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Stanford Research into the Impact of Tobacco Advertising

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Calms your Nerves – img3629

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In a prime example of marketing wizardry, tobacco advertisements have simultaneously presented cigarettes as both sedatives and stimulants. Ads worked to convince consumers that cigarettes would calm the smoker when he felt nervous, or pep him up when he felt sluggish. This theme features ad campaigns from a variety of cigarette brands, all proclaiming cigarettes to be sedatives. Many of the ads in this theme are for Camel cigarettes, and claimed that only Camel cigarettes “do not upset your nerves.” This claim implied that other cigarette brands are stimulants and do cause people to get the jitters, but Camels are the exception. Though Camel was prolific in their anti-nerves campaigns in the 1930s, they were certainly not the only tobacco brand to approach this advertising technique, nor the first.

In 1918, Girard cigars claimed that their cigar “never gets on your nerves,” a slogan which Camel also used over a decade later in 1933. Girard’s ads pose questions that many readers would invariably answer in the affirmative: “Are you easily irritated? Easily annoyed? Do children get on your nerves? Do you fly off the handle and then feel ashamed of yourself?” The ad forces most readers to question their behavior and convinces them that they need intervention, when prior to reading the ad, they felt nothing was wrong. The ad posits Girard as at least one thing that won’t cause anxiety and as the solution to the problems people never even knew they had.

Other ads positioned also their products as relaxing agents. A 1929 ad for Taretyon cigarettes claims that “Tareytons are the choice of busy, active people. People whose work requires steady nerves.” Similarly, many of Camel’s ads explain that people in high pressure situations can’t afford to feel nervous or to have shaky hands (sharpshooters, circus flyers, salesmen, surgeons). The ads don’t provide the reader with the opportunity to think that avoiding cigarettes altogether would be an option if they were worried about the nervous effects of smoking; Instead, Camels are presented as the only “solution” to the nicotine-jolt problem. The ads target a wide variety of audiences, both male and female, young and old, daredevil and housewife. Camel ensures that everyone feels the need for a Camel fix, siting common fidgets like drumming one’s fingers, tapping one’s foot, jingling one’s keys, and even doodling as signs that someone has “jangled nerves.”

Still more brands took the anti-anxiety approach in their ads. In 1933, Lucky Strike advertised that “to anxiety – I bring relief, to distress – I bring courage.” One such ad features a man sitting nervously in the waiting room of a dentist’s office as a woman offers him a Lucky Strike to ease his nerves. Similarly, a 1929 ad for Spud cigarettes poses the question: “Do you smoke away anxiety?” Presuming you answered yes, the ad explains, “then you’ll appreciate Spud’s greater coolness.” The 1938 “Let up – Light up a Camel” campaign explained that “people with work to do break nerve tension” with Camels, and that “smokers find that Camel’s costlier tobaccos are soothing to the nerves!” Even 20 years later, in 1959, King Sano cigars advertised that “the man under pressure owes himself the utter luxury of the new ‘soft smoke’ King Sano.”

Also of note, many of these ads claim that Camels provide their smokers with “healthy nerves,” misleadingly implying that Camel cigarettes themselves are healthy.

Get a Lift – img3717

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In a prime example of marketing wizardry, tobacco advertisements have simultaneously presented cigarettes as both sedatives and stimulants. Ads worked to convince consumers that cigarettes would calm the smoker when he felt nervous, or pep him up when he felt sluggish. This theme features ad campaigns from that proclaim cigarettes to be stimulants.

In these ads from the early 1930s, Camel provides readers with “personal experiences that point the way to increased energy.” Each ad features a few testimonials from folks of varying professions, explaining how in their line of work, it is important to “Get a LIFT with a CAMEL.” This slogan is at odds with Camel’s other contemporaneous slogan, “It takes healthy nerves,” which claimed that far from being energy-boosting, Camel actually relaxed smokers on the job.

“Tired?” the Camel ads ask. “No matter! Here’s a delightful way to restore your flow of energy … as now revealed by Science.” Most disturbingly of all, the ad falsely claims that the energy boost from Camels “occurs in a harmless and utterly delightful manner.”

The ads target a wide variety of audiences. In particular, one 1937 Camel ad explicitly targets young people with an ad featuring a sporty debutante, calling her “typical of the younger set who go in for vigorous outdoor sports.” Other ads feature older men in distinguished careers in order to target an older set of smokers. Men are also shown in a variety of high-energy jobs; from football quarterbacks to deep sea divers, from rail engineers to pilots, from newspaper men to architects, no one is left out. The ads take a similar approach with women, featuring air hostesses, business women, champion mountain climbers, and even non-working women. One ad from 1934 claims that Olympic Diving Champion Georgia Coleman was “tired out from diving – and then she smoked a Camel!” while another from 1935 says the same for a woman out shopping: “I don’t know any task as exhausting as shopping,” says the unnamed woman. “I often slip away for a Camel when I’m getting tired. A camel restores my energy.”

Indeed, careful attention is paid to non-working women in order to ensure they don’t feel alienated by the plethora of testimonials featuring men and women at work. “A crowded store is tiring,” reiterates Mrs. Van Brunt Timpson in 1935, who also claims that smoking a Camel helps her tackle her shopping. In an ad from the previous year, housewife Mrs. Charles Day says, “Camels pick up my energy,” and in yet another ad from 1935, “college girl” Marguerite Osmun is also quoted as feeling “refreshed” after smoking a Camel “when tired.”

It is shocking to compare these ads to those which claim certain brands calm the nerves, revealing the sheer adaptability of the cigarette and its wide-reaching appeal.

Your Disposition – img3753

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In a prime example of marketing wizardry, tobacco advertisements have simultaneously presented cigarettes as both sedatives and stimulants. Ads worked to convince consumers that cigarettes would calm the smoker when he felt nervous, or pep him up when he felt sluggish.

In these ads from the mid-1950s, Camel claims that their cigarettes will improve a smoker’s “disposition.” The majority of the ads in this campaign feature testimonials from celebrities, like actor Rock Hudson ot Pulitzer Prize winning correspondent Marguerite Higgins, each claiming that Camels offered them relaxation or pleasure. Additionally, each ad includes a funny cartoon portraying a man or a woman with the head of an animal, bringing to life metaphors like “as mad as a wet hen” or “feeling badgered.” By comparing human feelings of annoyance to those felt by animals, Camel is able to drive home how “natural” these feelings are, and insinuate that by smoking a cigarette, humans can rise above their animal counterparts and become productive members of human society.

The ads employ faulty logic to convince readers of Camels’ relaxing attributes. First, the ads claim that Camels provide smokers with pleasure. Then, they claim that “it’s a psychological fact” that “pleasure helps your disposition.” Thus, the reader infers that in order to improve his or her disposition, he or she must smoke Camels.

A decade later, Camel rehashed the same campaign in a new format: The new ads claimed. “Camel Time is pleasure time,” whereas the slogan from the 1950s had been, “For more pure pleasure – have a Camel.” The new campaign also hinted toward an improved “disposition,” claiming that “moments seem to brighten up every time you light one up.”

Sex Sells – img3765

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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.

It's Fun to be Fooled – img3800

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In 1933, R. J. Reynolds released an ad campaign for Camel cigarettes which directly attacked Lucky Strikes’ popular “It’s Toasted” campaign. Without mentioning Lucky Strikes by name, the Camel ads insinuated that Lucky Strike’s ads “fool” consumers with “illusions,” while Camel provides its consumers with “no tricks, just costlier tobaccos” (a claim which was itself later contested by the Federal Trade Commission [FTC] as “inaccurate, false, and misleading”).

In this Camel campaign, each ad reveals a magician’s secret, describing both the illusion and the explanation behind the illusion. Then, the ad compares this magician’s illusion to a “trick of cigarette advertising.” Some of the advertising tricks that Camel mentions include “the illusion of ‘coolness’” and, alluding more directly to the “It’s Toasted” campaign, “the illusion that mildness in a cigarette comes from mysterious processes of manufacture.”

Of course, Camel’s accusation is true to a degree: cigarette advertising does employ many tricks; however, this campaign runs the risk of bringing Camels’ own tricks out from behind the curtain. Indeed, this is a case of “the pot calling the kettle black.” Over the next decade and beyond, the FTC charged the majority of popular cigarette makers with cease-and-desist orders for false and misleading advertising, including R.J. Reynolds. By 1942, the FTC cited a slurry of Camel’s claims as “inaccurate, false, and misleading,” including the following: “smoking of Camels aid digestion, fortifies good health, and has been discovered by a famous research laboratory to restore body energy, […] to keep in athletic condition one should smoke as many Camels as he likes, that Camels helped a racing car driver win a race and golf champion a grueling contest, that Camels would not shorten the wind or irritate the throat but would protect against nerve strain, and asserted that only the choicest tobaccos were used to make Camels” (1). The latter is the most interesting in this case, when the FTC labels false the very claim Camel had boasted as containing “no tricks.”

“FTC complaint hits cigarette claims” 8 Aug 1942. The New York Times

No Cigarette Hangover – img3817

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In these ads for Philip Morris cigarettes, Philip Morris claims that smokers can avoid “cigarette hangover” when smoking the PM brand. By creating this benign side effect of smoking, and offering a simple solution, Philip Morris evades more serious health concerns.

Ten years prior, Old Gold had dabbled with the “cigarette hangover” concept, claiming “no more smoking hangover” in a 1937 advertisement. A testimonial in the ad explained, “Now that I smoke fresh Old Golds I don’t wake up with that ‘cottony’ feeling in my mouth.” Philip Morris described the symptoms as “that stale, smoked-out taste in your mouth – that dry, tight feeling in your throat.”

Many ads of the campaign read: “…so smooth and mellow you can smoke them in any number without cigarette hangover” (1938).

High Fashion – img0576

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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.

You're So Smart – img0631

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The “You’re so smart to smoke Parliaments” campaign works on at least three levels. By using the words “so smart,” the ad (1) works to appeal to a buyer’s intelligence, (2) refers to Parliaments as the “smart,” safe choice, and (3) plays on the double-meaning of “smart” as also fashionable and chic. This all-encompassing word leant the campaign staying power. The health claims which come across through the “smart” campaign are reflective of the advertised recessed filter unique to Parliaments, which the aid claims to ensure that “only the flavor touches your lips,” rather than any harsh chemicals. By appealing to the buyer’s intelligence and fashion sense, the ad goes further than health claims, dabbling in the realms of self esteem and appearance, well-known techniques used by advertisements to manipulate women.

Brides with Butts – img0643

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In their advertisements, tobacco companies have long featured brides, marriage, and the myriad symbols associated thereof. Brides and their white wedding gowns represent purity, one of the adjectives with which cigarettes love to associate themselves; filters, low tar, and purity are all marketing ploys tobacco companies utilize to make cigarettes appear safer and healthier. Femininity, elegance, and luxury are also highlighted in these ads. Additionally, cigarette advertisements which utilize the marriage angle attempt to imbue their products with a sense of tradition, custom, and sometimes even rite of passage.

Couples in Love – img0675

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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.

Keep Kissable – img0729

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The ads In Old Gold’s “Keep Kissable” campaign claim that Old Gold cigarettes lack “breath-tainting” and teeth-staining properties, making them the perfect choice for a kiss. Many of the ads in this campaign targeted women who were concerned that cigarettes would cause yellowed teeth and bad breath. The ads attempted to dispel these fears in women by urging them to “keep kissable” with Old Golds. P. Lorillard employed pseudoscience in the copy text, claiming that the “greasy artificial flavorings” in most cigarettes are the cause of yellowed teeth, rather than the actual source – nicotine. Old Gold claims that their “100% natural” flavors allow their cigarettes to prevent the teeth-staining associated with smoking, though this claim is entirely false. Additionally, Old Gold cigarettes are described in this ad as comparable to “honey to your throat,” and “not a cough in a carload,” indicating that the “natural flavors” are also supposed to suppress the damage smoking has on your throat – another entirely false claim.

Objectifying Women – img0742

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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.

Lady's Cigars – img0783

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When one thinks of a cigar, one doesn’t usually think of a woman. In fact, cigarettes were originally created as a woman’s version of a cigar, since cigars were considered completely unladylike. Tobacco companies stretched the boundaries of advertisements with this series of ads targeting women or using the feminine mystique in selling their cigar products. Cigar ads featuring women are usually highly sexualized or romanticized, or speak to women’s liberation movements. Generally, they objectify women in order to advertise cigars to men.

Women's Liberation – img0793

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One of the most common techniques tobacco companies employ in order to target women is women’s liberation. Specifically, these advertisements show a woman in a position of power over a man, while being careful to keep the power-play light, carefree, and a bit flirtatious. The ads are prudent, hoping not to offend anyone while appearing to “take sides,” so to speak, with women. Often, these ads distract from the position of power Big Tobacco itself holds over both sexes, by pitting women against men instead of against Big Tobacco.

Women in Sports – img7317

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Tobacco companies often solicited endorsements from athletes to emphasize healthy, active lifestyles and tie these lifestyles in with their cigarettes. Additionally, well-known athletes could give the same kind of celebrity appeal as singers and actors, especially for teens and young adults. Sometimes, tobacco companies showed every-day people playing sports to create a connection among health, energy, athleticism, and cigarettes. Female athletes were highlighted as early as the 1920s (in this collection, a 1927 advertisement from Lucky Strike features a woman playing tennis with a man). Many of the female athletes who were selected to endorse cigarette brands played sports that could be considered feminine: tennis and table tennis, ice skating, swimming and diving, golf, and skiing. Some of the modern ads feature women playing more “manly” sports, like basketball or football, with their boyfriends, or show a woman playing billiards in an attempt to entice young men to the brand.

Early Years – img7523

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In the early 1900s, it was not considered socially acceptable for women to smoke in public, but according to a newspaper article from Aug 9, 1919, “Smoking in public by women has ceased to shock for ten years past.” One New York Times article from October 7, 1919, cited British women as having a “large share in doubling cigarette sales since 1914.” The article claims that some women “can’t even hang out the washing unless they have a cigarette in their mouths.” As early as 1915, Cambridge University was polling parents as to whether its female students should be allowed to smoke on campus. At the time, women were clearly interested in smoking, but it was not accepted by the entirety of the general public.

It was becoming clear that women were beginning to make up quite a bit of the market share for many cigarette brands, and it was only a matter of time before the brands started targeting women directly with advertising. Another 1919 article, this one written by a woman in the Daily Mirror, states that “most women smoke for effect: merely to be up-to-date” and to avoid the “horror of being thought to harbour old-fashioned ideas nowadays.” If it was a look women were after, the tobacco companies capitalized on this trend, featuring beautiful, glamorous, “up-to-date” women smoking cigarettes in their print advertisements, furthering the prevalence of the image of the modern smoking woman and making it seem more and more like smoking was “something that everybody does.”

The 1920s saw a boom in advertisements marketing cigarettes to women, though the tobacco companies feared the prohibition activists who were prominent from 1920-1933. Indeed, the Women’s Christian Temperance Union (WCTU) was displeased when women began smoking in public, and in 1920 the WCTU stated that it would work to prevent women and youth from smoking. In 1921, prohibition groups were appealing to state governments to pass anti-tobacco legislation, hoping for an ultimate constitutional amendment banning tobacco. It wasn’t until after these prohibition activists became less of a threat that the major mass marketing efforts by tobacco companies targeting women would begin. However, well before these major mass marketing efforts, tobacco ads targeting women were present – though more subtle – marketing cigarette smoking as a method of evoking femininity or of providing an alluring fragrance for women.

Let's Smoke Girls – img7559

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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.

Pretty in Pink – img10248

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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.

Mass Marketing Begins – img41584

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As the threat of tobacco prohibition from temperance unions settled down in the late 1920s, tobacco companies became bolder with their approach to targeting women through advertisements, openly targeting women in an attempt to broaden their market and increase sales. The late 1920s saw the beginnings of major mass marketing campaigns designed specifically to target women. “Cigarette manufacturers have for a long time subtly suggested in some of their advertising that women smoked,” a New York Times article from 1927 reveals. But Chesterfield’s 1927 “Blow some my way” campaign was transparent to the public even at the time of printing, and soon after, the campaigns became less and less subtle. In 1928, Lucky Strike introduced its “Cream of the Crop” campaign, featuring celebrity testimonials from female smokers, and then followed with “Reach for a Lucky Instead of a Sweet” in 1929, designed to prey on female insecurities about weight and diet. As the decade turned, many cigarette brands came out of the woodwork and joined in on unabashedly targeting women by illustrating women smoking, rather than hinting at it.

Misty – img0994

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Misty was introduced in the 1990s as the only bargain brand offering 120 mm length cigarettes. It strives to be the leading value-priced slims brand for women, working to attract price-conscious women who would otherwise be attracted to brands such as Virginia Slims, Eve, or Max. Like Eve, Misty used feminine graphics on its packs to attract young women to their brand; rainbows adorned Misty packs, while flowers and butterflies could be found on Eve packs. In 1999, the slogan “Find your rainbow” postured the brand as an opportunity for women to find individuality and freedom, a common tactic in cigarette advertising targeted at young people.

Like Virginia Slims and Eve, Misty hopes to attract women by harnessing the power of fashion. Many Misty print advertisements portray women in fashion-forward outfits with tons of accessories, including a long cigarette. The slogans made direct reference to physical appearance, such as “Light ‘N Sassy with a Light price, too” or even “Slim ‘N Sassy.” Both slogans tell women that they will be slender if they smoke a “slender” cigarette, and that it won’t have to cost them a fortune, either. Like Virginia Slims and Eve, Misty cigarettes themselves are longer and narrower than average cigarettes, a clear reference to a woman’s figure. A slim, slender figure is often presented as more desirable in women’s fashion magazines and by models in the fashion industry. Thus Misty provides a not-so-subliminal, indirect message that their brand will result in its smokers obtaining or maintaining a slim figure.

Capri – img1035

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Brown & Williamson launched Capri as the first ever “super slim” cigarette in 1987, targeting young women. Traditional cigarettes have a circumference of 25 mm, slim cigarettes 23 mm, and Capri Super Slims only 17 mm. Advertisements for Capri follow the logic that slimmer is better, apparently influenced by the assumption that women prefer to be physically slim, since a slender figure is often presented as more desirable in women’s fashion magazines and by models in the fashion industry. Slogans such as “The slimmest slim in town” (1988) and “There is no slimmer way to smoke” (1994) provides a not-so-subliminal message that by smoking Capri cigarettes, consumers can count on obtaining or maintaining a slimmer figure than everyone else.

Max – img1044

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Max, a cigarette brand for women featuring cigarettes 120 mm in length, was introduced in 1975 by Lorillard on the heels of Liggett & Myers’ Eve 120s (1973) and R.J. Reynolds’ More cigarettes (1974). Featuring 20 mm of extra length beyond the 100 mm “king size” (which is already significantly longer than the 85 mm of a traditional cigarette), Max advertised a fashionable, sexy, “healthier” cigarette.

Ads from the 1970s featured stylish women who explained, “The longer they are, the fewer I smoke.” Because the statement is completely false, the woman goes on to say, “It’s wacky, but it works. Max 120’s take longer to smoke so you don’t light up as often.” The truth of the matter is that the human body will seek a certain amount of nicotine to feed addiction, regardless of the length of the cigarette.

Other Max ads marketed the brand as sexy, comparing Max cigarettes to an attractive man named Max: “Say hello to Max,” ads from 1975 read. “Hello long, lean and delicious.” Another ad urges the consumer to “Make friends with Max.” Still, other ads concentrated on the fashionable aspect of the cigarette, much like most women’s cigarettes. These ads, which reached into the 1980s, presented the cigarette as an accessory for any outfit, featuring fashion-forward models under a slogan advising consumers to “Wear a Max today.” Further, these “Wear a Max” ads spoke to feminine concerns with beauty, claiming that the cigarette is “long, lean” and “great looking,” insinuating that by smoking an attractive cigarette, the smoker will be attractive, too.

Debs – img1090

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Women’s cigarettes from the first half of the 20th century often emphasized femininity. Perhaps the logic was that if a woman wasn’t interested in femininity, then presumably she would be fine with a cigarette targeting men. For example, early Marlboros featured “red beauty tips to match your lips and fingertips” and “ivory tips to protect the lips.” Similarly, Benson & Hedges released Debs Rose Tips, which included a red tip to avoid lipstick smudging and to avoid “unsightly” lipstick stains on cigarette butts which, supposedly, disturb “masculine sensibilities.” Quotes from the ads, such as “Men like women to smoke Debs” reveal the centrality of sex appeal and sexual attraction in cigarette advertising, even as early as the 1940s. The ads claim that “men like women to smoke Debs for nearly all men have an innate dislike of a cigarette with a lipstick-smeared end and lips with half-erased color.” If this statement sounds ridiculous to women, the ads poo-poo these doubts by explaining that “A woman would have to be a man to know how intensely he dislikes a smeared cigarette and messy lips—for he never will tell her.”

Though the ads do claim Debs are mild, they also claim that the cigarettes contain a “mannish tobacco blend that does not steal from taste to achieve mildness.” In fact, the ads clam that this “mannish blend” goes “straight to the spot of smoking pleasure.” The cigarette claims to have it all – allowing a woman to present an outward appearance of femininity and gentleness, while secretly enjoying the pleasures of a man.

Women’s cigarettes from the first half of the 20th century often emphasized femininity. Perhaps the logic was that if a woman wasn’t interested in femininity, then presumably she would be fine with a cigarette targeting men. For example, early Marlboros featured “red beauty tips to match your lips and fingertips” and “ivory tips to protect the lips.” Similarly, Benson & Hedges released Debs Rose Tips, which included a red tip to avoid lipstick smudging and to avoid “unsightly” lipstick stains on cigarette butts which, supposedly, disturb “masculine sensibilities.” Quotes from the ads, such as “Men like women to smoke Debs” reveal the centrality of sex appeal and sexual attraction in cigarette advertising, even as early as the 1940s. The ads claim that “men like women to smoke Debs for nearly all men have an innate dislike of a cigarette with a lipstick-smeared end and lips with half-erased color.” If this statement sounds ridiculous to women, the ads poo-poo these doubts by explaining that “A woman would have to be a man to know how intensely he dislikes a smeared cigarette and messy lips—for he never will tell her.”

Though the ads do claim Debs are mild, they also claim that the cigarettes contain a “mannish tobacco blend that does not steal from taste to achieve mildness.” In fact, the ads clam that this “mannish blend” goes “straight to the spot of smoking pleasure.” The cigarette claims to have it all – allowing a woman to present an outward appearance of femininity and gentleness, while secretly enjoying the pleasures of a man.

Smoking Guns – img12146

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In a prime example of marketing wizardry, tobacco advertisements have simultaneously presented cigarettes as both sedatives and stimulants. Ads worked to convince consumers that cigarettes would calm the smoker when he felt nervous, or pep him up when he felt sluggish. This theme features ad campaigns from a variety of cigarette brands, all proclaiming cigarettes to be sedatives. Many of the ads in this theme are for Camel cigarettes, and claimed that only Camel cigarettes “do not upset your nerves.” This claim implied that other cigarette brands are stimulants and do cause people to get the jitters, but Camels are the exception. Though Camel was prolific in their anti-nerves campaigns in the 1930s, they were certainly not the only tobacco brand to approach this advertising technique, nor the first.

In 1918, Girard cigars claimed that their cigar “never gets on your nerves,” a slogan which Camel also used over a decade later in 1933. Girard’s ads pose questions that many readers would invariably answer in the affirmative: “Are you easily irritated? Easily annoyed? Do children get on your nerves? Do you fly off the handle and then feel ashamed of yourself?” The ad forces most readers to question their behavior and convinces them that they need intervention, when prior to reading the ad, they felt nothing was wrong. The ad posits Girard as at least one thing that won’t cause anxiety and as the solution to the problems people never even knew they had.

Other ads positioned also their products as relaxing agents. A 1929 ad for Taretyon cigarettes claims that “Tareytons are the choice of busy, active people. People whose work requires steady nerves.” Similarly, many of Camel’s ads explain that people in high pressure situations can’t afford to feel nervous or to have shaky hands (sharpshooters, circus flyers, salesmen, surgeons). The ads don’t provide the reader with the opportunity to think that avoiding cigarettes altogether would be an option if they were worried about the nervous effects of smoking; Instead, Camels are presented as the only “solution” to the nicotine-jolt problem. The ads target a wide variety of audiences, both male and female, young and old, daredevil and housewife. Camel ensures that everyone feels the need for a Camel fix, siting common fidgets like drumming one’s fingers, tapping one’s foot, jingling one’s keys, and even doodling as signs that someone has “jangled nerves.”

Still more brands took the anti-anxiety approach in their ads. In 1933, Lucky Strike advertised that “to anxiety – I bring relief, to distress – I bring courage.” One such ad features a man sitting nervously in the waiting room of a dentist’s office as a woman offers him a Lucky Strike to ease his nerves. Similarly, a 1929 ad for Spud cigarettes poses the question: “Do you smoke away anxiety?” Presuming you answered yes, the ad explains, “then you’ll appreciate Spud’s greater coolness.” The 1938 “Let up – Light up a Camel” campaign explained that “people with work to do break nerve tension” with Camels, and that “smokers find that Camel’s costlier tobaccos are soothing to the nerves!” Even 20 years later, in 1959, King Sano cigars advertised that “the man under pressure owes himself the utter luxury of the new ‘soft smoke’ King Sano.”

Also of note, many of these ads claim that Camels provide their smokers with “healthy nerves,” misleadingly implying that Camel cigarettes themselves are healthy.

World War I – img5551

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WWI was the major event of the twentieth century that brought cigarette use to the forefront of tobacco use. Before WWI there were many popular anti-tobacco movements led by progressive religious organizations such as National Women’s Christian Temperance Union (WCTU) and Young Men’s Christian Association (YMCA) who advocated for policies banning tobacco sales1. Cigarette prohibition laws were even passed in several states such as Indiana, Nebraska, and Idaho1. This was all changed with the advent of WWI1.
Fighting in WWI was static, with soldiers switching between long waiting periods to battling through day-long artillery barrages in trenches filled with death and carnage2. For fighting soldiers smoking became a coping mechanism to handle both times of stress and boredom2. Leaders such as General John Pershing saw cigarettes as necessary to troop morale with Pershing claiming that the importance of tobacco to the war was equal to that of bullets2.
Pipe smoking had been more popular at the onset of the war as it was seen as more masculine with many armies even rationing loose-leaf pipe tobacco3. However, pipes were easily broken during battle and loose-leaf tobacco near impossible to keep dry in the trenches3. Thus, the convenient transportable design of the pocket cigarette made it the signature tobacco product of WWI soldiers3.
The American Expeditionary Forces (AEF) were at first supplied with cigarettes through canteens2. Canteens were stations that sold non-rationed goods and were manned by civilian organizations2. Cigarette companies soon developed ads in both newspapers and magazines to convince soldiers to buy their brand.1 Such advertisements often included patriotic themes to suit wartime customers1. These include portraying cigarette brands as strengthening bond between Allied troops, individual soldiers, and their families and sweethearts back home.
It was General March who would put canteens back under army control and create the official policy of rationing soldiers four ready-made cigarettes per day2. This ration would increase over time and by the Second World War soldiers had access to 12 to 28 army-provided cigarettes per day2. As men returned from army service once the Great War was over they brought their smoking habit with them1. The anti-tobacco movement lost following with the return of these veterans who were known to argue, “If cigaret[te]s were good enough for us while we were fighting in France, why aren’t they good enough for us in our own homes?”1 This initial popularity of the cigarette with the WWI generation would continue throughout the decades, further catalyzed during WWII before culminating into the smoking epidemics of the 1950s and 60s1.
1. https://www.cdc.gov/tobacco/data_statistics/sgr/2000/complete_report/pdfs/chapter2.pdf
2. Bius, Joel. “The Damn Y Man in WWI: Service, Perception, and Cigarettes.” The YMCA at War: Collaboration and Conflict during the World Wars, Lexington Books 2018.
3. https://pointsadhsblog.wordpress.com/2014/06/27/wwi-part-5-tobacco-in-the-trenches/

World War II – img5559

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A unique quality of both WWI and WWII armies was that a majority of their combatants were not professional soldiers but rather citizen conscripts1. Thus, habits the common soldiers picked up on the battlefield, such as smoking, were brought home after the war’s end3. WWII soldiers used cigarettes similarly to their WWI forbearers, smoking to escape the stress of battle and steady their nerves1. Soldiers had been rationed 4 cigarettes a day during WWI. In WWII authorities also saw tobacco as a necessity to the maintenance of fighting men, and actually added cigarettes into their daily K-ration before toilet paper2. K-rations provided a four pack per meal, meaning soldiers were issues a total of 12 cigarettes per day. Soldiers could also buy discounted twenty-packs at the army post exchange (PX) stations2. Hence, cigarettes were made readily available to men in the armed forces.
The army didn’t necessarily use one brand for rations, instead cigarettes came in sample packs of different brands, with the most common being Chesterfields2. Tobacco companies specifically targeted the troops stating that they used “personalities associated with the war” such as test pilot “Red” Hulse4. They also sent “cigarettes by millions to GI’s overseas” claiming that the Camel brand was “First in the Service.”4 WWII cigarette adverts focused on themes of smoking as patriotic, promoting solidarity between armed forces, relieving stress, increasing battle performance, encouraging romantic fidelity, and a connection to home. Even after the war was over, WWII continued to be used as an advertising strategy due to its role as a common relatable event among the cigarette consumers of the time.

1. https://www.medicalnewstoday.com/articles/240820.php
2. http://www.kration.info/cigarettes-and-matches.html
3. https://www.jstor.org/stable/30034360
4. https://www.industrydocumentslibrary.ucsf.edu/tobacco/docs/#id=ksfy0061

Space – img5697

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In 1949, on the heels of Lucky Strike’s 1931 ad campaign, “Do You Inhale?” and Philip Morris’ 1942 campaign, “Inhale? Sure, all smokers do,” P. Lorillard released a campaign for Embassy urging smokers to “Inhale [Embassy] to your heart’s content!” Lorillard claimed that Embassy’s extra length provides “extra protection.” The faulty concept was that because the cigarette was longer, it was able to better filter out toxins, since it took more time for the smoke to reach the smoker’s throat due to the long length through which it had to travel. In 1950, the Federal Trade Commission (FTC) investigators had decided that king-size cigarettes, like Embassy, contained “more tobacco and therefore more harmful substances” than are found in an ordinary cigarette.

Lorillard’s particular choice of cliché, “to your heart’s content,” was misleading at best . The phrase was meant to impart a sense of happiness and healthfulness. Of course, inhaling would not have made anyone’s heart content; Instead, smoking has been recognized as a major cause of coronary artery disease, responsible for an estimated 20% of deaths from heart disease in the United States. Most ironically in the context of this advertisement campaign, a smokers’ risk of developing heart disease is thought to greatly increase as his or her cigarette intake increases.

Kamel Modern – img5931

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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

Camel Pleasure to Burn – img5975

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In 1999, R.J. Reynolds developed the Camel “Pleasure to Burn” campaign to target young consumers. The campaign used a cheeky humorous approach to alert consumers of Camel’s modern appeal as well as its long history: The ads featured a painting of a model dressed in “iconic” clothing from a famous decade past, but with a modern twist, like the addition of nose rings for women or stud earrings for men, tattoos, advanced modern technology like headsets and remote controls, and other strange anachronisms. An internal RJR document reveals that this approach “juxtaposes the classic with the contemporary” in the hope of portraying the brand’s “heritage and history as well as the brand’s contemporary relevance and popularity” (1). The technique followed up on the Red Kamel campaign introduced in 1996 which used a similar retro-vintage technique to target youth.

1. “Camel ‘Pleasure to Burn’ Campaign.” RJ Reynolds. Aug 1999. http://legacy.library.ucsf.edu/tid/aqs97c00

Lucky Strike Modern – img6095

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When Brown & Williamson took over the Lucky Strike brand in 1995, they sought to reposition the brand toward a younger demographic by introducing the “Spotlight” campaign. The new campaign featured the classic Lucky Strike roundel in full-color super-imposed onto the floor or wall of a scene, while the rest of the environment was depicted in low-saturation colors or even black and white to convey a sense of the classic(1). The campaign incorporated the slogan “An American Original” to convey the product’s authenticity, but juxtaposed this sentiment with modern scenes and models to provide the ads with a sense of timelessness. The campaign targeted “urban, hip, individualistic free-thinking” young males (2) and used models who evoked a “cool, laid back, even arrogant” personality (3).

1. B&W. 13 May 1999. http://legacy.library.ucsf.edu/tid/dvt12d00

2. Cheyne, S. 4 Nov 1998. http://legacy.library.ucsf.edu/tid/wgo02d00

3. B&W. 24 Apr 1996. http://legacy.library.ucsf.edu/tid/reb77a00

Kool Modern – img6112

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Recent Kool 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. Kool’s advertisements from 2005 used the slogan “Be True,” which urged consumers “be true” to themselves and to “be true” and loyal to the brand. The “Be True” slogan was accompanied by 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; Asians, African Americans, and Caucasians are all represented in the 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.

Kool utilized music in general (particularly jazz music in the 1980s and hip hop in the 2000s) as “an idea or symbol that was truly Pan-Racial… an idea that transcended the color of a smoker’s skin” (1). In a National Sales Meeting speech, a B&W exec explained their music-oriented approach as “not advertising for Blacks or Whites or Hispanics,” but rather as “advertising for everyone who likes music. And how many people do you know who don’t like music?” The exec goes on to explain, “Black smokers are very important to Kool, as you well know, and we could, like Salem, create a separate ad campaign to run in Black publications… with Black models only. But why should we? We don’t have to do that, we’re going to own the world of music, where the subject of Black and White don’t matter because the only real issue is one of pleasure. Musical enjoyment…linked to smoking satisfaction” (2).

1. Cunningham & Walsh Advertising Agency. “Kool: The Revitalization of an Image.” B&W. 1 July 1981. http://legacy.library.ucsf.edu/tid/leb91d00

2. Lewis, LR. “Speech for National Sales Meeting.” B&W. Oct 1981. http://legacy.library.ucsf.edu/tid/crj40f00

Bizarre Modern – img6247

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New tobacco advertising rules were established in the United Kingdom in 1975. Soon after, multiple British cigarette brands began issuing creative solutions to skirt the restrictions (1). In 1977, Gallaher created a surrealist campaign for its B&H brand in the UK (2). The ads offered a strange, enigmatic image coupled with the Tar Banding and Health Warning baseline that the UK mandated for cigarette ads. These ads were meant to demonstrate the industry’s longevity, due to its intense creativity, even in the face of government restrictions. Soon after B&H’s creative solution, Silk Cut and Marlboro took a similar approach in the UK, eliminating the image of cigarettes from the ads altogether, making tenuous connections to the cigarette brand through “visual puns and color” (3). In 1983, the popular UK brand Rothmans also created 2-page spread ads which relied upon the health warning to demonstrate the advertising was for cigarettes, and included the brand’s classic slogan, “Rothman’s – The greatest name in cigarettes” to communicate branding. The images in the Rothmans ads featured futuristic structures of little apparent connection to the product (4).

In 1994, Benson & Hedges made fun of clean air laws and no-smoking rules with an absurd, tongue-in-cheek campaign. The slogan created a play-on-words between “the length you go to for pleasure” and the extra length of its 100mm cigarette. Print ads for the campaign depicted smokers solving no-smoking rules, such as those existing on airplanes and in museums, with utterly ridiculous or literal interpretations of the laws. For example, one ad asks, “Have you noticed all your smoking flights have been cancelled? For a great smoke, just wing it.” The models are shown sitting on the wing of a plane, enjoying their cigarettes. Philip Morris VP of Corporate Affairs, Ellen Merlo, explained, “We understand the pressures and constraints placed on smokers today, and the length they must go to in order to exercise their right to smoke. Because of the absurdity of some of the situations, we hope everyone will understand that accommodation of smokers and non-smokers alike is a much better alternative” (5). This logic bases itself in the fabricated tobacco industry mantra that smoking is a choice and that there are smoker’s rights. Cigarettes are the only product that when used as directed results in fatal illness. Additionally, there are many factors, especially manipulative advertising, which complicate the meaning of “choice” in starting to smoke.

1. Parker-Pope, T. The Wall Street Journal. 9 Oct 1996. http://legacy.library.ucsf.edu/tid/sdk93c00

2. BATCo. Aug 1981. http://legacy.library.ucsf.edu/tid/syt01a99

3. Beatt, A. 1994. http://legacy.library.ucsf.edu/tid/vib31a99

4. BATCo. May 1983. http://legacy.library.ucsf.edu/tid/shl11a99

5. Philip Morris. 29 March 1995. http://legacy.library.ucsf.edu/tid/udm40b00

Salem Modern – img12788

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Recent Salam ads blatantly target youth. Earlier Salem ads (“Salem Spirit”) from the 1980s used a technique largely reminiscent of Newport’s long-lived “Pleasure” campaign, spotlighting groups of young friends having fun in athletic, outdoorsy settings. The 1990s saw Salem’s “Refreshest” campaign, which targeted teens and adolescents with mind-boggling images like a woman relaxing on a pool floatie inside of a grand piano filled with water, or, similarly, a couple lounging in the pick-up of a truck, also filled with water. Some Salem ads from the 2000s feature the slogan, “Stir the senses,” and each ad depicts a model smoking in green, mentholated ecstasy. These scenes appear drug-induced, and even RJR’s description of the ads brings into question recreational drug-inspiration: “One ad pictures a woman extending her arm to interact with two dragonflies that are swirling around a burst of light. Another execution features a man gazing at a swirling green galaxy, with the reflection of the galaxy appearing in his sunglasses”.

Other Salem ads from the 2000s reveal clear youth targeting through a risk-taking appeal with the slogan, “Step Inside. It’s Not What You Expected,” or “There’s More To It.” This slogan invites uninitiated youth to try smoking. 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. The ads are complex and difficult to capture in 1-dimensional scans on our Web site, as they often consisted of 4-page spreads. The front cover of the spread would show a “familiar image” with a cutout window revealing a small part of the next page. When the front cover is flipped over, the full spread originally indicated by the cutout is revealed to be “an entirely different design, unexpected by the reader” (2). This type of innovative print advertising is even more appealing to youth.

1. http://legacy.library.ucsf.edu/tid/gkc87h00

2. http://legacy.library.ucsf.edu/tid/ofi60d00

Winston Modern – img17492

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In 1997, Winston adopted the slogan “No Additives – No Bull,” and claimed that laboratory tests revealed that the top ten non-menthol U.S. brands of cigarettes contain 6% additives, and only 94% tobacco, whereas Winstons are 100% tobacco. This ad technique is surprisingly reminiscent of those used during the infamous “tar derby,” in which cigarette brands competed with one another for the lowest tar and nicotine levels. However, the benefits behind 100% tobacco as opposed to 94% are unclear in this case. Consumers are meant to infer that they somehow benefit from the lack of additives, though a warning box clarifies that “No additives in our tobacco does NOT mean a safer cigarette.” In Winston’s case, smoking 100% tobacco is meant to make the smoker feel more “hardcore” or serious – a true smoker – “No Bull.” Other Winston ads from the late ’90s render Winstons as a “Real Cigarette,” presumably as opposed to a sissy cigarette, and some use the simple slogan, “Straight up” a slang term connoting both honest, straight-talk and something that isn’t watered down (as in an alcoholic beverage with no ice). Later Winston ads from 2003 take a similar approach, advising young people to “Leave the Bull Behind” and opt for a “naturally smooth” Winston.

Overseas, particularly in Russia, Winston is owned by Japan Tobacco Inc. (JTI). The product “Winston XS” is a superslim cigarette (as in extra-small). Winston XS uses the slogan “Xsence of me,” a word-play on “essence.” The ads for Winston XS are futuristic.

Silk Cut Modern – img42997

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In 1984, the Gallaher Group hired Charles Saatchi’s ad agency to design an innovative ad campaign which would obey U.K. cigarette advertising restrictions while still promoting the Silk Cut product. The new ads, which circulated for over a decade, created a visual pun by utilizing purple silk in the ads, representing the royal purple silk ribbon which seals each Silk Cut cigarette box. (1). The ads flip around the product name and literally Cut through the purple Silk, often in a manner with sexual undertones. For example, the spout of a tin oil can penetrates a hole through a piece of silk, or a trio of open scissors slice through the fabric, the blades like the open legs of can-can dancers. Many of the ads have a surreal effect, and cause the viewer to pause and ponder over them. The viewer puzzles over the image, and when he figures out the joke, he feels rewarded – directly correlating a positive feeling with the brand (2). The viewer also develops an association between the color purple and Silk Cut cigarettes, much like the association between red and Marlboro (3). The ads particularly allow Silk Cut to continue marketing its product in a brutal advertising environment which prohibits such classic methods as using attractive models. Some sources have indicated Silk Cut’s behavior as a warning or lesson to other countries who may attempt restrictions on cigarette advertising in the future; The U.K. restrictions definitely “triggered a burst of creativity that has produced a new genre of subtle, sophisticated ads” and stimulated “unconventional approaches” to advertising (4).

Warner, F. Brandweek. 28 June 1993. http://legacy.library.ucsf.edu/tid/toy70e00

Bates, A. 30 Jan 1997. http://legacy.library.ucsf.edu/tid/owm70g00

Statement by Ronald Davis. 30 Sept 1997. http://legacy.library.ucsf.edu/tid/woo16c00

Parker-Pope, T. 9 Oct 1996. http://legacy.library.ucsf.edu/tid/jlq08d00

American Spirit Modern – img45063

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Santa Fe Natural Tobacco Company’s advertising strategy targets the young, progressive and environmentally conscious, by promoting the “organic” and “additive free” nature of its tobacco products. Most of the ads for the tobacco company, contain a combination of these key phrases: “100% additive free”, “made with 100% organic tobacco”, “natural tobacco”, and “natural tastes better.”

The Natural American Spirit ads are designed to communicate to the viewer that there is nothing synthetic or artificial about their cigarettes thereby encouraging tobacco users to believe that the cigarette is superior to others. In reality, there is nothing natural or pure about how the tobacco is processed in cigarettes. The ads rely on a palette of mild, pastel shades that are meant to resemble natural dyes. Most ads display one or more cigarette packs surrounded by a rural setting. For example, several of the ads are of a farm where everything, from the roots and soil to a field of bright sunflowers, is crafted from colored tobacco leaves. Others show green pastures or barren farms with a few tobacco sprouts pushing out of the dirt. In one dramatic version, the cigarette packs themselves are sprouting like crops. These pictures draw nostalgia for the once simple way of life.

The tobacco company also heavily advertises itself to environmentalists through buzz word such as “eco-friendly” and “sustainable.” For instance, ad copy for a Natural American Spirit ad says, “”We grow our premium natural tobacco in a responsible, sustainable way through our earth-friendly and organic growing programs…. Protecting the earth is as important to us as it is to you.”

Santa Fe Natural Tobacco company has faced legal action a few times over its advertising claims. In 2000, the Federal Trade Commission filed a deceptive advertising campaign arguing that through their advertisements, “Santa Fe represented that because Natural American Spirit cigarettes contain no additives, smoking them is less hazardous to a smoker's health than smoking otherwise comparable cigarettes that contain additives.” This led to Santa Fe adding the following disclaimer on its packets, “No additives in our tobacco does NOT mean a safer cigarette.” A decade later, attorneys general from 33 states and the District of Columbia, reached an agreement requiring Santa Fe to add a disclaimer stating, “Organic tobacco does NOT mean a safer cigarette.” The hope was that this warning would alert consumers that natural tobacco does not mean safer tobacco.

However, If popular culture is any clue to how persuasive these disclaimers really are, 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.

Marlboro Modern – img46192

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Marlboro’s latest campaign, “Be Marlboro” is replete with youth-oriented images and themes that strongly suggest to young people that they should smoke Marlboro cigarettes.

The “Be Marlboro” campaign was launched in Germany in 2011 and has now spread to more than 50 countries including Brazil, Indonesia, China, Japan, Israel, Russia, Switzerland, and the United Kingdom. In 2013, it was banned from Germany on the grounds that the advertisements were “designed to encourage children as young as 14 years of age to smoke.”

The advertising campaign is filled with images of attractive people taking risks, asserting their freedom, exploring their limits and defying authority. The central message of the ads is that individuals need to shake off their inhibitions to achieve their goals. A good way to do is to “Be Marlboro.” For instance, an ad has the image of a person high on his motorbike (Maybe I will take the challenge”), a profile of a macho man lighting his cigarette (Maybe never lights up the night), an old lady with a raised fist (A Maybe never made history… Don’t be a Maybe), a young woman pressing against a man in an alley (“Maybe never fell in love”), and a guy hopping a chain link fence (“Maybe never found a way”).

Other marketing tactics used by the Be Marlboro campaign include sponsorship of parties and concerts, online promotional videos, exciting point of sale displays and interactive promotional booths.

The use of aspirational imagery and values has been a tactic often used by the tobacco industry to market to youth. Internal tobacco documents by Philip Morris itself describes smoking as an activity that can be “linked to adult initiation, risk taking, bonding with peers and the need for youth to feel like they belong to a group that can partake in an ‘adult activity’.”1,2

In a report by Philip Morris, referred to by the tobacco company as the Archetype Project, it stresses that in advertising the product, the marketing department should stress that “smoking is for people who like to take risks and are not afraid of taboos, using images of an American identity and emphasizing the ritualistic elements of smoking.” It is clear that many ads of the Be Marlboro campaign are reflective of the guidance provided in the Archetype Project.

1. Campaign for Tobacco Free Kids. “Maybe You’re The Target.” New Global Marlboro Campaign Found to Target Teens. Retrieved from http://global.tobaccofreekids.org/content/what_we_do/industry_watch/yourethetarget_report.pdf?utm_source=rss&utm_medium=rss&utm_campaign=youre-the-target-new-global-marlboro-campaign-found-to-target-teens-pdf-2
2. Levy C. Archetype project summary (internal industry document.) 1991. Bates No. 3990758331/3990758346. http://legacy.library.ucsf.edu/tid//zra21j00/pdf.

Murad – img6286

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In the early 1900s, manufactures of Turkish and Egyptian cigarettes tripled their sales and became legitimate competitors to leading brands. The New York-based Greek tobacconist Soterios Anargyros produced the hand-rolled Murad cigarettes, made of pure Turkish tobacco. P. Lorillard acquired the Murad brand in 1911 through the dissolution of the Cigarette Trust, explaining the high quality of the Murad advertisements in the following years.

Murad, along with other Turkish cigarette brands referenced the “Oriental” roots of their Turkish tobacco blends through pack art and advertising images. They also capitalized on the Eastern-inspired fashion trends of the time, which were inspired by the Ballets Russes (1909-1929) and its performance of “Scherazade.” The vibrant colors, luxurious jewels, exoticism and suggestive nature of the images in these advertisements contributed greatly to their appeal.

Women drenched in pearls, jewels and feathers, wearing harem pants or flowing dresses, were paired in the ads with men in expensive suits or in exotic turbans. The Orientalism, exoticism and luxury are evoked through Eastern-inspired garb accentuated the Turkish origins of the tobacco and presented it in an alluring, modern light. Indeed, the women in these ads, in particular, is seen as less of a reflection on Victorian femininity than a fantasy of an exotic enchantress from a foreign land or a modern woman shedding the shackles of Victorian propriety.

Omar – img6355

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In the early 1900s, manufactures of Turkish and Egyptian cigarettes tripled their sales and became legitimate competitors to leading brands. In 1911, The American Tobacco Company introduced Omar, a premium Turkish blend cigarette, in order to compete with other leading Turkish brands like Murad. The cigarette was named after the medieval Persian poet Omar Khayyám, who experienced a resurgence of popularity from 1900-1930 during an “Omariana” fad. Ads for Omar cigarettes referenced Khayyám’s famous poem, The Rubáiyát , and focused on themes of pleasure, leisure, and luxury. Early Omar cigarette ads featured an older, rotund sultan figure, who appears to indulge in a range of life’s pleasures, and a beautiful maiden, referred to as Angel Shape. In some ways, the ads border on stereotypical parodies of Eastern life and culture, yet they speak to the luxurious aspect of Omar cigarettes all the same. Later ads for Omar revealed that “Omar spells Aroma” when Omar is repeated twice: omAR OMAr. This pun speaks to the American Tobacco Company’s desire to extend the relevancy of Omar cigarettes beyond Omariana as the fad slowly died out. Clearly, tobacco companies and their advertising agents are able to create extreme elasticity with their products in order to attract consumers.

Helmar – img6365

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Helmar cigarettes were part of the Turkish and Egyptian cigarette movement of the early 1900s. First produced in 1902 by the Egyptian Ideal Cigarette and Tobacco Works, Helmar was originally named Ramleh. In 1907 when the brand was taken up by S. Anargyros, a subsidiary of The American Tobacco Company, the name was changed in order to avoid confusion with Ramly, a similar cigarette produced by the smaller Mentor Co. in Boston. The name was changed to Helmar, which is simply Ramleh spelled backwards. Unlike most straight-Turkish tobacco cigarettes, Helmar experienced a long life on the market until it was finally discontinued in the mid-1960s.

Mogul – img6375

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In the early 1900s, manufactures of Turkish and Egyptian cigarettes tripled their sales and became legitimate competitors to leading brands. One of the earlier straight-Turkish tobacco cigarettes, Mogul was introduced in 1892 by the New York-based Greek tobacconist Soterios Anargyros. After the dissolution of the Cigarette Trust, P. Lorillard took over the production of Mogul cigarettes. Though likely made of a Turkish blend, Moguls were advertised as “Egyptian Cigarettes.” Many of the Mogul ads presented upper-crust models in Western apparel, positioning the cigarette as a luxury good, while some of the ads incorporated Egyptian motifs or models dressed in Middle Eastern garb.

Fatima – img6385

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In the early 1900s, manufactures of Turkish and Egyptian cigarettes tripled their sales and became legitimate competitors to leading brands. Liggett & Myers’ Fatima cigarettes, named after the common first name for Arabic women, was one of many cigarettes developed at this time which received wide success. The pack art featured a veiled woman, the Turkish crescent moon with stars, and the iron cross, the symbol of the Ottoman empire. Advertising for Fatima was discontinued during the Great Depression. The cigarette received a modern makeover after WWII, becoming a King Size cigarette to compete with other popular brands of the era. It was phased out in the 1980s.

Abdullas – img6403

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Though certainly capitalizing on the Eastern allure of their name and the popular Turkish and Egyptian cigarette trend, Abdulla cigarettes were available in Egyptian, Turkish, or Virginian blends. They were first produced in London in 1902 by Abdulla & Co., Ltd.. The company was later quietly taken over by Godfrey Phillips in 1927, which was subsequently purchased by Philip Morris International in 1968. Abdulla advertisements focus on glamour and luxury rather than exoticism. This approach allowed them to successfully market all three of their blend varieties, especially the Virginian in later decades. That said, ads like “Abdulla in Arcadia,” which features a veiled woman wearing a turban and excessive jewelry, utilized the stereotypical Eastern fashions to heavily market the Egyptian and Turkish varieties.

Rameses – img6408

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In 1895, the Stephano Bros. of Philadelphia introduced Rameses II cigarettes, named after the great ancient Egyptian pharaoh. Most of the ads for Rameses II featured Egyptian themes, from images of scarab beetles to depictions of Rameses’ actual temple in Abu Simbel. Other ads for Rameses depicted luxurious vacationing in order to market the large “week-end tins” ideal for short trips. The brand capitalized on aristocracy, glamour and luxury in its advertising. Rameses appear to have been discontinued in the late 1990s.

Other Early Ads – img6414

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In the early 1900s, manufactures of Turkish and Egyptian style cigarettes tripled their sales and became legitimate competitors to leading brands, inspiring the invention of many new brands, including Camel. These brands often referenced the “Oriental” roots of their Turkish tobacco blends through pack art and advertising images. They also capitalized on the Eastern-inspired fashion trends of the time, which were inspired by the Ballets Russes (1909-1929) and its performance of “Scherazade.” The vibrant colors, luxurious jewels, exoticism and suggestive nature of the images in these advertisements contributed greatly to their appeal. Women drenched in pearls, jewels and feathers, wearing harem pants or flowing dresses, were paired in the ads with men in expensive suits or in exotic turbans. The Orientalism, exoticism and luxury are evoked through Eastern-inspired garb accentuated the Turkish origins of the tobacco and presented it in an alluring, modern light. Indeed, the women in these ads, in particular, is seen as less of a reflection on Victorian femininity than a fantasy of an exotic enchantress from a foreign land or a modern woman shedding the shackles of Victorian propriety.

Other brands of the time, like London Life and Herbert Tareyton shirked the new-fangled Eastern trends in favor of the Victorian propriety of yesteryear. Gentlemen and proper ladies were featured prominently in these ads, and provided an heir of luxury and affluency without the bawdy pleasures of “Orientalism.” Still, most cigarette ads at the time, regardless of approach, involved an overarching theme of glamour and enjoying the finer things in life.

Deities – img14020

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In the early 1900s, manufactures of Turkish and Egyptian cigarettes tripled their sales and became legitimate competitors to leading brands. The New York-based Greek tobacconist Soterios Anargyros produced the hand-rolled Egyptian Deities cigarettes, and claimed that the higher price was due to the expensive center leaves of the Turkish tobacco plant, known as “Ghyubek.” P. Lorillard acquired the Murad brand in 1911 through the dissolution of the Cigarette Trust, explaining the high quality of the Murad advertisements in the following years. Interestingly, most Egyptian Deities ads did not evoke Eastern exoticism, but rather focused on American and European fashions and luxury. The brand’s slogan also appealed to the high-brow: “People of culture, refinement and education invariably prefer Deities to any other cigarette.” Some ads for the brand did indeed reference Egyptian antiquities and splendor.

Medicinal – img17273

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In another example of marketing wizardry, e-cigarette (e-cig) advertisements simultaneously present their product as both a sedative and a stimulant. Ads under this theme work to convince consumers that e-cigs have many medicinal properties and could both calm the vaper when he was tired or nervous or pep him up when he felt sluggish.

Nutricigs, a leading brand of e-cigs, advertises three different types of fortified vaping devices that contain “fortified nano particles” that work to provide consumers with more energy, promote a better night’s rest, and suppress appetite. An ad for NutriCigs Energy shows a chirpy young executive on the run with an e-cig in his hand. The text says, “Increasing energy never tasted so good.” Another ad for the product has a young woman in front of her computer, her hands thrown up in the air with a victorious smile on her face, along with the text, “Energy when you need it…No crash later.” The slogans for Nutricigs are similar to the 1930’s Camel campaign “Get A Lift with Camel,” which featured testimonials from working men and celebrity athletes.

It is unnerving to consider that consumers accept such a wide latitude of marketing claims from these companies that a brand is simultaneously able to markets one of its products as an “invigorating” e-cig that provides “energy without the crash” and another as an “all natural sleep-aid” e-cig. Ads for the NutriCig sleep contain images of well-rested women on their bed accompanied by slogans such as “Say good-bye to sleepless nights,” and “Sleeping bliss is only a puff away.”

Tobacco companies have always played on a woman’s desire to be slim, for instance, Lucky brand of e-cigs asked women to “Reach for a Lucky instead of a sweet.” This time, again it is no different. e-cig brands such as Vapor Trim, Vapor Diet & NutriCigs Slim make claims to the effectiveness of the vapor producing device in aiding weight loss. VaporTrim, which is available in a variety of desert flavors, is advertised as a “revolutionary weight loss product” as the following slogan “Inhale Flavors. Curb Cravings. Lose Weight.” In an ad for NutriCig, which advertises itself as a product to “satisfy hunger,” the image is of an open cigarette box with an inch tape running across it. The words “SLIM” are printed boldly next to the box, alluding to the fact that you can lose inches of body fat by smoking their e-cig.

Other purported medicinal effects claimed by e-cig brands include increased sexual potency (Tiger & JSB’s iSlim), and vitamin enriched (Vsmoke).

Vitamin Rich – img22025

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While it is hard to imagine that there can be anything nutritional in an electronic cigarette (e-cig), that is precisely what is being promoted by manufacturers of e-cigs as they continue to strive to market the product as “healthy” and “safe.” Multiple e-cig brands have added vitamin supplements to the vapor juice to encourage people to believe that by vaping the product they are getting the health benefit of vitamins.

VitaCig, which is abbreviated from Vitamin Cigarette, advertises itself as an e-cig with “just vitamins and flavored water.” The website claims that the e-cigs, which are nicotine free, contain base vitamins A,B,C,E, & CoQ10. In order to make the product more enticing to consumers, the website says that each VitaCig category has been carefully mixed to ensure that each puff delivers vitamins and phytonutrients to the body. The website also contains a vitamin label, similar to the one seen on any bottle of vitamins, that lists the amount of each vitamin present in the product.

Smoking Everywhere claims in its promotional materials that every puff on their device provides the individual with essential vitamins such as vitamin D, vitamin B, and even a multi-vitamin. To make it more enticing to consumers, the product is available in a variety of flavors including banana, blueberry, bubblegum, cola, cookies and chocolate chips, grape, green tea, orange, kiwi, and cookies and cream.

Vsmoke, by its very name suggests to consumers health benefits. The vapor juice brand, which claims to contain Vitamin C, Echinacea, Vitamin B12, is available in a number of fruity flavors including Swedish Fish, Gummy Candy, G6 Grape Mint, and Watermelon Breeze.

It is unfortunate that e-cig brands are adding vitamin supplements to their products to trick consumers into believing that this will make the product healthy. The nicotine present in most of these e-cig products is addictive and harmful to health. No amount of vitamin supplements can negate the health effects of nicotine. In those products without nicotine, there is immense public health concern that the tactile and sensory cues promoted by vaping an e-cig could lead an individual to dual use of both e-cigs and combustible cigarette products.

Break the Rules – img17004

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Electronic Cigarette (e-cig) companies are increasingly targeting teenagers, who are often trailblazers of new trends and “role models” for younger adolescents. In courting young trendsetters, e-cig manufacturers predominantly utilize advertising imagery and slogans that appeal to the teens’ sense of freedom and rebellion.

An ad for Blu e-cigs features an angry, middle-aged woman, flipping her middle finger to smoking bans. The headline for the ad reads “Dear Smoking Ban” and the rest of the ad text says, “Take back your freedom to smoke anywhere with Blu electronic cigarettes.” Modern Vapor has an ad of a woman reclining with an e-hookah in her hand. The slogan of the ad says, “Smoke in No Smoking Zones.” A NicStick advertisement focuses on the “no smoking sign” of a coffee shop. The text above the image says, “Beat the Smoking Bans. Smoke Anywhere with electronic cigarettes.”

The e-cig industry is also keen to create a “cool,” “hip” image for its products through advertisements. Many ads are clearly targeted at hipsters who have a tendency to buck social norms and be anti-establishment. In an online ad for Njoy, rocker Courtney Love, wearing a silk dress, her makeup slightly smeared, is shown vaping at an opera house while a conservatively dressed older woman looks on with a horrified expression. When the older woman starts to protest, Courtney turns around and in an expletive-laced sentence tells the woman that she is not smoking but vaping an e-cigarette. The same brand also has an online video of a self-identified hipster with his red beard promoting the product.

Many other freedom based ads for e-cigs depict the freedom and pleasure of youth with images such as dancing and partying. The message that accompanies many of these ads is focused on the delight of rewriting the rules and breaking conventional norms. While e-cigarette manufacturers promise many freedoms to their consumers, the one freedom that they cannot promise is freedom from nicotine addiction.

Patriotism – img17025

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Electronic cigarette (e-cig) manufacturers are relying on patriotic images and slogans as a sales pitch to subliminally influence individuals to form an emotional connection with their brands and generate sales. Many ads for e-cig companies contain images of cultural icons such as the American eagle and the Statue of Liberty that drive home the point that the nation is built on twin core values of freedom and independence.

Social media channels for e-cig brands are replete with patriotic posts and images that celebrate American holidays and events. During Memorial Day and the Fourth of July, e-cig advertising images of a majority of brands included the image of the American flag and a note of salutation. For Presidents Day, many ads included images of Mount Rushmore and President Washington. Advertisements under this theme use words with strong patriotic connotations such as “freedom,” “independence,” and “had a dream.” A Green Smoke Electronic Cigarettes ad has the image of Martin Luther King addressing a large gathering, we are made to believe, for his acclaimed “I Have a Dream” speech. The sub-text for the ad asks, “What’s Your Dream?”

A variant of the patriotic theme is one of nostalgia. The Fin branding group’s, manufacturer of Fin e-cigs, advertising strategy is centered around recreating images from the 1950s and 1960s, a period of time in America when civil rights struggles took center stage. One of the most striking advertising images for Fin e-cigs is the image of a 1960s diner. This image of an empty diner is an eerie reminder of a time of segregation. In February 1960 a group of black students from A&T North Carolina College were refused service because they sat in seats reserved for white people. Their peaceful sit-down helped ignite a national movement that challenged the racial inequality that existed at that point of time. Fin seems to have been aiming to recreate a call for equality and freedom in this ad. What comes to mind, however, is the image of a lonely smoker. Is smoking an electronic cigarette more lonely than segregation? In other ads, Fin continues with a “vintage” theme. In a series of ads with a modern twist on a vintage look, women dressed in 70’s clothing, “pursuing happiness” and “equality” are shown vaping e-cigs at diners and in vintage automobiles.

To ride the crest of Americans wanting to buy “American made” products, e-juice manufacturers are keen to label their products as “All American”, “tested in the US” and “American made.” Research shows that Americans are willing to pay a premium for products that are American as they believe they are helping the economy recuperate from its recent economic downturn and also because they believe the product to be safer and of higher quality. 1

1. Tsai, W. S. (2010). Patriotic advertising and the creation of the citizen-consumer. Journal of Media and Communication Studies, 2(3), 76-84.

Freedom Lifestyle – img22505

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Freedom marketing is pervasive in electronic cigarette (e-cig) marketing because unlike combustible tobacco products, the electronic devices are not regulated. A freedom based advertising theme that is consistently advertised by e-cig companies is free lifestyle.

Many e-cig brands through images and slogans evoke the emotion of “moments” of freedom and offer the promise of a free lifestyle and the freedom to smoke anywhere, without the worry of smoke-free policies. For instance, an ad for Veppo that features an open stretch of an empty road contains the tagline, “personal vaporizers, the pursuit of true freedom.” An ad for Smoko features a woman in a carefree pose with her head up and arms help open as she enjoys the sea breeze. The ad says, “enjoy your freedom wherever you are.” An ad for Blu has a carefree woman balancing herself on a ledge, which says, “freedom for the taking.”

E-cig brands market freedom based messages both through traditional advertising in magazines and billboards and through direct consumer interactions through social media channels. Blu Cigs frequently posts on its Facebook page with images associated with a free lifestyle and with posts asking followers to comment on their own “freedom stories.” VaporFi has a post that shows the wide open landscape and a man on top of a mountain. The image has nothing to do with the product but is just another example of e-cig brands trying to associate nothing to do with their product, but simply an association of this “free moment” and vaping.

Many e-cig brands aggressively attempting to capture the youth market are using freedom based advertising messages. Scientific studies1 have shown that adolescents desire autonomy and the ability to live life on their own terms. e-cig advertisements with images of free lifestyle and rebellion are just a few of the advertising techniques used by the e-cig companies to court adolescents.

1. Daddis, C. (2011), Desire for Increased Autonomy and Adolescents’ Perceptions of Peer Autonomy: “Everyone Else Can; Why Can’t I?”. Child Development, 82: 1310–1326. doi: 10.1111/j.1467-8624.2011.01587.x

Smoke Anywhere – img23492

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Freedom is possibly America’s most treasured value. Protected in the “Bill of Rights,” it is a deeply held core belief that to many Americans was a birthright and to some a hard fought victory. Given its hold on the American psyche, it has been used as a powerful marketing tool to hawk products as diverse as airplane tickets for Southwest Airlines, which calls itself “A Symbol of Freedom,” to getting a good night’s sleep with Dacron pillows, which is “America’s Freedom Fabric,” to the freedom to discover the road ahead with Chevrolet’s “Find New Roads,” and the freedom to “Just Do it” with Nike products.

E-cigarette (e-cig) companies have jumped on the freedom bandwagon and promise many kinds of freedom to vapers. A key selling point touted by e-cig companies is that their products can be used in places where smoking of traditional cigarettes is banned, like bars, restaurants, on flights, and in entertainment and sporting venues. An ad for Vapestick shows a woman vaping her e-cig in bed. The slogan of the ad reads, “Looks, Feels, and Tastes like a Real Cigarette That You Can Smoke Anywhere!”. A Cannastick ad shows people enjoying a concert under the caption “The Freedom to Vape Anywhere.” An ad for Cigana has the image of an airplane and is accompanied by the following text, “Smoke without the smoke…. Smoke like no one is watching.” A Vega Vapor ad tells consumers that many “local establishments are vapor friendly.”

The Smoke Anywhere theme is also widely publicized on brand websites. For instance, Blu e-cigs, says on its website, “blu e-cigs® electronic cigarettes are not traditional cigarettes and do not burn tobacco, so they can be smoked in bars, restaurants, offices and other places where normal smoking bans are in effect.” Fin e-cigs on its website says the brand is for individuals “…who want the freedom to smoke in places where traditional cigarettes are not permitted.

While e-cigs offer many freedoms to its users, a freedom that it cannot offer but it often promises is the freedom to smoke anywhere. Despite ads, eg. Blu and Vapestick, that show individuals vape on airplanes, the US Department of Transportation has issued guidelines restricting the use of e-cigs on flights. More restaurants are also coming forward to ban vaping on their premises. For instance, fast food giant Taco Bell has banned vaping in its premises.

Doctors & Nurses – img17163

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In the first half of the 20th century, tobacco company advertisements often featured doctors hawking cigarettes or cigars. The images were always of an idealized physician – wise, noble, and compassionate. Consumers who saw these ads were made to feel that they would be following the doctor's orders to achieve health or fitness if they were to smoke the cigarettes advertised.

While it may seem hard to believe that such an audacious advertising strategy would be tried in the 21st century, it is precisely what is playing out in the newer and less-well understood electronic cigarette (e-cig) industry. e-cig brands such as Vapestick, Vape Doctor, and Love are resorting to the old and familiar tactic of using the image of the “trusty” doctor to sell their products. In an ad for E-Cigexplorer, an online e-cig store, a surgeon wearing a mask is seeing giving the e-cig a “thumbs-up.” In a more obvious push for the product by the online retailer, two surgeons at an operating theater are seen laughing at a patient who we are to understand is being treated for a tobacco-related illness. The headline for the ad reads, “Still smoking tobacco cigarettes?!” The rest of the text reads, “Haven't you heard of e-cigarettes.” A video for Vapestick has a doctor vaping an e-cig while attending to a pregnant woman. Advanced e-cig uses a more subtle approach to promote the healthfulness of its product. The e-cig packet contains the image of a Caduceus, the most commonly accepted symbol of medicine.

While e-cig companies use the image of the doctor to convince consumers that its products are healthy. Most scientific evidence till date only proves that e-cigs are “healthier” than traditional cigarettes. Nicotine, which is found in most e-cigs is very addictive and the fruit flavored vape juices could hook teenagers and serve as a gateway to traditional cigarettes. At present there is also not much research that has been done to determine the impact of inhaling so much nicotine-laced vapor into the lungs.

Breathe Easier – img17181

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A beneficial effect on breathing and respiration is promised by many e-cigarette (eCig) companies through reassuring brand names and images.

Some companies seek to influence their audience at a subliminal level with reassuring names such as iBreathe, Breathe, Bonnair Lung Aid, Smoke Relief, and the assertive Lung Buddy and O2 Easy and others through reassuring images. Many ads (eg. Blaze, Steamz, Shenzhen Tobacco Company) contain images of healthy lungs (purportedly from vaping eCigs) contrasted with blackened lungs that have been damaged from smoking combustible tobacco products.

Some other ads offer metaphors for healthfulness and freshness. An ad for White Cloud eCigs features the image of two women taking a brisk walk on a grassy hill alongside the caption “Give the Gift of fresh air! Eliminate the tar, ash and unwanted chemical additives from your cigarettes.” The ad brings back memories of an Old Gold ad from 1944 that claimed that their cigarette products were as “fresh” as mountain air.

By presenting the eCig smokers as young, vibrant, athletic, happy, and full of vitality, White Cloud is seeking to claim that its products are better for the individual’s overall health, fresh and safe, and free of toxic chemicals that are harmful to oneself as well as others. But the message is misleading. While White Clouds ad seems to falsely indicate that by vaping its eCigs, an individual can escape all the harmful effects of the toxic chemicals found in cigarettes, this is not really the case. The absence of combustion in eCigs means the absence of combustible by-products such as tar, carbon monoxide, and other harmful chemicals, but it does not automatically translate into eCigs being a safe product. Research studies have shown that the vapor released from eCigs is not plain “water vapor” but vapor containing varying levels of nicotine, propylene glycol, an anti-freeze, as well as other ultrafine particles. These chemicals could potentially have an adverse effect on the lungs and cardiovascular system.

Since eCigs are a relatively new product, first introduced to the market in 2004, research on the long-term health effects of inhaling nicotine along with trace materials has not yet been fully studied. In the absence of scientific evidence, it is misleading and manipulative on the part of eCig companies to make claims of being eCigs being healthy and safe.

A beneficial effect on breathing and respiration is promised by many e-cigarette (eCig) companies through reassuring brand names and images.

Some companies seek to influence their audience at a subliminal level with reassuring names such as iBreathe, Breathe, Bonnair Lung Aid, Smoke Relief, and the assertive Lung Buddy and O2 Easy and others through reassuring images. Many ads (eg. Blaze, Steamz, Shenzhen Tobacco Company) contain images of healthy lungs (purportedly from vaping eCigs) contrasted with blackened lungs that have been damaged from smoking combustible tobacco products.

Some other ads offer metaphors for healthfulness and freshness. An ad for White Cloud eCigs features the image of two women taking a brisk walk on a grassy hill alongside the caption “Give the Gift of fresh air! Eliminate the tar, ash and unwanted chemical additives from your cigarettes.” The ad brings back memories of an Old Gold ad from 1944 that claimed that their cigarette products were as “fresh” as mountain air.

By presenting the eCig smokers as young, vibrant, athletic, happy, and full of vitality, White Cloud is seeking to claim that its products are better for the individual’s overall health, fresh and safe, and free of toxic chemicals that are harmful to oneself as well as others. But the message is misleading. While White Clouds ad seems to falsely indicate that by vaping its eCigs, an individual can escape all the harmful effects of the toxic chemicals found in cigarettes, this is not really the case. The absence of combustion in eCigs means the absence of combustible by-products such as tar, carbon monoxide, and other harmful chemicals, but it does not automatically translate into eCigs being a safe product. Research studies have shown that the vapor released from eCigs is not plain “water vapor” but vapor containing varying levels of nicotine, propylene glycol, an anti-freeze, as well as other ultrafine particles. These chemicals could potentially have an adverse effect on the lungs and cardiovascular system.

Since eCigs are a relatively new product, first introduced to the market in 2004, research on the long-term health effects of inhaling nicotine along with trace materials has not yet been fully studied. In the absence of scientific evidence, it is misleading and manipulative on the part of eCig companies to make claims of being eCigs being healthy and safe.

Cancer Scare – img17223

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In an attempt to appear safe, many electronic cigarette (eCig) companies have highlighted the serious health complications of tobacco cigarettes and promoted their own products as “healthy”. In particular, companies have capitalized on smoking’s association with lung cancer; it is well established that 80-90% of lung cancers occur in patients with a history of smoking. 1

eCig companies in their ads distance themselves from this often-fatal disease by stating their product contained “No Carcinogens” (Green Smoke, Clearette, Headlines, eCigLife) or “No Cancerous Substances” (eHealth-Cigarette). The brand Steamz even goes as far to state their cartomizers cause “No Cancer” and are “90% safer than traditional cigarettes”.

Many ads have used the image of the diseased, cancerous lungs of smokers, and compared them to the healthy lungs of those who vape. Steamz has an ad where the right lung of a set of paper lungs has a smoldering hole burnt into it by the fire of a traditional cigarette, with the hole representing the spread of lung cancer. The left lung has an eCig hovering over it and the lung is intact. Another Steamz ad has a set of lungs made out of a forest, with part of the left lung devastated by a forest fire and the slogan “Smoke Electronic Cigarette, Prevent from Lung Cancer”.

In a drive to increase their credibility at least 7 eCig companies have associated themselves with breast cancer charities or awareness campaigns. Many produce limited or special edition pink eCigs and often promise to donate a portion of the sales to charity. Discreet Vape, which produces eCigs in the shape of medicinal inhalers “for the discerning vapor enthusiast”, produced a limited edition device with “Proceeds of the LE Pink PUFFiT-X donated to cancer research”.

The majority of these ads are accompanied by promotions or discounts to encourage sales. An EverSmoke ad shows the torso of a woman with her breast covered by her hand and the pink breast cancer ribbon. The slogan reads “Save a Life. Save a Lung. Save a Boob.” The same ad offers “25% off all Starter Kits”. V2 offers a pink breast cancer lanyard when customers spend $50 or more. The South Beach Smoke Company has an ad featuring a pink battery on a pink background with white writing and the tagline “Purchase a limited edition pink battery & 5% of the proceeds will be donated to SGK”.

At a time when no research had been done into the health effects of eCigs this is a highly immoral advertising tactic, designed to play on people’s fears of an often-fatal disease.

(1) U.S. Department of Health and Human Services. The Health Consequences of Smoking: A Report of the U.S. Surgeon General, 2004.

Breast Cancer – img17226

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In an attempt to appear safe, many electronic cigarette (e-cig) companies have highlighted the serious health complications of tobacco cigarettes and promoted their own products as “healthy”. In particular, companies have capitalized on smoking’s association with lung cancer; it is well established that 80-90% of lung cancers occur in patients with a history of smoking. 1

E-cig companies in their ads distance themselves from this often-fatal disease by stating their product contained “No Carcinogens” (Green Smoke, Clearette, Headlines, e-cigLife) or “No Cancerous Substances” (eHealth-Cigarette). The brand Steamz even goes as far to state their cartomizers cause “No Cancer” and are “90% safer than traditional cigarettes.”

Many ads have used the image of the diseased, cancerous lungs of smokers, and compared them to the healthy lungs of those who vape. Steamz has an ad where the right lung of a set of paper lungs has a smoldering hole burnt into it by the fire of a traditional cigarette, with the hole representing the spread of lung cancer. The left lung has an e-cig hovering over it and the lung is intact. Another Steamz ad has a set of lungs made out of a forest, with part of the left lung devastated by a forest fire and the slogan “Smoke Electronic Cigarette, Prevent from Lung Cancer.”

In a drive to increase their credibility at least 7 e-cig companies have associated themselves with breast cancer charities or awareness campaigns. Many produce limited or special edition pink e-cigs and often promise to donate a portion of the sales to charity. Discreet Vape, which produces e-cigs in the shape of medicinal inhalers “for the discerning vapor enthusiast”, produced a limited edition device with “Proceeds of the LE Pink PUFFiT-X donated to cancer research.”

The majority of these ads are accompanied by promotions or discounts to encourage sales. An EverSmoke ad shows the torso of a woman with her breast covered by her hand and the pink breast cancer ribbon. The slogan reads “Save a Life. Save a Lung. Save a Boob.” The same ad offers “25% off all Starter Kits”. V2 offers a pink breast cancer lanyard when customers spend $50 or more. The South Beach Smoke Company has an ad featuring a pink battery on a pink background with white writing and the tagline “Purchase a limited edition pink battery & 5% of the proceeds will be donated to SGK.”

At a time when no research had been done into the health effects of e-cigs this is a highly immoral advertising tactic, designed to play on people’s fears of an often-fatal disease.

(1) U.S. Department of Health and Human Services. The Health Consequences of Smoking: A Report of the U.S. Surgeon General, 2004.

Second Hand – img17296

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As concerns of ill health effects caused by second hand smoke from combustible tobacco products become too hard to ignore, e-cigarette (e-cig) companies are acting quickly to bogart the market with claims of their devices being a healthy, smoke-free alternative. The smoke-free nature of the product is a USP that is prominently marketed through catch phrases such as “no passive smoking,” “smoke-free,”no second hand smoke,” and “no smell.”

To reassure consumers of the healthfulness of the product, e-cig companies like the conventional cigarette industry of 1940s and 1950s has resorted to using images of families and children in its ads. For nothing really speaks to the harmless nature of a product or its respectability than using a product in front of children as a part of everyday normal life.

Thus an ad for Ever Smoke has the image of a young woman vaping in front of her two young children. The ad is accompanied by the text “The Better Smoking Choice. Keep Yourself and Family Healthy.” Even more astonishing, an ad for Flavor Vapes has a mother blow vapor directly into the baby’s crib and an ad for Regal e-cigs shows a father toasting his son at a brunch with a drink in one hand and an e-cig in the other.

Scare tactics are also being used by the e-cig industry to lure consumers away from conventional cigarettes to e-cigs. In an ad for Steamz e-cig, a boy looks terrified as the plume of vapor from a cigarette, which is made to resemble a smoking gun, is pointing at him. The main text of the ad reads, “passive smoking kills your dearest one’s first,” the subtext reads, “ protect your dearest ones life. Smoke safely with e-cigarette…”

While the e-cig industry definitely wants consumers to believe that their products are safe and healthy, evidence to support this claim is scant. A small study by Wolfgang Schober of the Bavarian Health and Food Safety Authority and colleagues published in the International Journal of Hygiene and Environmental Health found the vapor emitted from e-cigs affected the air quality of a room as it contained nicotine, particulate matter, PAHs and aluminum, compounds that have been linked to cardiovascular diseases and other ill health effects.

Safe – img17416

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Some electronic cigarette (e-cig) companies are attempting to stand out from the crowd by emphasizing their safety. Some companies make their association with safety directly through their brand names. The most prominent example is the brand “SafeCig”, manufactured by SafeCig, LLC. Similarly the company JoeStick markets and sells their product through the website smokesafely.com.

The claim of safety is also made in slogans and taglines. Charlie Sheen’s e-cig brand ran the slogan “Sheen Safe Smoke”. Steamz claim their devices are “90% safer than traditional cigarettes”. In 2013 the brand Vogue ran the tagline “Safe and Healthy.”

A rather ironic ad is that from NeWhere. The ad shows an ECG heart tracing which flatlines after a number of normal beats. In a traditional ECG this would suggest that the heart had stopped beating. Over this horizontal line is the slogan “Is Vaping Safe?” The NeWhere blog, which accompanies this picture goes on to explain that that e-cigs are definitely “safer” than traditional cigarettes.

The advertising of e-cigs as safe is a particularly interesting technique considering there have been reports about e-cigs exploding. 1,2 The availability of sweetened nicotine-based e-cig juices in homes has also led to a rapid increase to calls in poison control centers, with more than half of the calls involving children below the age of 5 years.

(1) York Press. E-Cigarette explodes and sets fire to a barmaid. The Press. Apr 2014. Available from: http://www.yorkpress.co.uk/news/11133501.Barmaid_s_lucky_escape_as_e_cigarette_explodes_in_packed_pub/
(2) Parker L, Green R. Small Number of E-Cigarette Batteries Explode. NBC Chicago. Oct 2013. Available from: http://www.nbcchicago.com/investigations/Exploding-E-Cigarettes-229183561.html

(3) CDC poison call centers: New CDC study finds dramatic increase in e-cigarette-related calls to poison centers. Available at http://www.cdc.gov/media/releases/2014/p0403-e-cigarette-poison.html

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Electronic Cigarette (e-cig) companies are aware that the desire to cut down or quit tobacco smoking motivates a large fraction of their customers. However, e-cig companies are not permitted to market their products as a smoking cessation device until the product is proven as “safe and effective,” much like nicotine patches that make such therapeutic claims.

As a result, companies skirt the edges of these limits with slogans and imagery that are proxies for quitting such as images of broken cigarettes, consumers kicking their cigarette and the accompanying addiction, and through slogans such as “kiss tobacco goodbye,” and “kick some ash.”

As a cessation tool, e-cigs appear to be marginally better than patches and other quitting methods, but still have limited effectiveness of less than 10%.1 A recent Lancet study found that 7.3% of tobacco users quit smoking on e-cigs compared with 5.8% with nicotine patches. 2

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Electronic Cigarette (eCig) companies are aware that the desire to cut down or quit tobacco smoking motivates a large fraction of their customers. As a cessation tool, eCigs appear to be marginally better than patches and other quitting methods, but still have limited effectiveness of less than 10%.1 A recent Lancet study found that 7.3% of tobacco users quit smoking on eCigs compared with 5.8% with nicotine patches. 2A cross sectional population study also showed superiority of eCigs over other forms of nicotine replacement. By contrast, a study from UCSF study showed no cessation effectiveness for eCigs.3

The FDA does not permit eCig companies to market their products as a smoking cessation device until the product is proven as “safe and effective,” much like nicotine patches that make such therapeutic claims. Nevertheless, eCig brands falsely advertise as smoking cessation aids. An eCig vapor juice company marketed from China even falsely bears the FDA label.

Companies skirt the edges of these limits with slogans that are proxies for quitting such as “smoking alternative,” “switch,” “change,” “it works!”, “kiss tobacco goodbye,” and “kick some ash.” A number of brand names imply that eCigs are an alternative to combustible tobacco product. Examples range from the more direct AlternaCig and AltStick to the less obvious Smokeless Image, which suggests that it is a smokeless replica of a traditional cigarette.

Some eCig companies also use slogans that emphasize the their product is a “healthier” alternative to smoking. Smoke Stik, which brands itself as an “alternative to smoking” advertises itself as a “clean alternative to traditional cigarette smoking.” eCig Wizard suggests its an alternative by using the slogan, “fresh start.”

It must be brought to people’s notice that eCig company claims of being “healthy”, “safe” or an “effective cessation tool” are disingenuous and have not been proved by scientific rigor. Deeming regulations proposed by the FDA in the early part of 2014 will regulate overt and implied claims made by eCig companies “reduced risk” of their product. Unfortunately, it is expected that eCig companies much like tobacco companies have for over a century will find new and creative ways to circumvent these regulations and continue to market their product as healthy and safe.

1. Bullen C, Howe C, Laugesen M, et al. Electronic cigarettes for smoking cessation: A randomised controlled trial. Lancet. 2013;382(9905):1629-37. PMID:24029165

2. Brown J, Beard E, Kotz D, Michie S, West R. Real-world effectiveness of e-cigarettes when used to aid smoking cessation: a cross-sectional population study. Addiction. 2014. PMID: 24846453

3. Grana RA, Popova L, Ling PM. A longitudinal analysis of electronic cigarette use and smoking cessation. JAMA Intern Med. 2014;174(5):812-3. PMID:24664434