Weekly Analysis 5 - Harley Davidson

The theories that seemed to best relate to my popular culture topic of Harley Davidson were myths and icons.

The most interesting finding was for me travelling over 500,000 Harley Davidson motorcyclists, as a ritual, to Sturgis, South Dakota. This ritual expresses a person’s loyalty and commitment to the community of Harley owners. Also, I was impressed when I learned that those people live the Harley Davidson culture in their personal lives. Even though there is stereotype of Harley Davidson ownesr as wearing no helmets, black leather or denim clothing, bandanas, and dark glasses, I found out that Harley Davidson owners come from all walks of life.

Through the Harley Davidson topic, I learned that a myth can develop over time and through tradition within that time period, maintaining a transcendent quality. I was impressed how the Harley Davidson advertisements perpetuate the myth of independence, freedom, and rebellion associated with Harley owners.

I did not realize that an object, such as a motorcycle, could be associated with culture. However, it is clear to me now that it can be associated with culture. As an instrument of culture, the Harley helps create a unique social group with specific practices, customs, values, and artifacts. Harley culture is immediate and contemporary and brings people closer together. It is a dynamic culture that changes over time, and appeals to a mass audience.  

Director as DJ - Quentin Tarantino

Do you know about the Cannes Film Festival, or do you clearly remember the late ‘90s? If your answer is yes for both questions, probably you would know one of the best directors on this planet, named Quentin Tarantino, who received the Palma Dore in 1994 at Cannes. Michael Rennett (2012) in his article “Quentin Tarantino and the Director as DJ” identifies Tarantino as one of the contemporary celebrity-directors who brand themselves in the film marketplace. In this article, Rennet focuses on Tarantino’s brand: the “director as DJ.”

Rennet states that, increasingly, films have begun to be created using popular-text references to the movies and literature, as well as other features of popular culture. He mentions the most important expressions of this are the films of the Quentin Tarantino. He notes that within the film-making industry, the “director as DJ” that Tarantino exemplifies is analogous to a hip-hop DJ. He states that this phrase has two artistic elements, the director and the DJ, and they share certain artistic characteristics. They both are seen as the most important people in their world. They both express themselves using similar artistry. The DJ combines different music to synthesize a new mixture, while the director combines different textual elements. He says that both the director and DJ “layer” many references to develop this synthesis. Examples of Tarantino’s reference “layering” in his films are his use of text from pulp fiction writers of the 1920s, and 1930s, crime writers from the 1950s to the 1970s, surfer and hot rod music, Elvis Presley, and 1980s Hong Kong actions films. He also shows how both the DJ and the director have an outlaw image. The extreme violence, sexuality, and drugs in Tarantino’s films express his outlaw image. Finally, both the DJ and director are “superstars”. The author says that Tarantino exemplifies the superstar, rags-to-riches “American Dream” in the story of his rise to stardom from a clerk at a video store to becoming the “hottest name in Hollywood” (Rennett, 2012, p.404).  

   

This article was written by a PhD student at the University of Texas and published in an academic journal, namely The Journal of Popular Culture. Therefore, it would appear to be written for a somewhat specialized audience. The vocabulary used is an academic vocabulary. He uses words “auteur”, “inter-textuality” and “found objects” that he assumes the reader can understand. The article is logically organized beginning with an overview of the subject matter. He then defines the phrase “director as DJ” using numerous details and examples. Next, he explains the three commonalities found in the director and the DJ: artistry, outlaw, and superstardom. These commonalities were clearly presented using section headings to separate the discussions. The text was easy to read for a college-educated reader and was written objectively. Numerous outside sources were used to support the author’s claims. Most of the paragraphs have topic sentences at the beginning of the paragraph. The author compares the director and DJ, clearly showing their similarities by providing extensive examples. 

            

I agree with author’s main points. He makes a good comparison between the DJ of the hip-hop society, and Tarantino, the “director as DJ.” I especially like his categories of comparison: artistry, outlaw, and superstardom. Also, I like his example of how a DJ (Mark Vidler) synthesized two references, a Michael Jackson song and a David Bowie song, to create a “mash-up” to develop a dialogue regarding Jackson’s child molestation legal issues, while still enabling the listener to enjoy and dance to his music mixture. Rennett then shows how Tarantino created a reference in his film The Girl Next Door by using a famous line, “I know it was you,” from the Godfather, but did not create enough synthesis because it did not really develop a coherent film text that made sense to the audience. These examples helped me understand concepts of reference and synthesis. Also, I now have come to understand why Tarantino’s movies have such extreme and graphic violence. Rennett provided the reasoning for this in the following passage:

Tarantino has constructed this rebellious persona through the media. He has expanded his defiant attitude through media texts and interviews, promoting his “desperado” personality. In the Index on Censorship, he wrote the article “It’s Cool to be Banned,” an overt promotion of his rebellious outlook toward filmmaking. Indeed, Tarantino’s portrayal of violent behavior has become a trademark. (Rennet, 2010, p. 400)               

            

I think this article is important because, although I am not necessarily a Tarantino fan, I watch his films and enjoy the style. Yet I did not know that he emphasizes a lot from other movies, songs, and literature. Anyway, I think this truth does not detract from his genius. Even though he uses other sources for his films, he always brings his originality to the film and makes a unique experience for the moviegoer. This makes him one of the best film directors in the world.    

          

References

Rennett, M. (2012). Quentin Tarantino and the director as DJ. Journal Of Popular Culture, 45(2), 391- 409. doi:10.1111/j.1540-5931.2011.00918.x

Convention and invention - Harley Davidson

The formulas of convention and invention both apply to a Harley Davidson advertisement.

The latest 2014 Harley Davidson advertisement video featuring the Harley Davidson street 750 and 500 motorcycles perpetuates the Harley Davidson The formula of the advertisement video is exactly what John Cawelti expresses about formula: “… a sophistication and narrowing of the concept of myth into the realization that all cultural expressions develop in a mixture of the old and new…”  

The formula of the video incorporates both convention (old), and invention (new) as it presents the newly designed street Harley Davidson motorcycle to the viewer. The video begins with street scenes in a city. A male is gets on his motorcycle; the next shot shows a female getting on her motorcycle. They are both dressed in traditional black leather garb. The clothing is a conventional representation of the Harley biker, while the incorporation of the male and female is an invention. The old song “Come Together” by The Strypes begins playing as the two bikers are riding down the street. As they are arriving at an outdoor cafe, the song says “He just do what he please…” There are short flashes of the bikers spending time with friends at a cafe. This shows an invention of the traditional Harley rider. As the two bikers leave the cafe and ride away on their bikes, the viewer hears “One thing I can tell you, you just got to be free.” Incorporating these words into the video supports the conventional myth of the Harley rider as independent and free. As the couple stop at an intersection, the viewer hears is “Come together right now over me.” The last words on the screen are “United by Independents,” evoking the conventional Harley line.

The formula of the advertisement used a conventional concept of the Harley motorcycle and biker, but through invention, it developed a new perception of the Harley. In fact, it worked on me; I am thinking about taking a Harley training course for new riders.  

Popular heroes and the cult of celebrity - Harley Davidson

Popular heroes and the cult of celebrity are theories that apply to the topic of Harley Davidson.

Although the Harley Davidson motorcycle is not a person, it does embody the concepts of heroism and celebrity culture. Classical and popular heroes represent action. The Harley Davidson motorcycle evokes the idea of action and the highest ideal of the American culture. The motorcycle owners become members of a community of riders who are loyal to the Harley Davidson brand and to the idea of riding. Harley Davidson owners can expect to attend bike rallies all over the country and meet thousands of owners every year. This creates a bond with fellow Harley riders and ensures that the owners will become people of action.

Harley Davidson has also developed a mystique for the Harley brand. The motorcycle gives the rider an image that many people want, one that conveys the idea of independence, freedom, and rebellion. Harley Davidson is one of the few motorcycle companies that is uniquely American, and it is embedded in the culture. The motorcycle often viewed as an expression of the American culture and the patriotism of its owner. It also represents a vision of its owner independently cruising the American road.

Finally, there is the idea of prestige because the Harley is relatively expensive, and owners give the impression of being affluent and “above the rest.” They, in effect, can become celebrities.   

I learned that how an object can play an important role for people to make them feel like heroes. I even learned that Harley Davidson has a Harley Heroes program.

Harley Davidson - Rituals and stereotypes.

Rituals and stereotypes both apply to the Harley Davidson topic. 

Regarding rituals, the Harley Davidson museum has a special exhibit from June 14 to September 1, 2014: “The American Road.” It shows the importance of the road trip as an American ritual. The American road trip ritual began in the 1930s, when the roadway provided Americans an escape from their everyday lives. Although the gas crisis of the 1970s ended, “the Golden Age,” this ritual is still a basic American experience. Over 500,000 Harley Davidson motorcyclists make an annual road trip ritual to Sturgis, South Dakota, as a commitment to Harley ownership.

Regarding stereotypes, traditionally, Harley Davidson owners were viewed in a stereotypical manner. They were perceived as wearing no helmets, black leather or denim clothing, bandanas, and dark glasses. They put the Harley Davidson logo on nearly everything. Their motorcycle tailpipes were as noisy as they could get away with, and throttle blipping at red lights was mandatory. The bar/restaurant was the preferred travel destination. However, in 2012, Harley Davidson initiated an ad campaign to dispel this stereotype and show that people from all walks of life own Harley motorcycles. This video can be viewed at www.youtube.com/watch?v=pnI_HgcE5ss .

I learned that a group ritual such as the Harley’s Sturgis yearly road trip can express a group’s loyalty and commitment to the community of Harley owners. I also learned that stereotypical images, such as the Harley owner image, tend to be negative.

Written Analysis - Analysis 1

The theories that seem to apply to Harley Davidson Motorcycle are myths and icons.      

Harley Davidson cultivates the idea of rebellion. This myth has generated a great American success story, with the company, more than 100 years old, producing over about 290.000 motorcycles in a year. A company that old has a lot of tradition, which also contributes to mythic qualities. The motorcycle has a “unique, rumbling, throaty roar” and a “sleek, road-warrior look”. It definitely evokes and anti-establishment feel, a wild “bad-boy persona”. The following quote from a Harley Davidson brochure shows how the Harley myth is sustained: “The road has always been the place to find the answers. Or ignore the questions. Miles pass. Civilization fades. Living begins.”

Harley Davidson’s iconic brand signifies subculture of society. When a person thinks of a motorcycle he or she thinks “Harley.” As an icon the Harley “fills a void in consumers’ lives” and signifies an emotional investment. Harley’s iconic brand can adapt over time to increase consumers’ emotional involvement and therefore loyalty.  

It would seem that a myth can develop over time and through tradition with in that time period. A myth also seems to a transcendent quality. An icon seems to require a high degree emotional investment and tends to be identified with a sub-group of society. An icon tends to fill a void in peoples’ lives.     

Icon Analysis

My first popular culture icon is the Harley-Davidson motorcycle. It is manufactured by the Harley-Davidson Motor Company. The company was started in Milwaukee, WI in 1903. Harley-Davidson has become a classic American icon, which appeals to both men and women. My second icon is Uncle Sam, the popular symbol that represents the USA. People all over the world recognize the Uncle Sam image. My third icon is Michael Jackson, one of the greatest pop culture icons of the 21^st century. Examiner.com states the he “changed the cultural and artistic landscape.”

I chose Harley-Davidson because I became interested in motorcycles about five years ago, and Harley-Davidson was the most recognized brand in my country, Turkey. I have a friend who owns a Harley-Davidson. To me, Harley-Davidson represents freedom. I am also really impressed that a Harley-Davidson owner can customize his or her motorcycle to reflect his or her personality.

I chose Uncle Sam because everyone I know recognizes that the Uncle Sam picture symbolizes the US. . The first time I saw the “Uncle Sam” poster, I thought he worked at a circus (maybe it was the hat), but then I found out he actually symbolizes all Americans.

Finally, I chose Michael Jackson because he made such artistic and cultural contributions to the world. To me, Michael Jackson means supreme creativity and innovation. He always will be larger than life to me and much more of an icon than Elvis will ever be.