Judging from the deluge of etiquette and self-help books, magazine articles and advertisements that urged Americans to wash themselves with as much soap and water as possible, the 1920s should have been a fine time for soap makers. Instead, they anticipated a drop in sales. A buyer's market of goods was overwhelming and distracting the consumer. At the same time, Americans were getting less and less dirty. Paved streets and roads, the automobile and electricity all made for people who were cleaner than those who lived with dirt roads, horses, coal stoves and kerosene lamps. More efficient central heating made the wearing of heavy woollen clothes unnecessary. Thanks to more mechanized factories and labour-saving devices, workers and housewives did not get as dirty as before. What concerned soap makers most, however, was the Roaring Twenties' booming cosmetics industry. The most successful advertising campaigns for soap had promised that cleanliness would bring beauty. Unfortunately for them, lipstick, rouge and mascara produced the illusion of beauty more effectively than the most luxurious soap.

In 1927 the soap makers retaliated by founding the Cleanliness Institute, a trade organization devoted to inculcating in Americans a belief in the supreme value of hygiene. Eighty per cent of soap manufacturers supported the new organization, and the New York Times welcomed its initiative. Happy that "the slovenly folk, who have been going on the theory that they can take a bath or leave it, are to be brought to their senses," the Times saw the Institute as meeting a genuine social need. Using magazine advertisements, radio ads and "public service announcements," and a battery of classroom teaching aids, the Institute aimed at making Americans feel that there was no such thing as "clean enough."

It was made by a subsidiary of Timberjack, called Plustech Oy, and designing began in 1995 and the following prototype, called Plusjack was presented in 1999. Deere & Company purchased the company Timberjack in 2000. And in 2005, Timberjack Oy became John Deere Forestry Oy. Actually the designing department of John Deere´s forestry machines still is in Tampere, where they design everything.

There were few reasons why there were only two ever made. One was high price and other main one was its slowness in the field. It is a remarkable piece of engineering ahead of its time. One of these machines is at display at the Lusto, at the Finnish Forest Museum. And the other one I think, was shipped to USA to be displayed at some John Deere exhibition.

In 1971, Kjartan Slettemark came across a campaign poster featuring Nixon's portrait, innocently sent out by the American embassy. It hung on the studio wall for a few weeks when one day he asked for an advertisement poster for Gevalia coffee that he had seen at his local shop. The advertisement image showed a smiling woman lifting a coffee cup. When he cut out the woman's hand and placed it on the Nixon image, the size, colour, and lighting matched perfectly. He immediately wanted to print the work as a poster but could not afford the printing himself. He added the text "Moderna Museet - Open every day 12 - 22" and submitted it for printing at the press used by Moderna Museet. The poster was printed, and the bill was sent to Moderna Museet. The next morning, Stockholm's advertising pillars were filled with Nixon posters. Moderna Museet reacted and wrote a letter to the artist prohibiting him from selling or distributing the image. Despite this, the image continued to appear around the city. Kjartan Slettemark continued to work with the image, cutting away the museum's text and making it even more similar to Gevalia's campaign image. The fake Gevalia poster was political art. A protest against the US war in Vietnam and against American imperialism. In 1971, the Gävle company Gevalia had been acquired by the multinational corporation General Foods – thus finding itself on the enemy's side. The story continues as the advertising text is cut away and gradually develops into the collage series "Nixon Visions," where the president's face is distorted in various ways.