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Stanford Research into the Impact of Tobacco Advertising

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Why be Irritated? – img2954

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From 1945 to 1946, Old Gold ran a humorous ad campaign featuring the slogan, “Why be Irritated? Light an Old Gold!” The ads depicted an irritating situation of everyday life as a metaphor for throat irritation; Both, according to the ad, could be relieved by smoking an Old Gold. In a pamphlet entitled “The Lorillard Story,” handed out to all P. Lorillard employees in 1947, the author explains that this campaign was designed to “keep many a disgruntled and disappointed smoker in good humor” during the wartime shortage on cigarettes, while also keeping “the product name before the public” (1).

The ads in this campaign tout apple “honey” as the humectant (the agent used to keep the tobacco leaves from drying out) for Old Gold’s tobacco. Apple honey – reportedly discovered through a partnership between Old Gold and the U.S. Department of Agriculture in 1943 – was Old Gold’s solution to overcoming the wartime shortage of humidifying agents. Of course, the use of apple honey also allowed for the consumer to make the subconscious leap to Old Golds being “honey for the throat.” This effect, coupled with the slogan, “Why be Irritated?” contributed to Old Gold’s ability to present its brand as healthful without directly making false health claims.

1. Fox, Maxwell. The Lorillard Story. 1947:49

Salem Classics – img8052

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When menthol cigarettes were first brought to market, they were advertised to the general population as an occasional cigarette to smoke when sick or suffering from smoker’s cough. However, the 1960s brought along the beginnings of a different image for the menthol cigarette. In 1969 alone, Lorillard increased its “Negro market budget” by 87% over 1968 due to increased efforts marketing its menthol cigarette, Newport, to the African American market. Likewise, British American Tobacco doubled their budget from 1968 to 1969 in order to increase African-American radio station coverage for its menthol cigarette, Kool (1). Government surveys in 2011 revealed that menthol cigarettes dominate 30% of the overall market, and over 80% of black smokers prefer menthol as opposed to 22% of non-Hispanic white smokers (2).

Recent menthol ads are clearly marketed toward a younger, urban demographic. Many of the ads feature models of a variety of ethnicities, and African Americans are particularly targeted. Recent Salem ads from the 2000s feature the slogan, “Stir the senses,” and each ad depicts a model smoking in green, mentholated ecstasy. Other Salem ads from the 2000s reveal clear youth targeting through a risk-taking appeal. For example, one of the ads presents an “underground” party, another presents a couple with an intertwining, extreme tattoo, and a third presents a scantily clad woman riding on the back of a man’s motorcycle – all in urban settings.

Kool’s advertisements from 2005 used the slogan “Be True,” which urged consumers to not only be true to themselves, but also to be true and loyal to the brand. Accompanying the “Be True” slogan was a variety of phrases such as “Be Passionate,” “Be Original,” “Be Smooth,” and “Be Bold,” all of which appeal to adolescents and young adults trying to “find themselves” and develop a sense of self. The “Be True” ads largely feature musicians, ranging from guitar players to disc jockeys, and their ethnicities are also noticeably diverse. In our collection, Asians, African Americans, and Caucasians are all represented in the “Be True” ad campaign. Other Kool campaigns from the 2000s, like “House of Menthol,” are more transparently urban-oriented, featuring boom boxes, speaker systems, microphones, graffiti, or skyscrapers. A subset of these ads features the “Kool Mixx” which claims to “celebrate the soundtrack to the streets” through limited edition cigarette packs. Urban youth were clearly a priority.

1. “A Study of Ethnic Markets.” R.J. Reynolds Tobacco Co. Sept 1969. http://legacy.library.ucsf.edu/tid/paq76b00

2. Wilson, Duff. “Advisory Panel urges F.D.A. to re-examine menthol in cigarettes.” The New York Times. 18 March 2011. http://www.nytimes.com/2011/03/19/business/19tobacco.html

Kool Classics – img12647

by

When menthol cigarettes were first brought to market, they were advertised to the general population as an occasional cigarette to smoke when sick or suffering from smoker’s cough. However, the 1960s brought along the beginnings of a different image for the menthol cigarette. In 1969 alone, Lorillard increased its “Negro market budget” by 87% over 1968 due to increased efforts marketing its menthol cigarette, Newport, to the African American market. Likewise, British American Tobacco doubled their budget from 1968 to 1969 in order to increase African-American radio station coverage for its menthol cigarette, Kool (1). Government surveys in 2011 revealed that menthol cigarettes dominate 30% of the overall market, and over 80% of black smokers prefer menthol as opposed to 22% of non-Hispanic white smokers (2).

Recent menthol ads are clearly marketed toward a younger, urban demographic. Many of the ads feature models of a variety of ethnicities, and African Americans are particularly targeted. Recent Salem ads from the 2000s feature the slogan, “Stir the senses,” and each ad depicts a model smoking in green, mentholated ecstasy. Other Salem ads from the 2000s reveal clear youth targeting through a risk-taking appeal. For example, one of the ads presents an “underground” party, another presents a couple with an intertwining, extreme tattoo, and a third presents a scantily clad woman riding on the back of a man’s motorcycle – all in urban settings.

Kool’s advertisements from 2005 used the slogan “Be True,” which urged consumers to not only be true to themselves, but also to be true and loyal to the brand. Accompanying the “Be True” slogan was a variety of phrases such as “Be Passionate,” “Be Original,” “Be Smooth,” and “Be Bold,” all of which appeal to adolescents and young adults trying to “find themselves” and develop a sense of self. The “Be True” ads largely feature musicians, ranging from guitar players to disc jockeys, and their ethnicities are also noticeably diverse. In our collection, Asians, African Americans, and Caucasians are all represented in the “Be True” ad campaign. Other Kool campaigns from the 2000s, like “House of Menthol,” are more transparently urban-oriented, featuring boom boxes, speaker systems, microphones, graffiti, or skyscrapers. A subset of these ads features the “Kool Mixx” which claims to “celebrate the soundtrack to the streets” through limited edition cigarette packs. Urban youth were clearly a priority.

1. “A Study of Ethnic Markets.” R.J. Reynolds Tobacco Co. Sept 1969. http://legacy.library.ucsf.edu/tid/paq76b00

2. Wilson, Duff. “Advisory Panel urges F.D.A. to re-examine menthol in cigarettes.” The New York Times. 18 March 2011. http://www.nytimes.com/2011/03/19/business/19tobacco.html

Other Menthol Classics – img12668

by

When menthol cigarettes were first brought to market, they were advertised to the general population as an occasional cigarette to smoke when sick or suffering from smoker’s cough. However, the 1960s brought along the beginnings of a different image for the menthol cigarette. In 1969 alone, Lorillard increased its “Negro market budget” by 87% over 1968 due to increased efforts marketing its menthol cigarette, Newport, to the African American market. Likewise, British American Tobacco doubled their budget from 1968 to 1969 in order to increase African-American radio station coverage for its menthol cigarette, Kool (1). Government surveys in 2011 revealed that menthol cigarettes dominate 30% of the overall market, and over 80% of black smokers prefer menthol as opposed to 22% of non-Hispanic white smokers (2).

Recent menthol ads are clearly marketed toward a younger, urban demographic. Many of the ads feature models of a variety of ethnicities, and African Americans are particularly targeted. Recent Salem ads from the 2000s feature the slogan, “Stir the senses,” and each ad depicts a model smoking in green, mentholated ecstasy. Other Salem ads from the 2000s reveal clear youth targeting through a risk-taking appeal. For example, one of the ads presents an “underground” party, another presents a couple with an intertwining, extreme tattoo, and a third presents a scantily clad woman riding on the back of a man’s motorcycle – all in urban settings.

Kool’s advertisements from 2005 used the slogan “Be True,” which urged consumers to not only be true to themselves, but also to be true and loyal to the brand. Accompanying the “Be True” slogan was a variety of phrases such as “Be Passionate,” “Be Original,” “Be Smooth,” and “Be Bold,” all of which appeal to adolescents and young adults trying to “find themselves” and develop a sense of self. The “Be True” ads largely feature musicians, ranging from guitar players to disc jockeys, and their ethnicities are also noticeably diverse. In our collection, Asians, African Americans, and Caucasians are all represented in the “Be True” ad campaign. Other Kool campaigns from the 2000s, like “House of Menthol,” are more transparently urban-oriented, featuring boom boxes, speaker systems, microphones, graffiti, or skyscrapers. A subset of these ads features the “Kool Mixx” which claims to “celebrate the soundtrack to the streets” through limited edition cigarette packs. Urban youth were clearly a priority.

1. “A Study of Ethnic Markets.” R.J. Reynolds Tobacco Co. Sept 1969. http://legacy.library.ucsf.edu/tid/paq76b00

2. Wilson, Duff. “Advisory Panel urges F.D.A. to re-examine menthol in cigarettes.” The New York Times. 18 March 2011. http://www.nytimes.com/2011/03/19/business/19tobacco.html

Belair Classics – img14531

by

When menthol cigarettes were first brought to market, they were advertised to the general population as an occasional cigarette to smoke when sick or suffering from smoker’s cough. However, the 1960s brought along the beginnings of a different image for the menthol cigarette. In 1969 alone, Lorillard increased its “Negro market budget” by 87% over 1968 due to increased efforts marketing its menthol cigarette, Newport, to the African American market. Likewise, British American Tobacco doubled their budget from 1968 to 1969 in order to increase African-American radio station coverage for its menthol cigarette, Kool (1). Government surveys in 2011 revealed that menthol cigarettes dominate 30% of the overall market, and over 80% of black smokers prefer menthol as opposed to 22% of non-Hispanic white smokers (2).

Recent menthol ads are clearly marketed toward a younger, urban demographic. Many of the ads feature models of a variety of ethnicities, and African Americans are particularly targeted. Recent Salem ads from the 2000s feature the slogan, “Stir the senses,” and each ad depicts a model smoking in green, mentholated ecstasy. Other Salem ads from the 2000s reveal clear youth targeting through a risk-taking appeal. For example, one of the ads presents an “underground” party, another presents a couple with an intertwining, extreme tattoo, and a third presents a scantily clad woman riding on the back of a man’s motorcycle – all in urban settings.

Kool’s advertisements from 2005 used the slogan “Be True,” which urged consumers to not only be true to themselves, but also to be true and loyal to the brand. Accompanying the “Be True” slogan was a variety of phrases such as “Be Passionate,” “Be Original,” “Be Smooth,” and “Be Bold,” all of which appeal to adolescents and young adults trying to “find themselves” and develop a sense of self. The “Be True” ads largely feature musicians, ranging from guitar players to disc jockeys, and their ethnicities are also noticeably diverse. In our collection, Asians, African Americans, and Caucasians are all represented in the “Be True” ad campaign. Other Kool campaigns from the 2000s, like “House of Menthol,” are more transparently urban-oriented, featuring boom boxes, speaker systems, microphones, graffiti, or skyscrapers. A subset of these ads features the “Kool Mixx” which claims to “celebrate the soundtrack to the streets” through limited edition cigarette packs. Urban youth were clearly a priority.

1. “A Study of Ethnic Markets.” R.J. Reynolds Tobacco Co. Sept 1969. http://legacy.library.ucsf.edu/tid/paq76b00

2. Wilson, Duff. “Advisory Panel urges F.D.A. to re-examine menthol in cigarettes.” The New York Times. 18 March 2011. http://www.nytimes.com/2011/03/19/business/19tobacco.html

Freshness – img3526

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Tobacco ads are notorious for broadcasting what can only be called the “Big Lie” – how else could the inhalation of smoke of any kind be compared to breathing in “mountain air?” In these advertisements, smoke is presented to consumers as “fresh” and “clean,” and particular brands are advertised as “springtime fresh” or even “the refreshest.” Ads offering freshness continued well beyond the 1950s, portraying verbal or visual themes of outdoor recreation, mountain air, clean rushing streams, and more.

Early on, the freshness theme became grist for the industry’s “tit for tat” advertising. Indeed, while The American Tobacco Company advertised that Lucky Strikes were better because they were “toasted,” R.J. Reynolds countered that their Camels were superior because they were “naturally fresh: never parched, never toasted!” Camel also offered an alternative meaning of the word “fresh” by heavily promoting its cellophane wrapper, intended to keep cigarettes from going stale on store shelves.

Freshness was also commonly used as a kind of code-word for healthfulness. Slogans used in tobacco ads called to mind the “cool” of ice or the fresh healing virtues of springtime mountain pastures. “Kool” and other menthol brands were also supposed to deliver a kind of hospital-like sense of sanitary safety, and one company implied cleanliness in its very name. “Sano” cigarettes didn’t last very long: they didn’t deliver as much in the way of tar or nicotine as more popular brands and their marketing skill lagged behind that of the bigger players. By contrast, menthol brands grew in popularity after the postwar “health scare,” and many other forms of “health reassurance” were offered (space-age filters of myriad sorts, promises of low-tar and/or nicotine deliveries, eventually “lights,” etc.).

Salem Shows Spirit – img19974

by

In 1982, Salem rebranded their product toward a younger demographic and launched a new campaign, “Salem Spirit.” The new campaign served to rival Newport’s ongoing efforts targeting youth and attempted to steal Kool’s declining young customer base. In “Salem Spirit,” groups of young men and women bond together over fun, youthful activities, ranging from sledding and hot air ballooning to picnicking and frolicking in the ocean.

Internal R.J. Reynolds documents described the Salem smoker as “self-confident, up-to-date,” and as “younger adult smokers (18-23) who are characterized as social leaders/catalysts since they uniquely possess that sense of humor/wit, spontaneity, warmth and unpretentious style that makes them fun and exciting to be with” (1, 2).

The ads were constructed carefully in order to target this very specific demographic in many ways. One way was the use of what R.J. Reynolds referred to as “refreshment communicators.” Used to reflect the potentially unknown sensations of menthol to new smokers, refreshment communicators included “greenery, water, snow, and outdoor situations” (2).

Another method for attracting youth was through the campaign’s use of young, fun-loving models: “Model attitudes should continue to advance the campaign’s imagery through a warmth/caring focus as a vehicle to reflect a sense of group belonging and peer group acceptance,” one document explains, citing the equivalent of peer pressure as a primary method for hooking youth. “This is an important element differentiating the Spirit campaign from Newport’s exclusive ‘coupling.’ Model closeness will be emphasized to gain social smoking acceptability” (2). Another result of “model closeness” is that the activities all feel younger and almost child-like. Indeed, sharing a big drink at a picnic, sledding together, swinging on a tree swing, or playing “chicken” at the beach are all childish activities which contrast strikingly with any claims that the ads target solely adult audiences.

Young people have been (and remain today) a key marketing target for Salem cigarettes. In the 1980s, R.J.R. placed a strong 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…” (3). 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 (4).

1. Neher, WK. “Refined Positioning Statement for Salem.” R.J. Reynolds. 2 July 1984. http://legacy.library.ucsf.edu/tid/qoe95d00/pdf

2. Hatheway, GM; William Esty. “Salem Spirit DAR Research Perspective.” R.J. Reynolds. 19 July 1984. http://legacy.library.ucsf.edu/tid/koe95d00/pdf

3. Burrows, D.S. “Younger Adult Smokers: Strategies and Opportunities.” R.J. Reynolds. 29 February 1984. http://legacy.library.ucsf.edu/tid/tqq46b00/pdf

4. “The Importance of Younger Adults.” R.J. Reynolds. 27 Feb 1998. http://legacy.library.ucsf.edu/tid/eyn18c00/pdf

Guard Your Throat – img2653

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When the general public began to grow more concerned about the ill effects of smoking in the first half of the twentieth century, the tobacco industry worked intensively on its advertising copy in order to reassure smokers as to the healthfulness and safety of cigarettes. The audacity of the industry was such that industry powerhouses weren’t satisfied with simply denying health concerns. Instead, they actually claimed health benefits. Brand X, Y, or Z claimed its cigarettes were “good for the throat,” provided “extra protection,” or could be smoked as a “prevention” against throat illness. Across the board, tobacco brands touted these ludicrous, false health claims.

The primary health concerns presented in the advertisements in the first half of the twentieth century revolved around non-fatal conditions like coughing and throat irritation. This approach served to lessen any fear regarding serious health concerns by choosing to instead concentrate on the less frightening side effects of smoking. For these ads, Big Tobacco employed an advertising technique known as “problem-solution” advertising; the advertisement provides the problem (coughing due to smoking, for example), as well as the solution (smoke brand X). Of course, the “solution” is deceptive, and many companies were ordered by the Federal Trade Commission (FTC) to discontinue printing certain advertisements. However, it wasn’t until 1938 that the Federal Trade Commission (FTC) was officially granted the power to regulate advertising that was “unfair or deceptive” to consumers. Before that time, the FTC regulated advertisements insofar as they would harm competitors rather than consumers . The 1940s and 1950s saw great strides in regulation on health claims, but it also saw quick-witted tobacco companies able to alter a word here or there in order to avoid regulation. Tobacco companies claimed throat protection well into the 1950s.

Why be Irritated? – img2955

by

From 1945 to 1946, Old Gold ran a humorous ad campaign featuring the slogan, “Why be Irritated? Light an Old Gold!” The ads depicted an irritating situation of everyday life as a metaphor for throat irritation; Both, according to the ad, could be relieved by smoking an Old Gold. In a pamphlet entitled “The Lorillard Story,” handed out to all P. Lorillard employees in 1947, the author explains that this campaign was designed to “keep many a disgruntled and disappointed smoker in good humor” during the wartime shortage on cigarettes, while also keeping “the product name before the public” (1).

The ads in this campaign tout apple “honey” as the humectant (the agent used to keep the tobacco leaves from drying out) for Old Gold’s tobacco. Apple honey – reportedly discovered through a partnership between Old Gold and the U.S. Department of Agriculture in 1943 – was Old Gold’s solution to overcoming the wartime shortage of humidifying agents. Of course, the use of apple honey also allowed for the consumer to make the subconscious leap to Old Golds being “honey for the throat.” This effect, coupled with the slogan, “Why be Irritated?” contributed to Old Gold’s ability to present its brand as healthful without directly making false health claims.

1. Fox, Maxwell. The Lorillard Story. 1947:49

Kool Classics – img12648

by

When menthol cigarettes were first brought to market, they were advertised to the general population as an occasional cigarette to smoke when sick or suffering from smoker’s cough. However, the 1960s brought along the beginnings of a different image for the menthol cigarette. In 1969 alone, Lorillard increased its “Negro market budget” by 87% over 1968 due to increased efforts marketing its menthol cigarette, Newport, to the African American market. Likewise, British American Tobacco doubled their budget from 1968 to 1969 in order to increase African-American radio station coverage for its menthol cigarette, Kool (1). Government surveys in 2011 revealed that menthol cigarettes dominate 30% of the overall market, and over 80% of black smokers prefer menthol as opposed to 22% of non-Hispanic white smokers (2).

Recent menthol ads are clearly marketed toward a younger, urban demographic. Many of the ads feature models of a variety of ethnicities, and African Americans are particularly targeted. Recent Salem ads from the 2000s feature the slogan, “Stir the senses,” and each ad depicts a model smoking in green, mentholated ecstasy. Other Salem ads from the 2000s reveal clear youth targeting through a risk-taking appeal. For example, one of the ads presents an “underground” party, another presents a couple with an intertwining, extreme tattoo, and a third presents a scantily clad woman riding on the back of a man’s motorcycle – all in urban settings.

Kool’s advertisements from 2005 used the slogan “Be True,” which urged consumers to not only be true to themselves, but also to be true and loyal to the brand. Accompanying the “Be True” slogan was a variety of phrases such as “Be Passionate,” “Be Original,” “Be Smooth,” and “Be Bold,” all of which appeal to adolescents and young adults trying to “find themselves” and develop a sense of self. The “Be True” ads largely feature musicians, ranging from guitar players to disc jockeys, and their ethnicities are also noticeably diverse. In our collection, Asians, African Americans, and Caucasians are all represented in the “Be True” ad campaign. Other Kool campaigns from the 2000s, like “House of Menthol,” are more transparently urban-oriented, featuring boom boxes, speaker systems, microphones, graffiti, or skyscrapers. A subset of these ads features the “Kool Mixx” which claims to “celebrate the soundtrack to the streets” through limited edition cigarette packs. Urban youth were clearly a priority.

1. “A Study of Ethnic Markets.” R.J. Reynolds Tobacco Co. Sept 1969. http://legacy.library.ucsf.edu/tid/paq76b00

2. Wilson, Duff. “Advisory Panel urges F.D.A. to re-examine menthol in cigarettes.” The New York Times. 18 March 2011. http://www.nytimes.com/2011/03/19/business/19tobacco.html

Other Menthol Classics – img14530

by

When menthol cigarettes were first brought to market, they were advertised to the general population as an occasional cigarette to smoke when sick or suffering from smoker’s cough. However, the 1960s brought along the beginnings of a different image for the menthol cigarette. In 1969 alone, Lorillard increased its “Negro market budget” by 87% over 1968 due to increased efforts marketing its menthol cigarette, Newport, to the African American market. Likewise, British American Tobacco doubled their budget from 1968 to 1969 in order to increase African-American radio station coverage for its menthol cigarette, Kool (1). Government surveys in 2011 revealed that menthol cigarettes dominate 30% of the overall market, and over 80% of black smokers prefer menthol as opposed to 22% of non-Hispanic white smokers (2).

Recent menthol ads are clearly marketed toward a younger, urban demographic. Many of the ads feature models of a variety of ethnicities, and African Americans are particularly targeted. Recent Salem ads from the 2000s feature the slogan, “Stir the senses,” and each ad depicts a model smoking in green, mentholated ecstasy. Other Salem ads from the 2000s reveal clear youth targeting through a risk-taking appeal. For example, one of the ads presents an “underground” party, another presents a couple with an intertwining, extreme tattoo, and a third presents a scantily clad woman riding on the back of a man’s motorcycle – all in urban settings.

Kool’s advertisements from 2005 used the slogan “Be True,” which urged consumers to not only be true to themselves, but also to be true and loyal to the brand. Accompanying the “Be True” slogan was a variety of phrases such as “Be Passionate,” “Be Original,” “Be Smooth,” and “Be Bold,” all of which appeal to adolescents and young adults trying to “find themselves” and develop a sense of self. The “Be True” ads largely feature musicians, ranging from guitar players to disc jockeys, and their ethnicities are also noticeably diverse. In our collection, Asians, African Americans, and Caucasians are all represented in the “Be True” ad campaign. Other Kool campaigns from the 2000s, like “House of Menthol,” are more transparently urban-oriented, featuring boom boxes, speaker systems, microphones, graffiti, or skyscrapers. A subset of these ads features the “Kool Mixx” which claims to “celebrate the soundtrack to the streets” through limited edition cigarette packs. Urban youth were clearly a priority.

1. “A Study of Ethnic Markets.” R.J. Reynolds Tobacco Co. Sept 1969. http://legacy.library.ucsf.edu/tid/paq76b00

2. Wilson, Duff. “Advisory Panel urges F.D.A. to re-examine menthol in cigarettes.” The New York Times. 18 March 2011. http://www.nytimes.com/2011/03/19/business/19tobacco.html

Freshness – img3527

by

Tobacco ads are notorious for broadcasting what can only be called the “Big Lie” – how else could the inhalation of smoke of any kind be compared to breathing in “mountain air?” In these advertisements, smoke is presented to consumers as “fresh” and “clean,” and particular brands are advertised as “springtime fresh” or even “the refreshest.” Ads offering freshness continued well beyond the 1950s, portraying verbal or visual themes of outdoor recreation, mountain air, clean rushing streams, and more.

Early on, the freshness theme became grist for the industry’s “tit for tat” advertising. Indeed, while The American Tobacco Company advertised that Lucky Strikes were better because they were “toasted,” R.J. Reynolds countered that their Camels were superior because they were “naturally fresh: never parched, never toasted!” Camel also offered an alternative meaning of the word “fresh” by heavily promoting its cellophane wrapper, intended to keep cigarettes from going stale on store shelves.

Freshness was also commonly used as a kind of code-word for healthfulness. Slogans used in tobacco ads called to mind the “cool” of ice or the fresh healing virtues of springtime mountain pastures. “Kool” and other menthol brands were also supposed to deliver a kind of hospital-like sense of sanitary safety, and one company implied cleanliness in its very name. “Sano” cigarettes didn’t last very long: they didn’t deliver as much in the way of tar or nicotine as more popular brands and their marketing skill lagged behind that of the bigger players. By contrast, menthol brands grew in popularity after the postwar “health scare,” and many other forms of “health reassurance” were offered (space-age filters of myriad sorts, promises of low-tar and/or nicotine deliveries, eventually “lights,” etc.).

Salem Shows Spirit – img19975

by

In 1982, Salem rebranded their product toward a younger demographic and launched a new campaign, “Salem Spirit.” The new campaign served to rival Newport’s ongoing efforts targeting youth and attempted to steal Kool’s declining young customer base. In “Salem Spirit,” groups of young men and women bond together over fun, youthful activities, ranging from sledding and hot air ballooning to picnicking and frolicking in the ocean.

Internal R.J. Reynolds documents described the Salem smoker as “self-confident, up-to-date,” and as “younger adult smokers (18-23) who are characterized as social leaders/catalysts since they uniquely possess that sense of humor/wit, spontaneity, warmth and unpretentious style that makes them fun and exciting to be with” (1, 2).

The ads were constructed carefully in order to target this very specific demographic in many ways. One way was the use of what R.J. Reynolds referred to as “refreshment communicators.” Used to reflect the potentially unknown sensations of menthol to new smokers, refreshment communicators included “greenery, water, snow, and outdoor situations” (2).

Another method for attracting youth was through the campaign’s use of young, fun-loving models: “Model attitudes should continue to advance the campaign’s imagery through a warmth/caring focus as a vehicle to reflect a sense of group belonging and peer group acceptance,” one document explains, citing the equivalent of peer pressure as a primary method for hooking youth. “This is an important element differentiating the Spirit campaign from Newport’s exclusive ‘coupling.’ Model closeness will be emphasized to gain social smoking acceptability” (2). Another result of “model closeness” is that the activities all feel younger and almost child-like. Indeed, sharing a big drink at a picnic, sledding together, swinging on a tree swing, or playing “chicken” at the beach are all childish activities which contrast strikingly with any claims that the ads target solely adult audiences.

Young people have been (and remain today) a key marketing target for Salem cigarettes. In the 1980s, R.J.R. placed a strong 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…” (3). 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 (4).

1. Neher, WK. “Refined Positioning Statement for Salem.” R.J. Reynolds. 2 July 1984. http://legacy.library.ucsf.edu/tid/qoe95d00/pdf

2. Hatheway, GM; William Esty. “Salem Spirit DAR Research Perspective.” R.J. Reynolds. 19 July 1984. http://legacy.library.ucsf.edu/tid/koe95d00/pdf

3. Burrows, D.S. “Younger Adult Smokers: Strategies and Opportunities.” R.J. Reynolds. 29 February 1984. http://legacy.library.ucsf.edu/tid/tqq46b00/pdf

4. “The Importance of Younger Adults.” R.J. Reynolds. 27 Feb 1998. http://legacy.library.ucsf.edu/tid/eyn18c00/pdf

Why be Irritated? – img2957

by

From 1945 to 1946, Old Gold ran a humorous ad campaign featuring the slogan, “Why be Irritated? Light an Old Gold!” The ads depicted an irritating situation of everyday life as a metaphor for throat irritation; Both, according to the ad, could be relieved by smoking an Old Gold. In a pamphlet entitled “The Lorillard Story,” handed out to all P. Lorillard employees in 1947, the author explains that this campaign was designed to “keep many a disgruntled and disappointed smoker in good humor” during the wartime shortage on cigarettes, while also keeping “the product name before the public” (1).

The ads in this campaign tout apple “honey” as the humectant (the agent used to keep the tobacco leaves from drying out) for Old Gold’s tobacco. Apple honey – reportedly discovered through a partnership between Old Gold and the U.S. Department of Agriculture in 1943 – was Old Gold’s solution to overcoming the wartime shortage of humidifying agents. Of course, the use of apple honey also allowed for the consumer to make the subconscious leap to Old Golds being “honey for the throat.” This effect, coupled with the slogan, “Why be Irritated?” contributed to Old Gold’s ability to present its brand as healthful without directly making false health claims.

1. Fox, Maxwell. The Lorillard Story. 1947:49

Kool Classics – img12652

by

When menthol cigarettes were first brought to market, they were advertised to the general population as an occasional cigarette to smoke when sick or suffering from smoker’s cough. However, the 1960s brought along the beginnings of a different image for the menthol cigarette. In 1969 alone, Lorillard increased its “Negro market budget” by 87% over 1968 due to increased efforts marketing its menthol cigarette, Newport, to the African American market. Likewise, British American Tobacco doubled their budget from 1968 to 1969 in order to increase African-American radio station coverage for its menthol cigarette, Kool (1). Government surveys in 2011 revealed that menthol cigarettes dominate 30% of the overall market, and over 80% of black smokers prefer menthol as opposed to 22% of non-Hispanic white smokers (2).

Recent menthol ads are clearly marketed toward a younger, urban demographic. Many of the ads feature models of a variety of ethnicities, and African Americans are particularly targeted. Recent Salem ads from the 2000s feature the slogan, “Stir the senses,” and each ad depicts a model smoking in green, mentholated ecstasy. Other Salem ads from the 2000s reveal clear youth targeting through a risk-taking appeal. For example, one of the ads presents an “underground” party, another presents a couple with an intertwining, extreme tattoo, and a third presents a scantily clad woman riding on the back of a man’s motorcycle – all in urban settings.

Kool’s advertisements from 2005 used the slogan “Be True,” which urged consumers to not only be true to themselves, but also to be true and loyal to the brand. Accompanying the “Be True” slogan was a variety of phrases such as “Be Passionate,” “Be Original,” “Be Smooth,” and “Be Bold,” all of which appeal to adolescents and young adults trying to “find themselves” and develop a sense of self. The “Be True” ads largely feature musicians, ranging from guitar players to disc jockeys, and their ethnicities are also noticeably diverse. In our collection, Asians, African Americans, and Caucasians are all represented in the “Be True” ad campaign. Other Kool campaigns from the 2000s, like “House of Menthol,” are more transparently urban-oriented, featuring boom boxes, speaker systems, microphones, graffiti, or skyscrapers. A subset of these ads features the “Kool Mixx” which claims to “celebrate the soundtrack to the streets” through limited edition cigarette packs. Urban youth were clearly a priority.

1. “A Study of Ethnic Markets.” R.J. Reynolds Tobacco Co. Sept 1969. http://legacy.library.ucsf.edu/tid/paq76b00

2. Wilson, Duff. “Advisory Panel urges F.D.A. to re-examine menthol in cigarettes.” The New York Times. 18 March 2011. http://www.nytimes.com/2011/03/19/business/19tobacco.html

Belair Classics – img14532

by

When menthol cigarettes were first brought to market, they were advertised to the general population as an occasional cigarette to smoke when sick or suffering from smoker’s cough. However, the 1960s brought along the beginnings of a different image for the menthol cigarette. In 1969 alone, Lorillard increased its “Negro market budget” by 87% over 1968 due to increased efforts marketing its menthol cigarette, Newport, to the African American market. Likewise, British American Tobacco doubled their budget from 1968 to 1969 in order to increase African-American radio station coverage for its menthol cigarette, Kool (1). Government surveys in 2011 revealed that menthol cigarettes dominate 30% of the overall market, and over 80% of black smokers prefer menthol as opposed to 22% of non-Hispanic white smokers (2).

Recent menthol ads are clearly marketed toward a younger, urban demographic. Many of the ads feature models of a variety of ethnicities, and African Americans are particularly targeted. Recent Salem ads from the 2000s feature the slogan, “Stir the senses,” and each ad depicts a model smoking in green, mentholated ecstasy. Other Salem ads from the 2000s reveal clear youth targeting through a risk-taking appeal. For example, one of the ads presents an “underground” party, another presents a couple with an intertwining, extreme tattoo, and a third presents a scantily clad woman riding on the back of a man’s motorcycle – all in urban settings.

Kool’s advertisements from 2005 used the slogan “Be True,” which urged consumers to not only be true to themselves, but also to be true and loyal to the brand. Accompanying the “Be True” slogan was a variety of phrases such as “Be Passionate,” “Be Original,” “Be Smooth,” and “Be Bold,” all of which appeal to adolescents and young adults trying to “find themselves” and develop a sense of self. The “Be True” ads largely feature musicians, ranging from guitar players to disc jockeys, and their ethnicities are also noticeably diverse. In our collection, Asians, African Americans, and Caucasians are all represented in the “Be True” ad campaign. Other Kool campaigns from the 2000s, like “House of Menthol,” are more transparently urban-oriented, featuring boom boxes, speaker systems, microphones, graffiti, or skyscrapers. A subset of these ads features the “Kool Mixx” which claims to “celebrate the soundtrack to the streets” through limited edition cigarette packs. Urban youth were clearly a priority.

1. “A Study of Ethnic Markets.” R.J. Reynolds Tobacco Co. Sept 1969. http://legacy.library.ucsf.edu/tid/paq76b00

2. Wilson, Duff. “Advisory Panel urges F.D.A. to re-examine menthol in cigarettes.” The New York Times. 18 March 2011. http://www.nytimes.com/2011/03/19/business/19tobacco.html

Freshness – img3528

by

Tobacco ads are notorious for broadcasting what can only be called the “Big Lie” – how else could the inhalation of smoke of any kind be compared to breathing in “mountain air?” In these advertisements, smoke is presented to consumers as “fresh” and “clean,” and particular brands are advertised as “springtime fresh” or even “the refreshest.” Ads offering freshness continued well beyond the 1950s, portraying verbal or visual themes of outdoor recreation, mountain air, clean rushing streams, and more.

Early on, the freshness theme became grist for the industry’s “tit for tat” advertising. Indeed, while The American Tobacco Company advertised that Lucky Strikes were better because they were “toasted,” R.J. Reynolds countered that their Camels were superior because they were “naturally fresh: never parched, never toasted!” Camel also offered an alternative meaning of the word “fresh” by heavily promoting its cellophane wrapper, intended to keep cigarettes from going stale on store shelves.

Freshness was also commonly used as a kind of code-word for healthfulness. Slogans used in tobacco ads called to mind the “cool” of ice or the fresh healing virtues of springtime mountain pastures. “Kool” and other menthol brands were also supposed to deliver a kind of hospital-like sense of sanitary safety, and one company implied cleanliness in its very name. “Sano” cigarettes didn’t last very long: they didn’t deliver as much in the way of tar or nicotine as more popular brands and their marketing skill lagged behind that of the bigger players. By contrast, menthol brands grew in popularity after the postwar “health scare,” and many other forms of “health reassurance” were offered (space-age filters of myriad sorts, promises of low-tar and/or nicotine deliveries, eventually “lights,” etc.).

Salem Shows Spirit – img19976

by

In 1982, Salem rebranded their product toward a younger demographic and launched a new campaign, “Salem Spirit.” The new campaign served to rival Newport’s ongoing efforts targeting youth and attempted to steal Kool’s declining young customer base. In “Salem Spirit,” groups of young men and women bond together over fun, youthful activities, ranging from sledding and hot air ballooning to picnicking and frolicking in the ocean.

Internal R.J. Reynolds documents described the Salem smoker as “self-confident, up-to-date,” and as “younger adult smokers (18-23) who are characterized as social leaders/catalysts since they uniquely possess that sense of humor/wit, spontaneity, warmth and unpretentious style that makes them fun and exciting to be with” (1, 2).

The ads were constructed carefully in order to target this very specific demographic in many ways. One way was the use of what R.J. Reynolds referred to as “refreshment communicators.” Used to reflect the potentially unknown sensations of menthol to new smokers, refreshment communicators included “greenery, water, snow, and outdoor situations” (2).

Another method for attracting youth was through the campaign’s use of young, fun-loving models: “Model attitudes should continue to advance the campaign’s imagery through a warmth/caring focus as a vehicle to reflect a sense of group belonging and peer group acceptance,” one document explains, citing the equivalent of peer pressure as a primary method for hooking youth. “This is an important element differentiating the Spirit campaign from Newport’s exclusive ‘coupling.’ Model closeness will be emphasized to gain social smoking acceptability” (2). Another result of “model closeness” is that the activities all feel younger and almost child-like. Indeed, sharing a big drink at a picnic, sledding together, swinging on a tree swing, or playing “chicken” at the beach are all childish activities which contrast strikingly with any claims that the ads target solely adult audiences.

Young people have been (and remain today) a key marketing target for Salem cigarettes. In the 1980s, R.J.R. placed a strong 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…” (3). 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 (4).

1. Neher, WK. “Refined Positioning Statement for Salem.” R.J. Reynolds. 2 July 1984. http://legacy.library.ucsf.edu/tid/qoe95d00/pdf

2. Hatheway, GM; William Esty. “Salem Spirit DAR Research Perspective.” R.J. Reynolds. 19 July 1984. http://legacy.library.ucsf.edu/tid/koe95d00/pdf

3. Burrows, D.S. “Younger Adult Smokers: Strategies and Opportunities.” R.J. Reynolds. 29 February 1984. http://legacy.library.ucsf.edu/tid/tqq46b00/pdf

4. “The Importance of Younger Adults.” R.J. Reynolds. 27 Feb 1998. http://legacy.library.ucsf.edu/tid/eyn18c00/pdf

Why be Irritated? – img2958

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From 1945 to 1946, Old Gold ran a humorous ad campaign featuring the slogan, “Why be Irritated? Light an Old Gold!” The ads depicted an irritating situation of everyday life as a metaphor for throat irritation; Both, according to the ad, could be relieved by smoking an Old Gold. In a pamphlet entitled “The Lorillard Story,” handed out to all P. Lorillard employees in 1947, the author explains that this campaign was designed to “keep many a disgruntled and disappointed smoker in good humor” during the wartime shortage on cigarettes, while also keeping “the product name before the public” (1).

The ads in this campaign tout apple “honey” as the humectant (the agent used to keep the tobacco leaves from drying out) for Old Gold’s tobacco. Apple honey – reportedly discovered through a partnership between Old Gold and the U.S. Department of Agriculture in 1943 – was Old Gold’s solution to overcoming the wartime shortage of humidifying agents. Of course, the use of apple honey also allowed for the consumer to make the subconscious leap to Old Golds being “honey for the throat.” This effect, coupled with the slogan, “Why be Irritated?” contributed to Old Gold’s ability to present its brand as healthful without directly making false health claims.

1. Fox, Maxwell. The Lorillard Story. 1947:49

Salem Classics – img8053

by

When menthol cigarettes were first brought to market, they were advertised to the general population as an occasional cigarette to smoke when sick or suffering from smoker’s cough. However, the 1960s brought along the beginnings of a different image for the menthol cigarette. In 1969 alone, Lorillard increased its “Negro market budget” by 87% over 1968 due to increased efforts marketing its menthol cigarette, Newport, to the African American market. Likewise, British American Tobacco doubled their budget from 1968 to 1969 in order to increase African-American radio station coverage for its menthol cigarette, Kool (1). Government surveys in 2011 revealed that menthol cigarettes dominate 30% of the overall market, and over 80% of black smokers prefer menthol as opposed to 22% of non-Hispanic white smokers (2).

Recent menthol ads are clearly marketed toward a younger, urban demographic. Many of the ads feature models of a variety of ethnicities, and African Americans are particularly targeted. Recent Salem ads from the 2000s feature the slogan, “Stir the senses,” and each ad depicts a model smoking in green, mentholated ecstasy. Other Salem ads from the 2000s reveal clear youth targeting through a risk-taking appeal. For example, one of the ads presents an “underground” party, another presents a couple with an intertwining, extreme tattoo, and a third presents a scantily clad woman riding on the back of a man’s motorcycle – all in urban settings.

Kool’s advertisements from 2005 used the slogan “Be True,” which urged consumers to not only be true to themselves, but also to be true and loyal to the brand. Accompanying the “Be True” slogan was a variety of phrases such as “Be Passionate,” “Be Original,” “Be Smooth,” and “Be Bold,” all of which appeal to adolescents and young adults trying to “find themselves” and develop a sense of self. The “Be True” ads largely feature musicians, ranging from guitar players to disc jockeys, and their ethnicities are also noticeably diverse. In our collection, Asians, African Americans, and Caucasians are all represented in the “Be True” ad campaign. Other Kool campaigns from the 2000s, like “House of Menthol,” are more transparently urban-oriented, featuring boom boxes, speaker systems, microphones, graffiti, or skyscrapers. A subset of these ads features the “Kool Mixx” which claims to “celebrate the soundtrack to the streets” through limited edition cigarette packs. Urban youth were clearly a priority.

1. “A Study of Ethnic Markets.” R.J. Reynolds Tobacco Co. Sept 1969. http://legacy.library.ucsf.edu/tid/paq76b00

2. Wilson, Duff. “Advisory Panel urges F.D.A. to re-examine menthol in cigarettes.” The New York Times. 18 March 2011. http://www.nytimes.com/2011/03/19/business/19tobacco.html

Kool Classics – img12653

by

When menthol cigarettes were first brought to market, they were advertised to the general population as an occasional cigarette to smoke when sick or suffering from smoker’s cough. However, the 1960s brought along the beginnings of a different image for the menthol cigarette. In 1969 alone, Lorillard increased its “Negro market budget” by 87% over 1968 due to increased efforts marketing its menthol cigarette, Newport, to the African American market. Likewise, British American Tobacco doubled their budget from 1968 to 1969 in order to increase African-American radio station coverage for its menthol cigarette, Kool (1). Government surveys in 2011 revealed that menthol cigarettes dominate 30% of the overall market, and over 80% of black smokers prefer menthol as opposed to 22% of non-Hispanic white smokers (2).

Recent menthol ads are clearly marketed toward a younger, urban demographic. Many of the ads feature models of a variety of ethnicities, and African Americans are particularly targeted. Recent Salem ads from the 2000s feature the slogan, “Stir the senses,” and each ad depicts a model smoking in green, mentholated ecstasy. Other Salem ads from the 2000s reveal clear youth targeting through a risk-taking appeal. For example, one of the ads presents an “underground” party, another presents a couple with an intertwining, extreme tattoo, and a third presents a scantily clad woman riding on the back of a man’s motorcycle – all in urban settings.

Kool’s advertisements from 2005 used the slogan “Be True,” which urged consumers to not only be true to themselves, but also to be true and loyal to the brand. Accompanying the “Be True” slogan was a variety of phrases such as “Be Passionate,” “Be Original,” “Be Smooth,” and “Be Bold,” all of which appeal to adolescents and young adults trying to “find themselves” and develop a sense of self. The “Be True” ads largely feature musicians, ranging from guitar players to disc jockeys, and their ethnicities are also noticeably diverse. In our collection, Asians, African Americans, and Caucasians are all represented in the “Be True” ad campaign. Other Kool campaigns from the 2000s, like “House of Menthol,” are more transparently urban-oriented, featuring boom boxes, speaker systems, microphones, graffiti, or skyscrapers. A subset of these ads features the “Kool Mixx” which claims to “celebrate the soundtrack to the streets” through limited edition cigarette packs. Urban youth were clearly a priority.

1. “A Study of Ethnic Markets.” R.J. Reynolds Tobacco Co. Sept 1969. http://legacy.library.ucsf.edu/tid/paq76b00

2. Wilson, Duff. “Advisory Panel urges F.D.A. to re-examine menthol in cigarettes.” The New York Times. 18 March 2011. http://www.nytimes.com/2011/03/19/business/19tobacco.html

Belair Classics – img14533

by

When menthol cigarettes were first brought to market, they were advertised to the general population as an occasional cigarette to smoke when sick or suffering from smoker’s cough. However, the 1960s brought along the beginnings of a different image for the menthol cigarette. In 1969 alone, Lorillard increased its “Negro market budget” by 87% over 1968 due to increased efforts marketing its menthol cigarette, Newport, to the African American market. Likewise, British American Tobacco doubled their budget from 1968 to 1969 in order to increase African-American radio station coverage for its menthol cigarette, Kool (1). Government surveys in 2011 revealed that menthol cigarettes dominate 30% of the overall market, and over 80% of black smokers prefer menthol as opposed to 22% of non-Hispanic white smokers (2).

Recent menthol ads are clearly marketed toward a younger, urban demographic. Many of the ads feature models of a variety of ethnicities, and African Americans are particularly targeted. Recent Salem ads from the 2000s feature the slogan, “Stir the senses,” and each ad depicts a model smoking in green, mentholated ecstasy. Other Salem ads from the 2000s reveal clear youth targeting through a risk-taking appeal. For example, one of the ads presents an “underground” party, another presents a couple with an intertwining, extreme tattoo, and a third presents a scantily clad woman riding on the back of a man’s motorcycle – all in urban settings.

Kool’s advertisements from 2005 used the slogan “Be True,” which urged consumers to not only be true to themselves, but also to be true and loyal to the brand. Accompanying the “Be True” slogan was a variety of phrases such as “Be Passionate,” “Be Original,” “Be Smooth,” and “Be Bold,” all of which appeal to adolescents and young adults trying to “find themselves” and develop a sense of self. The “Be True” ads largely feature musicians, ranging from guitar players to disc jockeys, and their ethnicities are also noticeably diverse. In our collection, Asians, African Americans, and Caucasians are all represented in the “Be True” ad campaign. Other Kool campaigns from the 2000s, like “House of Menthol,” are more transparently urban-oriented, featuring boom boxes, speaker systems, microphones, graffiti, or skyscrapers. A subset of these ads features the “Kool Mixx” which claims to “celebrate the soundtrack to the streets” through limited edition cigarette packs. Urban youth were clearly a priority.

1. “A Study of Ethnic Markets.” R.J. Reynolds Tobacco Co. Sept 1969. http://legacy.library.ucsf.edu/tid/paq76b00

2. Wilson, Duff. “Advisory Panel urges F.D.A. to re-examine menthol in cigarettes.” The New York Times. 18 March 2011. http://www.nytimes.com/2011/03/19/business/19tobacco.html

Other Menthol Classics – img14539

by

When menthol cigarettes were first brought to market, they were advertised to the general population as an occasional cigarette to smoke when sick or suffering from smoker’s cough. However, the 1960s brought along the beginnings of a different image for the menthol cigarette. In 1969 alone, Lorillard increased its “Negro market budget” by 87% over 1968 due to increased efforts marketing its menthol cigarette, Newport, to the African American market. Likewise, British American Tobacco doubled their budget from 1968 to 1969 in order to increase African-American radio station coverage for its menthol cigarette, Kool (1). Government surveys in 2011 revealed that menthol cigarettes dominate 30% of the overall market, and over 80% of black smokers prefer menthol as opposed to 22% of non-Hispanic white smokers (2).

Recent menthol ads are clearly marketed toward a younger, urban demographic. Many of the ads feature models of a variety of ethnicities, and African Americans are particularly targeted. Recent Salem ads from the 2000s feature the slogan, “Stir the senses,” and each ad depicts a model smoking in green, mentholated ecstasy. Other Salem ads from the 2000s reveal clear youth targeting through a risk-taking appeal. For example, one of the ads presents an “underground” party, another presents a couple with an intertwining, extreme tattoo, and a third presents a scantily clad woman riding on the back of a man’s motorcycle – all in urban settings.

Kool’s advertisements from 2005 used the slogan “Be True,” which urged consumers to not only be true to themselves, but also to be true and loyal to the brand. Accompanying the “Be True” slogan was a variety of phrases such as “Be Passionate,” “Be Original,” “Be Smooth,” and “Be Bold,” all of which appeal to adolescents and young adults trying to “find themselves” and develop a sense of self. The “Be True” ads largely feature musicians, ranging from guitar players to disc jockeys, and their ethnicities are also noticeably diverse. In our collection, Asians, African Americans, and Caucasians are all represented in the “Be True” ad campaign. Other Kool campaigns from the 2000s, like “House of Menthol,” are more transparently urban-oriented, featuring boom boxes, speaker systems, microphones, graffiti, or skyscrapers. A subset of these ads features the “Kool Mixx” which claims to “celebrate the soundtrack to the streets” through limited edition cigarette packs. Urban youth were clearly a priority.

1. “A Study of Ethnic Markets.” R.J. Reynolds Tobacco Co. Sept 1969. http://legacy.library.ucsf.edu/tid/paq76b00

2. Wilson, Duff. “Advisory Panel urges F.D.A. to re-examine menthol in cigarettes.” The New York Times. 18 March 2011. http://www.nytimes.com/2011/03/19/business/19tobacco.html

Freshness – img3529

by

Tobacco ads are notorious for broadcasting what can only be called the “Big Lie” – how else could the inhalation of smoke of any kind be compared to breathing in “mountain air?” In these advertisements, smoke is presented to consumers as “fresh” and “clean,” and particular brands are advertised as “springtime fresh” or even “the refreshest.” Ads offering freshness continued well beyond the 1950s, portraying verbal or visual themes of outdoor recreation, mountain air, clean rushing streams, and more.

Early on, the freshness theme became grist for the industry’s “tit for tat” advertising. Indeed, while The American Tobacco Company advertised that Lucky Strikes were better because they were “toasted,” R.J. Reynolds countered that their Camels were superior because they were “naturally fresh: never parched, never toasted!” Camel also offered an alternative meaning of the word “fresh” by heavily promoting its cellophane wrapper, intended to keep cigarettes from going stale on store shelves.

Freshness was also commonly used as a kind of code-word for healthfulness. Slogans used in tobacco ads called to mind the “cool” of ice or the fresh healing virtues of springtime mountain pastures. “Kool” and other menthol brands were also supposed to deliver a kind of hospital-like sense of sanitary safety, and one company implied cleanliness in its very name. “Sano” cigarettes didn’t last very long: they didn’t deliver as much in the way of tar or nicotine as more popular brands and their marketing skill lagged behind that of the bigger players. By contrast, menthol brands grew in popularity after the postwar “health scare,” and many other forms of “health reassurance” were offered (space-age filters of myriad sorts, promises of low-tar and/or nicotine deliveries, eventually “lights,” etc.).

Salem Shows Spirit – img19977

by

In 1982, Salem rebranded their product toward a younger demographic and launched a new campaign, “Salem Spirit.” The new campaign served to rival Newport’s ongoing efforts targeting youth and attempted to steal Kool’s declining young customer base. In “Salem Spirit,” groups of young men and women bond together over fun, youthful activities, ranging from sledding and hot air ballooning to picnicking and frolicking in the ocean.

Internal R.J. Reynolds documents described the Salem smoker as “self-confident, up-to-date,” and as “younger adult smokers (18-23) who are characterized as social leaders/catalysts since they uniquely possess that sense of humor/wit, spontaneity, warmth and unpretentious style that makes them fun and exciting to be with” (1, 2).

The ads were constructed carefully in order to target this very specific demographic in many ways. One way was the use of what R.J. Reynolds referred to as “refreshment communicators.” Used to reflect the potentially unknown sensations of menthol to new smokers, refreshment communicators included “greenery, water, snow, and outdoor situations” (2).

Another method for attracting youth was through the campaign’s use of young, fun-loving models: “Model attitudes should continue to advance the campaign’s imagery through a warmth/caring focus as a vehicle to reflect a sense of group belonging and peer group acceptance,” one document explains, citing the equivalent of peer pressure as a primary method for hooking youth. “This is an important element differentiating the Spirit campaign from Newport’s exclusive ‘coupling.’ Model closeness will be emphasized to gain social smoking acceptability” (2). Another result of “model closeness” is that the activities all feel younger and almost child-like. Indeed, sharing a big drink at a picnic, sledding together, swinging on a tree swing, or playing “chicken” at the beach are all childish activities which contrast strikingly with any claims that the ads target solely adult audiences.

Young people have been (and remain today) a key marketing target for Salem cigarettes. In the 1980s, R.J.R. placed a strong 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…” (3). 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 (4).

1. Neher, WK. “Refined Positioning Statement for Salem.” R.J. Reynolds. 2 July 1984. http://legacy.library.ucsf.edu/tid/qoe95d00/pdf

2. Hatheway, GM; William Esty. “Salem Spirit DAR Research Perspective.” R.J. Reynolds. 19 July 1984. http://legacy.library.ucsf.edu/tid/koe95d00/pdf

3. Burrows, D.S. “Younger Adult Smokers: Strategies and Opportunities.” R.J. Reynolds. 29 February 1984. http://legacy.library.ucsf.edu/tid/tqq46b00/pdf

4. “The Importance of Younger Adults.” R.J. Reynolds. 27 Feb 1998. http://legacy.library.ucsf.edu/tid/eyn18c00/pdf

Throat Doctors – img11328

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It was common in the late 1920s and early 1930s for tobacco companies to enlist “throat specialists” as endorsers of their products. The public was worried about throat irritation due to smoking, and tobacco companies hoped that support from physicians, especially otolaryngologists (ear, nose, and throat doctors) would ease general concern. The none-too-subtle message was that if the throat doctor, with all of his expertise, chose to smoke a particular brand or to recommended a particular brand, then it must be safe. Unlike with celebrity and athlete endorsers, the doctors depicted were never specific individuals, because physicians who engaged in advertising would risk losing their license. It was contrary to accepted medical ethics at the time for doctors to advertise, but that did not deter tobacco companies from hiring handsome talent, dressing them up to look like throat specialists, and printing their photographs alongside health claims or spurious doctor survey results. These images always presented an idealized physician – wise, noble, and caring. This genre of ads regularly appeared in medical journals such as the Journal of the American Medical Association, an organization which for decades collaborated closely with the industry. The big push to document health hazards also did not appear until later.

In this theme, otolaryngologists urge consumers to “give your throat a vacation” with Camels in 1931, and as late as 1950, the throat specialists are pictured examining a smoker for her “Camel 30-day mildness test.” In a 1930 advertisement, Robert Ripley, of “Ripley’s Believe it or Not” fame, performs a cigarette test on “a group of throat specialists” and digs up “certified proof” that they prefer Old Golds. From 1948 to 1952, a number of actors dressed as otolaryngologists, identified by the head mirror, recommend De-Nicotea filters for a “less irritating” smoke. Chesterfield jumps on the band wagon in 1952, and even Kool’s Willie the Penguin dresses up in otolaryngologist garb and poses in front of a diploma awarded to “Doctor Kool” in 1938. All of these brands used the specialized field of otolaryngology to present their cigarettes as healthful rather than harmful. It is ironic that they all manage to reveal the negative potential of cigarettes in the process by admitting, through their use of doctors and medical claims, that there are health concerns surrounding cigarettes to begin with.

Salem Classics – img8054

by

When menthol cigarettes were first brought to market, they were advertised to the general population as an occasional cigarette to smoke when sick or suffering from smoker’s cough. However, the 1960s brought along the beginnings of a different image for the menthol cigarette. In 1969 alone, Lorillard increased its “Negro market budget” by 87% over 1968 due to increased efforts marketing its menthol cigarette, Newport, to the African American market. Likewise, British American Tobacco doubled their budget from 1968 to 1969 in order to increase African-American radio station coverage for its menthol cigarette, Kool (1). Government surveys in 2011 revealed that menthol cigarettes dominate 30% of the overall market, and over 80% of black smokers prefer menthol as opposed to 22% of non-Hispanic white smokers (2).

Recent menthol ads are clearly marketed toward a younger, urban demographic. Many of the ads feature models of a variety of ethnicities, and African Americans are particularly targeted. Recent Salem ads from the 2000s feature the slogan, “Stir the senses,” and each ad depicts a model smoking in green, mentholated ecstasy. Other Salem ads from the 2000s reveal clear youth targeting through a risk-taking appeal. For example, one of the ads presents an “underground” party, another presents a couple with an intertwining, extreme tattoo, and a third presents a scantily clad woman riding on the back of a man’s motorcycle – all in urban settings.

Kool’s advertisements from 2005 used the slogan “Be True,” which urged consumers to not only be true to themselves, but also to be true and loyal to the brand. Accompanying the “Be True” slogan was a variety of phrases such as “Be Passionate,” “Be Original,” “Be Smooth,” and “Be Bold,” all of which appeal to adolescents and young adults trying to “find themselves” and develop a sense of self. The “Be True” ads largely feature musicians, ranging from guitar players to disc jockeys, and their ethnicities are also noticeably diverse. In our collection, Asians, African Americans, and Caucasians are all represented in the “Be True” ad campaign. Other Kool campaigns from the 2000s, like “House of Menthol,” are more transparently urban-oriented, featuring boom boxes, speaker systems, microphones, graffiti, or skyscrapers. A subset of these ads features the “Kool Mixx” which claims to “celebrate the soundtrack to the streets” through limited edition cigarette packs. Urban youth were clearly a priority.

1. “A Study of Ethnic Markets.” R.J. Reynolds Tobacco Co. Sept 1969. http://legacy.library.ucsf.edu/tid/paq76b00

2. Wilson, Duff. “Advisory Panel urges F.D.A. to re-examine menthol in cigarettes.” The New York Times. 18 March 2011. http://www.nytimes.com/2011/03/19/business/19tobacco.html

Kool Classics – img12669

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When menthol cigarettes were first brought to market, they were advertised to the general population as an occasional cigarette to smoke when sick or suffering from smoker’s cough. However, the 1960s brought along the beginnings of a different image for the menthol cigarette. In 1969 alone, Lorillard increased its “Negro market budget” by 87% over 1968 due to increased efforts marketing its menthol cigarette, Newport, to the African American market. Likewise, British American Tobacco doubled their budget from 1968 to 1969 in order to increase African-American radio station coverage for its menthol cigarette, Kool (1). Government surveys in 2011 revealed that menthol cigarettes dominate 30% of the overall market, and over 80% of black smokers prefer menthol as opposed to 22% of non-Hispanic white smokers (2).

Recent menthol ads are clearly marketed toward a younger, urban demographic. Many of the ads feature models of a variety of ethnicities, and African Americans are particularly targeted. Recent Salem ads from the 2000s feature the slogan, “Stir the senses,” and each ad depicts a model smoking in green, mentholated ecstasy. Other Salem ads from the 2000s reveal clear youth targeting through a risk-taking appeal. For example, one of the ads presents an “underground” party, another presents a couple with an intertwining, extreme tattoo, and a third presents a scantily clad woman riding on the back of a man’s motorcycle – all in urban settings.

Kool’s advertisements from 2005 used the slogan “Be True,” which urged consumers to not only be true to themselves, but also to be true and loyal to the brand. Accompanying the “Be True” slogan was a variety of phrases such as “Be Passionate,” “Be Original,” “Be Smooth,” and “Be Bold,” all of which appeal to adolescents and young adults trying to “find themselves” and develop a sense of self. The “Be True” ads largely feature musicians, ranging from guitar players to disc jockeys, and their ethnicities are also noticeably diverse. In our collection, Asians, African Americans, and Caucasians are all represented in the “Be True” ad campaign. Other Kool campaigns from the 2000s, like “House of Menthol,” are more transparently urban-oriented, featuring boom boxes, speaker systems, microphones, graffiti, or skyscrapers. A subset of these ads features the “Kool Mixx” which claims to “celebrate the soundtrack to the streets” through limited edition cigarette packs. Urban youth were clearly a priority.

1. “A Study of Ethnic Markets.” R.J. Reynolds Tobacco Co. Sept 1969. http://legacy.library.ucsf.edu/tid/paq76b00

2. Wilson, Duff. “Advisory Panel urges F.D.A. to re-examine menthol in cigarettes.” The New York Times. 18 March 2011. http://www.nytimes.com/2011/03/19/business/19tobacco.html

Belair Classics – img14535

by

When menthol cigarettes were first brought to market, they were advertised to the general population as an occasional cigarette to smoke when sick or suffering from smoker’s cough. However, the 1960s brought along the beginnings of a different image for the menthol cigarette. In 1969 alone, Lorillard increased its “Negro market budget” by 87% over 1968 due to increased efforts marketing its menthol cigarette, Newport, to the African American market. Likewise, British American Tobacco doubled their budget from 1968 to 1969 in order to increase African-American radio station coverage for its menthol cigarette, Kool (1). Government surveys in 2011 revealed that menthol cigarettes dominate 30% of the overall market, and over 80% of black smokers prefer menthol as opposed to 22% of non-Hispanic white smokers (2).

Recent menthol ads are clearly marketed toward a younger, urban demographic. Many of the ads feature models of a variety of ethnicities, and African Americans are particularly targeted. Recent Salem ads from the 2000s feature the slogan, “Stir the senses,” and each ad depicts a model smoking in green, mentholated ecstasy. Other Salem ads from the 2000s reveal clear youth targeting through a risk-taking appeal. For example, one of the ads presents an “underground” party, another presents a couple with an intertwining, extreme tattoo, and a third presents a scantily clad woman riding on the back of a man’s motorcycle – all in urban settings.

Kool’s advertisements from 2005 used the slogan “Be True,” which urged consumers to not only be true to themselves, but also to be true and loyal to the brand. Accompanying the “Be True” slogan was a variety of phrases such as “Be Passionate,” “Be Original,” “Be Smooth,” and “Be Bold,” all of which appeal to adolescents and young adults trying to “find themselves” and develop a sense of self. The “Be True” ads largely feature musicians, ranging from guitar players to disc jockeys, and their ethnicities are also noticeably diverse. In our collection, Asians, African Americans, and Caucasians are all represented in the “Be True” ad campaign. Other Kool campaigns from the 2000s, like “House of Menthol,” are more transparently urban-oriented, featuring boom boxes, speaker systems, microphones, graffiti, or skyscrapers. A subset of these ads features the “Kool Mixx” which claims to “celebrate the soundtrack to the streets” through limited edition cigarette packs. Urban youth were clearly a priority.

1. “A Study of Ethnic Markets.” R.J. Reynolds Tobacco Co. Sept 1969. http://legacy.library.ucsf.edu/tid/paq76b00

2. Wilson, Duff. “Advisory Panel urges F.D.A. to re-examine menthol in cigarettes.” The New York Times. 18 March 2011. http://www.nytimes.com/2011/03/19/business/19tobacco.html

Freshness – img11756

by

Tobacco ads are notorious for broadcasting what can only be called the “Big Lie” – how else could the inhalation of smoke of any kind be compared to breathing in “mountain air?” In these advertisements, smoke is presented to consumers as “fresh” and “clean,” and particular brands are advertised as “springtime fresh” or even “the refreshest.” Ads offering freshness continued well beyond the 1950s, portraying verbal or visual themes of outdoor recreation, mountain air, clean rushing streams, and more.

Early on, the freshness theme became grist for the industry’s “tit for tat” advertising. Indeed, while The American Tobacco Company advertised that Lucky Strikes were better because they were “toasted,” R.J. Reynolds countered that their Camels were superior because they were “naturally fresh: never parched, never toasted!” Camel also offered an alternative meaning of the word “fresh” by heavily promoting its cellophane wrapper, intended to keep cigarettes from going stale on store shelves.

Freshness was also commonly used as a kind of code-word for healthfulness. Slogans used in tobacco ads called to mind the “cool” of ice or the fresh healing virtues of springtime mountain pastures. “Kool” and other menthol brands were also supposed to deliver a kind of hospital-like sense of sanitary safety, and one company implied cleanliness in its very name. “Sano” cigarettes didn’t last very long: they didn’t deliver as much in the way of tar or nicotine as more popular brands and their marketing skill lagged behind that of the bigger players. By contrast, menthol brands grew in popularity after the postwar “health scare,” and many other forms of “health reassurance” were offered (space-age filters of myriad sorts, promises of low-tar and/or nicotine deliveries, eventually “lights,” etc.).

Salem Shows Spirit – img19978

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In 1982, Salem rebranded their product toward a younger demographic and launched a new campaign, “Salem Spirit.” The new campaign served to rival Newport’s ongoing efforts targeting youth and attempted to steal Kool’s declining young customer base. In “Salem Spirit,” groups of young men and women bond together over fun, youthful activities, ranging from sledding and hot air ballooning to picnicking and frolicking in the ocean.

Internal R.J. Reynolds documents described the Salem smoker as “self-confident, up-to-date,” and as “younger adult smokers (18-23) who are characterized as social leaders/catalysts since they uniquely possess that sense of humor/wit, spontaneity, warmth and unpretentious style that makes them fun and exciting to be with” (1, 2).

The ads were constructed carefully in order to target this very specific demographic in many ways. One way was the use of what R.J. Reynolds referred to as “refreshment communicators.” Used to reflect the potentially unknown sensations of menthol to new smokers, refreshment communicators included “greenery, water, snow, and outdoor situations” (2).

Another method for attracting youth was through the campaign’s use of young, fun-loving models: “Model attitudes should continue to advance the campaign’s imagery through a warmth/caring focus as a vehicle to reflect a sense of group belonging and peer group acceptance,” one document explains, citing the equivalent of peer pressure as a primary method for hooking youth. “This is an important element differentiating the Spirit campaign from Newport’s exclusive ‘coupling.’ Model closeness will be emphasized to gain social smoking acceptability” (2). Another result of “model closeness” is that the activities all feel younger and almost child-like. Indeed, sharing a big drink at a picnic, sledding together, swinging on a tree swing, or playing “chicken” at the beach are all childish activities which contrast strikingly with any claims that the ads target solely adult audiences.

Young people have been (and remain today) a key marketing target for Salem cigarettes. In the 1980s, R.J.R. placed a strong 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…” (3). 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 (4).

1. Neher, WK. “Refined Positioning Statement for Salem.” R.J. Reynolds. 2 July 1984. http://legacy.library.ucsf.edu/tid/qoe95d00/pdf

2. Hatheway, GM; William Esty. “Salem Spirit DAR Research Perspective.” R.J. Reynolds. 19 July 1984. http://legacy.library.ucsf.edu/tid/koe95d00/pdf

3. Burrows, D.S. “Younger Adult Smokers: Strategies and Opportunities.” R.J. Reynolds. 29 February 1984. http://legacy.library.ucsf.edu/tid/tqq46b00/pdf

4. “The Importance of Younger Adults.” R.J. Reynolds. 27 Feb 1998. http://legacy.library.ucsf.edu/tid/eyn18c00/pdf

Salem Classics – img8055

by

When menthol cigarettes were first brought to market, they were advertised to the general population as an occasional cigarette to smoke when sick or suffering from smoker’s cough. However, the 1960s brought along the beginnings of a different image for the menthol cigarette. In 1969 alone, Lorillard increased its “Negro market budget” by 87% over 1968 due to increased efforts marketing its menthol cigarette, Newport, to the African American market. Likewise, British American Tobacco doubled their budget from 1968 to 1969 in order to increase African-American radio station coverage for its menthol cigarette, Kool (1). Government surveys in 2011 revealed that menthol cigarettes dominate 30% of the overall market, and over 80% of black smokers prefer menthol as opposed to 22% of non-Hispanic white smokers (2).

Recent menthol ads are clearly marketed toward a younger, urban demographic. Many of the ads feature models of a variety of ethnicities, and African Americans are particularly targeted. Recent Salem ads from the 2000s feature the slogan, “Stir the senses,” and each ad depicts a model smoking in green, mentholated ecstasy. Other Salem ads from the 2000s reveal clear youth targeting through a risk-taking appeal. For example, one of the ads presents an “underground” party, another presents a couple with an intertwining, extreme tattoo, and a third presents a scantily clad woman riding on the back of a man’s motorcycle – all in urban settings.

Kool’s advertisements from 2005 used the slogan “Be True,” which urged consumers to not only be true to themselves, but also to be true and loyal to the brand. Accompanying the “Be True” slogan was a variety of phrases such as “Be Passionate,” “Be Original,” “Be Smooth,” and “Be Bold,” all of which appeal to adolescents and young adults trying to “find themselves” and develop a sense of self. The “Be True” ads largely feature musicians, ranging from guitar players to disc jockeys, and their ethnicities are also noticeably diverse. In our collection, Asians, African Americans, and Caucasians are all represented in the “Be True” ad campaign. Other Kool campaigns from the 2000s, like “House of Menthol,” are more transparently urban-oriented, featuring boom boxes, speaker systems, microphones, graffiti, or skyscrapers. A subset of these ads features the “Kool Mixx” which claims to “celebrate the soundtrack to the streets” through limited edition cigarette packs. Urban youth were clearly a priority.

1. “A Study of Ethnic Markets.” R.J. Reynolds Tobacco Co. Sept 1969. http://legacy.library.ucsf.edu/tid/paq76b00

2. Wilson, Duff. “Advisory Panel urges F.D.A. to re-examine menthol in cigarettes.” The New York Times. 18 March 2011. http://www.nytimes.com/2011/03/19/business/19tobacco.html

Kool Classics – img12645

by

When menthol cigarettes were first brought to market, they were advertised to the general population as an occasional cigarette to smoke when sick or suffering from smoker’s cough. However, the 1960s brought along the beginnings of a different image for the menthol cigarette. In 1969 alone, Lorillard increased its “Negro market budget” by 87% over 1968 due to increased efforts marketing its menthol cigarette, Newport, to the African American market. Likewise, British American Tobacco doubled their budget from 1968 to 1969 in order to increase African-American radio station coverage for its menthol cigarette, Kool (1). Government surveys in 2011 revealed that menthol cigarettes dominate 30% of the overall market, and over 80% of black smokers prefer menthol as opposed to 22% of non-Hispanic white smokers (2).

Recent menthol ads are clearly marketed toward a younger, urban demographic. Many of the ads feature models of a variety of ethnicities, and African Americans are particularly targeted. Recent Salem ads from the 2000s feature the slogan, “Stir the senses,” and each ad depicts a model smoking in green, mentholated ecstasy. Other Salem ads from the 2000s reveal clear youth targeting through a risk-taking appeal. For example, one of the ads presents an “underground” party, another presents a couple with an intertwining, extreme tattoo, and a third presents a scantily clad woman riding on the back of a man’s motorcycle – all in urban settings.

Kool’s advertisements from 2005 used the slogan “Be True,” which urged consumers to not only be true to themselves, but also to be true and loyal to the brand. Accompanying the “Be True” slogan was a variety of phrases such as “Be Passionate,” “Be Original,” “Be Smooth,” and “Be Bold,” all of which appeal to adolescents and young adults trying to “find themselves” and develop a sense of self. The “Be True” ads largely feature musicians, ranging from guitar players to disc jockeys, and their ethnicities are also noticeably diverse. In our collection, Asians, African Americans, and Caucasians are all represented in the “Be True” ad campaign. Other Kool campaigns from the 2000s, like “House of Menthol,” are more transparently urban-oriented, featuring boom boxes, speaker systems, microphones, graffiti, or skyscrapers. A subset of these ads features the “Kool Mixx” which claims to “celebrate the soundtrack to the streets” through limited edition cigarette packs. Urban youth were clearly a priority.

1. “A Study of Ethnic Markets.” R.J. Reynolds Tobacco Co. Sept 1969. http://legacy.library.ucsf.edu/tid/paq76b00

2. Wilson, Duff. “Advisory Panel urges F.D.A. to re-examine menthol in cigarettes.” The New York Times. 18 March 2011. http://www.nytimes.com/2011/03/19/business/19tobacco.html

Freshness – img11757

by

Tobacco ads are notorious for broadcasting what can only be called the “Big Lie” – how else could the inhalation of smoke of any kind be compared to breathing in “mountain air?” In these advertisements, smoke is presented to consumers as “fresh” and “clean,” and particular brands are advertised as “springtime fresh” or even “the refreshest.” Ads offering freshness continued well beyond the 1950s, portraying verbal or visual themes of outdoor recreation, mountain air, clean rushing streams, and more.

Early on, the freshness theme became grist for the industry’s “tit for tat” advertising. Indeed, while The American Tobacco Company advertised that Lucky Strikes were better because they were “toasted,” R.J. Reynolds countered that their Camels were superior because they were “naturally fresh: never parched, never toasted!” Camel also offered an alternative meaning of the word “fresh” by heavily promoting its cellophane wrapper, intended to keep cigarettes from going stale on store shelves.

Freshness was also commonly used as a kind of code-word for healthfulness. Slogans used in tobacco ads called to mind the “cool” of ice or the fresh healing virtues of springtime mountain pastures. “Kool” and other menthol brands were also supposed to deliver a kind of hospital-like sense of sanitary safety, and one company implied cleanliness in its very name. “Sano” cigarettes didn’t last very long: they didn’t deliver as much in the way of tar or nicotine as more popular brands and their marketing skill lagged behind that of the bigger players. By contrast, menthol brands grew in popularity after the postwar “health scare,” and many other forms of “health reassurance” were offered (space-age filters of myriad sorts, promises of low-tar and/or nicotine deliveries, eventually “lights,” etc.).

Salem Shows Spirit – img19979

by

In 1982, Salem rebranded their product toward a younger demographic and launched a new campaign, “Salem Spirit.” The new campaign served to rival Newport’s ongoing efforts targeting youth and attempted to steal Kool’s declining young customer base. In “Salem Spirit,” groups of young men and women bond together over fun, youthful activities, ranging from sledding and hot air ballooning to picnicking and frolicking in the ocean.

Internal R.J. Reynolds documents described the Salem smoker as “self-confident, up-to-date,” and as “younger adult smokers (18-23) who are characterized as social leaders/catalysts since they uniquely possess that sense of humor/wit, spontaneity, warmth and unpretentious style that makes them fun and exciting to be with” (1, 2).

The ads were constructed carefully in order to target this very specific demographic in many ways. One way was the use of what R.J. Reynolds referred to as “refreshment communicators.” Used to reflect the potentially unknown sensations of menthol to new smokers, refreshment communicators included “greenery, water, snow, and outdoor situations” (2).

Another method for attracting youth was through the campaign’s use of young, fun-loving models: “Model attitudes should continue to advance the campaign’s imagery through a warmth/caring focus as a vehicle to reflect a sense of group belonging and peer group acceptance,” one document explains, citing the equivalent of peer pressure as a primary method for hooking youth. “This is an important element differentiating the Spirit campaign from Newport’s exclusive ‘coupling.’ Model closeness will be emphasized to gain social smoking acceptability” (2). Another result of “model closeness” is that the activities all feel younger and almost child-like. Indeed, sharing a big drink at a picnic, sledding together, swinging on a tree swing, or playing “chicken” at the beach are all childish activities which contrast strikingly with any claims that the ads target solely adult audiences.

Young people have been (and remain today) a key marketing target for Salem cigarettes. In the 1980s, R.J.R. placed a strong 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…” (3). 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 (4).

1. Neher, WK. “Refined Positioning Statement for Salem.” R.J. Reynolds. 2 July 1984. http://legacy.library.ucsf.edu/tid/qoe95d00/pdf

2. Hatheway, GM; William Esty. “Salem Spirit DAR Research Perspective.” R.J. Reynolds. 19 July 1984. http://legacy.library.ucsf.edu/tid/koe95d00/pdf

3. Burrows, D.S. “Younger Adult Smokers: Strategies and Opportunities.” R.J. Reynolds. 29 February 1984. http://legacy.library.ucsf.edu/tid/tqq46b00/pdf

4. “The Importance of Younger Adults.” R.J. Reynolds. 27 Feb 1998. http://legacy.library.ucsf.edu/tid/eyn18c00/pdf

Salem Classics – img8048

by

When menthol cigarettes were first brought to market, they were advertised to the general population as an occasional cigarette to smoke when sick or suffering from smoker’s cough. However, the 1960s brought along the beginnings of a different image for the menthol cigarette. In 1969 alone, Lorillard increased its “Negro market budget” by 87% over 1968 due to increased efforts marketing its menthol cigarette, Newport, to the African American market. Likewise, British American Tobacco doubled their budget from 1968 to 1969 in order to increase African-American radio station coverage for its menthol cigarette, Kool (1). Government surveys in 2011 revealed that menthol cigarettes dominate 30% of the overall market, and over 80% of black smokers prefer menthol as opposed to 22% of non-Hispanic white smokers (2).

Recent menthol ads are clearly marketed toward a younger, urban demographic. Many of the ads feature models of a variety of ethnicities, and African Americans are particularly targeted. Recent Salem ads from the 2000s feature the slogan, “Stir the senses,” and each ad depicts a model smoking in green, mentholated ecstasy. Other Salem ads from the 2000s reveal clear youth targeting through a risk-taking appeal. For example, one of the ads presents an “underground” party, another presents a couple with an intertwining, extreme tattoo, and a third presents a scantily clad woman riding on the back of a man’s motorcycle – all in urban settings.

Kool’s advertisements from 2005 used the slogan “Be True,” which urged consumers to not only be true to themselves, but also to be true and loyal to the brand. Accompanying the “Be True” slogan was a variety of phrases such as “Be Passionate,” “Be Original,” “Be Smooth,” and “Be Bold,” all of which appeal to adolescents and young adults trying to “find themselves” and develop a sense of self. The “Be True” ads largely feature musicians, ranging from guitar players to disc jockeys, and their ethnicities are also noticeably diverse. In our collection, Asians, African Americans, and Caucasians are all represented in the “Be True” ad campaign. Other Kool campaigns from the 2000s, like “House of Menthol,” are more transparently urban-oriented, featuring boom boxes, speaker systems, microphones, graffiti, or skyscrapers. A subset of these ads features the “Kool Mixx” which claims to “celebrate the soundtrack to the streets” through limited edition cigarette packs. Urban youth were clearly a priority.

1. “A Study of Ethnic Markets.” R.J. Reynolds Tobacco Co. Sept 1969. http://legacy.library.ucsf.edu/tid/paq76b00

2. Wilson, Duff. “Advisory Panel urges F.D.A. to re-examine menthol in cigarettes.” The New York Times. 18 March 2011. http://www.nytimes.com/2011/03/19/business/19tobacco.html

Other Menthol Classics – img12636

by

When menthol cigarettes were first brought to market, they were advertised to the general population as an occasional cigarette to smoke when sick or suffering from smoker’s cough. However, the 1960s brought along the beginnings of a different image for the menthol cigarette. In 1969 alone, Lorillard increased its “Negro market budget” by 87% over 1968 due to increased efforts marketing its menthol cigarette, Newport, to the African American market. Likewise, British American Tobacco doubled their budget from 1968 to 1969 in order to increase African-American radio station coverage for its menthol cigarette, Kool (1). Government surveys in 2011 revealed that menthol cigarettes dominate 30% of the overall market, and over 80% of black smokers prefer menthol as opposed to 22% of non-Hispanic white smokers (2).

Recent menthol ads are clearly marketed toward a younger, urban demographic. Many of the ads feature models of a variety of ethnicities, and African Americans are particularly targeted. Recent Salem ads from the 2000s feature the slogan, “Stir the senses,” and each ad depicts a model smoking in green, mentholated ecstasy. Other Salem ads from the 2000s reveal clear youth targeting through a risk-taking appeal. For example, one of the ads presents an “underground” party, another presents a couple with an intertwining, extreme tattoo, and a third presents a scantily clad woman riding on the back of a man’s motorcycle – all in urban settings.

Kool’s advertisements from 2005 used the slogan “Be True,” which urged consumers to not only be true to themselves, but also to be true and loyal to the brand. Accompanying the “Be True” slogan was a variety of phrases such as “Be Passionate,” “Be Original,” “Be Smooth,” and “Be Bold,” all of which appeal to adolescents and young adults trying to “find themselves” and develop a sense of self. The “Be True” ads largely feature musicians, ranging from guitar players to disc jockeys, and their ethnicities are also noticeably diverse. In our collection, Asians, African Americans, and Caucasians are all represented in the “Be True” ad campaign. Other Kool campaigns from the 2000s, like “House of Menthol,” are more transparently urban-oriented, featuring boom boxes, speaker systems, microphones, graffiti, or skyscrapers. A subset of these ads features the “Kool Mixx” which claims to “celebrate the soundtrack to the streets” through limited edition cigarette packs. Urban youth were clearly a priority.

1. “A Study of Ethnic Markets.” R.J. Reynolds Tobacco Co. Sept 1969. http://legacy.library.ucsf.edu/tid/paq76b00

2. Wilson, Duff. “Advisory Panel urges F.D.A. to re-examine menthol in cigarettes.” The New York Times. 18 March 2011. http://www.nytimes.com/2011/03/19/business/19tobacco.html

Salem Classics – img12663

by

When menthol cigarettes were first brought to market, they were advertised to the general population as an occasional cigarette to smoke when sick or suffering from smoker’s cough. However, the 1960s brought along the beginnings of a different image for the menthol cigarette. In 1969 alone, Lorillard increased its “Negro market budget” by 87% over 1968 due to increased efforts marketing its menthol cigarette, Newport, to the African American market. Likewise, British American Tobacco doubled their budget from 1968 to 1969 in order to increase African-American radio station coverage for its menthol cigarette, Kool (1). Government surveys in 2011 revealed that menthol cigarettes dominate 30% of the overall market, and over 80% of black smokers prefer menthol as opposed to 22% of non-Hispanic white smokers (2).

Recent menthol ads are clearly marketed toward a younger, urban demographic. Many of the ads feature models of a variety of ethnicities, and African Americans are particularly targeted. Recent Salem ads from the 2000s feature the slogan, “Stir the senses,” and each ad depicts a model smoking in green, mentholated ecstasy. Other Salem ads from the 2000s reveal clear youth targeting through a risk-taking appeal. For example, one of the ads presents an “underground” party, another presents a couple with an intertwining, extreme tattoo, and a third presents a scantily clad woman riding on the back of a man’s motorcycle – all in urban settings.

Kool’s advertisements from 2005 used the slogan “Be True,” which urged consumers to not only be true to themselves, but also to be true and loyal to the brand. Accompanying the “Be True” slogan was a variety of phrases such as “Be Passionate,” “Be Original,” “Be Smooth,” and “Be Bold,” all of which appeal to adolescents and young adults trying to “find themselves” and develop a sense of self. The “Be True” ads largely feature musicians, ranging from guitar players to disc jockeys, and their ethnicities are also noticeably diverse. In our collection, Asians, African Americans, and Caucasians are all represented in the “Be True” ad campaign. Other Kool campaigns from the 2000s, like “House of Menthol,” are more transparently urban-oriented, featuring boom boxes, speaker systems, microphones, graffiti, or skyscrapers. A subset of these ads features the “Kool Mixx” which claims to “celebrate the soundtrack to the streets” through limited edition cigarette packs. Urban youth were clearly a priority.

1. “A Study of Ethnic Markets.” R.J. Reynolds Tobacco Co. Sept 1969. http://legacy.library.ucsf.edu/tid/paq76b00

2. Wilson, Duff. “Advisory Panel urges F.D.A. to re-examine menthol in cigarettes.” The New York Times. 18 March 2011. http://www.nytimes.com/2011/03/19/business/19tobacco.html

Belair Classics – img14536

by

When menthol cigarettes were first brought to market, they were advertised to the general population as an occasional cigarette to smoke when sick or suffering from smoker’s cough. However, the 1960s brought along the beginnings of a different image for the menthol cigarette. In 1969 alone, Lorillard increased its “Negro market budget” by 87% over 1968 due to increased efforts marketing its menthol cigarette, Newport, to the African American market. Likewise, British American Tobacco doubled their budget from 1968 to 1969 in order to increase African-American radio station coverage for its menthol cigarette, Kool (1). Government surveys in 2011 revealed that menthol cigarettes dominate 30% of the overall market, and over 80% of black smokers prefer menthol as opposed to 22% of non-Hispanic white smokers (2).

Recent menthol ads are clearly marketed toward a younger, urban demographic. Many of the ads feature models of a variety of ethnicities, and African Americans are particularly targeted. Recent Salem ads from the 2000s feature the slogan, “Stir the senses,” and each ad depicts a model smoking in green, mentholated ecstasy. Other Salem ads from the 2000s reveal clear youth targeting through a risk-taking appeal. For example, one of the ads presents an “underground” party, another presents a couple with an intertwining, extreme tattoo, and a third presents a scantily clad woman riding on the back of a man’s motorcycle – all in urban settings.

Kool’s advertisements from 2005 used the slogan “Be True,” which urged consumers to not only be true to themselves, but also to be true and loyal to the brand. Accompanying the “Be True” slogan was a variety of phrases such as “Be Passionate,” “Be Original,” “Be Smooth,” and “Be Bold,” all of which appeal to adolescents and young adults trying to “find themselves” and develop a sense of self. The “Be True” ads largely feature musicians, ranging from guitar players to disc jockeys, and their ethnicities are also noticeably diverse. In our collection, Asians, African Americans, and Caucasians are all represented in the “Be True” ad campaign. Other Kool campaigns from the 2000s, like “House of Menthol,” are more transparently urban-oriented, featuring boom boxes, speaker systems, microphones, graffiti, or skyscrapers. A subset of these ads features the “Kool Mixx” which claims to “celebrate the soundtrack to the streets” through limited edition cigarette packs. Urban youth were clearly a priority.

1. “A Study of Ethnic Markets.” R.J. Reynolds Tobacco Co. Sept 1969. http://legacy.library.ucsf.edu/tid/paq76b00

2. Wilson, Duff. “Advisory Panel urges F.D.A. to re-examine menthol in cigarettes.” The New York Times. 18 March 2011. http://www.nytimes.com/2011/03/19/business/19tobacco.html

Freshness – img11758

by

Tobacco ads are notorious for broadcasting what can only be called the “Big Lie” – how else could the inhalation of smoke of any kind be compared to breathing in “mountain air?” In these advertisements, smoke is presented to consumers as “fresh” and “clean,” and particular brands are advertised as “springtime fresh” or even “the refreshest.” Ads offering freshness continued well beyond the 1950s, portraying verbal or visual themes of outdoor recreation, mountain air, clean rushing streams, and more.

Early on, the freshness theme became grist for the industry’s “tit for tat” advertising. Indeed, while The American Tobacco Company advertised that Lucky Strikes were better because they were “toasted,” R.J. Reynolds countered that their Camels were superior because they were “naturally fresh: never parched, never toasted!” Camel also offered an alternative meaning of the word “fresh” by heavily promoting its cellophane wrapper, intended to keep cigarettes from going stale on store shelves.

Freshness was also commonly used as a kind of code-word for healthfulness. Slogans used in tobacco ads called to mind the “cool” of ice or the fresh healing virtues of springtime mountain pastures. “Kool” and other menthol brands were also supposed to deliver a kind of hospital-like sense of sanitary safety, and one company implied cleanliness in its very name. “Sano” cigarettes didn’t last very long: they didn’t deliver as much in the way of tar or nicotine as more popular brands and their marketing skill lagged behind that of the bigger players. By contrast, menthol brands grew in popularity after the postwar “health scare,” and many other forms of “health reassurance” were offered (space-age filters of myriad sorts, promises of low-tar and/or nicotine deliveries, eventually “lights,” etc.).

Salem Shows Spirit – img19980

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In 1982, Salem rebranded their product toward a younger demographic and launched a new campaign, “Salem Spirit.” The new campaign served to rival Newport’s ongoing efforts targeting youth and attempted to steal Kool’s declining young customer base. In “Salem Spirit,” groups of young men and women bond together over fun, youthful activities, ranging from sledding and hot air ballooning to picnicking and frolicking in the ocean.

Internal R.J. Reynolds documents described the Salem smoker as “self-confident, up-to-date,” and as “younger adult smokers (18-23) who are characterized as social leaders/catalysts since they uniquely possess that sense of humor/wit, spontaneity, warmth and unpretentious style that makes them fun and exciting to be with” (1, 2).

The ads were constructed carefully in order to target this very specific demographic in many ways. One way was the use of what R.J. Reynolds referred to as “refreshment communicators.” Used to reflect the potentially unknown sensations of menthol to new smokers, refreshment communicators included “greenery, water, snow, and outdoor situations” (2).

Another method for attracting youth was through the campaign’s use of young, fun-loving models: “Model attitudes should continue to advance the campaign’s imagery through a warmth/caring focus as a vehicle to reflect a sense of group belonging and peer group acceptance,” one document explains, citing the equivalent of peer pressure as a primary method for hooking youth. “This is an important element differentiating the Spirit campaign from Newport’s exclusive ‘coupling.’ Model closeness will be emphasized to gain social smoking acceptability” (2). Another result of “model closeness” is that the activities all feel younger and almost child-like. Indeed, sharing a big drink at a picnic, sledding together, swinging on a tree swing, or playing “chicken” at the beach are all childish activities which contrast strikingly with any claims that the ads target solely adult audiences.

Young people have been (and remain today) a key marketing target for Salem cigarettes. In the 1980s, R.J.R. placed a strong 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…” (3). 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 (4).

1. Neher, WK. “Refined Positioning Statement for Salem.” R.J. Reynolds. 2 July 1984. http://legacy.library.ucsf.edu/tid/qoe95d00/pdf

2. Hatheway, GM; William Esty. “Salem Spirit DAR Research Perspective.” R.J. Reynolds. 19 July 1984. http://legacy.library.ucsf.edu/tid/koe95d00/pdf

3. Burrows, D.S. “Younger Adult Smokers: Strategies and Opportunities.” R.J. Reynolds. 29 February 1984. http://legacy.library.ucsf.edu/tid/tqq46b00/pdf

4. “The Importance of Younger Adults.” R.J. Reynolds. 27 Feb 1998. http://legacy.library.ucsf.edu/tid/eyn18c00/pdf

Other Menthol Classics – img12637

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When menthol cigarettes were first brought to market, they were advertised to the general population as an occasional cigarette to smoke when sick or suffering from smoker’s cough. However, the 1960s brought along the beginnings of a different image for the menthol cigarette. In 1969 alone, Lorillard increased its “Negro market budget” by 87% over 1968 due to increased efforts marketing its menthol cigarette, Newport, to the African American market. Likewise, British American Tobacco doubled their budget from 1968 to 1969 in order to increase African-American radio station coverage for its menthol cigarette, Kool (1). Government surveys in 2011 revealed that menthol cigarettes dominate 30% of the overall market, and over 80% of black smokers prefer menthol as opposed to 22% of non-Hispanic white smokers (2).

Recent menthol ads are clearly marketed toward a younger, urban demographic. Many of the ads feature models of a variety of ethnicities, and African Americans are particularly targeted. Recent Salem ads from the 2000s feature the slogan, “Stir the senses,” and each ad depicts a model smoking in green, mentholated ecstasy. Other Salem ads from the 2000s reveal clear youth targeting through a risk-taking appeal. For example, one of the ads presents an “underground” party, another presents a couple with an intertwining, extreme tattoo, and a third presents a scantily clad woman riding on the back of a man’s motorcycle – all in urban settings.

Kool’s advertisements from 2005 used the slogan “Be True,” which urged consumers to not only be true to themselves, but also to be true and loyal to the brand. Accompanying the “Be True” slogan was a variety of phrases such as “Be Passionate,” “Be Original,” “Be Smooth,” and “Be Bold,” all of which appeal to adolescents and young adults trying to “find themselves” and develop a sense of self. The “Be True” ads largely feature musicians, ranging from guitar players to disc jockeys, and their ethnicities are also noticeably diverse. In our collection, Asians, African Americans, and Caucasians are all represented in the “Be True” ad campaign. Other Kool campaigns from the 2000s, like “House of Menthol,” are more transparently urban-oriented, featuring boom boxes, speaker systems, microphones, graffiti, or skyscrapers. A subset of these ads features the “Kool Mixx” which claims to “celebrate the soundtrack to the streets” through limited edition cigarette packs. Urban youth were clearly a priority.

1. “A Study of Ethnic Markets.” R.J. Reynolds Tobacco Co. Sept 1969. http://legacy.library.ucsf.edu/tid/paq76b00

2. Wilson, Duff. “Advisory Panel urges F.D.A. to re-examine menthol in cigarettes.” The New York Times. 18 March 2011. http://www.nytimes.com/2011/03/19/business/19tobacco.html

Freshness – img11759

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Tobacco ads are notorious for broadcasting what can only be called the “Big Lie” – how else could the inhalation of smoke of any kind be compared to breathing in “mountain air?” In these advertisements, smoke is presented to consumers as “fresh” and “clean,” and particular brands are advertised as “springtime fresh” or even “the refreshest.” Ads offering freshness continued well beyond the 1950s, portraying verbal or visual themes of outdoor recreation, mountain air, clean rushing streams, and more.

Early on, the freshness theme became grist for the industry’s “tit for tat” advertising. Indeed, while The American Tobacco Company advertised that Lucky Strikes were better because they were “toasted,” R.J. Reynolds countered that their Camels were superior because they were “naturally fresh: never parched, never toasted!” Camel also offered an alternative meaning of the word “fresh” by heavily promoting its cellophane wrapper, intended to keep cigarettes from going stale on store shelves.

Freshness was also commonly used as a kind of code-word for healthfulness. Slogans used in tobacco ads called to mind the “cool” of ice or the fresh healing virtues of springtime mountain pastures. “Kool” and other menthol brands were also supposed to deliver a kind of hospital-like sense of sanitary safety, and one company implied cleanliness in its very name. “Sano” cigarettes didn’t last very long: they didn’t deliver as much in the way of tar or nicotine as more popular brands and their marketing skill lagged behind that of the bigger players. By contrast, menthol brands grew in popularity after the postwar “health scare,” and many other forms of “health reassurance” were offered (space-age filters of myriad sorts, promises of low-tar and/or nicotine deliveries, eventually “lights,” etc.).

Young Smokers – img8671

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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

Switch When Sick – img1732

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Menthol cigarettes were introduced in the 1930s as special-purpose cigarettes. Menthol is a mint extract which triggers a sensation of coolness when it comes in contact with the mouth and throat. Advertisers for these brands often touted menthols’ coolness as a contrast to the hotness of ordinary tobacco smoke. Implicit in this advertising technique are the harmful effects of smoking, sometimes referred to as “smoker’s hack” in Kools ads or “smoker’s cough” in Spuds ads. Instead of advising smokers to quit, however, these early ads for Spuds and Kools from the 1930s and 1940s urged smokers to switch to a menthol brand when sick or suffering from the ill effects of smoking. While menthol cigarettes are not actually cures for sore throats or the common cold, the menthol additive does act to temporarily reduce the irritating properties of nicotine and other cigarette byproducts inhaled through cigarette smoke, providing a smoker with the illusion that menthols contain curative powers (1). Indeed, the history of the invention of menthol cigarettes finds its roots in sore throat treatments: When Lloyd “Spud” Hughes stored his cigarettes in the tin already containing the menthol crystals meant to cure his sore throat, he stumbled upon a tobacco recipe which struck him rich – and which still makes the industry millions of dollars to this day – mentholated cigarettes.

After his chance discovery in the 1920s, Hughes began marketing his mentholated cigarettes as “Spuds” and patented the process of treating tobacco with menthol in 1925. In the summer of 1926, the Axton-Fisher Tobacco Company began manufacturing Spuds for Hughes. Some of these early menthol advertisements list the following 5 reasons, among others, to switch to Spuds: “when your throat is dry,” “when you have a cold,” “when your taste craves a change,” “when your voice is hoarse,” and, most tellingly, “when you develop smoker’s cough.” These ads presented menthols as a medicinal cigarette to smoke when sick, or as a cigarette to smoke when others were too harsh. In 1933, when Brown & Williamson Tobacco Company released Kools as its answer to the mentholated cigarette, ads urged smokers to “switch from Hots to Kools” (1940) or “in between others, smoke Kools” (1938-1940). However, unlike Spuds, Kools was marketed as a cigarette to stick to “all the time” in the hopes of increasing market share. The ads in this theme represent the beginning of the menthol empire. Today, tobacco companies market menthols as cigarettes to smoke daily, rather than as occasional-use cigarettes as in their original release; Government surveys in 2011 revealed that menthol cigarettes dominate 30% of the overall market, and over 80% of black smokers prefer menthol as opposed to 22% of non-Hispanic white smokers (2).

1. Benowitz, N. and Samet, J. “The Threat of Menthol Cigarettes to U.S. Public Health.” The New England Journal of Medicine. 2011.

2. Wilson, Duff. “Advisory Panel urges F.D.A. to re-examine menthol in cigarettes.” The New York Times. 18 March 2011. .

Freshness – img11760

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Tobacco ads are notorious for broadcasting what can only be called the “Big Lie” – how else could the inhalation of smoke of any kind be compared to breathing in “mountain air?” In these advertisements, smoke is presented to consumers as “fresh” and “clean,” and particular brands are advertised as “springtime fresh” or even “the refreshest.” Ads offering freshness continued well beyond the 1950s, portraying verbal or visual themes of outdoor recreation, mountain air, clean rushing streams, and more.

Early on, the freshness theme became grist for the industry’s “tit for tat” advertising. Indeed, while The American Tobacco Company advertised that Lucky Strikes were better because they were “toasted,” R.J. Reynolds countered that their Camels were superior because they were “naturally fresh: never parched, never toasted!” Camel also offered an alternative meaning of the word “fresh” by heavily promoting its cellophane wrapper, intended to keep cigarettes from going stale on store shelves.

Freshness was also commonly used as a kind of code-word for healthfulness. Slogans used in tobacco ads called to mind the “cool” of ice or the fresh healing virtues of springtime mountain pastures. “Kool” and other menthol brands were also supposed to deliver a kind of hospital-like sense of sanitary safety, and one company implied cleanliness in its very name. “Sano” cigarettes didn’t last very long: they didn’t deliver as much in the way of tar or nicotine as more popular brands and their marketing skill lagged behind that of the bigger players. By contrast, menthol brands grew in popularity after the postwar “health scare,” and many other forms of “health reassurance” were offered (space-age filters of myriad sorts, promises of low-tar and/or nicotine deliveries, eventually “lights,” etc.).

Salem Shows Spirit – img19986

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In 1982, Salem rebranded their product toward a younger demographic and launched a new campaign, “Salem Spirit.” The new campaign served to rival Newport’s ongoing efforts targeting youth and attempted to steal Kool’s declining young customer base. In “Salem Spirit,” groups of young men and women bond together over fun, youthful activities, ranging from sledding and hot air ballooning to picnicking and frolicking in the ocean.

Internal R.J. Reynolds documents described the Salem smoker as “self-confident, up-to-date,” and as “younger adult smokers (18-23) who are characterized as social leaders/catalysts since they uniquely possess that sense of humor/wit, spontaneity, warmth and unpretentious style that makes them fun and exciting to be with” (1, 2).

The ads were constructed carefully in order to target this very specific demographic in many ways. One way was the use of what R.J. Reynolds referred to as “refreshment communicators.” Used to reflect the potentially unknown sensations of menthol to new smokers, refreshment communicators included “greenery, water, snow, and outdoor situations” (2).

Another method for attracting youth was through the campaign’s use of young, fun-loving models: “Model attitudes should continue to advance the campaign’s imagery through a warmth/caring focus as a vehicle to reflect a sense of group belonging and peer group acceptance,” one document explains, citing the equivalent of peer pressure as a primary method for hooking youth. “This is an important element differentiating the Spirit campaign from Newport’s exclusive ‘coupling.’ Model closeness will be emphasized to gain social smoking acceptability” (2). Another result of “model closeness” is that the activities all feel younger and almost child-like. Indeed, sharing a big drink at a picnic, sledding together, swinging on a tree swing, or playing “chicken” at the beach are all childish activities which contrast strikingly with any claims that the ads target solely adult audiences.

Young people have been (and remain today) a key marketing target for Salem cigarettes. In the 1980s, R.J.R. placed a strong 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…” (3). 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 (4).

1. Neher, WK. “Refined Positioning Statement for Salem.” R.J. Reynolds. 2 July 1984. http://legacy.library.ucsf.edu/tid/qoe95d00/pdf

2. Hatheway, GM; William Esty. “Salem Spirit DAR Research Perspective.” R.J. Reynolds. 19 July 1984. http://legacy.library.ucsf.edu/tid/koe95d00/pdf

3. Burrows, D.S. “Younger Adult Smokers: Strategies and Opportunities.” R.J. Reynolds. 29 February 1984. http://legacy.library.ucsf.edu/tid/tqq46b00/pdf

4. “The Importance of Younger Adults.” R.J. Reynolds. 27 Feb 1998. http://legacy.library.ucsf.edu/tid/eyn18c00/pdf

Salem Shows Spirit – img19987

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In 1982, Salem rebranded their product toward a younger demographic and launched a new campaign, “Salem Spirit.” The new campaign served to rival Newport’s ongoing efforts targeting youth and attempted to steal Kool’s declining young customer base. In “Salem Spirit,” groups of young men and women bond together over fun, youthful activities, ranging from sledding and hot air ballooning to picnicking and frolicking in the ocean.

Internal R.J. Reynolds documents described the Salem smoker as “self-confident, up-to-date,” and as “younger adult smokers (18-23) who are characterized as social leaders/catalysts since they uniquely possess that sense of humor/wit, spontaneity, warmth and unpretentious style that makes them fun and exciting to be with” (1, 2).

The ads were constructed carefully in order to target this very specific demographic in many ways. One way was the use of what R.J. Reynolds referred to as “refreshment communicators.” Used to reflect the potentially unknown sensations of menthol to new smokers, refreshment communicators included “greenery, water, snow, and outdoor situations” (2).

Another method for attracting youth was through the campaign’s use of young, fun-loving models: “Model attitudes should continue to advance the campaign’s imagery through a warmth/caring focus as a vehicle to reflect a sense of group belonging and peer group acceptance,” one document explains, citing the equivalent of peer pressure as a primary method for hooking youth. “This is an important element differentiating the Spirit campaign from Newport’s exclusive ‘coupling.’ Model closeness will be emphasized to gain social smoking acceptability” (2). Another result of “model closeness” is that the activities all feel younger and almost child-like. Indeed, sharing a big drink at a picnic, sledding together, swinging on a tree swing, or playing “chicken” at the beach are all childish activities which contrast strikingly with any claims that the ads target solely adult audiences.

Young people have been (and remain today) a key marketing target for Salem cigarettes. In the 1980s, R.J.R. placed a strong 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…” (3). 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 (4).

1. Neher, WK. “Refined Positioning Statement for Salem.” R.J. Reynolds. 2 July 1984. http://legacy.library.ucsf.edu/tid/qoe95d00/pdf

2. Hatheway, GM; William Esty. “Salem Spirit DAR Research Perspective.” R.J. Reynolds. 19 July 1984. http://legacy.library.ucsf.edu/tid/koe95d00/pdf

3. Burrows, D.S. “Younger Adult Smokers: Strategies and Opportunities.” R.J. Reynolds. 29 February 1984. http://legacy.library.ucsf.edu/tid/tqq46b00/pdf

4. “The Importance of Younger Adults.” R.J. Reynolds. 27 Feb 1998. http://legacy.library.ucsf.edu/tid/eyn18c00/pdf

Natural – img13724

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This theme highlights cigarette ads, which deceptively commandeer the term “natural” in order to normalize smoking and to present their product as superior and even healthier than other brands. The intended message of the term has changed over the decades while the term has become a dominant marketing theme in the new millennium.

In the 1970s, Salem used the term “natural” in a series of ads promoting natural menthol flavor. It was a smart tactic to begin the decade, which followed on the heels of the birth of the flower child. Indeed, by the early 1970s, hippie culture had arguably been integrated into the mainstream culture, and a heavy emphasis was placed on the earth and its environment, with the first ever Earth Day held in 1970.
The intended message of Salem's natural campaign was that because Salem used natural menthol rather than artificial menthol like most brands, their cigarettes were superior. Ads for the campaign were strongly green in color, reflecting the longstanding tradition of green used in menthol advertising. However, the green was largely portrayed through woodsy landscapes, featuring rugged outdoorsmen or adventurous, nature-loving couples. Fishermen, rock climbers, and horseback riders feature prominently in these ads in order to target a wide variety of audiences, ranging from older “macho” men to younger, daring, men and women. The majority of these ads display the slogan, “It's only natural” — a slogan which is rife with multiple meanings and implications. On the surface, the slogan is simply alerting consumers that the menthol is solely natural, not a bit artificial. However, it is initially unclear to the consumer that the antecedent to “natural” is menthol; instead, “natural” appears to refer to the cigarette or perhaps to the act of smoking. This means the slogan could also be interpreted as indicating that Salem is an all-natural cigarette, or, of more concern, that smoking is a perfectly natural pastime. Both latter options are completely false and deceptive, yet Salem was able to make these claims by alluding to them subtly.

Decades later, this marketing technique was still appealing to tobacco companies; In 1999, Kool followed Salem's lead with Kool Naturals, claiming that the cigarettes were “made with all natural menthol” and, in small print, that “no artificial flavors [are] added to the tobaccos.” The ad is simple, with a background resembling recycled paper or a brown grocery bag in order to present the cigarette as somehow more in line with environmentalist views. The take-home message of the ad is an all-natural cigarette, with the word NATURAL taking up the majority of the visual space.

But an all-natural cigarette is not always simply implied. It has also been advertised explicitly by brands such as Nat Sherman Naturals and, most notably, Natural American Spirit. Needless to say, whether or not cigarettes have chemicals added during production, they will produce carcinogens when smoked. Nat Sherman has claimed to produce cigars and cigarettes made from “100% pure and natural tobacco” since 1930. Nat Sherman cigarettes were often considered stronger, and more similar to a cigar, and their claim to “100% natural tobacco” was meant to bolster this claim to strength. However, by 1982, when Natural American Spirit was founded, “all-natural” had certainly taken on a different meaning.

Natural American Spirit goes the extra mile to target the recent wave of eco-friendly, progressive, environmentalists, who as a general rule, happen to be young and alternative – the classic target audience for cigarette manufacturers. They manage to hit all of the happening buzz words in their quest to promote themselves as virtuous and well-intentioned, masking the fact that they sell a harmful product, whether or not they do so in a “sustainable” way. Ad copy demonstrates the prolific use of buzz words: “We grow our premium natural tobacco in a responsible, sustainable way through our earth-friendly and organic growing programs. We also strive to reduce our footprint on the earth by using recycled materials and renewable energy sources like wind power. Protecting the earth is as important to us as it is to you.”

An Internal tobacco industry document shows that the Natural American spirit brand was marketed as a “healthier alternative” to traditional cigarettes. The document states Natural American Spirit is a choice for those who want to smoke “the purest cigarettes” available(1). The early Natural American Spirit packs contained the following message, “Guaranteed pure ingredients: 100% additive-free Virginia tobaccos and nothing else.” However, after 2000, the Federal Trade Commission mandated that all advertisements for the product contain the following message “No additives in our tobacco does NOT mean a safer cigarette” in addition to the standard Surgeon General’s message (2). The hope was that this warning would alert consumers that natural tobacco does not mean safer tobacco. The question is, did this perceived health benefit change after the FTC warning label mandate in 2000? If popular culture is any clue, the answer is no; As recently as 2008, the female protagonist, April (Isla Fisher), in the romantic comedy “Definitely, Maybe” discusses the health benefits she feels she receives when smoking Natural American Spirit cigarettes over Marlboros, the choice of the male protagonist, Will (Ryan Reynolds). When Will asks incredulously why she is willing to pay so much for a pack of cigarettes, April responds that “They don't put as many chemicals in them.” He pushes, “So those are healthy cigarettes,” and she says, “Something like that.” She also tells him, as he holds a pack of Marlboros tightly, “They put saltpeter in your cigarettes, which make them burn faster, which make you smoke more.” Clearly, perceived health benefits of natural cigarettes are still rampant in mainstream popular culture, a dangerous misconception.

1. Santa Fe Natural American Tobacco Company. Answers to your questions oabout American Spirit Cigarettes. Available at http://legacy.library.ucsf.edu/tid/the56a00/pdf?search=%22natural%20american%20spirits%22

2. Pitofsky, Robert et al. “In the Matter of Santa Fe Natural Tobacco Company, Inc,, a corporation. Docket No. C-3952. Decision and Order.” United States of America Before Federal Trade Commission. 12 June 2000. http://www.ftc.gov/os/2000/06/santafe.do.htm

Salem Shows Spirit – img19988

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In 1982, Salem rebranded their product toward a younger demographic and launched a new campaign, “Salem Spirit.” The new campaign served to rival Newport’s ongoing efforts targeting youth and attempted to steal Kool’s declining young customer base. In “Salem Spirit,” groups of young men and women bond together over fun, youthful activities, ranging from sledding and hot air ballooning to picnicking and frolicking in the ocean.

Internal R.J. Reynolds documents described the Salem smoker as “self-confident, up-to-date,” and as “younger adult smokers (18-23) who are characterized as social leaders/catalysts since they uniquely possess that sense of humor/wit, spontaneity, warmth and unpretentious style that makes them fun and exciting to be with” (1, 2).

The ads were constructed carefully in order to target this very specific demographic in many ways. One way was the use of what R.J. Reynolds referred to as “refreshment communicators.” Used to reflect the potentially unknown sensations of menthol to new smokers, refreshment communicators included “greenery, water, snow, and outdoor situations” (2).

Another method for attracting youth was through the campaign’s use of young, fun-loving models: “Model attitudes should continue to advance the campaign’s imagery through a warmth/caring focus as a vehicle to reflect a sense of group belonging and peer group acceptance,” one document explains, citing the equivalent of peer pressure as a primary method for hooking youth. “This is an important element differentiating the Spirit campaign from Newport’s exclusive ‘coupling.’ Model closeness will be emphasized to gain social smoking acceptability” (2). Another result of “model closeness” is that the activities all feel younger and almost child-like. Indeed, sharing a big drink at a picnic, sledding together, swinging on a tree swing, or playing “chicken” at the beach are all childish activities which contrast strikingly with any claims that the ads target solely adult audiences.

Young people have been (and remain today) a key marketing target for Salem cigarettes. In the 1980s, R.J.R. placed a strong 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…” (3). 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 (4).

1. Neher, WK. “Refined Positioning Statement for Salem.” R.J. Reynolds. 2 July 1984. http://legacy.library.ucsf.edu/tid/qoe95d00/pdf

2. Hatheway, GM; William Esty. “Salem Spirit DAR Research Perspective.” R.J. Reynolds. 19 July 1984. http://legacy.library.ucsf.edu/tid/koe95d00/pdf

3. Burrows, D.S. “Younger Adult Smokers: Strategies and Opportunities.” R.J. Reynolds. 29 February 1984. http://legacy.library.ucsf.edu/tid/tqq46b00/pdf

4. “The Importance of Younger Adults.” R.J. Reynolds. 27 Feb 1998. http://legacy.library.ucsf.edu/tid/eyn18c00/pdf

Natural – img13725

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This theme highlights cigarette ads, which deceptively commandeer the term “natural” in order to normalize smoking and to present their product as superior and even healthier than other brands. The intended message of the term has changed over the decades while the term has become a dominant marketing theme in the new millennium.

In the 1970s, Salem used the term “natural” in a series of ads promoting natural menthol flavor. It was a smart tactic to begin the decade, which followed on the heels of the birth of the flower child. Indeed, by the early 1970s, hippie culture had arguably been integrated into the mainstream culture, and a heavy emphasis was placed on the earth and its environment, with the first ever Earth Day held in 1970.
The intended message of Salem's natural campaign was that because Salem used natural menthol rather than artificial menthol like most brands, their cigarettes were superior. Ads for the campaign were strongly green in color, reflecting the longstanding tradition of green used in menthol advertising. However, the green was largely portrayed through woodsy landscapes, featuring rugged outdoorsmen or adventurous, nature-loving couples. Fishermen, rock climbers, and horseback riders feature prominently in these ads in order to target a wide variety of audiences, ranging from older “macho” men to younger, daring, men and women. The majority of these ads display the slogan, “It's only natural” — a slogan which is rife with multiple meanings and implications. On the surface, the slogan is simply alerting consumers that the menthol is solely natural, not a bit artificial. However, it is initially unclear to the consumer that the antecedent to “natural” is menthol; instead, “natural” appears to refer to the cigarette or perhaps to the act of smoking. This means the slogan could also be interpreted as indicating that Salem is an all-natural cigarette, or, of more concern, that smoking is a perfectly natural pastime. Both latter options are completely false and deceptive, yet Salem was able to make these claims by alluding to them subtly.

Decades later, this marketing technique was still appealing to tobacco companies; In 1999, Kool followed Salem's lead with Kool Naturals, claiming that the cigarettes were “made with all natural menthol” and, in small print, that “no artificial flavors [are] added to the tobaccos.” The ad is simple, with a background resembling recycled paper or a brown grocery bag in order to present the cigarette as somehow more in line with environmentalist views. The take-home message of the ad is an all-natural cigarette, with the word NATURAL taking up the majority of the visual space.

But an all-natural cigarette is not always simply implied. It has also been advertised explicitly by brands such as Nat Sherman Naturals and, most notably, Natural American Spirit. Needless to say, whether or not cigarettes have chemicals added during production, they will produce carcinogens when smoked. Nat Sherman has claimed to produce cigars and cigarettes made from “100% pure and natural tobacco” since 1930. Nat Sherman cigarettes were often considered stronger, and more similar to a cigar, and their claim to “100% natural tobacco” was meant to bolster this claim to strength. However, by 1982, when Natural American Spirit was founded, “all-natural” had certainly taken on a different meaning.

Natural American Spirit goes the extra mile to target the recent wave of eco-friendly, progressive, environmentalists, who as a general rule, happen to be young and alternative – the classic target audience for cigarette manufacturers. They manage to hit all of the happening buzz words in their quest to promote themselves as virtuous and well-intentioned, masking the fact that they sell a harmful product, whether or not they do so in a “sustainable” way. Ad copy demonstrates the prolific use of buzz words: “We grow our premium natural tobacco in a responsible, sustainable way through our earth-friendly and organic growing programs. We also strive to reduce our footprint on the earth by using recycled materials and renewable energy sources like wind power. Protecting the earth is as important to us as it is to you.”

An Internal tobacco industry document shows that the Natural American spirit brand was marketed as a “healthier alternative” to traditional cigarettes. The document states Natural American Spirit is a choice for those who want to smoke “the purest cigarettes” available(1). The early Natural American Spirit packs contained the following message, “Guaranteed pure ingredients: 100% additive-free Virginia tobaccos and nothing else.” However, after 2000, the Federal Trade Commission mandated that all advertisements for the product contain the following message “No additives in our tobacco does NOT mean a safer cigarette” in addition to the standard Surgeon General’s message (2). The hope was that this warning would alert consumers that natural tobacco does not mean safer tobacco. The question is, did this perceived health benefit change after the FTC warning label mandate in 2000? If popular culture is any clue, the answer is no; As recently as 2008, the female protagonist, April (Isla Fisher), in the romantic comedy “Definitely, Maybe” discusses the health benefits she feels she receives when smoking Natural American Spirit cigarettes over Marlboros, the choice of the male protagonist, Will (Ryan Reynolds). When Will asks incredulously why she is willing to pay so much for a pack of cigarettes, April responds that “They don't put as many chemicals in them.” He pushes, “So those are healthy cigarettes,” and she says, “Something like that.” She also tells him, as he holds a pack of Marlboros tightly, “They put saltpeter in your cigarettes, which make them burn faster, which make you smoke more.” Clearly, perceived health benefits of natural cigarettes are still rampant in mainstream popular culture, a dangerous misconception.

1. Santa Fe Natural American Tobacco Company. Answers to your questions oabout American Spirit Cigarettes. Available at http://legacy.library.ucsf.edu/tid/the56a00/pdf?search=%22natural%20american%20spirits%22

2. Pitofsky, Robert et al. “In the Matter of Santa Fe Natural Tobacco Company, Inc,, a corporation. Docket No. C-3952. Decision and Order.” United States of America Before Federal Trade Commission. 12 June 2000. http://www.ftc.gov/os/2000/06/santafe.do.htm

Why be Irritated? – img2956

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From 1945 to 1946, Old Gold ran a humorous ad campaign featuring the slogan, “Why be Irritated? Light an Old Gold!” The ads depicted an irritating situation of everyday life as a metaphor for throat irritation; Both, according to the ad, could be relieved by smoking an Old Gold. In a pamphlet entitled “The Lorillard Story,” handed out to all P. Lorillard employees in 1947, the author explains that this campaign was designed to “keep many a disgruntled and disappointed smoker in good humor” during the wartime shortage on cigarettes, while also keeping “the product name before the public” (1).

The ads in this campaign tout apple “honey” as the humectant (the agent used to keep the tobacco leaves from drying out) for Old Gold’s tobacco. Apple honey – reportedly discovered through a partnership between Old Gold and the U.S. Department of Agriculture in 1943 – was Old Gold’s solution to overcoming the wartime shortage of humidifying agents. Of course, the use of apple honey also allowed for the consumer to make the subconscious leap to Old Golds being “honey for the throat.” This effect, coupled with the slogan, “Why be Irritated?” contributed to Old Gold’s ability to present its brand as healthful without directly making false health claims.

1. Fox, Maxwell. The Lorillard Story. 1947:49

Freshness – img3530

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Tobacco ads are notorious for broadcasting what can only be called the “Big Lie” – how else could the inhalation of smoke of any kind be compared to breathing in “mountain air?” In these advertisements, smoke is presented to consumers as “fresh” and “clean,” and particular brands are advertised as “springtime fresh” or even “the refreshest.” Ads offering freshness continued well beyond the 1950s, portraying verbal or visual themes of outdoor recreation, mountain air, clean rushing streams, and more.

Early on, the freshness theme became grist for the industry’s “tit for tat” advertising. Indeed, while The American Tobacco Company advertised that Lucky Strikes were better because they were “toasted,” R.J. Reynolds countered that their Camels were superior because they were “naturally fresh: never parched, never toasted!” Camel also offered an alternative meaning of the word “fresh” by heavily promoting its cellophane wrapper, intended to keep cigarettes from going stale on store shelves.

Freshness was also commonly used as a kind of code-word for healthfulness. Slogans used in tobacco ads called to mind the “cool” of ice or the fresh healing virtues of springtime mountain pastures. “Kool” and other menthol brands were also supposed to deliver a kind of hospital-like sense of sanitary safety, and one company implied cleanliness in its very name. “Sano” cigarettes didn’t last very long: they didn’t deliver as much in the way of tar or nicotine as more popular brands and their marketing skill lagged behind that of the bigger players. By contrast, menthol brands grew in popularity after the postwar “health scare,” and many other forms of “health reassurance” were offered (space-age filters of myriad sorts, promises of low-tar and/or nicotine deliveries, eventually “lights,” etc.).

Freshness – img3531

by

Tobacco ads are notorious for broadcasting what can only be called the “Big Lie” – how else could the inhalation of smoke of any kind be compared to breathing in “mountain air?” In these advertisements, smoke is presented to consumers as “fresh” and “clean,” and particular brands are advertised as “springtime fresh” or even “the refreshest.” Ads offering freshness continued well beyond the 1950s, portraying verbal or visual themes of outdoor recreation, mountain air, clean rushing streams, and more.

Early on, the freshness theme became grist for the industry’s “tit for tat” advertising. Indeed, while The American Tobacco Company advertised that Lucky Strikes were better because they were “toasted,” R.J. Reynolds countered that their Camels were superior because they were “naturally fresh: never parched, never toasted!” Camel also offered an alternative meaning of the word “fresh” by heavily promoting its cellophane wrapper, intended to keep cigarettes from going stale on store shelves.

Freshness was also commonly used as a kind of code-word for healthfulness. Slogans used in tobacco ads called to mind the “cool” of ice or the fresh healing virtues of springtime mountain pastures. “Kool” and other menthol brands were also supposed to deliver a kind of hospital-like sense of sanitary safety, and one company implied cleanliness in its very name. “Sano” cigarettes didn’t last very long: they didn’t deliver as much in the way of tar or nicotine as more popular brands and their marketing skill lagged behind that of the bigger players. By contrast, menthol brands grew in popularity after the postwar “health scare,” and many other forms of “health reassurance” were offered (space-age filters of myriad sorts, promises of low-tar and/or nicotine deliveries, eventually “lights,” etc.).

Freshness – img3532

by

Tobacco ads are notorious for broadcasting what can only be called the “Big Lie” – how else could the inhalation of smoke of any kind be compared to breathing in “mountain air?” In these advertisements, smoke is presented to consumers as “fresh” and “clean,” and particular brands are advertised as “springtime fresh” or even “the refreshest.” Ads offering freshness continued well beyond the 1950s, portraying verbal or visual themes of outdoor recreation, mountain air, clean rushing streams, and more.

Early on, the freshness theme became grist for the industry’s “tit for tat” advertising. Indeed, while The American Tobacco Company advertised that Lucky Strikes were better because they were “toasted,” R.J. Reynolds countered that their Camels were superior because they were “naturally fresh: never parched, never toasted!” Camel also offered an alternative meaning of the word “fresh” by heavily promoting its cellophane wrapper, intended to keep cigarettes from going stale on store shelves.

Freshness was also commonly used as a kind of code-word for healthfulness. Slogans used in tobacco ads called to mind the “cool” of ice or the fresh healing virtues of springtime mountain pastures. “Kool” and other menthol brands were also supposed to deliver a kind of hospital-like sense of sanitary safety, and one company implied cleanliness in its very name. “Sano” cigarettes didn’t last very long: they didn’t deliver as much in the way of tar or nicotine as more popular brands and their marketing skill lagged behind that of the bigger players. By contrast, menthol brands grew in popularity after the postwar “health scare,” and many other forms of “health reassurance” were offered (space-age filters of myriad sorts, promises of low-tar and/or nicotine deliveries, eventually “lights,” etc.).

Freshness – img3533

by

Tobacco ads are notorious for broadcasting what can only be called the “Big Lie” – how else could the inhalation of smoke of any kind be compared to breathing in “mountain air?” In these advertisements, smoke is presented to consumers as “fresh” and “clean,” and particular brands are advertised as “springtime fresh” or even “the refreshest.” Ads offering freshness continued well beyond the 1950s, portraying verbal or visual themes of outdoor recreation, mountain air, clean rushing streams, and more.

Early on, the freshness theme became grist for the industry’s “tit for tat” advertising. Indeed, while The American Tobacco Company advertised that Lucky Strikes were better because they were “toasted,” R.J. Reynolds countered that their Camels were superior because they were “naturally fresh: never parched, never toasted!” Camel also offered an alternative meaning of the word “fresh” by heavily promoting its cellophane wrapper, intended to keep cigarettes from going stale on store shelves.

Freshness was also commonly used as a kind of code-word for healthfulness. Slogans used in tobacco ads called to mind the “cool” of ice or the fresh healing virtues of springtime mountain pastures. “Kool” and other menthol brands were also supposed to deliver a kind of hospital-like sense of sanitary safety, and one company implied cleanliness in its very name. “Sano” cigarettes didn’t last very long: they didn’t deliver as much in the way of tar or nicotine as more popular brands and their marketing skill lagged behind that of the bigger players. By contrast, menthol brands grew in popularity after the postwar “health scare,” and many other forms of “health reassurance” were offered (space-age filters of myriad sorts, promises of low-tar and/or nicotine deliveries, eventually “lights,” etc.).

Natural – img11774

by

This theme highlights cigarette ads, which deceptively commandeer the term “natural” in order to normalize smoking and to present their product as superior and even healthier than other brands. The intended message of the term has changed over the decades while the term has become a dominant marketing theme in the new millennium.

In the 1970s, Salem used the term “natural” in a series of ads promoting natural menthol flavor. It was a smart tactic to begin the decade, which followed on the heels of the birth of the flower child. Indeed, by the early 1970s, hippie culture had arguably been integrated into the mainstream culture, and a heavy emphasis was placed on the earth and its environment, with the first ever Earth Day held in 1970.
The intended message of Salem's natural campaign was that because Salem used natural menthol rather than artificial menthol like most brands, their cigarettes were superior. Ads for the campaign were strongly green in color, reflecting the longstanding tradition of green used in menthol advertising. However, the green was largely portrayed through woodsy landscapes, featuring rugged outdoorsmen or adventurous, nature-loving couples. Fishermen, rock climbers, and horseback riders feature prominently in these ads in order to target a wide variety of audiences, ranging from older “macho” men to younger, daring, men and women. The majority of these ads display the slogan, “It's only natural” — a slogan which is rife with multiple meanings and implications. On the surface, the slogan is simply alerting consumers that the menthol is solely natural, not a bit artificial. However, it is initially unclear to the consumer that the antecedent to “natural” is menthol; instead, “natural” appears to refer to the cigarette or perhaps to the act of smoking. This means the slogan could also be interpreted as indicating that Salem is an all-natural cigarette, or, of more concern, that smoking is a perfectly natural pastime. Both latter options are completely false and deceptive, yet Salem was able to make these claims by alluding to them subtly.

Decades later, this marketing technique was still appealing to tobacco companies; In 1999, Kool followed Salem's lead with Kool Naturals, claiming that the cigarettes were “made with all natural menthol” and, in small print, that “no artificial flavors [are] added to the tobaccos.” The ad is simple, with a background resembling recycled paper or a brown grocery bag in order to present the cigarette as somehow more in line with environmentalist views. The take-home message of the ad is an all-natural cigarette, with the word NATURAL taking up the majority of the visual space.

But an all-natural cigarette is not always simply implied. It has also been advertised explicitly by brands such as Nat Sherman Naturals and, most notably, Natural American Spirit. Needless to say, whether or not cigarettes have chemicals added during production, they will produce carcinogens when smoked. Nat Sherman has claimed to produce cigars and cigarettes made from “100% pure and natural tobacco” since 1930. Nat Sherman cigarettes were often considered stronger, and more similar to a cigar, and their claim to “100% natural tobacco” was meant to bolster this claim to strength. However, by 1982, when Natural American Spirit was founded, “all-natural” had certainly taken on a different meaning.

Natural American Spirit goes the extra mile to target the recent wave of eco-friendly, progressive, environmentalists, who as a general rule, happen to be young and alternative – the classic target audience for cigarette manufacturers. They manage to hit all of the happening buzz words in their quest to promote themselves as virtuous and well-intentioned, masking the fact that they sell a harmful product, whether or not they do so in a “sustainable” way. Ad copy demonstrates the prolific use of buzz words: “We grow our premium natural tobacco in a responsible, sustainable way through our earth-friendly and organic growing programs. We also strive to reduce our footprint on the earth by using recycled materials and renewable energy sources like wind power. Protecting the earth is as important to us as it is to you.”

An Internal tobacco industry document shows that the Natural American spirit brand was marketed as a “healthier alternative” to traditional cigarettes. The document states Natural American Spirit is a choice for those who want to smoke “the purest cigarettes” available(1). The early Natural American Spirit packs contained the following message, “Guaranteed pure ingredients: 100% additive-free Virginia tobaccos and nothing else.” However, after 2000, the Federal Trade Commission mandated that all advertisements for the product contain the following message “No additives in our tobacco does NOT mean a safer cigarette” in addition to the standard Surgeon General’s message (2). The hope was that this warning would alert consumers that natural tobacco does not mean safer tobacco. The question is, did this perceived health benefit change after the FTC warning label mandate in 2000? If popular culture is any clue, the answer is no; As recently as 2008, the female protagonist, April (Isla Fisher), in the romantic comedy “Definitely, Maybe” discusses the health benefits she feels she receives when smoking Natural American Spirit cigarettes over Marlboros, the choice of the male protagonist, Will (Ryan Reynolds). When Will asks incredulously why she is willing to pay so much for a pack of cigarettes, April responds that “They don't put as many chemicals in them.” He pushes, “So those are healthy cigarettes,” and she says, “Something like that.” She also tells him, as he holds a pack of Marlboros tightly, “They put saltpeter in your cigarettes, which make them burn faster, which make you smoke more.” Clearly, perceived health benefits of natural cigarettes are still rampant in mainstream popular culture, a dangerous misconception.

1. Santa Fe Natural American Tobacco Company. Answers to your questions oabout American Spirit Cigarettes. Available at http://legacy.library.ucsf.edu/tid/the56a00/pdf?search=%22natural%20american%20spirits%22

2. Pitofsky, Robert et al. “In the Matter of Santa Fe Natural Tobacco Company, Inc,, a corporation. Docket No. C-3952. Decision and Order.” United States of America Before Federal Trade Commission. 12 June 2000. http://www.ftc.gov/os/2000/06/santafe.do.htm

Other Menthol Classics – img8840

by

When menthol cigarettes were first brought to market, they were advertised to the general population as an occasional cigarette to smoke when sick or suffering from smoker’s cough. However, the 1960s brought along the beginnings of a different image for the menthol cigarette. In 1969 alone, Lorillard increased its “Negro market budget” by 87% over 1968 due to increased efforts marketing its menthol cigarette, Newport, to the African American market. Likewise, British American Tobacco doubled their budget from 1968 to 1969 in order to increase African-American radio station coverage for its menthol cigarette, Kool (1). Government surveys in 2011 revealed that menthol cigarettes dominate 30% of the overall market, and over 80% of black smokers prefer menthol as opposed to 22% of non-Hispanic white smokers (2).

Recent menthol ads are clearly marketed toward a younger, urban demographic. Many of the ads feature models of a variety of ethnicities, and African Americans are particularly targeted. Recent Salem ads from the 2000s feature the slogan, “Stir the senses,” and each ad depicts a model smoking in green, mentholated ecstasy. Other Salem ads from the 2000s reveal clear youth targeting through a risk-taking appeal. For example, one of the ads presents an “underground” party, another presents a couple with an intertwining, extreme tattoo, and a third presents a scantily clad woman riding on the back of a man’s motorcycle – all in urban settings.

Kool’s advertisements from 2005 used the slogan “Be True,” which urged consumers to not only be true to themselves, but also to be true and loyal to the brand. Accompanying the “Be True” slogan was a variety of phrases such as “Be Passionate,” “Be Original,” “Be Smooth,” and “Be Bold,” all of which appeal to adolescents and young adults trying to “find themselves” and develop a sense of self. The “Be True” ads largely feature musicians, ranging from guitar players to disc jockeys, and their ethnicities are also noticeably diverse. In our collection, Asians, African Americans, and Caucasians are all represented in the “Be True” ad campaign. Other Kool campaigns from the 2000s, like “House of Menthol,” are more transparently urban-oriented, featuring boom boxes, speaker systems, microphones, graffiti, or skyscrapers. A subset of these ads features the “Kool Mixx” which claims to “celebrate the soundtrack to the streets” through limited edition cigarette packs. Urban youth were clearly a priority.

1. “A Study of Ethnic Markets.” R.J. Reynolds Tobacco Co. Sept 1969. http://legacy.library.ucsf.edu/tid/paq76b00

2. Wilson, Duff. “Advisory Panel urges F.D.A. to re-examine menthol in cigarettes.” The New York Times. 18 March 2011. http://www.nytimes.com/2011/03/19/business/19tobacco.html

Freshness – img3534

by

Tobacco ads are notorious for broadcasting what can only be called the “Big Lie” – how else could the inhalation of smoke of any kind be compared to breathing in “mountain air?” In these advertisements, smoke is presented to consumers as “fresh” and “clean,” and particular brands are advertised as “springtime fresh” or even “the refreshest.” Ads offering freshness continued well beyond the 1950s, portraying verbal or visual themes of outdoor recreation, mountain air, clean rushing streams, and more.

Early on, the freshness theme became grist for the industry’s “tit for tat” advertising. Indeed, while The American Tobacco Company advertised that Lucky Strikes were better because they were “toasted,” R.J. Reynolds countered that their Camels were superior because they were “naturally fresh: never parched, never toasted!” Camel also offered an alternative meaning of the word “fresh” by heavily promoting its cellophane wrapper, intended to keep cigarettes from going stale on store shelves.

Freshness was also commonly used as a kind of code-word for healthfulness. Slogans used in tobacco ads called to mind the “cool” of ice or the fresh healing virtues of springtime mountain pastures. “Kool” and other menthol brands were also supposed to deliver a kind of hospital-like sense of sanitary safety, and one company implied cleanliness in its very name. “Sano” cigarettes didn’t last very long: they didn’t deliver as much in the way of tar or nicotine as more popular brands and their marketing skill lagged behind that of the bigger players. By contrast, menthol brands grew in popularity after the postwar “health scare,” and many other forms of “health reassurance” were offered (space-age filters of myriad sorts, promises of low-tar and/or nicotine deliveries, eventually “lights,” etc.).

Singers & Performers – img2730

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In the 1920s, tobacco companies began enlisting hundreds of celebrities to endorse their products. In these advertisements, movie stars, famous singers, athletes, and even socialites graced the pages of popular magazines, editorials, and newspapers printed across the country. The 1920s and 1930s were the heyday of celebrity endorsement, with celebrities hawking everything from cigarettes to soap, from pantyhose to cars. However, it seems that no company was as prolific in its celebrity ad copy as Lucky Strike.

Singers were vital components of celebrity testimonial campaigns for cigarette companies; the emphasis on healthy, clear voices in the singers’ line of work was an ideal avenue for portraying cigarettes as healthful, rather than harmful. The concept was that if a famous singer entrusted her voice and throat – her source of revenue – to a cigarette brand, then it must not be so bad! “If it’s good enough for Frank Sinatra, it’s good enough for me,” a consumer might decide. It is ironic, of course, that these ads also worked to reveal the possible side effects of smoking by providing a problem (irritated throats, for example) and a solution (smoke our brand.) Still, this “problem-solution” advertising was very popular at the time, and worked to position one brand as the exception to the problem rule or as the least problematic of all cigarette brands. It also served to trivialize health side effects of smoking, masking more serious side effects in the process.

Stars were also used to attract a younger crowd. Stars were glamorous and represented a walk of life attractive to consumers who were already invested in tabloids and the lives of the show business elite. It wasn’t until 1964 that tobacco companies were banned from using testimonials from athletes, entertainers, and other famous personalities who might be appealing to consumers under 21 years of age.

Freshness – img3535

by

Tobacco ads are notorious for broadcasting what can only be called the “Big Lie” – how else could the inhalation of smoke of any kind be compared to breathing in “mountain air?” In these advertisements, smoke is presented to consumers as “fresh” and “clean,” and particular brands are advertised as “springtime fresh” or even “the refreshest.” Ads offering freshness continued well beyond the 1950s, portraying verbal or visual themes of outdoor recreation, mountain air, clean rushing streams, and more.

Early on, the freshness theme became grist for the industry’s “tit for tat” advertising. Indeed, while The American Tobacco Company advertised that Lucky Strikes were better because they were “toasted,” R.J. Reynolds countered that their Camels were superior because they were “naturally fresh: never parched, never toasted!” Camel also offered an alternative meaning of the word “fresh” by heavily promoting its cellophane wrapper, intended to keep cigarettes from going stale on store shelves.

Freshness was also commonly used as a kind of code-word for healthfulness. Slogans used in tobacco ads called to mind the “cool” of ice or the fresh healing virtues of springtime mountain pastures. “Kool” and other menthol brands were also supposed to deliver a kind of hospital-like sense of sanitary safety, and one company implied cleanliness in its very name. “Sano” cigarettes didn’t last very long: they didn’t deliver as much in the way of tar or nicotine as more popular brands and their marketing skill lagged behind that of the bigger players. By contrast, menthol brands grew in popularity after the postwar “health scare,” and many other forms of “health reassurance” were offered (space-age filters of myriad sorts, promises of low-tar and/or nicotine deliveries, eventually “lights,” etc.).

Other Menthol Classics – img8078

by

When menthol cigarettes were first brought to market, they were advertised to the general population as an occasional cigarette to smoke when sick or suffering from smoker’s cough. However, the 1960s brought along the beginnings of a different image for the menthol cigarette. In 1969 alone, Lorillard increased its “Negro market budget” by 87% over 1968 due to increased efforts marketing its menthol cigarette, Newport, to the African American market. Likewise, British American Tobacco doubled their budget from 1968 to 1969 in order to increase African-American radio station coverage for its menthol cigarette, Kool (1). Government surveys in 2011 revealed that menthol cigarettes dominate 30% of the overall market, and over 80% of black smokers prefer menthol as opposed to 22% of non-Hispanic white smokers (2).

Recent menthol ads are clearly marketed toward a younger, urban demographic. Many of the ads feature models of a variety of ethnicities, and African Americans are particularly targeted. Recent Salem ads from the 2000s feature the slogan, “Stir the senses,” and each ad depicts a model smoking in green, mentholated ecstasy. Other Salem ads from the 2000s reveal clear youth targeting through a risk-taking appeal. For example, one of the ads presents an “underground” party, another presents a couple with an intertwining, extreme tattoo, and a third presents a scantily clad woman riding on the back of a man’s motorcycle – all in urban settings.

Kool’s advertisements from 2005 used the slogan “Be True,” which urged consumers to not only be true to themselves, but also to be true and loyal to the brand. Accompanying the “Be True” slogan was a variety of phrases such as “Be Passionate,” “Be Original,” “Be Smooth,” and “Be Bold,” all of which appeal to adolescents and young adults trying to “find themselves” and develop a sense of self. The “Be True” ads largely feature musicians, ranging from guitar players to disc jockeys, and their ethnicities are also noticeably diverse. In our collection, Asians, African Americans, and Caucasians are all represented in the “Be True” ad campaign. Other Kool campaigns from the 2000s, like “House of Menthol,” are more transparently urban-oriented, featuring boom boxes, speaker systems, microphones, graffiti, or skyscrapers. A subset of these ads features the “Kool Mixx” which claims to “celebrate the soundtrack to the streets” through limited edition cigarette packs. Urban youth were clearly a priority.

1. “A Study of Ethnic Markets.” R.J. Reynolds Tobacco Co. Sept 1969. http://legacy.library.ucsf.edu/tid/paq76b00

2. Wilson, Duff. “Advisory Panel urges F.D.A. to re-examine menthol in cigarettes.” The New York Times. 18 March 2011. http://www.nytimes.com/2011/03/19/business/19tobacco.html

Newport Classics – img43155

by

When menthol cigarettes were first brought to market, they were advertised to the general population as an occasional cigarette to smoke when sick or suffering from smoker’s cough. However, the 1960s brought along the beginnings of a different image for the menthol cigarette. In 1969 alone, Lorillard increased its “Negro market budget” by 87% over 1968 due to increased efforts marketing its menthol cigarette, Newport, to the African American market. Likewise, British American Tobacco doubled their budget from 1968 to 1969 in order to increase African-American radio station coverage for its menthol cigarette, Kool (1). Government surveys in 2011 revealed that menthol cigarettes dominate 30% of the overall market, and over 80% of black smokers prefer menthol as opposed to 22% of non-Hispanic white smokers (2).

Recent menthol ads are clearly marketed toward a younger, urban demographic. Many of the ads feature models of a variety of ethnicities, and African Americans are particularly targeted. Recent Salem ads from the 2000s feature the slogan, “Stir the senses,” and each ad depicts a model smoking in green, mentholated ecstasy. Other Salem ads from the 2000s reveal clear youth targeting through a risk-taking appeal. For example, one of the ads presents an “underground” party, another presents a couple with an intertwining, extreme tattoo, and a third presents a scantily clad woman riding on the back of a man’s motorcycle – all in urban settings.

Kool’s advertisements from 2005 used the slogan “Be True,” which urged consumers to not only be true to themselves, but also to be true and loyal to the brand. Accompanying the “Be True” slogan was a variety of phrases such as “Be Passionate,” “Be Original,” “Be Smooth,” and “Be Bold,” all of which appeal to adolescents and young adults trying to “find themselves” and develop a sense of self. The “Be True” ads largely feature musicians, ranging from guitar players to disc jockeys, and their ethnicities are also noticeably diverse. In our collection, Asians, African Americans, and Caucasians are all represented in the “Be True” ad campaign. Other Kool campaigns from the 2000s, like “House of Menthol,” are more transparently urban-oriented, featuring boom boxes, speaker systems, microphones, graffiti, or skyscrapers. A subset of these ads features the “Kool Mixx” which claims to “celebrate the soundtrack to the streets” through limited edition cigarette packs. Urban youth were clearly a priority.

1. “A Study of Ethnic Markets.” R.J. Reynolds Tobacco Co. Sept 1969. http://legacy.library.ucsf.edu/tid/paq76b00

2. Wilson, Duff. “Advisory Panel urges F.D.A. to re-examine menthol in cigarettes.” The New York Times. 18 March 2011. http://www.nytimes.com/2011/03/19/business/19tobacco.html

Freshness – img3536

by

Tobacco ads are notorious for broadcasting what can only be called the “Big Lie” – how else could the inhalation of smoke of any kind be compared to breathing in “mountain air?” In these advertisements, smoke is presented to consumers as “fresh” and “clean,” and particular brands are advertised as “springtime fresh” or even “the refreshest.” Ads offering freshness continued well beyond the 1950s, portraying verbal or visual themes of outdoor recreation, mountain air, clean rushing streams, and more.

Early on, the freshness theme became grist for the industry’s “tit for tat” advertising. Indeed, while The American Tobacco Company advertised that Lucky Strikes were better because they were “toasted,” R.J. Reynolds countered that their Camels were superior because they were “naturally fresh: never parched, never toasted!” Camel also offered an alternative meaning of the word “fresh” by heavily promoting its cellophane wrapper, intended to keep cigarettes from going stale on store shelves.

Freshness was also commonly used as a kind of code-word for healthfulness. Slogans used in tobacco ads called to mind the “cool” of ice or the fresh healing virtues of springtime mountain pastures. “Kool” and other menthol brands were also supposed to deliver a kind of hospital-like sense of sanitary safety, and one company implied cleanliness in its very name. “Sano” cigarettes didn’t last very long: they didn’t deliver as much in the way of tar or nicotine as more popular brands and their marketing skill lagged behind that of the bigger players. By contrast, menthol brands grew in popularity after the postwar “health scare,” and many other forms of “health reassurance” were offered (space-age filters of myriad sorts, promises of low-tar and/or nicotine deliveries, eventually “lights,” etc.).

Newport Classics – img8067

by

When menthol cigarettes were first brought to market, they were advertised to the general population as an occasional cigarette to smoke when sick or suffering from smoker’s cough. However, the 1960s brought along the beginnings of a different image for the menthol cigarette. In 1969 alone, Lorillard increased its “Negro market budget” by 87% over 1968 due to increased efforts marketing its menthol cigarette, Newport, to the African American market. Likewise, British American Tobacco doubled their budget from 1968 to 1969 in order to increase African-American radio station coverage for its menthol cigarette, Kool (1). Government surveys in 2011 revealed that menthol cigarettes dominate 30% of the overall market, and over 80% of black smokers prefer menthol as opposed to 22% of non-Hispanic white smokers (2).

Recent menthol ads are clearly marketed toward a younger, urban demographic. Many of the ads feature models of a variety of ethnicities, and African Americans are particularly targeted. Recent Salem ads from the 2000s feature the slogan, “Stir the senses,” and each ad depicts a model smoking in green, mentholated ecstasy. Other Salem ads from the 2000s reveal clear youth targeting through a risk-taking appeal. For example, one of the ads presents an “underground” party, another presents a couple with an intertwining, extreme tattoo, and a third presents a scantily clad woman riding on the back of a man’s motorcycle – all in urban settings.

Kool’s advertisements from 2005 used the slogan “Be True,” which urged consumers to not only be true to themselves, but also to be true and loyal to the brand. Accompanying the “Be True” slogan was a variety of phrases such as “Be Passionate,” “Be Original,” “Be Smooth,” and “Be Bold,” all of which appeal to adolescents and young adults trying to “find themselves” and develop a sense of self. The “Be True” ads largely feature musicians, ranging from guitar players to disc jockeys, and their ethnicities are also noticeably diverse. In our collection, Asians, African Americans, and Caucasians are all represented in the “Be True” ad campaign. Other Kool campaigns from the 2000s, like “House of Menthol,” are more transparently urban-oriented, featuring boom boxes, speaker systems, microphones, graffiti, or skyscrapers. A subset of these ads features the “Kool Mixx” which claims to “celebrate the soundtrack to the streets” through limited edition cigarette packs. Urban youth were clearly a priority.

1. “A Study of Ethnic Markets.” R.J. Reynolds Tobacco Co. Sept 1969. http://legacy.library.ucsf.edu/tid/paq76b00

2. Wilson, Duff. “Advisory Panel urges F.D.A. to re-examine menthol in cigarettes.” The New York Times. 18 March 2011. http://www.nytimes.com/2011/03/19/business/19tobacco.html

Freshness – img3537

by

Tobacco ads are notorious for broadcasting what can only be called the “Big Lie” – how else could the inhalation of smoke of any kind be compared to breathing in “mountain air?” In these advertisements, smoke is presented to consumers as “fresh” and “clean,” and particular brands are advertised as “springtime fresh” or even “the refreshest.” Ads offering freshness continued well beyond the 1950s, portraying verbal or visual themes of outdoor recreation, mountain air, clean rushing streams, and more.

Early on, the freshness theme became grist for the industry’s “tit for tat” advertising. Indeed, while The American Tobacco Company advertised that Lucky Strikes were better because they were “toasted,” R.J. Reynolds countered that their Camels were superior because they were “naturally fresh: never parched, never toasted!” Camel also offered an alternative meaning of the word “fresh” by heavily promoting its cellophane wrapper, intended to keep cigarettes from going stale on store shelves.

Freshness was also commonly used as a kind of code-word for healthfulness. Slogans used in tobacco ads called to mind the “cool” of ice or the fresh healing virtues of springtime mountain pastures. “Kool” and other menthol brands were also supposed to deliver a kind of hospital-like sense of sanitary safety, and one company implied cleanliness in its very name. “Sano” cigarettes didn’t last very long: they didn’t deliver as much in the way of tar or nicotine as more popular brands and their marketing skill lagged behind that of the bigger players. By contrast, menthol brands grew in popularity after the postwar “health scare,” and many other forms of “health reassurance” were offered (space-age filters of myriad sorts, promises of low-tar and/or nicotine deliveries, eventually “lights,” etc.).

Salem Shows Spirit – img19981

by

In 1982, Salem rebranded their product toward a younger demographic and launched a new campaign, “Salem Spirit.” The new campaign served to rival Newport’s ongoing efforts targeting youth and attempted to steal Kool’s declining young customer base. In “Salem Spirit,” groups of young men and women bond together over fun, youthful activities, ranging from sledding and hot air ballooning to picnicking and frolicking in the ocean.

Internal R.J. Reynolds documents described the Salem smoker as “self-confident, up-to-date,” and as “younger adult smokers (18-23) who are characterized as social leaders/catalysts since they uniquely possess that sense of humor/wit, spontaneity, warmth and unpretentious style that makes them fun and exciting to be with” (1, 2).

The ads were constructed carefully in order to target this very specific demographic in many ways. One way was the use of what R.J. Reynolds referred to as “refreshment communicators.” Used to reflect the potentially unknown sensations of menthol to new smokers, refreshment communicators included “greenery, water, snow, and outdoor situations” (2).

Another method for attracting youth was through the campaign’s use of young, fun-loving models: “Model attitudes should continue to advance the campaign’s imagery through a warmth/caring focus as a vehicle to reflect a sense of group belonging and peer group acceptance,” one document explains, citing the equivalent of peer pressure as a primary method for hooking youth. “This is an important element differentiating the Spirit campaign from Newport’s exclusive ‘coupling.’ Model closeness will be emphasized to gain social smoking acceptability” (2). Another result of “model closeness” is that the activities all feel younger and almost child-like. Indeed, sharing a big drink at a picnic, sledding together, swinging on a tree swing, or playing “chicken” at the beach are all childish activities which contrast strikingly with any claims that the ads target solely adult audiences.

Young people have been (and remain today) a key marketing target for Salem cigarettes. In the 1980s, R.J.R. placed a strong 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…” (3). 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 (4).

1. Neher, WK. “Refined Positioning Statement for Salem.” R.J. Reynolds. 2 July 1984. http://legacy.library.ucsf.edu/tid/qoe95d00/pdf

2. Hatheway, GM; William Esty. “Salem Spirit DAR Research Perspective.” R.J. Reynolds. 19 July 1984. http://legacy.library.ucsf.edu/tid/koe95d00/pdf

3. Burrows, D.S. “Younger Adult Smokers: Strategies and Opportunities.” R.J. Reynolds. 29 February 1984. http://legacy.library.ucsf.edu/tid/tqq46b00/pdf

4. “The Importance of Younger Adults.” R.J. Reynolds. 27 Feb 1998. http://legacy.library.ucsf.edu/tid/eyn18c00/pdf

Newport Classics – img8068

by

When menthol cigarettes were first brought to market, they were advertised to the general population as an occasional cigarette to smoke when sick or suffering from smoker’s cough. However, the 1960s brought along the beginnings of a different image for the menthol cigarette. In 1969 alone, Lorillard increased its “Negro market budget” by 87% over 1968 due to increased efforts marketing its menthol cigarette, Newport, to the African American market. Likewise, British American Tobacco doubled their budget from 1968 to 1969 in order to increase African-American radio station coverage for its menthol cigarette, Kool (1). Government surveys in 2011 revealed that menthol cigarettes dominate 30% of the overall market, and over 80% of black smokers prefer menthol as opposed to 22% of non-Hispanic white smokers (2).

Recent menthol ads are clearly marketed toward a younger, urban demographic. Many of the ads feature models of a variety of ethnicities, and African Americans are particularly targeted. Recent Salem ads from the 2000s feature the slogan, “Stir the senses,” and each ad depicts a model smoking in green, mentholated ecstasy. Other Salem ads from the 2000s reveal clear youth targeting through a risk-taking appeal. For example, one of the ads presents an “underground” party, another presents a couple with an intertwining, extreme tattoo, and a third presents a scantily clad woman riding on the back of a man’s motorcycle – all in urban settings.

Kool’s advertisements from 2005 used the slogan “Be True,” which urged consumers to not only be true to themselves, but also to be true and loyal to the brand. Accompanying the “Be True” slogan was a variety of phrases such as “Be Passionate,” “Be Original,” “Be Smooth,” and “Be Bold,” all of which appeal to adolescents and young adults trying to “find themselves” and develop a sense of self. The “Be True” ads largely feature musicians, ranging from guitar players to disc jockeys, and their ethnicities are also noticeably diverse. In our collection, Asians, African Americans, and Caucasians are all represented in the “Be True” ad campaign. Other Kool campaigns from the 2000s, like “House of Menthol,” are more transparently urban-oriented, featuring boom boxes, speaker systems, microphones, graffiti, or skyscrapers. A subset of these ads features the “Kool Mixx” which claims to “celebrate the soundtrack to the streets” through limited edition cigarette packs. Urban youth were clearly a priority.

1. “A Study of Ethnic Markets.” R.J. Reynolds Tobacco Co. Sept 1969. http://legacy.library.ucsf.edu/tid/paq76b00

2. Wilson, Duff. “Advisory Panel urges F.D.A. to re-examine menthol in cigarettes.” The New York Times. 18 March 2011. http://www.nytimes.com/2011/03/19/business/19tobacco.html

Other Menthol Classics – img12650

by

When menthol cigarettes were first brought to market, they were advertised to the general population as an occasional cigarette to smoke when sick or suffering from smoker’s cough. However, the 1960s brought along the beginnings of a different image for the menthol cigarette. In 1969 alone, Lorillard increased its “Negro market budget” by 87% over 1968 due to increased efforts marketing its menthol cigarette, Newport, to the African American market. Likewise, British American Tobacco doubled their budget from 1968 to 1969 in order to increase African-American radio station coverage for its menthol cigarette, Kool (1). Government surveys in 2011 revealed that menthol cigarettes dominate 30% of the overall market, and over 80% of black smokers prefer menthol as opposed to 22% of non-Hispanic white smokers (2).

Recent menthol ads are clearly marketed toward a younger, urban demographic. Many of the ads feature models of a variety of ethnicities, and African Americans are particularly targeted. Recent Salem ads from the 2000s feature the slogan, “Stir the senses,” and each ad depicts a model smoking in green, mentholated ecstasy. Other Salem ads from the 2000s reveal clear youth targeting through a risk-taking appeal. For example, one of the ads presents an “underground” party, another presents a couple with an intertwining, extreme tattoo, and a third presents a scantily clad woman riding on the back of a man’s motorcycle – all in urban settings.

Kool’s advertisements from 2005 used the slogan “Be True,” which urged consumers to not only be true to themselves, but also to be true and loyal to the brand. Accompanying the “Be True” slogan was a variety of phrases such as “Be Passionate,” “Be Original,” “Be Smooth,” and “Be Bold,” all of which appeal to adolescents and young adults trying to “find themselves” and develop a sense of self. The “Be True” ads largely feature musicians, ranging from guitar players to disc jockeys, and their ethnicities are also noticeably diverse. In our collection, Asians, African Americans, and Caucasians are all represented in the “Be True” ad campaign. Other Kool campaigns from the 2000s, like “House of Menthol,” are more transparently urban-oriented, featuring boom boxes, speaker systems, microphones, graffiti, or skyscrapers. A subset of these ads features the “Kool Mixx” which claims to “celebrate the soundtrack to the streets” through limited edition cigarette packs. Urban youth were clearly a priority.

1. “A Study of Ethnic Markets.” R.J. Reynolds Tobacco Co. Sept 1969. http://legacy.library.ucsf.edu/tid/paq76b00

2. Wilson, Duff. “Advisory Panel urges F.D.A. to re-examine menthol in cigarettes.” The New York Times. 18 March 2011. http://www.nytimes.com/2011/03/19/business/19tobacco.html

Salem Shows Spirit – img19982

by

In 1982, Salem rebranded their product toward a younger demographic and launched a new campaign, “Salem Spirit.” The new campaign served to rival Newport’s ongoing efforts targeting youth and attempted to steal Kool’s declining young customer base. In “Salem Spirit,” groups of young men and women bond together over fun, youthful activities, ranging from sledding and hot air ballooning to picnicking and frolicking in the ocean.

Internal R.J. Reynolds documents described the Salem smoker as “self-confident, up-to-date,” and as “younger adult smokers (18-23) who are characterized as social leaders/catalysts since they uniquely possess that sense of humor/wit, spontaneity, warmth and unpretentious style that makes them fun and exciting to be with” (1, 2).

The ads were constructed carefully in order to target this very specific demographic in many ways. One way was the use of what R.J. Reynolds referred to as “refreshment communicators.” Used to reflect the potentially unknown sensations of menthol to new smokers, refreshment communicators included “greenery, water, snow, and outdoor situations” (2).

Another method for attracting youth was through the campaign’s use of young, fun-loving models: “Model attitudes should continue to advance the campaign’s imagery through a warmth/caring focus as a vehicle to reflect a sense of group belonging and peer group acceptance,” one document explains, citing the equivalent of peer pressure as a primary method for hooking youth. “This is an important element differentiating the Spirit campaign from Newport’s exclusive ‘coupling.’ Model closeness will be emphasized to gain social smoking acceptability” (2). Another result of “model closeness” is that the activities all feel younger and almost child-like. Indeed, sharing a big drink at a picnic, sledding together, swinging on a tree swing, or playing “chicken” at the beach are all childish activities which contrast strikingly with any claims that the ads target solely adult audiences.

Young people have been (and remain today) a key marketing target for Salem cigarettes. In the 1980s, R.J.R. placed a strong 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…” (3). 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 (4).

1. Neher, WK. “Refined Positioning Statement for Salem.” R.J. Reynolds. 2 July 1984. http://legacy.library.ucsf.edu/tid/qoe95d00/pdf

2. Hatheway, GM; William Esty. “Salem Spirit DAR Research Perspective.” R.J. Reynolds. 19 July 1984. http://legacy.library.ucsf.edu/tid/koe95d00/pdf

3. Burrows, D.S. “Younger Adult Smokers: Strategies and Opportunities.” R.J. Reynolds. 29 February 1984. http://legacy.library.ucsf.edu/tid/tqq46b00/pdf

4. “The Importance of Younger Adults.” R.J. Reynolds. 27 Feb 1998. http://legacy.library.ucsf.edu/tid/eyn18c00/pdf

Salem Classics – img8056

by

When menthol cigarettes were first brought to market, they were advertised to the general population as an occasional cigarette to smoke when sick or suffering from smoker’s cough. However, the 1960s brought along the beginnings of a different image for the menthol cigarette. In 1969 alone, Lorillard increased its “Negro market budget” by 87% over 1968 due to increased efforts marketing its menthol cigarette, Newport, to the African American market. Likewise, British American Tobacco doubled their budget from 1968 to 1969 in order to increase African-American radio station coverage for its menthol cigarette, Kool (1). Government surveys in 2011 revealed that menthol cigarettes dominate 30% of the overall market, and over 80% of black smokers prefer menthol as opposed to 22% of non-Hispanic white smokers (2).

Recent menthol ads are clearly marketed toward a younger, urban demographic. Many of the ads feature models of a variety of ethnicities, and African Americans are particularly targeted. Recent Salem ads from the 2000s feature the slogan, “Stir the senses,” and each ad depicts a model smoking in green, mentholated ecstasy. Other Salem ads from the 2000s reveal clear youth targeting through a risk-taking appeal. For example, one of the ads presents an “underground” party, another presents a couple with an intertwining, extreme tattoo, and a third presents a scantily clad woman riding on the back of a man’s motorcycle – all in urban settings.

Kool’s advertisements from 2005 used the slogan “Be True,” which urged consumers to not only be true to themselves, but also to be true and loyal to the brand. Accompanying the “Be True” slogan was a variety of phrases such as “Be Passionate,” “Be Original,” “Be Smooth,” and “Be Bold,” all of which appeal to adolescents and young adults trying to “find themselves” and develop a sense of self. The “Be True” ads largely feature musicians, ranging from guitar players to disc jockeys, and their ethnicities are also noticeably diverse. In our collection, Asians, African Americans, and Caucasians are all represented in the “Be True” ad campaign. Other Kool campaigns from the 2000s, like “House of Menthol,” are more transparently urban-oriented, featuring boom boxes, speaker systems, microphones, graffiti, or skyscrapers. A subset of these ads features the “Kool Mixx” which claims to “celebrate the soundtrack to the streets” through limited edition cigarette packs. Urban youth were clearly a priority.

1. “A Study of Ethnic Markets.” R.J. Reynolds Tobacco Co. Sept 1969. http://legacy.library.ucsf.edu/tid/paq76b00

2. Wilson, Duff. “Advisory Panel urges F.D.A. to re-examine menthol in cigarettes.” The New York Times. 18 March 2011. http://www.nytimes.com/2011/03/19/business/19tobacco.html

Newport Classics – img8072

by

When menthol cigarettes were first brought to market, they were advertised to the general population as an occasional cigarette to smoke when sick or suffering from smoker’s cough. However, the 1960s brought along the beginnings of a different image for the menthol cigarette. In 1969 alone, Lorillard increased its “Negro market budget” by 87% over 1968 due to increased efforts marketing its menthol cigarette, Newport, to the African American market. Likewise, British American Tobacco doubled their budget from 1968 to 1969 in order to increase African-American radio station coverage for its menthol cigarette, Kool (1). Government surveys in 2011 revealed that menthol cigarettes dominate 30% of the overall market, and over 80% of black smokers prefer menthol as opposed to 22% of non-Hispanic white smokers (2).

Recent menthol ads are clearly marketed toward a younger, urban demographic. Many of the ads feature models of a variety of ethnicities, and African Americans are particularly targeted. Recent Salem ads from the 2000s feature the slogan, “Stir the senses,” and each ad depicts a model smoking in green, mentholated ecstasy. Other Salem ads from the 2000s reveal clear youth targeting through a risk-taking appeal. For example, one of the ads presents an “underground” party, another presents a couple with an intertwining, extreme tattoo, and a third presents a scantily clad woman riding on the back of a man’s motorcycle – all in urban settings.

Kool’s advertisements from 2005 used the slogan “Be True,” which urged consumers to not only be true to themselves, but also to be true and loyal to the brand. Accompanying the “Be True” slogan was a variety of phrases such as “Be Passionate,” “Be Original,” “Be Smooth,” and “Be Bold,” all of which appeal to adolescents and young adults trying to “find themselves” and develop a sense of self. The “Be True” ads largely feature musicians, ranging from guitar players to disc jockeys, and their ethnicities are also noticeably diverse. In our collection, Asians, African Americans, and Caucasians are all represented in the “Be True” ad campaign. Other Kool campaigns from the 2000s, like “House of Menthol,” are more transparently urban-oriented, featuring boom boxes, speaker systems, microphones, graffiti, or skyscrapers. A subset of these ads features the “Kool Mixx” which claims to “celebrate the soundtrack to the streets” through limited edition cigarette packs. Urban youth were clearly a priority.

1. “A Study of Ethnic Markets.” R.J. Reynolds Tobacco Co. Sept 1969. http://legacy.library.ucsf.edu/tid/paq76b00

2. Wilson, Duff. “Advisory Panel urges F.D.A. to re-examine menthol in cigarettes.” The New York Times. 18 March 2011. http://www.nytimes.com/2011/03/19/business/19tobacco.html

Freshness – img8984

by

Tobacco ads are notorious for broadcasting what can only be called the “Big Lie” – how else could the inhalation of smoke of any kind be compared to breathing in “mountain air?” In these advertisements, smoke is presented to consumers as “fresh” and “clean,” and particular brands are advertised as “springtime fresh” or even “the refreshest.” Ads offering freshness continued well beyond the 1950s, portraying verbal or visual themes of outdoor recreation, mountain air, clean rushing streams, and more.

Early on, the freshness theme became grist for the industry’s “tit for tat” advertising. Indeed, while The American Tobacco Company advertised that Lucky Strikes were better because they were “toasted,” R.J. Reynolds countered that their Camels were superior because they were “naturally fresh: never parched, never toasted!” Camel also offered an alternative meaning of the word “fresh” by heavily promoting its cellophane wrapper, intended to keep cigarettes from going stale on store shelves.

Freshness was also commonly used as a kind of code-word for healthfulness. Slogans used in tobacco ads called to mind the “cool” of ice or the fresh healing virtues of springtime mountain pastures. “Kool” and other menthol brands were also supposed to deliver a kind of hospital-like sense of sanitary safety, and one company implied cleanliness in its very name. “Sano” cigarettes didn’t last very long: they didn’t deliver as much in the way of tar or nicotine as more popular brands and their marketing skill lagged behind that of the bigger players. By contrast, menthol brands grew in popularity after the postwar “health scare,” and many other forms of “health reassurance” were offered (space-age filters of myriad sorts, promises of low-tar and/or nicotine deliveries, eventually “lights,” etc.).

Salem Shows Spirit – img19983

by

In 1982, Salem rebranded their product toward a younger demographic and launched a new campaign, “Salem Spirit.” The new campaign served to rival Newport’s ongoing efforts targeting youth and attempted to steal Kool’s declining young customer base. In “Salem Spirit,” groups of young men and women bond together over fun, youthful activities, ranging from sledding and hot air ballooning to picnicking and frolicking in the ocean.

Internal R.J. Reynolds documents described the Salem smoker as “self-confident, up-to-date,” and as “younger adult smokers (18-23) who are characterized as social leaders/catalysts since they uniquely possess that sense of humor/wit, spontaneity, warmth and unpretentious style that makes them fun and exciting to be with” (1, 2).

The ads were constructed carefully in order to target this very specific demographic in many ways. One way was the use of what R.J. Reynolds referred to as “refreshment communicators.” Used to reflect the potentially unknown sensations of menthol to new smokers, refreshment communicators included “greenery, water, snow, and outdoor situations” (2).

Another method for attracting youth was through the campaign’s use of young, fun-loving models: “Model attitudes should continue to advance the campaign’s imagery through a warmth/caring focus as a vehicle to reflect a sense of group belonging and peer group acceptance,” one document explains, citing the equivalent of peer pressure as a primary method for hooking youth. “This is an important element differentiating the Spirit campaign from Newport’s exclusive ‘coupling.’ Model closeness will be emphasized to gain social smoking acceptability” (2). Another result of “model closeness” is that the activities all feel younger and almost child-like. Indeed, sharing a big drink at a picnic, sledding together, swinging on a tree swing, or playing “chicken” at the beach are all childish activities which contrast strikingly with any claims that the ads target solely adult audiences.

Young people have been (and remain today) a key marketing target for Salem cigarettes. In the 1980s, R.J.R. placed a strong 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…” (3). 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 (4).

1. Neher, WK. “Refined Positioning Statement for Salem.” R.J. Reynolds. 2 July 1984. http://legacy.library.ucsf.edu/tid/qoe95d00/pdf

2. Hatheway, GM; William Esty. “Salem Spirit DAR Research Perspective.” R.J. Reynolds. 19 July 1984. http://legacy.library.ucsf.edu/tid/koe95d00/pdf

3. Burrows, D.S. “Younger Adult Smokers: Strategies and Opportunities.” R.J. Reynolds. 29 February 1984. http://legacy.library.ucsf.edu/tid/tqq46b00/pdf

4. “The Importance of Younger Adults.” R.J. Reynolds. 27 Feb 1998. http://legacy.library.ucsf.edu/tid/eyn18c00/pdf

Salem Classics – img8061

by

When menthol cigarettes were first brought to market, they were advertised to the general population as an occasional cigarette to smoke when sick or suffering from smoker’s cough. However, the 1960s brought along the beginnings of a different image for the menthol cigarette. In 1969 alone, Lorillard increased its “Negro market budget” by 87% over 1968 due to increased efforts marketing its menthol cigarette, Newport, to the African American market. Likewise, British American Tobacco doubled their budget from 1968 to 1969 in order to increase African-American radio station coverage for its menthol cigarette, Kool (1). Government surveys in 2011 revealed that menthol cigarettes dominate 30% of the overall market, and over 80% of black smokers prefer menthol as opposed to 22% of non-Hispanic white smokers (2).

Recent menthol ads are clearly marketed toward a younger, urban demographic. Many of the ads feature models of a variety of ethnicities, and African Americans are particularly targeted. Recent Salem ads from the 2000s feature the slogan, “Stir the senses,” and each ad depicts a model smoking in green, mentholated ecstasy. Other Salem ads from the 2000s reveal clear youth targeting through a risk-taking appeal. For example, one of the ads presents an “underground” party, another presents a couple with an intertwining, extreme tattoo, and a third presents a scantily clad woman riding on the back of a man’s motorcycle – all in urban settings.

Kool’s advertisements from 2005 used the slogan “Be True,” which urged consumers to not only be true to themselves, but also to be true and loyal to the brand. Accompanying the “Be True” slogan was a variety of phrases such as “Be Passionate,” “Be Original,” “Be Smooth,” and “Be Bold,” all of which appeal to adolescents and young adults trying to “find themselves” and develop a sense of self. The “Be True” ads largely feature musicians, ranging from guitar players to disc jockeys, and their ethnicities are also noticeably diverse. In our collection, Asians, African Americans, and Caucasians are all represented in the “Be True” ad campaign. Other Kool campaigns from the 2000s, like “House of Menthol,” are more transparently urban-oriented, featuring boom boxes, speaker systems, microphones, graffiti, or skyscrapers. A subset of these ads features the “Kool Mixx” which claims to “celebrate the soundtrack to the streets” through limited edition cigarette packs. Urban youth were clearly a priority.

1. “A Study of Ethnic Markets.” R.J. Reynolds Tobacco Co. Sept 1969. http://legacy.library.ucsf.edu/tid/paq76b00

2. Wilson, Duff. “Advisory Panel urges F.D.A. to re-examine menthol in cigarettes.” The New York Times. 18 March 2011. http://www.nytimes.com/2011/03/19/business/19tobacco.html

Freshness – img8985

by

Tobacco ads are notorious for broadcasting what can only be called the “Big Lie” – how else could the inhalation of smoke of any kind be compared to breathing in “mountain air?” In these advertisements, smoke is presented to consumers as “fresh” and “clean,” and particular brands are advertised as “springtime fresh” or even “the refreshest.” Ads offering freshness continued well beyond the 1950s, portraying verbal or visual themes of outdoor recreation, mountain air, clean rushing streams, and more.

Early on, the freshness theme became grist for the industry’s “tit for tat” advertising. Indeed, while The American Tobacco Company advertised that Lucky Strikes were better because they were “toasted,” R.J. Reynolds countered that their Camels were superior because they were “naturally fresh: never parched, never toasted!” Camel also offered an alternative meaning of the word “fresh” by heavily promoting its cellophane wrapper, intended to keep cigarettes from going stale on store shelves.

Freshness was also commonly used as a kind of code-word for healthfulness. Slogans used in tobacco ads called to mind the “cool” of ice or the fresh healing virtues of springtime mountain pastures. “Kool” and other menthol brands were also supposed to deliver a kind of hospital-like sense of sanitary safety, and one company implied cleanliness in its very name. “Sano” cigarettes didn’t last very long: they didn’t deliver as much in the way of tar or nicotine as more popular brands and their marketing skill lagged behind that of the bigger players. By contrast, menthol brands grew in popularity after the postwar “health scare,” and many other forms of “health reassurance” were offered (space-age filters of myriad sorts, promises of low-tar and/or nicotine deliveries, eventually “lights,” etc.).

Salem Shows Spirit – img4308

by

In 1982, Salem rebranded their product toward a younger demographic and launched a new campaign, “Salem Spirit.” The new campaign served to rival Newport’s ongoing efforts targeting youth and attempted to steal Kool’s declining young customer base. In “Salem Spirit,” groups of young men and women bond together over fun, youthful activities, ranging from sledding and hot air ballooning to picnicking and frolicking in the ocean.

Internal R.J. Reynolds documents described the Salem smoker as “self-confident, up-to-date,” and as “younger adult smokers (18-23) who are characterized as social leaders/catalysts since they uniquely possess that sense of humor/wit, spontaneity, warmth and unpretentious style that makes them fun and exciting to be with” (1, 2).

The ads were constructed carefully in order to target this very specific demographic in many ways. One way was the use of what R.J. Reynolds referred to as “refreshment communicators.” Used to reflect the potentially unknown sensations of menthol to new smokers, refreshment communicators included “greenery, water, snow, and outdoor situations” (2).

Another method for attracting youth was through the campaign’s use of young, fun-loving models: “Model attitudes should continue to advance the campaign’s imagery through a warmth/caring focus as a vehicle to reflect a sense of group belonging and peer group acceptance,” one document explains, citing the equivalent of peer pressure as a primary method for hooking youth. “This is an important element differentiating the Spirit campaign from Newport’s exclusive ‘coupling.’ Model closeness will be emphasized to gain social smoking acceptability” (2). Another result of “model closeness” is that the activities all feel younger and almost child-like. Indeed, sharing a big drink at a picnic, sledding together, swinging on a tree swing, or playing “chicken” at the beach are all childish activities which contrast strikingly with any claims that the ads target solely adult audiences.

Young people have been (and remain today) a key marketing target for Salem cigarettes. In the 1980s, R.J.R. placed a strong 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…” (3). 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 (4).

1. Neher, WK. “Refined Positioning Statement for Salem.” R.J. Reynolds. 2 July 1984. http://legacy.library.ucsf.edu/tid/qoe95d00/pdf

2. Hatheway, GM; William Esty. “Salem Spirit DAR Research Perspective.” R.J. Reynolds. 19 July 1984. http://legacy.library.ucsf.edu/tid/koe95d00/pdf

3. Burrows, D.S. “Younger Adult Smokers: Strategies and Opportunities.” R.J. Reynolds. 29 February 1984. http://legacy.library.ucsf.edu/tid/tqq46b00/pdf

4. “The Importance of Younger Adults.” R.J. Reynolds. 27 Feb 1998. http://legacy.library.ucsf.edu/tid/eyn18c00/pdf

Salem Classics – img8062

by

When menthol cigarettes were first brought to market, they were advertised to the general population as an occasional cigarette to smoke when sick or suffering from smoker’s cough. However, the 1960s brought along the beginnings of a different image for the menthol cigarette. In 1969 alone, Lorillard increased its “Negro market budget” by 87% over 1968 due to increased efforts marketing its menthol cigarette, Newport, to the African American market. Likewise, British American Tobacco doubled their budget from 1968 to 1969 in order to increase African-American radio station coverage for its menthol cigarette, Kool (1). Government surveys in 2011 revealed that menthol cigarettes dominate 30% of the overall market, and over 80% of black smokers prefer menthol as opposed to 22% of non-Hispanic white smokers (2).

Recent menthol ads are clearly marketed toward a younger, urban demographic. Many of the ads feature models of a variety of ethnicities, and African Americans are particularly targeted. Recent Salem ads from the 2000s feature the slogan, “Stir the senses,” and each ad depicts a model smoking in green, mentholated ecstasy. Other Salem ads from the 2000s reveal clear youth targeting through a risk-taking appeal. For example, one of the ads presents an “underground” party, another presents a couple with an intertwining, extreme tattoo, and a third presents a scantily clad woman riding on the back of a man’s motorcycle – all in urban settings.

Kool’s advertisements from 2005 used the slogan “Be True,” which urged consumers to not only be true to themselves, but also to be true and loyal to the brand. Accompanying the “Be True” slogan was a variety of phrases such as “Be Passionate,” “Be Original,” “Be Smooth,” and “Be Bold,” all of which appeal to adolescents and young adults trying to “find themselves” and develop a sense of self. The “Be True” ads largely feature musicians, ranging from guitar players to disc jockeys, and their ethnicities are also noticeably diverse. In our collection, Asians, African Americans, and Caucasians are all represented in the “Be True” ad campaign. Other Kool campaigns from the 2000s, like “House of Menthol,” are more transparently urban-oriented, featuring boom boxes, speaker systems, microphones, graffiti, or skyscrapers. A subset of these ads features the “Kool Mixx” which claims to “celebrate the soundtrack to the streets” through limited edition cigarette packs. Urban youth were clearly a priority.

1. “A Study of Ethnic Markets.” R.J. Reynolds Tobacco Co. Sept 1969. http://legacy.library.ucsf.edu/tid/paq76b00

2. Wilson, Duff. “Advisory Panel urges F.D.A. to re-examine menthol in cigarettes.” The New York Times. 18 March 2011. http://www.nytimes.com/2011/03/19/business/19tobacco.html

Freshness – img8986

by

Tobacco ads are notorious for broadcasting what can only be called the “Big Lie” – how else could the inhalation of smoke of any kind be compared to breathing in “mountain air?” In these advertisements, smoke is presented to consumers as “fresh” and “clean,” and particular brands are advertised as “springtime fresh” or even “the refreshest.” Ads offering freshness continued well beyond the 1950s, portraying verbal or visual themes of outdoor recreation, mountain air, clean rushing streams, and more.

Early on, the freshness theme became grist for the industry’s “tit for tat” advertising. Indeed, while The American Tobacco Company advertised that Lucky Strikes were better because they were “toasted,” R.J. Reynolds countered that their Camels were superior because they were “naturally fresh: never parched, never toasted!” Camel also offered an alternative meaning of the word “fresh” by heavily promoting its cellophane wrapper, intended to keep cigarettes from going stale on store shelves.

Freshness was also commonly used as a kind of code-word for healthfulness. Slogans used in tobacco ads called to mind the “cool” of ice or the fresh healing virtues of springtime mountain pastures. “Kool” and other menthol brands were also supposed to deliver a kind of hospital-like sense of sanitary safety, and one company implied cleanliness in its very name. “Sano” cigarettes didn’t last very long: they didn’t deliver as much in the way of tar or nicotine as more popular brands and their marketing skill lagged behind that of the bigger players. By contrast, menthol brands grew in popularity after the postwar “health scare,” and many other forms of “health reassurance” were offered (space-age filters of myriad sorts, promises of low-tar and/or nicotine deliveries, eventually “lights,” etc.).

Salem Shows Spirit – img4313

by

In 1982, Salem rebranded their product toward a younger demographic and launched a new campaign, “Salem Spirit.” The new campaign served to rival Newport’s ongoing efforts targeting youth and attempted to steal Kool’s declining young customer base. In “Salem Spirit,” groups of young men and women bond together over fun, youthful activities, ranging from sledding and hot air ballooning to picnicking and frolicking in the ocean.

Internal R.J. Reynolds documents described the Salem smoker as “self-confident, up-to-date,” and as “younger adult smokers (18-23) who are characterized as social leaders/catalysts since they uniquely possess that sense of humor/wit, spontaneity, warmth and unpretentious style that makes them fun and exciting to be with” (1, 2).

The ads were constructed carefully in order to target this very specific demographic in many ways. One way was the use of what R.J. Reynolds referred to as “refreshment communicators.” Used to reflect the potentially unknown sensations of menthol to new smokers, refreshment communicators included “greenery, water, snow, and outdoor situations” (2).

Another method for attracting youth was through the campaign’s use of young, fun-loving models: “Model attitudes should continue to advance the campaign’s imagery through a warmth/caring focus as a vehicle to reflect a sense of group belonging and peer group acceptance,” one document explains, citing the equivalent of peer pressure as a primary method for hooking youth. “This is an important element differentiating the Spirit campaign from Newport’s exclusive ‘coupling.’ Model closeness will be emphasized to gain social smoking acceptability” (2). Another result of “model closeness” is that the activities all feel younger and almost child-like. Indeed, sharing a big drink at a picnic, sledding together, swinging on a tree swing, or playing “chicken” at the beach are all childish activities which contrast strikingly with any claims that the ads target solely adult audiences.

Young people have been (and remain today) a key marketing target for Salem cigarettes. In the 1980s, R.J.R. placed a strong 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…” (3). 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 (4).

1. Neher, WK. “Refined Positioning Statement for Salem.” R.J. Reynolds. 2 July 1984. http://legacy.library.ucsf.edu/tid/qoe95d00/pdf

2. Hatheway, GM; William Esty. “Salem Spirit DAR Research Perspective.” R.J. Reynolds. 19 July 1984. http://legacy.library.ucsf.edu/tid/koe95d00/pdf

3. Burrows, D.S. “Younger Adult Smokers: Strategies and Opportunities.” R.J. Reynolds. 29 February 1984. http://legacy.library.ucsf.edu/tid/tqq46b00/pdf

4. “The Importance of Younger Adults.” R.J. Reynolds. 27 Feb 1998. http://legacy.library.ucsf.edu/tid/eyn18c00/pdf

Salem Classics – img8063

by

When menthol cigarettes were first brought to market, they were advertised to the general population as an occasional cigarette to smoke when sick or suffering from smoker’s cough. However, the 1960s brought along the beginnings of a different image for the menthol cigarette. In 1969 alone, Lorillard increased its “Negro market budget” by 87% over 1968 due to increased efforts marketing its menthol cigarette, Newport, to the African American market. Likewise, British American Tobacco doubled their budget from 1968 to 1969 in order to increase African-American radio station coverage for its menthol cigarette, Kool (1). Government surveys in 2011 revealed that menthol cigarettes dominate 30% of the overall market, and over 80% of black smokers prefer menthol as opposed to 22% of non-Hispanic white smokers (2).

Recent menthol ads are clearly marketed toward a younger, urban demographic. Many of the ads feature models of a variety of ethnicities, and African Americans are particularly targeted. Recent Salem ads from the 2000s feature the slogan, “Stir the senses,” and each ad depicts a model smoking in green, mentholated ecstasy. Other Salem ads from the 2000s reveal clear youth targeting through a risk-taking appeal. For example, one of the ads presents an “underground” party, another presents a couple with an intertwining, extreme tattoo, and a third presents a scantily clad woman riding on the back of a man’s motorcycle – all in urban settings.

Kool’s advertisements from 2005 used the slogan “Be True,” which urged consumers to not only be true to themselves, but also to be true and loyal to the brand. Accompanying the “Be True” slogan was a variety of phrases such as “Be Passionate,” “Be Original,” “Be Smooth,” and “Be Bold,” all of which appeal to adolescents and young adults trying to “find themselves” and develop a sense of self. The “Be True” ads largely feature musicians, ranging from guitar players to disc jockeys, and their ethnicities are also noticeably diverse. In our collection, Asians, African Americans, and Caucasians are all represented in the “Be True” ad campaign. Other Kool campaigns from the 2000s, like “House of Menthol,” are more transparently urban-oriented, featuring boom boxes, speaker systems, microphones, graffiti, or skyscrapers. A subset of these ads features the “Kool Mixx” which claims to “celebrate the soundtrack to the streets” through limited edition cigarette packs. Urban youth were clearly a priority.

1. “A Study of Ethnic Markets.” R.J. Reynolds Tobacco Co. Sept 1969. http://legacy.library.ucsf.edu/tid/paq76b00

2. Wilson, Duff. “Advisory Panel urges F.D.A. to re-examine menthol in cigarettes.” The New York Times. 18 March 2011. http://www.nytimes.com/2011/03/19/business/19tobacco.html

Freshness – img8987

by

Tobacco ads are notorious for broadcasting what can only be called the “Big Lie” – how else could the inhalation of smoke of any kind be compared to breathing in “mountain air?” In these advertisements, smoke is presented to consumers as “fresh” and “clean,” and particular brands are advertised as “springtime fresh” or even “the refreshest.” Ads offering freshness continued well beyond the 1950s, portraying verbal or visual themes of outdoor recreation, mountain air, clean rushing streams, and more.

Early on, the freshness theme became grist for the industry’s “tit for tat” advertising. Indeed, while The American Tobacco Company advertised that Lucky Strikes were better because they were “toasted,” R.J. Reynolds countered that their Camels were superior because they were “naturally fresh: never parched, never toasted!” Camel also offered an alternative meaning of the word “fresh” by heavily promoting its cellophane wrapper, intended to keep cigarettes from going stale on store shelves.

Freshness was also commonly used as a kind of code-word for healthfulness. Slogans used in tobacco ads called to mind the “cool” of ice or the fresh healing virtues of springtime mountain pastures. “Kool” and other menthol brands were also supposed to deliver a kind of hospital-like sense of sanitary safety, and one company implied cleanliness in its very name. “Sano” cigarettes didn’t last very long: they didn’t deliver as much in the way of tar or nicotine as more popular brands and their marketing skill lagged behind that of the bigger players. By contrast, menthol brands grew in popularity after the postwar “health scare,” and many other forms of “health reassurance” were offered (space-age filters of myriad sorts, promises of low-tar and/or nicotine deliveries, eventually “lights,” etc.).

Salem Shows Spirit – img19984

by

In 1982, Salem rebranded their product toward a younger demographic and launched a new campaign, “Salem Spirit.” The new campaign served to rival Newport’s ongoing efforts targeting youth and attempted to steal Kool’s declining young customer base. In “Salem Spirit,” groups of young men and women bond together over fun, youthful activities, ranging from sledding and hot air ballooning to picnicking and frolicking in the ocean.

Internal R.J. Reynolds documents described the Salem smoker as “self-confident, up-to-date,” and as “younger adult smokers (18-23) who are characterized as social leaders/catalysts since they uniquely possess that sense of humor/wit, spontaneity, warmth and unpretentious style that makes them fun and exciting to be with” (1, 2).

The ads were constructed carefully in order to target this very specific demographic in many ways. One way was the use of what R.J. Reynolds referred to as “refreshment communicators.” Used to reflect the potentially unknown sensations of menthol to new smokers, refreshment communicators included “greenery, water, snow, and outdoor situations” (2).

Another method for attracting youth was through the campaign’s use of young, fun-loving models: “Model attitudes should continue to advance the campaign’s imagery through a warmth/caring focus as a vehicle to reflect a sense of group belonging and peer group acceptance,” one document explains, citing the equivalent of peer pressure as a primary method for hooking youth. “This is an important element differentiating the Spirit campaign from Newport’s exclusive ‘coupling.’ Model closeness will be emphasized to gain social smoking acceptability” (2). Another result of “model closeness” is that the activities all feel younger and almost child-like. Indeed, sharing a big drink at a picnic, sledding together, swinging on a tree swing, or playing “chicken” at the beach are all childish activities which contrast strikingly with any claims that the ads target solely adult audiences.

Young people have been (and remain today) a key marketing target for Salem cigarettes. In the 1980s, R.J.R. placed a strong 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…” (3). 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 (4).

1. Neher, WK. “Refined Positioning Statement for Salem.” R.J. Reynolds. 2 July 1984. http://legacy.library.ucsf.edu/tid/qoe95d00/pdf

2. Hatheway, GM; William Esty. “Salem Spirit DAR Research Perspective.” R.J. Reynolds. 19 July 1984. http://legacy.library.ucsf.edu/tid/koe95d00/pdf

3. Burrows, D.S. “Younger Adult Smokers: Strategies and Opportunities.” R.J. Reynolds. 29 February 1984. http://legacy.library.ucsf.edu/tid/tqq46b00/pdf

4. “The Importance of Younger Adults.” R.J. Reynolds. 27 Feb 1998. http://legacy.library.ucsf.edu/tid/eyn18c00/pdf

Salem Classics – img12634

by

When menthol cigarettes were first brought to market, they were advertised to the general population as an occasional cigarette to smoke when sick or suffering from smoker’s cough. However, the 1960s brought along the beginnings of a different image for the menthol cigarette. In 1969 alone, Lorillard increased its “Negro market budget” by 87% over 1968 due to increased efforts marketing its menthol cigarette, Newport, to the African American market. Likewise, British American Tobacco doubled their budget from 1968 to 1969 in order to increase African-American radio station coverage for its menthol cigarette, Kool (1). Government surveys in 2011 revealed that menthol cigarettes dominate 30% of the overall market, and over 80% of black smokers prefer menthol as opposed to 22% of non-Hispanic white smokers (2).

Recent menthol ads are clearly marketed toward a younger, urban demographic. Many of the ads feature models of a variety of ethnicities, and African Americans are particularly targeted. Recent Salem ads from the 2000s feature the slogan, “Stir the senses,” and each ad depicts a model smoking in green, mentholated ecstasy. Other Salem ads from the 2000s reveal clear youth targeting through a risk-taking appeal. For example, one of the ads presents an “underground” party, another presents a couple with an intertwining, extreme tattoo, and a third presents a scantily clad woman riding on the back of a man’s motorcycle – all in urban settings.

Kool’s advertisements from 2005 used the slogan “Be True,” which urged consumers to not only be true to themselves, but also to be true and loyal to the brand. Accompanying the “Be True” slogan was a variety of phrases such as “Be Passionate,” “Be Original,” “Be Smooth,” and “Be Bold,” all of which appeal to adolescents and young adults trying to “find themselves” and develop a sense of self. The “Be True” ads largely feature musicians, ranging from guitar players to disc jockeys, and their ethnicities are also noticeably diverse. In our collection, Asians, African Americans, and Caucasians are all represented in the “Be True” ad campaign. Other Kool campaigns from the 2000s, like “House of Menthol,” are more transparently urban-oriented, featuring boom boxes, speaker systems, microphones, graffiti, or skyscrapers. A subset of these ads features the “Kool Mixx” which claims to “celebrate the soundtrack to the streets” through limited edition cigarette packs. Urban youth were clearly a priority.

1. “A Study of Ethnic Markets.” R.J. Reynolds Tobacco Co. Sept 1969. http://legacy.library.ucsf.edu/tid/paq76b00

2. Wilson, Duff. “Advisory Panel urges F.D.A. to re-examine menthol in cigarettes.” The New York Times. 18 March 2011. http://www.nytimes.com/2011/03/19/business/19tobacco.html

Freshness – img8988

by

Tobacco ads are notorious for broadcasting what can only be called the “Big Lie” – how else could the inhalation of smoke of any kind be compared to breathing in “mountain air?” In these advertisements, smoke is presented to consumers as “fresh” and “clean,” and particular brands are advertised as “springtime fresh” or even “the refreshest.” Ads offering freshness continued well beyond the 1950s, portraying verbal or visual themes of outdoor recreation, mountain air, clean rushing streams, and more.

Early on, the freshness theme became grist for the industry’s “tit for tat” advertising. Indeed, while The American Tobacco Company advertised that Lucky Strikes were better because they were “toasted,” R.J. Reynolds countered that their Camels were superior because they were “naturally fresh: never parched, never toasted!” Camel also offered an alternative meaning of the word “fresh” by heavily promoting its cellophane wrapper, intended to keep cigarettes from going stale on store shelves.

Freshness was also commonly used as a kind of code-word for healthfulness. Slogans used in tobacco ads called to mind the “cool” of ice or the fresh healing virtues of springtime mountain pastures. “Kool” and other menthol brands were also supposed to deliver a kind of hospital-like sense of sanitary safety, and one company implied cleanliness in its very name. “Sano” cigarettes didn’t last very long: they didn’t deliver as much in the way of tar or nicotine as more popular brands and their marketing skill lagged behind that of the bigger players. By contrast, menthol brands grew in popularity after the postwar “health scare,” and many other forms of “health reassurance” were offered (space-age filters of myriad sorts, promises of low-tar and/or nicotine deliveries, eventually “lights,” etc.).

Couples in Love – img9804

by

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.

Salem Shows Spirit – img19985

by

In 1982, Salem rebranded their product toward a younger demographic and launched a new campaign, “Salem Spirit.” The new campaign served to rival Newport’s ongoing efforts targeting youth and attempted to steal Kool’s declining young customer base. In “Salem Spirit,” groups of young men and women bond together over fun, youthful activities, ranging from sledding and hot air ballooning to picnicking and frolicking in the ocean.

Internal R.J. Reynolds documents described the Salem smoker as “self-confident, up-to-date,” and as “younger adult smokers (18-23) who are characterized as social leaders/catalysts since they uniquely possess that sense of humor/wit, spontaneity, warmth and unpretentious style that makes them fun and exciting to be with” (1, 2).

The ads were constructed carefully in order to target this very specific demographic in many ways. One way was the use of what R.J. Reynolds referred to as “refreshment communicators.” Used to reflect the potentially unknown sensations of menthol to new smokers, refreshment communicators included “greenery, water, snow, and outdoor situations” (2).

Another method for attracting youth was through the campaign’s use of young, fun-loving models: “Model attitudes should continue to advance the campaign’s imagery through a warmth/caring focus as a vehicle to reflect a sense of group belonging and peer group acceptance,” one document explains, citing the equivalent of peer pressure as a primary method for hooking youth. “This is an important element differentiating the Spirit campaign from Newport’s exclusive ‘coupling.’ Model closeness will be emphasized to gain social smoking acceptability” (2). Another result of “model closeness” is that the activities all feel younger and almost child-like. Indeed, sharing a big drink at a picnic, sledding together, swinging on a tree swing, or playing “chicken” at the beach are all childish activities which contrast strikingly with any claims that the ads target solely adult audiences.

Young people have been (and remain today) a key marketing target for Salem cigarettes. In the 1980s, R.J.R. placed a strong 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…” (3). 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 (4).

1. Neher, WK. “Refined Positioning Statement for Salem.” R.J. Reynolds. 2 July 1984. http://legacy.library.ucsf.edu/tid/qoe95d00/pdf

2. Hatheway, GM; William Esty. “Salem Spirit DAR Research Perspective.” R.J. Reynolds. 19 July 1984. http://legacy.library.ucsf.edu/tid/koe95d00/pdf

3. Burrows, D.S. “Younger Adult Smokers: Strategies and Opportunities.” R.J. Reynolds. 29 February 1984. http://legacy.library.ucsf.edu/tid/tqq46b00/pdf

4. “The Importance of Younger Adults.” R.J. Reynolds. 27 Feb 1998. http://legacy.library.ucsf.edu/tid/eyn18c00/pdf

Recent Black Ads – img5093

by

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:

Freshness – img8989

by

Tobacco ads are notorious for broadcasting what can only be called the “Big Lie” – how else could the inhalation of smoke of any kind be compared to breathing in “mountain air?” In these advertisements, smoke is presented to consumers as “fresh” and “clean,” and particular brands are advertised as “springtime fresh” or even “the refreshest.” Ads offering freshness continued well beyond the 1950s, portraying verbal or visual themes of outdoor recreation, mountain air, clean rushing streams, and more.

Early on, the freshness theme became grist for the industry’s “tit for tat” advertising. Indeed, while The American Tobacco Company advertised that Lucky Strikes were better because they were “toasted,” R.J. Reynolds countered that their Camels were superior because they were “naturally fresh: never parched, never toasted!” Camel also offered an alternative meaning of the word “fresh” by heavily promoting its cellophane wrapper, intended to keep cigarettes from going stale on store shelves.

Freshness was also commonly used as a kind of code-word for healthfulness. Slogans used in tobacco ads called to mind the “cool” of ice or the fresh healing virtues of springtime mountain pastures. “Kool” and other menthol brands were also supposed to deliver a kind of hospital-like sense of sanitary safety, and one company implied cleanliness in its very name. “Sano” cigarettes didn’t last very long: they didn’t deliver as much in the way of tar or nicotine as more popular brands and their marketing skill lagged behind that of the bigger players. By contrast, menthol brands grew in popularity after the postwar “health scare,” and many other forms of “health reassurance” were offered (space-age filters of myriad sorts, promises of low-tar and/or nicotine deliveries, eventually “lights,” etc.).

Couples in Love – img0720

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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.

Salem Shows Spirit – img22320

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In 1982, Salem rebranded their product toward a younger demographic and launched a new campaign, “Salem Spirit.” The new campaign served to rival Newport’s ongoing efforts targeting youth and attempted to steal Kool’s declining young customer base. In “Salem Spirit,” groups of young men and women bond together over fun, youthful activities, ranging from sledding and hot air ballooning to picnicking and frolicking in the ocean.

Internal R.J. Reynolds documents described the Salem smoker as “self-confident, up-to-date,” and as “younger adult smokers (18-23) who are characterized as social leaders/catalysts since they uniquely possess that sense of humor/wit, spontaneity, warmth and unpretentious style that makes them fun and exciting to be with” (1, 2).

The ads were constructed carefully in order to target this very specific demographic in many ways. One way was the use of what R.J. Reynolds referred to as “refreshment communicators.” Used to reflect the potentially unknown sensations of menthol to new smokers, refreshment communicators included “greenery, water, snow, and outdoor situations” (2).

Another method for attracting youth was through the campaign’s use of young, fun-loving models: “Model attitudes should continue to advance the campaign’s imagery through a warmth/caring focus as a vehicle to reflect a sense of group belonging and peer group acceptance,” one document explains, citing the equivalent of peer pressure as a primary method for hooking youth. “This is an important element differentiating the Spirit campaign from Newport’s exclusive ‘coupling.’ Model closeness will be emphasized to gain social smoking acceptability” (2). Another result of “model closeness” is that the activities all feel younger and almost child-like. Indeed, sharing a big drink at a picnic, sledding together, swinging on a tree swing, or playing “chicken” at the beach are all childish activities which contrast strikingly with any claims that the ads target solely adult audiences.

Young people have been (and remain today) a key marketing target for Salem cigarettes. In the 1980s, R.J.R. placed a strong 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…” (3). 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 (4).

1. Neher, WK. “Refined Positioning Statement for Salem.” R.J. Reynolds. 2 July 1984. http://legacy.library.ucsf.edu/tid/qoe95d00/pdf

2. Hatheway, GM; William Esty. “Salem Spirit DAR Research Perspective.” R.J. Reynolds. 19 July 1984. http://legacy.library.ucsf.edu/tid/koe95d00/pdf

3. Burrows, D.S. “Younger Adult Smokers: Strategies and Opportunities.” R.J. Reynolds. 29 February 1984. http://legacy.library.ucsf.edu/tid/tqq46b00/pdf

4. “The Importance of Younger Adults.” R.J. Reynolds. 27 Feb 1998. http://legacy.library.ucsf.edu/tid/eyn18c00/pdf

Freshness – img8990

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Tobacco ads are notorious for broadcasting what can only be called the “Big Lie” – how else could the inhalation of smoke of any kind be compared to breathing in “mountain air?” In these advertisements, smoke is presented to consumers as “fresh” and “clean,” and particular brands are advertised as “springtime fresh” or even “the refreshest.” Ads offering freshness continued well beyond the 1950s, portraying verbal or visual themes of outdoor recreation, mountain air, clean rushing streams, and more.

Early on, the freshness theme became grist for the industry’s “tit for tat” advertising. Indeed, while The American Tobacco Company advertised that Lucky Strikes were better because they were “toasted,” R.J. Reynolds countered that their Camels were superior because they were “naturally fresh: never parched, never toasted!” Camel also offered an alternative meaning of the word “fresh” by heavily promoting its cellophane wrapper, intended to keep cigarettes from going stale on store shelves.

Freshness was also commonly used as a kind of code-word for healthfulness. Slogans used in tobacco ads called to mind the “cool” of ice or the fresh healing virtues of springtime mountain pastures. “Kool” and other menthol brands were also supposed to deliver a kind of hospital-like sense of sanitary safety, and one company implied cleanliness in its very name. “Sano” cigarettes didn’t last very long: they didn’t deliver as much in the way of tar or nicotine as more popular brands and their marketing skill lagged behind that of the bigger players. By contrast, menthol brands grew in popularity after the postwar “health scare,” and many other forms of “health reassurance” were offered (space-age filters of myriad sorts, promises of low-tar and/or nicotine deliveries, eventually “lights,” etc.).

Freshness – img8991

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Tobacco ads are notorious for broadcasting what can only be called the “Big Lie” – how else could the inhalation of smoke of any kind be compared to breathing in “mountain air?” In these advertisements, smoke is presented to consumers as “fresh” and “clean,” and particular brands are advertised as “springtime fresh” or even “the refreshest.” Ads offering freshness continued well beyond the 1950s, portraying verbal or visual themes of outdoor recreation, mountain air, clean rushing streams, and more.

Early on, the freshness theme became grist for the industry’s “tit for tat” advertising. Indeed, while The American Tobacco Company advertised that Lucky Strikes were better because they were “toasted,” R.J. Reynolds countered that their Camels were superior because they were “naturally fresh: never parched, never toasted!” Camel also offered an alternative meaning of the word “fresh” by heavily promoting its cellophane wrapper, intended to keep cigarettes from going stale on store shelves.

Freshness was also commonly used as a kind of code-word for healthfulness. Slogans used in tobacco ads called to mind the “cool” of ice or the fresh healing virtues of springtime mountain pastures. “Kool” and other menthol brands were also supposed to deliver a kind of hospital-like sense of sanitary safety, and one company implied cleanliness in its very name. “Sano” cigarettes didn’t last very long: they didn’t deliver as much in the way of tar or nicotine as more popular brands and their marketing skill lagged behind that of the bigger players. By contrast, menthol brands grew in popularity after the postwar “health scare,” and many other forms of “health reassurance” were offered (space-age filters of myriad sorts, promises of low-tar and/or nicotine deliveries, eventually “lights,” etc.).

Sex Sells – img11783

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Tobacco companies know as much as anybody that “sex sells,” and they have no qualms with making use of phallic symbols or with objectifying women to sell their products.

Beginning in the 1880s and lasting well into the 20th century, cigarette manufacturers placed a piece of cardstock inside every pack of cigarettes so the packs would maintain their shape. They soon began including pictures of provocative women in lingerie on the cardstock (as well as images of baseball players, the precursor to collectable baseball cards) in order to attract more men into purchasing the cigarettes. Eroticism continued to play a large role in cigarette advertisements, and by the late 1930s, pin-up girls were frequently used in cigarette advertisements to appeal further to male audiences.

As the advertising business matured over time, so too did its foray into selling products through sex, at times blatantly obvious, and in other moments alluringly subtle. The 1968 Tiparillo advertisements, in the “Should a gentleman offer a Tiparillo” campaign, are shameless in their objectification of women, featuring scantily clad or nearly nude models baring absurd amounts of cleavage. Other tobacco ads exploit the “sex sells” market through innuendo and subliminal messaging. Many ads use phallic imagery to associate tobacco products with masculinity and virility. A 1997 ad for Celestino cigars, for example, features a man holding a giant surfboard, which on the surface resembles a giant cigar; closer inspection reveals that the surfboard/cigar duo is also a phallic symbol, allying the cigar brand with extreme masculinity. Similarly subtle, an ad for Greys cigarettes, from the late 1930s, displays a depiction of a man with a drooping cigarette “before smoking Greys,” and then with an erect cigarette “after smoking greys.” Additionally, the man, who had previously been bald, has managed to grow a full head of hair after smoking the cigarette! An L&M ad from 1962 follows the same tactics; a man’s cigarette sticks straight up as he glances over at a woman, who eyes his cigarette as she sensuously takes one of her own. The slogan below the image reads, “When a cigarette means a lot…”

Perhaps the most recognizable recent campaign to use such techniques is the Joe Camel campaign, which lasted up until 1999; Joe Camel’s face is drawn to resemble a scrotum. More recently still, 21st century Silk Cut admen were masters of subliminal messaging. One Silk Cut ad, for example, features a piece of silk with a hole cut out, a can with a sharp point aimed directly at the hole, and a torn piece of silk hanging off the can’s point to indicate insertion has been made.

This theme merely grazes the surface of the extent to which tobacco advertisements rely on sex to sell their products.

Freshness – img3539

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Tobacco ads are notorious for broadcasting what can only be called the “Big Lie” – how else could the inhalation of smoke of any kind be compared to breathing in “mountain air?” In these advertisements, smoke is presented to consumers as “fresh” and “clean,” and particular brands are advertised as “springtime fresh” or even “the refreshest.” Ads offering freshness continued well beyond the 1950s, portraying verbal or visual themes of outdoor recreation, mountain air, clean rushing streams, and more.

Early on, the freshness theme became grist for the industry’s “tit for tat” advertising. Indeed, while The American Tobacco Company advertised that Lucky Strikes were better because they were “toasted,” R.J. Reynolds countered that their Camels were superior because they were “naturally fresh: never parched, never toasted!” Camel also offered an alternative meaning of the word “fresh” by heavily promoting its cellophane wrapper, intended to keep cigarettes from going stale on store shelves.

Freshness was also commonly used as a kind of code-word for healthfulness. Slogans used in tobacco ads called to mind the “cool” of ice or the fresh healing virtues of springtime mountain pastures. “Kool” and other menthol brands were also supposed to deliver a kind of hospital-like sense of sanitary safety, and one company implied cleanliness in its very name. “Sano” cigarettes didn’t last very long: they didn’t deliver as much in the way of tar or nicotine as more popular brands and their marketing skill lagged behind that of the bigger players. By contrast, menthol brands grew in popularity after the postwar “health scare,” and many other forms of “health reassurance” were offered (space-age filters of myriad sorts, promises of low-tar and/or nicotine deliveries, eventually “lights,” etc.).

Freshness – img8992

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Tobacco ads are notorious for broadcasting what can only be called the “Big Lie” – how else could the inhalation of smoke of any kind be compared to breathing in “mountain air?” In these advertisements, smoke is presented to consumers as “fresh” and “clean,” and particular brands are advertised as “springtime fresh” or even “the refreshest.” Ads offering freshness continued well beyond the 1950s, portraying verbal or visual themes of outdoor recreation, mountain air, clean rushing streams, and more.

Early on, the freshness theme became grist for the industry’s “tit for tat” advertising. Indeed, while The American Tobacco Company advertised that Lucky Strikes were better because they were “toasted,” R.J. Reynolds countered that their Camels were superior because they were “naturally fresh: never parched, never toasted!” Camel also offered an alternative meaning of the word “fresh” by heavily promoting its cellophane wrapper, intended to keep cigarettes from going stale on store shelves.

Freshness was also commonly used as a kind of code-word for healthfulness. Slogans used in tobacco ads called to mind the “cool” of ice or the fresh healing virtues of springtime mountain pastures. “Kool” and other menthol brands were also supposed to deliver a kind of hospital-like sense of sanitary safety, and one company implied cleanliness in its very name. “Sano” cigarettes didn’t last very long: they didn’t deliver as much in the way of tar or nicotine as more popular brands and their marketing skill lagged behind that of the bigger players. By contrast, menthol brands grew in popularity after the postwar “health scare,” and many other forms of “health reassurance” were offered (space-age filters of myriad sorts, promises of low-tar and/or nicotine deliveries, eventually “lights,” etc.).

Salem Classics – img8836

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When menthol cigarettes were first brought to market, they were advertised to the general population as an occasional cigarette to smoke when sick or suffering from smoker’s cough. However, the 1960s brought along the beginnings of a different image for the menthol cigarette. In 1969 alone, Lorillard increased its “Negro market budget” by 87% over 1968 due to increased efforts marketing its menthol cigarette, Newport, to the African American market. Likewise, British American Tobacco doubled their budget from 1968 to 1969 in order to increase African-American radio station coverage for its menthol cigarette, Kool (1). Government surveys in 2011 revealed that menthol cigarettes dominate 30% of the overall market, and over 80% of black smokers prefer menthol as opposed to 22% of non-Hispanic white smokers (2).

Recent menthol ads are clearly marketed toward a younger, urban demographic. Many of the ads feature models of a variety of ethnicities, and African Americans are particularly targeted. Recent Salem ads from the 2000s feature the slogan, “Stir the senses,” and each ad depicts a model smoking in green, mentholated ecstasy. Other Salem ads from the 2000s reveal clear youth targeting through a risk-taking appeal. For example, one of the ads presents an “underground” party, another presents a couple with an intertwining, extreme tattoo, and a third presents a scantily clad woman riding on the back of a man’s motorcycle – all in urban settings.

Kool’s advertisements from 2005 used the slogan “Be True,” which urged consumers to not only be true to themselves, but also to be true and loyal to the brand. Accompanying the “Be True” slogan was a variety of phrases such as “Be Passionate,” “Be Original,” “Be Smooth,” and “Be Bold,” all of which appeal to adolescents and young adults trying to “find themselves” and develop a sense of self. The “Be True” ads largely feature musicians, ranging from guitar players to disc jockeys, and their ethnicities are also noticeably diverse. In our collection, Asians, African Americans, and Caucasians are all represented in the “Be True” ad campaign. Other Kool campaigns from the 2000s, like “House of Menthol,” are more transparently urban-oriented, featuring boom boxes, speaker systems, microphones, graffiti, or skyscrapers. A subset of these ads features the “Kool Mixx” which claims to “celebrate the soundtrack to the streets” through limited edition cigarette packs. Urban youth were clearly a priority.

1. “A Study of Ethnic Markets.” R.J. Reynolds Tobacco Co. Sept 1969. http://legacy.library.ucsf.edu/tid/paq76b00

2. Wilson, Duff. “Advisory Panel urges F.D.A. to re-examine menthol in cigarettes.” The New York Times. 18 March 2011. http://www.nytimes.com/2011/03/19/business/19tobacco.html