On the curious case of celebrity and contemporary culture…

Pop Culture, TrapperKeeper

Celebrity serves the purpose of highlighting otherwise opaque social relations, conflicts, concerns, and realities. That which is the fueling, seemingly banal everyday existence of the masses doesn’t manifest itself into anything of social significance until an icon framed to represent and vividly portray the beautiful burden of an attributed demographic brings it into public discourse.

The celebrity brings with it an entire economy. It is the commodity, the product and property of a corporate entity, a media monarch within the greater sphere of private ownership of a public institution – a public figure within capitalist society. Money, power, and reference run through iconographies.

Equally, celebrity brings with it an entire ideology. It is the character, the product and property of a ruling class. It may reinforce, resist, reject, or repudiate the standing social order. It is also the product and property of the masses from which it emerged, and which it directly influences and impacts – it is the manipulated mouthpiece of an increasingly superficially divided monoculture.

Collectively, the celebrity is the glue which holds together the real and ideal, the producer and the product, the dominant and resistant, the private and the public.

The celebrity sphere is a stage; lone figures act as pieces of a not so much puzzle as a chess board – white/black, soldier/sovereign, pawns and monarchs as symbols of the social classes to which they have the role of playing dual servants: as owners and as slaves.

What celebrities do are not personal acts, they are public displays of hidden banal behaviors. Epithets, for instance, are contemporary conversation pieces, slander is the modern standard language. What was a moot point, what was an actively apathetically accepted atrocity, and debatable defamation pulsed postmodern society in the form of language – that most vulgar, the vernacular.

BlinkkIt: Grammy 2011 Performances

Pop Culture, SnapTrakks, Soundtrek, Uncategorized

Said it before, I’ll say it again #whawhawhawhatdidyousay #yourebreakinuponme in case you’re worried about Pop in 2011: #dontbe

The Grammys, if nothing else, were a top notch Pop production – a beautiful stage show presenting what will be the subsequent year in industry music #whatelseisthere This year was a collaboration of the most notable in recent years – good or bad #thegrammysarenotacheesesandwich – the event brought together a realm of musicians from heavyweights to new bloods and Country crooners to West Coast crypt-walkers… all for the love of Pop #orsomethingtothateffect The performances gave a splendid snapshot of the industry’s landscape, and reflected perfectly the identity of the respective artist on stage – Justin Bieber included… so without further ado, let’s delve into GrammyView

GaGa… oh GaGa #andAGAIN A performance stripped down, stark, and raw as a newborn; explosive, soulful, and synthesized like the new human condition; and with a pure concerted energy to fuel the next era in Pop. #bornthisway: Smoke-and-mirrors stripped – abs ripped #luccarlsdrunkdietworksforshe GaGa: because Pop just got an organ donor… because the misconception is that it was an egg, because the assumption is that – like Post-Reagan urban culture, like premature emergence – crack kills… but this isn’t an egg – it’s an incubator… and in this space the artist and era remain unbreakable.

Bruno Mars, B.o.B., Janelle Monae… miseducated miscreants of the most masterful and musically marvelous kind… #followyourblisstothisfunk