When one thinks of a cigar, one doesn’t usually think of a woman. In fact, cigarettes were originally created as a woman’s version of a cigar, since cigars were considered completely unladylike. Tobacco companies stretched the boundaries of advertisements with this series of ads targeting women or using the feminine mystique in selling their cigar products. Cigar ads featuring women are usually highly sexualized or romanticized, or speak to women’s liberation movements. Generally, they objectify women in order to advertise cigars to men.
Cowboy
Lady's Cigars – ing0784
When one thinks of a cigar, one doesn’t usually think of a woman. In fact, cigarettes were originally created as a woman’s version of a cigar, since cigars were considered completely unladylike. Tobacco companies stretched the boundaries of advertisements with this series of ads targeting women or using the feminine mystique in selling their cigar products. Cigar ads featuring women are usually highly sexualized or romanticized, or speak to women’s liberation movements. Generally, they objectify women in order to advertise cigars to men.
Lady's Cigars – img0783
When one thinks of a cigar, one doesn’t usually think of a woman. In fact, cigarettes were originally created as a woman’s version of a cigar, since cigars were considered completely unladylike. Tobacco companies stretched the boundaries of advertisements with this series of ads targeting women or using the feminine mystique in selling their cigar products. Cigar ads featuring women are usually highly sexualized or romanticized, or speak to women’s liberation movements. Generally, they objectify women in order to advertise cigars to men.
Lady's Cigars – img0784
When one thinks of a cigar, one doesn’t usually think of a woman. In fact, cigarettes were originally created as a woman’s version of a cigar, since cigars were considered completely unladylike. Tobacco companies stretched the boundaries of advertisements with this series of ads targeting women or using the feminine mystique in selling their cigar products. Cigar ads featuring women are usually highly sexualized or romanticized, or speak to women’s liberation movements. Generally, they objectify women in order to advertise cigars to men.
Low Tar – img3210
Claims of low ‘tar,’ less ‘tar,’ or even lowest ‘tar’ have been circulating in cigarette advertisements for decades. This theme features ads which revolve around deceptive low tar claims which try to out-do each other, some going as far as to claim less than 1 mg of tar per cigarette. By ‘tar,’ tobacco companies are referring to the brown, sticky accumulation of chemicals amassed when tobacco is burned. This residue is considered to be one of the most damaging components of smoking, as it contains a multitude of identified carcinogens and causes harmful build-up in the lungs. It is therefore no surprise that, early on, tobacco companies began to make their cigarettes appear less harmful by advertising reduced tar levels. Low tar cigarettes are intended to keep concerned smokers from quitting by providing these smokers with what appears to be a healthy alternative. Unfortunately, lower tar ratings have no bearing on the safety of the brand in question. As internal tobacco documents have revealed, tobacco companies have been fully knowledgeable that lower tar cigarettes were not actually safer or healthier.
It was not until quite recently that any action was taken in the United States to address the deceptive and dangerous mislabeling. However, when the FDA was granted regulatory authority over tobacco products in 2009, these concerns came to the forefront of regulation. As of July 2010, the words “mild,” “low,” or “light” are not to be used on tobacco products, as these words cause consumers to underestimate their health risks. This new regulation means that brands previously marketed as “light” or “low-tar” can no longer include these words on their packaging or advertising.
Unsurprisingly, tobacco manufacturers have figured out a creative way to escape this regulation. Now, they rely on different colored packages to indicate whether a certain product is light, ultra-light, or full-flavor. The colors vary slightly among brands, but generally adhere to the following standards: red indicates regular; dark green indicates menthol; light green, blue, or gold indicate previously “light” cigarettes; and silver or orange indicate previously “ultra light” cigarettes. Camel, for example, replaced their “Camel Lights” product with “Camel Blue.” Philip Morris stuck with the idea that lighter shades indicate a “lighter” cigarette, and thus Marlboro Lights became Marlboro Gold, and Marlboro Ultra-Lights became Marlboro Silver. Likewise, R.J. Reynolds’ Salem Ultra-Lights became “Salem Silver Box.” The FDA has regulatory authority to demand that tobacco companies discontinue their color branding techniques in the future.
Gambling – img13855
Cultural Icons – img5414
Young Smokers – img3872
The ads in this theme, featuring attractive, smiling, young models, blatantly target teens and young adults. This theme spans decades of cigarette ads targeting youth, from the 1920s Fatima cigarettes slogan, “the younger crowd,” to the 1930s and ’40s Old Gold slogan, “for young ideas,” to the 1950s Philip Morris slogan “for those with keen, young tastes.” Internal industry documents show that young people have been (and remain today) a key marketing target for tobacco companies.
Most smokers do not begin smoking as adults. Almost all new smokers, the lifeblood of the industry, are teens and young adults aged 13 to 21. An R.J. Reynolds document from 1973 reveals the long-seeded emphasis on targeting teens with cigarette ads: “Realistically, if our Company is to survive and prosper, over the long term, we must get our share of the youth market” (1). In the 1980s, R.J.R. placed a stronger emphasis on the necessity of hooking teens early, claiming that “younger adult smokers have been the critical factor in the growth and decline of every major brand and company over the last 50 years. They will continue to be just as important to brands/companies in the future…” (2). Later in this same document, the company literally refers to its smokers as if they assets, claiming that a young smoker “appreciates in value over time because of increased consumption.” Decades later, the sentiment that youth must be targeted remains prevalent. A more recent R.J. Reynolds document from 1998 explains that because only 31% of smokers begin smoking after age 18, and only 5% after age 24, “younger adults are the only source of replacement smokers” once adult smokers pass away (3).
The emphasis on targeting teens was by no means restricted to R.J. Reynolds. An internal Philip Morris document from 1981 explains that the teen market is “particularly important,” because “today’s teenager is tomorrow’s potential regular customer, and the overwhelming majority of smokers first begin to smoke while still in their teens” (4). Even after harsh criticism from activists and policy makers, tobacco companies continue to advertise to the youth market. While they claim they target only “informed adults” of at least 21 years, recent ad campaigns tell a different story. Take a look at some of our other themes, including “Flavored Tobacco,” “Joe Camel,” “Newport Teases Teens,” and “Recent Menthol” to discover Big Tobacco’s ongoing teen marketing campaigns.
Abroad, where regulation is less strict, flagrant targeting of youth in cigarette ads remains rampant. Bright pink ads for Kiss cigarettes in Russia, using fresh-faced girls enjoying lollipops and ice cream cones, exemplify the dangers of tobacco advertising with next to zero regulations.
1. Teague, Claude E. “Research Planning Memorandum on Some Thoughts About New Brands of Cigarettes for the Youth Market.” R.J. Reynolds. 2 Feb 1973. http://legacy.library.ucsf.edu/tid/mqu46b00/pdf
2. Burrows, D.S. “Younger Adult Smokers: Strategies and Opportunities.” R.J. Reynolds. 29 February 1984. http://legacy.library.ucsf.edu/tid/tqq46b00/pdf
3. “The Importance of Younger Adults.” R.J. Reynolds. 27 Feb 1998. http://legacy.library.ucsf.edu/tid/eyn18c00/pdf
4. Johnston, M.E. “Young Smokers Prevalence, Trends, Implications and Related Demographic Trends.” Philip Morris. 31 March 1981. http://legacy.library.ucsf.edu/tid/fts84a00/pdf
Women's Liberation – img0808
One of the most common techniques tobacco companies employ in order to target women is women’s liberation. Specifically, these advertisements show a woman in a position of power over a man, while being careful to keep the power-play light, carefree, and a bit flirtatious. The ads are prudent, hoping not to offend anyone while appearing to “take sides,” so to speak, with women. Often, these ads distract from the position of power Big Tobacco itself holds over both sexes, by pitting women against men instead of against Big Tobacco.
Copenhagen – ing5863
Copenhagen is a brand of smokeless tobacco owned by Altria. Similar to other brands of chewing tobacco, advertisements for Copenhagen are primarily aimed at rugged, outdoorsy men and young boys. The ads feature rural and outdoor settings, men in cowboy hats, or macho men taking on tough tasks. An example includes a Copenhagen ad featuring an image of a cowboy working in the rain. “Some men never compromise. They Cope.” Another ad features the rough hands of a man dipping into a can of Copenhagen. The text reads, “”Real men know you don't just count the years, but make the years count.”
Copenhagen – ing5864
Copenhagen is a brand of smokeless tobacco owned by Altria. Similar to other brands of chewing tobacco, advertisements for Copenhagen are primarily aimed at rugged, outdoorsy men and young boys. The ads feature rural and outdoor settings, men in cowboy hats, or macho men taking on tough tasks. An example includes a Copenhagen ad featuring an image of a cowboy working in the rain. “Some men never compromise. They Cope.” Another ad features the rough hands of a man dipping into a can of Copenhagen. The text reads, “”Real men know you don't just count the years, but make the years count.”
Couples in Love – img0691
Love and cigarettes, marriage and cigarettes, sex and cigarettes? Nothing is off limits in these tobacco advertisements which feature couples in love. The advertisements work cigarettes into the everyday lives of couples, seemingly bringing couples closer together or enhancing their sexual connection. In the 1920s and 1930s, women were pictured as part of a couple so as to lessen the shock value of women smoking. However, as times changed and women smoking became widely acknowledged, men and women continued to show up together in cigarette advertisements in romantic scenarios. These advertisements were particularly effective at targeting women, capitalizing on the stereotypical female desire to find a husband or be taken care of by a man. Often, however, these ads were also effective for men, who would imagine, after seeing one of the ads, that a woman sensuously falls into a man’s arms with just the whiff of a cigarette or the mingling of fumes.
Couples in Love – img0692
Love and cigarettes, marriage and cigarettes, sex and cigarettes? Nothing is off limits in these tobacco advertisements which feature couples in love. The advertisements work cigarettes into the everyday lives of couples, seemingly bringing couples closer together or enhancing their sexual connection. In the 1920s and 1930s, women were pictured as part of a couple so as to lessen the shock value of women smoking. However, as times changed and women smoking became widely acknowledged, men and women continued to show up together in cigarette advertisements in romantic scenarios. These advertisements were particularly effective at targeting women, capitalizing on the stereotypical female desire to find a husband or be taken care of by a man. Often, however, these ads were also effective for men, who would imagine, after seeing one of the ads, that a woman sensuously falls into a man’s arms with just the whiff of a cigarette or the mingling of fumes.
Booze & Bars – img13813
Copenhagen – ing5865
Copenhagen is a brand of smokeless tobacco owned by Altria. Similar to other brands of chewing tobacco, advertisements for Copenhagen are primarily aimed at rugged, outdoorsy men and young boys. The ads feature rural and outdoor settings, men in cowboy hats, or macho men taking on tough tasks. An example includes a Copenhagen ad featuring an image of a cowboy working in the rain. “Some men never compromise. They Cope.” Another ad features the rough hands of a man dipping into a can of Copenhagen. The text reads, “”Real men know you don't just count the years, but make the years count.”
Recent Black Ads – img5101
While print advertising for tobacco products is now seen in few mainstream magazines in recent years, it is still very prevalent in Black magazines. Particularly, the Johnson Publishing Company, Inc., publishers of Ebony and Jet, has continued to be been a consistent partner with tobacco advertising, particularly for Lorillard’s Newport. An internal document prepared by Advertising Experti for Philip Morris in 1996 outlines the major Black magazines ideal for tobacco advertisements (1):
Ebony: “EBONY Magazine is a Black-oriented lifestyle general interest publication, dealing with contemporary topics.”
Essence: “ESSENCE is a magazine editorially geared to the upwardly mobile Black woman, described as being professional, well-educated, and affluent.”
Black Elegance: “BLACK ELEGANCE (BE) is a national lifestyle magazine for the contemporary, upscale Black woman 25-44 years of age. Its readership is depicted as achievers who seek quality in their careers and lifestyles. Jet: “As a newsweekly, JET provides the latest domestic and international information concerning newsmakers and news events.”
Upscale: “This magazine emerged as a publishing entity in August 1989. Its editorial fare combines celebrity profiles with articles that explores issues effecting the empowerment of African Americans.
Black Enterprise: ”BLACK ENTERPRISE Magazine is the premier business news source for African Americans.
Ebony Man: “It was created […] to serve the lifestyle needs of upwardly mobile Black men”
Class: “CLASS Magazine began publication in September 1979, servicing the Caribbean-American population segment, a Black consumer group not specifically addressed by other Black-oriented national magazines.”
Vibe: “VIBE magazine speaks to a generation of young men and women whose lifestyles resists categorization along conventional lines of race, class or gender. From an inclusive, multicultural prospective. VIBE covers a myriad of subjects judged pertinent to the lifestyle of young adults.”
Emerge: “EMERGE covers issues, ideas and events from a Black perspective.”
1. Advertising Experti. “Benson & Hedges African American Magazine Synopsis.” Philip Morris. 16 Jan 1996. http://legacy.library.ucsf.edu/tid/oug59h00:
Couples in Love – img0726
Love and cigarettes, marriage and cigarettes, sex and cigarettes? Nothing is off limits in these tobacco advertisements which feature couples in love. The advertisements work cigarettes into the everyday lives of couples, seemingly bringing couples closer together or enhancing their sexual connection. In the 1920s and 1930s, women were pictured as part of a couple so as to lessen the shock value of women smoking. However, as times changed and women smoking became widely acknowledged, men and women continued to show up together in cigarette advertisements in romantic scenarios. These advertisements were particularly effective at targeting women, capitalizing on the stereotypical female desire to find a husband or be taken care of by a man. Often, however, these ads were also effective for men, who would imagine, after seeing one of the ads, that a woman sensuously falls into a man’s arms with just the whiff of a cigarette or the mingling of fumes.
It's Toasted – img13542
The American Tobacco Company began using the slogan “It’s Toasted” for Lucky Strike cigarettes in 1917. “It’s toasted” referred to the process of heat curing tobacco leaf as opposed to simply sun drying. Purported to “remove harmful corrosive acids (pungent irritants)” and to “sterilize” tobacco, this process of curing tobacco did not in fact differ widely from methods of other manufacturers.
The slogan, still included in small text on Lucky Strike cartons today, has been included in a variety of Lucky Strike campaigns over the decades, ranging from “Cream of the Crop” (1928-1934) to “Fat Shadow” (1929-1930) to throat referrals (1927-1937). The meaning of the message was elastic — it was at some times used to indicate better taste, while at others to indicate less throat irritation.
First used in 1917 on an ad entitled, “Do you like good toast?” the slogan was meant to intone delicious flavor: “Toasting Burley holds the flavor, and helps it… Remember– it’s toasted! Like hot buttered toast.” Perhaps this comparison to toasting and coked food allowed Lucky Strike to position itself as a sterilized cigarette, free of disease such as tuberculosis.
The following year, Lucky Strike continued with the comparison to delicious cuisine, capitalizing on the American public’s preoccupation with the WWI shortage on food; indeed, in 1918, Lucky introduced its “food conservation series” of ads, which provided consumers with advice such as “More Vegetables Less Meat,” “Eat More Corn,” and “Cheese OK’d by Food Administration.” These guidelines followed FDA recommendations on the wartime food shortage in order to legitimize the purchase of Lucky Strike cigarettes.
While the earliest “It’s toasted” ads had boasted great taste, by 1927, Lucky had changed the meaning of the slogan to throat protection: “It’s toasted. Your throat protection – against irritation – against cough.” But by 1955 they were back in the flavor realm, with “It’s toasted to taste better!” In 1970, Lucky Strike was again considering ad copy which would compare its toasted cigarettes to delicious toast. An internal industry document reveals a mock-up ad featuring two boxes of Lucky Strike popping out of a toaster under the header “Bon Appetit: It’s Toasted to Taste Better” (2).
Clearly, the slogan has an elasticity of message which has allowed Lucky Strike to make health claims whenever convenient or beneficial. The slogan is included on the side of the current packing of the Lucky Strike carton, which reads, “manufacture includes the Lucky Strike process, It's Toasted.”
1. Heimann, Robert K. “Bon Appetit.” American Tobacco. 11 Nov 1970. http://legacy.library.ucsf.edu/tid/dmv60a00
Marlboro Men – img9552
With the rise of filter cigarettes in response to the increasing health concerns tied to smoking, Philip Morris decided to reposition its Marlboro brand for the filter market. What was originally a cigarette marketed as “Mild as May” to attract a primarily female audience, all at once gained a filter and became a man’s cigarette. No longer would Marlboro advertise “Ivory Tips to protect the lips” or “red beauty tips to match your lips and fingertips,” as it had done since the 1920s; Instead, Marlboro underwent a complete sex change in 1954. The brand’s new mascot, the “Marlboro Man,” would exude rugged manliness in an effort to position Marlboro as a filter with flavor. Previously, most filter cigarettes were considered to be “sissy” or effeminate, lacking in flavor and meant for those who couldn’t handle stronger brands. With the Marlboro Man campaign, Philip Morris worked to reverse this sentiment. The original Marlboro Men were excessive in their masculine virility. The models ranged from rough cowboys and sailors to alluring businessmen and academics. Whether the Marlboro Man was pictured preparing his gun or playing chess, he always sported a military-inspired tattoo on the back of his hand. In 1960, the tattoo was discontinued, but its message – that of intrigue and masculinity – remained vibrant in the Marlboro Men of the decades to follow.
Marlboro Men – img9553
With the rise of filter cigarettes in response to the increasing health concerns tied to smoking, Philip Morris decided to reposition its Marlboro brand for the filter market. What was originally a cigarette marketed as “Mild as May” to attract a primarily female audience, all at once gained a filter and became a man’s cigarette. No longer would Marlboro advertise “Ivory Tips to protect the lips” or “red beauty tips to match your lips and fingertips,” as it had done since the 1920s; Instead, Marlboro underwent a complete sex change in 1954. The brand’s new mascot, the “Marlboro Man,” would exude rugged manliness in an effort to position Marlboro as a filter with flavor. Previously, most filter cigarettes were considered to be “sissy” or effeminate, lacking in flavor and meant for those who couldn’t handle stronger brands. With the Marlboro Man campaign, Philip Morris worked to reverse this sentiment. The original Marlboro Men were excessive in their masculine virility. The models ranged from rough cowboys and sailors to alluring businessmen and academics. Whether the Marlboro Man was pictured preparing his gun or playing chess, he always sported a military-inspired tattoo on the back of his hand. In 1960, the tattoo was discontinued, but its message – that of intrigue and masculinity – remained vibrant in the Marlboro Men of the decades to follow.
Marlboro Men – img9556
With the rise of filter cigarettes in response to the increasing health concerns tied to smoking, Philip Morris decided to reposition its Marlboro brand for the filter market. What was originally a cigarette marketed as “Mild as May” to attract a primarily female audience, all at once gained a filter and became a man’s cigarette. No longer would Marlboro advertise “Ivory Tips to protect the lips” or “red beauty tips to match your lips and fingertips,” as it had done since the 1920s; Instead, Marlboro underwent a complete sex change in 1954. The brand’s new mascot, the “Marlboro Man,” would exude rugged manliness in an effort to position Marlboro as a filter with flavor. Previously, most filter cigarettes were considered to be “sissy” or effeminate, lacking in flavor and meant for those who couldn’t handle stronger brands. With the Marlboro Man campaign, Philip Morris worked to reverse this sentiment. The original Marlboro Men were excessive in their masculine virility. The models ranged from rough cowboys and sailors to alluring businessmen and academics. Whether the Marlboro Man was pictured preparing his gun or playing chess, he always sported a military-inspired tattoo on the back of his hand. In 1960, the tattoo was discontinued, but its message – that of intrigue and masculinity – remained vibrant in the Marlboro Men of the decades to follow.
Marlboro Men – img9557
With the rise of filter cigarettes in response to the increasing health concerns tied to smoking, Philip Morris decided to reposition its Marlboro brand for the filter market. What was originally a cigarette marketed as “Mild as May” to attract a primarily female audience, all at once gained a filter and became a man’s cigarette. No longer would Marlboro advertise “Ivory Tips to protect the lips” or “red beauty tips to match your lips and fingertips,” as it had done since the 1920s; Instead, Marlboro underwent a complete sex change in 1954. The brand’s new mascot, the “Marlboro Man,” would exude rugged manliness in an effort to position Marlboro as a filter with flavor. Previously, most filter cigarettes were considered to be “sissy” or effeminate, lacking in flavor and meant for those who couldn’t handle stronger brands. With the Marlboro Man campaign, Philip Morris worked to reverse this sentiment. The original Marlboro Men were excessive in their masculine virility. The models ranged from rough cowboys and sailors to alluring businessmen and academics. Whether the Marlboro Man was pictured preparing his gun or playing chess, he always sported a military-inspired tattoo on the back of his hand. In 1960, the tattoo was discontinued, but its message – that of intrigue and masculinity – remained vibrant in the Marlboro Men of the decades to follow.
Marlboro Men – img9551
With the rise of filter cigarettes in response to the increasing health concerns tied to smoking, Philip Morris decided to reposition its Marlboro brand for the filter market. What was originally a cigarette marketed as “Mild as May” to attract a primarily female audience, all at once gained a filter and became a man’s cigarette. No longer would Marlboro advertise “Ivory Tips to protect the lips” or “red beauty tips to match your lips and fingertips,” as it had done since the 1920s; Instead, Marlboro underwent a complete sex change in 1954. The brand’s new mascot, the “Marlboro Man,” would exude rugged manliness in an effort to position Marlboro as a filter with flavor. Previously, most filter cigarettes were considered to be “sissy” or effeminate, lacking in flavor and meant for those who couldn’t handle stronger brands. With the Marlboro Man campaign, Philip Morris worked to reverse this sentiment. The original Marlboro Men were excessive in their masculine virility. The models ranged from rough cowboys and sailors to alluring businessmen and academics. Whether the Marlboro Man was pictured preparing his gun or playing chess, he always sported a military-inspired tattoo on the back of his hand. In 1960, the tattoo was discontinued, but its message – that of intrigue and masculinity – remained vibrant in the Marlboro Men of the decades to follow.
Marlboro Men – img9554
With the rise of filter cigarettes in response to the increasing health concerns tied to smoking, Philip Morris decided to reposition its Marlboro brand for the filter market. What was originally a cigarette marketed as “Mild as May” to attract a primarily female audience, all at once gained a filter and became a man’s cigarette. No longer would Marlboro advertise “Ivory Tips to protect the lips” or “red beauty tips to match your lips and fingertips,” as it had done since the 1920s; Instead, Marlboro underwent a complete sex change in 1954. The brand’s new mascot, the “Marlboro Man,” would exude rugged manliness in an effort to position Marlboro as a filter with flavor. Previously, most filter cigarettes were considered to be “sissy” or effeminate, lacking in flavor and meant for those who couldn’t handle stronger brands. With the Marlboro Man campaign, Philip Morris worked to reverse this sentiment. The original Marlboro Men were excessive in their masculine virility. The models ranged from rough cowboys and sailors to alluring businessmen and academics. Whether the Marlboro Man was pictured preparing his gun or playing chess, he always sported a military-inspired tattoo on the back of his hand. In 1960, the tattoo was discontinued, but its message – that of intrigue and masculinity – remained vibrant in the Marlboro Men of the decades to follow.
Marlboro Men – img2122
With the rise of filter cigarettes in response to the increasing health concerns tied to smoking, Philip Morris decided to reposition its Marlboro brand for the filter market. What was originally a cigarette marketed as “Mild as May” to attract a primarily female audience, all at once gained a filter and became a man’s cigarette. No longer would Marlboro advertise “Ivory Tips to protect the lips” or “red beauty tips to match your lips and fingertips,” as it had done since the 1920s; Instead, Marlboro underwent a complete sex change in 1954. The brand’s new mascot, the “Marlboro Man,” would exude rugged manliness in an effort to position Marlboro as a filter with flavor. Previously, most filter cigarettes were considered to be “sissy” or effeminate, lacking in flavor and meant for those who couldn’t handle stronger brands. With the Marlboro Man campaign, Philip Morris worked to reverse this sentiment. The original Marlboro Men were excessive in their masculine virility. The models ranged from rough cowboys and sailors to alluring businessmen and academics. Whether the Marlboro Man was pictured preparing his gun or playing chess, he always sported a military-inspired tattoo on the back of his hand. In 1960, the tattoo was discontinued, but its message – that of intrigue and masculinity – remained vibrant in the Marlboro Men of the decades to follow.
Marlboro Men – img9548
With the rise of filter cigarettes in response to the increasing health concerns tied to smoking, Philip Morris decided to reposition its Marlboro brand for the filter market. What was originally a cigarette marketed as “Mild as May” to attract a primarily female audience, all at once gained a filter and became a man’s cigarette. No longer would Marlboro advertise “Ivory Tips to protect the lips” or “red beauty tips to match your lips and fingertips,” as it had done since the 1920s; Instead, Marlboro underwent a complete sex change in 1954. The brand’s new mascot, the “Marlboro Man,” would exude rugged manliness in an effort to position Marlboro as a filter with flavor. Previously, most filter cigarettes were considered to be “sissy” or effeminate, lacking in flavor and meant for those who couldn’t handle stronger brands. With the Marlboro Man campaign, Philip Morris worked to reverse this sentiment. The original Marlboro Men were excessive in their masculine virility. The models ranged from rough cowboys and sailors to alluring businessmen and academics. Whether the Marlboro Man was pictured preparing his gun or playing chess, he always sported a military-inspired tattoo on the back of his hand. In 1960, the tattoo was discontinued, but its message – that of intrigue and masculinity – remained vibrant in the Marlboro Men of the decades to follow.
Marlboro Men – img9549
With the rise of filter cigarettes in response to the increasing health concerns tied to smoking, Philip Morris decided to reposition its Marlboro brand for the filter market. What was originally a cigarette marketed as “Mild as May” to attract a primarily female audience, all at once gained a filter and became a man’s cigarette. No longer would Marlboro advertise “Ivory Tips to protect the lips” or “red beauty tips to match your lips and fingertips,” as it had done since the 1920s; Instead, Marlboro underwent a complete sex change in 1954. The brand’s new mascot, the “Marlboro Man,” would exude rugged manliness in an effort to position Marlboro as a filter with flavor. Previously, most filter cigarettes were considered to be “sissy” or effeminate, lacking in flavor and meant for those who couldn’t handle stronger brands. With the Marlboro Man campaign, Philip Morris worked to reverse this sentiment. The original Marlboro Men were excessive in their masculine virility. The models ranged from rough cowboys and sailors to alluring businessmen and academics. Whether the Marlboro Man was pictured preparing his gun or playing chess, he always sported a military-inspired tattoo on the back of his hand. In 1960, the tattoo was discontinued, but its message – that of intrigue and masculinity – remained vibrant in the Marlboro Men of the decades to follow.
Marlboro Men – img9550
With the rise of filter cigarettes in response to the increasing health concerns tied to smoking, Philip Morris decided to reposition its Marlboro brand for the filter market. What was originally a cigarette marketed as “Mild as May” to attract a primarily female audience, all at once gained a filter and became a man’s cigarette. No longer would Marlboro advertise “Ivory Tips to protect the lips” or “red beauty tips to match your lips and fingertips,” as it had done since the 1920s; Instead, Marlboro underwent a complete sex change in 1954. The brand’s new mascot, the “Marlboro Man,” would exude rugged manliness in an effort to position Marlboro as a filter with flavor. Previously, most filter cigarettes were considered to be “sissy” or effeminate, lacking in flavor and meant for those who couldn’t handle stronger brands. With the Marlboro Man campaign, Philip Morris worked to reverse this sentiment. The original Marlboro Men were excessive in their masculine virility. The models ranged from rough cowboys and sailors to alluring businessmen and academics. Whether the Marlboro Man was pictured preparing his gun or playing chess, he always sported a military-inspired tattoo on the back of his hand. In 1960, the tattoo was discontinued, but its message – that of intrigue and masculinity – remained vibrant in the Marlboro Men of the decades to follow.
Marlboro Men – img11600
With the rise of filter cigarettes in response to the increasing health concerns tied to smoking, Philip Morris decided to reposition its Marlboro brand for the filter market. What was originally a cigarette marketed as “Mild as May” to attract a primarily female audience, all at once gained a filter and became a man’s cigarette. No longer would Marlboro advertise “Ivory Tips to protect the lips” or “red beauty tips to match your lips and fingertips,” as it had done since the 1920s; Instead, Marlboro underwent a complete sex change in 1954. The brand’s new mascot, the “Marlboro Man,” would exude rugged manliness in an effort to position Marlboro as a filter with flavor. Previously, most filter cigarettes were considered to be “sissy” or effeminate, lacking in flavor and meant for those who couldn’t handle stronger brands. With the Marlboro Man campaign, Philip Morris worked to reverse this sentiment. The original Marlboro Men were excessive in their masculine virility. The models ranged from rough cowboys and sailors to alluring businessmen and academics. Whether the Marlboro Man was pictured preparing his gun or playing chess, he always sported a military-inspired tattoo on the back of his hand. In 1960, the tattoo was discontinued, but its message – that of intrigue and masculinity – remained vibrant in the Marlboro Men of the decades to follow.
Marlboro Men – img9555
With the rise of filter cigarettes in response to the increasing health concerns tied to smoking, Philip Morris decided to reposition its Marlboro brand for the filter market. What was originally a cigarette marketed as “Mild as May” to attract a primarily female audience, all at once gained a filter and became a man’s cigarette. No longer would Marlboro advertise “Ivory Tips to protect the lips” or “red beauty tips to match your lips and fingertips,” as it had done since the 1920s; Instead, Marlboro underwent a complete sex change in 1954. The brand’s new mascot, the “Marlboro Man,” would exude rugged manliness in an effort to position Marlboro as a filter with flavor. Previously, most filter cigarettes were considered to be “sissy” or effeminate, lacking in flavor and meant for those who couldn’t handle stronger brands. With the Marlboro Man campaign, Philip Morris worked to reverse this sentiment. The original Marlboro Men were excessive in their masculine virility. The models ranged from rough cowboys and sailors to alluring businessmen and academics. Whether the Marlboro Man was pictured preparing his gun or playing chess, he always sported a military-inspired tattoo on the back of his hand. In 1960, the tattoo was discontinued, but its message – that of intrigue and masculinity – remained vibrant in the Marlboro Men of the decades to follow.
Marlboro Men – img11601
With the rise of filter cigarettes in response to the increasing health concerns tied to smoking, Philip Morris decided to reposition its Marlboro brand for the filter market. What was originally a cigarette marketed as “Mild as May” to attract a primarily female audience, all at once gained a filter and became a man’s cigarette. No longer would Marlboro advertise “Ivory Tips to protect the lips” or “red beauty tips to match your lips and fingertips,” as it had done since the 1920s; Instead, Marlboro underwent a complete sex change in 1954. The brand’s new mascot, the “Marlboro Man,” would exude rugged manliness in an effort to position Marlboro as a filter with flavor. Previously, most filter cigarettes were considered to be “sissy” or effeminate, lacking in flavor and meant for those who couldn’t handle stronger brands. With the Marlboro Man campaign, Philip Morris worked to reverse this sentiment. The original Marlboro Men were excessive in their masculine virility. The models ranged from rough cowboys and sailors to alluring businessmen and academics. Whether the Marlboro Man was pictured preparing his gun or playing chess, he always sported a military-inspired tattoo on the back of his hand. In 1960, the tattoo was discontinued, but its message – that of intrigue and masculinity – remained vibrant in the Marlboro Men of the decades to follow.
Marlboro Men – img9547
With the rise of filter cigarettes in response to the increasing health concerns tied to smoking, Philip Morris decided to reposition its Marlboro brand for the filter market. What was originally a cigarette marketed as “Mild as May” to attract a primarily female audience, all at once gained a filter and became a man’s cigarette. No longer would Marlboro advertise “Ivory Tips to protect the lips” or “red beauty tips to match your lips and fingertips,” as it had done since the 1920s; Instead, Marlboro underwent a complete sex change in 1954. The brand’s new mascot, the “Marlboro Man,” would exude rugged manliness in an effort to position Marlboro as a filter with flavor. Previously, most filter cigarettes were considered to be “sissy” or effeminate, lacking in flavor and meant for those who couldn’t handle stronger brands. With the Marlboro Man campaign, Philip Morris worked to reverse this sentiment. The original Marlboro Men were excessive in their masculine virility. The models ranged from rough cowboys and sailors to alluring businessmen and academics. Whether the Marlboro Man was pictured preparing his gun or playing chess, he always sported a military-inspired tattoo on the back of his hand. In 1960, the tattoo was discontinued, but its message – that of intrigue and masculinity – remained vibrant in the Marlboro Men of the decades to follow.
Light – img3054
The ads in this theme document the decades of deceptive advertisement campaigns for “light” cigarettes. In the 1970s, the tobacco industry began heavily promoting “light” cigarettes as low-tar and low-nicotine alternatives to quitting. However, the FDA has determined that light and ultra-light cigarettes are no safer than regular cigarettes. In fact, internal industry documents reveal that from the very beginning, tobacco companies were well aware that smokers compensated for the low-nicotine draw from light cigarettes by changing their smoking behaviors. A brand of cigarette, for example, might register on the FTC Test Method as containing 12 mg of “tar” and 0.9 mg of nicotine per cigarette, but in actuality, a human smoker of the same brand would be able to receive much more tar and nicotine than the “machine smoker” by smoking the light cigarette in a different manner.
Indeed, since the 1966 release of the ISO machine-smoking method (used by the FTC to determine the tar, nicotine, and carbon monoxide yield of cigarettes), the industry has worked intensively to create a product that would outsmart the testing equipment. For one, the tobacco companies discovered that added perforations on cigarette filters resulted in low tar and nicotine readings from the FTC Test Method, as clean air diluted the smoke “inhaled” by the machine; however, human smokers, unlike the machine smoker, are smoking for the nicotine kick. Often, this desire for nicotine causes human smokers to take longer, bigger, or quicker puffs on light cigarettes, since the cigarette provides “less” nicotine per normal puff. Additionally, smokers of light cigarettes often smoke more cigarettes per day than smokers of regular cigarettes. Sometimes (usually in the case of super light or ultra light cigarettes), smokers instinctively cover the perforations on the filters with their lips or fingers as they draw in, resulting in a very high intake of nicotine and tar from the cigarette (1). Because of these wide variations between human smokers and machine smokers, the FTC Test Method is now widely considered to be misleading for consumers.
The FDA was granted regulatory authority over tobacco products in 2009, and with this change came many new regulations, one of which directly concerns light cigarettes: As of July 2010, the words “mild,” “low,” or “light” are not to be used on tobacco products as they cause consumers to underestimate their health risks. This means that brands previously marketed as “light” or “low-tar” can no longer include these words on their packaging or advertising. Unsurprisingly, tobacco manufacturers have figured out a creative way to escape this regulation. Now, they rely on different colored packages to indicate whether a certain product is light, ultra-light, or full-flavor. The colors vary slightly among brands, but generally adhere to the following standards: red indicates regular; dark green indicates menthol; light green, blue, or gold indicate previously “light” cigarettes; and silver or orange indicate previously “ultra light” cigarettes. Camel, for example, replaced their “Camel Lights” product with “Camel Blue.” Philip Morris stuck with the idea that lighter shades indicate a “lighter” cigarette, and thus Marlboro Lights became Marlboro Gold, and Marlboro Ultra-Lights became Marlboro Silver. Likewise, R.J. Reynolds’ Salem Ultra-Lights became “Salem Silver Box.” The FDA has regulatory authority to demand that tobacco companies discontinue their color branding techniques in the future.
1. Kozlowski, T. and R. J. O’Connor. “Cigarette filter ventilation is a defective design because of misleading taste, bigger puffs, and blocked vents.” Tobacco Control. 2002; 11: i40-i50. http://tobaccocontrol.bmj.com/content/11/suppl_1/i40.full
Light – img3055
The ads in this theme document the decades of deceptive advertisement campaigns for “light” cigarettes. In the 1970s, the tobacco industry began heavily promoting “light” cigarettes as low-tar and low-nicotine alternatives to quitting. However, the FDA has determined that light and ultra-light cigarettes are no safer than regular cigarettes. In fact, internal industry documents reveal that from the very beginning, tobacco companies were well aware that smokers compensated for the low-nicotine draw from light cigarettes by changing their smoking behaviors. A brand of cigarette, for example, might register on the FTC Test Method as containing 12 mg of “tar” and 0.9 mg of nicotine per cigarette, but in actuality, a human smoker of the same brand would be able to receive much more tar and nicotine than the “machine smoker” by smoking the light cigarette in a different manner.
Indeed, since the 1966 release of the ISO machine-smoking method (used by the FTC to determine the tar, nicotine, and carbon monoxide yield of cigarettes), the industry has worked intensively to create a product that would outsmart the testing equipment. For one, the tobacco companies discovered that added perforations on cigarette filters resulted in low tar and nicotine readings from the FTC Test Method, as clean air diluted the smoke “inhaled” by the machine; however, human smokers, unlike the machine smoker, are smoking for the nicotine kick. Often, this desire for nicotine causes human smokers to take longer, bigger, or quicker puffs on light cigarettes, since the cigarette provides “less” nicotine per normal puff. Additionally, smokers of light cigarettes often smoke more cigarettes per day than smokers of regular cigarettes. Sometimes (usually in the case of super light or ultra light cigarettes), smokers instinctively cover the perforations on the filters with their lips or fingers as they draw in, resulting in a very high intake of nicotine and tar from the cigarette (1). Because of these wide variations between human smokers and machine smokers, the FTC Test Method is now widely considered to be misleading for consumers.
The FDA was granted regulatory authority over tobacco products in 2009, and with this change came many new regulations, one of which directly concerns light cigarettes: As of July 2010, the words “mild,” “low,” or “light” are not to be used on tobacco products as they cause consumers to underestimate their health risks. This means that brands previously marketed as “light” or “low-tar” can no longer include these words on their packaging or advertising. Unsurprisingly, tobacco manufacturers have figured out a creative way to escape this regulation. Now, they rely on different colored packages to indicate whether a certain product is light, ultra-light, or full-flavor. The colors vary slightly among brands, but generally adhere to the following standards: red indicates regular; dark green indicates menthol; light green, blue, or gold indicate previously “light” cigarettes; and silver or orange indicate previously “ultra light” cigarettes. Camel, for example, replaced their “Camel Lights” product with “Camel Blue.” Philip Morris stuck with the idea that lighter shades indicate a “lighter” cigarette, and thus Marlboro Lights became Marlboro Gold, and Marlboro Ultra-Lights became Marlboro Silver. Likewise, R.J. Reynolds’ Salem Ultra-Lights became “Salem Silver Box.” The FDA has regulatory authority to demand that tobacco companies discontinue their color branding techniques in the future.
1. Kozlowski, T. and R. J. O’Connor. “Cigarette filter ventilation is a defective design because of misleading taste, bigger puffs, and blocked vents.” Tobacco Control. 2002; 11: i40-i50. http://tobaccocontrol.bmj.com/content/11/suppl_1/i40.full
Light – img8029
The ads in this theme document the decades of deceptive advertisement campaigns for “light” cigarettes. In the 1970s, the tobacco industry began heavily promoting “light” cigarettes as low-tar and low-nicotine alternatives to quitting. However, the FDA has determined that light and ultra-light cigarettes are no safer than regular cigarettes. In fact, internal industry documents reveal that from the very beginning, tobacco companies were well aware that smokers compensated for the low-nicotine draw from light cigarettes by changing their smoking behaviors. A brand of cigarette, for example, might register on the FTC Test Method as containing 12 mg of “tar” and 0.9 mg of nicotine per cigarette, but in actuality, a human smoker of the same brand would be able to receive much more tar and nicotine than the “machine smoker” by smoking the light cigarette in a different manner.
Indeed, since the 1966 release of the ISO machine-smoking method (used by the FTC to determine the tar, nicotine, and carbon monoxide yield of cigarettes), the industry has worked intensively to create a product that would outsmart the testing equipment. For one, the tobacco companies discovered that added perforations on cigarette filters resulted in low tar and nicotine readings from the FTC Test Method, as clean air diluted the smoke “inhaled” by the machine; however, human smokers, unlike the machine smoker, are smoking for the nicotine kick. Often, this desire for nicotine causes human smokers to take longer, bigger, or quicker puffs on light cigarettes, since the cigarette provides “less” nicotine per normal puff. Additionally, smokers of light cigarettes often smoke more cigarettes per day than smokers of regular cigarettes. Sometimes (usually in the case of super light or ultra light cigarettes), smokers instinctively cover the perforations on the filters with their lips or fingers as they draw in, resulting in a very high intake of nicotine and tar from the cigarette (1). Because of these wide variations between human smokers and machine smokers, the FTC Test Method is now widely considered to be misleading for consumers.
The FDA was granted regulatory authority over tobacco products in 2009, and with this change came many new regulations, one of which directly concerns light cigarettes: As of July 2010, the words “mild,” “low,” or “light” are not to be used on tobacco products as they cause consumers to underestimate their health risks. This means that brands previously marketed as “light” or “low-tar” can no longer include these words on their packaging or advertising. Unsurprisingly, tobacco manufacturers have figured out a creative way to escape this regulation. Now, they rely on different colored packages to indicate whether a certain product is light, ultra-light, or full-flavor. The colors vary slightly among brands, but generally adhere to the following standards: red indicates regular; dark green indicates menthol; light green, blue, or gold indicate previously “light” cigarettes; and silver or orange indicate previously “ultra light” cigarettes. Camel, for example, replaced their “Camel Lights” product with “Camel Blue.” Philip Morris stuck with the idea that lighter shades indicate a “lighter” cigarette, and thus Marlboro Lights became Marlboro Gold, and Marlboro Ultra-Lights became Marlboro Silver. Likewise, R.J. Reynolds’ Salem Ultra-Lights became “Salem Silver Box.” The FDA has regulatory authority to demand that tobacco companies discontinue their color branding techniques in the future.
1. Kozlowski, T. and R. J. O’Connor. “Cigarette filter ventilation is a defective design because of misleading taste, bigger puffs, and blocked vents.” Tobacco Control. 2002; 11: i40-i50. http://tobaccocontrol.bmj.com/content/11/suppl_1/i40.full
Light – img8031
The ads in this theme document the decades of deceptive advertisement campaigns for “light” cigarettes. In the 1970s, the tobacco industry began heavily promoting “light” cigarettes as low-tar and low-nicotine alternatives to quitting. However, the FDA has determined that light and ultra-light cigarettes are no safer than regular cigarettes. In fact, internal industry documents reveal that from the very beginning, tobacco companies were well aware that smokers compensated for the low-nicotine draw from light cigarettes by changing their smoking behaviors. A brand of cigarette, for example, might register on the FTC Test Method as containing 12 mg of “tar” and 0.9 mg of nicotine per cigarette, but in actuality, a human smoker of the same brand would be able to receive much more tar and nicotine than the “machine smoker” by smoking the light cigarette in a different manner.
Indeed, since the 1966 release of the ISO machine-smoking method (used by the FTC to determine the tar, nicotine, and carbon monoxide yield of cigarettes), the industry has worked intensively to create a product that would outsmart the testing equipment. For one, the tobacco companies discovered that added perforations on cigarette filters resulted in low tar and nicotine readings from the FTC Test Method, as clean air diluted the smoke “inhaled” by the machine; however, human smokers, unlike the machine smoker, are smoking for the nicotine kick. Often, this desire for nicotine causes human smokers to take longer, bigger, or quicker puffs on light cigarettes, since the cigarette provides “less” nicotine per normal puff. Additionally, smokers of light cigarettes often smoke more cigarettes per day than smokers of regular cigarettes. Sometimes (usually in the case of super light or ultra light cigarettes), smokers instinctively cover the perforations on the filters with their lips or fingers as they draw in, resulting in a very high intake of nicotine and tar from the cigarette (1). Because of these wide variations between human smokers and machine smokers, the FTC Test Method is now widely considered to be misleading for consumers.
The FDA was granted regulatory authority over tobacco products in 2009, and with this change came many new regulations, one of which directly concerns light cigarettes: As of July 2010, the words “mild,” “low,” or “light” are not to be used on tobacco products as they cause consumers to underestimate their health risks. This means that brands previously marketed as “light” or “low-tar” can no longer include these words on their packaging or advertising. Unsurprisingly, tobacco manufacturers have figured out a creative way to escape this regulation. Now, they rely on different colored packages to indicate whether a certain product is light, ultra-light, or full-flavor. The colors vary slightly among brands, but generally adhere to the following standards: red indicates regular; dark green indicates menthol; light green, blue, or gold indicate previously “light” cigarettes; and silver or orange indicate previously “ultra light” cigarettes. Camel, for example, replaced their “Camel Lights” product with “Camel Blue.” Philip Morris stuck with the idea that lighter shades indicate a “lighter” cigarette, and thus Marlboro Lights became Marlboro Gold, and Marlboro Ultra-Lights became Marlboro Silver. Likewise, R.J. Reynolds’ Salem Ultra-Lights became “Salem Silver Box.” The FDA has regulatory authority to demand that tobacco companies discontinue their color branding techniques in the future.
1. Kozlowski, T. and R. J. O’Connor. “Cigarette filter ventilation is a defective design because of misleading taste, bigger puffs, and blocked vents.” Tobacco Control. 2002; 11: i40-i50. http://tobaccocontrol.bmj.com/content/11/suppl_1/i40.full
Light – img8032
The ads in this theme document the decades of deceptive advertisement campaigns for “light” cigarettes. In the 1970s, the tobacco industry began heavily promoting “light” cigarettes as low-tar and low-nicotine alternatives to quitting. However, the FDA has determined that light and ultra-light cigarettes are no safer than regular cigarettes. In fact, internal industry documents reveal that from the very beginning, tobacco companies were well aware that smokers compensated for the low-nicotine draw from light cigarettes by changing their smoking behaviors. A brand of cigarette, for example, might register on the FTC Test Method as containing 12 mg of “tar” and 0.9 mg of nicotine per cigarette, but in actuality, a human smoker of the same brand would be able to receive much more tar and nicotine than the “machine smoker” by smoking the light cigarette in a different manner.
Indeed, since the 1966 release of the ISO machine-smoking method (used by the FTC to determine the tar, nicotine, and carbon monoxide yield of cigarettes), the industry has worked intensively to create a product that would outsmart the testing equipment. For one, the tobacco companies discovered that added perforations on cigarette filters resulted in low tar and nicotine readings from the FTC Test Method, as clean air diluted the smoke “inhaled” by the machine; however, human smokers, unlike the machine smoker, are smoking for the nicotine kick. Often, this desire for nicotine causes human smokers to take longer, bigger, or quicker puffs on light cigarettes, since the cigarette provides “less” nicotine per normal puff. Additionally, smokers of light cigarettes often smoke more cigarettes per day than smokers of regular cigarettes. Sometimes (usually in the case of super light or ultra light cigarettes), smokers instinctively cover the perforations on the filters with their lips or fingers as they draw in, resulting in a very high intake of nicotine and tar from the cigarette (1). Because of these wide variations between human smokers and machine smokers, the FTC Test Method is now widely considered to be misleading for consumers.
The FDA was granted regulatory authority over tobacco products in 2009, and with this change came many new regulations, one of which directly concerns light cigarettes: As of July 2010, the words “mild,” “low,” or “light” are not to be used on tobacco products as they cause consumers to underestimate their health risks. This means that brands previously marketed as “light” or “low-tar” can no longer include these words on their packaging or advertising. Unsurprisingly, tobacco manufacturers have figured out a creative way to escape this regulation. Now, they rely on different colored packages to indicate whether a certain product is light, ultra-light, or full-flavor. The colors vary slightly among brands, but generally adhere to the following standards: red indicates regular; dark green indicates menthol; light green, blue, or gold indicate previously “light” cigarettes; and silver or orange indicate previously “ultra light” cigarettes. Camel, for example, replaced their “Camel Lights” product with “Camel Blue.” Philip Morris stuck with the idea that lighter shades indicate a “lighter” cigarette, and thus Marlboro Lights became Marlboro Gold, and Marlboro Ultra-Lights became Marlboro Silver. Likewise, R.J. Reynolds’ Salem Ultra-Lights became “Salem Silver Box.” The FDA has regulatory authority to demand that tobacco companies discontinue their color branding techniques in the future.
1. Kozlowski, T. and R. J. O’Connor. “Cigarette filter ventilation is a defective design because of misleading taste, bigger puffs, and blocked vents.” Tobacco Control. 2002; 11: i40-i50. http://tobaccocontrol.bmj.com/content/11/suppl_1/i40.full
Light – img3124
The ads in this theme document the decades of deceptive advertisement campaigns for “light” cigarettes. In the 1970s, the tobacco industry began heavily promoting “light” cigarettes as low-tar and low-nicotine alternatives to quitting. However, the FDA has determined that light and ultra-light cigarettes are no safer than regular cigarettes. In fact, internal industry documents reveal that from the very beginning, tobacco companies were well aware that smokers compensated for the low-nicotine draw from light cigarettes by changing their smoking behaviors. A brand of cigarette, for example, might register on the FTC Test Method as containing 12 mg of “tar” and 0.9 mg of nicotine per cigarette, but in actuality, a human smoker of the same brand would be able to receive much more tar and nicotine than the “machine smoker” by smoking the light cigarette in a different manner.
Indeed, since the 1966 release of the ISO machine-smoking method (used by the FTC to determine the tar, nicotine, and carbon monoxide yield of cigarettes), the industry has worked intensively to create a product that would outsmart the testing equipment. For one, the tobacco companies discovered that added perforations on cigarette filters resulted in low tar and nicotine readings from the FTC Test Method, as clean air diluted the smoke “inhaled” by the machine; however, human smokers, unlike the machine smoker, are smoking for the nicotine kick. Often, this desire for nicotine causes human smokers to take longer, bigger, or quicker puffs on light cigarettes, since the cigarette provides “less” nicotine per normal puff. Additionally, smokers of light cigarettes often smoke more cigarettes per day than smokers of regular cigarettes. Sometimes (usually in the case of super light or ultra light cigarettes), smokers instinctively cover the perforations on the filters with their lips or fingers as they draw in, resulting in a very high intake of nicotine and tar from the cigarette (1). Because of these wide variations between human smokers and machine smokers, the FTC Test Method is now widely considered to be misleading for consumers.
The FDA was granted regulatory authority over tobacco products in 2009, and with this change came many new regulations, one of which directly concerns light cigarettes: As of July 2010, the words “mild,” “low,” or “light” are not to be used on tobacco products as they cause consumers to underestimate their health risks. This means that brands previously marketed as “light” or “low-tar” can no longer include these words on their packaging or advertising. Unsurprisingly, tobacco manufacturers have figured out a creative way to escape this regulation. Now, they rely on different colored packages to indicate whether a certain product is light, ultra-light, or full-flavor. The colors vary slightly among brands, but generally adhere to the following standards: red indicates regular; dark green indicates menthol; light green, blue, or gold indicate previously “light” cigarettes; and silver or orange indicate previously “ultra light” cigarettes. Camel, for example, replaced their “Camel Lights” product with “Camel Blue.” Philip Morris stuck with the idea that lighter shades indicate a “lighter” cigarette, and thus Marlboro Lights became Marlboro Gold, and Marlboro Ultra-Lights became Marlboro Silver. Likewise, R.J. Reynolds’ Salem Ultra-Lights became “Salem Silver Box.” The FDA has regulatory authority to demand that tobacco companies discontinue their color branding techniques in the future.
1. Kozlowski, T. and R. J. O’Connor. “Cigarette filter ventilation is a defective design because of misleading taste, bigger puffs, and blocked vents.” Tobacco Control. 2002; 11: i40-i50. http://tobaccocontrol.bmj.com/content/11/suppl_1/i40.full
Light – img3125
The ads in this theme document the decades of deceptive advertisement campaigns for “light” cigarettes. In the 1970s, the tobacco industry began heavily promoting “light” cigarettes as low-tar and low-nicotine alternatives to quitting. However, the FDA has determined that light and ultra-light cigarettes are no safer than regular cigarettes. In fact, internal industry documents reveal that from the very beginning, tobacco companies were well aware that smokers compensated for the low-nicotine draw from light cigarettes by changing their smoking behaviors. A brand of cigarette, for example, might register on the FTC Test Method as containing 12 mg of “tar” and 0.9 mg of nicotine per cigarette, but in actuality, a human smoker of the same brand would be able to receive much more tar and nicotine than the “machine smoker” by smoking the light cigarette in a different manner.
Indeed, since the 1966 release of the ISO machine-smoking method (used by the FTC to determine the tar, nicotine, and carbon monoxide yield of cigarettes), the industry has worked intensively to create a product that would outsmart the testing equipment. For one, the tobacco companies discovered that added perforations on cigarette filters resulted in low tar and nicotine readings from the FTC Test Method, as clean air diluted the smoke “inhaled” by the machine; however, human smokers, unlike the machine smoker, are smoking for the nicotine kick. Often, this desire for nicotine causes human smokers to take longer, bigger, or quicker puffs on light cigarettes, since the cigarette provides “less” nicotine per normal puff. Additionally, smokers of light cigarettes often smoke more cigarettes per day than smokers of regular cigarettes. Sometimes (usually in the case of super light or ultra light cigarettes), smokers instinctively cover the perforations on the filters with their lips or fingers as they draw in, resulting in a very high intake of nicotine and tar from the cigarette (1). Because of these wide variations between human smokers and machine smokers, the FTC Test Method is now widely considered to be misleading for consumers.
The FDA was granted regulatory authority over tobacco products in 2009, and with this change came many new regulations, one of which directly concerns light cigarettes: As of July 2010, the words “mild,” “low,” or “light” are not to be used on tobacco products as they cause consumers to underestimate their health risks. This means that brands previously marketed as “light” or “low-tar” can no longer include these words on their packaging or advertising. Unsurprisingly, tobacco manufacturers have figured out a creative way to escape this regulation. Now, they rely on different colored packages to indicate whether a certain product is light, ultra-light, or full-flavor. The colors vary slightly among brands, but generally adhere to the following standards: red indicates regular; dark green indicates menthol; light green, blue, or gold indicate previously “light” cigarettes; and silver or orange indicate previously “ultra light” cigarettes. Camel, for example, replaced their “Camel Lights” product with “Camel Blue.” Philip Morris stuck with the idea that lighter shades indicate a “lighter” cigarette, and thus Marlboro Lights became Marlboro Gold, and Marlboro Ultra-Lights became Marlboro Silver. Likewise, R.J. Reynolds’ Salem Ultra-Lights became “Salem Silver Box.” The FDA has regulatory authority to demand that tobacco companies discontinue their color branding techniques in the future.
1. Kozlowski, T. and R. J. O’Connor. “Cigarette filter ventilation is a defective design because of misleading taste, bigger puffs, and blocked vents.” Tobacco Control. 2002; 11: i40-i50. http://tobaccocontrol.bmj.com/content/11/suppl_1/i40.full
Marlboro Men – img9558
With the rise of filter cigarettes in response to the increasing health concerns tied to smoking, Philip Morris decided to reposition its Marlboro brand for the filter market. What was originally a cigarette marketed as “Mild as May” to attract a primarily female audience, all at once gained a filter and became a man’s cigarette. No longer would Marlboro advertise “Ivory Tips to protect the lips” or “red beauty tips to match your lips and fingertips,” as it had done since the 1920s; Instead, Marlboro underwent a complete sex change in 1954. The brand’s new mascot, the “Marlboro Man,” would exude rugged manliness in an effort to position Marlboro as a filter with flavor. Previously, most filter cigarettes were considered to be “sissy” or effeminate, lacking in flavor and meant for those who couldn’t handle stronger brands. With the Marlboro Man campaign, Philip Morris worked to reverse this sentiment. The original Marlboro Men were excessive in their masculine virility. The models ranged from rough cowboys and sailors to alluring businessmen and academics. Whether the Marlboro Man was pictured preparing his gun or playing chess, he always sported a military-inspired tattoo on the back of his hand. In 1960, the tattoo was discontinued, but its message – that of intrigue and masculinity – remained vibrant in the Marlboro Men of the decades to follow.
Marlboro Men – img2123
With the rise of filter cigarettes in response to the increasing health concerns tied to smoking, Philip Morris decided to reposition its Marlboro brand for the filter market. What was originally a cigarette marketed as “Mild as May” to attract a primarily female audience, all at once gained a filter and became a man’s cigarette. No longer would Marlboro advertise “Ivory Tips to protect the lips” or “red beauty tips to match your lips and fingertips,” as it had done since the 1920s; Instead, Marlboro underwent a complete sex change in 1954. The brand’s new mascot, the “Marlboro Man,” would exude rugged manliness in an effort to position Marlboro as a filter with flavor. Previously, most filter cigarettes were considered to be “sissy” or effeminate, lacking in flavor and meant for those who couldn’t handle stronger brands. With the Marlboro Man campaign, Philip Morris worked to reverse this sentiment. The original Marlboro Men were excessive in their masculine virility. The models ranged from rough cowboys and sailors to alluring businessmen and academics. Whether the Marlboro Man was pictured preparing his gun or playing chess, he always sported a military-inspired tattoo on the back of his hand. In 1960, the tattoo was discontinued, but its message – that of intrigue and masculinity – remained vibrant in the Marlboro Men of the decades to follow.