There are so many metaphors to be found in pop culture’s monsters-of-the-moment—vampires ruthlessly suck the life out of their victims, zombies walk around mindless, killing without bias or reason, witches corrupt our children with their evil ways and then run for congress.
The demonstrators with Occupy Wall Street were encouraged to dress up like “corporate zombies” today while participating in a march in New York’s Financial District.
And zombies aren’t the only pop culture entities making appearances; the usual suspects are all present as well—Michael Moore and Susan Sarandon have both visited along with Russell Simmons, Roseanne Barr and hip-hop artist Lupe Fiasco.
In a piece by Entertainment Weekly today, Kate Ward points out that while of course, “a vague protest isn’t a protest until Hollywood jumps on board,” she also asks the question, “at what point does the Hollywood and culture link weaken the cause?”
I’ve posted on this point before in reference to George Clooney and South Sudan’s successful secession—Hollywood’s ability to draw attention to a cause is a tricky line to walk. While it certainly pulls headlines, one must consider (as Ward does) when we start seeing more headlines about the costumes or who attends, than about the protest itself, is Hollywood helping or harming the cause?
Though the occupation is gaining steam, especially after 700 protestors were arrested Saturday on the Brooklyn Bridge, the press has generally looked upon the demonstration negatively, portraying the mostly-young protesters as unorganized and without cause. Something that is, at least in part, true.
Betsy Reed, Executive editor at The Nation, wrote today that the biggest criticism of Occupy Wall Street is in their failure to present demands: “What do these wan, angry young people want, anyway?” But Reed makes a larger point, why is it so important that they ask for demands in the first place?
“Of course, we need policy ideas… But sometimes, you also need a spark. ‘Occupy Wall Street,’ as an idea and an action, is a stroke a brilliance. It’s not poll-tested or focus-grouped, but it expresses perfectly the outrage that is the appropriate response to the maddening political situation we find ourselves in today. It succeeds as symbolic politics: taking back the square is just what we need to do.”
Despite Glenn Beck raving at the fact that Frances Fox Piven and Russell Simmons showed up to “incite the crowd,” warning readers to “prepare to vomit when watching”—”So what are they doing? The neoliberals.” Beck asks, “This is all becoming so very clear. Do you know why they’ve hated us so much? Look at what we have exposed. We have exposed a social justice. We exposed where they are in your churches.”How is Beck not sending out podcasts from a bomb shelter yet?—Occupy Wall Street represents a greater idea. The gesture is indeed symbolic; there’s so much wrong but most people couldn’t tell you why or who is causing it. Rather than going to Washington, protesters went to where they believed the real power was held: Wall Street.
Celebrities, zombies, Robert Pattenson literally turning into a bat and flying down Wall Street—these would all make headlines, but the reason for the occupation itself is clear: America is largely controlled not by the White House or Congress but by those who control the almighty dollar.
(Image credit CNN)
PolitiPop has returned!
Yes indeed, after a few solid weeks of rest and relaxation, travel, and a slew general summer activities, PolitiPop is back and ready to bring you the best in politics and pop culture. Looking back at the news from our time apart its pretty clear — the apocalypse may very well be upon us.
Ok, I’m exaggerating, I don’t believe in Revelation’s, but here’s a few stories from the last couple of weeks that could make one think (wish?) it were the end-of-days:
– Congress and President Obama finally came to a deal on raising the debt ceiling… by leaving the “job creators” (a.k.a the wealthy folks) alone with their cash and slashing federal spending, with the promise that more cuts are to come at the discretion of a Super Committee, where entitlement programs, like Medicare and Social Security, and the defense budget are all on the table.
– Following up the debt deal the U.S. loses its AAA rating from S&P; it’s unfortunate for Obama that this happened on his watch, but with outrage set firmly against the ratings firms (who are said to have botched calculations) and Congress’ petty bickering along party lines, it seems like the blame is being pretty well spread around.
– London’s burning; this is not a reference to The Clash.
– Texas Gov. Rick Perry throws his ten gallon hat into the ring for 2012. Back in June, The Texas Tribune ran a very informative piece detailing why the Republican and frequent First Amendment violator, should not run for president. Why God, why?
– Newsweek ran this extremely horrifying cover featuring Michele Bachmann. No, seriously God, why?
On the upside, if you want to call it that (and I do, I loved the movie), Harry Potter and the Deathly Hallows, Part 2, grossed over $1.2 billion worldwide, making it the 3rd highest grossing film of all time. Moviegoers flocked to the theaters to watch the wizarding world finally break free from He Who Must Not Be Named, briefly escaping the endlessly depressing news reports inundating every facet of our lives, but our Muggle troubles are nothing compared to what the Ministry of Magic is now facing post-Voldamort. Foreign Policy ran a fascinating piece looking at the long road ahead for the wizarding community.
Finally, I spent last weekend in Chicago, attending the city’s yearly music festival Lollapalooza. Despite the torrential rain and the ankle-deep mud, acts like the Foo Fighters, DeadMau5 and Cold War Kids played on for the dirty-yet-enthusiastic crowds. One performance that stood out was Damien Marley and Nas; their plea for unification was moving especially in the song, “Leaders,” when they asked for all to stand up and lead, not just in politics but in life, singing, “Oh leaders, let’s all change the world.”
And then, I kid you not, a rainbow appeared.
Columbia Pictures has released the poster for George Clooney’s next film, a political drama which he also co-wrote and directed. The Ides of March pulls a heavy cast including Ryan Gosling, Philip Seymour Hoffman, and Paul Giamatti, and is based on the play Farragut North by former political staffer Beau Willimon, who wrote the film with Clooney.
The film tells the story of an idealistic campaign press secretary, played by Gosling, who gets caught up in a political scandal during the Ohio primary, possibly threatening Clooney’s presidential candidate’s chances of reaching the White House.
Clooney originally planed to make the film in 2008, but held off sensing the optimistic mood of the country radiating off of Obama’s campaign. Of course now that a cynical fog of debt ceiling debates, sex scandals and political taunting between parties (Obama is mad because he’s feeling “left out” by Boehner? Are you kidding me?) has settled like pea soup over America, well, the mood is more suitable to the content.
The poster for the film is intriguing, and reflects the reality of politics and political discourse: The media—print, 24 hour, internet—and those who manipulate it, like Gosling’s press secretary, are at least half (if not more) of what and who, affects and creates policy in America.
Clooney himself is by no means a stranger to politics, or political films for that matter; he won an Academy Award for Best Supporting Role in 2005s Syriana. In the February issue of Newsweek naming Clooney the 21st Century Statesman, the cover story touches on Ides of March, saying the actor wrote the film, “giving his character lines he’d like to hear from a presidential candidate.” The article went on to state that we shouldn’t expect to see the former ER doc running for higher office anywhere but on the big screen:
I didn’t live my life in the right way for politics, you know,” he said, “I f–ked too many chicks and did too many drugs, and that’s the truth.” A smart campaigner, he believes, “would start from the beginning by saying, ‘I did it all. I drank the bong water. Now let’s talk about issues.’ That’s gonna be my campaign slogan: ‘I drank the bong water.’?”
Given the state of American politics right now, I can honestly say, I would vote for that.
This morning The Donald went on Fox and Friends to explain why he thought congressional Republicans should reject any plan brought to the table by Obama and the Dems: “Frankly the Republicans would be crazy unless they get 100% of the deal that they want right now to make any deal…If this happens, for instance if this stuff is going on prior to an election, he can’t get reelected”
Brian Kilmead pointed out that contrary to Trumps views, recent polls indicate that in the event that the US government should default on August 2, the majority of Americans would blame the Republicans. Trump countered, saying, “… I don’t care about polls. When it comes time to default, they’re not going to remember any of the Republicans’ names. They are going to remember in history books one name, and that’s Obama.”
I find it shocking that The Donald doesn’t care about polls, considering how quickly they dashed his hopes for a presidential bid in 2012. His April lead disappeared a mere ten days after Obama and SNL’s Seth Myers skewered the real estate mogul at the White House Correspondent’s Dinner on April 30. Shortly after dropping to fifth place in a survey taken by Public Policy Polling in May, Trump announced that he would not be running for president in 2012.
Read more at Think Progress.
In America we love our competition reality TV, and with the big showdown coming in 2012, the lead-up to the presidential elections has yet to disappoint. Of course, it’s the GOP we’re all watching; it seems like the field of players grows every week, and every week one of them says or does something that makes you wonder if this whole thing is scripted and the GOP is making a Oscar-worthy documentary, Joaquin Phoenix-style.
One character that’s starting see more screen time is Texas Gov. Rick Perry.
Touting his state’s booming economy and job growth, Perry believes that it is his fiscal leadership that has led Texas to recover faster than many other states. In a June appearance on Fox News, Perry claimed that Texas jobs accounted for 48% of the total number of jobs created in the US since April 2009. Politifact found the claim to be neither completely true nor completely false; stats on job creation in Texas are heavily disputed, ranging anywhere from 18% to 54%, depending on the time frame and who you’re talking to.
There’s no denying that Texas’ economy is doing well, but the growth comes at a price; Texas reportedly added over 211,000 jobs in 2010, 76,000 (37%) of which paid at or below minimum wage. In a New York Times Room for Debate discussion, “The Texas Jobs Juggernaut,” editor of The Texas Observer Dave Mann writes,
Texas now leads the nation in minimum-wage workers (550,000 in all). That hasn’t improved our income inequality. Despite the good economy, Texas remains a state of extreme wealth and desperate poverty. The low-tax structure means the state is chronically short of money and, this year, saddled with a huge budget shortfall. Social services and public schools are woefully underfunded. Our graduation rate is low, our dropout rate high. One in four Texans lacks health insurance, by far the highest percentage in the nation.
Mann explains that many of the driving factors of the state’s economic boom—”inexpensive cost of living and low-tax, anti-regulatory policies “—preceded Perry’s arrival to the statehouse and will remain after he’s gone.
What is most fascinating (and disturbing) about Perry singing the praises of his own economic prowess lays in his ultimate plan for fixing the US economy: God.
When speaking to an evangelical group in May, Perry repeated the beloved GOP/Tea Party line that the nation’s current policies are a threat to the founder’s vision of America, saying “Our founding fathers understood that [private property] was a very important part of the pursuit of happiness. Being able to own things that are your own is one of the things that makes America unique. But I happen to think that it’s in jeopardy. It’s in jeopardy because of taxes; it’s in jeopardy because of regulation; it’s in jeopardy because of a legal system that’s run amok. And I think it’s time for us to just hand it over to God and say, “God, You’re going to have to fix this.
Last time I looked, God was not a financial planner, so it doesn’t matter much that Perry thinks he has a direct line to the Almighty ever since He “called” upon the Gov. to help fix America after us damn liberals came in with our crazy socialist ideas, wanting to close the wealth gap and insure all citizens equally. Besides, not even God would be merciful enough to take a cabinet position to fix this mess, as one commenter posted on New York Magazine‘s website in response to Perry’s pronouncement, “God is like, ‘no thanks man, I’m cool.'”
The teaser for Christopher Nolan’s final Batman film is here.
Over the weekend, as the last installment of Harry Potter hit theaters, breaking every box office record for an opening weekend known to man as the world turned out to say goodbye to the boy wizard, the first teaser trailer for The Dark Knight Rises appeared during the previews.
The teaser is dark, looking and sounding very Chris Nolan-y, dominated by monochromatic color schemes and varying degrees of gray, with music that is heavy on horns and aggressive in its beats, similar to Nolan’s previous Dark Knight films and last years Inception (best trailer music ever). Hans Zimmer’s scores may be overbearing at times but they’re almost always right for the film, and play especially well with the tones in Nolan’s movies.
Speaking of Nolan’s Inception, the poster for Dark Knight Rises could easily be a left-over still from the enigmatic thriller. The film also reunites Nolan with Inception actors Tom Hardy, Joseph Gordon-Levitt and Marion Cotillard. Truthfully though, I don’t mind the similarities; I loved Inception and Nolan’s previous Batman films, and therefore I assume that I will love this one as well.
What I’ve always found interesting about Batman is how well the character plays in good times and bad—his inherently dark nature, along with Tim Burton’s quirky rendering of the franchise was the reigning superhero of the booming 90’s, while Nolan’s Dark Knight was also well received in 2005 and 2008 as the US slowly trudged through the Bush years, fighting two wars and a recession.
There are a lot of films to look forward to in 2012 (seriously, is it 2012 yet?), but as of right now, The Dark Knight Rises is at the top of my list.
“We are all made of stars.” Yes, I did just quote Moby; it’s a catchy song. And the phrase rings true when you look at the images from Eric Fischer’s new project “See Something, Say Somthing.” where he has created a world atlas depicting the number of Twitter and Flickr users. Fischer maps Twitter users in blue lights, Flickr in red, and users who employ both social networking sites in white. The images are stunning, making Manhattan seem akin to billion-year-old constellations.
With each one of us representing an individual star in the Internet universe, the images help put into perspective just how massive this universe has become. Check out the full slideshow on Eric Fischer’s Photostream.
The video for Goldie Harvey’s new single “Don’t Touch,” opens in black and white, on a pair of bejeweled lips. A rapid sequence of images reveal a female dancing in a glow-in-the-dark corset and frilled mask; star-shaped glasses à la Elton John; barely-discernible spiderwebs twitching around the whites of crystal-rimmed eyes. Next we are looking into a padded room with illegible words scrawled on the glass in lipstick—the ravings of an insane woman—Goldie is shoved in, straightjacketed and dirty, with her hair teased into disarray. It’s not hard to see why some refer to the Nigerian pop star as the “African Lady Gaga.”
In the video, which was shot in Lagos and directed by Clarence Peters, Goldie chants “don’t touch my body” to a swift electric beat while moving through a collection of unpredictable scenes, each one stranger than the last. Goldie is an ancient Egyptian pharaoh, an angel, and a circus ringleader; she sports a red feather-and-sequined headdress and then plays assistant to a knife thrower. Several times in the video Goldie is shown wearing a leather corset and lace stockings, posing in front of what could easily have been a left-over set dressing from the last Tron film.
“Don’t Touch” is erratic and obscure but for a reason; the stream-of-consciousness style composition highlights an overarching element of insanity. Like Rihanna’s high-speed convulsing in “Disturbia,” or Lady Gaga’s rigid fingers and white-tiled walls in “Bad Romance,” Goldie’s allusions to madness typify a common theme present in the music of many of today’s successful female artists.
In the age of the viral video, where everyone is competing for hits and shameless poise is the ultimate goal, female empowerment still comes with the caveat that the woman must be at least a little bit crazy. Not necessarily bad nor incontrovertibly good, artists like Gaga and Rihanna have helped popularize the hot, edgy, slightly unstable female persona (“gaga” is literally a synonym of “insane”). Goldie embodies the role with relish, enticing unseen males under the guise of seduction, she breathes “come on boy,” just before pumping the breaks.
Like “Disturbia” and “Bad Romance,” Goldie’s track is lyrically simple but visually complex, and equally fun to listen to. Just remember, no touching.
Originally posted on Africa is a County.