novel. She completed the journey in 72 days, gaining international acclaim and cementing her reputation for daring, meticulous reporting. The experiences were published in a book, Around the World in Seventy-Two Days (often called simply, 72 Days). It was also successful, well-received, and widely read.

Book Cover

Bly also continued her work in social reform. She reported on poverty, child labor, and conditions for working women, often combining immersive investigation with advocacy for legislative or institutional changes. Her career blended journalism, travel writing, and social activism, setting a template for investigative reporters and undercover journalists alike that stretched to today.

She eventually added business ventures to her endeavors, including investments in manufacturing and newspapers. Her career spanned decades, but the ten-day asylum exposé remained the defining achievement that launched her into public consciousness.

In 1895 she married widower Robert Seaman, thirty years her senior, a wealthy industrialist who owned the Iron Clad Manufacturing Company in Brooklyn. They never had any children. After his death, in 1904, Nellie took over the company.

By the 1920s Nellie was in declining health, suffering a series of lung infections. She knew the end was near, and closed out all of her financial issues from a hospital bed, including selling the company in January, 1922. She passed away just days later, January 27th. . Cause of death was listed as pneumonia, complicated by heart disease. Age 57 years.

Nellie Bly did not enter the lunatic asylum for fame. She stepped into darkness so others could be seen. She risked her own safety to give a voice to those the world had forgotten, and in doing so, she helped shape the future of journalism. With only an elementary school education, grit, determination and self-confidence.

Joe Girard © 2025

Thank you for reading. As always, you can add yourself to the notification list for newly published material by clicking here . Or emailing joe@girardmeister.com

 

Notes:
In 1998, Bly was inducted into the National Women’s Hall of Fame.

https://www.britannica.com/biography/Nellie-Bly