Since the founding of the nation, this United States has had a president in office. This fact has not changed over the years, but the campaign leading up to the election has. In the country’s formative years, it was practically unheard of for a presidential candidate to actively campaign for office. However, over the years this changed. Richard Bluttal explains.
American photographer Mathew Brady, 1875.
In the early years of presidential campaigns, it was up to local supporters to organize campaign events and speak on their behalf. Parades, rallies, and stump speeches by surrogates were followed on Election Day by voter drives in taverns and on the streets. Partisan newspapers were another part of the mix aligning themselves with a particular party and openly slanting news coverage to favor allies and excoriate enemies. Commercial publishers quickly realized they could make money by printing and selling broadsides, cards, and prints depicting the candidates of all parties.
In American presidential campaigns from 1789 through the 1820s, Presidential candidates thought it was undignified to campaign. Political parties were embryonic and in flux – nothing like the organizational powerhouses they are today. Before the election of Andrew Jackson in 1828 there was no mass electorate. In most states, legislatures, not citizens, chose presidential electors. Enslaved people, free women, and free propertyless men – constituting most of the adult population at the time – were denied the vote. Throughout this period, however, both an electorate and campaign machinery began to develop.
From 1800 onward presidential campaign songs and songbooks filled the air at rallies, parades, and debates. A watershed moment in campaign music history occurred during the 1840 campaign of General William Henry Harrison against incumbent President Martin van Buren. “Tippecanoe and Tyler Too” was the official song supporting Harrison and his running mate, John Tyler. Harrison had defeated American Indians at the Battle of Tippecanoe in 1811 and helped defeat the British in 1812. Like almost every other campaign song in every presidential campaign going forward, this song was a contrafactum: a popular preexisting tune matched to new lyrics. Set to the tune of Yankee Doodle, the chorus declared “Old Zack Taylor! Keep Him up! / Honest, Rough and Ready! / We’ve a voucher in his life / He’s good as he is steady.”
By the early 1830s, cheap newspapers, known as the “penny press,” allied themselves with political parties, and a growing network of roads, canals and railroads began to carry political information nationwide.
1830s
The Democratic Party’s first association with the donkey came about during the 1828 campaign of Democrat Andrew Jackson. Running on a populist platform (by the people, for the people) and using a slogan of “Let the People Rule,” Jackson’s opponents referred to him as a jackass (donkey). Much to their chagrin, Jackson incorporated the jackass into his campaign posters. During Jackson’s presidency the donkey was used to symbolize his stubbornness by his opponents.
By the election of 1860, parades, banners and music were part of the political landscape, as were newspapers that openly supported political parties. Advances in printing technology by the mid-19th century allowed Americans to express their political sympathies through their choice of cigars and stationery. Cigar box labels in 1860 included images of Republican presidential candidate Abraham Lincoln and his democratic opponent, Stephen A. Douglas. For those who might have heard of “Honest Old Abe” and the “Little Giant” but had never seen their likenesses in print, the cigar box label introduced the candidates’ faces to the public. In early March 1860, Abraham Lincoln spoke in Hartford, Connecticut, against the spread of slavery and for the right of workers to strike. Five store clerks, who had started a Republican group called the Wide Awakes, decided to join a parade for Lincoln, who delighted in the torchlight escort back to his hotel provided for him after his speech. Over the ensuing weeks, the Lincoln campaign made plans to develop Wide Awakes throughout the country and to use them to spearhead large voter registration drives, since they knew that new voters and young voters tend to embrace new and young parties.
Members of the Wide Awakes were described by the New York Times as "young men of character and energy, earnest in their Republican convictions and enthusiastic in prosecuting the canvass on which we have entered." In Chicago, on October 3, 1860, 10,000 Wide Awakes marched in a three-mile procession.
Mathew Brady
Mathew Brady was one of the earliest American photographers and the owner of a successful photography studio. He photographed celebrities, presidents, and, most famously, scenes of his country’s Civil War. From 1860 to 1864. Those picturing President Lincoln—in particular a portrait taken on February 27, 1860, after the speech at The Cooper Union, in New York City, which launched his presidential campaign—sold widely. A number of acclaimed historians believe that his portrait of Lincoln that went nation wide was greatly instrumental in Lincoln being elected President.
Political buttons touting presidential candidates increased in popularity during the 19th century. Metal campaign buttons were available in 1860, but the election of 1896 saw the first use of the mass-produced, pin-backed, metal buttons. These became ubiquitous and collectible in 20th-century presidential campaigns and remain so today.
The earliest connection of the elephant to the Republican Party was an illustration in an 1864 Abraham Lincoln presidential campaign newspaper, Father Abraham. It showed an elephant holding a banner and celebrating Union victories. During the Civil War, “seeing the elephant” was slang for engaging in combat so the elephant was a logical choice to represent successful battles.
Thomas Nast, his cartoons, and those by his predecessors and contemporaries, were published in mass market magazines—as well as in newspapers and as separate, sheet prints are credited with widely influencing voters at a time when most would never see or hear their White House candidate in person. Instead, the public read campaign materials, attended barbecues, picnics, parades, mass meetings, and rallies. Campaign songs written about candidates fit right into a culture where singing was popular. Many of these early voter solicitation activities are still staples of presidential campaigns today in one form or another. From the 18th through the 19th centuries, these political cartoons were a popular form of political protest and often depicted rival politicians in satirical or unflattering ways and of course are still in use today.
Gilded Age
The Gilded Age (c.1877-1900) presidential elections split between Democrats and Republicans along mostly sectional lines – a legacy of the Civil War. The imagery on Grant’s poster linking him and his running mate to “common man” themes hearkens back to an earlier era as did his decision not to refrain from actively campaigning. Noting that only presidential candidates who had taken to the trail had lost, he declared: “I am no public speaker and I don’t want to be beaten.” The tradition continued with Grover Cleveland in 1888 whose front-porch talks with visitors were published in newspapers and brochures. Smear campaigns persisted through the 19th century. In 1884, supporters of Republican Party candidate James Blaine coined a jingle that alluded to an illegitimate child that his opponent Grover Cleveland had allegedly fathered:
Ma, Ma, where's my Pa?
Gone to the White House,
Ha, ha, ha!
Cleveland's party responded with a tune of their own:
Blaine, Blaine, James G. Blaine,
The Continental Liar from the State of Maine!
Presidential campaigns, however, soon started to shift. Instead of remaining silent, candidates began to give speeches, often referred to as “stump speeches.” William McKinley gave a variant on this during the 1896 campaign when he delivered a speech on his front porch. This became the centerpiece of his so-called “front-porch campaign,” and he continued to deliver speeches from his home. His opponent, William Jennings Bryan, chose instead to conduct a “whistle-stop campaign,” traveling the country by railroad and giving speeches at various train stops.
This 1896 campaign is probably the most famous campaign in U.S. history. It is remembered for Bryan's precedent-shattering speaking tour as well as for the carefully orchestrated and impressive front-porch campaign of William McKinley. An estimated 5 million Americans across 27 states heard one of the 600 passionate and substantive speeches Bryan crave during the campaign. McKinley stayed home but still managed to speak to 750,000 people in the 300 or so speeches he gave. Neither Bryan nor McKinley shied away from issues, the former focusing almost exclusively on free silver while the latter preferred to harp on the virtues of the protective tariff.
McKinley’s 1896 poster shows him as the champion of American capitalism, upholding the gold standard and linking prosperity and American power. Bryan wanted the U.S. on a silver standard which he believed would help workmen and farmers hurt by the depression. Bryan’s famous “Cross of Gold” speech, brilliantly delivered at the Democratic convention on July 9, 1896, secured him the nomination. His vivid language still resonates today.
Conclusion
It used to be considered ill-mannered for presidential candidates to openly campaign for themselves. Times have changed. Presidential campaigns are now billion-dollar operations that involve attack ads, social media strategy, and lots of stump speeches.
What do you think of early U.S. presidential campaigns? Let us know below.
Now read Richard’s article on the role of baseball in the US Civil War here.
