How biases changed and were catered to.

There is a huge difference in logical appeal between the Scot Ad and the Timken Guide. “Breeding” communism is mold. It is a development without agent. This at least credits communism as an ideology people come to on their own. By the 1960s, we view communism as a viral disease. Containment theory brings this about. The geographical nature of the spread had convinced americans to view communism in this way. Finding a communist is like finding a leper, an HIV carrier, (a homosexual in a 1950s spa . The change in logical appeal then, was due to a change in the audiences biases and ways of thinking. Appealing to these biases is the element of these to arguments that are appeals to pathos.

Use of Logos in Dealing with a Communist: It's not Entirely Irrational

Granted, it's pretty irrational. Sure, Russia's goal was world domination, but conquering Eastern Europe and establishing a political presence in China was probably higher on their list of priorities than convincing some random fellas at the bar that hey, maybe that Karl Marx guy had a point. But many of the accusations levied against Communist ideologies in the guide have a factual and logical presence.

For one, the guide does an excellent job distinguishing the ideals of Communism upon which Stalin rose to power and the actual system he put in place. While some may argue that it is somewhat ignorant to define a Communist as someone who buys into Stalin's regime, I would argue that someone actively trying to push a Communist agenda on you at this time probably didn't have the best of intentions. Even if Stalin wasn't actively sponsoring moles to try and turn the American people against their country, there could still be people trying to accomplish that.

The other factual argument the guide makes is its second-to-last point: "no tactics are too low for a Communist: lying, cheating, betrayal, ruin and even murder." Under the assumption established earlier that "Communist" is referring to a Stalin sympathizer, our frustrated unbuttoned-collar-wearing friend on the left is guilty of supporting some pretty horrible things. It's important to remember that while American propaganda against the Soviets was overly exaggerating of the threat they posed, they didn't get their morality wrong. And while the Red Scare certainly set progressiveness back and ruined many people's lives, no one was digging mass graves or deporting people to labor camps in America.

Pathos. Paper towel. Politics

Was Scot Paper Towel being ironic? Did they intend to only get a chuckle? I think so.

Perhaps this advertisement never elicited terror. Perhaps it's intention was to merely elicit a chuckle. Cut off the picture and the title, and we confront a non-political advertisement.

Why do i say it’s lighthearted? Besides that it just seems so? The copy, the slogan, and the caption are entirely non-political. The mention of bolsheviks is just the hook. It is made to be it a fun advertisement to read.

But maybe it had only a hint of humor. At the very least it wasn’t aimed at evoking the same seriousness, fear, and drama as, say, this comic book. Or this poster. Washroom, let's call this advertisement, is at least one tier below that, in terms of graveness.

So what, the red scare wasn't real? Of course it was real. American life revolved around it. But their are other ads that are more likely to be of a genuine, straight-faced appeal to heavy and emotional love of country and democracy. E.G. this and this which are two advertisements that remind me ALOT if typical modern discourse on China.


Of course, Employers are bound to be among the most conservative people. (Unless your jewish: If your jewish you vote puerto rican at every economic strata.) So you might say: We can't look at this period without context. We know the red scare was real. So an advertisement targeted at the group we've established would be among the most conservative of a time-- should be looked at openly, without "this is too ridiculous" goggles. The fact is the most out-there antibolsevism would be found among advertisements to the employer class. For this argument, we have to assume that advertisers knew their audience. Not a massively hurdling assumption- it is their job, after all.

So we won't discredit it's seriousness on the basis of it's over the top-ness. But we should remember that neither of the red scares tend to be depicted as happening during the 1930s. Maybe, though. I'd buy it. Stuff happening in europe. Poor and hungry people at home. I'd buy it

Pathos is a play on biases. The charged language about “awkward, unsanitary”, “harsh” paper towels is about as powerful a play on experiences as the subject of paper towel can get. It’s not the most ripe topic of emotional biases. Lipstick or soul food, for example, would be more ripe for appeals to emotional biases then paper towels.

What about biases that aren’t emotional, you say? The rhetorical situation of a washroom is ripe for that time's common experience of industrial employers.The washroom is the workers safe haven  This is the 1930s. People are unhappy, but they know their lucky to even have a job. The only place managers in the 30s get that feeling that people were just talking about YOU, until you came in, was the washroom. It's where whispers and complaints naturally start.

Otherwise, though, I say this advertisement is less an appeal to pathos then logos. The second paragraphs describes how good toilet paper is just a social science life hack. The third is an argument to get on the bandwagon. To me, that is just good logos. If your a small business, your taking notes out of the books of others. Hell, this advertisement was probably among pages in a managerial trade rag or a professional peer reviewed publication.The fourth paragraph starts out as an appeal to logos: describing just how scientific Scot Paper towel is (In the vein of a Glad Bag Ad)

Sure: next paragraph is in the vein of an appeal to biases. paper towel going to pieces= "The Worst". And we've all seen this in infomercials. But the next (second to last) paragraph, as well as the last paragraph is purely an appeal to the logos belonging to a rational economic actor.

In other words : You’ll save money because it will take less paper towel to clean up your messes? That is literally the argument in every TV advertisement starring a mom and paper towel, or a new kind of magic cloth, that I have ever seen. The first paragraph, the most appealing appeal to emotional biases is pretty much the script for the black and white part of an infomercial. The second paragraph is basically convincing employers to remember to say happy birthday to their employees.  Next we have a corporate argumentum ad populum. The fourth paragraph is an appeal to biases, but it’s just experiences with good an bad paper towel— not the most emotionally charged topic. Then on to two final paragraphs that are purely appeals to logos. 

When broken apart, we see that only the title and just a smidgeon of the, say, 130 words of copy, are  Washrooms appeals to pathos, while most of this advertisement is a mundane appeal to logos. The point is— there is nothing except a shadow of red scare in this advertisement. All the appeals to biases are apolitical. Which is why I think this advertisement is lighthearted and not indicative of the real terror of this time. If I knew nothing in the world, and saw this ad, I would finish reading it thinking that Americans felt secure and unthreatened regarding their national survival, in the face of communism, in the 1930s.

Titles and pictures about the overthrow of western society that are said without an ironic tongue in cheek aren’t followed by six cheery paragraphs and a finishing slogans about their paper towel being "Really Dry!".

Scot paper towel ad is melodramatic from a modern perspective, and perhaps it was melodramatic then too. Or maybe I have an inability to remove my modern bias. However, just because this type of advertisement was a teensy bit melodramatic at the time, doesn’t meant wasn’t rooted in serious paranoia.  

An Appeal to Pathos Through Mutual American Loathing of Communism

Every piece of writing from the era of the Second Red Scare contains some sort of appeal to pathos. There was a fear inherent in every good American's heart that their seemingly kindly next door neighbor could be a Soviet spy. They were kept awake at night by the though that maybe that nice old woman they helped across the street was actually a Bolshevik in disguise. But, I digress. As far  as pathetic appeals, fear was the most common emotion played upon and Timken Company's propaganda "How and What to Tell a Communist" is no exception. 

The first of many demands, not suggestions, mind you, the author makes is to trust no one because anyone, no matter race, gender, or age, could be a Bolshevik. This spreads feelings of mistrust and panic in the reader, having no one to confide in. 

The next states that the communist in question believes in, not merely lives under, the Russian government that "controls all the activities of all the people." The reader feels a sense of potential oppression by the domineering Soviet government and incredulity towards the communists who they now believe enjoy harsh rule and subjugation.

The next stresses the communists' loyalty to the Soviet government and the Soviet government alone. The author further states that this is "throughout the world," causing the reader to fear that they will attempt to bring communism to their sweet 1960s suburbia.

The next, once again, stirs a sense of mistrust for those around the reader, as it states that a Bolshevik will usually deny that they are a communist. Therefore, anyone could potentially belong to the communist party.

The next gives the reader feelings of foreboding, as it describes the "second kind" of communist, one who spends his time searching out good, innocent American people in key positions to turn to the dark side. Examples of where these key positions may be include in the schools and churches. What say "appeal to pathos" like "think of the children!" and the image of your unsuspecting elderly mother in her Sunday best unwittingly conspiring with a commie.

The next three stanzas are a call to action for the reader, as if to say "okay, I just told you all of the horrible things Bolsheviks do, not go and be inspired to turn in some Soviet spies!" The author wraps up their argument against the communists with a few select words, including "lying, cheating, betrayal, ruin, and even murder" and the much used phrase "world domination." If that doesn't stir some anti-Communist feelings in your 50s/60s American heart, I don't know what will.

Style of Propaganda: Where Utilitarianism Meets Communism Meets McCarthyism

Admittedly, this piece of propaganda does not fall in line with the usual style of nearly all others. There is no one overbearing Bolshevik figure in the center, bathed in red and black. Rather, the focus is more on the writing and the picture is merely to support the claims. The illustration itself is done with the utilitarian style of drawing characteristic of the 50s and 60s. It is style of pen and ink with hatching, but no no cross-hatching, that has a very capitalist, "Golden Age America" air about it.

Personally, I assume that the left figure is the Bolshevist and the right figure is the capitalist American. This not a mere gander, but rather because of the face of the figure on the right bears a striking resemblance to one Joseph McCarthy. McCarthy was the Senator who led a crazed crusade responsible for the blacklisting of many innocent American citizens. But of course, at that time, he was a valiant politician on a quest to rid the United States government of Soviet spies and was, for a time, respected. It is not at all surprising that the illustrator chose to use McCarthy as the ideal for which we should base our interactions with communists upon.

The writing itself, as stated in the Ethos section, has a firm, imposing style about it. It is very much written in a list form of "do"s and "don't"s. Also, the neutral pronoun "him," referring to a Bolshevik, is seldom used in the article. Instead, the individual is referred to as "communist," perhaps more so than necessary, because it creates a sort of exigence, urgency in the tone of the article.

The Authoritative Tone: Establishing Ethos By Making it Sound Like You Know What You're Talking About

The most striking thing about this article when the reader first skims it is the overtly authoritative tone that the writer chooses to take. This is the main base that they have chosen to build their credibility upon. The author begins or ends each sentence with either a "do" or "don't," rather than a "should" or "shouldn't." Even the title, "How and What to tell a Communist," takes this quality of speech. The entirety of the piece leaves no room for doubt, judgement, or any other type of subjection by the reader. It assumes that these readers are, as with the Scott Tissue ad, patriotic Americans blinded by their fear of communism. Therefore, taking full advantage of knowing their audience the writer feels they have to do little other than make it sound like they know what they are talking about to establish ethos in their argument.

Also the corporation supporting these statements, The Timken Roller Bearings Company, adds a certain air of false authority to the argument. This also has much the same effect of the Scott brand has in the other advertisement. The Timken Company was founded in 1899 in St. Louis, Missouri. That company is just about as All-American as it gets, so it very much reinforces the overtly blatantly anti-communism claims made in the article.

Style of Anti-Bolshevik Ads: They Don't Call it The "Red" Scare for No Reason

The style of this Scott Tissue ad is rather striking and forthright when it first meets the eye. One issue that always comes up when dealing with Bolshevism (and just communism in general) is color. Red, black, and white, the colors of communism and the colors used for the symbol of the Bolshevik Revolution. The text, background, and main figure are in all black and white, while the word "Bolsheviks" is emboldened with the color red to give it extra emphasis and a foreboding impression. The outline around the short article is also colored in a more subdued red hue, as if to remind the reader whilst they are reading the article of the ominous nature of Bolshevism.

The use of the black and white for the main figure in the ad also plays a part in the style of the image, as well as the expression and posture the photographer has chosen to use for the figure. It gives the viewer a sense that the figure is very sinister, bolstering Scott Tissue's appeal to pathos in the form of playing on the fear of Americans during the Red Scare.

One can also see that there are commonalities between most Anti-Bolshevik propaganda and illustrated articles and the Scott ad. There seems to always be, of course, a theme of the red, black, and white. Also, there is always one, large, menacing figure in the center of the piece, as can be seen in the two other posters to the left and right.