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Stanford Research into the Impact of Tobacco Advertising

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sex appeal

Objectifying Women – img0766

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Tobacco companies know as much as the next guy – sex sells – and they have no qualms with objectifying women to sell their product. As early as the 1930s, cigarette advertisements featured sexy women to lure men to the brand, and by the late 1930s, pin-up girls were frequently used on cigarette advertisements to appeal to male audiences. The Tiparillo advertisements in the “Should a gentleman offer a Tiparillo…: campaign (1968) are shameless in their objectification of women, with the models showing cleavage (plus) as well as intense eye contact. As expected, recent advertisements of the 1990s and 2000s are no better, as such images become more commonplace in modern times. These ads target youth explicitly. Though they primarily attract young men, they also manipulate young women into believing that a certain brand of cigarette might make her sexier and more attractive to men.

Tobacco companies know as much as the next guy – sex sells – and they have no qualms with objectifying women to sell their product. As early as the 1930s, cigarette advertisements featured sexy women to lure men to the brand, and by the late 1930s, pin-up girls were frequently used on cigarette advertisements to appeal to male audiences. The Tiparillo advertisements in the “Should a gentleman offer a Tiparillo…: campaign (1968) are shameless in their objectification of women, with the models showing cleavage (plus) as well as intense eye contact. As expected, recent advertisements of the 1990s and 2000s are no better, as such images become more commonplace in modern times. These ads target youth explicitly. Though they primarily attract young men, they also manipulate young women into believing that a certain brand of cigarette might make her sexier and more attractive to men.

Sex Sells – img3792

by

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.

Let's Smoke Girls – img0574

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Before the First World War, smoking was associated with the “loose morals” of prostitutes and wayward women. Clever marketers managed to turn this around in the 1920s and 1930s, latching onto women’s liberation movements and transforming cigarettes into symbols of women’s independence. In 1929, as part of this effort, the American Tobacco Company organized marches of women carrying “Torches of Freedom” (i.e., cigarettes) down New York’s 5th Avenue to emphasize their emancipation. The tobacco industry also sponsored training sessions to teach women how to smoke, and competitions for most delicate smoker. Many of the advertisements targeting women throughout the decades have concentrated on women’s empowerment. Early examples include “I wish I were a man” so I could smoke (Velvet, 1912), while later examples like “You’ve come a long way baby” (Virginia Slims) were more clearly exploitive of the Women’s Liberation Movement. It is interesting to note that the Marlboro brand, famous for its macho “Marlboro Man,” was for decades a woman’s cigarette (“Mild as May” with “Ivory tips to protect the lips”) before it underwent an abrupt sex change in 1954. Only 5 percent of American women smoked in 1923 versus 12 percent in 1932 and 33 percent in 1965 (the peak year). Lung cancer was still a rare disease for women in the 1950s, though by the year 2000 it was killing nearly 70,000 women per year. Cancer of the lung surpassed breast cancer as the leading cause of cancer death among women in 1987.

Objectifying Women – img0768

by

Tobacco companies know as much as the next guy – sex sells – and they have no qualms with objectifying women to sell their product. As early as the 1930s, cigarette advertisements featured sexy women to lure men to the brand, and by the late 1930s, pin-up girls were frequently used on cigarette advertisements to appeal to male audiences. The Tiparillo advertisements in the “Should a gentleman offer a Tiparillo…: campaign (1968) are shameless in their objectification of women, with the models showing cleavage (plus) as well as intense eye contact. As expected, recent advertisements of the 1990s and 2000s are no better, as such images become more commonplace in modern times. These ads target youth explicitly. Though they primarily attract young men, they also manipulate young women into believing that a certain brand of cigarette might make her sexier and more attractive to men.

Objectifying Women – img0770

by

Tobacco companies know as much as the next guy – sex sells – and they have no qualms with objectifying women to sell their product. As early as the 1930s, cigarette advertisements featured sexy women to lure men to the brand, and by the late 1930s, pin-up girls were frequently used on cigarette advertisements to appeal to male audiences. The Tiparillo advertisements in the “Should a gentleman offer a Tiparillo…: campaign (1968) are shameless in their objectification of women, with the models showing cleavage (plus) as well as intense eye contact. As expected, recent advertisements of the 1990s and 2000s are no better, as such images become more commonplace in modern times. These ads target youth explicitly. Though they primarily attract young men, they also manipulate young women into believing that a certain brand of cigarette might make her sexier and more attractive to men.

Kamel Modern – img5970

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Marlboro has historically been the leading cigarette brand among youth, while Camel consistently pushes forward creative advertising concepts to gain youth market share from Marlboro and hook teens and young adults. The Red Kamel campaign of 1996 is just one of Camel’s many advertising techniques employed to target the previously uninitiated or new smoker. RJR’s “marketing objectives” with Red Kamel revolved around “adding new cutting edge associations to the Camel brand family” (1).

The Red Kamel brand slogan clearly targeted youth irreverence: “Back After 80 Years For No Good Reason Except They Taste Good” (2). The Kamel brand was first introduced in 1913 and existed until 1936 when R.J. Reynolds replaced it with today’s Camel brand. The limited time “reintroduction” of Red Kamel in 1996 provided a retro-vintage appeal to the brand, and RJR designed the ads to be “innovative—new and old at the same time” (3). An RJR spokesperson explained that the characters portrayed in Red Kamel ads were presented as “interesting, independent people,” indicating that “the type of person who smoked Kamels in the early 1900s would still smoke them today.” The Red Kamel campaign offered RJR a new youth marketing technique to replace the Old Joe Camel campaign which had just been “voluntarily” withdrawn.

One internal document explains that the brand positioning was “lust for living,” and that the product was meant to appear “lustier” as well as “rebellious, adventurous, authentic,” with a “hip, unexpected” style clearly targeting youth markets (4).

 

1. “Red Kamel & Kamel Menthe (Men-Th) Factbook.” 07 Jan 1999. http://legacy.library.ucsf.edu/tid/tqm72d00

2. “RJR Re-Establishes Red Kamel Brand February 1, 1996 (960201) Statement and Q&A for Response Only.” RJ Reynolds. 01 Feb 1996. http://legacy.library.ucsf.edu/tid/oml13d00

3. “Red Kamel Is Back!” Caravan. 08 Apr 1996. http://tobaccodocuments.org/nysa_ti_s1/TI56580057.html

4. “1997 (19970000) Business Planning Meeting.” RJ Reynolds. 17 Sept 1996. http://legacy.library.ucsf.edu/tid/xyi72d00

Objectifying Women – img0771

by

Tobacco companies know as much as the next guy – sex sells – and they have no qualms with objectifying women to sell their product. As early as the 1930s, cigarette advertisements featured sexy women to lure men to the brand, and by the late 1930s, pin-up girls were frequently used on cigarette advertisements to appeal to male audiences. The Tiparillo advertisements in the “Should a gentleman offer a Tiparillo…: campaign (1968) are shameless in their objectification of women, with the models showing cleavage (plus) as well as intense eye contact. As expected, recent advertisements of the 1990s and 2000s are no better, as such images become more commonplace in modern times. These ads target youth explicitly. Though they primarily attract young men, they also manipulate young women into believing that a certain brand of cigarette might make her sexier and more attractive to men.

Kamel Modern – img5971

by

Marlboro has historically been the leading cigarette brand among youth, while Camel consistently pushes forward creative advertising concepts to gain youth market share from Marlboro and hook teens and young adults. The Red Kamel campaign of 1996 is just one of Camel’s many advertising techniques employed to target the previously uninitiated or new smoker. RJR’s “marketing objectives” with Red Kamel revolved around “adding new cutting edge associations to the Camel brand family” (1).

The Red Kamel brand slogan clearly targeted youth irreverence: “Back After 80 Years For No Good Reason Except They Taste Good” (2). The Kamel brand was first introduced in 1913 and existed until 1936 when R.J. Reynolds replaced it with today’s Camel brand. The limited time “reintroduction” of Red Kamel in 1996 provided a retro-vintage appeal to the brand, and RJR designed the ads to be “innovative—new and old at the same time” (3). An RJR spokesperson explained that the characters portrayed in Red Kamel ads were presented as “interesting, independent people,” indicating that “the type of person who smoked Kamels in the early 1900s would still smoke them today.” The Red Kamel campaign offered RJR a new youth marketing technique to replace the Old Joe Camel campaign which had just been “voluntarily” withdrawn.

One internal document explains that the brand positioning was “lust for living,” and that the product was meant to appear “lustier” as well as “rebellious, adventurous, authentic,” with a “hip, unexpected” style clearly targeting youth markets (4).

 

1. “Red Kamel & Kamel Menthe (Men-Th) Factbook.” 07 Jan 1999. http://legacy.library.ucsf.edu/tid/tqm72d00

2. “RJR Re-Establishes Red Kamel Brand February 1, 1996 (960201) Statement and Q&A for Response Only.” RJ Reynolds. 01 Feb 1996. http://legacy.library.ucsf.edu/tid/oml13d00

3. “Red Kamel Is Back!” Caravan. 08 Apr 1996. http://tobaccodocuments.org/nysa_ti_s1/TI56580057.html

4. “1997 (19970000) Business Planning Meeting.” RJ Reynolds. 17 Sept 1996. http://legacy.library.ucsf.edu/tid/xyi72d00

Kamel Modern – img5972

by

Marlboro has historically been the leading cigarette brand among youth, while Camel consistently pushes forward creative advertising concepts to gain youth market share from Marlboro and hook teens and young adults. The Red Kamel campaign of 1996 is just one of Camel’s many advertising techniques employed to target the previously uninitiated or new smoker. RJR’s “marketing objectives” with Red Kamel revolved around “adding new cutting edge associations to the Camel brand family” (1).

The Red Kamel brand slogan clearly targeted youth irreverence: “Back After 80 Years For No Good Reason Except They Taste Good” (2). The Kamel brand was first introduced in 1913 and existed until 1936 when R.J. Reynolds replaced it with today’s Camel brand. The limited time “reintroduction” of Red Kamel in 1996 provided a retro-vintage appeal to the brand, and RJR designed the ads to be “innovative—new and old at the same time” (3). An RJR spokesperson explained that the characters portrayed in Red Kamel ads were presented as “interesting, independent people,” indicating that “the type of person who smoked Kamels in the early 1900s would still smoke them today.” The Red Kamel campaign offered RJR a new youth marketing technique to replace the Old Joe Camel campaign which had just been “voluntarily” withdrawn.

One internal document explains that the brand positioning was “lust for living,” and that the product was meant to appear “lustier” as well as “rebellious, adventurous, authentic,” with a “hip, unexpected” style clearly targeting youth markets (4).

 

1. “Red Kamel & Kamel Menthe (Men-Th) Factbook.” 07 Jan 1999. http://legacy.library.ucsf.edu/tid/tqm72d00

2. “RJR Re-Establishes Red Kamel Brand February 1, 1996 (960201) Statement and Q&A for Response Only.” RJ Reynolds. 01 Feb 1996. http://legacy.library.ucsf.edu/tid/oml13d00

3. “Red Kamel Is Back!” Caravan. 08 Apr 1996. http://tobaccodocuments.org/nysa_ti_s1/TI56580057.html

4. “1997 (19970000) Business Planning Meeting.” RJ Reynolds. 17 Sept 1996. http://legacy.library.ucsf.edu/tid/xyi72d00

Sex Sells – img7653

by

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.

Objectifying Women – img9886

by

Tobacco companies know as much as the next guy – sex sells – and they have no qualms with objectifying women to sell their product. As early as the 1930s, cigarette advertisements featured sexy women to lure men to the brand, and by the late 1930s, pin-up girls were frequently used on cigarette advertisements to appeal to male audiences. The Tiparillo advertisements in the “Should a gentleman offer a Tiparillo…: campaign (1968) are shameless in their objectification of women, with the models showing cleavage (plus) as well as intense eye contact. As expected, recent advertisements of the 1990s and 2000s are no better, as such images become more commonplace in modern times. These ads target youth explicitly. Though they primarily attract young men, they also manipulate young women into believing that a certain brand of cigarette might make her sexier and more attractive to men.

Pipes – ing5798

by

Pipes and loose pipe tobacco are often advertised directly to men, and, indeed, are represented as highly masculinized and often genteel. Yello-bole pipes, for example, advertises for “The All-Male taste,” and Flying Dutchman pipe tobacco claims that their tobacco will allow men to “lead women around by the nose.” Further, one ad for Tuxedo tobacco implies that smoking a pipe is a pleasure offered only to men, while a famous actress sighs, “The fragrance of pipe tobacco makes me wish I were a man.”

Beyond the masculinity approach, many pipe ads focus on throat ease, since unlike cigarette smoke, pipe smoke cannot be inhaled due to its high alkalinity. Though these ads advertise health benefits for pipe smoking – Kaywoodie claims that “pipe smokers live longer” and the Medico pipe claims it “gives you pleasure and peace of mind” – pipe smoking is associated with higher incidences of oral cancers than cigarette smoking, and nicotine is absorbed in higher levels as well.

Sex Sells – img11779

by

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.

Sex Sells – img11781

by

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.

Sex Sells – img11782

by

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.

Sex Sells – img11783

by

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.

Sex Sells – img11784

by

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.

Pretty in Pink – img10303

by

Tobacco companies are often extremely creative in their advertising techniques; however, sometimes the techniques they employ are excruciatingly obvious. In targeting women, for example, many cigarette brands turn to the classic feminine shade of pink in order to clearly communicate a certain cigarette is intended for women’s use. Pink cigarettes and ads which incorporate the color pink target a younger demographic of females. Camel No. 9, for example, uses a hot pink color palette, which accents the cigarette pack, the pack’s interior foil, the cigarettes themselves, and all of the print advertisements for the product. The ads in this theme all demonstrate the prevalence of pink in ads marketing women’s cigarettes. From Russian “Glamour” ads to American “Misty” ads, pink is everywhere. One Virginia Slims ad from 1995 works to reclaim pink as a color of power for women, with the phrase “Pretty in Pink doesn’t make you a pushover” printed next to a woman in a pink mini-dress preparing to hop on her motorcycle.

Sex Sells – img12677

by

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.

High Fashion – img0601

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Throughout the decades, tobacco companies have capitalized on fashion, glamour and beauty to market their products to women. Most notably, in 1934, Lucky Strike staged a “Green Ball” at New York City’s Waldorf-Astoria, with every intention of making green, the then-color of a Lucky Strike pack, more fashionable for women so they would buy Luckies; fashion designers, reporters, socialites and many other influential people in the fashion world were in attendance at the Green Ball, while everyone thought some mysterious benefactor hosted the event. The 1920s saw the fashionable yet daring woman emerge in cigarette ads, while the 1930s saw a glamorous beauty, dripping in luxury. The Great Depression was the impetus for this latter type of woman, dressed in a ball gown, fur and gloves and jewels. The everyday woman could live vicariously, or might feel that she could adopt some of that luxury for herself by smoking the brand of cigarette advertised. Often, tobacco companies turned to chic celebrities to hawk their products, relying on their trendsetting ways to make the sell. Fashion trends change, but tobacco companies’ addiction to manipulating women through these trends has not changed. The models in Virginia Slims advertisements of the 1980s wore fashions which scream ‘80s, and the women in the ads of today can be seen in anything from trendy resort wear in a tropical setting to skin-revealing club wear. Whatever the case, tobacco companies know that if a woman sees a model in an ad who looks attractive, she will want to emulate her.

High Fashion – img0602

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Throughout the decades, tobacco companies have capitalized on fashion, glamour and beauty to market their products to women. Most notably, in 1934, Lucky Strike staged a “Green Ball” at New York City’s Waldorf-Astoria, with every intention of making green, the then-color of a Lucky Strike pack, more fashionable for women so they would buy Luckies; fashion designers, reporters, socialites and many other influential people in the fashion world were in attendance at the Green Ball, while everyone thought some mysterious benefactor hosted the event. The 1920s saw the fashionable yet daring woman emerge in cigarette ads, while the 1930s saw a glamorous beauty, dripping in luxury. The Great Depression was the impetus for this latter type of woman, dressed in a ball gown, fur and gloves and jewels. The everyday woman could live vicariously, or might feel that she could adopt some of that luxury for herself by smoking the brand of cigarette advertised. Often, tobacco companies turned to chic celebrities to hawk their products, relying on their trendsetting ways to make the sell. Fashion trends change, but tobacco companies’ addiction to manipulating women through these trends has not changed. The models in Virginia Slims advertisements of the 1980s wore fashions which scream ‘80s, and the women in the ads of today can be seen in anything from trendy resort wear in a tropical setting to skin-revealing club wear. Whatever the case, tobacco companies know that if a woman sees a model in an ad who looks attractive, she will want to emulate her.

High Fashion – img0603

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Throughout the decades, tobacco companies have capitalized on fashion, glamour and beauty to market their products to women. Most notably, in 1934, Lucky Strike staged a “Green Ball” at New York City’s Waldorf-Astoria, with every intention of making green, the then-color of a Lucky Strike pack, more fashionable for women so they would buy Luckies; fashion designers, reporters, socialites and many other influential people in the fashion world were in attendance at the Green Ball, while everyone thought some mysterious benefactor hosted the event. The 1920s saw the fashionable yet daring woman emerge in cigarette ads, while the 1930s saw a glamorous beauty, dripping in luxury. The Great Depression was the impetus for this latter type of woman, dressed in a ball gown, fur and gloves and jewels. The everyday woman could live vicariously, or might feel that she could adopt some of that luxury for herself by smoking the brand of cigarette advertised. Often, tobacco companies turned to chic celebrities to hawk their products, relying on their trendsetting ways to make the sell. Fashion trends change, but tobacco companies’ addiction to manipulating women through these trends has not changed. The models in Virginia Slims advertisements of the 1980s wore fashions which scream ‘80s, and the women in the ads of today can be seen in anything from trendy resort wear in a tropical setting to skin-revealing club wear. Whatever the case, tobacco companies know that if a woman sees a model in an ad who looks attractive, she will want to emulate her.

Cigars – ing11068

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Cigars are often advertised directly to men, and, indeed, are represented as highly masculinized and often genteel. An ad from the Cigar Institute of America in 1963, for example, lets men know that if they “wear a cigar,” they will “look smart.” Masculinity is sometimes approached through sexualization of the cigar, as in the Don Diegos ad from the 1990s featuring a woman sucking on a cigar or the Celesitino Vega ad from the same period, which features a Hawaiian surfer posing at the beach with a giant, phallic surfboard painted to resemble a cigar. Other times, masculinity is portrayed through a more reserved route, as in the 1950s ad from the Cigar Institute of America, which claims that “In the eyes of his own family, every father is a success. And the father who knows cigars knows a very special kind of success.” The family unit and the fatherly figure are referenced often in cigar ads.

In addition, cigars are seen as a means to celebrate. An ad for Antonio y Cleopatra cigars says, “When a moment is worth remembering enjoy a cigar that’s hard to forget.” In the same vein, pink or blue candy cigars are often given to a new father to celebrate the birth of a child.

Beyond these approaches, many cigar ads focus on throat ease, since unlike cigarette smoke, cigar smoke cannot be inhaled due to its high alkalinity. Though these ads advertise health benefits for cigar smoking – Girard says its smoke is mild, so doctors recommend it, and Mell-O-Well calls its smoke “the health cigar” — cigar smoking is associated with higher incidences of oral cancers than cigarette smoking, and nicotine is absorbed in higher levels as well. Still, and ad for White Owl cigars tells you to switch to cigars or pipes “when you can’t give up smoking.” The main reason? No need to inhale. Most misleading, perhaps, is a 1964 ad from the Cigar Institute of America, which proclaims, incorrectly, “Cigar smokers start young and stay young!”

Sex Sells – img23805

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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.

Blu, the leading brand of electronic cigarettes (e-cigs), placed an advertisement for its product in February 2014. The ad featured the Blu logo front and center on an itsy bitsy bikini bottom of a shapely model. On the online version of the ad you could even zoom in on the picture. You don’t see the woman’s face only her belly button to her legs. Accompanying the ad was the slogan “Slim. Charged. Ready to Go.” The obvious sexual reference of the slogan is hard to miss. Blu also sponsored parties at Playboy’s top party schools that allowed partygoers to meet the Playmates. Playboy itself got into the act by creating its own Playboy e-cigs. Some of the ads for the Playboy e-cigs with the trademarked bunny symbol advertised free condoms with the purchase of the vapor device.

Phantom Smoke is a brand that in their advertising is shameless in its objectification of women. Many of the ads feature skimpily clothed women in subservient positions to men. An ad for PhatomSmoke has a woman suggestively sitting in the bathtub with the e-hookah between her teeth. Her lingerie is carelessly discarded on the rim of the bathtub. In another ad, a woman wearing racy black lingerie is on the floor holding onto an out stretched leg of a man sitting on a couch with an e-cig in his hand. An ad for Krave e-cigs has a woman dressed in a bodysuit sitting on a side of a sofa her legs slightly apart as she gazes towards the viewer.

Other tobacco ads exploit the “sex sells” market through innuendo and subliminal messaging. Many ads use phallic imagery.

Apart from online and print advertisements that exploit sex to sell the product, online videos are replete with sexual innuendo. An online video for Blu exploits sex to promote a cessation message. An ad for VIP e-cig featured a sultry-looking woman saying: “I want you to get it out. I want to see it. Feel it. Hold it. Put it in my mouth. I want to see how great it tastes.” The online and TV ad, which ran in Britain, attracted 937 complaints about its “overtly sexual” tone.

Sex Sells – img23806

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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.

Blu, the leading brand of electronic cigarettes (e-cigs), placed an advertisement for its product in February 2014. The ad featured the Blu logo front and center on an itsy bitsy bikini bottom of a shapely model. On the online version of the ad you could even zoom in on the picture. You don’t see the woman’s face only her belly button to her legs. Accompanying the ad was the slogan “Slim. Charged. Ready to Go.” The obvious sexual reference of the slogan is hard to miss. Blu also sponsored parties at Playboy’s top party schools that allowed partygoers to meet the Playmates. Playboy itself got into the act by creating its own Playboy e-cigs. Some of the ads for the Playboy e-cigs with the trademarked bunny symbol advertised free condoms with the purchase of the vapor device.

Phantom Smoke is a brand that in their advertising is shameless in its objectification of women. Many of the ads feature skimpily clothed women in subservient positions to men. An ad for PhatomSmoke has a woman suggestively sitting in the bathtub with the e-hookah between her teeth. Her lingerie is carelessly discarded on the rim of the bathtub. In another ad, a woman wearing racy black lingerie is on the floor holding onto an out stretched leg of a man sitting on a couch with an e-cig in his hand. An ad for Krave e-cigs has a woman dressed in a bodysuit sitting on a side of a sofa her legs slightly apart as she gazes towards the viewer.

Other tobacco ads exploit the “sex sells” market through innuendo and subliminal messaging. Many ads use phallic imagery.

Apart from online and print advertisements that exploit sex to sell the product, online videos are replete with sexual innuendo. An online video for Blu exploits sex to promote a cessation message. An ad for VIP e-cig featured a sultry-looking woman saying: “I want you to get it out. I want to see it. Feel it. Hold it. Put it in my mouth. I want to see how great it tastes.” The online and TV ad, which ran in Britain, attracted 937 complaints about its “overtly sexual” tone.

Sex Sells – img23807

by

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.

Blu, the leading brand of electronic cigarettes (e-cigs), placed an advertisement for its product in February 2014. The ad featured the Blu logo front and center on an itsy bitsy bikini bottom of a shapely model. On the online version of the ad you could even zoom in on the picture. You don’t see the woman’s face only her belly button to her legs. Accompanying the ad was the slogan “Slim. Charged. Ready to Go.” The obvious sexual reference of the slogan is hard to miss. Blu also sponsored parties at Playboy’s top party schools that allowed partygoers to meet the Playmates. Playboy itself got into the act by creating its own Playboy e-cigs. Some of the ads for the Playboy e-cigs with the trademarked bunny symbol advertised free condoms with the purchase of the vapor device.

Phantom Smoke is a brand that in their advertising is shameless in its objectification of women. Many of the ads feature skimpily clothed women in subservient positions to men. An ad for PhatomSmoke has a woman suggestively sitting in the bathtub with the e-hookah between her teeth. Her lingerie is carelessly discarded on the rim of the bathtub. In another ad, a woman wearing racy black lingerie is on the floor holding onto an out stretched leg of a man sitting on a couch with an e-cig in his hand. An ad for Krave e-cigs has a woman dressed in a bodysuit sitting on a side of a sofa her legs slightly apart as she gazes towards the viewer.

Other tobacco ads exploit the “sex sells” market through innuendo and subliminal messaging. Many ads use phallic imagery.

Apart from online and print advertisements that exploit sex to sell the product, online videos are replete with sexual innuendo. An online video for Blu exploits sex to promote a cessation message. An ad for VIP e-cig featured a sultry-looking woman saying: “I want you to get it out. I want to see it. Feel it. Hold it. Put it in my mouth. I want to see how great it tastes.” The online and TV ad, which ran in Britain, attracted 937 complaints about its “overtly sexual” tone.

Sex Sells – img23808

by

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.

Blu, the leading brand of electronic cigarettes (e-cigs), placed an advertisement for its product in February 2014. The ad featured the Blu logo front and center on an itsy bitsy bikini bottom of a shapely model. On the online version of the ad you could even zoom in on the picture. You don’t see the woman’s face only her belly button to her legs. Accompanying the ad was the slogan “Slim. Charged. Ready to Go.” The obvious sexual reference of the slogan is hard to miss. Blu also sponsored parties at Playboy’s top party schools that allowed partygoers to meet the Playmates. Playboy itself got into the act by creating its own Playboy e-cigs. Some of the ads for the Playboy e-cigs with the trademarked bunny symbol advertised free condoms with the purchase of the vapor device.

Phantom Smoke is a brand that in their advertising is shameless in its objectification of women. Many of the ads feature skimpily clothed women in subservient positions to men. An ad for PhatomSmoke has a woman suggestively sitting in the bathtub with the e-hookah between her teeth. Her lingerie is carelessly discarded on the rim of the bathtub. In another ad, a woman wearing racy black lingerie is on the floor holding onto an out stretched leg of a man sitting on a couch with an e-cig in his hand. An ad for Krave e-cigs has a woman dressed in a bodysuit sitting on a side of a sofa her legs slightly apart as she gazes towards the viewer.

Other tobacco ads exploit the “sex sells” market through innuendo and subliminal messaging. Many ads use phallic imagery.

Apart from online and print advertisements that exploit sex to sell the product, online videos are replete with sexual innuendo. An online video for Blu exploits sex to promote a cessation message. An ad for VIP e-cig featured a sultry-looking woman saying: “I want you to get it out. I want to see it. Feel it. Hold it. Put it in my mouth. I want to see how great it tastes.” The online and TV ad, which ran in Britain, attracted 937 complaints about its “overtly sexual” tone.

Sex Sells – img23809

by

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.

Blu, the leading brand of electronic cigarettes (e-cigs), placed an advertisement for its product in February 2014. The ad featured the Blu logo front and center on an itsy bitsy bikini bottom of a shapely model. On the online version of the ad you could even zoom in on the picture. You don’t see the woman’s face only her belly button to her legs. Accompanying the ad was the slogan “Slim. Charged. Ready to Go.” The obvious sexual reference of the slogan is hard to miss. Blu also sponsored parties at Playboy’s top party schools that allowed partygoers to meet the Playmates. Playboy itself got into the act by creating its own Playboy e-cigs. Some of the ads for the Playboy e-cigs with the trademarked bunny symbol advertised free condoms with the purchase of the vapor device.

Phantom Smoke is a brand that in their advertising is shameless in its objectification of women. Many of the ads feature skimpily clothed women in subservient positions to men. An ad for PhatomSmoke has a woman suggestively sitting in the bathtub with the e-hookah between her teeth. Her lingerie is carelessly discarded on the rim of the bathtub. In another ad, a woman wearing racy black lingerie is on the floor holding onto an out stretched leg of a man sitting on a couch with an e-cig in his hand. An ad for Krave e-cigs has a woman dressed in a bodysuit sitting on a side of a sofa her legs slightly apart as she gazes towards the viewer.

Other tobacco ads exploit the “sex sells” market through innuendo and subliminal messaging. Many ads use phallic imagery.

Apart from online and print advertisements that exploit sex to sell the product, online videos are replete with sexual innuendo. An online video for Blu exploits sex to promote a cessation message. An ad for VIP e-cig featured a sultry-looking woman saying: “I want you to get it out. I want to see it. Feel it. Hold it. Put it in my mouth. I want to see how great it tastes.” The online and TV ad, which ran in Britain, attracted 937 complaints about its “overtly sexual” tone.

Sex Sells – img23810

by

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.

Blu, the leading brand of electronic cigarettes (e-cigs), placed an advertisement for its product in February 2014. The ad featured the Blu logo front and center on an itsy bitsy bikini bottom of a shapely model. On the online version of the ad you could even zoom in on the picture. You don’t see the woman’s face only her belly button to her legs. Accompanying the ad was the slogan “Slim. Charged. Ready to Go.” The obvious sexual reference of the slogan is hard to miss. Blu also sponsored parties at Playboy’s top party schools that allowed partygoers to meet the Playmates. Playboy itself got into the act by creating its own Playboy e-cigs. Some of the ads for the Playboy e-cigs with the trademarked bunny symbol advertised free condoms with the purchase of the vapor device.

Phantom Smoke is a brand that in their advertising is shameless in its objectification of women. Many of the ads feature skimpily clothed women in subservient positions to men. An ad for PhatomSmoke has a woman suggestively sitting in the bathtub with the e-hookah between her teeth. Her lingerie is carelessly discarded on the rim of the bathtub. In another ad, a woman wearing racy black lingerie is on the floor holding onto an out stretched leg of a man sitting on a couch with an e-cig in his hand. An ad for Krave e-cigs has a woman dressed in a bodysuit sitting on a side of a sofa her legs slightly apart as she gazes towards the viewer.

Other tobacco ads exploit the “sex sells” market through innuendo and subliminal messaging. Many ads use phallic imagery.

Apart from online and print advertisements that exploit sex to sell the product, online videos are replete with sexual innuendo. An online video for Blu exploits sex to promote a cessation message. An ad for VIP e-cig featured a sultry-looking woman saying: “I want you to get it out. I want to see it. Feel it. Hold it. Put it in my mouth. I want to see how great it tastes.” The online and TV ad, which ran in Britain, attracted 937 complaints about its “overtly sexual” tone.

Cigars – ing19148

by

Cigars are often advertised directly to men, and, indeed, are represented as highly masculinized and often genteel. An ad from the Cigar Institute of America in 1963, for example, lets men know that if they “wear a cigar,” they will “look smart.” Masculinity is sometimes approached through sexualization of the cigar, as in the Don Diegos ad from the 1990s featuring a woman sucking on a cigar or the Celesitino Vega ad from the same period, which features a Hawaiian surfer posing at the beach with a giant, phallic surfboard painted to resemble a cigar. Other times, masculinity is portrayed through a more reserved route, as in the 1950s ad from the Cigar Institute of America, which claims that “In the eyes of his own family, every father is a success. And the father who knows cigars knows a very special kind of success.” The family unit and the fatherly figure are referenced often in cigar ads.

In addition, cigars are seen as a means to celebrate. An ad for Antonio y Cleopatra cigars says, “When a moment is worth remembering enjoy a cigar that’s hard to forget.” In the same vein, pink or blue candy cigars are often given to a new father to celebrate the birth of a child.

Beyond these approaches, many cigar ads focus on throat ease, since unlike cigarette smoke, cigar smoke cannot be inhaled due to its high alkalinity. Though these ads advertise health benefits for cigar smoking – Girard says its smoke is mild, so doctors recommend it, and Mell-O-Well calls its smoke “the health cigar” — cigar smoking is associated with higher incidences of oral cancers than cigarette smoking, and nicotine is absorbed in higher levels as well. Still, and ad for White Owl cigars tells you to switch to cigars or pipes “when you can’t give up smoking.” The main reason? No need to inhale. Most misleading, perhaps, is a 1964 ad from the Cigar Institute of America, which proclaims, incorrectly, “Cigar smokers start young and stay young!”