Propaganda in the United States, by Wikipedia

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Propaganda in the United States, by Wikipedia

Postby admin » Mon Nov 16, 2015 12:36 am

Propaganda in the United States
by Wikipedia
November 15, 2015



-- Morale Operations Branch, by Wikipedia

-- Doctrine Re Rumors, by Office of Strategic Services Planning Group

-- Walt Disney's World War II propaganda production, by Wikipedia

-- Investigation of Un-American Propaganda Activities in the United States: Appendix, Part IV: German-American Bund: Three Documents on the German-American Bund, by Special Committee on Un-American Activities

-- Investigation of Un-American Propaganda Activities in the United States: Appendix, Part VII: Report on the Axis Front Movement in the United States [Excerpt from pp. 59-85]

-- Propaganda in the United States, by Wikipedia

-- Brand, by Wikipedia

-- Spin (Propaganda), by Wikipedia

-- Chapter 13: Tango with the Devil . The Red Millionaire: A Political Biography of Willy Munzenberg, Moscow's Secret Propaganda Tsar in the West, by Sean McMeekin

-- Rupert Murdoch: Propaganda Recruit, by Robert Parry

-- Branding Democracy: U.S. Regime Change in Post-Soviet Eastern Europe, by Gerald Sussman

-- Merchants of Doubt, directed by Robert Kenner

An American propaganda poster from World War II produced under the Works Progress Administration.

Propaganda in the United States is propaganda spread by government and media entities within the United States. Propaganda is information, ideas, or rumors deliberately spread widely to influence opinions. Propaganda is not only in advertising; it is also in radio, newspaper, posters, books, television, and anything else that might be sent out to the widespread public.


[Song] What would you do


If you were asked to give up your dreams for freedom?
What would you do
If asked to make the ultimate sacrifice?


Would you think about all them people
Who gave up everything they had?


Would you think about all them war vets


And would you start to feel bad?


Freedom isn't free
It costs folks like you and me


And if we don't all chip in


We'll never pay that bill


Freedom isn't free
No, there's a hefty fucking fee


And if you don't throw in your buck o'five, who will?
Buck o'five


Freedom costs a buck o'five


-- Team America, directed by Trey Parker


World War I

The first large-scale use of propaganda by the U.S. government came during World War I. The government enlisted the help of citizens and children to help promote war bonds and stamps to help stimulate the economy. To keep the prices of war supplies down (guns, gunpowder, cannons, steel, etc.), the U.S. government produced posters that encouraged people to reduce waste and grow their own vegetables in "victory gardens". The public skepticism that was generated by the heavy-handed tactics of the Committee on Public Information would lead the postwar government to officially abandon the use of propaganda.[1]

World War II

During World War II the U.S. officially had no propaganda, but the Roosevelt government used means to circumvent this official line. One such propaganda tool was the publicly owned but government funded Writers' War Board (WWB). The activities of the WWB were so extensive that it has been called the "greatest propaganda machine in history".[1] Why We Fight is a famous series of US government propaganda films made to justify US involvement in World War II.

In 1944 (lasting until 1948) prominent US policy makers launched a domestic propaganda campaign aimed at convincing the U.S. public to agree to a harsh peace for the German people, for example by removing the common view of the German people and the Nazi party as separate entities.[2] The core in this campaign was the Writers' War Board which was closely associated with the Roosevelt administration.[2]

Another means was the United States Office of War Information that Roosevelt established in June 1942, whose mandate was to promote understanding of the war policies under the director Elmer Davis. It dealt with posters, press, movies, exhibitions, and produced often slanted material conforming to US wartime purposes. Other large and influential non-governmental organizations during the war and immediate post war period were the Society for the Prevention of World War III and the Council on Books in Wartime.

Cold War

During the Cold War, the U.S. government produced vast amounts of propaganda against communism and the Soviet bloc. Much of this propaganda was directed by the Federal Bureau of Investigation under J. Edgar Hoover, who himself wrote the anti-communist tract Masters of Deceit. The FBI's COINTELPRO arm solicited journalists to produce fake news items discrediting communists and affiliated groups, such as H. Bruce Franklin and the Venceremos Organization.

War on Drugs

A poster circa 2000 concerning cannabis in the United States.

The National Youth Anti-Drug Media Campaign, originally established by the National Narcotics Leadership Act of 1988,[3][4] but now conducted by the Office of National Drug Control Policy under the Drug-Free Media Campaign Act of 1998,[5] is a domestic propaganda campaign designed to "influence the attitudes of the public and the news media with respect to drug abuse" and for "reducing and preventing drug abuse among young people in the United States".[6][7] The Media Campaign cooperates with the Partnership for a Drug-Free America and other government and non-government organizations.[8]

Iraq War

In early 2002, the U.S. Department of Defense launched an information operation, colloquially referred to as the Pentagon military analyst program.[9] The goal of the operation is "to spread the administrations's talking points on Iraq by briefing ... retired commanders for network and cable television appearances," where they have been presented as independent analysts.[10] On 22 May 2008, after this program was revealed in the New York Times, the House passed an amendment that would make permanent a domestic propaganda ban that until now has been enacted annually in the military authorization bill.[11]

The Shared values initiative was a public relations campaign that was intended to sell a "new" America to Muslims around the world by showing that American Muslims were living happily and freely, without persecution, in post-9/11 America.[12] Funded by the United States Department of State, the campaign created a public relations front group known as Council of American Muslims for Understanding (CAMU). The campaign was divided in phases; the first of which consisted of five mini-documentaries for television, radio, and print with shared values messages for key Muslim countries.[13]

Ad Council

The Ad Council, an American non-profit organization that distributes public service announcements on behalf of various private and federal government agency sponsors, has been labeled as "little more than a domestic propaganda arm of the federal government" given the Ad Council's historically close collaboration with the President of the United States and the federal government.[14]


Through several international broadcasting operations, the US disseminates American cultural information, official positions on international affairs, and daily summaries of international news. These operations fall under the International Broadcasting Bureau, the successor of the United States Information Agency, established in 1953. IBB's operations include Voice of America, Radio Liberty, Alhurra and other programs. They broadcast mainly to countries where the United States finds that information about international events is limited, either due to poor infrastructure or government censorship. The Smith-Mundt Act prohibits the Voice of America from disseminating information to US citizens that was produced specifically for a foreign audience.

During the Cold War the US ran covert propaganda campaigns in countries that appeared likely to become Soviet satellites, such as Italy, Afghanistan, and Chile.

Recently The Pentagon announced the creation of a new unit aimed at spreading propaganda about supposedly "inaccurate" stories being spread about the Iraq War. These "inaccuracies" have been blamed on the enemy trying to decrease support for the war. Donald Rumsfeld has been quoted as saying these stories are something that keeps him up at night.[15]

Psychological operations

US PSYOP pamphlet disseminated in Iraq. Text: "This is your future al-Zarqawi" and shows al-Qaeda fighter al-Zarqawi caught in a rat trap.

The US military defines psychological operations, or PSYOP, as:

planned operations to convey selected information and indicators to foreign audiences to influence the emotions, motives, objective reasoning, and ultimately the behavior of foreign governments, organizations, groups, and individuals.[16]

Some argue that the Smith-Mundt Act, adopted in 1948, explicitly forbids information and psychological operations aimed at the US public.[17] However, Emma L Briant points out that this is a common confusion - The Smith-Mundt Act only ever applied to the State Department, not the Department of Defense and military PSYOP, which are governed by Article 10 of the US Code.[18] Rumsfeld's Roadmap to Propaganda - Secret Pentagon "roadmap" calls for "boundaries" between "information operations" abroad and at home but provides no actual limits as long as US doesn't "target" Americans] by National Security Archive, January 26, 2006.[19][20] Nevertheless, the current easy access to news and information from around the globe, makes it difficult to guarantee PSYOP programs do not reach the US public. Or, in the words of Army Col. James A. Treadwell, who commanded the U.S. military psyops unit in Iraq in 2003, in the Washington Post:

There's always going to be a certain amount of bleed-over with the global information environment.[21]

Agence France Presse reported on U.S. propaganda campaigns that:

The Pentagon acknowledged in a newly declassified document that the US public is increasingly exposed to propaganda disseminated overseas in psychological operations. [22]

Former US Defense Secretary Donald Rumsfeld approved the document referred to, which is titled "Information Operations Roadmap." [20][22] The document acknowledges restrictions on targeting domestic audience, but fails to offer any way of limiting the effect PSYOP programs have on domestic audiences.[17][19][23] A recent book by Emma L Briant brings this up to date, detailing the big changes in practice following 9/11 and especially after the Iraq War as US defense adapted to a more fluid media environment and brought in new internet policies[24]

Several incidents in 2003 were documented by Sam Gardiner, a retired Air Force colonel, which he saw as information-warfare campaigns that were intended for "foreign populations and the American public." Truth from These Podia,[25] as the treatise was called, reported that the way the Iraq war was fought resembled a political campaign, stressing the message instead of the truth.[20]


1. Thomas Howell, The Writers' War Board: U.S. Domestic Propaganda in World War II, Historian, Volume 59 Issue 4, pp. 795–813
2. Steven Casey, (2005), The Campaign to sell a harsh peace for Germany to the American public, 1944 - 1948, [online]. London: LSE Research Online. [Available online at] Originally published in History, 90 (297). pp. 62-92 (2005) Blackwell Publishing
3. National Narcotics Leadership Act of 1988 of the Anti–Drug Abuse Act of 1988, Pub.L. 100–690, 102 Stat. 4181, enacted November 18, 1988
4. Gamboa, Anthony H. (January 4, 2005), B-303495, Office of National Drug Control Policy — Video News Release (PDF), Government Accountability Office, footnote 6, page 3
5. Drug-Free Media Campaign Act of 1998 (Omnibus Consolidated and Emergency Supplemental Appropriations Act, 1999), Pub.L. 105–277, 112 Stat. 268, enacted October 21, 1998
6. Gamboa, Anthony H. (January 4, 2005), B-303495, Office of National Drug Control Policy — Video News Release (PDF), Government Accountability Office, pp. 9–10
7. Drug-Free Media Campaign Act of 1998 of the Omnibus Consolidated and Emergency Supplemental Appropriations Act, 1999, Pub.L. 105–277, 112 Stat. 268, enacted October 21, 1998
8. Office of National Drug Control Policy Reauthorization Act of 2006, Pub.L. 109–469, 120 Stat. 3501, enacted December 29, 2006, codified at 21 U.S.C. § 1708
9. Barstow, David (2008-04-20). "Message Machine: Behind Analysts, the Pentagon’s Hidden Hand". New York Times.
10. Sessions, David (2008-04-20). "Onward T.V. Soldiers: The New York Times exposes a multi-armed Pentagon message machine". Slate.
11. Barstow, David (2008-05-24). "2 Inquiries Set on Pentagon Publicity Effort". New York Times.
12. Rampton, Sheldon (October 17, 2007). "Shared Values Revisited". Center for Media and Democracy.
13. "U.S. Reaches Out to Muslim World with Shared Values Initiative". January 16, 2003.
14. Barnhart, Megan (2009). "Selling the International Control of Atomic Energy: The Scientists Movement, the Advertising Council, and the Problem of the Public". In Mariner, Rosemary B.; Piehler, G. Kurt. The Atomic Bomb and American Society: New Perspectives. University of Tennessee Press. p. 106. ISBN 978-1-57233-648-3.
15. BBC NEWS | Americas | Pentagon boosts 'media war' unit
16. Doctrine for Joint Psychological Operations Joint Publication 3-53, 5 September 2003 PDF
17. b [
18. Briant, Emma L (2015) Propaganda and Counter-terrorism: Strategies for Global Change, Manchester: Manchester University Press: 41
19. Operations as a core competency by Christopher J. Lamb, senior fellow in the Institute for National Security Studies at the National Defense University and has been Deputy Assistant Secretary of Defense, Resources and Plans.HTML version
20. c Mind Games By Daniel Schulman, Columbia Journalism Review at Columbia University's GraduateSchool of Journalism
21. Military Plays Up Role of Zarqawi - Jordanian Painted As Foreign Threat To Iraq's Stability By Thomas E. Ricks, The Washington Post, April 10, 2006
22. US Propaganda Aimed at Foreigners Reaches US Public: Pentagon Document by Agence France Presse, January 27, 2006
23. US plans to 'fight the net' revealed By Adam Brookes, BBC, January 27, 2006
24. Briant, Emma L (2015) Propaganda and Counter-terrorism: Strategies for Global Change, Manchester: Manchester University Press
25. Truth from These Podia - Summary of a Study of Strategic Influence, Perception Management, Strategic Information Warfare and Strategic Psychological Operations in Gulf II by Sam Gardiner, Colonel, USAF(Retired), October 8, 2003, [PDF]
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Re: Propaganda in the United States, by Wikipedia

Postby admin » Thu May 26, 2016 7:14 am

Spin (Propaganda)
by Wikipedia



In public relations, spin is a form of propaganda, achieved through providing a biased interpretation of an event or campaigning to persuade public opinion in favor or against some organization or public figure. While traditional public relations may also rely on creative presentation of the facts, "spin" often implies the use of disingenuous, deceptive, and highly manipulative tactics.[1]

Politicians are often accused by their opponents of claiming to be truthful and seek the truth while using spin tactics to manipulate public opinion. Large corporations with sophisticated public relations branches also engage in "spinning" information or events in their favor. Because of the frequent association between spin and press conferences (especially government press conferences), the room in which these take place is sometimes described as a spin room.[2] Public relations advisors, pollsters and media consultants who develop spin may be referred to as "spin doctors" or "spinmeisters" who manipulate the truth and create a biased interpretation of events for the person or group that hired them.

The term has its origin in the old American expression "to spin a yarn". Sailors were known for using their spare time on board making thread or string (yarn) and also for telling incredible tales when they were on shore. When someone fooled you, it was said that "he spun me an amazing yarn". Yarn also became a synonym for "tall tale" - "What a yarn!", means "what a lie". A coarser and more contemporary version of this expression is "bullshit", and, for anyone who seeks to deceive, "bullshit artist".


Edward Bernays has been called the "Father of Public Relations". As Larry Tye describes in his book The Father of Spin: Edward L. Bernays and The Birth of Public Relations, Bernays was able to help tobacco and alcohol companies use techniques to make certain behaviors more socially acceptable in the 20th-century United States. Tye claims that Bernays was proud of his work as a propagandist.[3]

As information technology has increased dramatically since the end of the 20th century, commentators like Joe Trippi have advanced the theory that modern Internet activism spells the end for political spin. By providing immediate counterpoint to every point a "spin doctor" can come up with, this theory suggests, the omnipresence of the Internet in some societies will inevitably lead to a reduction in the effectiveness of spin.[4]


The techniques of spin include:

• Selectively presenting facts and quotes that support one's position (cherry picking). For example, a pharmaceutical company could pick and choose trials where their product shows a positive effect, ignoring the unsuccessful trials, or a politician's staff could handpick speech quotations from past years which appear to show her support for a certain position)
• Non-denial denial
Non-apology apology
• "Mistakes were made" is an expression that is commonly used as a rhetorical device, whereby a speaker acknowledges that a situation was managed by using low-quality or inappropriate handling but seeks to evade any direct admission or accusation of responsibility by not specifying the person who made the mistakes. The acknowledgement of "mistakes" is framed in an abstract sense, with no direct reference to who made the mistakes. A less evasive construction might be along the lines of "I made mistakes" or "John Doe made mistakes." The speaker neither accepts personal responsibility nor accuses anyone else. The word "mistakes" also does not imply intent.
• Phrasing in a way that assumes unproven truths, or avoiding the question[5]
• "Burying bad news": announcing unpopular things at a time when it is believed that the media will focus on other news. In some cases, governments have released potentially controversial reports on summer long weekends, to avoid significant news coverage. Sometimes that other news is supplied by deliberately announcing popular items at the same time.
Misdirection and diversion[6]

"EVERYBODY IS FAIR GAME, simply for being on the other side," Sid Blumenthal wrote in the New Yorker when the Clintons were moving into the White House. "Humiliating one's prey, not merely defeating one's foes, is central to the process." No doubt this nasty blueprint for political success struck a chord with Hillary. According to Carl Bernstein, who wrote the Hillary biography A Woman in Charge, "His was a message that Hillary could embrace, along with its author." She hired him. [1] Blumenthal helped write some of Clinton's speeches and, in 1997, went to work in the White House as assistant to the president.

And assist he did.

By the time Bill and Hillary were up to their necks in Whitewater and Jones and Monica and me, Blumenthal concluded and collected "copious research on almost every aspect of the political, professional, and private lives of Starr, his prosecutors, the Paula Jones gang, the Republicans in Congress ... and ... the individual mercenaries of the right." [2] He would eventually be questioned in detail as to how he went about collecting that "copious research."

When Monica's story came out, Blumenthal cheered blindly for his team. Like a cult follower, he blamed Hillary's vast right-wing conspiracy. "The right-wing politics that had forced the scandal were alien and unknown to much of the White House senior staff," Blumenthal wrote in The Clinton Wars, his eight-hundred-page account of his years in the Clinton White House. "To them, what the right was doing seemed far-fetched, so impossibly convoluted, that they couldn't quite credit it." [3] It was quite a stretch of the imagination that White House aides would swallow the story that my testimony -- and Monica's and Paula's and Gennifer's -- were creations of right-wing politics, but the Clintons' brainwashed minions chose to swallow it. And Hillary's boy Sid served up the bait.

-- Target: Caught in the Crosshairs of Bill and Hillary Clinton, by Kathleen Willey

What will later be known as the Vast Right Wing Conspiracy begins on the left as a group of progressive students at the University of Arkansas form the Arkansas Committee to look into Mena, drugs, money laundering, and Arkansas politics.

-- Arkansas Connections, by Sam Smith

For years businesses have used fake or misleading customer testimonials by editing/spinning customers to reflect a much more satisfied experience than was actually the case. In 2009 the Federal Trade Commission updated their laws to include measures to prohibit this type of "spinning" and have been enforcing these laws as of late. Additionally, over the past 5 to 6 years several companies have arisen that verify the authenticity of the testimonials businesses present on the marketing materials in an effort to convince one to become a customer.

Fictional spin doctors

• Squealer in George Orwell's 1945 novel Animal Farm
• Malcolm Tucker – Number 10 Director of Communications and Strategy in the BBC comedy The Thick of It and the film In the Loop. Portrayed by Peter Capaldi.
• Nick Naylor – Protagonist of Christopher Buckley's bestseller Thank You for Smoking.
• Deputy Mayor Mike Flaherty in the American sitcom Spin City.
• Conrad Brean – hired to save a presidential election in Wag the Dog.[6]
• Charles Prentiss and Martin McCabe in the BBC comedy Absolute Power.
• Dick Harper – Protagonist in the film Fun With Dick and Jane.
• Jeremy Slank in Fat
• Kasper Juul in Borgen
• Major William Cage in Edge of Tomorrow
• Olivia Pope in Scandal
• The Courtier in The Courtier's Reply
• Russ Duritz in The Kid
• Tim Wattley in The Campaign
• Tony in The Hollowmen
• Borusa in Doctor Who
• Toby Ziegler in The West Wing

See also

• Apophasis
• Astroturfing
• Charm offensive
Cognitive distortion
• Corporate propaganda
• Doublespeak
• Exaggeration
• Gaslighting
• Impression management
• Image restoration theory
• Just How Stupid Are We?
• Media manipulation
• Minimisation (psychology)
• Reputation management
• Sexed up
• Sound bite
• Spin (1995 film)
• SpinSpotter
• Weasel words


1. William Safire, "The Spinner Spun", New York Times, December 22, 1996.
2. Michael, Powell. "Tit for Tat on a Night Where Spin Is Master,"New York Times. February 22, 2008.
3. Stauber, John and Sheldon Rampton. "Book Review: The Father of Spin: Edward L. Bernays & The Birth of PR by Larry Tye," PR Watch (Second Quarter 1999). Vol. 6, No. 2.
4. Branigan, Tania, "Internet spells end for political spin, says US web guru", The Guardian. 12 June 2007.
5. Staff. "Are these examples of political spin?". BBC Learning Zone. Clip 7265. 2013.
6. Weissman, Jerry. "Spin vs. Topspin". The Huffington Post. 19 June 2009.


• Roberts, Alasdair S. (2005). "Spin Control and Freedom of Information: Lessons for the United Kingdom from Canada". Public Administration 83: 1–23. doi:10.1111/j.0033-3298.2005.00435.x.
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Re: Propaganda in the United States, by Wikipedia

Postby admin » Sat Jan 21, 2017 8:57 pm

Beating or Driving
Illustrated Sporting and Dramatic News
December 5, 1874



[Michael J. Morell, Michael V. Hayden, James Clapper, Hillary Clinton, John Brennan, Hunters; Donald Trump, Tiger]

In some forests it may be advisable to beat for large game, and I have often made large bags by taking my station at the head of a ravine, and making the line of beaters drive the animals towards me. Previous to beating, the ground should be reconnoitred, and a good deal of judgment is required in selecting a position that commands the different runs up which the animals may come, and it is absolutely necessary to maintain the strictest silence, and remain as much as possible concealed. It is very unadvisable on these occasions to fire random shots, at very long ranges, as the chances are that the report of your rifle may prevent other game from coming near you, and you lose a fair chance. Great care must be taken, also, not to fire in the direction of the beaters.

The most certain information as to the presence of tigers, or indeed any of the feline race, is given by monkeys, who directly be stirs given their well-known cry of alarm, as a warning to the unwary, and continue making a harsh shrieking noise as long as he remains in sight. The peculiarly discordant cry of the kola balloo, or solitary jackal, also frequently betrays his whereabouts, as this animal, who, from old age or infirmities, is incapacitated from hunting with his fellows, lives upon what the tiger leaves, and gives notice to his master of any stray cattle that might serve him as a meal.

In central India, where trained elephants are tolerably numerous, the dense covers are beaten with a line of elephants, and many tigers are thus brought to bag, the sportsman being either mounted in howdahs on elephants or posted on some elevated ground, towards which the game is driven. A good steady khakar elephant costs about 300 pounds to buy in the first instance and about 80 rupees a month to keep, so that very few military men possess them; consequently coolies hired by the day are generally employed as beaters, every other man in the line having a fire arm of some kind, or a tom-tom.

The line of beaters, keeping up a perpetual noise, rouse the tiger from his lair and drive him past the ambuscades, behind which the sportsman lay hidden. When it is possible, elevated grounds should be selected for these posts, which command an extensive view of the country roundabout, and watchers should be posted in trees round about the lair to signalize when the animal breaks, and which direction he is making for. These must keep a careful watch, for a tiger that has been hunted before grows very cunning, and when alarmed, instead of breaking boldly forth, skulks from bush to bush and creeps along very close to the ground, taking advantage of every patch of cover that lies in his way. Sometimes when the bush is very thick, and he lies close, it is advisable to use rockets to scare him, and make him break into the open.
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Re: Propaganda in the United States, by Wikipedia

Postby admin » Sat Jan 21, 2017 9:03 pm

The king's beaters: Hunts and beaters



How did the kings of the House of Savoy hunt? Simple: minimum effort and maximum effect. These were guaranteed by the technique of "beating", where the game (chamois or ibex) was surrounded and pushed forward to an agreed place. The animals were flushed out by the batteurs, the beaters and forced to converge on the hunting hides, where the sovereigns were waiting with their guns ready to open fire.

The beaters, were chosen among the stronger people in the valley and Alpine soldiers on leave. If the hunt itself was to start at daybreak, the beaters' work started at night: they were divided into groups led by a gamekeeper, they climbed to the passes and peaks above the hunters. At the agreed time, like a procession of noisy ants, the beaters came down shouting and firing in the air, to flush the animals out and make them converge on the nobles waiting lower down.

In fact this "beating from above" soon turned out to be inefficient and was replaced by "beating from below". Chamois by nature tend to flee uphill in the face of danger, and in doing this many animals managed to breech the line of beaters effectively escaping the royal bullets. So it was decided to move the hides higher up the mountains and force the chamois up: this way seeking a way out they were running towards the king's guns.

The beaters' task hid insidious perils. Many documents describe hunting in foul weather, rain, snow, wind or poor visibility. The risk of falling, getting lost or hypothermia were everyday hazards, not to mention falling stones dislodged by the runaway herds of animals. In the last twelve years hunting, from 1901 to 1913, three beaters lost their lives and two more were slightly wounded.

In Umberto I's reign, the number of beaters employed per season varied between 120 and 300, according to the number of hunts organised and the area to beat at each drive. They received ten lire per day, around fifty lire per year, excluding the occasions when king Umberto chose to give them double pay for their services. With Vittorio Emanuele III the number of beaters increased considerably: from 1907 for every beat there were 300-350 people. In the summer of 1906 Vittorio Emanuele III took the record for the number of animals bagged: over 400 in a single season!

In 1914 with the end of the chamois hunts the role of beater quickly disappeared. Many in the valley saw an important source of income disappear, as did the labourers working on the yearly upkeep of paths and the traders in the valley, who supplied material and equipment to the royal household: it was the sun setting on a small hunting world.
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Re: Propaganda in the United States, by Wikipedia

Postby admin » Tue Jun 20, 2017 8:40 pm

Part 1 of 2

by Wikipedia
June 20, 2017



A brand (or marque for car model) is a name, term, design, symbol, or other feature that distinguishes an organization or product from its rivals in the eyes of the customer.[2][3] Brands are used in business, marketing, and advertising.

Initially, livestock branding was adopted to differentiate one person’s cattle from another's by means of a distinctive symbol burned into the animal’s skin with a hot branding iron. If a person would steal the animals, anyone could detect the symbol and deduce the actual owner. However, the term has been extended to mean a strategic personality for a product or company, so that ‘brand’ now suggests the values and promises that a consumer may perceive and buy into.

Branding is a set of marketing and communication methods that help to distinguish a company or products from competitors, aiming to create a lasting impression in the minds of customers. The key components that form a brand's toolbox include a brand’s identity, brand communication (such as by logos and trademarks), brand awareness, brand loyalty, and various branding (brand management) strategies.[4]

Brand equity is the measurable totality of a brand's worth and is validated by assessing the effectiveness of these branding components.[5] As markets become increasingly dynamic and fluctuating, brand equity is a marketing technique to increase customer satisfaction and customer loyalty, with side effects like reduced price sensitivity.[4] A brand is in essence a promise to its customers of they can expect from their products, as well as emotional benefits.[4] When a customer is familiar with a brand, or favours it incomparably to its competitors, this is when a corporation has reached a high level of brand equity.[5]

Many companies believe that there is often little to differentiate between several types of products in the 21st century, and therefore branding is one of a few remaining forms of product differentiation.[6]

In accounting, a brand defined as an intangible asset is often the most valuable asset on a corporation’s balance sheet. Brand owners manage their brands carefully to create shareholder value, and brand valuation is an important management technique that ascribes a money value to a brand, and allows marketing investment to be managed (e.g.: prioritized across a portfolio of brands) to maximize shareholder value. Although only acquired brands appear on a company's balance sheet, the notion of putting a value on a brand forces marketing leaders to be focused on long term stewardship of the brand and managing for value.

The word ‘brand’ is often used as a metonym referring to the company that is strongly identified with a brand.

Marque or make are often used to denote a brand of motor vehicle, which may be distinguished from a car model. A concept brand is a brand that is associated with an abstract concept, like breast cancer awareness or environmentalism, rather than a specific product, service, or business. A commodity brand is a brand associated with a commodity.

Ferrari is the world's most powerful brand according to Brand Finance.[1]


The word, brand, derives from the ancient North Scandavian term “brandr” meaning "to burn." It is a reference to the practice of using branding irons to burn a mark into the hides of livestock, and may also refer to the practice of craftsmen engraving brand names into products, tools or personal belongings.[7]

The oldest generic brand, in continuous use in India since the Vedic period (ca. 1100 B.C.E to 500 B.C.E), is the herbal paste known as Chyawanprash, consumed for its purported health benefits and attributed to a revered rishi (or seer) named Chyawan.[8] This product was developed at Dhosi Hill, an extinct volcano in northern India.

Roman glassmakers branded their works, with Ennion being the most prominent.[9]

The Italians used brands in the form of watermarks on paper in the 13th century.[10] Blind Stamps, hallmarks, and silver-makers' marks are all types of brand.

Although connected with the history of trademarks[11] and including earlier examples which could be deemed protobrands (such as the marketing puns of the Vesuvinum wine jars found at Pompeii),[12] brands in the field of mass-marketing originated in the 19th century with the advent of packaged goods. Industrialization moved the production of many household items, such as soap, from local communities to centralized factories. When shipping their items, the factories would literally brand their logo or insignia on the barrels used, extending the meaning of brand to that of a trademark.

Bass & Company, the British brewery, claims their red-triangle brand as the world's first trademark. Tate & Lyle of Lyle's Golden Syrup makes a similar claim, having been recognized by Guinness World Records[13] as Britain's oldest brand, with its green-and-gold packaging having remained almost unchanged since 1885. Another example comes from Antiche Fornaci Giorgi in Italy, which has stamped or carved its bricks (as found in Saint Peter's Basilica in the Vatican City) with the same proto-logo since 1731.

Cattle-branding has been used since Ancient Egypt. The term, maverick, originally meaning an un-branded calf, came from a Texas pioneer rancher, Sam Maverick, whose neglected cattle often got loose and were rounded up by his neighbors. Use of the word maverick spread among cowboys and came to apply to unbranded calves found wandering alone.[14]

Factories established during the Industrial Revolution introduced mass-produced goods and needed to sell their products to a wider market - to customers previously familiar only with locally produced goods. It quickly became apparent that a generic package of soap had difficulty competing with familiar, local products. The packaged-goods manufacturers needed to convince the market that the public could place just as much trust in the non-local product. Pears soap, Campbell's soup, soft drink Coca-Cola, Juicy Fruit chewing gum, Aunt Jemima pancake mix, and Quaker Oats oatmeal were among the first products to be "branded" in an effort to increase the consumer's familiarity with their merits. Other brands which date from that era, such as Uncle Ben's rice and Kellogg's breakfast cereal, furnish illustrations of the trend.

Around 1900, James Walter Thompson published a house ad explaining trademark advertising. This was an early commercial explanation of what we now know as branding. Companies soon adopted slogans, mascots, and jingles that began to appear on radio and early television. By the 1940s,[15] manufacturers began to recognize the way in which consumers were developing relationships with their brands in a social/psychological/anthropological sense.

Manufacturers quickly learned to build their brands' identity and personality such as youthfulness, fun or luxury. This began the practice we now know as branding today, where the consumers buy the brand instead of the product. This trend continued to the 1980s, and is now quantified in concepts such as brand value and brand equity. Naomi Klein has described this development as "brand equity mania".[16] In 1988, for example, Philip Morris purchased Kraft for six times what the company was worth on paper; it was felt[by whom?] that what they really purchased was its brand name.

April 2, 1993, or Marlboro Friday, is often considered the death of the brand[16] – the day Philip Morris declared that they were cutting the price of Marlboro cigarettes by 20% in order to compete with bargain cigarettes. Marlboro cigarettes were noted[by whom?] at the time for their heavy advertising campaigns and well-nuanced brand image. In response to the announcement, Wall Street stocks nose-dived[16] for a large number of branded companies: Heinz, Coca-Cola, Quaker Oats, PepsiCo, Tide, and Lysol. Many thought the event signalled the beginning of a trend towards "brand blindness" (Klein 13), questioning the power of "brand value".


Effective branding can result in higher sales of not only one product, but of other products associated with that brand. If a customer loves Pillsbury biscuits and trusts the brand, he or she is more likely to try other products offered by the company - such as chocolate-chip cookies, for example. Brand development, often the task of a design team, takes time to produce. Brand is the personality that identifies a product, service or company (name, term, sign, symbol, or design, or combination of them) and how it relates to key constituencies: customers, staff, partners, investors, etc.

Some people[who?] distinguish the psychological aspect (brand associations like thoughts, feelings, perceptions, images, experiences, beliefs, attitudes, and so on that become linked to the brand) of a brand from the experiential aspect. The experiential aspect consists of the sum of all points of contact with the brand and is known[by whom?] as the brand experience. The brand experience is a brand's action perceived by a person. The psychological aspect, sometimes referred to as the brand image, is a symbolic construct created within the minds of people, consisting of all the information and expectations associated with a product, with a service, or with the companyies providing them.

People engaged in branding seek to develop or align the expectations behind the brand experience, creating the impression that a brand associated with a product or service has certain qualities or characteristics that make it special or unique. A brand can therefore become one of the most valuable elements in an advertising theme, as it demonstrates what the brand owner is able to offer in the marketplace.[clarification needed] The art of creating and maintaining a brand is called brand management. Orientation of an entire organization towards its brand is called brand orientation. Brand orientation develops in response to market intelligence.

Careful brand management seeks to make products or services relevant to a target audience. Brands should be seen[by whom?]as more than the difference between the actual cost of a product and its selling price – they represent the sum of all valuable qualities of a product to the consumer.

A widely known brand is said[by whom?] to have "brand recognition". When brand recognition builds up to a point where a brand enjoys a critical mass of positive sentiment in the marketplace, it is said to have achieved brand franchise. Brand recognition is most successful when people can state a brand without being explicitly exposed to the company's name, but rather through visual signifiers like logos, slogans, and colors.[17] For example, Disney successfully branded its particular script font (originally created for Walt Disney's "signature" logo), which it used in the logo for

Visual Identity (example) created by Przemek Kowal[18]

Consumers may look on branding as an aspect of products or services, as it often serves to denote a certain attractive quality or characteristic (see also brand promise). From the perspective of brand owners, branded products or services can command higher prices. Where two products resemble each other, but one of the products has no associated branding (such as a generic, store-branded product), potential purchasers may often select the more expensive branded product on the basis of the perceived quality of the brand or on the basis of the reputation of the brand owner.

Corporate brand identity

Brand identity is the embodiment behind a corporation's reason for existence. Simply, the brand identity is a set of individual components, such as a name, a design, a set of imagery, a slogan, a vision, etc. which set the brand aside from others.[19][20]In order for a company to exude a strong sense of brand identity, it must have an in-depth understanding of its target market, competitors and the surrounding business environment.[4] Brand identity includes both the core identity and the extended identity.[4] The core identity reflects consistent long-term associations with the brand; whereas the extended identity involves the intricate details of the brand that help generate a constant motif.[4]
According to Kotler et al. (2009), a brand's identity may deliver four levels of meaning:

1. attributes
2. benefits
3. values
4. personality

A brand's attributes are a set of labels with which the corporation wishes to be associated. For example, a brand may showcase its primary attribute as environmental friendliness. However, a brand's attributes alone are not enough to persuade a customer into purchasing the product.[19] These attributes must be communicated through benefits, which are more emotional translations. If a brand's attribute is being environmentally friendly, customers will receive the benefit of feeling that they are helping the environment by associating with the brand. Aside from attributes and benefits, a brand's identity may also involve branding to focus on representing its core set of values.[19] If a company is seen to symbolise specific values, it will, in turn, attract customers who also believe in these values. For example, Nike's brand represents the value of a "just do it" attitude. Thus, this form of brand identification attracts customers who also share this same value. Even more extensive than its perceived values is a brand's personality.[19] Quite literally, one can easily describe a successful brand identity as if it were a person.[19] This form of brand identity has proven to be the most advantageous in maintaining long-lasting relationships with consumers, as it gives them a sense of personal interaction with the brand [21]Collectively, all four forms of brand identification help to deliver a powerful meaning behind what a corporation hopes to accomplish, and to explain why customers should choose one brand over its competitors.[4]

Brand awareness

Brand awareness involves a customers' ability to recall and/or recognise brands, logos and branded advertising. Brands helps customers to understand which brands or products belong to which product or service category. Brands assist customers to understand the constellation of benefits offered by individual brands, and how a given brand within a category is differentiated from competing brands, and thus the brand helps customers understand which brand satisfies their needs. Thus, the brand offers the customer a short-cut to understanding the different product or service offerings that make up a category.

Brand awareness is a key step in the customer's purchase decision process, since some kind of awareness is a precondition to purchasing. That is, customers will not consider a brand if they are not aware of it.[22] Brand awareness is a key component in understanding the effectiveness both of a brand's identity and of its communication methods.[23] Successful brands are those that consistently generate a high level of brand awareness, as this can often[quantify] be the pivotal factor in securing customer transactions.[24] Various forms of brand awareness can be identified. Each form reflects a different stage in a customer's cognitive ability to address the brand in a given circumstance.[5]

• Most companies aim for "Top-of-Mind". Top-of-mind awareness occurs when a brand pops into a consumer's mind when asked to name brands in a product category. For example, when someone is asked to name a type of facial tissue, the common answer, "Kleenex", will represent a top-of-mind brand.
• Unaided awareness (also known as brand recall or spontaneous awareness) refers to the brand or set of brands that a consumer can elicit from memory when prompted with a product category
• Aided awareness (also known as brand recognition) occurs when consumers see or read a list of brands, and express familiarity with a particular brand only after they hear or see it as a type of memory aide.
• Strategic awareness occurs when a brand is not only top-of-mind to consumers, but also has distinctive qualities which consumers perceive as making it better than other brands in the particular market. The distinction(s) that set a product apart from the competition is/are also known[by whom?] as the unique selling point or USP.

Brand recognition is the initial phase of brand awareness and validates whether or not a customer remembers being pre-exposed to the brand.[24] When customers experience brand recognition, they are triggered by either a visual or verbal cue.[5]For example, when looking to satisfy a category need such as toilet paper, the customer would firstly be presented with multiple brands to choose from. Once the customer is visually or verbally faced with a brand, he/she may remember being introduced to the brand before. This would be classified[by whom?] as brand recognition, as the customer can retrieve the particular memory node that referred to the brand, once given a cue.[5] Often, this form of brand awareness assists customers in choosing one brand over another when faced with a low-involvement purchasing decision.[25]

Unlike brand recognition, brand recall is not triggered by a visual or verbal cue. Instead, brand recall "requires that the consumers correctly retrieve the brand from memory".[5] Rather than being given a choice of multiple brands to satisfy a need, consumers are faced with a need first, and then must recall a brand from their memory to satisfy that need. This level of brand awareness is stronger than brand recognition, as the brand must be firmly cemented in the consumer's memory to enable unassisted remembrance.[24] Thus, brand recall is a confirmation that previous branding touchpoints have successfully fermented in the minds of its consumers.[25]

Marketing-mix modeling can help marketing leaders optimize how they spend marketing budgets to maximize the impact on brand awareness or on sales. Managing brands for value creation will often involve applying marketing-mix modeling techniques in conjunction with brand valuation.

Brand elements

Brands typically comprise various elements, such as:[26]

• name: the word or words used to identify a company, product, service, or concept
• logo: the visual trademark that identifies a brand
• tagline or catchphrase: "The Quicker Picker Upper" is associated[by whom?] with Bounty paper towels
• graphics: the "dynamic ribbon" is a trademarked part of Coca-Cola's brand
• shapes: the distinctive shapes of the Coca-Cola bottle and of the Volkswagen Beetle are trademarked elements of those brands
• colors: the instant recognition consumers have when they see Tiffany & Co.’s robin’s egg blue (Pantone No. 1837). Tiffany & Co.’s trademarked the color in 1998.[27]
• sounds: a unique tune or set of notes can denote a brand. NBC's chimes provide a famous example.
• scents: the rose-jasmine-musk scent of Chanel No. 5 is trademarked
• tastes: Kentucky Fried Chicken has trademarked its special recipe of eleven herbs and spices for fried chicken
• movements: Lamborghini has trademarked the upward motion of its car doors

Figure 2. Demonstrating touch points associated with purchase experience stages

Brand communication

Although brand identity is regarded[by whom?] as the most fundamental asset to a brand's equity, the worth of a brand's identity would become obsolete without ongoing brand communication.[28] Integrated marketing communications (IMC) relates to how a brand transmits a clear consistent message to its stakeholders .[23] Five key components comprise IMC:[19]

1. advertising
2. sales promotions
3. direct marketing
4. personal selling
5. public relations

The effectiveness of a brand's communication is determined by how accurately the customer perceives the brand's intended message through its IMC. Although IMC is a broad strategic concept, the most crucial brand communication elements are pinpointed[by whom?] to how the brand sends a message and what touch points the brand uses to connect with its customers.[23]

One can analyse the traditional communication model into several consecutive steps:[19]

• Firstly, a source/sender wishes to convey a message to a receiver. This source must encode the intended message in a way that the receiver will potentially understand.[23]
• After the encoding stage, the forming of the message is complete and is portrayed through a selected channel.[29] In IMC, channels may include media elements such as advertising, public relations, sales promotions, etc.[23]
• It is at this point where the message can often deter from its original purpose as the message must go through the process of being decoded, which can often lead to unintended misinterpretation.[29]
• Finally, the receiver retrieves the message and attempts to understand what the sender was aiming to render. Often, a message may be incorrectly received due to noise in the market, which is caused by "…unplanned static or distortion during the communication process".[19]
• The final stage of this process is when the receiver responds to the message, which is received by the original sender as feedback.[21]

When a brand communicates a brand identity to a receiver, it runs the risk of the receiver incorrectly interpreting the message. Therefore, a brand should use appropriate communication channels to positively "…affect how the psychological and physical aspects of a brand are perceived" [30]

In order for brands to effectively communicate to customers, marketers must "…consider all touch points, or sources of contact, that a customer has with the brand".[31][page needed] Touch points represent the channel stage in the traditional communication model, where a message travels from the sender to the receiver. Any point where a customer has an interaction with the brand - whether watching a television advertisement, hearing about a brand through word of mouth, or even noticing a branded license plate - defines a touch point. According to Dalen et al. (2010), every touch point has the "…potential to add positive - or suppress negative - associations to the brand's equity" [30] Thus a brand's IMC should cohesively deliver positive messages through appropriate touch points associated with its target market. One methodology involves using sensory stimuli touch points to activate customer emotion.[31] For example, if a brand consistently uses a pleasant smell as a primary touch point, the brand has a much higher chance of creating a positive lasting effect on its customers' senses as well as memory.[21]Another way a brand can ensure that it is utilising the best communication channel, is by focusing on touch points that suit particular areas associated with customer experience.[19] As suggested Figure 2, certain touch points link with a specific stage in customer-brand-involvement. For example, a brand may recognise that advertising touch points are most effective during the pre-purchase experience stage therefore they may target their advertisements to new customers rather than to existing customers. Overall, a brand has the ability to strengthen brand equity by using IMC branding communications through touch points.[31]

Brand communication is important in ensuring brand success in the business world and refers to how businesses transmit their brand messages, characteristics and attributes to their consumers.[32] One method of brand communication which companies can exploit involves electronic word-of mouth (eWOM). EWoM is a relatively new[when?] approach identified[by whom?] to communicate with consumers. One popular method of eWOM involves social networking sites (SNSs) such as Twitter.[33] A study found that consumers classed their relationship with a brand as closer if that brand was active on a specific social media site (Twitter). Research further found that the more consumers "retweeted" and communicated with a brand, the more they trusted the brand. This suggests that a company could look to employ a social-media campaign to gain consumer trust and loyalty as well as in the pursuit of communicating brand messages.

McKee (2014) also looked into brand communication and states that when communicating a brand, a company should look to simplify its message as this will lead to more value being portrayed as well as an increased chance of target consumers recalling and recognising the brand.[34]

In 2012 Riefler stated that if the company communicating a brand is a global organisation or has future global aims, that company should look to employ a method of communication which is globally appealing to their consumers, and subsequently choose a method of communication with will be internationally understood.[35] One way a company can do this involves choosing a product or service's brand name, as this name will need to be suitable for the marketplace that it aims to enter.[36]

It is important that if a company wishes to develop a global market, the company name will also need to be suitable in different cultures and not cause offense or be misunderstood.[37] It has also been found[by whom?] that when communicating a brand a company needs to be aware that they must not just visually communicate their brand message and should take advantage of portraying their message through multi-sensory information.[38] One article suggests that other senses, apart from vision, need to be targeted when trying to communicate a brand with consumers.[39] For example, a jingle or background music can have a positive effect on brand recognition, purchasing behaviour and brand recall.

Therefore, when looking to communicate a brand with chosen consumers, companies should investigate a channel of communication which is most suitable for their short-term and long-term aims and should choose a method of communication which is most likely to be adhered to[clarification needed] by their chosen consumers.[35] The match-up between the product, the consumer lifestyle, and the endorser is important for effectiveness of brand communication.

Global brand variables

Brand name

Relationship between trade marks and brand

The term "brand name" is quite often[quantify] used[by whom?] interchangeably with "brand", although it is more correctly used to specifically denote written or spoken linguistic elements of any product. In this context a "brand name" constitutes a type of trademark, if the brand name exclusively identifies the brand owner as the commercial source of products or services. A brand owner may seek to protect proprietary rights in relation to a brand name through trademark registration - such trademarks are called[by whom?] "Registered Trademarks". Advertising spokespersons have also become part of some brands, for example: Mr. Whipple of Charmin toilet tissue and Tony the Tiger of Kellogg's Frosted Flakes. Putting a value on a brand by brand valuation or using marketing mix modeling techniques is distinct to valuing a trademark.

Types of brand names

Brand names come in many styles.[40] A few include:

• initialism: a name made of initials, such as "UPS" or "IBM"
• descriptive: names that describe a product benefit or function, such as "Whole Foods" or "Toys R' Us"
• alliteration and rhyme: names that are fun to say and which stick in the mind, such as "Reese's Pieces" or "Dunkin' Donuts"
• evocative: names that can evoke a vivid image, such as "Amazon" or "Crest"
• neologisms: completely made-up words, such as "Wii" or "Häagen-Dazs"
• foreign word: adoption of a word from another language, such as "Volvo" or "Samsung"
• founders' names: using the names of real people, (especially a founder's name), such as "Hewlett-Packard", "Dell", "Disney", "Stussy" or "Mars"
• geography: naming for regions and landmarks, such as "Cisco" or "Fuji Film"
• personification: taking names from myths, such as "Nike"; or from the minds of ad execs, such as "Betty Crocker"
• punny: some brands create their name by using a silly pun, such as "Lord of the Fries", "Wok on Water" or "Eggs Eggscetera"
• combination: combining multiple words together to create one, such as "Microsoft" ("microcomputer" and "software"), "Comcast" ("communications" and "broadcast"), "Evernote" ("forever" and "note"), "Vodafone" ("voice", "data", "telephone")

The act of associating a product or service with a brand has become part of pop culture. Most products have some kind of brand identity, from common table salt to designer jeans. A brandnomer is a brand name that has colloquially become a generic term for a product or service, such as Band-Aid, Nylon, or Kleenex—which are often used to describe any brand of adhesive bandage; any type of hosiery; or any brand of facial tissue respectively. Xerox, for example, has become synonymous with the word "copy".

Brand line

A brand line allows the introduction of various subtypes of a product under a common, ideally already established, brand name. Examples would be the individual Kinder Chocolates by Ferrero SA, the subtypes of Coca-Cola, or special editions of popular brands. See also brand extension.

Brand identification

Open Knowledge Foundation created in December 2013 the BSIN (Brand Standard Identification Number). BSIN is universal and is used by the Open Product Data Working Group [41] of the Open Knowledge Foundation to assign a brand to a product. The OKFN Brand repository is critical for the Open Data movement.

Brand identity

The outward expression of a brand – including its name, trademark, communications, and visual appearance – is brand identity.[42] Because the identity is assembled by the brand owner, it reflects how the owner wants the consumer to perceive the brand – and by extension the branded company, organization, product or service. This is in contrast to the brand image, which is a customer's mental picture of a brand.[42] The brand owner will seek to bridge the gap between the brand image and the brand identity. Brand identity is fundamental to consumer recognition and symbolizes the brand's differentiation from competitors.

Brand identity is what the owner wants to communicate to its potential consumers. However, over time, a product's brand identity may acquire (evolve), gaining new attributes from consumer perspective but not necessarily from the marketing communications an owner percolates to targeted consumers. Therefore, businesses research consumer's brand associations.

Visual brand identity

The visual brand identity manual for Mobil Oil (developed by Chermayeff & Geismar & Haviv), one of the first visual identities to integrate logotype, icon, alphabet, color palette, and station architecture.

A brand can also be used to attract customers by a company, if the brand of a company is well established and has goodwill. The recognition and perception of a brand is highly influenced by its visual presentation. A brand's visual identity is the overall look of its communications. Effective visual brand identity is achieved by the consistent use of particular visual elements to create distinction, such as specific fonts, colors, and graphic elements. At the core of every brand identity is a brand mark, or logo. In the United States, brand identity and logo design naturally grew out of the Modernist movement in the 1950s and greatly drew on the principles of that movement – simplicity (Mies van der Rohe's principle of "Less is more") and geometric abstraction. These principles can be observed in the work of the pioneers of the practice of visual brand identity design, such as [Lippincott and Margulies], Paul Rand, Chermayeff & Geismar (later Chermayeff, Geismar & Haviv), and Saul Bass. As part of a company's brand identity, a logo should complement the company's message strategy. An effective logo is simple, memorable, and works well in any medium including both online and offline applications.

Color is a particularly important element of visual brand identity and color mapping provides an effective way of ensuring color contributes to differentiation in a visually cluttered marketplace (O'Connor, 2011).[43]

Brand trust

Brand trust is the intrinsic 'believability' that any entity evokes. In the commercial world, the intangible aspect of brand trust impacts the behavior and performance of its business stakeholders in many intriguing ways. It creates the foundation of a strong brand connect with all stakeholders, converting simple awareness to strong commitment. This, in turn, metamorphoses normal people who have an indirect or direct stake in the organization into devoted ambassadors, leading to concomitant advantages like easier acceptability of brand extensions, perception of premium, and acceptance of temporary quality deficiencies.

The Brand Trust Report is a syndicated primary research that has elaborated on this metric of brand trust. It is a result of action, behavior, communication and attitude of an entity, with the most trust results emerging from its action component. Action of the entity is most important in creating trust in all those audiences who directly engage with the brand, the primary experience carrying primary audiences. However, the tools of communications play a vital role in the transferring the trust experience to audiences which have never experienced the brand, the all important secondary audience.

Brand parity

Brand parity is the perception of the customers that some brands are equivalent.[44] This means that shoppers will purchase within a group of accepted brands rather than choosing one specific brand. When brand parity operates, quality is often not a major concern because consumers believe that only minor quality differences exist.

Expanding role of brand

Branding was meant to make identifying and differentiating a product easier, while also providing the benefit of letting the name sell a second rate product. Over time, brands came to embrace a performance or benefit promise, for the product, certainly, but eventually also for the company behind the brand.

Today, brand plays a much bigger role. Brands have been co-opted as powerful symbols in larger debates about economics, social issues, and politics. The power of brands to communicate a complex message quickly, with emotional impact and with the ability of brands to attract media attention makes them ideal tools in the hands of activists.[45] Cultural conflict over a brand's meaning have also been shown to influence the diffusion of an innovation.[46]

Branding strategies

Company name

Often, especially in the industrial sector, it is just the company's name which is promoted (leading to one of the most powerful statements of branding: saying just before the company's downgrading. This approach has not worked as well for General Motors, which recently overhauled how its corporate brand relates to the product brands.[47] Exactly how the company name relates to product and services names is known as brand architecture. Decisions about company names and product names and their relationship depends on more than a dozen strategic considerations.[48]

In this case, a strong brand name (or company name) is made the vehicle for a range of products (for example, Mercedes-Benz or Black & Decker) or a range of subsidiary brands (such as Cadbury Dairy Milk, Cadbury Flake, or Cadbury Fingers in the UK).

Individual branding

Each brand has a separate name (such as Seven-Up, Kool-Aid, or Nivea Sun (Beiersdorf), which may compete against other brands from the same company (for example, Persil, Omo, Surf, and Lynx are all owned by Unilever).

Challenger brands

A challenger brand is a brand in an industry where it is neither the market leader or a niche brand. Challenger brands are categorised by a mindset which sees them have business ambitions beyond conventional resources and an intent to bring change to an industry.
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Re: Propaganda in the United States, by Wikipedia

Postby admin » Tue Jun 20, 2017 8:41 pm

Part 2 of 2

Multiproduct branding strategy

Multiproduct branding strategy is when a company uses one name across all their products in a product class. When the company's trade name is used, multiproduct branding is also known as corporate branding, family branding or umbrella branding. Examples of companies that use corporate branding are Microsoft, Samsung, Apple, and Sony as the company's brand name is identical to their trade name. Other examples of multiproduct branding strategy include Virgin and Church & Dwight. Virgin, a multination conglomerate uses the punk inspired, handwritten red logo with the iconic tick for all its products ranging from airlines, hot air balloons, telecommunication to healthcare. Church & Dwight, a manufacturer of household products displays the Arm & Hammer family brand name for all its products containing baking soda as the main ingredient. Multiproduct branding strategy has many advantages. It capitalises on brand equity as consumers that have a good experience with the product will in turn pass on this positive opinion to supplementary objects in the same product class as they share the same name. Consequently, the multiproduct branding strategy makes product line extension possible.

Product line extension

Product line extension is the procedure of entering a new market segment in its product class by means of using a current brand name. An example of this is the Campbell Soup Company, predominately a producer of canned soups. They utilize a multiproduct branding strategy by way of soup line extensions. They have over 100 soup flavours putting forward varieties such as regular Campbell soup, condensed, chunky, fresh-brewed, organic, and soup on the go. This approach is seen as favourable as it can result in a lower promotion costs and advertising due to the same name being used on all products, therefore increasing the level of brand awareness. Although, line extension has potential negative outcomes with one being that other items in the company's line may be disadvantaged because of the sale of the extension. Line extensions work at their best when they deliver an increase in company revenue by enticing new buyers or by removing sales from competitors.


Subbranding is used by certain multiproduct branding companies. Subbranding merges a corporate, family or umbrella brand with the introduction of a new brand in order to differentiate part of a product line from others in the whole brand system. Subbranding assists to articulate and construct offerings. It can alter a brand's identity as subbranding can modify associations of the parent brand. Examples of successful subbranding can be seen through Gatorade and Porsche. Gatorade, a manufacturer of sport-themed food and beverages effectively introduced Gatorade G2, a low-calorie line of Gatorade drinks. Likewise, Porsche, a specialised automobile manufacturer successfully markets its lower-end line, Porsche Boxster and higher-end line, Porsche Carrera.

Brand extension

Brand extension is the system of employing a current brand name to enter a different product class. Having a strong brand equity allows for brand extension. Nevertheless, brand extension has its disadvantages. There is a risk that too many uses for one brand name can oversaturate the market resulting in a blurred and weak brand for consumers. Examples of brand extension can be seen through Kimberly-Clark and Honda. Kimberly-Clark is a corporation that produces personal and health care products being able to extend the Huggies brand name across a full line of toiletries for toddlers and babies. The success of this brand extension strategy is apparent in the $500 million in annual sales generated globally. Similarly, Honda using their reputable name for automobiles has spread to other products such as motorcycles, power equipment, engines, robots, aircraft, and bikes.


Co-branding is a variation of brand extension. It is where a single product is created from the combining of two brand names of two manufacturers. Co-branding has its advantages as it lets firms enter new product classes and exploit a recognized brand name in that product class. An example of a co-branding success is Whitaker's working with Lewis Road Creamery to create a co-branded beverage called Lewis Road Creamery and Whittaker's Chocolate Milk. This product was a huge success in the New Zealand market with it going viral.

Multibranding strategy

Multibranding strategy is when a company gives each product a distinct name. Multibranding is best used as an approach when each brand in intended for a different market segment. Multibranding is used in an assortment of ways with selected companies grouping their brands based on price-quality segments. Procter & Gamble (P&G), a multinational consumer goods company that offers over 100 brands, each suited for different consumer needs. For instance, Head & Shoulders that helps consumers relieve dandruff in the form of a shampoo, Oral-B which offers inter-dental products, Vicks which offers cough and cold products, and Downy which offers dryer sheets and fabric softeners. Other examples include Coca-Cola, Nestlé, Kellogg's, and Mars.

This approach usually results in higher promotion costs and advertising. This is due to the company being required to generate awareness among consumers and retailers for each new brand name without the benefit of any previous impressions. Multibranding strategy has many advantages. There is no risk that a product failure will affect other products in the line as each brand is unique to each market segment. Although, certain large multiband companies have come across that the cost and difficulty of implementing a multibranding strategy can overshadow the benefits. For example, Unilever, the world's third-largest multination consumer goods company recently streamlined its brands from over 400 brands to centre their attention onto 14 brands with sales of over 1 billion euros. Unilever accomplished this through product deletion and sales to other companies. Other multibrand companies introduce new product brands as a protective measure to respond to competition called fighting brands or fighter brands.

Fighting brands

The main purpose of fighting brands is to challenge competitor brands. For example, Qantas, Australia's largest flag carrier airline, introduced Jetstar to go head-to-head against the low-cost carrier, Virgin Australia (formerly known as Virgin Blue). Jetstar is an Australian low-cost airline for budget conscious travellers, but it receives many negative reviews due to this. The launching of Jetstar allowed Qantas to rival Virgin Australia without the criticism being affiliated with Qantas because of the distinct brand name.

Private branding strategy

Private branding is also known as reseller branding, private labelling, store brands, or own brands have increased in popularity. Private branding is when a company manufactures products but it is sold under the brand name of a wholesaler or retailer. Private branding is popular because it typically produces high profits for manufacturers and resellers. The pricing of private brand product are usually cheaper compared to competing name brands. Consumers are commonly deterred by these prices as it sets a perception of lower quality and standard but these views are shifting.

In Australia, their leading supermarket chains, both Woolworths and Coles are saturated with store brands (or private labels). For example, in the United States, Paragon Trade Brands, Ralcorp Holdings, and Rayovac are major suppliers of diapers, grocery products, and private label alkaline batteries, correspondingly. Costco, Walmart, RadioShack, Sears, and Kroger are large retailers that have their own brand names. Similarly, Macy's, a mid-range chain of department stores offers a wide catalogue of private brands exclusive to their stores, from brands such as First Impressions which supply newborn and infant clothing, Hotel Collection which supply luxury linens and mattresses, and Tasso Elba which supply European inspired menswear. They use private branding strategy to specifically target consumer markets.

Mixed branding strategy

Mixed branding strategy is where a firm markets products under its own name(s) and that of a reseller because the segment attracted to the reseller is different from its own market. For example, Elizabeth Arden, Inc., a major American cosmetics and fragrance company, uses mixed branding strategy. The company sells its Elizabeth Arden brand through department stores and line of skin care products at Walmart with the "skin simple" brand name. Companies such as Whirlpool, Del Monte, and Dial produce private brands of home appliances, pet foods, and soap, correspondingly. Other examples of mixed branding strategy include Michelin, Epson, Microsoft, Gillette, and Toyota. Michelin, one of the largest tire manufacturers allowed Sears, an American retail chain to place their brand name on the tires. Microsoft, a multinational technology company is seriously regarded as a corporate technology brand but it sells its versatile home entertainment hub under the brand Xbox to better align with the new and crazy identity. Gillette catered to females with Gillette for Women which has now become known as Venus. The launch of Venus was conducted in order to fulfil the feminine market of the previously dominating masculine razor industry. Similarly, Toyota, an automobile manufacturer used mixed branding. In the U.S., Toyota was regarded as a valuable car brand being economical, family orientated and known as a vehicle that rarely broke down. But Toyota sought out to fulfil a higher end, expensive market segment, thus they created Lexus, the luxury vehicle division of premium cars.

Attitude branding and iconic brands

Attitude branding is the choice to represent a larger feeling, which is not necessarily connected with the product or consumption of the product at all. Marketing labeled as attitude branding include that of Nike, Starbucks, The Body Shop, Safeway, and Apple Inc.. In the 2000 book No Logo,[16] Naomi Klein describes attitude branding as a "fetish strategy". Schaefer and Kuehlwein analyzed brands such as Apple, Ben & Jerry's or Chanel describing them as 'Ueber-Brands' - brands that are able to gain and retain "meaning beyond the material."[49][50]

A great brand raises the bar – it adds a greater sense of purpose to the experience, whether it's the challenge to do your best in sports and fitness, or the affirmation that the cup of coffee you're drinking really matters. – Howard Schultz (president, CEO, and chairman of Starbucks)

The color, letter font and style of the Coca-Cola and Diet Coca-Cola logos in English were copied into matching Hebrew logos to maintain brand identity in Israel.

Iconic brands are defined as having aspects that contribute to consumer's self-expression and personal identity. Brands whose value to consumers comes primarily from having identity value are said to be "identity brands". Some of these brands have such a strong identity that they become more or less cultural icons which makes them "iconic brands". Examples are: Apple, Nike, and Harley-Davidson. Many iconic brands include almost ritual-like behaviour in purchasing or consuming the products.

There are four key elements to creating iconic brands (Holt 2004):

1. "Necessary conditions" – The performance of the product must at least be acceptable, preferably with a reputation of having good quality.
2. "Myth-making" – A meaningful storytelling fabricated by cultural insiders. These must be seen as legitimate and respected by consumers for stories to be accepted.
3. "Cultural contradictions" – Some kind of mismatch between prevailing ideology and emergent undercurrents in society. In other words, a difference with the way consumers are and how they wish they were.
4. "The cultural brand management process" – Actively engaging in the myth-making process in making sure the brand maintains its position as an icon.

Schaefer and Kuehlwein propose the following 'Ueber-Branding' principles. They derived them from studying successful modern Prestige brands and what elevates them above mass competitors and beyond considerations of performance and price (alone) in the minds of consumers:[51]

1. "Mission Incomparable" - Having a differentiated and meaningful brand purpose beyond 'making money.'[52] Setting rules that follow this purpose - even when it violates the mass marketing mantra of "Consumer is always Boss/right".
2. "Longing versus Belonging" - Playing with the opposing desires of people for Inclusion on the one hand and Exclusivity on the other.
3. "Un-Selling" – First and foremost seeking to seduce through pride and provocation, rather than to sell through arguments.[53]
4. "From Myth To Meaning" - Leveraging the power of myth - 'Ueber-Stories' that have fascinated- and guided humans forever.[54]
5. "Behold!" - Making product and associated brand rituals reflect the essence of the brand mission and myth. Making it the center of attention, while keeping it fresh.
6. "Living the Dream" - Living the brand mission as an organization and through its actions. Thus radiating the brand myth from the inside out, consistently and through all brand manifestations. - For "Nothing is as volatile than a dream."[55]
7. "Growth without End" - Avoiding to be perceived as omnipresent, diluting brand appeal. Instead 'growing with gravitas' by leveraging scarcity/high prices, 'sideways expansion' and other means.[56]

"No-brand" branding

Recently, a number of companies have successfully pursued "no-brand" strategies by creating packaging that imitates generic brand simplicity. Examples include the Japanese company Muji, which means "No label" in English (from 無印良品 – "Mujirushi Ryohin" – literally, "No brand quality goods"), and the Florida company No-Ad Sunscreen. Although there is a distinct Muji brand, Muji products are not branded. This no-brand strategy means that little is spent on advertisement or classical marketing and Muji's success is attributed to the word-of-mouth, a simple shopping experience and the anti-brand movement.[57][58][59]"No brand" branding may be construed as a type of branding as the product is made conspicuous through the absence of a brand name. "Tapa Amarilla" or "Yellow Cap" in Venezuela during the 1980s is another good example of no-brand strategy. It was simply recognized by the color of the cap of this cleaning products company.

Derived brands

In this case the supplier of a key component, used by a number of suppliers of the end-product, may wish to guarantee its own position by promoting that component as a brand in its own right. The most frequently quoted example is Intel, which positions itself in the PC market with the slogan (and sticker) "Intel Inside".

Brand extension and brand dilution

The existing strong brand name can be used as a vehicle for new or modified products; for example, many fashion and designer companies extended brands into fragrances, shoes and accessories, home textile, home decor, luggage, (sun-) glasses, furniture, hotels, etc.

Mars extended its brand to ice cream, Caterpillar to shoes and watches, Michelin to a restaurant guide, Adidas and Puma to personal hygiene. Dunlop extended its brand from tires to other rubber products such as shoes, golf balls, tennis racquets, and adhesives. Frequently, the product is no different from what else is on the market, except a brand name marking. Brand is product identity.

There is a difference between brand extension and line extension. A line extension is when a current brand name is used to enter a new market segment in the existing product class, with new varieties or flavors or sizes. When Coca-Cola launched "Diet Coke" and "Cherry Coke", they stayed within the originating product category: non-alcoholic carbonated beverages. Procter & Gamble (P&G) did likewise extending its strong lines (such as Fairy Soap) into neighboring products (Fairy Liquid and Fairy Automatic) within the same category, dish washing detergents.

The risk of over-extension is brand dilution where the brand loses its brand associations with a market segment, product area, or quality, price or cachet.

Social media brands

In 'The Better Mousetrap: Brand Invention in a Media Democracy' (2012), author and brand strategist Simon Pont posits that social media brands may be the most evolved version of the brand form, because they focus not on themselves but on their users. In so doing, social media brands are arguably more charismatic, in that consumers are compelled to spend time with them, because the time spent is in the meeting of fundamental human drivers related to belonging and individualism. "We wear our physical brands like badges, to help define us – but we use our digital brands to help express who we are. They allow us to be, to hold a mirror up to ourselves, and it is clear. We like what we see." [60]


Alternatively, in a market that is fragmented amongst a number of brands a supplier can choose deliberately to launch totally new brands in apparent competition with its own existing strong brand (and often with identical product characteristics); simply to soak up some of the share of the market which will in any case go to minor brands. The rationale is that having 3 out of 12 brands in such a market will give a greater overall share than having 1 out of 10 (even if much of the share of these new brands is taken from the existing one). In its most extreme manifestation, a supplier pioneering a new market which it believes will be particularly attractive may choose immediately to launch a second brand in competition with its first, in order to pre-empt others entering the market. This strategy is widely known as multi-brand strategy.

Individual brand names naturally allow greater flexibility by permitting a variety of different products, of differing quality, to be sold without confusing the consumer's perception of what business the company is in or diluting higher quality products.

Once again, Procter & Gamble is a leading exponent of this philosophy, running as many as ten detergent brands in the US market. This also increases the total number of "facings" it receives on supermarket shelves. Sara Lee, on the other hand, uses it to keep the very different parts of the business separate—from Sara Lee cakes through Kiwi polishes to L'Eggs pantyhose. In the hotel business, Marriott uses the name Fairfield Inns for its budget chain (and Choice Hotels uses Rodeway for its own cheaper hotels).

Cannibalization is a particular problem of a multi-brand strategy approach, in which the new brand takes business away from an established one which the organization also owns. This may be acceptable (indeed to be expected) if there is a net gain overall. Alternatively, it may be the price the organization is willing to pay for shifting its position in the market; the new product being one stage in this process.

Private labels

Private label brands, also called own brands, or store brands have become popular. Where the retailer has a particularly strong identity (such as Marks & Spencer in the UK clothing sector) this "own brand" may be able to compete against even the strongest brand leaders, and may outperform those products that are not otherwise strongly branded.

Designer Private Labels

A relatively recent innovation in retailing is the introduction of designer private labels. Designer-private labels involve a collaborative contract between a well-known fashion designer and a retailer. Both retailer and designer collaborate to design goods with popular appeal pitched at price points that fit the consumer’s budget. For retail outlets, these types of collaborations give them greater control over the design process as well as access to exclusive store brands that can potentially drive store traffic.

In Australia, for example, the department store, Myer, now offers a range of exclusive designer private labels including Jayson Brundson, Karen Walker, Leona Edmiston, Wayne Cooper, Fleur Wood and ‘L’ for Lisa Ho.[61] Another up-market department store, David Jones, currently offers ‘Collette’ for leading Australian designer, Collette Dinnigan, and has recently announced its intention to extend the number of exclusive designer brands.[62] Target has teamed up with Danii Minogue to produce her “Petites’ range.[63] Specsavers has joined up with Sydney designer, Alex Perry to create an exclusive range of spectacle frames while Big W stocks frames designed by Peter Morrissey.

Individual and organizational brands

With the development of brand, Branding is no longer limited to a product or service.[64] There are kinds of branding that treat individuals and organizations as the products to be branded. Most NGOs and non-profit organizations carry their brand as a fundraising tool. The purpose of most NGOs is leave social impact so their brand become associated with specific social life matters. Amnesty International, Habitat for Humanity, World Wildlife Fund and AIESEC are among the most recognized brands around the world.[65] NGOs and non-profit organizations moved beyond using their brands for fundraising to express their internal identity and to clarify their social goals and long-term aims. Organizational brands have well determined brand guidelines and logo variables.[66]

Personal branding

Main article: Personal branding

Employer branding

Main article: Employer branding

Crowd sourced branding

These are brands that are created by "the public" for the business, which is opposite to the traditional method where the business create a brand.

Personalised branding

Many businesses have started to use elements of personalisation in their branding strategies, offering the client or consumer the ability to choose from various brand options or have direct control over the brand. Examples of this include the #ShareACoke campaign by Coca-Cola which printed people's names and place names on their bottles encouraging people. AirBNB has created the facility for users to create their own symbol for the software to replace the brand's mark known as The Bélo.[67]

Nation branding (place branding and public diplomacy)

Nation branding is a field of theory and practice which aims to measure, build and manage the reputation of countries (closely related to place branding). Some approaches applied, such as an increasing importance on the symbolic value of products, have led countries to emphasise their distinctive characteristics. The branding and image of a nation-state "and the successful transference of this image to its exports – is just as important as what they actually produce and sell."

Destination branding

Destination branding is the work of cities, states, and other localities to promote to themselves. This work is designed to promote the location to tourists and drive additional revenues into a tax base. These activities are often undertaken by governments, but can also result from the work of community associations. The Destination Marketing Association International is the industry leading organization.

Doppelgänger brand image (DBI)

A doppelgänger brand image or "DBI" is a disparaging image or story about a brand that it circulated in popular culture. DBI targets tend to be widely known and recognizable brands. The purpose of DBIs is to undermine the positive brand meanings the brand owners are trying to instill through their marketing activities.[68]

The term stems from the combination of the German words doppel (double) and gänger (walker).

Doppelgänger brands are typically created by individuals or groups to express criticism of a brand and its perceived values, through a form of parody, and are typically unflattering in nature.

Due to the ability of Doppelgänger brands to rapidly propagate virally through digital media channels, they can represent a real threat to the equity of the target brand. Sometimes the target organization is forced to address the root concern or to re-position the brand in a way that defuses the criticism.

Examples include:

• Joe Chemo campaign organized to criticize the marketing of tobacco products to children and their harmful effects.[69]
• Version of the Coca-Cola logo crafted to protest their sponsorship of the 2022 FIFA World Cup in Qatar and associated human rights abuses (see citation for original Reddit thread featuring the image).[70]
• Parody of the Pepsi logo as an obese man to highlight the relationship between soft drink consumption and obesity.[71]
• The FUH2 campaign protesting the Hummer SUV as a symbol of corporate and consumer irresponsibility toward public safety and the environment.[72]

In the 2006 article "Emotional Branding and the Strategic Value of the Doppelgänger Brand Image", Thompson, Rindfleisch, and Arsel suggest that a doppelgänger brand image can be a benefit to a brand if taken as an early warning sign that the brand is losing emotional authenticity with its market.[68]

See also

• Advertising
• Brand ambassador
• Brand architecture
• Brand engagement
• Brand equity
• Brand extension
• Brand evangelism
• Brand loyalty
• Brand management
• Brand valuation
• Co-branding
• Employer branding
• Green brands
• Legal name
• List of defunct consumer brands
• Marketing
• Nation branding
• No Logo
• Promotion
• Rebranding
• Terroir
• Trademark
• Trade name
• Umbrella brand
• Visual brand language


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Re: Propaganda in the United States, by Wikipedia

Postby admin » Thu Aug 13, 2020 12:36 am

'Godzilla' was a metaphor for Hiroshima, and Hollywood whitewashed it: “Certainly all the pieces that were in any way, could in any way, be construed as critical of the United States or atomic testing, were really stricken from the film,” one scholar said.
by Kimmy Yam
NBC News
Aug. 7, 2020, 12:06 PM MST



The radioactive monster Godzilla stomps through a city and eats a commuter train in a scene from "Godzilla, King of the Monsters!," directed by Ishiro Honda and Terry O. Morse, circa 1956.Embassy Pictures / Getty Images

When the monster Godzilla, or “Gojira,” appeared before Japanese movie audiences in 1954, many left the theaters in tears.

The fictional creature, a giant dinosaur once undisturbed in the ocean, was depicted in the original film as having been aggravated by a hydrogen bomb. Its heavily furrowed skin or scales were imagined to resemble the keloid scars of survivors of the two atomic bombs that the U.S. dropped on Japan nine years earlier to end World War II.

American audiences, however, had the opposite reaction, finding comedic value in what many interpreted as a cheesy monster movie.

“Most Americans think if you left the movie in tears, it was just because you laughed so hard,” William Tsutsui, author of “Godzilla on My Mind: Fifty Years of the King of Monsters,” told NBC Asian America.

The stark contrast reflects how Hollywood took the Japanese concept and scrubbed it of its political message before presenting it to American audiences to deflect from the U.S. decision to drop the bombs, critics say.

This month is the 75th anniversary of the U.S. bombings in Hiroshima on Aug. 6 and Nagasaki three days later, and while many Americans today think of the film as an almost campy relic of its time, it was intended in Japan to be a metaphor for the ills of atomic testing and the use of nuclear weapons, considering what Japan endured after the bombings. The movie served as a strong political statement, representative of the traumas and anxieties of the Japanese people in an era when censorship was extensive in Japan because of the American occupation of the country after the war ended, Tsutsui said. The screen depicted what many could not explicitly say.

“Japanese creative artists, filmmakers, novelists and so forth really couldn't talk about the atomic bombings. It was a topic that could not be discussed. And Japanese people, as well, were very reticent about discussing this tragedy, because it was so horrible, and because they felt a sense of guilt and shame about those events,” Tsutsui said. “But when the Japanese had their independence back, and as filmmakers were thinking about giant monsters, people began to think about that connection between monstrosity and the atomic bombing.”

In the original Japanese film, the creature was portrayed as a surviving dinosaur from the Jurassic Period, swimming around the South Pacific. Tsutsui describes the monster as “innocent as the kids on their playgrounds in Hiroshima.” After an American H-bomb test in the South Pacific, the creature became radiated, hurt and angry.

“The reality is just this sort of rage that comes from someone, essentially innocent, who is so victimized and scarred by this experience,” the scholar said.

For many Japanese viewers, seeing the movie was a cathartic, validating experience, the scholar said. People were able to witness Tokyo being destroyed once more while seeing radiation given the physical form of a monster. The ending, while bittersweet, is a hopeful one in which humanity triumphs over evil.

However, American audiences saw a different film when it was brought stateside as “Godzilla, King of the Monsters!” roughly two years later, Tsutsui said. The movie was heavily edited, placing the white actor Raymond Burr at the center of the adaptation. The scholar noted that an estimated 20 minutes of the original Japanese film, predominantly the politically charged portions, were cut out of the American version.

"Godzilla, king of the monsters" starring Raymond Burr, in this 1956 horror.Universal History Archive / via Getty Images

Among the axed scenes was one where commuters on a train make the link between the Hiroshima bombing and Godzilla’s attack, as well as the poignant final line in the original where biology professor Dr. Yamane warns that if nuclear testing does not cease, another Godzilla could appear. Tsutsui pointed out that the U.S. version ended on a sunny note, that the world was safe again and could return to normal.

Little of the original movie’s intended message has been restored in later adaptations. In the 1998 “Godzilla” film starring Matthew Broderick, for example, the creature was created from an atomic H-bomb test by the French, rather than Americans, in Polynesia. In the Godzilla films released by the production company Legendary, the monster is portrayed as a prehistoric dinosaur that has emerged from the Earth and must be destroyed by nuclear bombs, making it an “almost humanitarian gesture to save the world from monsters,” Tsutsui said.

The dynamic of the U.S. wanting to deny its traumatic history in Japan, he said, persists.

“It still is the case that they cannot get their minds around the nuclear issue and American culpability in the atomic bombings in Hiroshima and Nagasaki,” Tsutsui noted of the more recent American adaptations.

When outlets like The New York Times reviewed the film in 1956, it was described as “in the category of cheap cinematic horror-stuff and it is too bad that a respectable theatre has to lure children and gullible grown-ups with such fare.” The deliberate aesthetic choices that the original filmmakers made on the creature’s keloid-like scars were even interpreted as low-budget Japanese filmmaking with critics at the time likening the monster to a “miniature of a dinosaur made of gum-shoes and about $20 worth of toy buildings and electric trains.”

Hollywood ultimately sought to sanitize the movie and deflect blame from the U.S. bombings, Tsutsui said.

“Certainly all the pieces that were in any way, could in any way be construed as critical of the United States or atomic testing, were really stricken from the film,” Tsutsui said. “So the deep political meaning and a lot of the heart of the original 'Godzilla' was cut out for American audiences.”

Kazu Watanabe, head of film at the Japan Society, had similar thoughts, saying that the U.S. adaptation contributed to the distorted, skewed views that Americans had of Japan at the time.

“These 'Godzilla' films were not received in the same way in general — in Japan the early films were big budget, major studio films featuring some recognizable stars, while in the U.S. they were more like lowbrow B-movie Japanese monster movie genre fare with funny dubbing that fed into an Orientalist understanding of Japanese culture in America at large,” he said.

The way in which the movie went through another layer of censorship before it was presented to American audiences, Tsutsui explained, shows just how sensitive people were to the inherent inhumanity of the atomic bombings.

“They worked hard to protect the American public from the truth that really the Americans who watched the film never had a chance to respond to it in a meaningful way.”

Gojira, aka: Godzilla, Japan, circa 1954, Photo by FilmPublicityArchive/)United Archives / via Getty Images

The original film was essentially a product of the era’s popular monster movies and heavily influenced by the events in Japan at the time, Tsutsui said. A producer at Tomo Studios, Tanaka Tomoyuki, was inspired by the bombings in Hiroshima and Nagasaki, in addition to what was known as the “Lucky Dragon No. 5 Incident” of March 1954, in which a Japanese fishing boat strayed into the U.S. H-bomb testing range of the Bikini Atoll. The crew aboard were subsequently irradiated, with one dying of radiation poisoning.

The producer pitched the concept of a radiated monster who rises from the ocean to attack men. The idea resonated with his superiors and they connected him to a highly respected Japanese filmmaker, Ishiro Honda, who was a pacifist and had a vested interest in making the movie. Honda himself had fought in the war in China and upon returning to his homeland passed through Hiroshima, leaving with a chilling memory of the area.

“As the Americans did with many Japanese soldiers coming back to the homeland, they had them land in Hiroshima so the Japanese soldiers would see how thoroughly defeated Japan had been,” Tsutsui said. “It had a lifetime impact on him the horrors of what he saw, and he decided that he had an opportunity with this movie to set an important political message.”

Godzilla (aka 'gojira', poster, aka 'GODZILLA, KING OF THE MONSTERS'), top left: Akihiko Hirata; man in center: Fuyuki Murakami; as 'Godzilla': Harou Nakajima and Katsumi Tezuka; lower left, l-r: Momoko Kochi, Akira Takarada, 1954.LMPC via Getty Images

Watanabe said that although Godzilla as a character hasn’t retained the symbolism for nuclear warfare in the American public’s collective mind, the monster has evolved to represent Japanese pop culture as a whole, “not too dissimilar from Hello Kitty or Pikachu,” he said. He added that he still sees a significant fandom show up to screenings and showings of the old “Godzilla” movies.

But that doesn’t mean the creature’s original, intended message is irrelevant. Watanabe said it’s still powerful imagery, three quarters of century after two Japanese cities were devastated by the bombings.

“As long as nuclear weapons or nuclear power exists, Godzilla will never not be relevant,” Watanabe said. “Godzilla reminds us that we have the terrible power to create our own monsters and contribute to our own destruction.”
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