About this blog
A blog dedicated to the examination of communications in election campaigns, with a focus on posters
Monday, January 17, 2011
Warren G. Harding, the presidential candidate of the Republican Party in the United States in 1920, is portrayed by actor Malachi Cleary in the HBO television series, "Boardwalk Empire." In fact, the title of the finale of the show's first season, "A Return to Normalcy," was one of Harding's campaign slogans. And a large Harding poster can be seen in the background during the Republican National Convention scene (as David Ettlin—a reader of this blog—points out). Harding, a silver-haired, adulterous, corrupt minor senator from Ohio, secured his party's nomination at the convention, with the help of several party bosses in a "smoke-filled room." On the TV show, Harding's campaign manager, Harry Daugherty is helped by “Nucky” Thompson (played by Steve Buscemi), who calls the candidate an "imbecile" while dealmaking to benefit both Harding and himself. "Nucky" also agrees to hide Harding's mistress, Nan Britton, in New Jersey during the presidential campaign.
During the 1920 campaign, the Republicans spent an incredible amount of money to elect Harding (who won by the huge margin of 26 percentage points). It was reported in The New York Times that five million posters that included portraits of Harding and his vice-presidential candidate, Massachusetts governor Calvin Coolidge, were printed, along with fifteen million buttons of Harding alone.
Although Daugherty was quite influential in the campaign, another figure, advertising executive Albert Lasker, loomed large. Lasker coordinated public relations and advertising, and posters and billboards were a fundamental part of the campaign. Lasker’s style of advertising, which often advocated the purchase of one product over another, worked very well in politics, with newspaper and billboard ads promoting politicians rather than products. It was a small leap for him to come up with another slogan for Harding, “Let’s be done with wiggle and wobble” (a reference to a Democratic policy that seemed first to have been isolationist, then interventionist), after concocting such slogans as “Keep that Schoolgirl Complexion” and “A Cow in Every Pantry” for products. Lasker’s slogan was seen on billboards across the country at a cost of four hundred thousand dollars (while the Democrats spent little on this medium)—and that was only 7.5 percent of the Republican National Committee’s total expenditures. The “wiggle and wobble” slogan strategy contrasted Lasker’s candidate with the outgoing president: Harding was depicted as a solid, steady leader with small-town values, who would return the country to “normalcy”; the outgoing Democratic president, Woodrow Wilson, on the other hand, had promised to keep the country out of the Great War, and then had led it into the conflict.
The visual images that were sometimes fashioned for the posters and billboards in the Harding campaing were imposing: a good example is Howard Chandler Christy’s idealized rendition of Harding with the candidate dramatically raising one hand and appearing to hold an American flag with the other. There were only two words accompanying the image: “America First!” (yet another slogan). This was the same slogan that was used in the Wilson poster in the previous election campaign, and, amazingly, the slogan that was included in some Democratic posters in 1920.
To learn much more about the Harding campaign, see the book Posters, Propaganda, and Persuasion in Election Campaigns Around the World and Through History.
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