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Quote by Steven A. Seidman

“Efforts by Democrats to portray Jackson as 'manly' and for the 'common man' were apparently more effective than were the campaign tactics of Adams’s supporters, who attempted to depict Jackson as violent, unjust, a paramour, and even a poor speller. It is quite possible that this anti-Jackson propaganda actually reinforced the positive image of Jackson as a masculine commoner—especially when contrasted with that of Adams, whom the Democrats depicted as an over-refined aristocrat.”

Quote by Steven A. Seidman

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Steven A. Seidman

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“Fillmore lost his party’s nomination the next year to yet another military hero, General Winfield 'Old Fuss and Feathers' Scott, an anti-slavery candidate who then lost the election to General Franklin Pierce (whose party’s slogan was 'We Polked you in 1844; we shall Pierce you in 1852').”

PoliticsHistoryCampaignsElectionsGraphic DesignPolitical Campaigns
Book:Posters, Propaganda, and Persuasion in Election Campaigns Around the World and Through History
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“In the years that followed the Harrison campaign, many candidates—from Colonel James 'Young Hickory' Polk in 1844 to Lieutenant John Kerry in 2004—had their 'humble origins' and/or 'war leadership' highlighted in political material. Often coupled with these tactics was a corollary, to create an image of the opposition candidate that was highly negative—from John Adams as a 'monarchist' to John Kerry as a 'flip-flopping, windsurfing elitist.”

PoliticsHistoryCampaignsElectionsGraphic DesignPolitical Campaigns
Book:Posters, Propaganda, and Persuasion in Election Campaigns Around the World and Through History
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“Yet, some things do not change. Overall, designers have stayed with techniques that work—in different countries and historical periods. Flagg’s 'I Want You for U.S. Army' design in World War I, with 'Uncle Sam' looking directly at the viewer and pointing a finger at him, was derived from a British poster produced three years earlier; in the British poster, Secretary of State for War Lord Kitchener is pointing a finger at British males, with the words 'Wants You, Join Your Country’s Army! God Save The King.' Other countries—Italy, Hungary, Germany, Great Britain, Canada, France, the Irish Parliamentary Party, the Red Army in Russia, and later, the Republicans in the Spanish Civil War—designed similar posters. The British applied the same design idea in World War II, featuring Prime Minister Winston Churchill, instead of Kitchener, in the same pose; the U.S. Democratic Party resurrected Flagg’s Uncle Sam image, including it in an election poster for Franklin D. Roosevelt. In the decades that followed, however, anti-war protest groups issued satires of Flagg’s 'I Want You' poster, with 'Uncle Sam' in a variety of poses: pointing a gun at the audience; making the 'peace sign,' bandaged and accompanied by the slogan 'I Want Out'; as a skeleton, with a target superimposed on him; and with the 'bad breath' of airplanes dropping bombs on houses in his mouth.”

PoliticsHistoryCampaignsElectionsGraphic DesignPolitical Campaigns
Book:Posters, Propaganda, and Persuasion in Election Campaigns Around the World and Through History
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“imagine a world, however, where coin tosses could not be repeated and there was no way of knowing weather a particular coin toss involved either a scrupulously fair coin, or one that was double-header, or double-tailed. this would represent a world that was more than just risky, it would be deeply uncertain. imagine that all decisions in this world were governed by this fundamentally uncertain coin tosses, on an entirely random basis. some people may do very well, where as others may fail very badly indeed. both the winners and the losers might then be tempted to form their own narratives to explain their successes and failures, the winners extolling their imaginary skills, the losers blaming the winners for their imaginary exploitation.”

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Book:Grave New World: The End of Globalization, the Return of History
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“They asked all sorts of questions, but one really cut into my memory. This boy, stammering and blushing, you could tell he was one of the quiet ones, asked: "Why couldn't anyone help the animals?" This was already a person from the future. I couldn't answer that question. Our art is all about the sufferings and loves of people, but not of everything living. We don't descend to their level: animals, plants, that other world. And with Chernobyl man just waved his hand at everything.”

Chernobyl
Book:Voices from Chernobyl: The Oral History of a Nuclear Disaster
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