The simple man's wallpaper dump

Lets start off with a deep calming aqua grey.

And even if, because their minds are overwhelmed by greed, they cannot see the evil incurred by destroying one's own family, and the degradation involved in the betrayal of a friend,
How can we be so ignorant as not to recoil from this wrong? The evil incurred by destroying one's own family is plain to see, Janardana.

Maybe a gradient? Bitches love gradients. Look at that smooth as fuck transition... mmmm....

To top it off how about some cerulean grey. Pop this baby up, crack open a cold one and rub one out under the sumptuous slathering of a sexy grey.

BAM HOW ABOUT SOME TERRIBLE TANGERINE MOTHER FUCKER. NOTHING SAYS "I'M READY FOR SEX" LIKE A PURE ORANGE BACKDROP.

Too harsh? Supa harh? Harshin yo' mellow? Well coo, coo bro... Lets chill the fuck out and tone down to orange orangutang. It's all the sweet love of terrible tangerine but with the crack sifted out of it for dat smooth all natural feeling...

Cheese is a food derived from milk that is produced in a wide range of flavors, textures, and forms by coagulation of the milk protein casein. It comprises proteins and fat from milk, usually the milk of cows, buffalo, goats, or sheep. During production, the milk is usually acidified, and adding the enzyme rennet causes coagulation. The solids are separated and pressed into final form.[1] Some cheeses have molds on the rind or throughout. Most cheeses melt at cooking temperature.

Hundreds of types of cheese from various countries are produced. Their styles, textures and flavors depend on the origin of the milk (including the animal's diet), whether they have been pasteurized, the butterfat content, the bacteria and mold, the processing, and aging. Herbs, spices, or wood smoke may be used as flavoring agents. The yellow to red color of many cheeses, such as Red Leicester, is produced by adding annatto. Other ingredients may be added to some cheeses, such as black pepper, garlic, chives or cranberries.

For a few cheeses, the milk is curdled by adding acids such as vinegar or lemon juice. Most cheeses are acidified to a lesser degree by bacteria, which turn milk sugars into lactic acid, then the addition of rennet completes the curdling. Vegetarian alternatives to rennet are available; most are produced by fermentation of the fungus Mucor miehei, but others have been extracted from various species of the Cynara thistle family. Cheesemakers near a dairy region may benefit from fresher, lower-priced milk, and lower shipping costs.

Cheese is valued for its portability, long life, and high content of fat, protein, calcium, and phosphorus. Cheese is more compact and has a longer shelf life than milk, although how long a cheese will keep depends on the type of cheese; labels on packets of cheese often claim that a cheese should be consumed within three to five days of opening. Generally speaking, hard cheeses, such as parmesan last longer than soft cheeses, such as Brie or goat's milk cheese. The long storage life of some cheeses, especially when encased in a protective rind, allows selling when markets are favorable.

There is some debate as to the best way to store cheese, but some experts[who?] say that wrapping it in cheese paper provides optimal results. Cheese paper is coated in a porous plastic on the inside, and the outside has a layer of wax. This specific combination of plastic on the inside and wax on the outside protects the cheese by allowing condensation on the cheese to be wicked away while preventing moisture from within the cheese escaping.[2]

A specialist seller of cheese is sometimes known as a cheesemonger. Becoming an expert in this field requires some formal education and years of tasting and hands-on experience, much like becoming an expert in wine or cuisine. The cheesemonger is responsible for all aspects of the cheese inventory: selecting the cheese menu, purchasing, receiving, storage, and ripening.[3]

slash that shit up with a radiant yo. mmmm.... sultry....

Now for the pick pucker of your creepy aunt Jessie's lips... Can't get them out of your head? Neither can I...

FLAME ONNN! Don't worry, this color is guaranteed to be better than the new Fantastic 4 of your money back.

Nothing says calm and reflective like the liquified blood of roses.

What? You thought I was only going to have TWO shades of orange? pffttt....

I like to call this shade of purple "why the fuck are you still reading this walnut dittle grey" It's a redundant color just like this redundant post.

I don't know about you, but I enjoy watching paint dry. I imagine that the wet paint is a big freshwater lake that is the only source of water for some tiny cities by the lake. As the lake gets drier, the population gets more desperate, and sometimes there are water riots. Once there was a big fire and everyone died.

Two households, both alike in dignity,
In fair Verona, where we lay our scene,
From ancient grudge break to new mutiny,
Where civil blood makes civil hands unclean.
From forth the fatal loins of these two foes
A pair of star-cross'd lovers take their life;
Whose misadventured piteous overthrows
Do with their death bury their parents' strife.
The fearful passage of their death-mark'd love,
And the continuance of their parents' rage,
Which, but their children's end, nought could remove,
Is now the two hours' traffic of our stage;
The which if you with patient ears attend,
What here shall miss, our toil shall strive to mend.

Ladies and gentleman this is Mambo no 5

One, two, three, four, five everybody in the car, so come on.
Let's ride to the liquor store around the corner
The boys say they want some gin and juice
But I really don't wanna, beer bust like I had last week
I must stay deep because talk is cheap

I like Angela, Pamela, Sandra and Rita
And as I continue you know they are getting sweeter
So what can I do I really beg you my Lord
To me is flirting it's just like sport, anything fly
It's all good let me dump it please set in the trumpet

A little bit of Monica in my life, a little bit of Erica by my side
A little bit of Rita is all I need, a little bit of Tina is what I see
A little bit of Sandra in the sun, a little bit of Mary all night long
A little bit of Jessica here I am, a little bit of you makes me your man

Mambo no 5

Jump up and down and move it all around
Shake your head to the sound, put your hand on the ground
Take one step left and one step right
One to the front and one to the side
Clap your hand once and clap your hands twice
And if it looks like this then you are doing it right

A little bit of Monica in my life, a little bit of Erica by my side
A little bit of Rita is all I need, a little bit of Tina is what I see
A little bit of Sandra in the sun, a little bit of Mary all night long
A little bit of Jessica here I am, a little bit of you makes me your man

Trumpet, the trumpet
Mambo no 5

A little bit of Monica in my life, a little bit of Erica by my side
A little bit of Rita is all I need, a little bit of Tina is what I see
A little bit of Sandra in the sun, a little bit of Mary all night long
A little bit of Jessica here I am, a little bit of you makes me your man

I do all, to fall in love with a girl like you
You can't run and you can't hide
You and me gonna touch the sky

Mambo no 5

Read more: Lou Bega - Mambo Number 5 Lyrics | MetroLyrics

There's no sense
The fire burns
When wisdom fails, it changes all
The wheel embodies all that keeps on turning

Blood red skies, I feel so cold
No innocence, we play our role
The wheel embodies all, where are we going?

All in all youfd expect the wise to be wiser
Fallen from grace all and all I guess
We should have known better 'cause

[Chorus:]
What about us,
Isn't it enough?
No we're not in paradise
This is who we are
This is what we've got
No, it's not our paradise
But it's all we want
And it's all that we're fighting for
Though it's not paradise

You and us
Or I and them
There comes a time
To take a stand
The wheel is watching all that keeps on burning
The venom works
It's like a curse
A Trojan horse
When will we learn
The wheel embodies all that keeps returning

All in all you'd expect the wise to be wiser
Fallen from grace all and all I guess
We should have known better 'cause...

[Chorus:]
What about us,
Isn't it enough?
No we're not in paradise
This is who we are
This is what we've got
No, it's not our paradise
But it's all we want
And it's all that we're fighting for

What about us,
Isn't it enough?
No we're not in paradise
This is who we are
This is what we've got
No, it's not our paradise
But it's all we want
And it's all that we're fighting for
But it's not paradise

What about us, what about us, what about us, isn't it enough?
What about us, what about us, what about us, isn't it enough?
What about us, what about us, what about us, isn't it enough?
What about us, what about us, what about us, isn't it enough!

Disruption of the Cbfa2 gene causes necrosis and hemorrhaging in the central nervous system and blocks definitive hematopoiesis

By:Wang, Q (Wang, Q); Stacy, T (Stacy, T); Binder, M (Binder, M); MarinPadilla, M (MarinPadilla, M); Sharpe, AH (Sharpe, AH); Speck, NA (Speck, NA)

PROCEEDINGS OF THE NATIONAL ACADEMY OF SCIENCES OF THE UNITED STATES OF AMERICA

Volume: 93

Issue: 8

Pages: 3444-3449

DOI: 10.1073/pnas.93.8.3444

Published: APR 16 1996

View Journal Information
Abstract

The CBFA2 (AML1) gene encodes a DNA-binding subunit of the heterodimeric core-binding factor, The CBFA2 gene is disrupted by the (8;21), (3;21), and (12;21) chromosomal translocations associated with leukemias and myelodysplasias in humans, Mice lacking a CBF alpha 2 protein capable of binding DNA die between embryonic days 11.5 and 12.5 due to hemorrhaging in the central nervous system (CNS), at the nerve/CNS interfaces of cranial and spinal nerves, and in somitic/intersomitic regions along the presumptive spinal cord, Hemorrhaging is preceded by symmetric, bilateral necrosis in these regions, Definitive erythropoiesis and myelopoiesis do not occur in Cbfa2-deficient embryos, and disruption of one copy of the Cbfa2 gene significantly reduces the number of progenitors for erythroid and myeloid cells.

But, soft! what light through yonder window breaks?
It is the east, and Juliet is the sun.
Arise, fair sun, and kill the envious moon,
Who is already sick and pale with grief,
That thou her maid art far more fair than she:
Be not her maid, since she is envious;
Her vestal livery is but sick and green
And none but fools do wear it; cast it off.

The FIFA World Cup, often simply called the World Cup, is an international association football competition contested by the senior men's national teams of the members of Fédération Internationale de Football Association (FIFA), the sport's global governing body. The championship has been awarded every four years since the inaugural tournament in 1930, except in 1942 and 1946 when it was not held because of the Second World War. The current champion is Germany, which won its fourth title at the 2014 tournament in Brazil.

The current format of the competition involves a qualification phase, which currently takes place over the preceding three years, to determine which teams qualify for the tournament phase, which is often called the World Cup Finals. 32 teams, including the automatically qualifying host nation(s), compete in the tournament phase for the title at venues within the host nation(s) over a period of about a month.

The 20 World Cup tournaments have been won by eight different national teams. Brazil have won five times, and they are the only team to have played in every tournament. The other World Cup winners are Italy and Germany, with four titles each; Argentina and inaugural winners Uruguay, with two titles each; and England, France and Spain, with one title each.

The World Cup is the most widely viewed and followed sporting event in the world, exceeding even the Olympic Games; the cumulative audience of all matches of the 2006 FIFA World Cup was estimated to be 26.29 billion with an estimated 715.1 million people watching the final match, a ninth of the entire population of the planet.[1][2][3][4]

The 2014 World Cup took place in Brazil. The next two World Cups will be hosted by Russia in 2018 and Qatar in 2022. Both choices have been criticised in the media; Russia in light of the 2014 Crimean crisis and Qatar for allegations of vote-buying and poor working conditions for foreign workers.

Previous international competitions

The world's first international football match was a challenge match played in Glasgow in 1872 between Scotland and England,[5] which ended in a 0–0 draw. The first international tournament, the inaugural edition of the British Home Championship, took place in 1884.[6] As football grew in popularity in other parts of the world at the turn of the 20th century, it was held as a demonstration sport with no medals awarded at the 1900 and 1904 Summer Olympics (however, the IOC has retroactively upgraded their status to official events), and at the 1906 Intercalated Games.[7]

After FIFA was founded in 1904, it tried to arrange an international football tournament between nations outside the Olympic framework in Switzerland in 1906. These were very early days for international football, and the official history of FIFA describes the competition as having been a failure.[8]

At the 1908 Summer Olympics in London, football became an official competition. Planned by The Football Association (FA), England's football governing body, the event was for amateur players only and was regarded suspiciously as a show rather than a competition. Great Britain (represented by the England national amateur football team) won the gold medals. They repeated the feat in 1912 in Stockholm.

With the Olympic event continuing to be contested only between amateur teams, Sir Thomas Lipton organised the Sir Thomas Lipton Trophy tournament in Turin in 1909. The Lipton tournament was a championship between individual clubs (not national teams) from different nations, each one of which represented an entire nation. The competition is sometimes described as The First World Cup,[9] and featured the most prestigious professional club sides from Italy, Germany and Switzerland, but the FA of England refused to be associated with the competition and declined the offer to send a professional team. Lipton invited West Auckland, an amateur side from County Durham, to represent England instead. West Auckland won the tournament and returned in 1911 to successfully defend their title.

In 1914, FIFA agreed to recognise the Olympic tournament as a "world football championship for amateurs", and took responsibility for managing the event.[10] This paved the way for the world's first intercontinental football competition, at the 1920 Summer Olympics, contested by Egypt and 13 European teams, and won by Belgium.[11] Uruguay won the next two Olympic football tournaments in 1924 and 1928. Those were also the first two open world championships, as 1924 was the start of FIFA's professional era.
World Cups before World War II
Estadio Centenario, the location of the first World Cup final in 1930 in Montevideo, Uruguay

Due to the success of the Olympic football tournaments, FIFA, with President Jules Rimet as the driving force, again started looking at staging its own international tournament outside of the Olympics. On 28 May 1928, the FIFA Congress in Amsterdam decided to stage a world championship itself.[12] With Uruguay now two-time official football world champions and to celebrate their centenary of independence in 1930, FIFA named Uruguay as the host country of the inaugural World Cup tournament.

The national associations of selected nations were invited to send a team, but the choice of Uruguay as a venue for the competition meant a long and costly trip across the Atlantic Ocean for European sides. Indeed, no European country pledged to send a team until two months before the start of the competition. Rimet eventually persuaded teams from Belgium, France, Romania, and Yugoslavia to make the trip. In total, 13 nations took part: seven from South America, four from Europe and two from North America.

The first two World Cup matches took place simultaneously on 13 July 1930, and were won by France and USA, who defeated Mexico 4–1 and Belgium 3–0 respectively. The first goal in World Cup history was scored by Lucien Laurent of France.[13] In the final, Uruguay defeated Argentina 4–2 in front of a crowd of 93,000 people in Montevideo, and in doing so became the first nation to win the World Cup.[14]

After the creation of the World Cup, the 1932 Summer Olympics, held in Los Angeles, did not plan to include football as part of the schedule due to the low popularity of the sport in the United States, as American football had been growing in popularity. FIFA and the IOC also disagreed over the status of amateur players, and so football was dropped from the Games.[15] Olympic football returned at the 1936 Summer Olympics, but was now overshadowed by the more prestigious World Cup.

The issues facing the early World Cup tournaments were the difficulties of intercontinental travel, and war. Few South American teams were willing to travel to Europe for the 1934 and 1938 tournaments, with Brazil the only South American team to compete in both. The 1942 and 1946 competitions, which Nazi Germany and Brazil sought to host,[16] were cancelled due to World War II and its aftermath.
World Cups after World War II

The 1950 World Cup, held in Brazil, was the first to include British participants. British teams withdrew from FIFA in 1920, partly out of unwillingness to play against the countries they had been at war with, and partly as a protest against foreign influence on football,[17] but rejoined in 1946 following FIFA's invitation.[18] The tournament also saw the return of 1930 champions Uruguay, who had boycotted the previous two World Cups. Uruguay won the tournament again after defeating the host nation Brazil, in the match called "Maracanazo" (Portuguese: Maracanaço).
Map of countries' best results

In the tournaments between 1934 and 1978, 16 teams competed in each tournament, except in 1938, when Austria was absorbed into Germany after qualifying, leaving the tournament with 15 teams, and in 1950, when India, Scotland, and Turkey withdrew, leaving the tournament with 13 teams.[19] Most of the participating nations were from Europe and South America, with a small minority from North America, Africa, Asia, and Oceania. These teams were usually defeated easily by the European and South American teams. Until 1982, the only teams from outside Europe and South America to advance out of the first round were: USA, semi-finalists in 1930; Cuba, quarter-finalists in 1938; North Korea, quarter-finalists in 1966; and Mexico, quarter-finalists in 1970.
Expansion to 32 teams

The tournament was expanded to 24 teams in 1982,[20] and then to 32 in 1998,[21] also allowing more teams from Africa, Asia and North America to take part. Since then, teams from these regions have enjoyed more success, with several having reached the quarter-finals: Mexico, quarter-finalists in 1986; Cameroon, quarter-finalists in 1990; South Korea, finishing in fourth place in 2002; Senegal, along with USA, both quarter-finalists in 2002; Ghana, quarter-finalists in 2010; and Costa Rica, quarter-finalists in 2014. Nevertheless, European and South American teams continue to dominate, e.g., the quarter-finalists in 1994, 1998, and 2006 were all from Europe or South America and so were the finalists of all tournaments so far.

Two hundred teams entered the 2002 FIFA World Cup qualification rounds; 198 nations attempted to qualify for the 2006 FIFA World Cup, while a record 204 countries entered qualification for the 2010 FIFA World Cup.[22]
Possible expansion to 40 teams

In October 2013, Sepp Blatter spoke of guaranteeing the Caribbean Football Union's region a position in the World Cup.[23] In the 25 October 2013 edition of the FIFA Weekly Blatter wrote that: "From a purely sporting perspective, I would like to see globalisation finally taken seriously, and the African and Asian national associations accorded the status they deserve at the FIFA World Cup. It cannot be that the European and South American confederations lay claim to the majority of the berths at the World Cup."[24] Those two remarks suggested to commentators that Blatter could be putting himself forward for re-election to the FIFA Presidency.[25] Following the magazine's publication, Blatter's would-be opponent for the FIFA Presidency, UEFA President Michel Platini responded that he intended to extend the World Cup to 40 national associations, increasing the number of participants by eight. Platini said that he would allocate an additional berth to UEFA, two to Asia Football Confederation and Confederation of African Football, two shared between CONCACAF and CONMEBOL, and a guaranteed place for the Oceania Football Confederation.[26] Platini was clear about why he wanted to expand the World Cup. He said: "[The World Cup is] not based on the quality of the teams because you don't have the best 32 at the World Cup ... but it's a good compromise. ... It's a political matter so why not have more Africans? The competition is to bring all the people of all the world. If you don't give the possibility to participate, they don't improve."[26]
Other FIFA tournaments

An equivalent tournament for women's football, the FIFA Women's World Cup, was first held in 1991 in China.[27] The women's tournament is smaller in scale and profile than the men's, but is growing; the number of entrants for the 2007 tournament was 120, more than double that of 1991.

Football has been included in every Summer Olympic Games except 1896 and 1932. Unlike many other sports, the men's football tournament at the Olympics is not a top-level tournament, and since 1992, an under-23 tournament with each team allowed three over-age players.[28] Women's football made its Olympic debut in 1996, and is contested between full national sides with no age restrictions.

The FIFA Confederations Cup is a tournament held one year before the World Cup at the World Cup host nation(s) as a dress rehearsal for the upcoming World Cup. It is contested by the winners of each of the six FIFA confederation championships, along with the FIFA World Cup champion and the host country.[29]

FIFA also organises international tournaments for youth football (FIFA U-20 World Cup, FIFA U-17 World Cup, FIFA U-20 Women's World Cup, FIFA U-17 Women's World Cup), club football (FIFA Club World Cup), and football variants such as futsal (FIFA Futsal World Cup) and beach soccer (FIFA Beach Soccer World Cup). Since the 2010 edition, the U-20 Women's World Cup has played the same role in women's football as the Confederations Cup plays in the men's game. When the U-20 Women's World Cup is held the year before the Women's World Cup, both tournaments are awarded in a single bidding process, with the U-20 tournament serving as a dress rehearsal for the larger competition.
Trophy
Main article: FIFA World Cup Trophy

From 1930 to 1970, the Jules Rimet Trophy was awarded to the World Cup winning team. It was originally simply known as the World Cup or Coupe du Monde, but in 1946 it was renamed after the FIFA president Jules Rimet who set up the first tournament. In 1970, Brazil's third victory in the tournament entitled them to keep the trophy permanently. However, the trophy was stolen in 1983 and has never been recovered, apparently melted down by the thieves.[30]

After 1970, a new trophy, known as the FIFA World Cup Trophy, was designed. The experts of FIFA, coming from seven countries, evaluated the 53 presented models, finally opting for the work of the Italian designer Silvio Gazzaniga. The new trophy is 36 cm (14.2 in) high, made of solid 18 carat (75%) gold and weighs 6.175 kg (13.6 lb). The base contains two layers of semi-precious malachite while the bottom side of the trophy bears the engraved year and name of each FIFA World Cup winner since 1974. The description of the trophy by Gazzaniga was: "The lines spring out from the base, rising in spirals, stretching out to receive the world. From the remarkable dynamic tensions of the compact body of the sculpture rise the figures of two athletes at the stirring moment of victory."[31]

This new trophy is not awarded to the winning nation permanently. World Cup winners retain the trophy only until the post-match celebration is finished. They are awarded a gold-plated replica rather than the solid gold original immediately afterwards.[32]

Currently, all members (players, coaches, and managers) of the top three teams receive medals with an insignia of the World Cup Trophy; winners' (gold), runner-ups' (silver), and third-place (bronze). In the 2002 edition, fourth-place medals were awarded to hosts South Korea. Before the 1978 tournament, medals were only awarded to the eleven players on the pitch at the end of the final and the third-place match. In November 2007, FIFA announced that all members of World Cup-winning squads between 1930 and 1974 were to be retroactively awarded winners' medals.[33][34][35]
Format
Qualification
Main article: FIFA World Cup qualification

Since the second World Cup in 1934, qualifying tournaments have been held to thin the field for the final tournament.[36] They are held within the six FIFA continental zones (Africa, Asia, North and Central America and Caribbean, South America, Oceania, and Europe), overseen by their respective confederations. For each tournament, FIFA decides the number of places awarded to each of the continental zones beforehand, generally based on the relative strength of the confederations' teams.

The qualification process can start as early as almost three years before the final tournament and last over a two-year period. The formats of the qualification tournaments differ between confederations. Usually, one or two places are awarded to winners of intercontinental play-offs. For example, the winner of the Oceanian zone and the fifth-placed team from the Asian zone entered a play-off for a spot in the 2010 World Cup.[37] From the 1938 World Cup onwards, host nations receive automatic qualification to the final tournament. This right was also granted to the defending champions between 1938 and 2002, but was withdrawn from the 2006 FIFA World Cup onward, requiring the champions to qualify. Brazil, winners in 2002, were the first defending champions to play qualifying matches.[38]
Final tournament
For the various formats used in previous tournaments, see History of the FIFA World Cup#Format of each final tournament.

The current final tournament has been used since 1998 and features 32 national teams competing over the course of a month in the host nation(s). There are two stages: the group stage followed by the knockout stage.[39]

In the group stage, teams compete within eight groups of four teams each. Eight teams are seeded, including the hosts, with the other seeded teams selected using a formula based on the FIFA World Rankings and/or performances in recent World Cups, and drawn to separate groups.[40] The other teams are assigned to different "pots", usually based on geographical criteria, and teams in each pot are drawn at random to the eight groups. Since 1998, constraints have been applied to the draw to ensure that no group contains more than two European teams or more than one team from any other confederation.[41]

Each group plays a round-robin tournament, in which each team is scheduled for three matches against other teams in the same group. This means that a total of six matches are played within a group. The last round of matches of each group is scheduled at the same time to preserve fairness among all four teams.[42] The top two teams from each group advance to the knockout stage. Points are used to rank the teams within a group. Since 1994, three points have been awarded for a win, one for a draw and none for a loss (before, winners received two points).

If one considers all possible outcomes (win, draw, loss) for all six matches in a group, there are 729 (= 36) different outcome combinations possible. However, a certain number (115) of these combinations lead to more than one team occupying the second place in the group. In such case, the ranking among these teams is determined as follows:[43]

Greatest combined goal difference in all group matches
Greatest combined number of goals scored in all group matches
If more than one team remain level after applying the above criteria, their ranking will be determined as follows:
Greatest number of points in head-to-head matches among those teams
Greatest goal difference in head-to-head matches among those teams
Greatest number of goals scored in head-to-head matches among those teams
If any of the teams above remain level after applying the above criteria, their ranking will be determined by the drawing of lots

The knockout stage is a single-elimination tournament in which teams play each other in one-off matches, with extra time and penalty shootouts used to decide the winner if necessary. It begins with the round of 16 (or the second round) in which the winner of each group plays against the runner-up of another group. This is followed by the quarter-finals, the semi-finals, the third-place match (contested by the losing semi-finalists), and the final.[39]
Hosts
Main article: FIFA World Cup hosts
Selection process
Wikinews has related news: FIFA receives eleven bids for 2018 and 2022 World Cups

Early World Cups were given to countries at meetings of FIFA's congress. The locations were controversial because South America and Europe were by far the two centres of strength in football and travel between them required three weeks by boat. The decision to hold the first World Cup in Uruguay, for example, led to only four European nations competing.[44] The next two World Cups were both held in Europe. The decision to hold the second of these in France was disputed, as the South American countries understood that the location would alternate between the two continents. Both Argentina and Uruguay thus boycotted the 1938 FIFA World Cup.[45]

Since the 1958 FIFA World Cup, to avoid future boycotts or controversy, FIFA began a pattern of alternating the hosts between the Americas and Europe, which continued until the 1998 FIFA World Cup. The 2002 FIFA World Cup, hosted jointly by South Korea and Japan, was the first one held in Asia, and the only tournament with multiple hosts.[46] South Africa became the first African nation to host the World Cup in 2010. The 2014 FIFA World Cup is hosted by Brazil, the first held in South America since Argentina 1978,[47] and is the first occasion where consecutive World Cups are held outside Europe.

The host country is now chosen in a vote by FIFA's Executive Committee. This is done under an exhaustive ballot system. The national football association of a country desiring to host the event receives a "Hosting Agreement" from FIFA, which explains the steps and requirements that are expected from a strong bid. The bidding association also receives a form, the submission of which represents the official confirmation of the candidacy. After this, a FIFA designated group of inspectors visit the country to identify that the country meets the requirements needed to host the event and a report on the country is produced. The decision on who will host the World Cup is usually made six or seven years in advance of the tournament. However, there have been occasions where the hosts of multiple future tournaments were announced at the same time, as was the case for the 2018 and 2022 World Cups, which were awarded to Russia and Qatar respectively.

For the 2010 and 2014 World Cups, the final tournament is rotated between confederations, allowing only countries from the chosen confederation (Africa in 2010, South America in 2014) to bid to host the tournament. The rotation policy was introduced after the controversy surrounding Germany's victory over South Africa in the vote to host the 2006 tournament. However, the policy of continental rotation will not continue beyond 2014, so any country, except those belonging to confederations that hosted the two preceding tournaments, can apply as hosts for World Cups starting from 2018.[48] This is partly to avoid a similar scenario to the bidding process for the 2014 tournament, where Brazil was the only official bidder.
Bribery & corruption investigations

On 4 June 2015 Chuck Blazer while co-operating with the FBI and the Swiss authorities admitted that he and the other members of FIFA's executive committee were bribed in order to promote the South African, 1998 and 2010 World Cups. [49]
On 10 June 2015 Swiss authorities seized computer data from the offices of Sepp Blatter[50]
Also, on 10 June 2015 the bidding process for the 2026 World Cup was suspended amid allegations over the 2018 and 2022 tournaments in reference to the FIFA Corruption Case [51]
Performances
See also: Results of host nations in the FIFA World Cup

Six of the eight champions have won one of their titles while playing in their own homeland, the exceptions being Brazil, who finished as runners-up after losing the deciding match on home soil in 1950 and lost their semifinal against Germany in 2014, and Spain, which reached the second round on home soil in 1982. England (1966) and France (1998) won their only titles while playing as host nations. Uruguay (1930), Italy (1934) and Argentina (1978) won their first titles as host nations but have gone on to win again, while Germany (1974) won their second title on home soil.

Other nations have also been successful when hosting the tournament. Switzerland (quarter-finals 1954), Sweden (runners-up in 1958), Chile (third place in 1962), South Korea (fourth place in 2002), and Mexico (quarter-finals in 1970 and 1986) all have their best results when serving as hosts. So far, South Africa (2010) was the only host nation to fail to advance beyond the first round.

https://www.youtube.com/watch?v=dQw4w9WgXcQ

It's who I am and what I feel
My life is automatic
Up in the air, it's what I breathe
and it is never static

Don't let it go
I just want to explode
While this insanity eradicates my soul
I am your vision, it's the fire that I come true
Take it to the limit never look back
It's non erratic automatic

Please can you save me from myself?

It's who I am and what I feel
My life is automatic
Up in the air, it's what I breathe
and it is never static
So lift me up and take me high
and make me everlasting
'Cause I am automatic

Your precious destiny
It's madness to behold
Oh it feels like I'm losing my control
I want the highway, stalk a loner in the cold
So don't let go!

Please can you save me from myself?

It's who I am and what I feel
My life is automatic
Up in the air, it's what I breathe
and it is never static
So lift me up and take me high
and make me everlasting
'Cause I am automatic

Your angry vision
The power and control
Take it to the limit
Never look back
It's not neurotic
It's automatic!

[2x]
It's who I am and what I feel
My life is automatic
Up in the air, it's what I breathe
and it is never static
So lift me up and take me high
and make me everlasting
'Cause I am automatic

Luke 19:10

10 “For the Son of Man came to seek and to save the lost.”

During active American involvement in World War II (1941–45), propaganda was used to increase support for the war and commitment to an Allied victory. Using a vast array of media, propagandists instigated hatred for the enemy and support for America's allies, urged greater public effort for war production and victory gardens, persuaded people to save some of their material so that more material could be used for the war effort, and sold war bonds. Patriotism became the central theme of advertising throughout the war, as large scale campaigns were launched to sell war bonds, promote efficiency in factories, reduce ugly rumors, and maintain civilian morale. The war consolidated the advertising industry's role in American society, deflecting earlier criticism.[1]

Campaign

At first, the government was reluctant to engage in propaganda campaigns, but pressure from the media, the business sector and advertisers who wanted direction persuaded the government to take an active role.[2] Even so, the government insisted that its actions were not propaganda, but a means of providing information.[3] These efforts were slowly and haphazardly formed into a more unified propaganda effort, although never to the level of World War I.[4]

In 1942, President Franklin D. Roosevelt created the Office of War Information (OWI).[5] This mid-level agency joined a host of other wartime agencies, including the War and State Departments, in the dissemination of war information and propaganda.[6] Officials at OWI used numerous tools to communicate to the American public. These included Hollywood movie studios, radio stations and printing presses.[7]

The Writers' War Board was privately organized for the purposes of propaganda and often acted as liaison between the government and the writers. Many of the writers involved regarded their efforts as superior to governmental propaganda,[8] as they regarded their material as bolder and more responsive than governmental efforts.[9] However, the writers both responded to official requests and initiated their own campaigns.[8]

In 1944 (lasting until 1948), prominent U.S. policy makers launched a domestic propaganda campaign aimed at convincing the U.S. public to accept a harsh peace for the German people. One method used in this campaign was an attempt to remove the commonly held view that the German people and the Nazi party were separate entities.[10] A key participant in this campaign was the Writers' War Board, which was closely associated with the Roosevelt administration.[10]
Media
Posters

The United States used posters to advertise, and produced more propaganda posters than any other country fighting in World War II.[11] Almost 200,000 different designs were printed during the war.[12]
O'er the ramparts we watch: United States Army Air Forces.

These posters used a number of themes to encourage support for the war, including conservation, production, recruiting, home efforts and secrecy.[11] Posters were usually placed in areas without paid advertisements.[11] The most common areas were post offices, railroad stations, schools, restaurants and retail stores.[13] Smaller posters were printed for the windows of private homes and apartment buildings.[14] These were places where other propaganda media couldn't be used.[15]

The Office of War Information (OWI) Bureau of Graphics was the government agency in charge of producing and distributing propaganda posters.[16] The main distinction between United States poster propaganda and that of British and other allied propaganda was that the U.S. posters stayed mostly positive in their messages.[16] The United States posters focused on duty, patriotism and tradition, whereas those of other countries focused on fueling the people's hatred for the enemy.[16] The positive messages on U.S. posters were used to increase production on the home front instead of insuring that the "money raised was not lost."[16] U.S. Posters rarely used images of war casualties, and even battlefield scenes became less popular, and were replaced by commercial images to satisfy the "consumer" need for the war.[17]

The war posters were not designed by the government, but by artists who received no compensation for their work.[16] Government agencies held competitions for artists to submit their designs, allowing the government to increase the number of designs that it could choose from.[18]
Advertising

Many companies ran advertising supporting the war. This helped keep their names before the public although they had no products to sell, and they were allowed to treat this advertising as a business expense.[19] The War Advertising Council helped supervise such efforts.[20] Car manufacturers and other producers that retooled for the war effort took out ads depicting their efforts.[21] Other companies connected their products in some way with the war. For example, Lucky Strike claimed the change from green to white in its packaging was to save bronze for weapons, and, as a result, saw its sales skyrocket.[22] Coca-Cola, as did many other soft drink manufacturers, depicted its product being drunk by defense workers and members of the armed forces.[23] Many commercial ads also urged the purchase of war bonds.[24]

Much of the war effort was defined by advertising, and the armed forces overseas preferred magazines with full ads rather than a slimmed down version without them.[25]
Comic books and cartoons
Cover of the August 1943 issue of the 4 Favorites showing a War Bond character beating Hirohito, Adolf Hitler and Benito Mussolini. The heroes on the cover are shown singing Spike Jones' hit song "Der Fuehrer's Face".

Just as is done today, editorial cartoonists sought to sway public opinion. For example, Dr. Seuss supported Interventionism even before the attack on Pearl Harbor.[26]

Comic strips, such as Little Orphan Annie and Terry and the Pirates, introduced war themes into their stories.[27] Even before the war, sabotage and subversion were common motifs in action-oriented strips.[28]

Many superheroes were shown combating Axis spies or activities in America and elsewhere.[29] A comic book depicting Superman attacking the German Westwall was attacked in an issue of Das Schwarze Korps, the SS weekly newspaper, with the Jewish origin of creator Jerry Siegel given prominent attention.[30]

In 1944, after being praised by Ernie Pyle, Bill Mauldin's cartoons were syndicated in the United States. This effort was supported by the War Department due to Mauldin's grimmer depiction of everyday military life in his cartoons.[31] Mauldin's cartoons not only publicized the efforts of the ground forces, but they made the war appear bitter and onerous, helping convince Americans that victory would not be easy. While his cartoons omitted carnage, they showed the difficulty of war through his depiction of the soldiers' disheveled appearance, and sad, vacant eyes.[32] This helped produce continued support for the troops, by conveying the hardships of their daily experiences.[33]
Leaflets

Leaflets could be dropped from aircraft to populations in locations unreachable by other means; for example, when the population was afraid or unable to listen to foreign radio broadcasts. As such, the United States extensively used leaflets to convey short informational tidbits. In fact, one squadron of B-17 bombers was entirely dedicated to this purpose.[34] Leaflets were also used against enemy forces, providing "safe conduct passes" that enemy troops could use to surrender as well as counterfeit ration books, stamps and currency.[35] The very scale of the leaflet operations had its effect on enemy morale, showing that the Allied armament industry was so productive that planes could be diverted for this purpose.[36]

The use of leaflets against Japanese troops was of little effect.[37] Many civilians in Okinawa discounted pamphlets declaring that prisoners would not be harmed.[38] By the time American planes could reach the Japanese home islands, the leaflets had improved, providing "advance notice" of bombings ensured that the leaflets were read avidly despite prohibitions.[37] These pamphlets declared they had no wish to harm civilians, only the military installations, and that the bombings could be stopped by demanding new leaders who would end the war.[39] After the atomic attacks, more pamphlets were dropped, warning that the Americans had an even more powerful explosive at their disposal.[40] When the Japanese government subsequently offered to surrender, the U.S. continued to drop pamphlets, telling the Japanese people of their government's offer and that they had a right to know the terms.[41]

The American Historical Association's G.I. Roundtable Series of pamphlets was used to ease transition to the post-war world.[42]
Radio

In the United States, radio was so widely used for propaganda that it greatly exceeded the use of other media that was typically used against other nations.[43] President Roosevelt's fireside chats are an excellent example of this use of radio.[44] In February 1942, Norman Corwin's This is War series was broadcast throughout the country and, by shortwave, throughout the world.[45] Other significant uses of radio overseas includes messages to the Italian Navy, which persuaded it to surrender.[46] CBS Radio's counterpropaganda series Our Secret Weapon (1942–43), featuring writer Rex Stout representing Freedom House, monitored Axis shortwave radio propaganda broadcasts and rebutted the most entertaining lies of the week.[47]:529

In 1942–43 Orson Welles created two CBS Radio series that are regarded as significant contributions to the war effort. Hello Americans was produced under the auspices of the Office of the Coordinator of Inter-American Affairs to promote inter-American understanding and friendship during World War II. Ceiling Unlimited, sponsored by the Lockheed-Vega Corporation, was conceived to glorify the aviation industry and dramatize its role in World War II.[48]

Since radio was often a "live' media, there were restrictions. Broadcasters were warned not to cut to a commercial with the line, "and now for some good news," and reporters were instructed not to describe bombings precisely enough so that the enemy could tell what they hit, for example, they were to state "the building next to the one I am standing on," not "the First National Bank."[49] While audience participation and man-on-the-street programs were immensely popular, broadcasters realized there was no way to prevent enemy agents from being selected, and these were discontinued.[50] Many broadcasters worked war themes into their programming to such an extent that they confused the targeted audiences. As a result, the Radio War Guide urged broadcasters to focus on selected themes.[51]

At first the Japanese population could not receive propaganda by radio because short-wave receivers were prohibited in Japan. However, the capture of Saipan not only shocked the Japanese because it was considered invincible, but allowed Americans to use medium-wave radio to reach the Japanese islands.[52]
Books

Books were more often used in the post-combat consolidation phases than in combat, particularly because their intent was indirect, to mold the thinkers who would be molding public opinion in the post-war period, and therefore books had more of a long-range influence rather than an immediate effect.[53]

And some topics were considered off limits. Books on submarines were suppressed, even ones drawing on public knowledge and made with naval assistance. In fact, attempts were made to suppress even fictional stories involving submarines.[54] As fiction grew less popular, bookstores promoted non-fiction war books.[55]

A few weeks after D-Day, crates of books were landed in Normandy to be distributed to French booksellers. An equal number of American and British efforts were included in these shipments.[56] Books had been stockpiled for this purpose, and some books were specifically published for it.[57]
Movies

Hollywood movie studios, obviously sympathetic to the Allied cause, soon adapted standard plots and serials to feature Nazis in place of the usual gangster villains while the Japanese were depicted as being bestial, incapable of reason or human qualities.[58] Although Hollywood lost access to most foreign markets during the war, it was now able to use Germans, Italians and Japanese as villains without diplomatic protests or boycotts. Many actors such as Peter Lorre, Conrad Veidt, Martin Kosleck, Philip Ahn and Sen Yung specialized in playing Axis spies, traitors and soldiers.[59] Irreplaceable film workers received draft deferments to allow them to continue producing pro-Allied films.[60]

In the early '40s, as war was starting to gain importance in Europe, the goal of Hollywood studios was still to entertain. Many productions were musicals, comedies, melodramas or westerns. Major studios kept their neutrality and showed on screen the same isolationist sentiment as their audience. After noticing President Franklin D. Roosevelt's concern about US foreign policy, fascism began to be reported on screen by Hollywood. After the Japanese attack on Pearl Harbor in 1941, the studios were fully supportive of the Allied cause and its demands. Patriotic propaganda was seen as profitable by Hollywood, and it helped to transform the social and political stances of the country, while serving as an instrument of national policy.[61]

Most of movies produced had a background of war, even if their story was a complete invention. However, there were pictures that were made especially in tie with a past event, or even a current event of that period of time that made the release of the film synchronized with the happening in real life. For example, the Academy Award winner for Best Picture Casablanca, was a movie released in the context of American attitudes toward Vichy and Free French Forces. This picture was considered as anti-Vichy, but there was a strong debate about the fact that this position was representative or not of the American government policy.[62] This movie was one of the most important productions of Hollywood during war time, and also very representative of the studio's role and position during World War II.

The war happened in the moment of an important national conflict: racial segregation. White America was united in its cause but in Black America, there was opposition. While Roosevelt was describing the Allied War goals as democratic, Walter Francis White, the executive secretary of the National Association for the Advancement of Colored People (NAACP), said that colored people had to "fight for the right to fight".[63] Many blacks were weighing their loyalty to the country against loyalty to their race. To address the identity problem, the Office of War Information (that had control and influence on the contents and subjects of American motion pictures.[64]) decided to collaborate with Black leaders to try to improve Hollywood's portrayal of colored people and obtain their support to the Allied cause, but it was a failure.[65]

The earliest Hollywood production to satirize any of the Axis governments was You Nazty Spy!, a Three Stooges short released on January 19, 1940, satirizing Hitler (Moe Howard as "Moe Hailstone"), Goering (Curly Howard as "Field Marshal Gallstone") and Goebbels (Larry Fine as "Larry Pebble"), nearly two years before the attack on Pearl Harbor.

The 1941 Nazi attack on the Soviet Union resulted in pro-Russian movies.[66] The war also produced an interest in newsreels and documentaries, which had been unable to compete against entertainment films prior to the war.[66] America's allies were no longer allowed to be depicted negatively in any way.[54]
From "War Comes To America", in the Why We Fight series - the dire consequences for the US of an Axis victory in Eurasia

At the request of General George C. Marshall, Chief of Staff of the U.S. Army, Frank Capra created a documentary series that was used as orientation films for new recruits.[67] Capra designed the series to illustrate the enormous danger of Axis conquest and the corresponding justness of the Allies.[68] This Why We Fight series documented the war in seven segments:

Prelude to War, the rise of Fascism;[69]
The Nazi Strike, from Anschluss to the invasion of Poland;[70]
Divide and Conquer, the conquest of continental Europe;
The Battle of Britain,
The Battle of Russia,
The Battle of China, and
War Comes to America, covering subsequent events.[71]

At President Roosevelt's urging, Why We Fight was also released to the theaters for the general public.[72] In Britain, Churchill ordered the entire sequence to be shown to the public.[71]

Movies were also useful in that propaganda messages could be incorporated into entertainment films.[73] The 1942 film Mrs. Miniver portrayed the experiences of an English housewife during the Battle of Britain and urged the support of both men and women for the war effort. It was rushed to the theaters on Roosevelt's orders.[74]

Furthermore the 1943 film "The Negro Soldier", a government produced documentary also directed by Frank Capra, challenged racial stereotypes in the ranks. Its popularity allowed it to pass over into mainstream distribution.[75]

The 1944 film The Purple Heart was used to dramatize Japanese atrocities and the heroics of American flyers.[76]
Animation

World War II transformed the possibilities for animation. Prior to the war, animation was seen as a form of childish entertainment, but that perception changed after Pearl Harbor was attacked. On 8 December 1941, the U.S. Army immediately began working with Walt Disney. Army personnel were stationed at his studio and lived there for the duration of the war.[77] A military officer was actually based in Walt Disney’s office. The U.S. Army and Disney set about making various types of films for several different audiences. Most films meant for the public included some type of propaganda, while films for the troops included training and education about a given topic.
Scrap Happy Daffy

Films intended for the public were often meant to build morale. They allowed Americans to express their anger and frustration through ridicule and humor. Many films simply reflected the war culture and were pure entertainment. Others carried strong messages meant to arouse public involvement or set a public mood. Cartoons such as Bugs Bunny Bond Rally and Foney Fables pushed viewers to buy war bonds, while Scrap Happy Daffy encouraged the donation of scrap metal, and Disney's The Spirit of '43 implored viewers to pay their taxes.

The U.S. and Canadian governments also used animation for training and instructional purposes. The most elaborate training film produced, Stop That Tank!, was commissioned by the Canadian Directorate of Military Training and created by Walt Disney Studios.[78] Troops became familiar with Private Snafu and Lance Corporal Schmuckatelli. These fictional characters were used to give soldiers safety briefs and instructions on expected behavior, while often portraying behavior that which was not recommended. The short Spies depicts an intoxicated Private Snafu giving secrets to a beautiful woman who is really a Nazi spy. Through the information he gives her, the Germans are able to bomb the ship Private Snafu is traveling on, sending him to hell.[79]
Education for Death

Animation was increasingly used in political commentary against the Axis powers. Der Fuehrer's Face[80] was one of Walt Disney's most popular propaganda cartoons. It poked fun at Hitler’s Germany by depicting Donald Duck dreaming that he is a German war worker, eating breakfast by only spraying the scent of bacon and eggs onto his breath, dipping a single coffee bean into his cup of water, and eating bread so stale or having wood in it, he had to saw a piece off. Disney and the U.S. Army wanted to depict Germans as living in a land that was a facade of the wonderful promises made by Hitler. Producers of the cartoon also wished to show that the working conditions in German factories were not as glorious as Hitler made them sound in his speeches. In the film, Donald works continuously with very little compensation and or time off. At the end, Donald awakes from his nightmare and is forever thankful he is a citizen of the United States of America. Education for Death[81] was a very serious film based on the best-selling book of the same name by Gregor Ziemer. The film shows how a young boy in Nazi Germany is indoctrinated and brainwashed at an early age and learns to believe all that the German government tells him. While this short is educational, it also provides comic relief by mocking Hitler. However, the film is both shocking in its content and despairing in its ending, depicting the death of numerous such boys who are now German soldiers.
Magazines

Magazines were a favored propaganda dissemination tool, as they were widely circulated. The government issued a Magazine War Guide which included tips for supporting the war effort.[82] Women's magazines were the favored venue for propaganda aimed at housewives, particularly the Ladies' Home Journal. Magazine editors were asked to depict women as coping heroically with the sacrifices of wartime.[82] Fiction was a particularly favored venue, and was used to subtly shape attitudes.[83] Ladies' Home Journal and other magazine also promoted the activities of women in the armed services.[84]

The pulp magazine industry was especially supportive, if only to prevent their being perceived as unessential to the war effort and discontinued for the duration of the war.[85] The Office of War Information distributed guides to writers for Western, adventure, detective and other pulp genres with possible story lines and themes that would help the war effort. Among the suggestions were a detective who was "cheerful" about following a suspect without using an automobile, a woman working in a traditionally male job, the importance of the 35 miles per hour speed limit and carpooling, and good Chinese and British characters.[86]
Newspapers

Newspapers were told that government press releases would be true, and to give no aid and comfort to the enemy—but this latter was not to be considered a prohibition on releasing bad news.[87] However, partially through the cooperation of supportive journalists, the Office of Censorship (OOC) managed to remove negative news and other items useful to the enemy—such as weather forecasts—although neither the OOC nor any other agency managed to completely slant the news in a positive, morale-boosting manner.[88] Indeed, some government officials found that both newspapers and radio were using uncorroborated news from Vichy France and Tokyo.[89]
Themes
The Axis as a Japanese/Nazi two-headed monster.

As in Britain, American propaganda depicted the war as an issue of good versus evil, which allowed the government to encourage its population to fight a "just war," and used themes of resistance in and liberation to the occupied countries.[90] In 1940, even prior to being drawn into World War II, President Roosevelt urged every American to consider the effect if the dictatorships won in Europe and Asia.[91] Precision bombing was praised, exaggerating its accuracy, to convince people of the difference between good and bad bombing.[92] Hitler, Tojo, Mussolini and their followers were the villains in American film, even in cartoons where characters, such as Bugs Bunny, would defeat them[66]—a practice that began before Pearl Harbor.[93] Cartoons depicted Axis leaders as not being human.[94]

Roosevelt proclaimed that the war against the dictatorships had to take precedence over the New Deal.[95]

Artists and writers were strongly divided on whether to encourage hatred for the enemy, which occasioned debates.[96] The government rarely intervened in such debates, only occasionally suggesting lines for art to take.[97] However, the OWI suggested plot lines using Axis agents in place of traditional villainous roles, such as the rustler in Westerns.[98]

In one speech, Henry Wallace called for post-war efforts to psychologically disarm the effect of the Axis powers, requiring schools to undo, as far as possible, the poisoning of children's minds by Hitler and the Japanese "warlords."[99] Two days later, a Dr. Seuss's editorial cartoon showed Uncle Sam using bellows to drive germ out of the mind of the child "Germany," while holding the child "Japan" ready for the next treatment.[99]
Anti-German
Ten years ago, the Nazis burned these books but free Americans can still read them.

..

Hitler was often depicted in situations ridiculing him, and editorial cartoons usually depicted him in caricature.[100][101] Hitler's dictatorship was often heavily satirized.[102] To raise morale, even prior to the turning of the war in the Allies favor, Hitler often appeared in editorial cartoons as doomed.[103] He and the German people were depicted as fools. For example, in an editorial cartoon by Dr. Seuss, a German father scolded his hungry son, telling him that the Germans ate countries, not food.[104]

Nazi Germany was treated as the worst evil within the Axis, a greater threat than Japan and Italy.[105] To counter the much greater desire in the United States to attack Japan, operations in the North African theater were implemented, despite military counterindications, to increase support for attacking Germany. Without such involvement, public pressure to more heavily support the war in the Pacific might have proven irresistible to American leaders.[106]

Germans were often stereotyped as evil in films and posters,[107] although many atrocities were specifically ascribed to Nazis and Hitler specifically, rather than to the undifferentiated German people.[108]

Alternate history novels depicted Nazi invasions of America to arouse support for interventionism.[109]

The Writers' War Board compiled lists of books banned or burned in Nazi Germany and distributed them for propaganda purposes, and thousands of commemorations of the book burnings were staged.[110]
Anti-Italian

Mussolini also appeared in situations ridiculing him.[100] Editorial cartoons depicted him as a two-bit dictator.[111] Italians were often stereotyped as evil in films and posters.[107]
Anti-Japanese

Propaganda portrayed the Japanese more than any other Axis power as a foreign, grotesque and uncivilized enemy.[112] Drawing on Japanese samurai traditions, American propagandists portrayed the Japanese as blindly fanatic and ruthless, with a history of desiring overseas conquests.[113] Japanese propaganda, such as Shinmin no Michi or The Way of the Subjects, called for the Japanese people to become "one hundred million hearts beating as one"—which Allied propagandists used to portray the Japanese as a mindless, unified mass.[114] Atrocities were ascribed to the Japanese people as a whole.[108] Even Japanese-Americans would be portrayed as massively supporting Japan, only awaiting the signal to commit sabotage.[99] Japanese atrocities and their fanatical refusal to surrender supported the portrayal of otherwise racist elements in propaganda.[115]
Remember Pearl Harbor!

Even prior to the Attack on Pearl Harbor, accounts of atrocities in China roused considerable antipathy for Japan.[116] This stemmed from as early as the Japanese invasion of Manchuria, when accounts were received of Japanese forces of bombing civilians, or firing upon shell-shocked survivors.[117] Such books as Pearl Buck's The Good Earth and Freda Utley's China At War aroused sympathy for the Chinese.[118] As early as 1937, Roosevelt condemned the Japanese for their aggression in China.[119] The Rape of Nanking, due to the large number of Western witnesses, achieved particularly notoriety, with Chinese propagandists using it to cement Allied opinion.[120]

Propaganda based on the attack on Pearl Harbor was used with considerable effectiveness, because its outcome was enormous and impossible to counter.[121] Initial reports termed it a "sneak attack" and "infamous behavior".[122] "Remember Pearl Harbor!" became the watchword of the war.[123] Reports of the maltreatment of American prisoners of war also aroused fury,[124] as did reports of atrocities against native populations, with babies being thrown in the air to be caught on bayonets receiving particular attention.[125] When three of the Doolittle Raiders were executed, it evoked a passion for revenge in America, and the image of the "Japanese ape" became common in film and cartoons.[52] The film The Purple Heart dramatized their story, with an airman giving a concluding speech that he now knew that he had understood the Japanese less than he had thought, and that they did not understand Americans if they thought this would frighten them.[76] The diary of a dead Japanese soldier, which contained an entry coolly recounting the execution of a downed airman, was given considerable play as a demonstration of the true nature of the enemy.[126]

The early overwhelming Japanese successes led to a pamphlet "Exploding the Japanese 'Superman' Myth" to counter the effect.[127] The limitations of Japanese troops it cited, although minor, were actual flaws to counter the impression GIs had of Japanese military prowess.[128] The Doolittle Raid was staged after urging from Roosevelt for a counter-attack, if only for morale reasons.[129]
Bataan Death March in propaganda

Japanese calls for devotion to death were used to present a war of extermination as the only possibility, without any question as to whether it was desirable.[130] One Marine unit was briefed: "Every Japanese has been told that it is his duty to die for the emperor. It is your duty to see that he does so."[131] The suicides at Saipan—of women, children, and the elderly as well as fighting men—only reinforced that belief.[132] A thorough defeat of the Japanese was argued for in magazines so as to prevent a resurgence, as happened in Germany after World War I, of Japanese military power or ambition.[133] This encouraged American forces to attack civilians, on the belief they would not surrender, which fed into Japanese propaganda about American atrocities.[134]

Hirohito and undifferentiated "Japs" were often portrayed in caricature.[135] Dr. Seuss's editorial cartoons, which often depicted Hitler and Mussolini, opted for a "Japan" figure rather than any given leader.[136]

One OWI suggestion for adapting "pulp" formulas was a sports story of a professional baseball team touring Japan, which would allow the writers to show the Japanese as ruthless and incapable of sportsmanship.[137]

American popular songs at the time included "We're Gonna Have to Slap the Dirty Little Jap," "Taps for the Japs," "We’ll Nip the Nipponese," "We’re going to play Yankee Doodle in Tokyo," and "You’re a Sap, Mr. Jap."[138] Wartime filmmakers embellished characteristics of Japanese culture that the American people would find scandalously foreign.[138]

At the beginning of the war artists portrayed the Japanese as nearsighted, bucktoothed, harmless children.[139] Indeed, many Americans believed that Germany had convinced Japan to attack Pearl Harbor.[140] As the war progressed, Japanese soldiers and civilians would be portrayed in films as evil, rat faced enemies that desired global domination.[141]

In countries occupied by Japan and forced to join its would-be Greater East Asia Co-Prosperity Sphere, the failure to sustain the economic level prior to the war, particularly in the Philippines, was quickly use in propaganda about the "Co-Poverty Sphere."[142]

Leaflets air-dropped to the Japanese people informed them of the Potsdam Declaration, which brought to bear the extent of Allied victory, and of the Japanese government's peace negotiations, undermining the ability of the Japanese hard-liners to insist on continued war.[143]
Careless talk
A careless word... A needless loss. (by Anton Otto Fischer)

Many posters depicted careless talk as providing information to the enemy, resulting in Allied deaths. [144] This effort was used to prevent people with sensitive information from talking about it where spies or saboteurs could listen in.[145] Posters with this theme conveyed the reality of war to the general public.[146] This was a major topic endorsed by the Office of War Information.[145]

Some of these posters contained the most well known slogans of the war and many were depicted by propaganda artist Cyril Kenneth Bird.[147] Other slogans used for this type of poster were “loose talk costs lives”, "loose lips sink ships", “Another careless word, another wooden cross”, and “bits of careless talk are pieced together by the enemy”.[16] Stories also emphasized an anti-rumor theme, as when one woman advised another not to talk with a man about her war job, because the woman he is dating is untrustworthy and might be an enemy agent.[148]

Rumor mongering was discouraged on the grounds it fomented divisions in America[149] and promoted defeatism and alarmism.[150] Alfred Hitchcock directed Have You Heard?, a photographic dramatization of the dangers of rumors during wartime, for Life magazine.[151]
Victories

Battle victories and heroism were promoted for morale purposes, while losses and defeats were underplayed. Despite his blunders in the first days of the war, General Douglas MacArthur was presented as a war hero due to the dire need for one.[152] The desperate situation on Bataan was played down;[153] although its fall caused considerable demoralization.[154] The Doolittle Raid was carried out solely to help morale rather than to cause damage.[155] a purpose which it fulfilled.[156] After the Battle of Coral Sea, the Navy reported more Japanese damage than had actually been inflicted,[157] and declared it a victory, which the Japanese also did.[158] The decisive victory at the Battle of Midway was emblazoned on newspaper headlines,[159] but was reported with restraint and the U.S. Navy overstated the Japanese damage. Life warned that Midway did not mean that Japan was no longer on the offensive.[160]

In 1942, the survivors of the Battle of Savo Island were removed from public circulation to prevent news from leaking, and the August 9th disaster did not reach the newspapers until mid-October.[161]

Limiting the distribution of bad news caused difficulty with gasoline rationing, as Americans were kept unaware of numerous tanker sinkings.[162]

Earlier, people complained that the government was covering up the extent of the damage at Pearl Harbor, although this was partly to keep it from the Japanese. The Japanese had a good idea of the damage they inflicted, so only Americans were kept ignorant.[163] One reporter reported, "Seven of the two ships sunk at Pearl Harbor have now rejoined the fleet."[163] Although complaints of news suppression continued,[164] both the newspapers and radio took favorable news and embellish it, a process not countered by the government.[165]

Joseph Goebbels countered this propaganda to prevent it influencing Germany, downplaying the defense of Corrigidor and attacking Douglas MacArthur as a coward. This was not very successful, as the German people knew it understated the American defense and that MacArthur had left under orders.[166]

The invasion of North Africa produced a morale boost when American forces were bogged down in New Guinea and the Guadalcanal Campaign.[167]

After Guadalcanal, attention was focused on Europe, where Italy was taken, heavy bombing was hammering Germany, and the Red Army was moving steadily advancing west.[168]
False optimism

Some propaganda was directed to counter people's hopes that it would not be a long, hard war. Despite air victories in Europe, Dr. Seuss depicted Hitler as a mermaid destroying Allied shipping.[103] The U.S. War Department supported the syndication of Bill Mauldin's cartoons because Mauldin made the war appear bitter and onerous, showing that the victory would not be easy. His depiction of U.S. soldiers with disheveled appearances and sad, vacant eyes conveyed the difficulty of the war.[169]
Death and injury
With the Marines at Tarawa showed more gruesome battle scenes than previous films.

Until 1944, the mayhem of war (dead and wounded) was mostly toned down by American propagandists, who followed instructions allowing them to show a few wounded soldiers in a crowd. Later, more realistic presentations were allowed, partly owing to popular demand.[170] The earlier attitude was supported by the media; for example, NBC warned that broadcasts were not to be "unduly harrowing."[171] However, the American public wanted more realism on the grounds that they could handle bad news.[172] Roosevelt finally authorized photos of dead soldiers, to keep the public from growing complacent about the toll of war.[173]

When The Battle of San Pietro showed dead GIs wrapped in mattress covers, some officers tried to prevent troopers in training from seeing it, for fear of morale; General Marshall overrode them, to ensure that the soldiers took their training seriously.[174]

The OWI emphasized to returning, battle-scarred soldiers that there were places and jobs for them in civilian life.[175] This promise was also featured in romantic stories, where a sweet, gentle heroine would help the veteran adjust to civilian life after his return from the war.[176]
War effort

Americans were called upon to support the war effort in many ways. Cartoons depicted those who talked about victory but clearly were sitting around waiting for others to ensure it[177] or showed how red tape was detrimental to the war effort.[178] Defeatism was attacked,[179] national unity was promoted,[180] and themes of community and sacrifice were emphasized.[181] Fictional characters were sharply divided into selfish villains and heroes who put the needs of others first[182] and learned to identify with the defenders of freedom.[183]
Service on the Home Front

Propagandists were instructed to convey the message that the person viewing the propaganda media stood to personally lose if he or she failed to contribute; for example, the appeal for women to contribute to the war effort more closely personalized the soldiers dependent on their work as their sons, brothers and husbands.[184]

Considerable complications were caused by censorship and the need to prevent the enemy from learning how much damage they had inflicted.[185] For example, Roosevelt's fireside chat described the damage at Pearl Harbor as "serious" but he could not "give exact damage."[186]

Many artists and writers knew that keeping up morale was important, but considerable debate arose over whether to go for light frivolous diversions, or to impress the severity of the war to stir up support.[54]

Authors of fiction were encouraged to show their characters buying warbonds, conserving, planting victory gardens, and otherwise acting war-mindedly; characters could refrain from calling loved ones to avoid straining the phone system, or a romance would start when a man and woman carpooled.[187]

Many stories were set in the frontier era or on family farms, to emphasize traditional virtues such as hard work, innocence, piety, independence and community values.[188]
Civil defense

The Office of Civil Defense was created to inform Americans what to do in case of enemy attack.[189] Within a day of the attack of Pearl Harbor, it produce pamphlets describing what to do in event of an air raid.[190] It also promoted civilian morale, and its emblems helped remind people that the war was continuing.[191]
Conservation
Save Waste Fats for Explosives.

Women's magazines carried numerous tips for housewives on thrifty purchasing, dealing with rationing, and how to cope in a period of limited supplies.[82] General Mills distributed a Betty Crocker "cookbooklet" with war time recipes.[192] A Victory Cookbook explained the principles of wartime cooking, starting with the need to share food with the fighting men.[193] Ladies' Home Journal explained the principles behind sugar rationing, for example, sugarcane could be used to make explosives.[194] The Office of Price Administration urged Americans in restaurants not to ask for extra butter or a refill on coffee.[195] Radio soap operas used plots about wartime rationing and condemned the hoarding of goods.[196]

Rubber was in particularly short supply, and rubber rationing had the deepest impact on American life. However, the Rubber Survey Report, produced by a committee to investigate the rubber supply, succeeded in changing public opinion by showing the good reasons for rationing.[197] Since gasoline was needed to power planes and military automobiles, Americans were encouraged to conserve.[146] This also helped conserve rubber.[195] Carpooling was promoted in government campaigns.[198]

Scrap drives were instituted, and supported by government PR efforts, even before the declaration of war.[199] Such programs as Salvage for Victory redoubled after the outbreak. Many private individuals organized and publicized some of the most successful scrap drives of the war.[200] President Roosevelt sent a letter to Boy Scout and Girl Scout groups, urging the children to support scrap drives.[201] Cartoons ridiculed those who did not collect scrap.[202]
A call for scrap metal

Conservation was the largest theme in poster propaganda, accounting for one of every seven posters during the war.[203] Conserving materials, in the kitchen and around the home, was one of five major topics in posters with conservation themes. Other topics included purchasing war bonds, planting victory gardens, the Office of Price Administration, and rationing.[203] Women were encouraged to help with conservation in their cooking, saving fat and grease for explosives,[16] and rationing sugar, meat, butter, and coffee to leave more for the soldiers.[204] Butcher shops and markets handed out bulletins that urged the conservation of waste fat, which could be brought back to the butcher.[205] Due to these posters and other forms of propaganda the United States recycled 538 million pounds of waste fats, 46 billion pounds of paper, and 800 million pounds of tin.[206]

People were told to conserve materials used in clothing, which resulted in clothing becoming smaller and shorter.[204] Fiction often depicted a heroine who spent her high wages on fancy dress, but found that her soldier boyfriend disapproved until he learned she had a war job. Even then, he wanted her to change back to the clothes he knew her in before they went out.[207]
Industry

Industry was also called on to conserve. Lucky Strike used the metals in their dyes as a justification for changing their packaging from green to white.[22] Prior to the shutdown of commercial production, cars no longer carried chrome.[208]
Production

Even prior to Pearl Harbor, Roosevelt called on the United States to be the arsenal of democracy in support of other countries at war with Fascism.[209]
A sailor saluting war production: "I'm proud of you folks too!

Industrial and agricultural production was a major focus of poster campaigns.[210] Although the war-time boom meant that people had money to buy things for the first time since the Depression, propaganda emphasized the need to support the war effort, and not spend their money on non-essential items and so divert material from the war effort.[211] The manufacture of the last civilian car was publicized in such venues as Life.[212] Factories were represented as part of the war effort,[213] and greater worker cooperation with management was urged.[214] Stories symbolized such harmony by featuring romances between a working-class war worker and her employer.[215] Cartoons depicted labor unrest as pleasing Hitler and racial discrimination as preventing the accomplishment of essential work.[216] Fictional treatments of war issues emphasized the need for workers to combat absenteeism and high turnover.[217]

Business entrepreneurs founding new businesses for military production were hailed as exemplars of American economic individualism.[218]

After the death of the Sullivan brothers, their parents and sister made visits to shipyards and armament factories to encourage increased production.[219] Veterans of the Guadalcanal campaign, America's first major offensive of the war, were also sent to factories to encourage production and discourage absenteeism.[220]

Economy and industry were strongly emphasized in United States propaganda posters because of the need for long term production during the war.[221] Factory workers were encouraged to become not just workers, but “Production Soldiers” on the home front.[222] These posters were used to persuade workers to take shorter breaks, work longer hours, and produce as many tools and weapons as possible to increase production for the military.[223] Ship factories hung out banners to encourage ships for victory.[224]

Increased production resulted in more workers moving to factory towns, straining available housing and other amenities. As a result, fictional plots often dealt with the need for homeowners to take in boarders and the necessity for tolerance and unity between residents and newcomers.[225]
Victory gardens
Your Victory garden counts more than ever!

The government encouraged people to plant vegetable gardens to help prevent food shortages. Magazines such as Saturday Evening Post and Life printed articles supporting it, while women's magazines included directions for planting.[226] Because planting these gardens was regarded as being patriotic, they were termed victory gardens, and women were encouraged to can and preserve food they raised from these gardens.[192] While the U.S. Department of Agriculture provided information, many commercial publishers also issued books, on how to plant these gardens.[227]

During the war years, Americans planted 50 million victory gardens.[228] These produced more vegetables than the total commercial production, and much of it was preserved, following the slogan: "Eat what you can, and can what you can't."[229] The slogan "grow your own, can your own" also encouraged victory gardens to be planted.[230]
War bonds

During the war, the sale of War Bonds was extensively promoted.[231] Originally termed "Defense Bonds", they were called "war bonds" after the attack on Pearl Harbor.[232] Much of the nation's artistic talent and best advertising techniques were used to encourage people to buy the bonds so as to keep the program voluntary.[233]
Buy War Bonds

The War Advertising Board did its best to convince people that buying bonds was a patriotic act, giving buyers a stake in the war.[231] Advertisements were initially used on radio and in newspapers, but later magazines were also used, with both government and private companies producing the advertisements.[231] The Writers' War Board was originally founded for the purpose of writing copy for war bond ads.[8]

War bond rallies and drives were common, and were staged at many social events.[234] Teachers passed out booklets to children to allow them to save toward a bond by purchasing war bond stamps.[235]

Marlene Dietrich and many other female movie stars sold many thousands of dollars worth of war bonds.[236] The Little Orphan Annie radio show urged its young listeners to sell war stamps and war bonds.[237] Even product ads often contained the slogan, "Buy War Bonds and Stamps!".[24] Enrolling in payroll deduction plans to buy war bonds was also urged through the media.[238]

One hundred and thirty-five billion dollars worth of liberty bonds were sold, most of which were purchased by banks, insurance companies and corporations.[16] However, individuals purchased $36 billion in bonds, with children accounting for close to $1 billion.[16]
Womanpower
See also: Rosie the Riveter and Women's roles in the World Wars
The "We Can Do It!" poster
Bring him home sooner... Join the WAVES.

Major campaigns were launched to encourage women to enter the work force and convince their husbands that this was appropriate behavior.[239] Government campaigns targeting women were addressed solely at housewives, perhaps because already employed women could move to the higher-paid "essential" jobs on their own,[240] or perhaps in the belief that housewives would be the primary source of new workers.[241] Propaganda was also directed at husbands, many of whom were unwilling to have their wives working.[242] Fiction also addressed husbands' resistance to their wives working.[243]

Key symbolic figures such as "Rosie the Riveter" and "Mrs. Casey Jones" appeared in posters across the country representing strong women who supported their husbands in the war effort.[244] Due to all the propaganda targeting female wartime duties, the number of women working jumped 15% from 1941 to 1943.[245] Women were the primary figures of the home front, which was a major theme in the poster propaganda media,[246] and, as the war continued, women began appearing more frequently in war posters. At first, they were accompanied by male counterparts, but later women began to appear as the central figure in the posters.[16] These posters were meant to show a direct correlation with the efforts of the home front to the war overseas and portray women as directly affecting the war.[246] Radios also broadcast information and appeals, drawing on patriotic calls and the need of such work to save men's lives.[247]

Two major campaigns were launched: "Women in the War," to recruit for the armed services and war-related jobs; and "Women in Necessary Services," or such jobs as laundry, clerking in grocery and drug stores, and other employment necessary to support the economy.[248] Books and magazines addressed women with the need for their labor.[249] Many works of fiction depicted women working in industries suffering labor shortages,[250] although generally in the more glamorous industries.[251] Major magazines covers movies, and popular songs all depicted women workers.[252]

The woman war worker was commonly used as a symbol of the home front, perhaps because, unlike a male figure, the question of why she was not serving in the armed forces would not be raised.[253] In many stories, the woman worker appeared as an example to a selfish woman who then reformed and obtained employment.[254]

Magazines were urged to carry fiction suitable for wartime. For instance, True Story toned down its Great Depression hostility to working women and featured war work favorably.[255] At first, it continued sexual themes, such as female war workers being seduced, having affairs with married men, or engaging in casual affairs. The Magazine Bureau objected to this as hindering recruitment, and argued that war workers should not be shown as more prone to dalliance than other women. As a result, True Story removed such themes from stories featuring female war workers.[256] The ambitious career woman whose life culminated in disaster still appeared, but only when motivated by self-interest; whereas women who worked from patriotic motives were able to maintain their marriages and bear children rather than suffer miscarriages and infertility, as working women invariably suffered in pre-war stories.[257] Stories showed that war work could redeem a woman with a sordid past.[258] Saturday Evening Post changed its depiction of working women even more: the pre-war, destructive career wife vanished entirely, and now employed women could also have happy families[259]

The image of the "glamour girl" was adapted to wartime conditions by depicting women in factory work as attractive and overtly showed that a woman could keep her looks while performing war work.[260] Fictional romances presented war workers as winning the attention of soldiers, in preference to girls who lived for pleasure.[261] The motives for female war workers motives were often presented as bringing their men home earlier, or making a safer world for their children.[262] Depictions of female war workers often suggested that they were working only for the duration, and planned to return full-time to the home afterward.[263]

The appeal for women workers suggested that by performing war work, a woman supported her brother, boyfriend or husband in the armed forces, and hastened the day when he could return home.[264]
In the armed forces

Women's groups and organizations were asked to recruit women for the WACS, WAVES, WASPS and other female branches of the services.[265]

The image of the "glamour girl" was applied to women in the military, to reassure women that joining the military did not make them less feminine.[266] In fictional romances, women in uniform won the hearts of soldiers who preferred them to women who did not support the war effort.[261]
African American: Double V campaign
Participants in the Double V campaign, 1942.

The African American community in the United States resolved on a Double V Campaign: Victory over fascism abroad, and victory over discrimination at home. Large numbers migrated from poor Southern farms to munitions centers. Racial tensions were high in overcrowded cities like Chicago; Detroit and Harlem experienced race riots in 1943.[267] Black newspapers created the Double V Campaign to build black morale and head off radical action. Special posters and pamphlets were prepared for distribution in black neighborhoods.[268]

Most Black women had been farm laborers or domestics before the war.[269] Despite discrimination and segregated facilities throughout the South, they escaped the cotton patch and took blue-collar jobs in the cities. Working with the federal Fair Employment Practices Committee, the NAACP and CIO unions, these Black women fought a “Double V” campaign—against the Axis abroad and against restrictive hiring practices at home. Their efforts redefined citizenship, equating their patriotism with war work, and seeking equal employment opportunities, government entitlements, and better working conditions as conditions appropriate for full citizens.[270] In the South black women worked in segregated jobs; in the West and most of the North they were integrated, but wildcat strikes erupted in Detroit, Baltimore, and Evansville where white migrants from the South refused to work alongside black women.[271][272]
Home fires
Be with him at every mail call! (by Lejaren Hiller, Sr.)

Most of the entertainment aimed at soldiers was heavy on sentiment and nostalgia, to help sustain morale.[273] In most media, the girl next door was often used as the symbol of all things American.[274] Betty Grable characterized it as women giving soldiers something to fight for,[275] but one soldier wrote to her saying that her pin-up photographs told them, in the midst of fighting, what they were fighting for.[276] Songs on armed forces request programs were not about Rosie the Riveter, but of the girls who were waiting for the soldiers to return.[277] Many such songs were also popular at the home front.[278] Themes of love, loneliness and separation were given more poignancy by the war.[279]

German intelligence officers, interrogating American prisoners, mistakenly concluded that the Americans notions of why they were fighting were for such vague concepts, such as "Mom's apple pie," and concluded that American servicemen were idealistically soft and could be convinced to desert their allies.[280]

Stories for the home front recounted the soldiers' need for their sweethearts and families to remain as they were, because they were what the soldier were fighting for.[281] As the war ended, real and fictional stories often featured women who left war work to return to their homes and to raise children.[282] Women, particularly wives whose husbands were at war, and children were often portrayed as what was at risk in the war.[283]

Home-front posters also invoked an idealized America, as in the series declaring "This is America", portraying "the family is a sacred institution," "where Main Street is bigger than Broadway," and "where a man picks his job".[284] Typically, men were presented as ordinary but women as beautiful and glamorous.[284]
Allies
Pro-British
This man is your FRIEND – Englishman – He fights for FREEDOM

Roosevelt urged support for Britain before the United States entered the war, to gain support for the Lend-Lease Act.[285] Part of this reasoning was that those who were currently fighting the Axis powers would keep war from the United States, if supported.[286]

In propaganda media, posters urged support for Great Britain, while the stock character of the "supercilious Englishman" was removed from film.[54] Newsreels depicted the Blitz, showing the famous image of St. Paul's dome rising above the flames, and Ed Murrow reported the effects.[287] Frank Capra's film Battle of Britain (1943), in the Why We Fight series, depicted the RAF's fight against Germany.[71] While it embellished real life dogfights, it did depict the frightening night raids, which the British people nevertheless managed to carry-on through.[288]

Before 7 December 1941 and the Japanese surprise attack on Hawaii, a number of Americans in the north and mid-west United States were either sympathetic to Nazi Germany or simply opposed to another war with Germany because they were of German ancestry. In addition, numerous Irish-Catholic Americans were pro-Nazi because they were openly hostile to the British and British interests. However, the American South was very pro-British at this time, because of the kinship southerners felt for the British.[289] The South was deemed "a total failure" for the non-interventionist America First Committee for reasons such as traditional southern pride in the military, pro-British sentiment and Anglophilia due to a predominance of British ancestry among most Southerners, political loyalty to the Democratic Party and the role of defense spending in aiding the region's depressed economy.[290]
Pro-Russian

Depicting the Soviet Union in American propaganda was a delicate issue throughout the war, as the Soviet Union could not possibly be presented as a liberal democracy.[291]

However, the Nazi attack on the Soviet Union inspired propaganda in its favor, and Hollywood produced pro-Russian movies.[66] At Roosevelt's urging, the film Mission to Moscow was made and depicted the purge trials as a just punishment of a Trotskyite conspiracy.[292] On the other hand, the 1939 Greta Garbo film Ninotchka was not re-released as it ridiculed Russians.[54]

Frank Capra's Why We Fight series included The Battle of Russia.[71] The first part of the film depicted the Nazi attack on the Soviet Union, recounted past failures to invade Russia, and described Russian scorched earth and guerrilla tactics.[293] It also omitted all references to the pre-War Molotov–Ribbentrop Pact.[294] The second part of the film depicts Germany being drawn too far into Russia; and mostly concentrates on the siege of Leningrad.[295] Indeed, it unrealistically portrays the great withdrawal into Russian territory as a deliberate ploy of the Soviet government.[296]
Pro-Chinese
China! First to Fight!

Support for the Chinese people was urged in posters. Even prior to the United States' entry into the war, many Chinese figures appeared on the cover of Time. Japanese propaganda attributed this not to any disgust Americans felt for Japanese atrocities in China, but simply to more effective Chinese propaganda.[116]

Frank Capra's Why We Fight series included The Battle of China.[71] It depicted the brutal attack on China by Japan as well as atrocities such as the Rape of Nanking, which helped galvanize Chinese resistance to Japanese occupation. The film also depicted the building of the Burma Road, which helped keep China in the war as the Japanese had occupied most Chinese ports[297] The film ridiculed the Japanese anti-Western propaganda of "co-prosperity" and "co-existence" by reciting these themes over scenes of Japanese atrocities, it was the most stark, "Good vs Evil" film of the Why We Fight series.[298]

Pearl Buck, a famous author of books on China, warned Americans to take seriously the appeal of the Japanese Greater East Asia Co-Prosperity Sphere to the people of China and other Asian nations. This was due to those people being treated as inferior races, an attitude many in the West had toward orientals.[299] Elmer Davis of the Office of War Information also declared that since the Japanese were proclaiming the Pacific conflict as a racial war, the United States could only counter this propaganda by deeds that showed Americans believed in the equality of races.[300] However, this was not officially addressed, and American propaganda did not confront the problem of prejudice based on color.[301]
Occupied Europe

Frank Capra's films The Nazis Strike and Divide and Conquer, part of the Why We Fight series, depicted the conquest of Europe.[71] The Nazis Strike covers the seizure of land starting with the Anschluss and concluding with the invasion of Poland, as it depicts Hitler creating an enormous military force.[302] Divide and Conquer depicts German conquests in Denmark, Norway, Luxembourg, Belgium, the Netherlands and France. Special attention is given to atrocities, and the French population is depicted as enslaved after the conquest.[303] An American poster depicted Frenchmen with raised hands warning them that German victory meant slavery, starvation and death.[304]

The tragedy of Lidice, shooting of the men and the sending of the women to concentration camps, was also depicted in posters.[305] The Free French also had posters published, urging the American population to support them.[306] The Belgian Information Center had posters declaring that the people of Belgium still resisted.[307]

American propaganda was circulated in occupied countries through the efforts of the underground movements.[308] Stockpiled books were shipped to France within weeks of D-Day, in order to counteract Nazi propaganda, particularly anti-American propaganda.[309] This was part of "consolidation propaganda", intended to pacify occupied regions so as to limit the forces needed to occupy; to counter-act Nazi propaganda, particularly about the United States; and to explain what the United States had done during the war.[310]
Pro-Filipino
Propaganda poster depicting the Philippine resistance movement.

Posters were used to portray and support the Filipino resistance forces, which, while often listed as one of the greatest organized resistances in history, also exacted a terrible toll on the Filipino people.

Challenge is the pathway to engagement and progress in our lives. But not all challenges are created equal. Some challenges make us feel alive, engaged, connected, and fulfilled. Others simply overwhelm us. Knowing the difference as you set bigger and bolder challenges for yourself is critical to your sanity, success, and satisfaction.