The last word had been a source of contention between agency and client. Meet Virginia Slims, the cigarette with a tagline for the ages. Giving Katharine a gentle whack on the tush with that day’s edition, John issued a statement of pride: Per usual, each morning, he held a rolled-up newspaper in his hand. “Honey, would you please get me a Danish?”Īs Katharine got up from her desk, John walked by. “Look at Katie, proofreading that brochure,” he said on this morning in the spring of 1968. Of course, she remained responsible for everything John-related.
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But it came to pass that through a series of random events-including Katharine being the only one in the room who could name all 10 Canadian provinces-Katharine was given the chance to assist several of the agency’s copywriters. Katharine’s tasks included keeping track of John’s schedule, typing his correspondence, occasionally sending flowers to his wife, keeping track of his children’s birthdays, and fetching his coffee and dry cleaning. Invariably, everyone called her “Katie,” including her boss, John Whitworth, a Penn State grad who was one of the firm’s premier account managers. Now, in the spring of ’68, she was about to turn 30, working at one of Madison Avenue’s larger agencies. Seven years earlier, Katharine had graduated Vassar, with hopes of becoming a writer.
So if tennis wasn’t on Pat Martin’s mind, maybe this scenario was more fitting for articulating the cultural significance of Virginia Slims, a cigarette arguably infused not just with nicotine, but with a heady dose of zeitgeist. As women began to assert themselves in far bolder ways, why not offer a cigarette that was appropriately thinner to fit a woman’s slender hand and address them with a clever, hyper-contemporary advertising campaign?įor surely, in these tumultuous times, this product was no mere fashion statement. Believe it or not, earlier in the 20th century, it was taboo for a woman to smoke in public. Marlboro’s parent company, Philip Morris, was about to unveil a new cigarette aimed exclusively at women-women who in these late-’60s days had begun to deploy such terms as “liberation” and “feminism.” The cigarette too had long been a sign of such feminine progress. Martin was a 30-year-old copywriter at Leo Burnett, the massive Chicago-headquartered advertising agency that had sprung to life such icons as the Jolly Green Giant, Tony the Tiger, and, perhaps most notably for Martin’s assignment, the Marlboro Man. The launch would happen in the summer of 1968.
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Both picture and audio elements were reassembled at the intermediate (ProRes 4444) before the mp4 access file was created.It’s highly doubtful Pat Martin had any thoughts about tennis as he labored through crafting a campaign for the new product.
Interview with Curt Flood conducted for Black Champions.
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