Burden of Salt

My name is Tom Beedham and I am a media writer / photographer / list maker. Links and coverage do not signal endorsements, and content posted is not my own unless I indicate so.

The Pop Machine: Children of the mouse contradict

What Miley Cyrus might tell us about Britney Spears and Disney

by Tom Beedham

Ever since I read the account Chuck Klosterman gave of his Esquire interview with Britney Spears, I’ve been pretty wary of the kids Disney’s churned out. The cloying nature of the Mickey Mouse Club was scary before, but just the notion that their training could have any hold on a person’s self-awareness meant a new level of scary.

When Klosterman went into that interview, he was primarily concerned with whether Britney was the least self-aware commercial product that music producers could dress down and sell like Barbie dolls, or if her apparent inability to process the idea that she might just be that kind of sexed-up marketing device was actually an über-savvy projection Spears used to frame her own innocence. To be fair to Disney, Klosterman never explicitly brought up their company, but when he talked about selling Britney, I couldn’t get Disney out of my head. So this column kind of rests on that assumption.

Klosterman’s account manages to freak me out mostly because he isn’t able to reach a conclusion, even after asking questions that you’d think would give him some answers. But in her interview, Britney responds to questions like “why do you think magazines like Esquire use half-naked pictures of women on their covers?” with answers like “Maybe to inspire other people.”

Fast-forward a few years, and another child of the Disney incubator, Miley Cyrus has had to grow up in the public eye, but for Miley’s public image, there was no gestation period. While the final season of Hannah Montana was still fresh and airing new episodes, Cyrus dropped Can’t Be Tamed, an album with a title that might be pretty scary for a parent to read when their kid’s watching a sugared up show about an innocent Disney pop princess.

“I feel I was so trained in my interviews to be All-American or whatever. I just got so set in the way of saying the same things I did when I was 12-years-old… I guess I kind of realized that my whole life isn’t one giant press junket. I don’t have to be smiling all the time and always have the perfect answer,” she said on a recent episode of Lifetime’s The Conversation with Amanda de Cadenet.

In comparison to Britney’s interview, Miley’s gushes with self-awareness. The two instances are pretty contradicting, but maybe it’s a reflection of the times. The only reasonable explanation I can offer is social media explosion. Over the last couple of years, our culture has become obsessed with sharing the self and the individual, and with that has come the requirement of self-awareness. These days, it’s almost impossible to imagine a naïve character like pre-buzzcut Britney, so maybe the popstar assembly line has toned down the marks it leaves on the minds of its protégés. I mean, you have to make a product realistic in order to sell it, don’t you?

(Source: theontarion.com)

“I haven’t been read to like that since gradeschool” –library style Fight Club parody

The Pop Machine: Hulk, smash!

Weighing in on critics disappointed with The Avengers’ representation of India

by Tom Beedham

Despite a record setting $200.3 million opening weekend at the box office, not all were entirely impressed with director Joss Whedon’s The Avengers. In particular, critics didn’t find opening scenes involving Bruce Banner (a.k.a. Hulk) exceptionally smashing.

In the film, Bruce Banner (Mark Ruffalo) is taking refuge in the slums of Kolkata, the capital of India’s West Bengal. A man on the lam, there, he uses his medical aptitude to treat lepers.

Bengali actor Riuparna Sengupta responded to the film’s exclusive magnification of the city’s slums.

“Kolkata has a rich culture and heritage, and a filmmaker should respect that,” said Sengupta.

The city is recognized as West Bengal’s capital because it is the nucleus of East India’s commercial, cultural and educational enterprise. It does not exist in a vacuum apart from modernity as The Avengers depicts it.

While some were perturbed with the film’s exclusive depiction of Kolkata’s slums, others took issue with the film’s colonial appeal.

“Calcutta looked cramped, squalid and leprous, as in City of Joy from 20 years ago. Then, Patrick Swayze was saving lepers. This time around, Mark Ruffalo is Dr. Bruce Banner, keeping his inner Hulk under control by saving eternally ill slum-dwellers.

“This is not the reverse migration story about the West coming East in search of the future. […] It is a throwback to a much older idea of India: a black hole, all slumdogs, no millionaires, waiting to be saved by a foreign do-gooder.”

While the complaints are completely valid, it is not entirely unheard of that the Kolkata scenes–filmed in New Mexico–represented slum environs exclusively. It continues a theme already established in the connected Hulk franchise; in 2008’s The Incredible Hulk Banner is in Rocinha, Rio de Janeiro slums learning to control his anger. But Banner’s not just managing stress, he’s in hiding. Pursued by US Military intelligence helmed by General Thaddeus E. Ross and the Strategic Homeland Intervention, Enforcement and Logistics Division (S.H.I.E.L.D.)–the latter of which can tap into any mobile device if it wants extra eyes or ears–environments that thrive to the pulse of modernity generally don’t work for him.

Still, the critics have a point. The continued Hollywood tradition that magnifies points of cultural weakness is both unfortunate, entirely unbalanced, and in a time where CGI is at its peak and set design can be utilized to make New Mexico look like a city in India–especially when the film in question had a production budget of roughly $220 million–entirely unnecessary.

Whedon could have easily dollied/tracked/zoomed in through India to Banner or from a hyper extreme aerial shot above Kolkata into the slums. It might have even helped emphasize the degree of Banner’s self-sequestering.

(Source: theontarion.com)

The Pop Machine: EDM on MDMA

In the world of electronic dance music (EDM), there are many sound effects and ambient noises, but few words. Combine that situation with the conditions of stage setups that hide the musicians behind massive equipment arrangements and acts like Daft Punk, The Bloody Beetroots, and Jaguar Skills donning costumes, and you are left with a genre that deprives its listeners of relatable personalities.

Joel Zimmerman, a man that wears an oversized mouse mask to work, is an exception. Better known as Deadmau5 to his fans, Zimmerman has embraced the offerings of social media to become an outspoken voice for the EDM community. Between blog posts and Twitter and Facebook rants, that has meant sounding off on topics like forced collaborations, music that people only remember the bass drops from, and the representation of EDM in general.

Zimmerman’s most recent outburst on the latter subject was prompted when Madonna addressed a crowd at Ultra Music Festival in Miami on Mar. 23 by asking, “How many people in this crowd have seen Molly?”

While many wondered what in the hell Madonna was talking about, Zimmerman recognized the question as slang used by rave attendees looking for MDMA, an illegal hallucinogenic drug. In response, he took to his Facebook account, which has a following of nearly five-and-a-half million users.

Cross-posting on Twitter, he wrote, “Very classy there Madonna. HUR DUR HAS ANYONE SEEN MOLLY???” Such a great message for the young music lovers at Ultra [sic].”

“Thats your big message to ultra attendies? hipsterspeak for looking for drugs [sic]?”

Madonna later responded to Zimmerman’s outburst by tweeting him a classic photo of herself wearing Mickey Mouse ears that said, “From one mouse to another. I don’t support drug use and I never have.”

She said she was referring to “Have You Seen Molly,” a so far unreleased song by Cedric Gervais.

Still, Zimmerman isn’t convinced. He’s since commented that Madonna is simply throwing Gervais “under the truck.” I’m inclined to agree with him, considering that on The Tonight Show with Jay Leno, Madonna said the title is intended to be– as well as a disemvowelment of her name and a signifier of “Madonna DNA”– a reference to the “euphoric feelings of love” one experiences when on MDMA.

Whether the 53-year-old was trying to be hip or not, the entire situation is bringing a lot of attention to the way that the umbrella genre that is EDM is represented.

Ever since the late 1980s, EDM has been bound to the stigma of promoting the usage of recreational drugs, especially MDMA and Ecstasy. When a moment comes along where an established celebrity like Madonna (a.k.a. “The Queen of Pop”) steps into that genre, there are great opportunities to alter that perception. At the same time, there’s a risk of spoiling and undoing years of a community’s progress.

We are lucky to be beyond the communication technologies available in the ‘80s, and EDM is fortunate to enjoy recognition not as an underground movement but as a newly popular art form. Because of social media and EDM’s mushroomed profile, we are now privy to a bigger window into a community that was once disparaged by mainstream media. Maybe the mainstream will soon be able to move beyond “molly talk” and appreciate the genre for what it really has to offer.

(Source: theontarion.com)

The Pop Machine: That [so] cray

Katy Perry’s “Ni[nj]as in Paris” still manages to offend

by Tom Beedham

Despite her possible good intentions, Katy Perry’s lyrical choices are no stranger to controversy. Insensitive at the least, “Ur So Gay” has been pegged for “catchprase-homophobia” and “gay-baiting;” “I Kissed a Girl” has been lambasted for proceeding to try a little too hard at verifying the singer’s sustained heterosexuality after relating a bi-curious encounter; and “E.T.” has been scolded for fetishizing unfamiliar cultures.

Surely, Perry is familiar with the “words have power” argument by now. In a recent performance on BBC’s Live Lounge,it seemed she was confirming that by singing a carefully censored cover of Jay-Z and Kanye West’s Watch the Throne hit “Ni**as in Paris” on BBC’s Live Lounge.

Covering both Yeezy and Hova’s parts of the club banger, Perry swapped out “ni**as” for “ninjas” and adjusted most of the swearwords too, remodeling the chorus as “That so cray” instead of “That shit cray.”

While Perry seemed to avoid the most obvious controversy that could follow covering a song containing the word “ni**as” in both the title and the chorus, pop culture writers like Andy Hutchins have argued that despite her adjustments, Perry’s cover was a money-seeking act of minority tourism.

“She’s making one of the most overt engagements of race in recent memory,” said Hutchins in a Mar. 19 article. He says “Ni**as in Paris” is about the incongruity of wealthy black men in Paris.

Making this claim, Hutchins points directly to Jay-Z’s verse, which contains a line saying, “If you escaped what I escaped/You’d be in Paris getting fucked up, too” – a line Perry did not tweak for her performance.

Combined with his observation that “rap has been taken to represent minority life (and especially black life),” it is possible that the lyrical premise Hutchins provides for his argument could have been incorrectly deployed in an attempt at verifying his argument.

Despite pleading guilty, Jay-Z walked away from a 1999 felony assault charge that could have meant 15 years in jail with a mere three years of probation – something that certainly could have prevented his presence in Paris during the making of Watch the Throne. Just before the line Hutchins references, Jay-Z also says, “I’m supposed to be locked up, too.”

That said, if those 1999 charges are what Jay-Z references having “escaped,” there is plenty substance remaining in “Ni**as in Paris” that could indicate Hutchins’ suggestion that the song is about the discordant spectre of wealthy black men in Paris might be right: in the same verse Hutchins references, Jay-Z also says, “We ain’t even supposed to be here.” In that line, Hova employs a pronoun that could indicate either that himself and Kanye, wealthy black men, or any number of other, larger groupings are out of place in Paris. However, the song’s title makes it pretty blatant that the subject Jay and Ye are concerned with is black people in general.

All things considered, it’s pretty easy to see where Katy Perry went wrong with her cover choice. By covering and adjusting “Ni**as in Paris” for her own, the singer appropriated a minority rap about transgressing cultural stereotypes. Making matters worse, she attempted to strip the song of its meaning and use it for her own commercial gain. Can we just get her some anti-oppression training already?

Muppets take on Requiem for a Dream in this submission to Virgin Radio’s Fake Film Festival.