Friday, August 28, 2009
Washington Square
Tuesday, August 25, 2009
Way Out West
Jack, as in Jack Box, is the fictitious chief executive, a human-like “clown” of the franchise. Jack has been seen in many different situations over the years from the boardroom dressed in a coat and tie, to being hit and critically injured by a bus, as witnessed by millions during the 2009 Super Bowl. There have been 28 million antenna balls sold of Jack’s likeness along with more than 5 million other premiums. He has a Pez candy dispenser made with his round head atop, an honor bestowed on other fictional luminaries like Fred Flintstone, Santa Claus, and Batman. Jack even rang the opening bell at the Nasdaq Global Select Market (NASDAQ) (Jack In The Box Inc., 2009).
In this particular ad, Jack out west along with some little ranch hands finds himself riding horses, driving “cattle,” and at nightfall singing the praises of his restaurants new mini sirloin burgers around the campfire. This ad plays off the myth of the American West. The myth of the American West conjures up emotions of individuality, independence, the frontier spirit, an appetite for risk (who doesn’t need that when you make a quick pit stop at a fast food restaurant!), masculinity, and the sense of creating a new identity for oneself (University of Texas at El Paso, 2003). The myth often makes use of panoramic landscapes as employed in the opening frames of this advertisement, along with the proverbial cowboy. Here the Western myth is probably used to target males and a burger of “western” sirloin beef is portrayed to be of superior quality to just any old burger from back east. Through the use of the American West myth, we are captivated by the scenes and the jingle, one I must admit I find myself breaking into a chorus of the tune at all hours of the day.
But it is not only the myth of the American West that makes the viewer have an emotional connection with this commercial, it is the use of a iconic jack-in-the-box clown figure, which at its core makes us feel nostalgic, young at heart, and plain giddy like when we watched that clown pop out of the box as a toddler. Good commercials don’t always translate into good products, but this commercial for “Mini Sirloin Burgers” literally strikes a chord and captivates viewers! I need to go get something to eat!
References
Jack In The Box Inc. (2009). Fact sheets. Retrieved August 25, 2009, from http://www.jackinthebox.com/corporate/press-room/fact-sheets/
University of Texas at El Paso. (2003). The myth of the American west. Retrieved August 25, 2009, from http://faculty.utep.edu/LinkClick.aspx?link=Myth+of+the+West.ppt&tabid=57572&mid=130014
Saturday, August 22, 2009
Three Icons of Contemporary Pop Culture
In the 2008 Presidential Election, more than half our country, almost 67 million Americans, believed that Barack Obama was a symbol of hope and change. They became emotionally attached to the man and his rhetoric. What the “symbol” of President Obama means to me is validation that American society has evolved from a nation of slaves and segregation, to a culture that is for the most part “colorblind” to the shade of one’s skin. He is affirmation that no longer should people of color use past wrongs as an excuse for decisions they make about how to live their lives. Agree with him or not, President Obama, as the leader of my country, is a symbol of democracy, freewill and opportunity.
The Toyota Prius too is an icon of American popular culture. As the world’s best-selling hybrid car, the Prius represents society’s desire to find lower-cost, greener alternatives to the gas-guzzling automobiles they prefer to drive. It turns out it was not a symbol of society’s commitment to making a positive ecological impact on the environment through natural resource conservation, but more a respite from $4 a gallon gasoline prices. For me, the Prius is an icon of how the automobile industry adapts to governmental constraints and develops a product that meets the stringent CAFE standards placed on them, even when it is not commercially feasible. It is a symbol of ingenuity and inventiveness.
My third example of a contemporary popular culture icon is the Harley-Davidson Sportster. In continuous production for 44 years, it is one of the world’s most popular motorcycles. To me the Sportster represents a toy for affluent baby boomers to get back in touch with their more youthful wild years. The Sportster delivers a sense of adventure and daring. It plays to the rebel in all of us, the James Dean in our souls. It is a way for us to connect with nature with nothing between the rider and the road except a 500 pound machine between their legs. To me it personifies a free spirit and a yearning to be unhindered.
References:
Holt, D. B. (2004). How brands become icons: The principles of cultural branding. Boston, MA: Harvard Business School Press
Sunday, August 16, 2009
Is there Pop (Culture) in your kitchen?
There is an unswerving chorus of pundits in the media today, with the backing of big business, espousing the virtues of stainless steel appliances. We are told that they are sleek, modern, easy to clean, stylish and will be the envy of all our house guests. Purchase stainless steel appliances and be someone you’re not, a master chef in the culinary castle of your kitchen. Each day I turn my television on to a show on how I should decorate my home, or what I should or shouldn't do to my home to get the most resale value for it. Stainless steel appliances are always on the list of what one should do. Shelter magazines, a publishing trade term for the segment of the magazine market with an editorial focus on interior design, architecture, home furnishings, and often gardening, show kitchen photo layouts with stainless steel appliances prominently featured. But will stainless steel appliances be just a fad, the gold and avocado appliances of the 60s and 70s? Do consumers really find them attractive, or do they just want to keep up with the Joneses after being programmed by the incessant media hype? The American populous in general has become a society of conformists who no longer can think on their own but look to the media, politicians, or whoever crosses their path, to tell them what they desire, how they should act, and what they should think.
Popular culture is democratic as Ray B. Browne (2005) posits in that if the public doesn't purchase what big business and the media feed us a steady diet of, then they circle their wagons to try another backdoor assault on our freewill. Popular culture may encompass all that surrounds us by providing society with a common palette of likes and dislikes, behaviors, beliefs, customs and tastes (Browne, 2005) to interact with each other. In an American society, self-consumed and neurotic about keeping up with the Joneses, there are unfortunately too many of us that prefer to see the emperor’s new clothes. In that framework , pop culture does not universally represent the overwhelming mindset of society, but is the fabrication of a few, malleably accepted and advanced by a duped public that fears being seen as idiosyncratic. It is then that popular culture becomes the diametric opposite of a true democratic process and is a hyperbole of what is acceptable and desirous to society as a whole.
I will not be made to feel guilty for purchasing black appliances for my home. I won’t wear my pants precariously close to succumbing to gravity and falling to the pavement. I won’t watch reruns of Will & Grace, Sex in the City, nor programming on ABC or HBO in general, two networks rated the most pro-homosexual by The Gay and Lesbian Alliance Against Defamation (GLAAD). Society cannot afford to be led by our noses, or our pocketbooks, by companies using popular culture as a vehicle, to do whatever it takes to sell their products of mass consumerism as a pretext for a way for us to find happiness and a better more interesting life. Symbols that glamorize, condone, and advance a particular agenda, be it stainless steel appliances, same sex marriage, gaudy bling, sexual promiscuity, the list goes on, may float within that common body of water that that is popular culture as Ray B. Browne (2005) describes it, but we must resist floating to the top as long as we have a breath left inside us and the will to be individuals. We cannot be sheep and accept for fact what is glamorized in the media and contorted into popular culture as acceptable behavior and the way most people live. We must swim against the current and be free thinkers to recapture a more wholesome popular culture of yesteryears, or be relinquished to continue on our journey to anarchy.
References
Browne, R. B. (Ed.). (2005). Profiles of popular culture. Madison, Wisconsin: The Popular Press.
Wednesday, August 12, 2009
An Artifact of Pop Culture
Friday, August 7, 2009
Still Undecided
Summer has been brutal here in San Antonio this year. July was the hottest month on record! It has been very dry also and my grass is is feeling it. I am glad when we bought our house that we paid for the extra attic insulation and the radiant barrier! I think it has helped but I don't have any thing to compare our utility bills against other than the complaints from everybody about their bills. We have been thinking about getting a swimming pool, but it is almost too hot to swim and the water would feel more like bath water than a refreshing dip. Well fall is right around the corner and then winter and those are the months we moved to San Antonio for anyways!
You probably have heard that CNN reported that the recession is over. Well someone should tell the housing industry. Work is still quite slow but hopefully we have seen the bottom and are at least getting a little bounce. Unfortunately there are still too many foreclosures in the pipeline that will depress prices and mean lackluster new starts for months to come.
Well that kind of brings you up to speed on me. I will go back and try to come up with a more entertaining slant for this blog instead of just rambling on!