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English citations of brandalism

Noun: "the encroachment of ads, logos, and other types of corporate branding into public and traditionally non-commercial spaces…"[edit]

2003 2004 2005 2006 2007 2008 2010
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  • 2003 — Mark Townsend, "Big Brother's logo 'defiles' White Horse ", The Observer, 4 May 2003:
    But in what archaeologists describe as one of the most shameful instances of 'brandalism' seen in Britain, Channel 4 executives stand accused of defiling the oldest hill-chalk carving in Britain.
  • 2004 — Keith J. Hayward, City Limits: Crime, Consumer Culture and the Urban Experience, The GlassHouse Press (2004), ISBN 1904385036, page 69:
    Creed's neon signs, for example, could easily be mistaken for a new marketing technique known as 'brandalism', a process by which advertisers use subversive means such as graffiti and illegal 'fly posters' to serve corporate ends.
  • 2004 — "Buzzwords - Brandalism", Accountancy Age, 26 May 2004:
    Theatregoers settling in to watch Alan Bennett's latest play The History Boys will have a gnawing feeling in the back of their mind that for what they about to receive they must be truly thankful to KPMG.
    When it gets to that stage you're suffering from brandalism.
  • 2005 — Guy Brighton, "PSP Brandalism", PSFK, 23 November 2005:
    I spotted more Sony PSP "kids" graffiti off Bedford Avenue in Williamsburg. Sony’s brandalism is all well and good but am I the only one who finds these characters creepy? The artists have used a legal graffiti space usually housing street-art from the Tats Cru. Their Hummer H2 ad lasted all of 2 minutes before “No Blood For Oil” was sprayed all over it.
  • 2006 — Jim Hightower, "The Hightower Report", The Austin Chronicle, 28 April 2006:
    Well, if you loved having a cold, corporate ID slapped on your local stadium, get ready to be deliriously happy, for corporations have now begun to put their brands on the teams themselves! One of our listeners has labeled this development as an act of "brandalism."
  • 2007 —Jonathan M. Tisch (with Karl Weber), Chocolates on the Pillow Aren't Enough: Reinventing the Customer Experience, John Wiley & Sons (2007), ISBN 9780470043554, page 173:
    Unilever is currently using a MySpace page hosted by the sexy, big-busted blonde Christine Dolce (alias ForBiddeN) to promote Axe, a deodorant aimed at 18-to-24-year-old males. The page has attracted some 900,000 friends. But a Unilever spokesperson notes that the company must walk a fine line: "[W]hen you deliver 18-to-24-year-old guys content they want to engage with, they don't mind if it comes from a brand…. [But w]e need to be engaging with them, not banging them over the head with brandalism that pollutes their space."
  • 2007 —David Verklin & Bernice Kanner, Watch This, Listen Up, Click Here: Inside the 300 Billion Dollar Business Behind the Media You Constantly Consume, John Wiley & Sons (2007), ISBN 9780470056431, page 84:
    Wendy's created a profile page for the animated square hamburger character from its TV campaign: 100,000 signed on to befriend the square. The trick, marketers know, is to tread carefully so as not to alienate "friends" by polluting their space with overt commercial brandalism.
  • 2007 — "Dave.b" & Max Kalehoff, "Should Advertising Be Banned?", Online Spin, 4 May 2007:
    Galvao's description reflects not post-ban hysteria, but a state of relief, sanity and city pride. Maybe a retreat from over-the-top brandalism may not be such a bad thing. As Galvao underscored in his interview with Garfield, a retreat from public advertising can literally expose and initiate repair of beautifully masked urban ills, such as shantytowns and unsafe working and living conditions.
  • 2008 —Tony Leighton, "It's time to protect your investment from 'brandalism'", Guelph Mercury, 3 May 2008:
    On the southeast corner is an atrocity -- a 12-metre, blaringly red, Scotiabank rectangular towerlike slab, smack on the corner, with no discernable architectural function other than to bludgeon us visually with the bank's logo and vivid corporate colour (not of nature), like a giant fishing lure. This is brandalism.
  • 2010 —Stephen L. Muzzatti, "'Drive It Like You Stole It': A Cultural criminology of car commercials", in Framing Crime: Cultural Criminology and the Image, (eds. Keith J. Hayward and Mike Presdee), Routledge (2010), ISBN 9780415459044, page 153:
    Additionally, the conduits through which advertisers strive to swell the ranks of Bauman's (2007) 'Seduced' masses have become increasingly serpentine, moving from commercials, infomercials and traditional product placement through advertainment, 'anti-avertisement' advertisements, 'real-life' product placement, branding, culture-spying, cool-hunting, brandalism, viral marketing and corporate-bricoleur YouTube postings.

Noun: "the deliberate defacement of corporate iconography, generally for purposes of protest, parody, or social commentary"[edit]

2005 2006 2009
ME « 15th c. 16th c. 17th c. 18th c. 19th c. 20th c. 21st c.
  • 2005 — Steve Hemsley, "How to sabotage an ad campaign", MediaWeek, 1 February 2005:
    It is, effectively, the opposite of so-called "brandalism" which is where advertisers have no control over how, where and when their branded communication is sabotaged.
    For example, billboards in New York for Apple's iPod music player were defaced by one disgruntled customer with the words "iPod's unreplaceable battery lasts only 18 months" after he discovered it would cost more to buy a new battery than to purchase a new iPod.
  • 2006 —Rob Walker, "Gaming the System", The New York Times, 3 September 2006:
    Her research, she told me, evolved out of her interest in the way certain artists alter billboards with antibrand or anticapitalist messages. While this practice (variously referred to as brandalism, subvertising, culture jamming, adbusting, etc.) has gone on for years, it's often dismissed as a nuisance, agitprop or, of course, a crime.
  • 2008 —Daniel Drache, Defiant Publics: The Unprecedented Reach of the Global Citizen, Polity Press (2008), ISBN 9780745631783, page 101:
    Some cases of in-your face "brandalism" have lead to legal action. Artist and semiotic disobedient Kieron Dwyer landed in hot water with US giant Starbucks when he created a parody of the Starbucks logo targeting rampant consumerism.