"What are the true reasons why the purchaser is planning to spend his money on a new car instead of on a new piano? Because he has decided that he wants the commodity called locomotion more than he wants the commodity called music? Not altogether. He buys a car, because it is at the moment the group custom to buy cars.
The modern propagandist therefore sets to work to create circumstances which will modify that custom. He appeals perhaps to the home instinct which is fundamental. He will endeavor to develop public acceptance of the idea of a music room in the home. This he may do, for example, by organizing an exhibition of period music rooms designed by well known decorators who themselves exert an influence on the buying groups... Then, in order to create dramatic interest in the exhibit, he stages an event or ceremony. To this ceremony key people, persons known to influence the buying habits of the public, such as a famous violinist, a popular artist, and a society leader, are invited. These key persons affect other groups, lifting the idea of the music room to a place in the public consciousness which it did not have before... Meanwhile, influential architects have been persuaded to make the music room an integral architectural part of their plans with perhaps a specially charming niche in one corner for the piano. Less influential architects will as a matter of course imitate what is done by the men whom they consider masters of their profession. They in turn will implant the idea of the music room in the mind of the general public.
The music room will be accepted because it has been made the thing. And the man or woman who has a music room, or has arranged a corner of the parlor as a musical corner, will naturally think of buying a piano. It will come to him as his own idea."
The modern propagandist therefore sets to work to create circumstances which will modify that custom. He appeals perhaps to the home instinct which is fundamental. He will endeavor to develop public acceptance of the idea of a music room in the home. This he may do, for example, by organizing an exhibition of period music rooms designed by well known decorators who themselves exert an influence on the buying groups... Then, in order to create dramatic interest in the exhibit, he stages an event or ceremony. To this ceremony key people, persons known to influence the buying habits of the public, such as a famous violinist, a popular artist, and a society leader, are invited. These key persons affect other groups, lifting the idea of the music room to a place in the public consciousness which it did not have before... Meanwhile, influential architects have been persuaded to make the music room an integral architectural part of their plans with perhaps a specially charming niche in one corner for the piano. Less influential architects will as a matter of course imitate what is done by the men whom they consider masters of their profession. They in turn will implant the idea of the music room in the mind of the general public.
The music room will be accepted because it has been made the thing. And the man or woman who has a music room, or has arranged a corner of the parlor as a musical corner, will naturally think of buying a piano. It will come to him as his own idea."
-Edward Bernays, Propaganda