OWS occupies World War II propaganda aesthetic

It's been said that World War II was, for better or worse, one of the U.S.'s richest periods for visual rhetoric thanks in part to the widespread use of propaganda posters. Xenophobia, racist caricature, suggesting a direct correlation between saving hamburger grease for multiple use and the probability of an Allied victory:  the Greatest Generation(™)'s visual artists were doing things that would make Roger Ailes and Frank Luntz blush. 

If you're not familiar with the WWII propaganda aesthetic, I invite you to Google "world war 2 propaganda" or something like that: the web's loaded with unforgettable stuff that nobody in their right mind would say or print today (okay, Michele Bachmann excluded).

For now, though, I thought it would be interesting to share a few instances of the OWS movement appropriating the WWII aesthetic for its amorphous agenda. I've attached a few here: my favorite (and the most direct parody) is the Uncle Sam poster, which plays on the WWII propaganda SILENCE trope, which insisted that "loose lips" would result in soldier casualties. 

With the exception of Uncle Sam, these are close but don't quite hit the WWII nail on the head (the terrorist chart one isn't really in the same aesthetic; I just like it). If I were to do my own poster, I'd probably go for full-on style parody: big, bold, sassy, and brassy.

Enjoy! Buy bonds! Go about your daily routine! Everything is fine!

(images borrowed from a blog titled "Maximum Advantage in Pictures": http://chumpfish3.blogspot.com/)