Joe Camel


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A cartoon character/mascot for Camel cigarettes, who was integral to R.J. Reynolds’ advertising campaign for the brand from 1987 until 1997.
References in periodicals archive ?
Perhaps the most infamous--and effective--of these advertising campaigns was the cartoon known as Joe Camel, which appeared on billboards and in magazines from 1988 to 1997.
Kessler and the FDA had a few victories: the big settlement state attorneys general won that has funded many public health projects in the states, and eliminating Joe Camel from advertisements; but, they did not win the ultimate battle.
In that same statement, Commissioner Gottleib said, "They say they've changed from the days of Joe Camel. But look at what's happening right now, on our watch and on their watch.
They funded shoddy science, co-opted researchers and critics, shifted blame, advocated for weaker government oversight, and even marketed their products to children (as with Tony the Tiger, breakfast cereal's equivalent of Big Tobacco's Joe Camel).
Zhou Tiehai may be best known for campy paintings in which he transposes the head of Joe Camel, corporate mascot of the cigarette brand, onto paintings by Goya, Ingres, Manet, and other European masters.
Attractive colors, eye-catching designs, and engaging characters like "Joe Camel" are critical marketing tools that when placed on tobacco products attract new customers - including nonsmokers and youth.
At a hearing, the Senate Committee on Commerce, Science and Transportation debated whether flavors such as Cherry Crush draw in youth similar to the way Joe Camel did decades ago.
To protect children, why not target Pepsi itself, or Joe Camel?
Stronger tobacco advertising regulations emerged in the United States in the 1990s after similar research found 6-year-olds were as familiar with Camel tobacco's "Joe Camel" as with the Disney Channel's Mickey Mouse.
Cool'' boasting the benefits of its e-cigarette -- evoking the days of Joe Camel.
Reynolds Tobacco , the company is known for its strategic advertising as the brand rose to prominence in the late 80s and early 90s by using its Joe Camel cartoon character as a means to make smoking more attractive to kids.
While Adbusters is "not the only radical magazine calling for the end of life as we know it," wrote Mattathias Schwartz in a November profile of Lasn in The New Yorker, "it is by far the best-looking." The same week, the New York Times rhapsodized that Lasn "had spent much of his career skewering corporate America, creating 'subvertising' campaigns like 'Joe Chemo,' which deftly mocked the Joe Camel cigarette ads of the 1990s." It's a tub-thumbing, deeply ideological magazine but "with its vivid artwork and photography, snippets of poetry and glossy fake ads Adbusters feels less like a manifesto than an evocative brochure," the Times commented.