Dirty Pop; Shakespeare's Influence On Popular Culture

Is our culture manipulative, deceptive, "dirty", for using the works of an established artist to propel buyer to pay attention? Is it dirty to gain a profit by using a familiar name? Let's discover a few reasons as to why society has used, and continues to use, references to Shakespeare in mass marketing.

> Why Shakespeare Is Referenced When Promoting Ideas Of Pop Culture

The visual clip below is a compilation of television, cinema, music and other elements of media that use Shakespeare as a marketing tool. You may be surprised at the number of references you have been exposed to.

Nothings Original

This includes Disney production, The Lion King. 

The following scene is an exact simulation of Act 1, Scene 5 of Hamlet

Shakespeare: The Clothes Make The Man

Gladiator sandals and Roman influences, hammered gold jewelry seem to evoke antiquity and the Bottega Vega bag is an Italian staple. This is a modern rendition of the seemingly feministic, Julius Caesar. 

In a classic Star Trek episode, the crew of the U.S.S. Enterprise beams down to the surface of an unknown planet. Once on the ground, they are confronted by three witches who chant: "Winds shall rise / and fog descend / So leave here all / or meet your end." At this point, the logical character Commander Spock replies, "Very bad poetry, Captain." Thus, we have a reference to Shakespeare's Macbeth. Shakespeare and the science fiction series Star Trek have always been linked together in an almost symbiotic bond.


Shakespeare is used as a device to establish moral ambiguity. The use of Shakespeare in the original Star Trek series served as endorsement for the male-centric, Americanized ideal of a typical Shakespeare hero. Within the progress of the series, the lead character of Captain James Kirk "becomes" Macbeth, Hamlet, Ferdinand, and Petruchio. Always the hero, he has the ability to defeat the villain, even when his Shakespearean counterpart could not.

Yes, Seinfeld Too.

Both Shakespeare and Seinfeld were successful, admired by all levels of society. Traveling players brought Shakespeare throughout England. TV gave Seinfeld a global impact.

Minor characters played an important part in the success of both. Shakespeare created Dogberry, Jaques, Bardolph, the Gravedigger, Autolycus, and Caliban. Seinfeld gave us Newman, Peterman, Mr. Pitt, Kenny Bania, and the Soup Nazi.

There are the parents who dislike each other: the Montagues and Capulets in Romeo and Juliet; the Constanzas and the Seinfelds inSeinfeld. Lovesick Orlando in As You Like It is matched by lovesick George in many Seinfeld episodes. In All's Well that Ends Well, Bertram doesn’t appreciate the beautiful Helena, nor does fickle George, the beautiful Susan.

Both Shakespeare and Seinfeld provide practical jokes. In The Merry Wives of Windsor, the amorous Falstaff ends up in a basket as part of the wives' practical joke. Seinfeld's Elaine records an anonymous tape, for Jerry, passionately expressing her attraction to him.

Shakespeare has enriched the English language with a flood of new words. Seinfeld has provided "yada, yada, yada." Shakespeare has given us "All the world's a stage." Seinfeld came up with "Not that there's anything wrong with that." Julius Caesar has "It's all Greek to me." Seinfeld has "No soup for you!"


Both Shakespeare and Seinfeld displayed a ruthless honesty. They observed human nature objectively, without sentimentality. They relished satire, poking fun at stereotypes. 

> Want To See More?

Check out this hip-hop site that bases its rhyme of reason off the history and development of Shakespeare! 

If It Aint Broke Don't Fix It

Jessie J Suffers from Foot Injury, But Her Voice Is Far from Impaired. 

 

 

Jessie J gives new meaning to her song title, “Do It Like A Dude”, as she establishes her music career in a male dominated industry. Transcending cultural and musical barriers, she combines female emotion with male oriented imagery, creating a persona that is both hard-hitting and relatable. But will this U.K. phenom survive the Hip-Hop empowered American airwaves? Or will she remain apparent to just bloggers, youtube-ers, and illegal music downloaders with an interest in British culture? The American audience determines your social relevance. And, quite possibly, Jessie J may be culturally relevant.

(Confined to a thrown like chair, Jessie J performs a rendition of Katy Perry’s “Firework” at the MTV Video Music Awards. Despite an injured left leg, she effortlessly delivers the pop anthem a bit better than its originator.)

In search of something untainted by the opinions of mainstream media, listeners eject true talent from the sacred world of underground music. Formerly popularized in the United Kingdom, Jessica Ellen Carnish is the newest artist to break through the confinement of blogs, reposts, and illegal downloads. Performing at the MTV Video Music Awards as this year’s House Artist, Jessie J (her acclaimed stage name) solidifies her journey to celebrity status.

Due to her success, original followers face a wave of new Jessie J supporters. Her fans are no longer the “in-crowd hipsters” who sing the words to every leak, and the bridge to every uncharted song. Reblogging her video is now cliché and those who were once musically indifferent are forced to share the opinion of thousands. The same thousands, no millions, who became acquainted with her attitude, style, and vocal range, eloquently displayed at the MTV awards.

To the grieving fan, you can thank Youtube for her climatic exposure, for at the click of a button the ordinary individual can acquire an extraordinary lifestyle. Posting videos of original pop tunes and soultry ballads, Jessie J brilliantly uses youtube.com to acquire free publicity. Dressed in a black and white sleeveless t-shirt (displaying the image of Prince on the front for inspiration), colorful plaid bottoms, large hoop earrings, and a jet black bob that puts Rhianna to stylistic shame, Jessie J vocalizes her piece “Momma Knows Best”. Co-written with producer Ashton Thomas, this song takes no time to shock listeners. Beginning with rifts parallel to that of the underrated Christina Aguilera, Jessie J focuses on lyrics that support and empower the female disposition. A verse chants “I ain’t gonna’ be played by your behavior, how can I trust someone who’s lying to me? / See I ain’t no rag doll that you can pick up and drop / And all this inconsistent love, yea I think it’s about time that it S-T-O stops”.

“Momma Knows Best”, arguably Jessie J’s most compelling song, appears on her debut album “Who You Are”. With over four million hits on Youtube, this single defines and separates her as a prototypal artist.

Upbeat and impactful, her music stands alone in comparison to the traditional love song. But can motivational music experience longevity in an era that focuses on ka-ching, ba-bling, cars, and money? Jessie J addresses this issue in her charted song “Price Tag”, a hit collaboration with southern gangster rapper turned pop artist, Bobby Ray Simmons. Sounding much like Simmon’s initially annoying, but rather addictive “Magic”, Bobby and Jessie use a catchy melody to combat the egotistical materialism emitted through music today. However, such creativity is not evenly distributed through the album.

“Price Tag”, track one, begins the album’s trek to depthless pop as Jessie sales herself short with “Nobody’s Perfect”, “Who’s Laughing Now”, and “I Need This”. Much like Brittney Spear’s “Lucky”, she compresses her talents with immature lyrics in “Nobody’s Perfect”. If you’re in search of grade school Kid’s Bop, “Who’s Laughing Now” will rid you of your inquiries. “I Need This” provides lyrical hope, but its bland approach will bore you.

But have no fear, for the floaty styles of “Abracadabra”, “L.O.V.E.”, “Stand Up”, and “Rainbow” are here. These tunes are instant summer jams that will remove you from your car, and figuratively place you poolside.

Jessie J infuses her most compelling pieces, such as the edgy, “Do It Like A Dude”, in the midst of imitative pop.

“Big White Room”, her most revealing cut, and “Casualty of Love”, her take on the traditional love piece, introduces the validity found in R&B artists. “Big White Room” is recorded live, giving the song a realistic feel. “Casualty Of Love” is perfect for the lovesick crooner, relentlessly giving Mariah Carey a run and jump for her money.   

               The last song of the album, respectively serving as the title of Jessie J’s compilation, is “Who You Are”. A passionate confessional, she details the issue of maintaining originality. Her voice is nothing less than amazing, combating the fluffy, surface feel of the songs you hear before it. Her intended audience can’t help but belt out the words along with Jessie, innately forced to play the song over and over and over again. Emotionally moving and beautifully entertaining, one can be reminded of Avril Lavigne’s “I’m With You”, a fellow foreigner that may have to fight for her American reign.

Artists sit tiresome in chairs, anxious and antsy for the show’s finale. The announcer introduces the last commercial, highlighting the name of a corporate sponsor.  But before the commercial airs, Jessie hobbles on stage. Bound to an appropriately decorated chair, she smiles humbly, grateful to be in the presence of mega stars. Mentally ignoring the pain in her left leg, she performs, commanding the stage as if standing in six inch tall Jeffrey Campbell pumps. Pumped, she combats nerves with adrenaline, rearing a rendition of “Girls Just Wanna Have Fun” that elate the spirits of the restless crowd. Performing several covers, this mezzo-soprano receives a stamp of approval from the opinionated Americans. “Who You Are” promised much more than it delivered, but its number two position on UK charts and 11^th spot in the US, makes up for her album’s shortcomings. Her potential is obvious, and despite her need to grow artistically, the LP will prosper because of her unabridged talent. Exposed to the masses, and crossing over to US Billboards, Jessie J emerges from the musical underworld and proves her relevance in American pop culture.



No One (Wo)Man Should Have All That Power?

Ingridmwangiroberthutter
(Kenyan-German, b. 1970)
Chameleon, 2003
3 c-Prints
100 x 80 centimeters
Courtesy the artist

The African American woman, characterized by modern day media as exotic and animalistic, is expected to perform in an over-sexualized manner. The animal instincts within all human beings are compared to scavenger-like desires. But my painting of choice, entitled Ingridmwangiroberthutter, exemplifies the strength and power that comes with a woman of substance. The three pictures (only one is displayed above), detailed with the image of blood and veins, constructs an artistic account of the subject's insides. With the vessels bulging, and the gory imagery of blood dripping from the canvas onto onto the perspective of the viewer, is not "normal". The artist is providing his or her audience with a true inside look into the subject.

Her "insides" include both her physical and mental state. The physical is obvious, as the piece exposes the components of a functioning human being. The emotional condition stems from the subject's facial expression, her posture, and various poses. She looks determined, revengeful, powerful, but not sexual.

The second pose, with her hands placed behind her back, deliver two possible interpretations. This positioning can either be taken as submissive or prideful. The feeling of submission is emitted because there is not much one can physically do with hands placed behind their back. For one, you cannot protect yourself, forcing you to submit to any attacking force.

This pose can also represent pride or self-esteem because she is covering her butt rather than exposing it. If her rear end were shown in the picture, as today's media often perpetuates as the action of an African American female, the picture would elude to sex and other negative connotations. 

The last pose, the curling of the subject's hands, too seems powerful. I cannot help but feel a sense of power within the subject's fingers, as if she is holding something of importance. 

This piece of work can be interpreted in many ways. However, given the subject's positioning and daring imagery, the artist's work, in my opinion, projects power.

A Thousand Words

Or As Many As It Takes To Explain The Piece



The artwork I am reviewing is a picture that was taken unexptedly. The two people photographed are then being presented in a natural element. The artist, unidentified at the moment, captures this image because of everything it represents. A white male police officer, kneeling down to tie the shoe of an African American urban-ly dressed young boy, speaks volumes.

It is socially established within the Black community that the white race, more narrowly its men, do not support the uplift nor nurturing of African American males. This cultural stereotype is largely accepted amongst America's people. However, despite this objective statement, the artist chose to take an artistic stand against societal beliefs. This photograph, single-handedly, defies common racial opinions.

The black and white coloring of the photo was purposefully done, so that the question of color would be determined by the audience. The issue of race must then be assumed by the viewer, and not directly addressed by the artist.

Because the picture is in black and white, the intended audience must use their personal background to extract the seriousness and artistic value of this piece. The audience: someone affected by the African American culture. A person unaware of American history would not be able to fully connect to the photo. The artist understands this, allowing his or her work to only be communicated to a certain group of people.

Using this form of artistic communication, the viewer can establish a dialogue between the audience and the piece.

The viewer may ask certain questions about the work. Possible questions include: Why are the subjects in the picture positioned the whay they are? Why is the police officer kneeling down before the young boy? Could he not tell the young boy to prop his foot upon someting greater in height? Why is the older man a police officer and not an unauthorized citizen? Or, why is the young boy dressed in attire that would normally be seen on an older male? All these questions would create a solid dilogue between viewer and creator.

Some of these questions have plausible answers. A logical answer that explains the subject's positioning, is that the police officer's subserviant pose represents a pivotal switch in societal roles. The photo's appeal derives from the idea that it is not normal for a white male cop to aid the continuance of a Black male boy. What's being captured is more than the tying of a shoe, it is the representation of the dominant race aiding the growth of a minority.

The white, authoritative police officer, is tying the shoe of a classless, African American boy. This act of kindness is offered so that the boy can continue to walk with no chance of falling. Falling, is a metaphor for faltering from life's path at the approach of an obstacle.

In regards to space, lighting, rhythm, and balance, this photo incorporates all four characteristics.

The spacing of the two subjects is fairly close, displaying the relationship they share with each other. They appear to be unaware of their obvious differences, shattering all social barriers within themselves.

The balance of the picture is casually thrown off, as the side profile of another individual is captured in the left corner of the frame.  It is obvious that this person is not a focul point, but the fact that he is in the shot reminds the viewer that this is not staged. This promotes reality.

Ironically, the police officer is the darkest object in the shot. Darkness, normally associated with bad or evil, is even more supported with the bulging gun sitting on the right of the officer's waist. Surprisingly, cast in the picture's shadow,are the efforts of good. 

My personal reaction to the piece is shock yet approval. I love the father-to-son imagery, even though it is clear that these two individuals are not related. This photo puts into mind the chance of positive action between the police and the African American youth. It provides hope and a cliche reminder "that it takes a village to raise a child".

This photo? 627 Words.

"Red Eye" Brings About Dry Eyes

The driest screen production since that “clear eyes” guy.

-Annsleigh Thornton

Atlanta, Georgia

Have you ever experienced a moment of intuition? A point in which you knew exactly what would happen, though you had no idea of that moment’s agenda? The ability to predict the outcome of a situation is often seen as a gift. However, encompassing the power to foresee the conclusion of a movie is more of an annoyance than a “present”. This is exactly what occurs for first time viewers of “Red Eye”. To their demise, it is possible to predict the subsequent events of each scene without former knowledge of the film. The characters are far too predictable and the details of the movie are emitted in its first few minutes. “Red Eye”, a 2005 production, is the perfect example of a film not holding its validity through time. As the movie approaches its 7^th year anniversary, horror films that follow its production give way to “Red Eye’s” formula: mysterious guy harms new-age-independent woman, but is left to battle the strong male patriarchal figure. With this cinematic blueprint, the audience can deduce a number of accurate outcomes. Will “Red Eye” defy its plausible conclusions? Or put you to sleep, more solemnly than those Ben Stein commercials?

http://www.youtube.com/watch?v=RcH-3d-BZn4

(Ben Stein’s Clear Eye Commercial)

“For dry red eye, clear eye is awesome”, is the acclaimed quote popularized by Stein. He is known for his monotone delivery and blunt approach. His sound, intertwined with his drab appearance, adds a comedic element to the Clear Eyes informational. But just as this service announcement uses predictable dialogue, so does “Red Eye”. But unfortunately, to no cinematic avail.  

http://www.youtube.com/watch?v=TAFDHyH8buQ

(Red Eye Trailer)

Directed by Wes Craven, “Red Eye” is majorly set on an airplane in route to Miami, Florida. The antagonist, Jackson Rippner (Cillian Murphy), uses convincing language to gain the friendship of Lisa Reisert (Rachel McAdams) while awaiting their flight. His language is so convincing that the audience is forced to acknowledge a few “red flags”. Ruppner’s shadowing hair cut, vampire-like bone structure, and mysterious blue eyes, do not condone Jackson’s motives. Viewers, now doubtful, are proven right of their assumptions. Rippner is coincidentally placed in the seat next to Lisa. The audience suspects trouble at this very moment. Lisa too becomes alarmed, making note of Jackson’s name. This, ironically, is extremely close to “Jack the Ripper.” This scene is so cliché, social allusions are accepted.

http://www.youtube.com/watch?v=qUkMjcCmD4M&feature=fvst&oref=http%3A%2F%2Fwww.youtube.com%2Fresults%3Fsearch_query%3DJack%2Bthe%2Bripper%26aq%3Df

(The Secret Identity of Jack The Ripper – F.B.I. Reports)

The style in which characters are introduced is also overused. The elongated conversation between Lisa and the nice older lady (Angela Paton) sheds light onto the woman’s eventual role. This same method occurs for all supporting characters, introducing the blonde woman (Laura Johnson), irate passenger (Loren Lester), and male siblings (Max Kasch and Kyle Gallner) in a similar manner.  The intended audience for this film would have to be cinematically naïve, ready to jump at every scripted moment and scream at every planned surprise. I expected each thrilling scene to come about unexpectedly. I was hoping to feel some form of suspense, experience just a bit of mindboggling confusion. But my intentions and standards for the film were unmet. Watching Craven’s work can easily be compared to the live viewing of a game show with employees working the audience using handmade signs, painted with words such as “Boo” and “Cheer”. Because the crowd has been told how to respond, the show is live as pre-recorded Oprah (and that’s not live at all). Just as they are told to shout and cry, Craven has told me to jump and scream, with no room for wonder or personal choice.

http://www.youtube.com/watch?v=gPmd6tCQ8jI&feature=related

(Debut of Supporting Characters)

As the viewer, I am stuck in a box. With nothing else to do but root for the heroic female whom I know will be victorious. I am psychologically, emotionally, and intellectually trapped. Lisa’s ignorance affects me mentally, driving me crazy as I beg for her to think logically, and not in the sense of a fragile female. Emotionally, I fear for no one, knowing that in the end all good-willed characters will survive. I am only moved, angered rather, when Lisa appropriately falls twice in her pursuit of survival. My intelligence is taunted as Craven incorporates a scene that is so far-fetched, all fear is eliminated. When a group of hired shipmen recover a number of “bazookas” from an underwater crate, in preparation for the obliteration of one hotel room, the movie loses its validity and connection to reality. 


I will credit Wes Craven for establishing a central theme: The value of life. An example of this is Lisa’s original neglect of her father, then sudden appreciation of his existence once his life is in danger. The value of life is distributed throughout the entire film. Lisa cherishes her father’s life more than the targeted victim, but feels selfish once realizing that not just one man is being sacrificed. The assassin, however, has no remorse for anyone but himself, valuing his survival more than the well-being of an entire family.  


But the wrong-doer seemingly never dies. After being stabbed and shot, Jackson’s quest for Lisa’s death persists. It’s unbelievable that he can still run with increasing speed and breathe affectively. Unbelievable, as well as unrealistic. Just as unrealistic as Stein’s crafted excitement from ridding dry eyes of their agonizing redness.


The idea that this film was created to excite an audience, with no regard to depth or content, drives this review. It also supports and explains why this film does not work. I would rather see Stein take on stereotypical Russian assassins. At least I would be surprised with the outcome.  “Red Eye” left me dry-eyed, with no compassion for Lisa, her endangered father, or Craven’s unoriginal plot.

http://www.youtube.com/watch?v=5aa8ImBmS74&feature=related

(Jackson’s Never-Ending Death)

Blacks Who Pass for White: The Reality Of Imitation

Sarah Jane is not the only person in history who has struggled with self acceptance. Here are live accounts of individuals who mentally battle with their race and/or identity.

Don't Blame Sarah Jane: They're All Phonies.

Harvey's Critical Review of The Imitation of Life

As a reader of Harvey’s essay, in regards to Imitation of Life, I found his descriptions very useful. His arguments and assertions opened up cinematic viewpoints I never discovered while viewing the film. His idea that the entire movie itself, and not just the character of Sarah Jane, focuses on all forms of imitation is quite interesting. Not only is Sarah Jane an imitator, impersonating the White race, but Miss Lora, Annie, and Susie are all subconsciously pretending. Miss Lora demonstrates a form of impersonation by truly believing that she treats and views Annie as an equal individual. The fact that Miss Lora allows Annie to call her Miss, even though Annie is years older than her, demonstrates their social difference. Annie is not treated fairly, no matter the amount of sincerity Miss Lora pretends to exude. Annie is unpaid labor, holding the family together through her helping hand and listening ear. All hard work is honestly ignored, and simply categorized as friendly gestures.

One of the most heart-wrenching scenes throughout the film is the moment Annie pretends to be Sarah Jane’s care giver instead of her mother. This form of impersonation is an example of the length each character goes to create a fictional lifestyle that feels more accepting than the harsh realities they refuse to endure. The audience is forced to sympathize for Annie as she publicly disowns her daughter, sacrificing her own sanity for the happiness of her child. It is actually sickening to see Annie demean herself to the servant of her child, pretending to have no blood relation to the delusional Sarah Jane.

Susie’s form of impersonation is delivered in the beginning of the film. Annie and Sarah Jane come home from an unfortunate day at school: Annie has exposed Sarah Jane’s African American affiliation. Annie and Sarah Jane enter the home to see an impersonating Susie. Pretending to be sick so that she can stay home from school, Susie lies in bed while Miss Lora to take her temperature. Lora exclaims, “Why you’re practically normal!” falling into collaborative laughter with Susie. As a result of Susie’s comical illness, the controversial situation between Annie and her daughter is described as not “a real problem”. Susie epitomizes the idea that through pretending, larger issues become non-existent.