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Because of its interest as an indication of not only the nit-picking detail work of the anti-tobacco forces, but the mean-mindedness of certain anti-tobacco fanatics in ferreting out even the slightest association with tobacco, this item, from the Tobacco BBS, is presented here in its entirety.
Reprinted courtesy of Gene Borio, Tobacco BBS, http://www.tobacco.org
One anti-tobacco website carries an item -- An Ad-erage Day in the Life of a Kid. Who disregards the health consequences of tobacco to assist in the addiction of a generation? "I figure if it's really so bad for you, they wouldn't be selling them everywhere. I mean, you walk into Stop 'N' Go, and there's a whole wall of them right up front at the cash register. If they were really *that* bad for you, they'd make them less accessible." --18-year-old smoker, "Young, Carefree and in Love With Cigarettes," The New York Times, July 30, 1995
A full list of tobacco ad carrying magazines, plus lists of magazines which REFUSE tobacco advertising. * Tobacco-ad-carrying magazines the FDA Rule refers to in its discussion of youth readership * Tobacco-Ad-Carrying Magazines in the News
* Time, Inc. (Sports Illustrated, Time, People, Entertainment Weekly)
Corporations that collaborate in the Marketing of Cigarette Brands Cultural Institutions that collaborate in the marketing of cigarette brands, or accept industry donations:
Arts Groups
Dance
Political/Ethnic Groups
Educational/Young People's Groups * Individual Collaborators * Charitable and Cultural Organizations that have REFUSED tobacco industry money * Drug Stores and Groceries that actively collaborate * Drug Stores and Groceries that REFUSE to collaborate * National Chains * Local: * Connecticut * New York * New York City * Utah Michigan * Georgia The Collaborators When all the garbage is stripped away, successful cigarette advertising involves showing the kind of people most people would like to be, doing the things most people would like to do, and smoking up a storm. I don't know any way of doing this that doesn't tempt young people to smoke. -- advertising executive who worked on the Marlboro account, quoted in the 1994 Surgeon General's Report. Consumer Reports, March, 1995 I. The Promoters Consider the never-ending flow of cigarette advertising and promotions, and their association with non-tobacco entities like sports figures, movie stars, corporations, grocery stores, the local pharmacy, doctor's office or even one's own living room. By their very ubiquity, coupled with their acceptance by the rest of society--including highly admired individuals and corporations--this flood of promotions serves to give silent rebuttal to the truth about tobacco. "The tobacco industry buys silence from these groups... Even if that's not made explicit, that's what happens. It's had a tremendous impact because these are the very groups that most need to speak out, and they won't." -- Jean Kilbourne, Wellesley College, speaking of tobacco industry donations to black and women's organizations. "They are peddling an addictive and lethal drug, and their ability to market their product depends on their ability to say they are a legitimate member of American society." --Michael Pertschuk, former chairman of the Federal Trade Commission, current co-director of the Advocacy Institute in Washington: "Thank God for sinners. They're the only people to support the arts." --anonymous dance company spokeswoman "Like the reaction of so many to the relationship between culture and cigarettes, the comment [above] had at its core the argument that the end justifies the means. Only it doesn't." --Anna Quindlen II. The Pointedly Silent Legitimizers Philanthropic contributions to arts, charity and cultural organizations are effective in buying legitimacy and silence. Institutions that have accepted tobacco industry philanthropy may or may not believe there is no quid-pro-quo, but in a crunch, many have been urged to speak up for tobacco industry goals to political bodies. In 1994 in New York City, Philip Morris let its donees know that if a smokefree bill passed, PM contributions might dry up. The note urged institutions--some shocked, some more than willing to comply--to speak with their legislators. By the mere fact of accepting tobacco industry donations, an organization lends a little of its legitimacy and status to tobacco companies, allowing the companies to shift the focus away from their commonly-perceived roles as merchants of death. Such an organization cannot be unaware it risks losing those donations if its members speak out about the 400,000 dead a year from tobacco-related diseases. "If they kill off cigarette and alcohol advertising, black papers may as well stop printing." -- Keith Lockart, president of Lockart & Pettus, Inc., an African-American advertising agency. "Groups representing those communities would be speaking out in opposition to aggressive marketing of the tobacco industry.... But what you see are groups like National Urban League and NAACP, who need the money and take the money from RJR and Philip Morris, saying not word one about this problem that afflicts their community. Groups in the gay community are by and large silent on this same concern. You could infer that tobacco company contributions, while helpful on the one hand, are buying silence on the other."-- Cliff Douglas of the Advocacy Institute It is in this vein then, that the Tobacco BBS sets out to create a database of enablers -- those who by lending their good name, help establish the ubiquity and seemingly everyday innocuousness of smoking, help foster the legitimacy of tobacco companies, and help collaborate in the lie that cigarettes couldn't possibly be "*that* bad for you." Tobacco-ad-carrying magazines the FDA Rule refers to in its discussion of youth readership The FDA's estimations are based on 1994 data from MediaMark Research Inc. and Simmons Market Research Bureau, Inc The number "1" after a magazine means the MediaMark measurement of youth readership exceeds the regulatory threshold of 2 million readers or 15 percent of total readership below the age of 18. The number "2" after a magazine means the Simmons measurement of youth readership exceeds the regulatory threshold of 2 million readers or 15 percent of total readership below the age of 18. Source: Barents Group LLC Tables IV-1 and A-2; Simmons Market Research Bureau, Inc.; R. Craig Endicott, "The Ad Age 300," Advertising Age, June 19, 1995. * Sports Illustrated 1,2 The FDA rule goes on to say: The final regulation requires that specific youth and adult readership data be available for any magazine that displays a tobacco advertisement with color or imagery. Simmons currently conducts interviews with adults in approximately 20,000 households annually and subsequently returns to about 3,000 of these households to interview their youth members. In general, however, marketing research firms collect data on youth readership only for those magazines commonly read by this age group. Thus, although 78 percent and 48 percent of the magazines in the two youth readership samples described above exceeded the regulatory readership threshold, these sample results likely overestimate the percentage of magazines with current tobacco ads that exceed the threshold. Simmons now collects adult readership data for about 230 magazines and youth readership for about 65 magazines. Because tobacco manufacturers currently advertise in about 100 magazines, the industry could often add magazines that are currently part of an ongoing adult readership survey to a youth survey, saving approximately 60 percent of the cost of collecting both adult and youth data. Tobacco-Ad-Carrying Magazines in the News The Dirty Dozen . . . a gang of 12 noxious magazines (Cosmopolitan, People, Better Homes, Playboy, Time, TV Guide, Newsweek, Family Circle, McCall's, Woman's Day, U.S. News, Sports Illustrated.) * Between Time Inc.'s Sports Illustrated, People, Time and Entertainment Weekly, Publisher's Information Bureau estimates placed the company's cigarette ad revenue in 1995 at $88.9 million--or roughly 27.5% of all cigarette advertising placed in consumer magazines. * ELLE takes flack for its Elle Cigarette Case * Cosmopolitan * Simmons Research Bureau found that up to 44% of Cosmo's readers are under 20. The readership rolls contain over two million girls aged 12-19. In 1985, Cosmopolitan editor Helen Gurley Brown was quoted thus in the Washington Post: "Having come from the advertising world myself, I think, 'who needs somebody you're paying millions of dollars a year to come back and bite you on the ankle?" * Redbook * One remarkable example of distortion was in the May Redbook, which spotlighted the "lifestyles of the cancer-free." Incredibly, there was no reference to the leading preventable cause of cancer - cigarettes.--Dr. Elizabeth Whelan, USA Today, Nov. 14, 1995 * Sports Illustrated 800-528-5000 * SI has been asked by 5 Congress members to stop carrying tobacco ads. Investment groups--like the Interfaith Center on Corporate Responsibility in Milwaukee and Healthcare West--have asked Time-Warner to clean up Time, Sports Illustrated and People. * Life Magazine 800-621-6000 * A recent letter to Dear Abby castigated Life for its Joe Camel inserts. * Ebony Magazine * "Neither Ebony nor Essence published an extensive article about smoking and health, although the subject was mentioned briefly in articles on general health. --Progressive Magazine, Dec., 1992 * Essence Magazine * "Neither Ebony nor Essence published an extensive article about smoking and health, although the subject was mentioned briefly in articles on general health. --Progressive Magazine, Dec., 1992 * According to Alan Blum, chairman of Doctors Ought to Care, "A minimum of 12 per cent of the color advertisements in each issue of Essence are for cigarettes, second only to advertisements for alcohol, at 20 per cent." --Progressive Magazine, Dec., 1992 * National Black Monitor/Black Media, Inc. * During 1988, the magazine National Black Monitor published a series of articles that urged African-Americans to support the tobacco industry. Published by Black Media, Inc., the Monitor is a monthly insert that goes to about eighty African-American newspapers, primarily in small cities and rural communities.-- Progressive Magazine, Dec., 1992 Corporations that collaborate in the Marketing of Cigarette Brands * Ticketmaster * Panasonic * Kellogg's * Mobil * Renault * Benetton * Toyota From a Press Release dated Feb. 29, 1996: the Marlboro Grand Prix of Miami would not happen nearly at the scale -- particularly the national scale -- it does now without the involvement of major corporate sponsors. The main sponsors of the Marlboro Grand Prix of Miami include Philip Morris USA's brand Marlboro, PPG Industries and Toyota. "The up-front financial support of corporate sponsorship has helped make the PPG Indy Car World Series one of the fastest-growing event series in the United States. It allows event promoters to compete in major markets throughout the United States . . . As a result, sponsorship has enabled the Marlboro Grand Prix of Miami to grow . . . "That's why this study increases my concern about efforts to limit or ban tobacco-brand sponsorship of sports and entertainment events, such as the regulations recently proposed by the Food and Drug Administration (FDA). . . . " * Subaru * Subaru -555 rally around the world including the rally in New Zealand, Australia, Indonesia, Malaysia, and Hong Kong-Beijing one week rally. All show 555 logos except the rally in Thailand which only show Subaru * Land Rover * 03/06/97 Camel Trophy Adventure. Like Marlboro's, but in a Land Rover. " . . . an unforgetable adventure in hostile climes and an extreme test of stamina, fortitude and the ability to get along with others in prolonged stressful situation. . . The Camel Trophy Adventure is sponsored by Land Rover, the British four-wheel drive manufacturer and Worldwide Brands, Inc., marketer of Camel Trophy brand adventure gear and clothing" 1997's trip is Mongolia. Cultural Institutions that collaborate in the marketing of cigarette brands or lend tobacco companies legitimacy by accepting industry donations According to William Ecenbarger of the Philadelphia Inquirer, "Philip Morris gave $30,000 to the Corcoran Gallery of Art in Washington for an exhibition in 1987. At the opening, a gallery official complained about little packs of cigarettes being distributed free of charge. Soon after, Philip Morris told Corcoran it would no longer fund the museum, citing the complaint as one reason." The following are arts institutions that reportedly are more cooperative. * Metropolitan Museum of Art * Philip Morris has sponsored many Met events and shows, including the Met's high-profile Matisse and Jacob Lawrence exhibits, and 1994's "Origins of Impressionism." (One journalist wrote that at the opening night party, so many free cigarettes were going that the Temple of Dendur was "enveloped in a cloud of smoke." * Treasures of the Vatican, 1987. Terence Cardinal Cooke, then the Roman Catholic Archbishop of New York, led a prayer for Mr. Weissman and his Philip Morris colleagues. After the benediction, Frank Saunders, PM VP, said, "We are probably the only cigarette company on this earth to be blessed by a cardinal." * "At this time, it is socially, economically and emotionally convenient to rationalize the politics of cigarettes, but only until you or someone you love is forced by circumstance to walk into a crowded oncology waiting room." --Carolyn Marks Blackwood * Whitney Museum of American Art * Whitney Museum at Philip Morris * Brooklyn Academy of Music (BAM) * Philip Morris sponsored BAM's high-profile Next Wave Festival. * William Campbell, president of Philip Morris USA until 1995, has been a board member of BAM. * During 1994's smokefree air act battle, BAM "made discreet calls," to City Council members to express concern. * Harvey Lichtenstein, the president of the Brooklyn Academy of the Arts, said he was informed of the upcoming vote and called Philip Morris out of concern for the millions of dollars that the corporation donates to his organization. "I have spoken to some City Council people," he said. "We've not been specific; I have simply said that Philip Morris is important to the city. ... We were acting in our own best interest, and it is quite clear that Philip Morris was acting in their own best interest."--Washington Post, 12/8/94 * "It is not easy to get support for something like the Next Wave. . . In this country there is no company as generous and as forward-looking. What we're worried about in this whole business is that they might leave the city, and we've seen other corporations do that and stop their support of the arts," says Harvey Lichtenstein, the president of BAM. * Museum of Modern Art * Lincoln Center for the Performing Arts * Ex-Philip Morris CEO George Weissman has been chairman of Lincoln Center since 1986, according to a 1994 New York Times Magazine article. * Lincoln Center once ran an ad that required a Surgeon's General warning. The ad promoted the Marlboro Country Music Festival (at Lincoln Center), and Marlboro cigarettes. * Museum of American Folk Art * American Association Of Museums * Morgan Library * Guggenheim Museum * International Center of Photography 1994: Philip Morris sponsored the "Talking Pictures" exhibition * Alliance for the Arts According to Randall Bourscheidt, executive director of the umbrella organization, "Arts organizations don't have the luxury of turning down money from any source. . . generosity as large and as widespread as Philip Morris's has a major impact on New York and the country." * American Ballet Theater * American Museum of Natural History * Franklin Furnace * Joyce Theater * B Dance Theater Workshop * P.S. 122 * According to Alisa Solomon in the Village Voice, "'Of course they're using us,' says P.S. 122 artistic director Mark Russell. 'We're using them, too.'" * Crossroads Theater * Yoshiko Chuma and the School of Hard Knocks * Intar Hispanic American Arts Center * La Mama
* Studio Museum
* Dance Theater of Harlem
* Alvin Ailey American Dance Theater
* The Alvin Ailey company received $500,000 from Philip Morris to underwrite its 1991 New York City season and 1991-1992 North American tour.
* "Because of Federal cuts to cultural institutions in the 1980s," says Judith Jamison, artistic director of the Alvin Ailey Dance Theater, "we have to identify and solicit money from tobacco companies." --Progressive Magazine, Dec., 1992.
* Jamison was quoted in Philip Morris' ads for its 1990 "Bill of Rights" tour: "we must keep a watchful eye" (to protect the Bill of Rights).
* "In 1991, Philip Morris gave the Alvin Ailey Dance Theater Foundation $200,920; the year before, Alvin Ailey representatives testified in support of the tobacco industry in Congress."--James Ridgeway, Village Voice, Nov. 9, 1993
* Kennedy Center Washington, DC
* MacDowell Colony
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