Marlboro online » marlboro red
April 12th, 2014
Marlboro Red is true American cigarettes which earn world recognition with their high quality and reasonable prices. Marlboro Red is considered to be the best seller of Phillip Morris products and is globally known as the premium brand of cigarettes.
The cigarettes are quite strong. It contains 0,7 0,8 mg of nicotine and 9 10 mg of tar. So Marlboro Red is usually a choice of confirmed, heavy smokers. There are two types of Marlboro Red cigarettes Marlboro Red King Size Box and Marlboro Red 100′ s. Marlboro Red 100′ s has longer size and is popular in USA, while Marlboro Red King Size Box is more common in Europe.
Lately cigarette manufacturers in USA started to produce fire safe cigarettes including Marlboro Red as well. As of January 1, 2010, the fire safe cigarette law was in effect in 43 states. Fire safe cigarettes are produced by adding two bands or “speed bumps” to the cigarette paper during manufacture in order to slow the burn rate at the bands. However some consumers in the United States claim they have found a noticeable difference in the taste of FSC Marlboro from non FSC Marlboro, comparing it to a copper or metallic taste.
Today it is possible to buy non fire safe Marlboro cigarettes online. Online cigarette stores sell Marlboro produced in Eastern Europe where there are no mentioned above regulations. Just in case you decided to order non FSC Marlboro online, be sure you found a reliable store.
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TIME What steps do you go through to ensure that the language, particularly the dialogue, is accurate? n
Erin Levy Every season, we try to engulf ourselves in the period, watch movies from the year that we u2019re going to be writing about. We read TIME, LIFE, Playboy, New York Times and the New Yorker. Then there are a lot of books, too, people writing in the time rather than about the time, which is important. We read John Cheever, who is a great source, and The Girls In the Office by Jack Olsen about girls u201cwho come to get a superjob in the big city u201d as the dust jacket says, in the late 1960s and early 1970s . And then, coming on this show as a writer, my job is to write like Matt. And part of that is getting an ear for how he writes, and because you can have an ear for how someone else writes, you can have an ear for learning how a period is, too. So once you engulf yourself, you start to really get the hang of it. n
So after the initial draft, what steps does the language go through in either getting approved or chucked out for being anachronistic? n
Allison Mann I go through the outlines as well, but once there u2019s a first draft of the script that u2019s distributed to everyone in our office, I go through it. Anything that is an idiom, I check. The idioms like u201cwhat goes around comes around u201d in the Season 6 premiere are more obvious than the more casual interjections, like the way you say u201cExcuse me u201d or u201cWait a second, u201d those kinds of introductions to sentences that aren u2019t quite idioms… Looking at etymologies of words and phrases we use, we often find that these words are actually extremely old u2014 a lot of it comes from Shakespeare. That u2019s fun to discover, especially about a phrase that you think might not be period or that sounds really contemporary, to say, this has been in the language, whether or not it was popular or common, hundreds of years. n
Are there examples off the top of your head? n
Allison Mann All the things off the top of my head are from this season, so I can u2019t say … n
So you sit there and scour the script and check etymologies. What if it is the case that a word has, say, been around since the 1830s but wasn u2019t popular during the time the season is set? n
Allison Mann The word merger was like that. I randomly caught this NPR program talking about anachronisms in shows. There was a linguist, and the only thing he pointed out in Mad Men was the word merger, because last season we were talking about that. I looked that up. It goes back to the 1850s, and it actually was commonly used. Language is really, really tricky to trace. n
Erin Levy Allison double checks a lot of this stuff against articles of the time. to make sure in fact it was being used. And sometimes you u2019re shocked as to where she finds certain databases. n
Allison Mann Any historical newspaper is a wealth of information about language in the period. So if there u2019s a whole article about a business merging, in the u201960s, and they reference the word merger multiple times, that means that the word was in the consciousness of the period. Because why else would that reporter be using that word? n
So once you u2019ve given the script the okay, is it good to go, or do some words get chucked after that? n
Allison Mann As the scripts go through different drafts, I u2019m constantly revising the language in it. Because when you u2019re in your own period, you u2019re in our time, sometimes certain words feel so natural and old u2014I u2019m having to constantly prevent myself from assuming that something is period when it might not be. n
Erin Levy We also have people working on the show who were working during that period. They u2019ve been amazing references. If there u2019s something that you don u2019t expect, you can always go to these people and say u201cHey, what do you think about this? u201d n
Would you ever let an anachronism purposefully slip through, if a word or phrase was just right for the scene? n
Erin Levy No. We in fact we u2019ve changed stuff before where we saw it and thought, it u2019s really funnier this other way, but we have to change it because it u2019s not right. And then we figure out a funny way to do it in the period. n
Allison Mann There are really, really obscure references u2026 The decision has been made, maybe once, to use the idea that maybe the character coins the phrase. I won u2019t tell you which ones they are u2026 n
There is an expectation that Mad Men gets fact checked like no other show. What is your reaction to linguists or lexicographers who are persnickety, saying that Don would have said u201chave to u201d instead of u201cneed to u201d or whatever it might be? n
Erin Levy I think it u2019s amazing that people are that engaged, because we u2019re so meticulous about it, it makes them search harder for whether it u2019s true or not. It just shows the level of detail that goes into the show and the level of viewership that the audience has. It u2019s really incredible. n
Allison Mann It u2019s really exciting that people care that much, to look it up themselves. That means I u2019m not the only person doing it. It u2019s great to think other people are excited about doing it as well. n
Are there general rules of thumb you might develop during a season, like typical linguistic habits that people had? If so, how much do those change from season to season? n
Erin Levy I would say that there has definitely been an adjustment. As we got later in the 60s, there was an effort to include certain words were coming into the world that hadn u2019t existed before. Some of them were introduced by Tad Chaough u2019s character who, played by Kevin Rahm, is Peggy u2019s boss and love interest in Season 6 , because it was a new character coming in and we could say, oh, this character is hip, he understands. And you u2019ll see other characters are using terminology that certain characters wouldn u2019t because they u2019re a little bit more of a u201950s type of person. n
Allison Mann Right. The writers aren u2019t just going to have the characters saying u201cgroovy u201d and all the stereotypical u201960s words unless it u2019s warranted, unless it u2019s natural for that character to be saying that. They u2019re not going out of their way to interject period language. n
Erin Levy I think Ted Chaough was the first person who said groovy on the show. And we u2019re saying that u2019s part of his character, that he u2019s aware of what u2019s going on in the culture. n
Are there types of language that are particularly interesting or difficult to work with, like business lingo or slang? n
Allison Mann The great thing about the English language is that it u2019s so, so old and the way we u2019ve inherited it. There u2019s something timeless about the language, and there u2019s something timeless about the emotional relationships the characters have. The language that conveys those scenes hasn u2019t really changed that much. You u2019re not chasing language so much as trying to make slight adjustments to it. n
How would you characterize Matt u2019s style? n
Erin Levy Brilliant? n
Allison Mann Incredible? Both laugh. n
Erin Levy It u2019s just a hard question. He such a complex writer. He has this amazing ability to write both dramatic and funny scenes. You may be in the middle of something so emotional, and then all of sudden you u2019re laughing. And I also think he has an incredible ability to write to silences. People always talk about the silences on the show and how they mean so much, but they only mean something if you have written to that point. And Matt rea
lly understands the value of doing that, and that moment of silence, communicating some verbally as well as non verbally. n
Is that a hard craft to learn u2014 writing to silence? n
Erin Levy At a certain point when you understand the show, you just understand that. You view it and understand how to do it. Sometimes we have a tendency to want to explain things that may not be completely evident, and on this show, we just trust the audience to understand what u2019s going on. And that u2019s something that you learn, but I don u2019t know if it u2019s difficult. In a way, it u2019s a profound thing to learn. n
Are characters ever crafted with this notion in mind, that they could bring a different type of language to the show? n
Erin Levy Certainly when you u2019re bringing in new characters, you u2019re trying to bring in someone who hasn u2019t existed before. And that can have to do with someone who is touch with the culture, and language will become a part of that. n
Are there things people are always asking you when they find out what you do? n
Erin Levy People always ask about the writers u2019 room. There u2019s a group of writers and we figure out the stories together. Matt comes in at the beginning of the year, and he has an idea of where he wants to go for the season. Lots of times he has very specific things that he wants to do. And we then start figuring out the arcs of the characters and fill in what u2019s missing and bring in the ideas that we have. As the season goes on, Matt gets pulled in a million directions, he u2019ll come in and we pitch things to him. A lot of us who became writers on the show were fans of the show beforehand. So we come in and can u2019t believe we writing the show and just want to make a story that would be exciting for us, too. n
I know you u2019ve said you can u2019t tell me anything about this season, but can you tell me anything about this season? n
Allison Mann We can u2019t go into details, but I guess the one thing we can say is that we are going forward in time. I can u2019t tell you how far forward into time. So there have a few phrases I u2019ve checked that are becoming acceptable, that are becoming part of the landscape of language as language unfolds in time. n
This is an edition of Wednesday Words, a weekly feature on language. For the previous post, click here.
