the transformational qualities of sex and the city.

Images source: latimes.com

I just saw Sex and the City movie opening weekend, arriving to the theater 30 minutes early to find 100 people in front of me. I had avoided the trailers (which basically spills most of the movie) and reviews, so most of the plot twists were still a surprise. To that idea, I am going to avoid major plot spoilers, will with bring up a few product or cultural references and minor scenes that will not ruin the movie. But if you’re a purist, you’ve been warned.

I heard that the movies was getting bad reviews (which is now leading to the inevitable backlash to the backlash.) After seeing I could guess why the critics were panning, and my gut instincts were confirmed after reading up what the critics said after my screening. The movie was made for fans, and the critics for the most part obviously were not watchers of the show. They complained about all the product placement in a movie based on a show the made “Manolo Blahnik” a household name. Furthermore, an early voiceover states that a major theme is “Labels and Love.” Note that labels come first. If you were watching for the fashion you were not disappointed (Louis Vuitton, Vera Wang, Dior, Vivienne Westwood, all make appearances along with the Manolos.) If you wanted new insight on human behavior or a stretch in cinematic achievement, you were disappointed.

The labels of SATC taps into some of my recent readings and posts. Especially relevant is the idea that we create identities from our brands that Rob Walker explores in “Buying In.” In the middle of a very good read, “Transformations,” by Grant McCracken who examines our culture of transformation. Combining these two ideas show the way people seek transformation of the self with brands and in the cast of SATC fan through fashion labels.

Years after the HBO series ended, the cultural currency of SATC is shockingly strong, even if the SATC fan has reached point of cliche. (Before, I delve too far into discussing the SATC fan and lest you think I’m taking easy cultural criticism pot shots, I’ll just admit now that I made plans to see the movie back in January.) Defying negative reviews and blowing out opening box office estimates, fans of the show arrived in droves and in dress. The most telling sign of the strength the shows influence is the film’s ability to self-reference the caricature of the SATC fan, with shots of other groups of female foursomes out for the night. Even more so, we see the on-screen characters state they stopped drinking their once prerequisite Cosmopolitans cocktails (which was the signature drink of the show,) because Cosmos become too popular. The applause which erupted at the end of my screening proved that the audience didn’t take offense. They chose affirmation over critique of the film’s self-awareness of SATC’s cultural impact.

That self-awareness is assuredly post-modern. The movie offers an urban princess roadmap. Moving from renting luxury bags from the internet to owning the real thing suggests McCracken’s idea that our society is not only transformational, but also one of *upward transformational*. The ultimate end point is the penthouse apartment on Fifth Avenue, with a closet that evoked an audible gasp from my fellow audience members. Literal references to the fairy tale are seen in the film via a young daughter’s request to have Cinderella re-read to her, which reveals the existence and the power of the SATC myth of (for the vast majority of fans to realize) the unobtainable. Therefore, the myth relies on a simulation of a lifestyle which is constructed and supported by both the creators and actors of the show, as well as, the fans.

The simulation relies on more than buying knock off LV bags on Canal Street, but the SATC creators involvement as well. Sarah Jessica Parker’s foray into producing fashion is her Bitten line, with Steve & Berry, a ultra-inexpensive clothing chain where dresses cost under $10. The relationship of the culture and myth SATC and the fashion world is complex. Vera Wang criticized the Steve & Berry line, perhaps feeling defensively of rendering the sanctity of not only the fashion designer but of luxury itself. I guess they made up because a Wang gown has a fairly prominent placement in the movie. Perhaps, Wang realizes that in this new world of simulated luxury, she is as dependent on SATC and Parker as they are to her. It is hard if not impossible today to make couture profitable, thus designers use couture for brand building and eventually go mass to make the serious money. (Teri Agris’ “End of Fashion” is still to my knowledge the best description of the evolution of fashion from top down scarcity to horizontal mass.)

This duality of the simulation, of the myth maker and believer mutual reliance on each other should ultimately not be that surprising, although it feels that it should. The relationship is a house of cards of interlocking layers, and seemingly contradictory forces.

With the current world of mass luxury and simulated luxury, the end result is that the very idea of luxury itself becomes a myth and part of the simulation. It is rendered meaningless by both the producers, buyers, and aspirers. We must keep up the illusion, but how can this balancing act last? Removing scarcity, will ultimately destroy the idea of luxury. Perhaps, it is already gone, as Cathy Horn has wisely suggested, and if that is true, what comes next?

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Off topic: New York City Weirdness

I was walking in midtown today and saw crowds of people staring and pointing at the fairly new New York Times Building. I generally ignore this kind of gawking, but there were more people stopping than the average film shoot gets. I got a little worried, in case, something *bad* happened. After a couple of blocks I finally asked someone, and was told that someone was climbing the building. Apparently, two climbers, Alain Robert and Renaldo Clarke scaled the New York Times Building. I caught a glimpse of the second one, who started around 6.00 pm.

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Gen X v. Millennials

Image source: Flickr

Lots of press and media coverage on Millennials (and the Gen Xers who loathe them) has been recently crossing various news media outlets. The back and forth on Radar Online is particularly telling. The slap down by Gen X representative Robert Lanham and the rebuttal by Alex Pareene, is highlighted by their references to a 90s Gen X Time magazine article and the movie “Reality Bites,” the so-called movie about Generation X, and the following indignation by Gen Xers. Trying to boil a generation down to a few stereotypical traits is never going to satisfy a large group of people, especially those being examined. We live in a society of individualism, which is antithetical to that kind of categorization. I recall seeing “Reality Bites,” and found the idea of it speaking for “my generation” laughable. Not that it was a terrible movie, but can you really encapsulate the complexity of people born in a twenty year span in 100 minutes?

Generation X resented being deemed by “slackers” for basically being young, by their Baby Boomer predecessors. Ten years later, the Millennials are reacting against the labels of being “A.D.D. Facebook addicts.” What is so surprising?

Why aren’t people seeing that this conflict of generations as just the way human nature and history work? Each generation is always afraid and resentful of the next one, just like a king wanting to produce heirs but being afraid of them usurping his power. In today’s youth obsessed culture, parents still strive to be cool in their middle age and beyond. In the 90s, I remember reading a quote in article on Gen X, with a quote I’ve carried with me. A Boomer being interviewed said, “We weren’t supposed to get old,” which an American interpretation  of the traditional generation gap. In one sense, yes, I can appreciate the underlying social forces which produced this continual sentiment (which goes far beyond this one person.) On the other hand, I just want to say, get over it.

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Ma Bell Redux

Update on: Saul Bass left a footprint in Chelsea

I also saw this phone booth in Chelsea on 23rd and 8th. The Saul Bass’ logo lives on.

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Lever House meets Sanrio.

Today, I manage to hit architecture, Japanese pop culture, intellectual property, and branding all in one (fairly) short post.

My favorite building in New York is SOM’s Lever House. Built in the International Style in 1952, its form of blue-green glass is perfectly proportioned. The building also been known to house some eclectic art by the likes of Damien Hirst and Keith Haring. Recently, Tom Sachs put an instillation of Sanrio characters without their permission. Sanrio seems to be cool with it, where as they are generally very protective of the brand against counterfeit merchandise.

I love the telling comment from David Marchi, the Sanrio brand manager: “You know, there was Marilyn Monroe and Andy Warhol, and then Michael Jackson and Jeff Koons. When you’re an icon, that’s what happens… [Sachs] even put Hello Kitty’s bow on the correct side of her head. And that’s something we pay attention to.”

In “Buying In,” Rob Walker talks about how the silent Sanrio characters allow us to project meaning onto them, which is part of the reason behind their decades long popularity. Here, Sachs’ sculptures recontextualize something familiar, but using a foreign scale and material. That is only one part of the equation at play here. The other part is the authorized use versus unauthorized use of Sanrio’s intellectual property. We have these deep relationships with brands, as Walker noted, and we use them to express ourselves and formulate our identities, which I have been thinking about a lot lately. It isn’t surprising that people would want to use these brands as the source material for other kinds of expression. Unfortunately, this repurposing is often illegal, and companies are very protective of the trandmarks and copyrights of their brands. However, at the end of the day, how different is fan fiction from Sach’s work?

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Late night ramen.

Late nights are a rarity, but still fun. Here is a photo taken at 3 a.m, about a week ago. Alex was craving ramen, and we scored on at this place on St. Marks. Sorry, I didn’t take photos of the food or even remember the address. I leave the food blogging up to other people I know.

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Book Review: Buying In by Rob Walker.

Last Friday morning, I stopped by Likemind to see Piers, Noah and others, as well as to pick up an advanced copy of the book “Buying In” by Rob Walker. His publisher, Random House, offered Likemind attendees in North America free copies and kindly paid our coffee bill too. Walker is a journalist who covers marketing and consumerism for the New York Times. The book attempts to explain why we prefer certain brands, for seemingly irrational reasons. His theory is that we have a deep relationship and dialogue with the products we consume. More importantly, we use these products to create our own self-perceived identity and they give meaning back to us. Changes in marketing strategies have made the relationship even more complex, as the traditional modes of advertising such as mass television and print ads give way to the untraditional methods of “viral” or “guerrilla” marketing. The shift blurs the differentiation between marketers and consumers. Many of the cases he covers will be familiar– Pabst Blue Ribbon, Red Bull, Timberland, American Apparel, and of course Apple’s iPod– especially if you read Walker’s column “Consumed” in the New York Times Magazine.

The idea works like this: we buy into brands and their products mainly in order to a tell a story about ourselves to ourselves, not just to other people. Many successful brands are a blank slate, onto which people can project various stories. These multiple meanings allow certain brands to grow beyond their initial niche. Messages from marketers as well as peers shape our perception of what a brand means. Things get interesting when Walker explains how, although we believe that we can see through marketing and branding, exposure to external messages (that is, marketing) can affect not only our perception of quality but the *actual* quality of a product. He cites an extremely interesting study by Dan Ariely, Baba Shiv, and Ziv Carmon, which gave a group of students an energy drink, its true full price, and told them a scientific study showed that the drink helped mental performance. These students did better than students who were given only the test. Surprisingly, other students who given various combinations of getting the drink, being told it was cheaper (and therefore less valuable,) and that the drink “might” improve performance all did measurably *worse* than the control group.

The relationship between our identity and our brands become apparent when we look at two human drivers that Walker mentions, wanting to be an individual and wanting to belong to a community. The two seemingly opposing internal motivations work out in fascinating ways. We buy products that conform to what we perceive to be our individual taste. However, our unconscious minds process and react to much more than our conscious minds detects. My point is not to argue that we are victims of subliminal “buy popcorn” images in movies. Rather, people are complex beings, full of, emotions, gut instincts, competitiveness and irrational thoughts. If we were truly rational beings economists could more easily explain our behavior, and everybody would be saving more, eating healthy, and exercising a few times a week. Further, the “truth” that we bestow onto our brands is relative. The actual “truth” about the brand is secondary to our perceived brand identity. As Walker notes, anti-marketing hipsters can drink a “working class” beer like FBR, when in fact, it is increasingly drunk by hipsters and less by mid-Western working class beer drinkers.

Walker also describes how the lines between marketer and consumer are blurring, as I previously mentioned. As with most business books these days, he coins a new term for this observed phenomenon, in this case “murketing.” He goes on to describe how new marketing companies hire “agents” to push products onto friends, family, local store owners, and strangers. The key insight here, is that the agents often do this for free, because they like the feeling of empowerment from sharing their ahead of the curve knowledge about upcoming products to people. What is also interesting is that many of the agents aren’t the hipster influencers in the Lower East Side that Malcolm Gladwell describes in “The Tipping Point” or as Walker names as “Magic People.” Instead, they are regular people with regular jobs, living pretty much anywhere. This idea of weak links and how influence spread through them deserves a post of its own.

Often, people make the claim that people are in control over their decisions, and are further aided today by having overwhelming access to consumer product and service information. This is true, but the issue is more complicated than that. In the past, my general reaction was that this idea, while true, is only part of the equation. We need to insure that our society supports media literacy for people to have the tools to properly deconstruct all the marketing we increasingly exposed to seeing and hearing. Now, Walker’s research suggests that media literacy is not enough.

“Buying In” is mostly descriptive, rather than normative. Walker doesn’t go out and definitely argue that murketing is itself bad, and acknowledges that he too is influenced by these forces at play. He cites his personal questioning of his allegiance to Converse sneakers as an authentic anti-establishment choice after it was purchased by Nike. He does starts this exploration some of the ethics behind our brand-based identities in his coverage of Etsy and craft culture. The founder of Etsy, Robert Kalin, states that his mission is to create authentic “connections” with the things we own. I saw him speak at the recent PFSK conference and was interested to hear him talk about wanting to move towards away from big box shopping and towards a more authentic bazaar-like experience. Walker reports that Kalin has the goal of having his entire wardrobe be hand made products from his site. While this is a noble goal, it does not attempt to unbundle our identities from our brands, be it an artisan on Etsy or the Gap. I would have liked to see Walker take his ideas further in a more normative direction, and explore the possibilities of walking away from our brand attachments. What would happen if we unplugged from our brands? How would we and those around us react to separating ourselves from our possessions? Is that even possible? Even better, what stories would we construct about ourselves? Who would we be?

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(almost) 19 in 1991

I just made a muxtape.

And actually, I turned 19 in 1992, but “19 in 1991” made better copy. In any event, 1991 was a pretty influential year. I graduated high school and started college at CMU. Back then, music was a scarce resource. Not just music, but information about new music was fairly scarce as well. We read magazines, listened to the radio, and watched MTV to learn about new music. CDs were expensive, imports from Japan or the UK were $40 and locked behind glass cases in record stores. Despite all that, it was a great time to be in college, just for the music. Freshman year in college, you could size up a person with one simple question, “so, what do you listen to?” (If you needed a second opinion, you could also look at their shoes.)

We were also transitioning from cassette tapes to CDs, analogue to digital. (Vinyl is a whole other story.)

Back in the era of cassette tapes, I made a pretty damn good mixtape, complete with of course carefully chosen songs, but also, witty titles and cover made from cut up magazines. I also made mix CDs, but it wasn’t the same.

In 1991, I made a mix tape for my sister, who was still in high school. I filled it with “college music,” precisely keeping track of the song lengths to maximize the 90 minute tape. I also had to physically borrow music from new friends in my dorm. The whole process now seems antiquated, in the post-Napster world.

A couple of months ago, muxtape launched. You can upload a mix tape, or what the kids called playlists. I must say, muxtape is impressive. I am not sure of the legal issues, but the system is smart enough to automatically link your songs to amazon.com to buy the mp3. I finally got around to making a mix tape, two months everyone else seems to have.

The theme is 1991, although just like the title, I took some liberties. So, the mix tape is more early 1990s than strictly 1991, but I really tried to stick to music that I was really into and frequently listening to, which as you can see was mostly 4AD, brit pop, with a bit of grunge, and a lot of Pixies influenced music. As I said, the early 90s were a great time to be in college. I left out the bands, I “should” have been listening, at the time, but got into late. I think that goes back to the scarcity issue. The tracks include lesser known gems from familiar voices, one hit wonders, and early singles from bands before they really hit it big. I’ll leave it up to you to decide which ones fall into which category.

Enjoy, and I wonder if my sister still has that tape…

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Two takes on dancing

I’m not watching the various dancing reality shows (just not my thing,) although, a lot of people seem to be. However, here are two music videos that feature some breath taking dancing.

Many, if not most, music videos have dancing. Duffy and Gnarls Barkley both just take it another level, in completely different ways. Mercy, by Duffy, has dancers, gliding as if on ice, demonstrating the epitome of smooth. Going On is manic and jittery, like someone moved by the Holy Spirit. I could both of these video multiple times in a row. Oh… wait, I already did.

I guess Spring is really here. I can’t seem to focus on writing up any “big” ideas, but I am definitely finding inspiring things everywhere, which definitely feels like a Spring attitude. Now, that I’ve said this… I will throw out that idea that, since we all know that MTV doesn’t play music videos anymore, we must be thankful for youtube. Online video isn’t just a substitute, but an improvement on watching music vids. On-demand video sharing is a much more effective model for distributing music videos, which in the end have their beginnings as advertisements for the music, like trailers for movies.

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Colored Scaffolding

Scaffolding in ubiquitous in New York, which is always under construction. On 57th and Madison, the facade of the Nokia Flagstore gets a face lift. It, along with neighboring stores, Yves Saint Laurent and Burberry, have scaffolding that matches the store colors. At first, I thought, is this too much? I don’t think so, it serves the function of helping to maintain the store’s presence during the construction. What I like is that it shows a little more thought and intention, where there is usually none.

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