"Loose lips sink ships Loose lips sink ships is an American English idiom meaning ""beware of unguarded talk"". The phrase originated on propaganda posters during World War II. The phrase was created by the War Advertising Council and used on posters by the United States Office of War Information. This type of poster was part of a general campaign of American propaganda during World War II to advise servicemen and other citizens to avoid careless talk that might undermine the war effort. There were many similar such slogans, but ""Loose lips sink ships"" remained in the American idiom for the"
"The line """"Cause loose lips sinks ships"""" refers to propaganda posters from the Second World War that warned the public of foreign spies, drawing similarities with the ID programme taking away personal privacy. The song was co-written and produced by Darren Moss. Kiss Ya Lips (No I.D.) ""Kiss Ya Lips (No I.D.)"" is a song by Ian Brown, from his well-received fourth solo album, ""Solarized"". The song takes a stance against a controversial British policy requiring compulsory ID card registration and in general, the heightened security measures in the post 9/11 world. The line, """"So Mr. Politician"""" refers to Labour"
"of officers going through letters with a black marker and crossing out anything which might compromise operational secrecy before the letter was sent. The World War II catchphrase ""Loose lips sink ships"" was used as a common justification to exercise official wartime censorship and encourage individual restraint when sharing potentially sensitive information. An example of ""sanitization"" policies comes from the USSR under Joseph Stalin, where publicly used photographs were often altered to remove people whom Stalin had condemned to execution. Though past photographs may have been remembered or kept, this deliberate and systematic alteration to all of history in the"
"Remember her last kiss ... ? Gee were you happy then ... ! Together, you spent marvelous times ..., lounging on beaches ..., dancing, enjoying parties galore ..., listening to the tunes of your favorite band ..."". The leaflets back side reminds the soldier that his loved one is longing for him and that most of the men he had come with are now dead. In comparison, one Allied leaflet simply showed a picture of a large open field with thousands of German graves. James A.C. Brown, a Scottish psychiatrist, summed up the WW2 experience with the observation that ""Propaganda"
"1940 campaign with the catchphrase ""Be like Dad, keep Mum,"" the best-known image from this campaign is the 1942 poster ""Keep mum, she's not so dumb"" by the architect and artist Gerald Lacoste. It depicts a glamorous blonde woman reclining, and officers from each branch of the Armed Forces about her talking to each other. It is implied that the officers are talking military secrets, on the (wrongful) assumption that the woman is only a ""dumb blonde"" and so will not pass these secrets onto the enemy. The campaign was issued in 1942 to all ranks, with this particular image"
"in restaurants and bars. They consisted of a series of slogans focused around self-censorship including: ""Your Tongue Could Pull a Trigger. Think about national security, don't talk about it."" Others included ""Women's Lib is One Thing, Women's Lip is Another,"" ""What You've Said May Blow Up a Truck,"" and ""An Open Mouth Makes a Big Target. Think about national security, don't talk about it."" In an effort to make the facts known to the outside world, particularly the West, the Rhodesian Government published a series of booklets offering photographic evidence of the terrorist methods used by Patriotic Front military forces:"
"have to come to hear news, such as changes to rationing, and received propaganda broadcasts with it; some of these locations were also used for posters. During World War II, radio was used to propagandize Germany; German POWs would be brought on to speak and assure their relatives they were alive, with propaganda being inserted between the announcement that a soldier would speak and when he actually did, in the time allowed for his family to gather. Wall posters were widely used in the early days, often depicting the Red Army's triumphs for the benefit of the illiterate. Throughout the"
"war bond ads which, while lacking corporate sponsors, still attempted to sell the public something instead of just delivering information. Other wartime advertisements include the “Loose Lips Sink Ships” campaign that began in Britain and the “Stamp ‘em Out” campaign that spread through America. Most of these types of educational advertisements, especially those airing in the U.S.S., can be closely associated with American propaganda efforts. This is one of the main reasons that these types of advertisement campaigns are often cast in a negative light. Their primary focus is not always to inform the public, but persuade them into some"
"a courageous front against the bad taste of the film poster."" Her original work was on sale for between 75 and 500 guilders . One of her last works before the outbreak of World War II was a work commissioned by the Committee for Warning Against Unilateral Disarmament. This was an evocative piece, illustrating ""a pale man, symbolising the despair, fear and self-reproach of a defenceless war victim. A slipping national flag is the only thing covering his naked body. Behind him stand ruined, burning buildings."" During the war, poster production was halted, partly due to a lack of basic"
"was not effective when distributing surrender leaflets to an enemy which currently had a high morale amongst its troops. Despite the pitfalls to airborne leaflets ineffectiveness on opposing sides with high morale, enemies used this tactic ""to cause the men to begin talking to each other about their poor military position, their desire to stay alive for their families' sakes, and the reasonableness of honorable surrender"", which often led men to desert their troops. One example of German leaflets which appealed to American troops was one that depicted a passionate kiss between a man and woman. The leaflet read: ""FAREWELL"
"""careless talk costs lives"" and other similar wartime slogans in the United Kingdom. The famous poster for the propaganda campaign was created by Bertil Almqvist in 1941, commissioned by the Swedish National Board of Information (, ""SIS""). The poster became the main slogan of the ""Vaksamhetskampanjen"" (Swedish Vigilance Campaign) that was started in the same year to encourage secrecy about information that may damage Swedish military defence. Almqvist died in 1972 and in 2002 the copyright of the poster/logo was transferred to the (Military Preparedness Museum). After eleven years of legal battle, the Swedish Armed Forces, who had been using"
"One contemporaneous publication decried the use of advertising methods to enlist soldiers: ""the cold, basilisk eye of a gaudily-lithographed Kitchener rivets itself upon the possible recruit and the outstretched finger of the British Minister of War is levelled at him like some revolver, with the words, 'I want you.' The idea is stolen from the advertisement of a 5c. American cigar."" Although it became one of the most famous posters in history, its widespread circulation did not halt the decline in recruiting. The placement of the Kitchener posters including Alfred Leete's design has been examined and questioned following an Imperial"
"commercial). Hitler too is beaten so hard that he loses his mustache. A title card appears, asking: """"Is there a doctor in the house?"""", with the word """"doctor"""" crossed out and """"undertaker"""" written in crayon. While he lies unconscious, Hermann Göring runs in and asks his Führer melodramatically """"to speak to him"""". Hitler just says """"B.O."""" again, whereupon Göring pulls his face away in disgust. The cartoon concludes with Bluto finally signing up for his draft. When Bluto asks how to spell his own name, the imprisoned Japanese spies sing ""B-L-U-T-O"", in reference to the commercial jingle for Jell-o from"
"and to send letters to the front covered in 'lipstick kisses' to boost the morale of the soldiers."" The products consisted of: ""having a sun-kissed glow was popular among white women. Lipstick ""turned into a symbol of resilient femininity in the face of danger"" and was seen as a way to boost morale during the war. The shape of the lip was also iconic of the 1940s. The lips were painted on to look plumper, a broad outline of the lip was added for roundness. This fuller look is known as the ""Hunter’s Bow"", invented by Max Factor. The pin"
"a UK advertising campaign with two styles of posters used on billboards and trailers. The first advert features the word ""Pussy"" in large lower-case letters above the phrase ""The drink's pure, it's your mind that's the problem."" with a picture of a can to the right. The second advert featured the word ""Outrageous."" in large letters above the phrase ""An energy drink that actually tastes good."" with a picture of a can to the left. The ASA received 156 complaints about the posters of which six issues were considered. The ASA accepted that people would see the word ""pussy"" as"
"World War, the opposing camps later began berating one another with enormous signs displaying loud political slogans, facing each other across the border zone. That on the western side was erected first, in direct response to the ban on sales of Western newspapers in East Berlin, and comprised an illuminated display board 30 m wide and 1.5 m deep, facing east, supported on three steel lattice towers 25 m high and topped by the words ""DIE FREIE BERLINER PRESSE MELDET"" (The Free Berlin Press Announces). Important messages were spelt out on the display board using up to 2,000 bulbs. The"
"as “The Kaiser,” “The Beast of Berlin,” “To Hell With the Kaiser,” “The Claws of the Hun,” and “The Prussian Cur.” The massive propaganda campaign included 75,000 “Four-Minute Men” who gave four-minute speeches to drum up enthusiasm for the war effort. The speeches were on such topics as “Why We Are Fighting,” “Maintaining Morals and Morale,” and “The Meaning of America.” By war’s end, 7.5 million speeches had been made to 314 million listeners—Creel created the Division of Pictorial Publicity to spearhead official war propaganda art. He asked Charles Dana Gibson, the creator of the “Gibson Girl” image and who"
"patterned after the studio lecterns decorated with gaping cartoon mouths, from which Downey's guests would go head-to-head against each other on their respective issues. Downey's signature phrases ""pablum puking liberal"" (referring to left leaning progressives) and ""Zip it!"" briefly enjoyed some popularity in the contemporary vernacular. He particularly enjoyed making his guests angry with each other, which on a few occasions resulted in physical confrontations. The show is also remembered for its intro, featuring Downey making strange faces with other things like the American flag, KKK, a woman's legs, and news headlines, Downey wearing boxing gloves (on the wrong hands),"
"displayed in his shop window until he was warned he could be interned without trial under the terms of the Defence of the Realm Act (DORA). The poster was removed from view, but was made into a postcard which sold well. In another allegorical poster titled ""The Dictator"", produced after the end of the war, soldiers returning home are greeted by a fat figure representing Capitalism, seated on a huge sack full of the earnings of others, using a megaphone titled ""The Press"" to blast out ""Propaganda and Misrepresentation"" and setting his ""Black and Tan"" dog onto Ireland; the grave"
"duty while being treated. Soldiers and sailors were taught to either abstain from sex or commit to a long-term mutually monogamous relationship with a partner who had tested negative for venerial disease However, latex condoms were encouraged for every sexual encounter. To raise awareness about practicing safe sex amongst its recruits, the U.S. Government produced a series of posters which were displayed in Army barracks, hospitals, and railway stations. Many of the posters were straightforward like the awareness posters of today. The Selective Service discovered that almost fifteen percent of those who were eligible for the draft were already infected"
"connections to British propaganda. The Northcliffe papers gave the story credibility by combining a mistranslated report from a German newspaper about dead horses being boiled down for glue, with an invented story, ostensibly from Belgian newspapers, quoting a detailed, eyewitness description of dead German soldiers being dumped into a huge cauldron at a ""Corpse Exploitation Establishment."" Other news media spread the gruesome story worldwide. Marlin writes that the Corpse Factory story illustrates the seven requirements for effective propaganda outlined in the 1938 book ""Propaganda Boom"" by A.J. Mackenzie. Those requirements are: According to Marlin and Joachim Neander, the Corpse Factory"
"with one pamphlet calling the ""Gentlemen commissars and party functionaries"" a group of ""mostly filthy Jews"". The pamphlet ended with the call for ""brother soldiers"" of the Red Army to rise up and kill all of the ""Jewish commissars"". Though this material was not used at the time, later in 1941 the material the psychological war laboratory had developed in 1935 was dusted off, and served as the basis not only for propaganda in the Soviet Union but also for propaganda within the German Army. Before Barbarossa, German troops were exposed to violent anti-Semitic and anti-Slavic indoctrination via movies, radio,"
"German nurses who aided German prisoners of war to escape. German propagandists chose not to use this as propaganda. British propagandists were able to use the sinking of the ""Lusitania"" as atrocity propaganda, as a result of a commemorative medal privately struck by German artist Karl Goetz a year later. The British Foreign Office obtained a copy of the medal and sent photographs of it to America. Later, to build on this anti-German sentiment, a boxed replica was produced by Wellington House, accompanied by a leaflet explaining the barbarism of Germany. Hundreds of thousands of these replicas were produced in"
"propaganda film against Japan while the two countries were at war. The depiction of the Japanese would generally be considered racist by today's standards. All the Japanese are shown wearing big glasses, having buck teeth and grinning and rubbing their hands in a very sinister way. Their stereotypical politeness is mocked by their continuous use of the words: ""please"", ""regrettable"" and ""honorable"". Also, their language is spoofed by adding many ""Ooo's"" at the start of every sentence and replacing the letter ""l"" with the letter ""r"" and vice versa. Furthermore, the Japanese are represented as being incompetent, weak, cowardly, and"
"their war propaganda, including the US propaganda film ""The Prussian Cur"" (1918) produced by the Fox Film Corporation, which included scenes of an Allied soldier's crucifixion. It bears relation to other propaganda of the time like the Rape of Belgium and the Angels of Mons, and the ""German Corpse-Rendering Works"" (""Kadaververwertungsanstalt""). Robert Graves mentions the story in his autobiography ""Goodbye to All That"", describing it as ""unsubstantiated"". The story often varied, though the most common version told how the Germans had captured a Canadian soldier and crucified him with bayonets on a wooden cross, while Maple Copse, near Sanctuary Wood"
"a beautiful woman, remember that beauty may conceal brains."" Service personnel seemed particularly ready to disclose their station and line of work. The best known images from this series are by Fougasse, depicting people giving away secrets in everyday situations (e.g. sitting on the bus, not seeing caricatures of Hitler, Goebbels, and Goering sitting behind them). British propaganda during World War II Britain re-created the World War I Ministry of Information for the duration of World War II to generate propaganda to influence the population towards support for the war effort. A wide range of media was employed aimed at"
"of supplying the UK would turn in their favour. Careless talk propaganda discouraged talking about sensitive material where it could be overheard by spies, showing either an Axis eavesdropper or depicting a death caused by such information leaking. It was also intended to prevent morale-sapping rumours from spreading. The first posters were illustrated by ""Fougasse"" (Cyril Bird), a comic artist. After concluding that such talk was not a serious source of intelligence, and would often be dismissed as a plant, the campaign was not increased. This also was the theme of the film ""The Next of Kin"". Originating in a"
"American Propaganda. Though the way the Germans are shown to be might be considered offensive, the attacks are generally focused on Nazi officials such as Hitler, Himmler, Goebbels, and Göring. On the other hand, the Japanese are targeted on a much broader level. These range from showing the Japanese as being vicious and feral, as on the cover of Marvel Comic's Mystery Comics no. 32, to using every horrific stereotype available. This is the case in the Loony Tune's cartoon ""Tokio Jokio"" (aired May 13, 1943), in which the Japanese people are all shown to be incredibly stupid (such as"
"in occupied nations. Propaganda directed at these countries asserted, with blatant falsity, of wanting to protect European rather than German culture, particularly from the threat of Communism. At the same time that posters urged the French population to trust German soldiers, other posters urged German soldiers to show no friendship toward prisoners of war. Similarly, German soldiers in the Ukraine were told to steel their hearts against starving women and children, because every bit of food given to them was stolen from the German people, endangering their nourishment. When propaganda had to be visible to both native and foreign populations,"
"to the United Kingdom in German, French and Dutch. The phrases included ""the sea smells of petrol here"", ""the sea even burns here"", ""see how well the captain burns"", ""Karl/Willi/Fritz/Johann/Abraham: cremated/drowned/minced by the propellers!"" As Hayward explains, these leaflets were simply building on and reinforcing the rumours of a failed invasion attempt that were being disseminated around the world from late September. The original propaganda was conflated with other events both real and imaginary and the rumours spread. Of course, the German command knew that the stories were untrue; the real targets of the propaganda were the men who might"
"heavily on propaganda as a tool to justify war to the public eye. This propaganda was used to promote recruitment into the armed forces as well as to convince civilians that if they joined, their sacrifices would be rewarded. One of the most impressionable images of this First World War is the “Your Country Needs You” poster, a distinctive recruitment poster of Lord Kitchener (similar to the later Uncle Sam poster) pointing at his British audience, convincing them to join the war effort. Another message deeply embedded in national sentiment was one where the religious symbolism of St George was"
"More than 21,000 women enlisted in the U.S. Army during World War I to serve as uniformed nurses. Nearly half of them served in overseas locations. Their little-known story is presented through the writings of two of these brave women, Elizabeth Lewis and Emma Elizabeth Weaver. This educational CD-ROM examines the role of posters as vital tools of communication on the home front during World War I and World War II. The disk includes a selection of vintage posters from both wars and features designs from the United States, as well as Germany, Great Britain, France, Canada, and Russia. Having"
"and said that 35 members of the 40 in the group were communists. The film opened in the United States in 2010. The poster reads: ""Des libérateurs? La libération par l'armée du crime!""<br> ""Liberators? Liberation by the army of crime!"" From left to right, and top to bottom, individual portraits are labeled: The bottom features photographs of: Affiche Rouge The Affiche Rouge (""Red Poster"") is a famous propaganda poster, distributed by Vichy France and German authorities in the spring of 1944 in occupied Paris, to discredit 23 French Resistance fighters, members of the Manouchian Group. The term Affiche Rouge also"