Lucky Strike was introduced as a brand of chewing tobacco by American firm R.A. Patterson in 1871, and evolved into a cigarette by the early 1900s. The brand name was inspired by the gold rushes of the era, during which only about four miners in a thousand were fortunate enough to strike gold, and was intended to connote a top-quality blend

A well-circulated urban legend holds that the name "Lucky Strike" referred to the presence of marijuana in some cigarette packs.

History

The brand was first introduced by R. A. Patterson of Richmond, Virginia, in 1871 as cut plug and later a cigarette. In 1905, the company was acquired by the American Tobacco Company (ATC).

In 1917, the brand debuted the slogan "It's Toasted" to tout the manufacturing method of toasting, rather than sun drying, the tobacco, a process claimed to improve the flavor of the product. In an attempt to counter that popular campaign, competitor Camel went in the other direction, claiming that Camel was a "fresh" cigarette "never parched or toasted."

In the late 1920s, the brand was sold as a route to thinness for women. One typical ad said, "Reach for a Lucky instead of a sweet." Sales of Lucky Strikes increased by more than 300% during the first year of the advertising campaign. In the early 1930s, Al Jolson was also paid to endorse the brand; he called Lucky Strike "the cigarette of the acting profession...the good old flavor of Luckies is as sweet and soothing as the best 'Mammy' song ever written." Sales went from 14 billion cigarettes in 1925 to 40 billion in 1930, making Lucky Strike the leading brand nationwide.

Lucky Strike's association with radio music programs began during the 1920s on NBC. By 1928, the bandleader and vaudeville producer B. A. Rolfe was performing on radio and recording as "B.A. Rolfe and his Lucky Strike Orchestra" for Edison Records. In 1935, ATC began to sponsor Your Hit Parade, featuring North Carolina tobacco auctioneer Lee Aubrey "Speed" Riggs (later, another tobacco auctioneer from Lexington, Kentucky, F.E. Boone, was added). The weekly radio show's countdown catapulted the brand's success, remaining popular for 25 years. The shows capitalized on the tobacco auction theme and each ended with the signature phrase "Sold, American".

In 1934, Edward Bernays was asked to deal with women's apparent reluctance to buy Lucky Strikes because their green and red package clashed with standard female fashions. When Bernays suggested changing the package to a neutral color, George Washington Hill, head of the American Tobacco Company, refused, saying that he had already spent millions advertising the package. Bernays then endeavored to make green a fashionable color. The centerpiece of his efforts was the Green Ball, a social event at the Waldorf Astoria, hosted by Narcissa Cox Vanderlip. The pretext for the ball and its unnamed underwriter was that proceeds would go to charity. Famous society women would attend wearing green dresses. Manufacturers and retailers of clothing and accessories were advised of the excitement growing around the color green. Intellectuals were enlisted to give highbrow talks on the theme of green. Before the ball had actually taken place, newspapers and magazines (encouraged in various ways by Bernays's office) had latched on to the idea that green was all the rage.

The company's advertising campaigns generally featured a theme that stressed the quality of the tobacco purchased at auction for use in making Lucky Strike cigarettes and claimed that the higher quality tobacco resulted in a cigarette with better flavor. American engaged in a series of advertisements using Hollywood actors as endorsers of Lucky Strike, including testimonials from Douglas Fairbanks, concerning the cigarette's flavor, often described as delicious due to the tobacco being toasted. In 1937–38, American Tobacco paid $130,000 ($3.2 million in 2019 USD) to 16 Hollywood actors and actresses for their endorsement of Lucky Strike, the highest paid being Joan Crawford, Gary Cooper, Clark Gable, Myrna Loy, Robert Taylor, and Spencer Tracy who were each paid $10,000 (roughly $178,000 in 2019 USD). "Luckies" were the cigarette of choice for the famous smoker Bette Davis, who smoked them until the final years of her life (The New York Times noted the year of her death that she had switched them for Vantage filtered cigarettes).

Beginning in the fall of 1944, Lucky Strike was also a sponsor of comedian Jack Benny's radio and TV show, The Jack Benny Program, which was also introduced as The Lucky Strike Program.

The brand's signature dark-green pack was changed to white in 1942. In a famous advertising campaign that used the slogan "Lucky Strike Green has gone to war", the company claimed the change was made because the copper used in the green color was needed for World War II. American Tobacco actually used chromium to produce the green ink, and copper to produce the gold-colored trim. A limited supply of each was available, and substitute materials made the package look drab.

The white package actually was introduced to modernize the label and to increase the appeal of the package among female smokers; market studies showed that the green package was not found attractive by women, who had become important consumers of tobacco products. The war effort became a convenient way to make the product more marketable while appearing patriotic at the same time.

Famed industrial designer Raymond Loewy was challenged by company president George Washington Hill to improve the existing green and red package, with a $50,000 bet at stake. Loewy changed the background from green to white, making it more attractive to women, as well as cutting printing costs by eliminating the need for green dye. He also placed the Lucky Strike target logo on both sides of the package, a move that increased both visibility and sales. Hill paid off the bet.

The message "L.S./M.F.T." ("Lucky Strike means fine tobacco") was introduced on the package in 1944.

Lucky Strike was one of the brands included in the C-rations provided to US combat troops during the Second World War. Each C ration of the time included, among other items, nine cigarettes of varying brands because at the time, top military brass would declare that tobacco was essential to the morale of soldiers fighting on the front lines. The other cigarette brands included in the C-rations were Camel, Chelsea, Chesterfield, Craven "A"-Brand, Old Gold, Philip Morris, Player's, Raleigh, and Wings. The practice of including cigarettes in field rations continued during the Korean and Vietnam Wars, ending around 1975 or 1976 with the growing knowledge that smoking caused various kinds of health problems.

ILLUSTRATOR/ARTIST:

Neysa Moran McMein (born Marjorie Frances McMein; January 24, 1888 – May 12, 1949) was an American illustrator and portrait painter who studied at The School of The Art Institute of Chicago and Art Students League of New York. She began her career as an illustrator and during World War I, she traveled across France entertaining military troops with Anita P. Wilcox and Jane Bulley and made posters to support the war effort. She was made an honorary non-commissioned officer in the United States Marine Corps for her contributions to the war effort.

McMein was a successful illustrator of magazine covers, advertisements, and magazine articles for national publications, like McClure's, McCall's, The Saturday Evening Post, and Collier's. McMein created the portrait of a fictional housewife "Betty Crocker" for General Mills. She was also a successful portrait painter who painted the portraits of presidents, actors, and writers.

Algonquin Round Table members were entertained at her West 57th Street studio, where she was known for her active parties. Life magazine wrote an article about adult party games, which featured stories about McMein's parties. She had an open marriage to John G. Baragwanath, during which she had affairs with Charlie Chaplin and George Abbott. Baragwanath described their marriage as a successful one based upon a deep friendship.

She was inducted into the Society of Illustrators' Hall of Fame in 1984, 35 years after her death. McMein was one of 20 Society of Illustrators' artists to have their work published on a United States Postal Service Collectible Stamp sheet in 2001.

Early life and education

Marjorie Frances McMein was born in Quincy, Illinois on January 24, 1888. She was the daughter of Harry Moran and Isabelle Parker McMein. Harry McMein was a reporter before he worked for the McMein Publishing Company, a family business. Due to his alcoholism, his relationship with his wife was strained.

McMein had musical, acting, and artistic talent. After graduating with honors in 1907 from the Quincy High School, she attended The School of the Art Institute of Chicago. McMein worked at a large millinery firm, where she became lead designer. In 1911 or 1913, she went to New York City and after a brief stint as an actress ^[2] in several of Paul Armstrong's plays she turned to commercial art. On the advice of a numerologist, she adopted the name Neysa. John Baragwanath, her husband, stated that she chose the name Neysa after meeting one of Homer Davenport's fillies at his stables. Whatever the original impetus for the change, McMein thought that the name Neysa "had a commercial value" above that of her birth name.^[4] McMein studied at the Art Students League of New York in 1914.

Career

McMein sold her first drawing to the Boston Star in 1914. She created Harry Horowitz's portrait in 1915 before he was executed for Herman Rosenthal's murder. That year, she sold an illustration for the cover of The Saturday Evening Post and her Misinformation illustration appeared on the May 8, 1915, cover of Puck magazine. She became known for her portrayal of "All American Girls."

McMein made posters for French and United States governments during World War I, as did Thelma Cudlipp, Helen Hyde^[7] and Mary Brewster Hazelton^] Posters that she made also were used by the American Red Cross in its fund-raising campaigns.

She traveled across France to entertain the troops in 1918. Of her time at the Western Front, McMein said, "Since I have lived through air bombing I never will be frightened by anything on earth. The terror of air raids cannot be imagined. They are heralded by the blowing of sirens and the ringing of church bells, and amid this din the lights are extinguished and then suddenly come the bombs, falling no one knows where. The noise they made is worse than that of the battles."

McMein made portraits of some of the soldiers, drew cartoons, and colored the design of the Indian head insignia that was then used by the 93rd Bomb Squadron to denote the number of German planes that a given plane shot down by drawing a German black cross over one of the bear teeth in a necklace worn around the Indian head. She returned to the United States to care for her mother after her father died. While in Quincy, she spoke at two fund-raising drives. "[McMein] was the main attraction. The theater was filled. She was an excellent speaker; very witty and clever," according to Sarah Carney. For her efforts supporting the U.S. war effort, McMein was appointed an honorary non-commissioned officer in the United States Marine Corps, one of only three women to be so honored.

Her illustrations appeared on the covers and within articles for McClure's magazine by 1919.^[ By the 1920s, McMein and Jessie Willcox Smith were two of the major women magazine illustrators of their time. Together, they created hundreds of covers for McCall's and Good Housekeeping magazines. Joseph Bernt, author of the article "The Girl on the Magazine Cover: The Origins of Visual Stereotypes in American Mass Media" found that both women and Norman Rockwell generally portrayed women in covers and illustrations as mothers, with scenes centered around children, during the 1920s and 1930s. Within the covers of the magazine were illustrations made by the three artists to sell consumer products, like Orange Crush, Ivory soap, Chesterfield cigarettes, and Holeproof Hosiery. Following World War I, increased emphasis of family life was presented in mass media following a period when woman's suffrage and the New Woman were depicted in publications from the late 1800s according to Bernt. Carolyn Kitch, author of the book The Girl on the Magazine Cover, finds, however, that McMein created illustrations of confident, modern New Women for her magazine covers, while Jessie Wilcox Smith concentrated more steadily on children.

From 1923 through 1937, McMein created all of McCall's covers. She also supplied work to National Geographic, Woman's Home Companion, Collier's, and Photoplay^] McMein earned up to $2,500 (estimated equivalent to $34,740 in 2021) per cover illustration. She created advertising graphics for Cadillac, Lucky Strike cigarettes and Palmolive soap.

Together with artists Howard Chandler Christy and Harrison Fisher, McMein constituted the jury for Motion Picture Classic magazine's "Fame and Fortune" contest of 1921/1922, which discovered the It girl Clara Bow. Other promotional activities including judging Coney Island beauty contests or opening movie houses. McMein designed silk textiles in the mid-1920s, three examples of which are in the collection of the Metropolitan Museum of Art. In December 1929, she consulted with Studebaker's design department, with five other women artists and decorators.

General Mills commissioned her to create the image of Betty Crocker, a fictional housewife in 1936. She created an official portrait of Betty Crocker by combining features of the home economists employed by the company, which helped reinforce that Crocker was a real person. The image of the "ageless" 32-year-old was used in advertising and on packaging until 1955 when Hilda Taylor painted an updated Betty, who also wore bright red and white clothing. Like the Betty Crocker image, "Miss McMein was herself a kind of American demigoddess: the most courted of commercial artists, hostess in her New York studio to all of the 'Algonquin wits'—Benchley, Parker, Franklin P. Adams—a wit herself. Sophistication lay rouge-deep upon the personalities of her cover girls; beneath lay reassuring testimonials to health and wholesomeness," wrote James Gray, author of Business Without Boundary: The Story of General Mills.

In 1943, McMein collaborated with Alicia Patterson Guggenheim to create a comic strip, called "Deathless Deer." The strip starred a "deathless" Egyptian princess who awakens in modern New York City. McMein, while talented, was unfamiliar with comic strip drafting and conventions, and Guggenheim's writing suffered with the format. The strip was a commercial and critical failure; it was discontinued in 1943.

In April 1938, McCall's Magazine did not renew McMein's contract to produce illustrations for the magazine. By then, magazines could cost-effectively publish color photographs using four-color machines. McMein entered the field of portraiture, at first using pastels to depict Dorothy Parker, Edna St. Vincent Millay, and Helen Hayes. She painted portraits of presidents Herbert Hoover and Warren G. Harding, author Anne Morrow Lindbergh, and actors Charlie Chaplin and Beatrice Lillie. McMein also painted Katharine Cornell, Kay Francis, Janet Flanner, Dorothy Thompson, Anatole France, Charles Evans Hughes and Count Ferdinand von Zeppelin. She mentored photographer Lee Miller.