C I G A R E T T E
AND
NA T ION
BEFORE AND AFTER 1971
C I G A R E T T E
AND
NA T ION
BEFORE AND AFTER 1971
E
N
C I G A R E T T E 1971 IS A LANDMARK YEAR IN THE HISTORY OF CIGARETTE ADVERTISING. CHANGES IN GOVERNMENT LEGISLATION MADE PROMOTING THE SMOKING OF CIGARETTES HARDER FOR ADVERTISERS. THIS BOOK HIGHLIGHTS THE RESTRICTIONS PLACED ON ADVERTISERS AND HOW THEY AFFECTED AMERICAN SOCIETY. FROM HOW THE RESTRICTIONS AFFECTED THE AMOUNT OF SMOKERS IN AMERICA, TO THE TOTAL EARNINGS OF TOBACCO COMPANIES.
AND
INTRODUCTION
NA T ION
BEFORE AND AFTER 1971
C I G A R E T T E 02
WHAT IS A CIGARETTE?
06
CIGARETTE ADVERTISING
20
ADVERTISING RESTRICTIONS
40
HEALTH WARNINGS
61
SMOKING IN PUBLIC
77
THE HUMAN IMPACT
93
THE MONEY GAME
111
WHAT’S THE DIFFERENCE?
AND CONTENTS
NA T ION
BEFORE AND AFTER 1971
01
E
N
CIG路A路RETTE
A thin cylinder of finely cut tobacco rolled in paper for smoking.
02
WHAT IS A CIGARETTE?
C I G A R E T T E A lit cigarette is like a chemical factory, releasing poisonous fumes into your lungs and air. Only the tobacco companies know exactly what goes into each cigarette, and only some of this information is available.
This means research is still underway to determine exactly what goes into a cigarette. So far more than 4000 different substances have been identified in cigarette smoke. Around half of these substances are found in the tobacco itself, the rest are produced as the tobacco burns. Studies are ongoing to determine which additives and ingredients in tobacco smoke are harmful. For example, health authorities in Canada have produced a list of 44 substances they consider to be particularly harmful.
AND
INGREDIENTS
NA T ION
BEFORE AND AFTER 1971
03
E
N
CAR路CIN路O路GEN
A substance capable of causing cancer in living tissue. ammonia carbon monoxide nicotine nitric oxide hydrogen cyanide mercury tar benzo[a]pyrene
TOXIC TRACE METALS nickel lead cadmium chromium arsenic selenium
TOBACCO-SPECIFIC NITROSAMINES N-nitrosonornicotine nicotine-derived nitrosamino ketone (NNK) N-nitrosoanatabine N-nitrosoanabasine
selected basic semi-volatiles pyridine quinoline
04
WHAT IS A CIGARETTE?
C I G A R E T T E AROMATIC AMINES 1-aminonapthalene 2-aminonapthalene, 3-aminobiphenyl 4-aminobiphenyl
VOLATILE CARBONYLS formaldehyde acetaldehyde acetone acrolein propionaldehyde crotonaldehyde methyl ethyl ketone butyraidehyde
phenolic compounds hydroquinone resorcinol catechol phenol m+p-cresol o-cresol
selected volatiles 1,3-butadiene isoprene acrylonitrile benzene toluene styrene
AND
INGREDIENTS
NA T ION
BEFORE AND AFTER 1971
05
E
N
ad路ver路tis路ing
The activity of attracting public attention to a product or business, as by paid announcements in the print, broadcast, or electronic media.
06
CIGARETTE ADVERTISING
C I G A R E T T E THE HISTORY OF CIGARETTE ADVERTISING IS CONTROVERSIAL. THE PROMOTION OF CIGARETTES HAS BEEN RESPONSIBLE FOR THE MOST EFFECTIVE AND CREATIVE ADVERTISING OF ALL TIME, BUT AT THE SAME TIME, RIDDLED WITH A HISTORY OF MISTRUTHS AND CHILD EXPLOITATION. THE TECHNIQUES USED BY ADVERTISERS, IN THE YEARS BEFORE RESTRICTIONS WERE PLACED ON ADVERTISING WERE DIRECT, AND BASED ON THE MANIPULATION OF INSECURITIES. THIS, IN ITSELF DOES NOT DIFFERENTIATE IT FROM THE ADVERTISING OF ALCOHOL, CARS OR EVEN CHOCOLATE BARS. THE PUBLIC REACTION TO CIGARETTE ADVERTISING BECAME ADVERSE ONCE THE DETRIMENTAL SIDE EFFECTS OF SMOKING WAS REVEALED. THE COMING PAGES WILL DISCUSS THE TECHNIQUES USED BY THE ADVERTISERS OF CIGARETTES, AND HOW THESE TECHNIQUES WERE INTENDED TO AFFECT THE TARGET AUDIENCE.
AND
NA T ION
CIGARETTE ADVERTISING
BEFORE AND AFTER 1971
07
E
N
08
CIGARETTE ADVERTISING
C I G A R E T T E By the mid-1920s smoking had become commonplace in the United States and cigarette tobacco was the most popular form of tobacco consumption. Women were only permitted to smoke in the privacy of their own homes. Public opinion and certain legislation at the time did not permit women to smoke in public, and in 1922 a woman from New York City was arrested for lighting a cigarette on the street.
George Washington Hill, president of the American Tobacco Company and an eccentric businessman, recognized that an important part of his market was not being tapped into. Hill believed that cigarette sales would soar if he could entice more women to smoke in public. n 1928 Hill hired Bernays to expand the sales of his Lucky Strike cigarettes. Recognizing that women were still riding high on the suffrage movement, Bernays used this as the basis for his new campaign. He consulted Dr. A.A. Brill, a psychoanalyst, to find the psychological basis for womens smoking. Dr. Brill determined that cigarettes which were usually equated with men, represented torches of freedom for women. The event caused a national stir and stories appeared in newspapers throughout the country. Though not doing away with the taboo completely, Bernays’s efforts had a lasting effect on women smoking.
AND
NA T ION
TORCHES OF FREEDOM
BEFORE AND AFTER 1971
09
E
N
10
CIGARETTE ADVERTISING
C I G A R E T T E PHALLIC POWER
SMOKING CIGARETTES HAS BEEN LINKED TO THE SEXUAL ACT, BE IT AN INVITATION TO, AND REPLACEMENT OF, OR A CASUAL POST-COITAL SMOKE. THIS LINK WAS TAKEN ADVANTAGE OF BY ADVERTISERS promoting cigarette brands to teenage boys. VARIOUS METHODS WERE USED TO ENFORCE THE LINK BETWEEN SMOKING AND MASCULINITY. ASSOCIATING BRANDS WITH MOVIE STARS, SYMBOLIC FIGURES IN THE HISTORY OF AMERICA (cowboys) and sports stars of the day.
AND
NA T ION
HOW CIGARETTES WERE SOLD
BEFORE AND AFTER 1971
11
E
N
HELLO HOLLA HEJ HALLO CIAO BONJOUR
12
CIGARETTE ADVERTISING
C I G A R E T T E SOCIABILITY
Playing on the common feelings of lonliness experienced by teenagers, advertisers would promote them as a tool which can be used to improve social interaction.
AND
NA T ION
HOW CIGARETTES WERE SOLD
BEFORE AND AFTER 1971
13
E
N
14
CIGARETTE ADVERTISING
C I G A R E T T E INDEPENDENCE
CIGARETTES WERE COMMONLY ASSOCIATED WITH INDEPENDENCE AND FREEDOM BY ADVERTISERS. the most famous application of this being the marlboro man, BY CREATING A LINK BETWEEN A SYMBOLIC FIGURE IN AMERICAN HISTORY (COWBOY), AND A CIGARETTE TOOK MARLBORO FROM A FROM A FAILING BRAND, TO A SYMBOL OF AMERICAN FREEDOM.
AND
NA T ION
HOW CIGARETTES WERE SOLD
BEFORE AND AFTER 1971
15
E
N
16
CIGARETTE ADVERTISING
C I G A R E T T E NIPPLE SUBSTITUTE
PSYCHOANALYSTS HAVE LINKED THE SMOKING OF CIGARETTES TO YEARNING FOR A RETURN TO THE LACTATING BREAST OF THE MOTHER. THIS IMPLIED A COMFORTING AFFECT SMOKING CAN HAVE.
AND
NA T ION
HOW CIGARETTES WERE SOLD
BEFORE AND AFTER 1971
17
E
N
MARLBORO MAN CAMPAIGN POSTER FROM 1969.
18
CIGARETTE ADVERTISING
C I G A R E T T E With the rise of filter cigarettes in response to the increasing health concerns tied to smoking, Philip Morris decided to reposition its Marlboro brand for the filter market. What was originally a cigarette marketed as “Mild as May” to attract a primarily female audience, all at once gained a filter and became a man’s cigarette. No longer would Marlboro advertise “Ivory Tips to protect the lips” or “red beauty tips to match your lips and fingertips,” as it had done since the 1920s; Instead, Marlboro underwent a complete sex change in 1954. The brand’s new mascot, the “Marlboro Man,” would exude rugged manliness in an effort to position Marlboro as a filter with flavor. Previously, most filter cigarettes were considered to be “sissy” or effeminate, lacking in flavor and meant for those who couldn’t handle stronger brands. With the Marlboro Man campaign, Philip Morris worked to reverse this sentiment. The original Marlboro Men were excessive in their masculine virility. The models ranged from rough cowboys and sailors to alluring businessmen and academics. Whether the Marlboro Man was pictured preparing his gun or playing chess, he always sported a military-inspired tattoo on the back of his hand. In 1960, the tattoo was discontinued, but its message - that of intrigue and masculinity - remained vibrant in the Marlboro Men of the decades to follow.
AND
MARLBORO MAN
NA T ION
BEFORE AND AFTER 1971
19
E
N
re路stric路tion
The limitation or control of someone or something, or the state of being limited or restricted.
20
ADVERTISING RESTRICTIONS
C I G A R E T T E WITH THE SCIENTIFIC EVIDENCE POINTING OUT THE DAMAGING EFFECTS CIGARETTES HAVE ON SMOKERS HEALTH. THESE FINDING WERE FIRST PUBLISHED TO THE AMERICAN PUBLIC BY READER’S DIGEST IN 1952, IN AN ARTICLE CALLED ‘CANCER BY THE CARTON’. the government received mounting pressure from the american public to restrict the promotion of CIGARETTES. RESTRICTIONS WERE PLACED ON THE ADVERTISING OF CIGARETTES WERE ENFORCED IN 1971, CHANGING THE ADVERTISING INDUSTRY.
AND
NA T ION
ADVERTISING RESTRICTIONS
BEFORE AND AFTER 1971
21
E
N
22
ADVERTISING RESTRICTIONS
C I G A R E T T E THE MEDIA USED TO ADVERTISE CIGARETTES WAS AN INTEGRAL PART OF THE RESTRICTIONS. FROM jANUARY 2ND 1971, TELEVISION AND RADIO WAS A THING OF THE PAST FOR ADVERTISERS OF CIGARETTES. THIS AFFECTED THE AUDIENCE THAT COULD BE REACHED. THIS WAS A PRE-INTERNET WORLD, WHERE THE MAIN HOME ENTERTAINMENT SOURCE WAS TELEVISION AND RADIO. ALTHOUGH TELEVISION AND RADIO WERE NO LONGER AVAILABLE to advertisers, it was legal to advertise across; magazines, newspapers, billboards and direct mail. THERE WAS STILL AMPLE OPPORTUNITY FOR TOBACCO COMPANIES TO PROMOTE THEIR DEADLY PRODUCT.
AND
NA T ION
TELEVISION AND RADIO
BEFORE AND AFTER 1971
23
E
N
MARLBORO MAN CAMPAIGN POSTER APPEARING AFTER THE ADVERTISING RESTRICTIONS. NOTICE THE HEALTH WARNING IN THE BOTTOM LEFT CORNER.
24
ADVERTISING RESTRICTIONS
C I G A R E T T E THE DISCOVERED NEGATIVE EFFECTS CIGARETTES HAD ON SMOKERS HEALTH WAS THE KEY COMPONENT ON THE CLAMPING DOWN OF ADVERTISING. AFTER THE TELEVISION AND RADIO ADVERTISING BAN THERE NEEDED TO BE MORE TRANSPARENCY IN THE PROMOTION OF CIGARETTES. ADVERTISING LEGISLATION REQUIRED TOBACCO COMPANIES TO PRINT A SURGEON GENERAL HEALTH WARNING ON EVERY PIECE OF PROMOTIONAL MATERIAL AND PACKAGING THAT WAS PRODCUED. THE WARNING READ, ‘WARNING: THE SURGEON GENERAL HAS DETERMINED THAT CIGARETTE SMOKING IS DANGEROUS TO YOUR HEALTH’, and was used to prevent people from starting to smoke.
AND
TRANSPARENCY
NA T ION
BEFORE AND AFTER 1971
25
E
N
26
ADVERTISING RESTRICTIONS
C I G A R E T T E Using examples from both styles, illustrate and contextualise the differences between PRE-1971 AND POST-1971 CIGARETTE ADVERTISING.
“Adverts persuade people to consume some commodity or other. They also have a social and cultural function; creating and reproducing social and cultural identities� (Barnard, 2005, p77). The central aim of cigarette advertising was to make the audience consider smoking to be an ordinary part of everyday life and it has been proven to play a far greater role than peer pressure in the recruitment of fresh smokers. Cigarette advertising in particular, offers a unique challenge in that strives to promote inherently useless, meaningless items with little to no value. Contributing considerably to this challenge, are the hazardous and detrimental health affects, cigarettes have been publicly known to possess since 1952 (when an article in Readers Digest called Cartons by the Dozen offered its readers the first conclusive evidence on the subject). This essay will examine two very different ways (traditional and surrealist) in which cigarettes were marketed and advertised in the 20th century. In order to both illustrate and contextualise the key differences between
AND CASE STUDY
NA T ION
BEFORE AND AFTER 1971
27
E
N
the two, it is advantageous to throughly examine each technique independently, before carrying out a comparison. This will be carried out via case studies of two specific cigarette advertisements. The essay will then establish which of the two was the most effective approach to advertising cigarettes. The first advert it will look at is the traditional Marlboro Man “The filter doesn’t get between you and the flavour” advert, produced by Leo Burnett in 1955. The second is the surrealist Tailor’s Dummy advert, produced by Collett Dickenson Pearce, for Benson & Hedges in 1989. There were four traditional advertising techniques by which cigarettes were both marketed and promoted to a predominately young male audience. The four ways were as follows; as a symbol of initiation through which independence is successfully attained, as a substitute for the female nipple, as irrefutable evidence of sociability and last but not least, as a hallmark of phallic power (Jobling and Crowley, 1996, p258). The Marlboro Man “The filter doesn’t get in the way of the flavour” advert takes advantage of the first of the aforementioned traditional advertising techniques. Marlboro was traditionally speaking, a brand of cigarettes aimed largely at female consumers. At the time, the section of paper concealing the cigarette filter was red. This particular
28
ADVERTISING RESTRICTIONS
C I G A R E T T E feature was marketed as beauty tip, the purpose of which was to conceal the traces of lipstick. Leo Burnett was faced with the undeniable challenge of converting Marlboro from a primarily female focused brand to principally male focussed brand. The first stage of this process saw the transformation from the old packaging to the widely recognised red, white and black flip-top packaging the brand still uses to this day. This was shortly followed by the arrival of the very first Marlboro Man advertisement in 1955, which abided by the Inherent Drama advertising theory devised by Burnett himself. This theory concerns itself with an intrinsic value that lies within the product or in other words “the thing about that product that keeps it in the market place‌capturing that, and then taking that thing - whatever it is - and making the thing itself arrestingâ€? (Sivulka, 2012, p233). The intrinsic quality that Burnett found hidden within the cigarette brand was both an association and link to a perceived golden era in North American history. In connecting the cigarette brand with the image of a cowboy, he created a range of positive associations for the brand in the mind of the consumer. The public perception of the historical cowboys lifestyle is one of freedom and excitement. Looking back at an era of history creates powerful nostalgia and a patriotic attachment to the brand. However, the most
AND CASE STUDY
NA T ION
BEFORE AND AFTER 1971
29
E
N
powerful association the brand created was with the symbolic masculinity of the cowboy. This is supported by the following extract from Soap, Sex and Cigarettes: A Cultural History of American Advertising; “Cowboys symbolised the most masculine type of man, and Burnett’s ads evoked memorable imagery of real men in a man’s world” (Sivulka, 2012, p235). The nature in which cigarettes are consumed, both publicly and privately means that associations with the brand are transferred across to the consumer of the product. In this way, the masculinity of the cowboy association with the brand of cigarettes, a product that means nothing on it’s own, has given both the cigarette and the person smoking it individual masculinity. The introduction of restrictions on advertising regarding the promotion of cigarettes, meant that newfangled, surrealist advertising techniques had to come into play. The restrictions meant health warnings needed to be placed on all promotional materials, including cigarette packaging and advertisements. The restrictions also meant that advertisers and marketers were unable to promote cigarettes in the four traditional methods discussed in the previous paragraph. The surrealist advertising techniques will be exemplified and explored through the Tailor’s Dummy, an advert produced by Collett Dickenson Pearce in 1989 as part of the
30
ADVERTISING RESTRICTIONS
C I G A R E T T E Pure Gold campaign for Benson & Hedges. This particular advert has been chosen because it benefits greatly from the use of surrealist image techniques. Andre Breton, a leading figure and pioneer in the surrealist movement has said the core idea at the heart of surrealist imagery is that, “beauty should be convulsive” (Jobling and Crowley, 1996, p258). The meaning of convulsive beauty is that the relationships between elements need to be subjective in order to create multiple connections and connotations in the mind of the audience. There are three main methods used in achieving convulsive beauty: the first technique is veiled erotic, fixed explosion or circumstantial magic. The first two of these methods do not concern the techniques used by Collett Dickenson Pearce in the production of the Tailor’s Dummy advert. The technique used in the advert is that of circumstantial magic, a subjective approach to image making, involving the juxtaposition of two disconnected images combine to create a unique meaning in the mind of the audience. This method of surrealist imagery is very powerful, as Judith Williamson states, “In surrealist pictures, we assume a logic of connection between things simply because they are presented as connected” (Williamson, 2002, p134). The Tailor’s Dummy uses disconnected imagery and unsettling imagery to evoke powerful interpretations by the audience when linking the meanings of the
AND CASE STUDY
NA T ION
BEFORE AND AFTER 1971
31
E
N
elements within the advert. The imagery used within the advertisement has sexual undertones, with the advert not wanting to show the mere pleasure of smoking cigarettes, but rather the pleasure of sexual intercourse or sexual bliss. The very act of smoking a cigarette has been linked with seeking sexual desire, being seen as an invitation to, or a chaser of sex. At times smoking a cigarette can be seen as a replacement of the act of sexual intercourse entirely. With this in mind the imagery used within the Benson & Hedges advert contains imagery that is a much darker interpretation of sexual bliss. The advert depicts a room full of undressed female mannequin torsos. One of the mannequins is distorted to a cigarette packet, this, and the shadow of a breast cast upon the cigarette packet both act to feminise the cigarettes and thus sexualises the product. There is a darker side to the advert, with danger introduced via the tuxedo clad mannequin lurking in the background. The masculinised mannequin acts as a disruptive, dark force within the advert when placed behind the feminised mannequins. These elements, when combined with the stark lighting and claustrophobic, shallow space creates the tension, which gives the advert the sexual undertones. The gold fabric, embroidered with the Benson & Hedges logo placed in front of the mannequins associates the brand with luxury, thus as a luxurious,
32
ADVERTISING RESTRICTIONS
C I G A R E T T E aspirational product to own and consume. An important part of the adverts ability to keep the elements disconnected is the lack of body copy, it is claimed that the Tailor’s Dummy advert is the most open to interpretation of any of the Pure Gold campaigns produced by Benson & Hedges. However, there can be somewhat of a cynical styleraiding of surrealist imagery happening in this advert, this is different than creating images based on the true principles of the surrealist movement. Or, as Frederic Jameson refers to the Pure Gold campaign as, “Surrealism without the subconscious” (Jobling and Crowley, 1996, p264). There is one other way that the surrealist imagery of these adverts would appeal to the audience. The undeniable link between surrealist imagery and the high/ fine arts creates and additional connotation of intelligence with the cigarette and thus the consumer of the cigarette.
In order to establish which of the two is The most successful, a comparison of the traditional Marlboro Man “The filter doesn’t get in the way of the flavour” advert and the surrealist Benson & Hedges Tailor’s Dummy advert must take place. The specific focus will be on how the techniques compare when trying to communicate a defined brand message to the audience. Both adverts have one commonality between them, they target their brand message towards a primarily male
AND CASE STUDY
NA T ION
BEFORE AND AFTER 1971
33
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N
audience. That is where the similarities between the adverts ends, the Benson & Hedges adverts sells the cigarettes by using highly sexualised and surreal imagery, whereas the Marlboro campaign implements an image of a traditional cowboy to sell the cigarettes through a link/association with masculinity. The Marlboro Man advert preceded the legislative restriction placed on the advertising and promotion of imposed on the cigarette industry during the 1970s. This allowed for the advertiser to devise a specific message aimed at a specific audience, created solid, objective relationships between the product, and the images used in the advertisers, in the example of Marlboro this relationship was achieved by associating the product with the image of a heroic, masculine cowboy. This direct connection between the image, copy which all work together to reinforce the masculine image the brand wants to communicate to their audience. This level of specificity of message was close to impossible to achieve with the surrealist technique used to subvert the advertising restrictions which were introduced during the 1970s. Within the Tailor’s Dummy advert the lack of body copy, and requirement for the imagery to be ambiguous and have subjective meaning reduces the ease in which a specific message can be marketed to a specific age audience. The image has plurality of meaning and in
33
ADVERTISING RESTRICTIONS
C I G A R E T T E this way, the perception of the brand by the public is harder to predict. and thus harder to engrain on the conscious of a society.
Looking at the adverts in such a way which acts to compare them purely on the advertising techniques used to promote the smoking of cigarettes would be to underestimate the effect a cultural climate has on how adverts are interpreted by the public. This paragraph will look toward realising the varying contexts these two adverts were released into and how this context dictated the audiences reaction to them. The two adverts being compared, the Marlboro Man “The filter doesn’t get between you and the flavour” and the Benson & Hedges Tailor’s Dummy advert were released in to very different cultural contexts. This is not only because one of the adverts featured in Britain, and the other in America, but also that the adverts came to life on each side of a cultural revolution. The first advert being looked at is the Marlboro Man advert, a campaign that found itself faced with a post war American audience, 10 years from World War 2 and 2 years removed from the Korean War. The Marlboro therefore, gave the American audience a figure who symbolises masculinity, calmness, courage, integrity. These are qualities that are positive at all times, but no more so than in the tumultuous society this advert was released in to. The
AND CASE STUDY
NA T ION
BEFORE AND AFTER 1971
34
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N
connection between cowboys, and the warfare underwent with the Native Indians cannot be underestimated in these adverts, a link to victorious wars of the past and the strength of America as a country, as well as it’s men impart a deeply patriotic undertone to the advert. With this in mind it wouldn’t be too far a stretch to have the cowboy be a symbolic representation of a war hero when placed within the cultural context of the time. The link between the Marlboro Man and that of the American military does not only lie in the distant past. The tattoo seen on his right hand can be seen as a signifier to a military past. The tattoo being one of an anchor could realistically create a link between the Marlboro Man and a past in the Navy Seals, this solidifies the character of the Marlboro Man as the most masculine of men in the post-war America on the 1950’s, with this affiliation being past on to the consumer of the Marlboro cigarette. The Benson & Hedges Tailor’s Dummy advert was released in to a 1989 British culture extremely different to that of the American culture in 1955. One, when looked at more closely could explain the choice of imagery chosen by Collett Dickenson Pearce when producing the advert. The contrast in British culture at the time of extreme excesses in wealth, when combined with the fear of the AIDs virus can be seen in the Benson & Hedges advert. The sexualised mannequins and cigarette packet, being
35
ADVERTISING RESTRICTIONS
C I G A R E T T E stalked by the dark, sinister, threatening force of the tuxedo clad mannequin could be seen to represent the AIDs virus. A threatening disease lurking in the shadows and destroying the lives of many British people at that time. The excessive wealth of the time is represented in the depiction of the gold fabric, embroidered with the Benson & Hedges logo. Not only does this serve as a connector between the brand and that of gold, a luxury item, but that of a welcome distraction from the danger of AIDs, juxtaposing the two extreme aspects of society at the time, excess and fear. Overall, both methods of marketing and advertising cigarettes have their benefits and drawbacks, the traditional techniques of marketing cigarettes prove to be the most effective in engraining a brand message of the psyche of a nation and group of potential consumers. The reasons for this conclusion are as follows: Traditional advertising methods allows for a much more in depth, and targeted message. As shown with the Marlboro Man advert, the use of a cowboy has many positive associations which are transferred across to the consumer of the product. The lack of restrictions surrounding cigarette advertising at the time of Marlboro Man advert allowed for the advert imply increased masculinity through the smoking of Marlboro cigarettes. Something the Benson
AND CASE STUDY
NA T ION
BEFORE AND AFTER 1971
36
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N
& Hedges campaign could not directly imply in their Pure Gold adverts which came after the advertising restrictions. The social context the adverts were placed in has a substantial affect how effective the message communicated to the audience was, however, the directness of imagery at the disposal of advertisers before restrictions were imposed allowed for the traditional means of advertising to plunge deeper into the subconscious mind of the potential consumer. No more obvious is this than with the Marlboro Man and the war hero connotations so shortly after America had left war themselves. The traditional methods used to advertise and promote the smoking of cigarettes was more advantageous way of targeting a specific target audience to communicate to. The Marlboro Man adverts are clearly targeted at a adolescent male audience, where the audience for the Tailor’s Dummy advert is harder to define. As a Pure marketing tool, being able to target a specific audience allows for the campaign to have a greater impact on sales of a product. The combined outcomes of being able to focus a campaign and brand message at a specific audience with a specific message allows for a campaign to be engrained in the subconscious of potential consumers, and in the case of Marlboro Man, on popular culture way beyond the advertising campaign is over. It is this overall increased impact targeted
37
ADVERTISING RESTRICTIONS
C I G A R E T T E cigarettes adverts have on the cultural landscape which make them more effective than those adverts produced after advertising restrictions were imposed on cigarettes. The Marlboro Man advert was able to have a long lasting, even permanent impact as, it not only aligned smoking Marlboro cigarettes with being more masculine, but with being more American as well. A message so powerful and meaningful to the audience, the advert by Benson & Hedges was incapable of matching the meaning using surrealist imagery.
AND CASE STUDY
NA T ION
BEFORE AND AFTER 1971
38
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N
39
HEALTH WARNING
C I G A R E T T E HEALTH
a state of complete physical, mental, and social well-being and not merely the absence of disease or infirmity.
warn路ing
A statement or event that indicates a possible or impending danger, problem, or other unpleasant situation.
AND
HEALTH WARNING
NA T ION
BEFORE AND AFTER 1971
40
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N
41
HEALTH WARNING
C I G A R E T T E IN MODERN TIMES THE MAJORITY OF PEOPLE KNOW THAT SMOKING CIGARETTES IS BAD FOR YOU. THIS WAS NOT ALWAYS THE CASE, AS STATED EARLIER IN THE BOOK, THE 1952 ARTICLE ‘CANCER BY THE CARTON’, PUBLISHED BY READER’S DIGEST FIRST TOLD THE PUBLIC HOW DANGEROUS SMOKING IS.
IT SOON BECAME LEGISLATION FOR HEALTH WARNINGS TO APPEAR ON CIGARETTE PACKAGING. IN 1966, THE UNITED STATES BECAME THE FIRST COUNTRY TO FEATURE HEALTH WARNINGS ON CIGARETTE PACKAGING. THE NEXT PAGES WILL DISUCSS THE HEALTH CONCERNS, AND IMPLICATIONS THAT HAS HAD ON THE DESIGN OF CIGARETTE PACKAGING.
AND
HEALTH WARNING
NA T ION
BEFORE AND AFTER 1971
42
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N
43
HEALTH WARNING
C I G A R E T T E QUANTITY
THE AMOUNT OF CIGARETTES A PERSON SMOKES IN THEIR LIFE WILL GREATLY AFFECT THE SIDE EFFECTS THEY SUFFER. SMOKING ONCE ISN’T LIKELY TO HAVE LONG TERM HEALTH AFFECTS, HOWEVER SMOKING 200 CIGARETTES A DAY WILL QUICKLY END IN ADVERSE HEALTH CONDITIONS.
AND
NA T ION
WHAT INFLUENCES DAMAGE
BEFORE AND AFTER 1971
44
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N
45
HEALTH WARNING
C I G A R E T T E FILTER/NON-FILTER
FILTERS ARE USED ON THE CIGARETTES TO LIMIT THE AMOUNT HARMFUL TOXICS INHALED DURING THE ACT SMOKING. A FILTER WILL NEVER BE ABLE TO STOP ALL TOXICS ENTERING YOUR BODY, BUT IT IS PREFERABLE TO SMOKE A CIGARETTE WITH A FILTER.
AND
NA T ION
WHAT INFLUENCES DAMAGE
BEFORE AND AFTER 1971
46
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N
47
HEALTH WARNING
C I G A R E T T E PREPARATION
WITH TOBACCO BEING A FARMED PRODUCT. THE MANUFACTURING PROCESS, FROM THE NATURAL GOOD TO END PRODUCT HAS A DRAMATIC AFFECT ON THE SAFETY OF THE CIGARETTE.
AND
NA T ION
WHAT INFLUENCES DAMAGE
BEFORE AND AFTER 1971
48
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N
49
HEALTH WARNING
C I G A R E T T E Side effects of smoking that are an immediate effect of smoking, or after for smoking for a limited period of time.
THE SHORT TERM SIDE EFFECTS OF SMOKING ARE NOT LIFE THREATENING IN THEMSELF, however, they can have adverse effects on a persons social life. FROM BAD BREATH, HAND TREMORS, DIZZINESS, LOSS OF APPETITE TO COUGHS AND COLDS. A SIDE EFFECT OF SMOKING THAT IS NOT RELATED TO HEALTH IS THE FINANCIAL COST, THIS WILL BE LOOKED AT LATER IN THE BOOK.
AND
NA T ION
SHORT TERM DAMAGE
BEFORE AND AFTER 1971
50
E
N
Circulatory System
Heart Rate (up) Blood Pressure (up) Dizziness Skin Temperature of Fingers & Toes (down) Hand Tremor Constriction of Blood Vessels Flow of Blood Supply and Oxygen (down) Fat and Cholesterol Deposition (up)
Respiratory System
Paralyses Cilia, reduces function (UP) Irritates Allergies Cough AND Colds (UP) Irritates Eyes AND Throat
DIGESTIVE System
Acid in Stomach (UP) Sensation of Appetite, Taste AND Smell (DOWN) Bad Breath
NERVOUS System
Stimulates, then Reduces Brain Activity
51
HEALTH WARNING
C I G A R E T T E URINARY System
NO SHORT TERM EFFECTS
MUSCULAR System
Physical Endurance (DOWN)
Cosmetic Effect NO SHORT TERM EFFECTS
Reproductive System NO SHORT TERM EFFECTS
AND
NA T ION
SHORT TERM DAMAGE
BEFORE AND AFTER 1971
52
E
N
53
HEALTH WARNING
C I G A R E T T E THE LONG TERM DAMAGE CAUSED BY SMOKING IS MUCH MORE SERIOUS THAN THE SHORT TERM. CANCER, HEART DISEASE AND YELLOW, WRINKLY SKIN ARE SOME OF THE PLEASENT TREATS AWAITING CIGARETTE ENTHUSIASTS.
AND
NA T ION
LONG TERM DAMAGE
BEFORE AND AFTER 1971
54
E
N
Circulatory System
Narrowing or hardening of blood vessels Coronary heart disease (UP) Peripheral vascular disease (UP) Arteriosclerosis (UP)
Respiratory System
Cancer of Lungs (UP) Emphysema (UP) Chronic bronchitis (UP) Shortness of breath (UP) Cough and respiratory infections (UP) Cancer of Larynx (UP)
DIGESTIVE System
Stomach ulcers (UP) Bad Breath mouth, oesophagus and pancreaTIC Cancer (UP)
NERVOUS System STROKE (UP)
55
HEALTH WARNING
C I G A R E T T E URINARY System
BLADDER AND KIDNEY CANCER (UP)
MUSCULAR System MUSCLE TONE (DOWN)
Cosmetic Effect
Wrinkling and premature aging of the skin Sallow, yellow-grey complexion Stains fingers and nails Stains teeth
Reproductive System
Reproductive fertility (DOWN) Birth weight (200 grams lighter) (DOWN) Miscarriages, complications at birth and retarded foetal growth (UP) Cancer of cervix (UP)
AND
NA T ION
LONG TERM DAMAGE
BEFORE AND AFTER 1971
56
E
N
57
HEALTH WARNING
C I G A R E T T E WARNING LABELS, ABOUT THE ADVERSE HEALTH AFFECTS OF CIGARETTES HAVE APPEARED ON PACKAGING IN THE UNITED STATES OF AMERICA SINCE 1966. PREDATING THE ADVERTISING RESTRICTIONS BY 5 YEARS, BECOMING THE FIRST NATION TO FEATURE HEALTH WARNINGS.
ON A PERSONAL LEVEL I FEEL THE HEALTH WARNINGS WOULD ENCOURAGE YOUNG PEOPLE TO SMOKE, SHOWING A CERTAIN DARING, AND REBELIOUS PERSONALITY. SIMILAR TO THE EFFECT THE ‘PARENTAL ADVISORY’ LOGO HAD ON THE SALE OF MUSIC IN THE MID TO LATE 1980’S.
AND
WARNING LABELS
NA T ION
BEFORE AND AFTER 1971
58
E
N
SMOKING KILLS
59
HEALTH WARNING
C I G A R E T T E 1966 - 1970
CAUTION: CIGARETTE SMOKING MAY BE HAZARDOUS TO YOUR HEALTH.
1970 - 1985
WARNING: THE SURGEON GENERAL HAS DETERMINED THAT CIGARETTE SMOKING IS DANGEROUS TO YOUR HEALTH.
1985 - PRESENT
SURGEON GENERAL’S WARNING: SMOKING CAUSES LUNG CANCER, HEART DISEASE, EMPHYSEMA AND MAY COMPLICATE PREGNANCY.
1985 - PRESENT
SURGEON GENERAL’S WARNING: QUITTING SMOKING NOW GREATLY REDUCES SERIOUS RISKS TO YOUR HEALTH.
1985 - PRESENT
SURGEON GENERAL’S WARNING: SMOKING BY PREGANT WOMEN MAY RESULT IN FETAL INJURY, PREMATURE BIRTH AND LOW BIRTH WEIGHT.
1985 - PRESENT
SURGEON GENERAL’S WARNING: CIGARETTE SMOKE CONTAINS CARBON MONOXIDE.
AND
WARNING LABELS
NA T ION
BEFORE AND AFTER 1971
60
E
N
61
SMOKING IN PUBLIC
C I G A R E T T E IN RECENT TIMES THE SOCIAL LANDSCAPE OF SMOKING HAS CHANGED SIGNIFICANTLY. SMOKING WAS ONCE LEGAL IN EVERY WALK OF LIFE, DOCTORS WOULD SMOKE IN THEIR SURGERIES. AFTER THE TRUTH ABOUT THE HEALTH IMPACT OF CIGARETTES WERE UNDERSTOOD, MOUNTING PRESSURE FROM ANTI-SMOKING GROUPS MADE SMOKING ILLEGAL IN SOME PLACES. THE THREE MOST AFFECTED PLACES WAS: THE WORKPLACE, BAR AND RESTAURANT. THESE CHANGES IMPACTED THE FREEDOM OF THE UNITED STATES CITIZENS.
AND
NA T ION
SMOKING in public
BEFORE AND AFTER 1971
62
E
N
LEGAL TO SMOKE ILLEGAL TO SMOKE
63
SMOKING IN PUBLIC
C I G A R E T T E
AND
WORKPLACE 1970
NA T ION
BEFORE AND AFTER 1971
64
E
N
LEGAL TO SMOKE ILLEGAL TO SMOKE
65
SMOKING IN PUBLIC
C I G A R E T T E
AND
WORKPLACE 2010
NA T ION
BEFORE AND AFTER 1971
66
E
N
LEGAL TO SMOKE ILLEGAL TO SMOKE
67
SMOKING IN PUBLIC
C I G A R E T T E
AND BARS 1970
NA T ION
BEFORE AND AFTER 1971
68
E
N
LEGAL TO SMOKE ILLEGAL TO SMOKE
69
SMOKING IN PUBLIC
C I G A R E T T E
AND BARS 2010
NA T ION
BEFORE AND AFTER 1971
70
E
N
LEGAL TO SMOKE ILLEGAL TO SMOKE
71
SMOKING IN PUBLIC
C I G A R E T T E
AND
RESTAURANTS 1970
NA T ION
BEFORE AND AFTER 1971
72
E
N
LEGAL TO SMOKE ILLEGAL TO SMOKE
73
SMOKING IN PUBLIC
C I G A R E T T E
AND
RESTAURANTS 2010
NA T ION
BEFORE AND AFTER 1971
74
E
N
hu路man
A member of the genus Homo and especially of the species H. sapiens.
im路pact
The effect or one thing on another.
75
THE HUMAN IMPACT
C I G A R E T T E THE CHANGES DISCUSSED IN THIS BOOK SO FAR HAD ONE INTENTION, TO STOP PEOPLE SMOKING, AND ULTIMATELY REDUCE THE AMOUNT OF LIVES CUT SHORT BY THE EVIL CIGARETTE SMOKE. I WILL BE LOOKING AT THE AMOUNT OF SMOKERS IN THE USA IN 1970 AND 2010, THEIR LIFE EXPECTANCY AND THE MORTALITY RATES AMONGST SMOKERS.
AND
NA T ION
THE HUMAN IMPACT
BEFORE AND AFTER 1971
76
E
N
77
THE HUMAN IMPACT
C I G A R E T T E IN 1970, 37.4% OF THE POPULATION SMOKED. OUT OF A TOTAL POPULATION OF 203,302,031 PEOPLE, 76,034,959 SMOKED.
AND
SMOKERS 1970
NA T ION
BEFORE AND AFTER 1971
78
E
N
79
THE HUMAN IMPACT
C I G A R E T T E IN 2010, 19.4% OF THE POPULATION SMOKED. OUT OF A TOTAL POPULATION OF 307,745,358 PEOPLE, 59,702,599 SMOKED.
AND
SMOKERS 2010
NA T ION
BEFORE AND AFTER 1971
80
E
N
LIFE
The property or quality that distinguishes living organisms from dead organisms and inanimate matter, manifested in functions such as metabolism, growth, reproduction, and response to stimuli or adaptation to the environment originating from within the organism.
ex路pec路tan路cy
An expected amount calculated on the basis of actuarial data.
81
THE HUMAN IMPACT
C I G A R E T T E THE NEGATIVE SIDE EFFECTS OF SMOKING CAN COST PEOPLE THEIR LIVES, THIS SHOWS ITS AFFECT ON THE LIFE EXPECTANCY OF PEOPLE WHO SMOKE CIGARETTES FOR A SUSTAINED PERIOD OF TIME. PEOPLE CAN LOSE UP TO 10 YEARS OF THEIR LIFE THROUGH SMOKING.
AND
LIFE EXPECTANCY
NA T ION
BEFORE AND AFTER 1971
82
E
N
HERE LIES A NON SMOKER AGED 70 YEARS
83
THE HUMAN IMPACT
C I G A R E T T E
HERE LIES A SMOKER AGED 62 YEARS
AND
NA T ION
LIFE EXPECTANCY 1970
BEFORE AND AFTER 1971
84
E
N
HERE LIES A NON SMOKER AGED 78 YEARS
85
THE HUMAN IMPACT
C I G A R E T T E
HERE LIES A SMOKER AGED 70 YEARS
AND
NA T ION
LIFE EXPECTANCY 2010
BEFORE AND AFTER 1971
86
E
N
mor路tal路i路ty
The state of being subject to death.
87
THE HUMAN IMPACT
C I G A R E T T E HOW MANY PEOPLE SUCCUMB TO THE HAZY AFTERLIFE AS A RESULT of smoking those nasty cigarette sticks. DID THE INTRODUCTION OF THE HEALTH WARNINGS HAVE ANY EFFECT ON THE NUMBER OF PEOPLE LAYING TO REST DUE TO SMOKING? THIS WILL BE BASED PROPORTIONATLY OFF THE TOTAL POPULATION, AND THE POPULATION OF SMOKERS, in an attempt to get an understanding of the mortality rates in the smoking community, and the nation at large.
AND MORTALITy
NA T ION
BEFORE AND AFTER 1971
88
E
N
89
THE HUMAN IMPACT
C I G A R E T T E 1970, THE YEAR BEFORE THE CRACK DOWN ON TOBACCO COMPANIES REALLY BEGAN, IS THE FIRST YEAR I WILL SAMPLE THE MORTALITY RATES ON. ALL MORTALITY RATES DUE TO SMOKING MUST BE COMPARED TO THE OVERALL POPULATION OF THE NATION. IN 1970, THE POPULATION OF AMERICA WAS 203,302,031, OF THIS 76,034,959 PEOPLE SMOKED. OF THOSE 386,273 DIED, EQUATING TO around 0.5% OF SMOKERS DYING AND 0.19% OF THE TOTAL POPULATION DYING IN 1970. ON THE PAGE OPPOSITE, EACH CIGARETTE EQUALS 100,000 DEATHS CAUSED BY SMOKING.
AND
MORTALITy 1970
NA T ION
BEFORE AND AFTER 1971
90
E
N
91
THE HUMAN IMPACT
C I G A R E T T E 2010, THE YEAR BEFORE THE CRACK DOWN ON TOBACCO COMPANIES REALLY BEGAN, IS THE FIRST YEAR I WILL SAMPLE THE MORTALITY RATES ON. ALL MORTALITY RATES DUE TO SMOKING MUST BE COMPARED TO THE OVERALL POPULATION OF THE NATION. IN 2010, THE POPULATION OF AMERICA WAS 307,745,358, OF THIS 59,702,599 PEOPLE SMOKED. OF THOSE 443,000 DIED, EQUATING TO Around 0.74% OF SMOKERS DYING AND 0.14% OF THE TOTAL POPULATION DYING IN 2010. ON THE PAGE OPPOSITE, EACH CIGARETTE EQUALS 100,000 DEATHS CAUSED BY SMOKING.
AND
mortality 2010
NA T ION
BEFORE AND AFTER 1971
92
E
N
93
THE MONEY GAME
C I G A R E T T E THE TOBACCO INDUSTRY HAS ALWAYS BEEN BIG BUSINESS, LIKE OTHER DRUG TRADES, the large profit margins and addicted customer base make for high earnings. the question is, did the advertising restrictions and overall change in public attitude to smoking reduce the overall income of the cigarette companies. I will take the inflation rate into considerations, sourcing EXAMPLES OF THE PRICE OF CIGARETTES from 1970 and 2010.
AND
THE MONEY GAME
NA T ION
BEFORE AND AFTER 1971
94
E
N
95
THE MONEY GAME
C I G A R E T T E THE PRICE OF A 20 PACK OF CIGARETTES IN 1970 WAS $0.35, TAKING INFLATION INTO ACCOUNT THE PRICE IN 2010 WOULD HAVE BEEN $0.97. THE PRICE OF A 20 PACK OF CIGARETTES IN 2010 WAS $5.51, TAKING INFLATION INTO ACCOUNT THE PRICE IN 1970 WOULD HAVE BEEN $1.97. SHOWING AN INCREASE IN PRICE OF NEARLY 300%. IF A SMOKER WAS TO BUY ONE PACK OF CIGARETTES A DAY FOR A YEAR, AT $5.51, TOTAL EXPENDITURE FOR THE YEAR WOULD TOTal $2,011.
AND
NA T ION
PRICE OF CIGARETTES
BEFORE AND AFTER 1971
96
E
N
I’M REALISTIC. I ONLY SMOKE FACTS. I’D WALK A MILE FOR A CAMEL. IT’S TOASTED.
DO YOU INHALE?
BLOW IN HER FACE AND SHE’LL FOLLOW YOU ANYWHERE. MORE DOCTORS SMOKE CAMEL THAN ANY OTHER CIGARETTE.
97
THE MONEY GAME
C I G A R E T T E THE ADVERTISING RESTRICTIONS PLACED ON CIGARETTES WERE DISCUSSED EARLIER, THE QUESTION IS, DOES THE MEDIA USED AFFECT THE OVERALL EXPENDITURE AND AUDIENCE REACHED THROUGH ADVERTISING. THE FOCUS WILL BE ON COST, HOW DID THE ADVERTISING RESTRICTIONS AFFECT THE COMPANIES ON A PURELY BUSINESS LEVEL, HOW DID IT AFFECT OVERALL PROFIT.
AND
NA T ION
ADVERTISING AND PROMOTION
BEFORE AND AFTER 1971
98
E
N
$1. 99
THE MONEY GAME
C I G A R E T T E
.7B AND
NA T ION
ADVERTISING AND PROMOTION 1970 BEFORE AND AFTER 1971
100
E
N
$15 101
THE MONEY GAME
C I G A R E T T E
5.3B AND
NA T ION
ADVERTISING AND PROMOTION 2010 BEFORE AND AFTER 1971
102
E
N
rev路e路nue
IncomE of a company or organiSation.
103
THE MONEY GAME
C I G A R E T T E WITH THE RESTRICTIONS PLACED ON THE PROMOTION OF CIGARETTES YOU WOULD NATURALLY ASSUME THERE WOULD BE A REDUCTION IN PROFITS. THIS WOULD BE THE CASE WITH MANY OTHER PRODUCTS, SUCH AS MOBILE PHONES AND CHOCOLATE BARS. do these rules apply to THE TRADING OF TOBACCO? THE REVENUE IS BASED ON EACH SMOKER PURCHASING ONE PACK OF CIGARETTES EACH DAY OF THE YEAR.
AND REVENUE
NA T ION
BEFORE AND AFTER 1971
104
E
N
$9. 105
THE MONEY GAME
C I G A R E T T E
.7B AND
REVENUE 1970
NA T ION
BEFORE AND AFTER 1971
106
E
N
$12 107
THE MONEY GAME
C I G A R E T T E
20B AND
REVENUE 2010
NA T ION
BEFORE AND AFTER 1971
108
E
N
PROS
109
WHAT’S THE DIFFERENCE?
C I G A R E T T E CONS
AND
NA T ION
WHAT’S THE DIFFERENCE?
BEFORE AND AFTER 1971
110
E
N
dif·fer·ence
A noticeable change or effect.
111
WHAT’S THE DIFFERENCE?
C I G A R E T T E THE OUTCOME COMING FROM THE CHANGES MADE COULD BE SEEN AS LIMITED TO NONE. tHE PERCENTAGE OF SMOKERS IS DOWN, BUT THE DEATHS ARE UP. TOBACCO COMPANIES ARE MAKING RECORD PROFITS AND THE MONEY SPENT ON ADVERTISING HAS INCREASED. OVERALL I WOULD SAY THAT THE CLAMP DOWN ON CIGARETTES HAS BEEN NOTHING MORE THAN EMPTY PUBLIC RELATIONS STUNT. THE TOBACCO COMPANIES ARE WINNING, AND WILL CONTINUE TO DO SO UNTIL CIGARETTES ARE DECLARED ILLEGAL.
AND
NA T ION
WHAT’S THE DIFFERENCE?
BEFORE AND AFTER 1971
112
E
N
When I’m watching’ my TV And that man comes on to tell me How white my shirts can be Well he can’t be a man ‘cause he doesn’t smoke The same cigarettes as me SATISFACTION THE ROLLING STONES
113 00
THE END
C I G A R E T T E
AND
NA T ION
BEFORE AND AFTER 1971
E
N
DESIGN BY DAVID M GASKELL
E
N
1971 IS A LANDMARK YEAR IN THE HISTORY OF CIGARETTE ADVERTISING. CHANGES IN GOVERNMENT LEGISLATION MADE PROMOTING THE SMOKING OF CIGARETTES HARDER FOR ADVERTISERS. THIS BOOK HIGHLIGHTS THE RESTRICTIONS PLACED ON ADVERTISERS AND HOW THEY AFFECTED AMERICAN SOCIETY.
00
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