The Graphic Arts Collection recently acquired a small group of propaganda leaflets in English, French, German, Italian, Polish, Russian, Spanish, Burmese, and Japanese, prepared to be dropped from airplanes and hydrogen balloons during World War II. They date from approximately 1940 to 1945, some printed in color and some with illustrations. The variety of languages and messages demonstrate the use of airborne leaflet propaganda by all sides of the conflict.

Of three English language items, two question Britain’s alliance with Russia, asking “Why die for Stalin?” Another depicts a growing number of skeletons within the British army, writing “Which of you will be the last?”

There are six leaflets in French and fifteen in German, most denouncing Hitler. Several guarantee the good treatment of prisoners by the allies and list the statistics on Germans captured. An Italian leaflet claims that Italian workers working in Germany are keeping their families from misery and a Spanish leaflet warns fishermen to keep out of the restricted waters, where they are in danger of attack by the British navy. A Russian flyer promises good treatment to those that surrender and so on.

[Collection of air drop propaganda leaflets in English, French, German, Italian, Polish, Russian, Spanish, Burmese, and Japanese] ([Various places, 1940-1945]). Graphic Arts Collection (GAX) Q-000311

See also
Bernard Wilkin, Aerial propaganda and the wartime occupation of France, 1914-1918 (London; New York : Routledge, Taylor & Francis Group, 2017). Firestone Library (F) D544 .W37 2017

James Morris Erdmann (born 1918), Leaflet operations in the Second World War … ([Colorado? : s.n.], c1969). “The story of the how and why of the 6,500,000,000 propaganda leaflets dropped on Axis forces and homelands in the Mediterranean and European theaters of operations.” Firestone Library (F) D810.P6 E736 1969

During the conservation of our circus broadsides, a large group of circus magazines and multi-page advertising were separated from the flat paper. These are now begin catalogued and housed with our other bound material. They announce many thrilling attractions from P.T. Barnum and other entrepreneurs, but one that especially caught our eye was an advertisement for Professor Faber’s “Talking Machine.”

In 1844, several American newspapers mention the first visit of Joseph Faber (ca.1800-1850) to the United States with his contraption named Euphonia:

“The Talking Machine. Having seen in one or two papers an account of this new invention we went with a friend yesterday to see it. –Mr. Faber, the artist, speaks only German, yet he has taught his machine to speak English, and speak it too better than German. And what is still more curious, it gives some of our difficult sounds better than Mr. Faber himself can pronounce them. The ‘th,’ for instance, which is the Rubicon in our language to a German, it gives like a native-born American. Indeed, we do not believe the ‘Native American Party’ itself could tell the difference. On asking Mr. Faber how it came to pass his machine could speak better English than German, he replied: “Why shouldn’t it? –it is American born.” The sounds issue from the lips of a Mask that as they open and shut reveal a tongue that plays like the living member, though no so ‘limberly.’ It is really laughable to see this bust placed upright with a turbaned head and whiskered face slowly enunciating in a whining tone, sounds which we have heretofore considered as belonging exclusively to our species.” –New York Daily Tribune January 26, 1844.

In December 1845, Joseph Faber exhibited his “Wonderful Talking Machine” at the Musical Fund Hall in Philadelphia and Princeton University professor Joseph Henry (1797-1878) was called on to help determine whether or not Faber’s invention was a fraud. Henry soon became one of Faber’s chief supporters.

Barnum saw Faber’s demonstration in 1844 while in London and later arranged for Faber’s nephew to perform with Euphonia at Barnum’s museum in New York City. Prof. Faber had unfortunately committed suicide in 1850.

See more: http://history-computer.com/Dreamers/Faber.html
James Lastra, Sound Technology and the American Cinema: perception, representation, modernity (New York: Columbia University Press, c2000). Firestone Library (F) PN1995.7 .L37 2000

A few other magazines:

Six Military and Patriotic Illustrated Songs. Series no. 1 (New York: C. Magnus [186-?]). Stencil colored. Original green printed wrappers. Contents: The Union Marseillaise.–A Yankee man-of-war.–The army of liberty.–The flag of our Union.–Volunteer’s song.–Rally around the flag boys. Graphic Arts Collection (GA) 2017- in process

The patriotic song Rally ‘Round the Flag, originally titled The Battle Cry of Freedom, was written by George F. Root (1820-1895) in 1862. The composer published over 500 pieces of music from 1848 until 1896 but when the New York Times ran his obituary, it was The Battle Cry of Freedom mentioned in the banner.

The Times continues: “In a catalogue of 114 National War Songs, recently published, no less than 36 are from the pen of Mr. Root. None of them fail of success, or at least a degree of popularity but Tramp, [Tramp,] Tramp! and The Battle Cry achieved a phenomenal record. At one time the publishers had fourteen presses at work on the latter, and were even then unable to fill the orders, which crowded in from every direction. It was not unusual for a single house to order 20,000 copies at once and the aggregate sale of each song is estimated at from 500,000 to 750,000.”

The song has been recorded many times, in many versions. Over 100 years later, Billy Bragg composed, There Is Power in a Union, set to the tune of Root’s Battle Cry of Freedom.