Popular Culture and the Understanding of Politics - Essay Example

POPULAR CULTURE AND THE UNDERSTANDING OF POLITICS By of School 11 March In an erawhere politicians appear in television shows and film stars and musicians venture into politics, popular culture is turning out to be important in politics. In his book Politics and Popular culture, John Street argues that, popular culture involves the organizing of our pleasure and therefore, our values, identities and interests and that those preferences depend on a chain of political choices and processes that in turn shape our culture (1997). The relationship between popular culture and politics is cofounded on passion but the connection is not a simple one. It is not an issue of popular culture causing political ideologies and actions. Therefore popular culture is not something that someone can say explains the state of a person nor does it make persons think in specific ways. It neither manipulates nor mirrors what individuals do rather people live through it hence no one will be compelled to imitate actions of popular culture. Popular culture in essence refers to artistic, cultural expressions of different genres such as theater, music, dance visual art, the film industry, and literature. In the present age, these cultural activities have been found to play a significant role in shaping the political reasoning in various parts of the world. Popular culture does not have a distinct definition of what it entails and different people have their understanding of the exact meaning of popular culture. John Street refers to it as a product of mass production arising from production companies to achieve high mass sales (1997). The primary focus of popular culture is the means of production distribution and consumption. Thus, popular culture is said to be a form of entertainment that is available to large numbers of people, or that is mass produced. Music production is the most common genre of mass production in popular culture; hence the mass aspect becomes the defining characteristic of popular culture. It is about euphoria of the masses and so is politics explaining the base where both hold joint feature. It is the very reason popular culture is impacting on politics in the world today. The agents that play a role in spreading the music that is television and radio reach far more masses, and their liberalization has helped facilitate emergence of new popular cultures that did not have space in state-controlled media. For instance, the rise of hip-hop music in the 1990s in African states was down to liberalization of media. These celebrities command large following among the youths who are the majority in society today. Politicians have formed relationships with some of these musicians and the can be invited to perform in political campaigns or national festival where they assume that the numbers will be attracted by the celebrities giving them chance to air their views. The ability of popular culture to produce and articulate feelings has become the origin of identity, and that identity can be the cause of political thought or action. Peoples feelings and responses shape their expectations and preferences. Identity is the founding aspect of politics and identity itself is a product of popular culture, so politics is born from popular culture (Englert, 2008). People are defined by their style and political interest preference. The identities will emerge in relation to what identifies nations in which the press is a popular actor. The press forms the main avenue through which the politicians can reach large numbers to deliver their message and sell their policies Since popular culture is about the masses and world politics. In this generation, they are about what a number politicians could do with an insight into popular culture that acts as a connection between divided individuals in the current state. Regardless where someone comes from whether it is from a blue state, red state, urban or rural environment, they are aware of popular culture. For instance, in America, any politician gracing popular culture references to making appearance in popular culture venues is likely to increase his appeal to the public. In a democracy, victorious politicians are usually those with the common touch. President Obama won the hearts of Americans by his use of pop culture in both the presidential races he has run. First, he is very fluent in pop language that he could easily make references to his TV viewing habits that the media could eagerly and lovingly report. That way, they were selling the image of Barrack Obama among the electorate unknowingly because people are very sensitive nowadays and they want to hear what whoever is going to lead them does. President Obama used to make appearances in soft media entertainment shows where he could reach the targeted sections of the electorate, and he was very careful when tackling sensitive issues. President Obama also used Hollywood celebrities to raise campaign funds for him and campaign for him. In the 2012 presidential race, Mitt Romney’s iPod playlist is said to have had Cad Frankie Vali, Johnny Cash, the Beach Boys and the Soggy Bottom Boys. President Obama’s iPod assured his fans something for everyone from Stevie Wonder, James Brown, Bob Dylan and then from Jay-Z, Eminem, and the Fugees. His was a diverse collection of different genres of art music and he embraced popular culture in his campaigns and in both elections, he overcame the Republicans who have stringent views towards pop culture. Obama’s team was successful because he didnt come out blank and cloying, but still communicated a generalized symbol of hope they could attach to their meaning. He acknowledged all cultures and ideals in his audience and recognized a variety of them whether black, hip-hop basketball, intellectual and others and on that he showed the American that regardless of what they can still be united as there is someone who speaks for each group. The campaigners took advantage of the relationship between politics and popular culture to put Obama ahead of his opponents. The White House has seen presidents who have embraced the art of popular culture not once. Tasker and Negra explain that, John Adams as a president took pleasure in literature, poetry, theater and translating Latin texts (2007). Andrew Jackson turned his simplicity into a political asset. Lincoln was popular among the electorate by his folksy stories though he was not a president and he still remains as the most popular politician in American history and to the world (Tasker and Negra, 2007). Popular culture is becoming more popular and relevant to the political scene in America today, and it is said to have become an arm of the Democratic Party who are tolerant to new lifestyles of the present generation. As popular culture becomes more vulgar, politicians are likely to oppose it or support it. There is plenty of vulgar language and sexuality within pop culture, but there are other acceptable shows too, thus one should not paint the whole culture as being bad. Bill Clinton is known to have played the sax and even spoke about his underwear, while when Bush was asked about if he has ever watched desperate housewives, he was very dismissive. It shows how the democratic have chosen to support pop culture, unlike the Republicans who are against it. Politicians have tools that an enable them interact with celebrities should they choose to. In the American society, Democrats have been found to be more tolerant to edgier shows compared to Republicans who have a lot of artistic fares that they can refer to their benefit. In the United States, conservatives are wary of the role popular culture is playing in American politics. They have a reason to be because, for example in Hollywood, despite being a strong democratic town, it is full of celebrities who claim large followings and who can use that to the advantage of the democrats as it has been evident before where they have been campaigning for Obama. Reference to pop culture is inclined towards singing praise for the Democrats, while demonizing the Republicans. The president on the West Wing, for example, was a Democrat whom the producers intentionally created as a mix between Kennedy and Clinton, minus their unfortunate foibles. The vice president character on Homeland, in contrast, was clearly a caricature of Dick Cheney, bad heart and all. This anti-Republican tendency shows up in music, as Fleetwood Mac loves it when Clinton uses their song “Don’t Stop” as a campaign anthem, but Republicans are repeatedly criticized by musicians when they try to use popular music in their campaigns. Republicans are continually criticized whenever they want to use pop music in their campaigns. Republicans are disadvantaged when it comes to pop culture and as seen from recent experiences, politicians are trying to embrace pop culture choice of music. The coming race of American politics will witness how pop culture is likely to influence who uses pop culture to their advantage to win the elections. According to Zoonen, in recent times, there have been significant changes in the field of press that comprise popular culture. Popular press plays a significant role in politics, and it is viewed as a valuable campaign tool by politicians (2005). The press covers significant ground in a short span of time and that is why its politicians need to accept it, if they are going to reach unto their subjects fast. There is a risk of being phony for a politician when they are referencing popular culture. Phoniness is a grave sin when invoking popular culture. For example in 1984, Ronald Reagans campaign used Bruce Springsteens Born in the USA as a song bolstering their ‘morning in America reflection theme. Springsteen did not think much of Reagan and responded ‘its not morning in Pittsburgh’. The surprising part is when Reagans aide was asked what other songs of Springsteen the president liked and the assistant was unable to come up with any. At times, it can paint a bad political image as it depicts leaders as people who do not care about culture. Al Gore is supposedly having said to love Courtney love’s music, but when asked to name one song, he was unable. Even Obama had before been in trouble when he joked about Snooki, yet he accepted that he didnt know who Snooki was. The politicians should avoid referring to popular culture if they have no idea what they talking about. It is common nowadays to see pop stars and media moguls move to politics. Arnold Schweinstieger is a movie star and he has been governor in one of the States in America. Silvio Berlusconi popularly known for his love of football is another example of a politician who has exploited popular culture to make him famous. Football is a following that is gaining more ground in the modern era, and it is part of popular cultures because it commands masses. These people are part of a universal rule that recognizes how popular culture constitutes the way we communicate and that political communication depends on symbols and gestures just like Berlusconi identifies with AC Milan football club (Jenkins, Mcpherson and Shattuc, 2002). People using popular culture as a tool are experts in modern forms of communication, and they are professional in representing people. Each day, politicians are borrowing skills and techniques of popular culture to promote their image. Englert affirms that, Bill Clinton played the saxophone on MTV and studied ways that television performers set up the connection with their audience through emotion management on display (2008). Political parties are now employing pop language for advertising by using pop video makers in their election campaigns. In 1987 Neil Kinnock‘s broadcast campaign, they made a video of the chariots of fire. It captured the technique and political image vividly through a series of sentimental memories, warm endorsements, and soft focus shots. The main point was to market Neil Kinnock and his sensitivity just like other advertisements. The more politicians are out to create policies and party consistency, the more they find themselves closer to popular culture. Popular culture stands for its masterly of popularity, and that is the perfect ingredient for politicians. Popular culture can turn out to be a form of resistance by providing a means of defiance that can be a weapon to deny the power. It provides a transcript that is written with anger and aggression of political domination through songs, poems, jokes, plays among others. That kind of culture becomes kind of a political resistance to create a particular outlook of the world; one that challenges the present political domination. Political opposition is in the form of how the authority is satirically mocked or through euphemistic plays. Englert argues that, the use of popular culture for political articulation of the oppressed was witnessed in communistic nations and other repressive regimes such as apartheid in South Africa (2008). Such states enjoyed complete dominance over the public, and it is the artists who could speak on behalf of their people because there was no free press. Tasker and Negra note that, in Latin America, popular culture as a means of expression developed very well especially with theater activist Augusto Boal, who even became famous beyond the continental level (2007). In Africa popular culture, has been used as an empowering tool to counter oppressive regimes. Popular music can shape a countrys politics as it is evident from the Kenyan case where a song played a crucial role in the election campaign of the opposition in 2002. Popular culture may be shaping a nations political landscape, but it does not give the justification for it to be the voice of the voiceless. In South Africa for instance, music played a role in constituting apartheid and aided in taking it apart. Popular culture can therefore be viewed as a possible way to articulate political disapproval and the conceptualization of political transformation. Popular songs with rich political content have in one way or the other played a role in shaping politics in different African states. The songs though are rather in their countries of origin where they are highlighting the political situations. It is understood that the same musicians who write political songs are the ones who later turn to criticize aspects of the political system, hence it becomes difficult to comprehend where the stand of these pop artists lies. Political pieces from musicians have not always won the approval of politicians as most politicians in Africa consider music that has a criticism as one that may become a catalyst for resistance. Such kind of music is always censored as it was evident during apartheid in South Africa. Popular music does not only suffer from censorship but also different types of interpretation as the basis for suppression. Englert noted that, the 2002 Kenyan election campaign popular song unbwogable by Gidi Gidi Maji Maji was not initially intended to be a political jibe, but a different interpretation made it a political reading (2008). Trying to censure the song, the political atmosphere gave it a political interpretation. To avoid censure, musicians frame their music in a more subtle way by using metaphors, irony, and slang. Other than repression, politicians can use appropriation of music to ensure they remain in power for long. It has been the trend in most African countries post-independence where they could use music as a tool of unity and development. They could use traditional songs and form them into propaganda, but the trend seems to grow also in pop music like the Kenyan scenario with unbwogable. The sponsors produced more versions of the song that was originally in Dholuo replacing segments of the song with other languages so as to make it have a national outlook. Even though explicit use of popular songs by politicians and in politics is not common, there is appropriation of music by politicians who invite these artists to perform at political rallies and to the musicians, it is chance to gain more social ground. Popular culture’s capability to center on passion and expression of defiance allows it to become a form of political management. Cogan and Keslo note that, the opportunity can be used to criticize and benign impact just as the identities defined by popular culture can be liberating or oppressive (2009). Propagandist machines in Stalinist Russia and Nazi Germany are notable cases in which culture can be deployed to legitimize a political order and coordinate a popular sentiment (Cogan and Keslo, 2009). Such acts are still alive in popular cultures of democratic states that are liberal. The state manipulates popular culture as a tool of deference and marginalizing dissent. The state uses cultures ability to move individuals by manipulating them. Popular culture is not exclusively linked to politics, but it depends on the conditions and the context that is the political system and the type of popular culture. The popular choice is not imposed on the people it is their free will to choose their preferences. To gain insight of the connection between popular culture and politics, individuals need to be on guard against the easy option that populism offers. It oversimplifies the ways that popular culture takes on political importance or the ways that politics engages popular culture. The relationship relies on political ideologies and institutions. Many people believe that the mass media is a source of power in the current world but the media literate are those who can resist the challenge of power in the world. The modern generation that is so informed understands popular culture well and majorities are conversant to technologies. It helps in spreading information about a give ideology. The internet has changed how fast information travel. Social network that is part of popular culture forms an online forum where people can meet and exchange ideas without having to convene a physical meeting. Most political revolutions have seen the internet play a role like the Arabian revolution that has swept across the Middle East has been successful mainly because of the internet. Information flow faster and it also provides a platform where the youth can engage their leaders on both political and social issues. The relationship that exists between popular culture and politics can at times be associated with risks, like seeing a politician as a peoples representatives and popular culture just as a form of expression. Politicians tend to think like they are the only people, who speak on behalf of the people, but cultural populism speaks for the people and it allows artists, broadcasters, cultural analysts, and others to air the wishes of the people. However, this does not offer the best form to articulate the views of the masses. What they do is to link the audience to a vision that will in turn legitimize a particular course of action. The popular press may act as if it speaks for the values of the people, but such ideas may not be shared by its readers. Some popular culture can be better when compared with others as acknowledged by our choices when we choose films or change channels to view a different program. Populist reading of culture just like populist reading of politics should be replaced by an approach that has insight of popular culture in terms of institutions that create it and political ideologies that define it. From the criticism, it appears in the way system and ideas affect the character production, content and consumption of popular culture. It is most evident in the practice of propaganda and censorship where the state denies access to popular culture for fear of the outcomes, or where it uses propaganda to maintain authority and social order The state though plays a role in broadcasting, industrial policy, establishment of regulations and conditions that favor popular culture hence enhancing it. Understanding popular culture is to get to know the rules and how it is produced. The country’s institution structures and constitution also dictate the ways in which popular culture becomes incorporated into the political arena. In country where parties control politics by allocation of political patronage, opportunities by media exposure become limited. However, in countries where the parties are weak, the media becomes an essential agent. Englert explains that, in the United States, prominence is attached to the media and whenever party structures fail, politicians will mostly rely heavily on the media (2008). Also, social groups will prefer mass media to established interest groups. The issue of popular culture is a broad one as demonstrated. It can help build politicians and sell the agenda to the great masses they command. From large numbers of television viewers, music listeners and novelists inclusive, these can be more excellent agents that can nurture a political career. As it has been evident in various spheres, popular culture is evolving each day and such revolution is what stands out for its ability to reach and appeal to broad masses. On the other hand, politicians should act as agents of good will to help nature talents, and provide conditions that are favorable to grow popular art rather than traditionally oppressive ways. Power lies in popular culture, and proper integration with politics can bring unprecedented benefits either way. References Cogan, B. and Kelso, T., 2009. Encyclopedia of Politics, the Media, and Popular Culture. Santa Barbara, California: Greenwood Press. Englert, B., 2008. Popular Music and Politics in Africa-Some Introductory Reflections. [pdf] Available at: < https://uscholar.univie.ac.at/get/o:244946.pdf> [Accessed 11 March 2015]. Jenkins, H., Mcpherson, T. and Shattuc, J., 2002. Hop on Pop: The Politics and Pleasures of Popular Culture. Durham: Duke University Press. Street, J., 1997. Politics and Popular Culture. Philadelphia: Temple Univ. Press. Print Tasker, Y. and Negra, D., 2007. Interrogating Postfeminism: Gender and the Politics of Popular Culture. Durham: Duke University Press. Zoonen, L. V., 2005. Entertaining the Citizen: When Politics and Popular Culture Converge. Lanham: Rowman & Littlefield Publishers, Inc. Read More