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•: . 1 SITUATION Client and Agency are aware that the Original packaging of CAMEL cigarettes has an unexplained, mystique. The uniquely-designed package has deve'loped its own trad it ion, or heritage, f,= this myst ique. Further, the cigarette currently enjoys a market share on the West Coast startlingly higher than national market share. Both Client and Agency are looking for Ways to capitalize on the Camel package mystique and its West Coast phenomena and for further explanations of the meaning of the Camel pack. Some ideas are presented here. I

2 PACKAGING HISTORY Camel cigarettes, 72 years old, was set apart at its origination by its packaging. ~ Before Camel was introduced in 1914, there were other Turkish tobacco products and Turkish image cigarettes. They were called Fatima, Omar, Mecca, and by 1903 they lsad 25% of the msrket. As can be viewed from their packaging, they played up the image of exotica with Har~em girls and the minarets of I'Mecca.l' But in 1914 R.J. Reynolds mixed his successful Prince Albert tobacco formula into a cigarette with Turkish, Burley and Bright leaves. He introduced it with a $1,500,000 ad campaign that announced "The Camels Are Comingl"# a campaign that took immediate advantage of the persona of the Camel. By•1918 Camel had 40%-of the tsat ion's cigarette bus iness. 1 0 In the beginning Camel looked different than the other Turkish cigarettes, the focus being on 'the animal, not on the exotic Eastern trappings. Camel still looks different. In 1958 there was an attempt to redesign the package; to modernize it. The public and R.J. Reynolds, Jr. protested to such an extent the package was reverted to the original. 2 1. Goodbye To A 11 That, Harris Lewine,,McGraw-Hill, 1970, pp32-34 " 2. Still Life With Woodpecker, Tom Robbins, Bantam Books, 1984, = p 182

I Cameron & Carneron Co. RlCN. %10ND;VA:" Tf'-.a;r,OCO.SUCC1550R TUi-s j t 1 a lI eLe:No CIr.".'i ~ EXCEPTIONAL QUAUTY TME AMERICAN TO©ACCO CO. I ~ Cigar store Indians went Turkish; Potentates "potentated"; Harem beauties re• clined; and cigarette ads ranged from Murad's "He Nonchalant" to Fuiima's "De Sensible." fly 1903 the Turkish cigarette boom had swept 25"/% of the market. These smokes were all-Turkish or Balkan leaf, shorter and fatter, some ovuled, and mostly hand-rolled. American Tobacco got In step and broadened its lines with the Turkish- TJirginia blends of Fatima and Mecca-ten for a nickel; a more expensive all-Turkis6 I smoke, Murud-ten for fifteen and later twenty cents; and Omur. Turkish blend at twenty for fifteen cenls. Furimu wcnt tu,Lit;4rt1 fbturad to Lorillard in the 1912 breakup uf the American Tobacco 1,111 subsidiary, Schinasi, sold the straight Turkish Gi;yptiun Prettiest at Itti•. 6ve cents. Lorillard's Mogul was straight Egyptian at the same price. 50688 0626 .

.-~---... benC TaasrextoQ (Clockwise) "Tomorrow there'll be more CAMELS In this town than in all Asia and Africa combinedl" R. J. Reynolds launched Camels in 1914 and began Ihe era of the standard brands. Lorillard's Old Cold quickly established a share of the market in 1920 with its "Blindfold Test" campaigns. Lucky Strike, American's Burley blend, came out in 1917 and within the year had an 11% share of the market. Original Herbert Tareyton package dates from 1913 and was a Bright blend, no Burley. 50688 O5Z In the summer of '31 Russ Columbo was siqging Please, and Lucky Sl "O.K. America." "Please" won out. Flue-cured leaf dropped from pound and Burley 256 to 11t. Tobacco was not "depression-proof" ai appeared. Larus Brothers. Richmond, brought out INhite Rolls. Phil duced Paul Jones-"America... Here's your cigarette-20 for 10e." I liamson reduced the price on Wings, and orders couldn't be filled fa:

.5 CAMEL IMAGE -- CAMEL HERITAGE ( To get at Camel heritage we need to explain what the packaging stood for in the first place, the nature of its "authentic" experience' and why it continues to lure. . - jr°o uct the cigarette's image of being an "authentic" if powerful -=" -:that of being a pure, unmitagated tobacco experience. -- Despite the negat ives this may imply today, it speaks to I The Camel nonf ilter product has the image of being an "authentic" cigarette. The Camel smoking_ image is - = = experience. . - -. .. - - ,_. - =~PaclcaQin~ t _ . -The feel 'of the ciga'rette was translated into the packaging. . -_ This is the coaumuiications device that' is interpreting the : product experience over and over again~to the consumer. The - packaging, then, is what is driving home the point of the . desirous.Camel experience or message. , - - We need to know what that experience or message is so we can recreate it. . ~ . - Her= - Heritage is the continuation of what something stood for or ig ina l ly. .

6 THE PACIU1 GE The package is comprised of few simple design elements: 1.) The Camel 2.) Stylized logotype with silver filling 3. ). Columns framing the images 4.) Copy set in an old-fashioned, easy-to-read typeface 5. ) Two pyramids, one in the foreground, one farther away 6. ) Desert 7.) Palm trees - 8.) Empty sky - 9.) Back of package: minarets, towers, palm trees at a settlement in the desert ~ The colors of the package are a blending of earth and desert tones. on a cream-colored sky. All images are austere. Yet they are images of objects foreign to the eye of American purchas®rs. Most Americans do not normally see camels, pyramida, desert or minarets in day-to-day l if e. The one bold, comprehensible image is the earth-colored camel. a i

7 ITS IMPA CT The simple, elegant rendering of creature and objects is a presentation of the world. It is a siinplification of it and an ordering of it. The objects selected for the package are first of all, unusual. Secondly, they are presented in a most pared-down light, as if to make them as accessible as possible. The images, and their primitive simplicity very much resemble the images of mythology, the depersonalized dreams of a culture. * • . ... . .._ . ..... - • . .:{' Thirdly, the relationship of the package images to each other is in perfect balance. The eye is immediately attracted not only to these clearlydefined objects,,but to their spatial relationship to each other. Framed within the brown columns, the objects form their own perfect little world:- sand, camel, tree, pyramid, sky, Camel logo. -- Essentially, it's a microcosm. It's a,snapshot from another time, another place that one can purchase and hold in one's hand. The Camel package seems like a message from the past, t ime stopped in a' perf ect ly ba lanced microcosm. The Camel pack is telling a story of some kind. The story is about this creature, the Camel, and hia relationship to his world. This is a presumption the mind;must make on a subconscious level by even the moat casual viewer. ~- . ~ 0 0) ao m 8 w 0

ITS MEANING The package performs a mental process for us. It presents a world and is of necessity interpreting!that world. It puts forth life as art, using representations of real life. The package is then, wise, since it is showing us its own vision of a miniature world. ; By using the simplest kind of art, line art, and just a few objects of art to tell its story with,; it interprets life by the reduction of objects and creature to their most elemental nature. And, of course, the subject matter itself is elemental: sand, pyramid, sky and only two life forms, the Camel and trees (minarets, on the package back play distantly in importance). It puts the animal alone within the half-living stillness of his environment. The package offers us symbols. The most intellectually primitive consumer must subconsciously register that something is going on on this package...that a story is being told: T=pro_ . 1.) Sees package,•not even noticing the speci_fic images 2.) Flashes on solemnity and general oddness of package. But also perceives overall perfectionLof images and perfect spacial relationship of objects within small square package. 3.) Thinks subconsciously, "Weird little package. But it's beaut iful. 00 ; 4. Buys cigarettes and forgets what he/she saw 5.~ Associations are made. Repurchase occurs without thinking about it. And, even though the subject matter of ',the package is serious, it could have been brightly-colored ori~comically drawn so ms not to cause any disturbance in the mind of the viewer. fThe entire premise of the pack is to create a subconscious disturbance, even if it's only a ripple. This is all it takes for art, or packaging in this case, to work. This is a major fa.ctor in Camel heritage -- the spell it puts over the viewer. • ~ . he images slow one down. The Camel, shaded and colored, is the object that is meant to be real in'this dreamlike landscape. Everything else, represented as pure line art and lightly-colored, i

9 I can be the Camel's mirage or our mirage. They are mythic, dreamlike visions that seem to exist,more in the mind than in reality. They are symbolic. And the very fact that the package is;Mise enough to show us these symbols implies that the package has a life of its own, a mind of its os,m. I Thus, the following statement by Tom Robbins from Still Life kith Woodpecker, a novel all about the power of the Camel cigarette package. From page 169: ; Yet, as any half-awake material- ist well knows, that which you hold holds you. Nei- ther could the earth escape the moon. Tbe moon con- ducts our orchestra of waters, it is keeper at the hive of blood. In a magnetic field, every object exerts force on every other object. The moon is an object, after all. Like a golden ball. Like a pack of cigarette& The fabric of even those objects that' seem densest is, in actual fact, a loose weaving of particles and waves. The differences and interactions between ob- jects have their roots in the interference patterns pro- duced along combined frequencies of vibration. What it amounted to was that Leigh-Cheri Iwas exerting force on the Camel pack. And it on her. Surely, such force had to do with the physical nature of the pack-its size, weight, shape, chemical composition, and, above all, prozi.mity--and not with the pictorial content that adorned it. Ah, but pictorial symbols havb their own weight and grivity, as the history of religion vividly demonstrates, and while Leigh-Cheri found herself in a relationship with the Camel pack as an object, just as she was in relation to the moon as an object (just as you, reader, have a relationship with this book as an object, no matter if you can tolerate another line of its content), she deciphered from the symbology of the Camel pack design what appeared to be the long-lost message from the redheads of Argon. : That might have been the major discovery of the last quarter of the twentieth century./

10 The subconscious meaninx viewers take Awav from the pack is--~ t so clear_j_ as the ot epack gives us: that ~ there are distinct symbols m~7~Tr an on the ack' er s h e hl ordered. These symbols in the world microcosm, a small square packagg wrapped in cellophane that f ita in the palm of a hand . a, (perfect in this Oimension,too)iMgly -that they have importance. This, in itself, has meaning to a consumer. This brings up the question about what'comprises the basic personality of the Camel pack buyer. Are we dealing with the kind of person who • responds to symbolism • responds to products that look down-to-earth and serious • is stimulated by different look to it, a loner or rebel • appreciates art and beauty in the objects around them, a sensualist? Most likely Camel plays to all these needs. Camel accomplishes somthing psychologically complicated for people, which ie why there is a mystique to it at all. 4 .0V .'

11 BRF'11K ING DOWN THE MEA NING At-the risk of being too psychologica2, the Camel pack .. symbols need at least a surface interpretation:- What is their singular meaning, and their meaning within the context of the story they tell? :~..V..~... . . . ._. - . . • ~ _ , - . _ , -- . . The product name,is that of a living 'creature,..an animal, to be precise. .:r, a r,; This camel,though stately in its -soiitude;"has to_be viewed as homely and stolid •;It -has an ugly face with a lont'snout and a long neck, a hump, and hooves for feet.(Only a paseirng thought to the possible interpretation of the'.Camel as phallic imagery. The-Camel's head and neck could be thought of this way.) . . . .. ..~ . ... - . . _- ~.'L: -.L. -aw ~~ : . - None of todayss top 40 cigarette brands is identtfied with an animal(except for Lark, which, at the 33rd position, is here disresarded). =•Taking this idea one step farther, none of the top 40 brands is:named anything one identifies as a living being, It follows that there is some level of identif ication of the cigarette buyer with the symbol of the Camel, We're tipped-off that this is not an ordinary camel by the fact that it is not a beast of burden. It iis not strapped with a fancy Egyptian saddle, Noshieks or princesses in harem pants are on the scene. That the camel is oose wand ~ and unburdened is an addit ona sycho,lo=ical identifier for the viewer. Vhat might be considered a eamel's characteristics? Resource- fuiness.-• camels have the hump that store water, the capa ty that will get him across the desert, A camel is lowly, homely and awkward. It is an earth-boundq functional animal. . Yet as portrayed on this pack, the Camel has an integrity. It cn t d I i h i t h s an s a one w ts ead and neck proudly arched, It seems 0 `" ~ m 0 m w 4 A pyramid, as temple or tomb, as monument to God's or man's immortality, can only allude to man's iinner life. The very presence of a pyrami~d•creatis mystery an sense of spiritualit, . Zhe Pyramid 0) iitii a and on prvae msson,s though looking ahead ao

C cplained. uat brands' luencedin- tptnces, as .ample: .perienced :ment--in- .ulting in a -entirely •'s generic econd big- % discount ed its rela- 0.5% gain Brown & trket share uetotxw ye report :deral ex- :well pre- ue to rise local gow es them- reasoned, vr carton more sig- out vors t Mark is s in its ms ~ . packets packed -:d and ks are -.. The, . and .rw~cacr ~; ~ti, ..,t•iII- it; mar~e; :,hare 0.1% to 12.0%, thus strengthening its place in the number two slot. Salem's market :thc:re remained un- changed in the third position, at the 8.1% level. The remaining seven brands among the top 10 all showed modest declines in market share, leading to the top 10 as a group, falling from 73% market share to 72.2%-a 0.8~'c drop. 'I7tat's still a commanding but slowly shrinking 'ownership' of the marketplace. Among the top 40 selling brands the ~ o brands showed slight declines, while 11 others 'remained stable: in terms of market share percentages., Maxwell estimated that total ciga- rette consumption was down 0.2%, to 595.2 billion units, while industryw,ide production dropped 0.8%, to 593 bil- lion units-resulting in a 2.21~lc decline in inventories. Without the positive influence of the discount and generic brands factored into consideration, Maxwell reported that the industry has seen the peak, in terms of cigarette consumption. Im- .. zr ••~ u..... , vv rnuuun to 70 million smokers to give up just one cigarette each day, through social pressure or legislation, could result in 22 billion cigarettes a year not being smoked. Still, he wouldn't discount the possibility of another price increase of as much as 3%, shortlv. "One could make the case that if you are not in discount brands, which is now the only growth area of the indus- try, your overall sales volume is going to continue to be under pressure," Max- well stated. 12 . Top 40 brands (by market share) Brand (Company) Sales (billion units) Market Share % 1984 1983 % Change 1984 1983 1. Marlboro (PM) -• 125.40 120.12 4.4 21.1 - 20.1 .} 2. wnston (RJR) s• .71.04 71.05 '. .. 12.0 r' -•11.9 Salem (RJR) ='r-- 3 48.39 48.35 -.0.1 8.1 .. 8.1 -t ~ . 4. Kool (B&W) 41.69 42.70 2.3 Z.0 7.2 5. Benson & Hedges (PM) 28.80 29.83 (3.5) 4.9 '• 5.0 6. Camel (RJR) 20.84 27.16 2.7 -. . ' 4.5 "4.6 .~a 7. Merit (PM) - ; -~~ • - 24.35 26.00 (6.3) • 4.1 - 4.4 8. Pall Mall (Amer) -r - 22.45 24.74 9.2 .._ 3.8 4.1 " 9. Vantage (RJR) 20.98 21.98 4.5 - 3.5 3.7 10. Kent (Lor'd) ~.. . 19.71 23.34 " (15.6) 3.3 Total top 10 429.65 435.27 i.2 72.2 73.0 11. Newport (Lor'd) 18.32 16.83 8.9 3.1 2.8 12. Virginia Slims (PM) 15.00 . 15.02 (0.1) 2.5 • 2.6 13. Carlton Filter (Amer) 11.25 11.93 5.7 • 1.9 - 2.0 14. More (RJR) 8.83 9.07 2 6 ' 1.5 15. True (Lor'd) e ~;;Z, 7.13 " 8.33 14;.4 , 1.2 : : : ~' -1.4 16. Raleigh (B&W) 7.49 = ~ . 7.97 ~ (5.9) 1.2 1.3 17. Tareyton (Amer) 6.45 ~ - 7.24 -10:9 . 1.1 1.2 18. Yceroy (B&W) ; z+ 6.88 ' (6J) 1.1 1.1 19. Parliament (PM) ;~i- `= '~ 5.89 .n 6.29 (6:4) _1.0 1.1 20. Lucky Strike (Amer) ' 6.12 ' 7:6 -r--.• -1.0 21. Barc(ay (B&W) m~ c= ~`4.61 ' ~_ 5.80 (20.5) r . ' 0.8 ~ 1.0 22. Belair (B&W) ~4.54 -t• 4.87 (6•8) ~ 0.8 08 23. Now (RJR) :%4.30 4.07 5.7 . 0.7 0.7 24. Century (RJR) 4.19 ; 2.17 93.,1 = _ . .. 0.7 0.4 25. L&M (Liggett) 3.32 4.04 (17.8) : ` 0.5 0.7 26. Chesterfield 2.46 2.83 12.4 ~~ 0.4 0.5 27. Players (PM) ~--•' 2.39 ~ 3.92 (39.0) 0.4 0.7 28. Doral (BJR) ' • 2.00 6 = 0.4 .29. Eve (Liggett) - 2.15 2.10 2.4 ' 0.4 0.3 30. Sterling (RJR) 1.98 . 0.03 -- 0.3 31. Saratoga (PM) 1.29 . .1.99 (3.5) 0.3 0.3 ' ' 32. Satin (Lor'd) 1.85 2.80 (33.9) 0.3 . 0.5 - ' 33. 'Lark, (Liggett) 1.80 ' 2.10 (14.3) 0.3 .- 0.4 34. Old Gold Filter ' 1.53 • 1.74 41 2 (12.1) 42 3 -.0.3 3 0.3 35. Bright (Lor d) 1.39 _ -_ . ( . ) ~ 0. 36. Carnbridge (PM) 0.71 _ ' 0.74 7 0.1 0.1 : 37. Philip Morris 0.67, 0. 9 0.1 38. Max (Lorillard) 0.65 0.80 0.1 39. Triumph (Lor'd) 0.65 = 0.93 0•1 40. Silva Thins (Amer.) 0.58 ." 0.74 0.1 SOURCE THE MAXWELL REPORT Y

13 - The average Camel purchaser need not know the history of ,: pyramids to be fascinated by the simple shape ot' the edifice, ,_ or to have some association with them',as related to God or - the spirit. hlso, the simple geometric shape in the middle .:-of the wasteland has got to be interpreted on some level by anyone who registers the image, if only for a split second. -• ...: r ' • - 8ut the main service of the pyramid, no matter what it truly -. ' was -intended to symbolize, is to provide a quest ionmark for --- the viewer. Somehow we know the pyramid is linked to something beyond earth. It•ls presence, breaking up the landscape behind .:ca:x ~ the Camel' brings up the question of high-than-mortal values. ~-- -- • uitease;-created--by:the--stoic' Camel~ -is counterbalanced by the perfect, unearthly pyramid. . _. ,:., `'And then, the juxtaposition of the pyramids just behind and in 3`=• -front of the camel brings up the su ggestion of human possibility, ti.~ the camel ° s pos it ion between his spiritua l past and his future. :~ ... ... . . .. - , - ~ .., Camel andlPyramid together _ , a ;::., There is an interesting symmetry, if not irony, in the nature _ , of Camel and pyramid. •-The camel has its hollowed-out hump mcarry water to enable it -'--- - to physically survive its harsh environment. --- - - ... .. . ,.. -~ :The pyramid is hollow, but hollow for sacred purposes. Pyramids ::were tombs intended to preserve the body and soul of a dead noble until the soul was ready to travel up to God. Jlccording to Tom :-;'Robbins, the point of the pyramid is where the soul stands to -: . ",*take f light from. ~, .. .- . ._ _=_:--There is a principle of ongoing life to both the hollowness of the camel and the pyramid. One is profane and one is sacred. ; One is bound to stan, one to God. There is a link insinuated _ -- between the living creature and spiritual life, in this technical : ; wa _ . y. ~ Visually, the link between them is the desert and the sky. There Li a placid stillness surrounding themboth. Independent yet co-existing images the are matter and spirit harmonioua y in -ba ance. e arger, more ptesent pyra'm p s ca ersec th~e`baEc of the camel, indicating t e merging ident t es. One image is alive. One is a monument. Yet they manage to serve :"the same purpose -•- the continuation of themselves.In meaning and visually they are in.balance, and cemented together forever by the brown columns on the package. ~ .

14 SOME CONCLUSIONS C . The Camel pack is a world microcosm, a story being told about man with relation to his universe ..,compare Camel . to Eli Cutter, a man's face on a package. We know he's an outlaw from the old west, but nothing else. There is no sense of man's involvement with the',worZd. Nothing's happening, . No other cigarette has "people or things" to identify with . The elemental simplicity of the design, the perfect balance of the graphics draws the viewer in . Consumer identif ies with the solid q'humble, resourceful Camel . There is recognition of the background symbols, however limited fm. The subconscious interpretation of the pack is made as follows: an independent, but humble creature-encounters his past and future possibilities on a desert --J suggesting that he is experiencing some sort of epiphany -- and this encounter is peaceful and positive. The story is the denouement in the camel's life. He's examining his world and his future and he accepts what he sees. . The tone of the message has integrity' authenticity. It speaks of basic things and basic issues, The overall look of the package is strong and mellow: (R.J. Reynolds has almost designed a package with the express purpose of putting a consumer in the mood for reflective smoking.)

15 C WHY THE CAMEL FRANCHISE DIFFERS WITHIN THE VIRILE SEGMENT Why is anyone drawn to Camel pack imagery in the f irst place? Why aren't we dealing with just macho Marlboro smokers and the older, but conservative Winston smokers? Camel YAS smokers may be macho, but they've got a screw loose somewhere. They®te different in that they need to reflect, or examine. Theyfre d ifferent than their peers(for•whatever reason; they probably don't know why themselves which is pre- cisely why they need some form of rebellion)and though their masculinity is secure, they are unfulf illed. And their -- unfulfillment has to do with questions of a spiritual nature. And spirituality can remain undef ined and still be marketed to. Their life's adventures need to be different than their peers, but this difference is a solemn thing,4nd one tied to a need to have the pieces f it together. The very act of rebellion must bring them back into the fold. The Camel pack is different, but it's still within the macho world.! There must be a strong, down-to-earth role, though independent'and adventurous, for the Camel purchaser' a role within the structure of society,

16 { CAMEL HERITAGE Camel's heritage is that it chose to be different and how it chose to be different. ; It chose to be different by going off in a rather grave direction. It personifies life in a s,olemn form, sans turbans and dancing girls. ; C In the Camel world the sense is of naked, basic encounters. Not to be interpreted as gritty, macho experiences, The Camel world looks at real stuff. Higher questions. And it provides answers. And, of course, the very idea of putting philosophy, or any meaning at all on something commercial,'and commonplace, i.e. getting it in the hands of the sverage man, is shocking, But pleasantly so. Whatever the symbolism,of the package, R.J. Reynolds, a consumer products company,`dared in 1914 to offer the American people a piece of philosophy, while pretending to merely be selling cigarettes. On some levels consumers have perceived it this way. And their gut reaction is that they like it. Theyfve been offered a sign that speaks of positiveness. The camel that meets up with himself and finds himself in harmony with the world and what is to come. Or because of his encounter,'his world falls into place. Further, this little lesson in life is offered in a most unex- pected]place, the American marketplace. The shock value makes it worth the price of purchase. It's the medium, the message and the product. A good, solid dmoke in a good solid package, with just a touch of esotericism to it. The sense of_value ia strong. .

17 WEST COAST PHENOMENA California is the capital of extremea in higher mind and body evolvement. makes it a perfect rebellion just to buy it. ........ __.. .. . . -- - ~ - -_.. ~. The Camel pack is viewed, rightly so,;as moving toward evoivement. The Camel is midway between his past and future, expla ined by the pyramids. The Camel is halfway to his ascendance to heaven, symbolized by his silver tsame risen--in the sky above him, almost like stars. He's in harmony with his earth life and seeking his spiritual fulfillment. Three quarters of the Camel®s body.is-already in the sky, his head almost touching his.name. -- He1 s almost there. C~~-. •-- ~ it~may be *simplistic to say that,Californianse~and ,Wsshingtonians, Oregonians(remember Tom Robbins novel was based there, and he. resides there as well)simply recognize these'physical and•spiritua: 'symbols quicker than the rest of the countryg-but'it's true. These symbols also matter to them more, since their-lives are much more linked to the out-of-donrs,-to the sun7 the water and the mounta ins. - - - - ; - - ~ -- - - . . . . _ . _.• . _ . .. - - - The West Coast naturally respects anything thatis different. But further,it respects even more things that are different in an intelligent way. Which is the essence of Camel. And, of course, different, intelligent and available in the marketplace .... Camel dares to traffic with spiritual questions. It offers a positive vision of man in relation to his environment. The West Coast, notorious for its search for higher lifestyles, ia more _;inf erested in and is quicker to honbr arrows pointing to such _lifestylea. The Camel pack is one of these arroWs. ylTht • And perhaps the more mechanized our society becomes, the less inyone will care about spiritual signs or anything that is-just ~ old and beautiful like the Camel pack.. But fortunately we can see that the West Coast is in touch with themselves, or seeks to = be touch. It is that search that makes them recognize Camel. .V = (n 0 0) W ao 0 m .~ 0

18 THE NATIVE INTELLIGENCE OF',THE CAMEL VISION Sophisticated the target needn't be to have a natural integrity to its aspirations and ambitions. There isn't an exotic ambition in the identification with a camels a'logo and two pyramids. Though the camel's name appears in silver letters isi the sky above him' it may be his moviep but the essence of the Camel pack combines thek aspirations of lowliness with the heights he may achieve. And these heights are the same any other man may achieve. The brown columns keep man and his aspirations within limits. Creative considerations for the Camel'franchise must honor the basic integrity and humbleness of thiss vision. It is the vision the franchise has already honored for s,eventy years. 1 I . ./r . V1 ~4 V! M~ W ~O VhI Y i.-

t 19 TO WHOM DO WE MARKET? If you love the Camel pack,,what are you like? Personal qualities might be summarized as follows: .-.i .:!_.. .~~.... `. Need order.---The 'Camel'worid- is structured and harmonic. . _. ........ ; pack creat ive: , . ~._ __ . _ . . . .._. _ ---- - ~%-~ ..... . ..a'. . Need dimensionality. Appreciates complexity and depth in , Sensitive and has instinctive intelligence. . Need to be different, independent(why do they like pictures -..of animals on their cigarettes anyway?) • Need to be in touch. He's a loner,,but not alone. His relation to other things in his world matters. - ( . Seeure, not desperate.in terms of what will ultimately be. If we need to answer this question any;further, it's easy enough to run a promotion with a contest asking "Why I smoke Camels" or run a blind promotion asking f1Why I smoke what I smoke." ' 11