Advertisement

Beauty Is Not the Word: Relocating Detroit in Eminem’s Video Beautiful

  • Żaneta Jamrozik
Chapter
  • 124 Downloads
Part of the Pop Music, Culture and Identity book series (PMCI)

Abstract

Relocation is often used as a comparative category to describe moving from one place to another. But what if relocation occurs within one space? Or when the borders between cities, nations, and continents are blurred by political organisations, like the European Union or technology, like the Internet and mobile phones? French Marxist philosopher, Henri Lefebvre argues in his Rhythmanalysis (1991) that everyday activities, feelings and (pre)conceptions about space affect the space around us. Space according to him is organic and alive and, in turn, affects us back. ‘Space has a pulse, and it palpitates, flows, and collides with other spaces’ (Merrifield 2006: 105), what the French philosopher likened to sea waves. The coming and going of the waves on the sea is not a mere repetition, Lefebvre asserts, but the movement constituting a rhythm (Lefebvre 2004: 22). Rhythm, according to him, is not a perfect repetition but involves counter movements and layering of movements. It contains changes and errors; nevertheless it aligns together space, time, and the body of the experiencer, creating a ‘pulse’ of society and a sense of time and location. This linkage of space and time through the body of the experiencer explains why so many people find watching or listening to sea waves relaxing.

Keywords

Music Video Global City Brand Persona Popular Music French Philosopher 
These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.

Preview

Unable to display preview. Download preview PDF.

Unable to display preview. Download preview PDF.

Works cited

  1. Araujo, Rosane (2013). The City is Me (Bristol: Intellect).Google Scholar
  2. Augoyard, Jean-François (2007). Step by Step: Everyday Walks in a French Urban Housing Project (Minneapolis: University of Minnesota Press).Google Scholar
  3. Adorno, Theodore and Benjamin, Walter (1994). The Complete Correspondence 1928–1940 (New York: Blackwell).Google Scholar
  4. Armstrong, Edward G. (2004). ‘Eminem’s Construction of Authenticity’, Popular Music and Society 27(3), pp. 335–355.CrossRefGoogle Scholar
  5. Aurigi, Alessandro and De Cindio, Fiorella (2008). Augmented Urban Spaces: Articulating the Physical and Electronic City (London: Ashgate).Google Scholar
  6. Augé, Marc (1995). Non - places: Introduction to an Anthropology of Supermodernity (London, New York: Verso).Google Scholar
  7. Bauman, Zygmunt (1993). Postmodern Ethics (Oxford: Blackwell).Google Scholar
  8. Benjamin, Walter (1994). The Correspondence of Walter Benjamin, 1910–1940, Gershom Scholem and Theodor W. Adorno (eds) (Chicago: The University of Chicago Press).Google Scholar
  9. Benjamin, Walter (1999). The Arcades Project (New York: MIT Press).Google Scholar
  10. Benjamin, Walter (2007). ‘On Some Motifs in Baudelaire’, in Illuminations (New York: Random House), pp. 155–195.Google Scholar
  11. Berland, Jody (1993). ‘Sound, image and social space: Music video and media reconstruction’, in Simon Frith, Andrew Goodwin and Lawrence Grossberg (eds), Sound and Vision: Music Video Reader (London: Routledge).Google Scholar
  12. Berman, Marshall (1988). All That Is Solid Melts into Air: The Experience of Modernity (New York: Penguin).Google Scholar
  13. Bierly, Mandy (2011). ‘Eminem’s Chrysler Super Bowl Ad: Behind the scenes of one of Sunday’s Best Commercials’, Inside TV, http://insidetv.ew.com/2011/02/08/eminem-chrysler-super-bowl-commercial/Google Scholar
  14. Binelli, Mark (2012). Detroit is the Place to Be (New York: Metropolitan Books). Google Scholar
  15. Bozza, Anthony (2009). ‘Being Eminem’, The Observer 17 May 2009, http://www.theguardian.com/music/2009/may/17/eminem-urban-music-relapse
  16. Buck-Morss Susan (1989). The Dialectics of Seeing: Walter Benjamin and the Arcades Project (Cambridge, London: MIT Press).Google Scholar
  17. Bull, Michael (2000). Sounding out the City: Personal Stereos and the Management of Everyday Life (New York: Berg).Google Scholar
  18. Bull, Michael (2013). ‘Remaking the urban: The audiovisual aesthetics of Ipod use’, in John Richardson, Claudia Gorbman, and Carol Vernallis (eds), The Oxford Handbook of New Audiovisual Aesthetics (Oxford: Oxford University Press), pp. 628–644.Google Scholar
  19. Burns, Andrea A. (2004). ‘Waging cold war in a model city: The investigation of “subversive” influences in the 1967 Detroit Riot’, Michigan Historical Review 30(1), pp. 3–30.CrossRefGoogle Scholar
  20. Connell, John and Gibson, Chris (2003). Sound Tracks: Popular Music, Identity and Place (New York: Routledge).CrossRefGoogle Scholar
  21. Cook, Nicholas (1994). ‘Music and meaning in the commercials’, Popular Music 13(1), pp. 27–40.CrossRefGoogle Scholar
  22. Dawkins, Marcia Alesan (2010). ‘Close to the edge: The representational tactics of Eminem’, The Journal of Popular Culture 43(3), pp. 463–485.CrossRefGoogle Scholar
  23. DeNora, Tia (2004). Music in Everyday Life (Cambridge: Cambridge University Press).Google Scholar
  24. Downey, John and McGuigan, Jim (1999). Technocities (London: Sage).CrossRefGoogle Scholar
  25. Edmond, Maura (2012). ‘Here we go again: Music videos after YouTube’, Television New Media 20, pp. 1–16.Google Scholar
  26. Fisher, Jaimey (2005). ‘Wandering in/to the rubble-film: Filmic flanerie and exploded panorama after 1945’, The German Quarterly 78(4), pp. 461–480.CrossRefGoogle Scholar
  27. Frahm, Laura (2010). ‘Liquid cosmos: Movement and mediality in music video’, in Henry Keazor and Thorsten Vubbena (eds), Rewind, Play, Fast Forward: The Past, Present and Future of the Music Video (New Brunswick and London: Transaction Publishers), pp. 155–179.Google Scholar
  28. Freston, Tom and Bruno, Antony (2009). ‘Music videos migrate online’, Billboard 121 (51), p. 112.Google Scholar
  29. Frith, Jordan (2012). ‘Splintered space: Hybrid spaces and differential mobility’, Mobilities 7(1), pp. 131–149.CrossRefGoogle Scholar
  30. FroDoDaGod, rapgenius. http://rap.genius.com/Eminem-beautiful-lyrics#note26551
  31. Galster, George (2012). Driving Detroit: The Quest for Respect in the Motor City (Philadelphia: University of Pennsylvania Press).Google Scholar
  32. Gilbey, Ryan (2003). ‘In the ghetto’, Sight and Sound 2, pp. 36–39.Google Scholar
  33. Graves, Steven (2009). ‘Hip-hop: A postmodern folk music’, in Ola Johansson, Thomas L. Bell (ed.), Sound, Society and the Geography of Popular Music (London: Ashgate), pp. 245–260.Google Scholar
  34. Goodwin, Andrew (1992). Dancing in the Distraction Factory (Minneapolis: University of Minnesota Press).Google Scholar
  35. Highmore, Ben (2002). Everyday Life and Cultural Theory (New York: Routledge).CrossRefGoogle Scholar
  36. Keller, Florian (2005). Andy Kaufman: Wrestling with the American Dream (Minneapolis: the University of Minnesota Press).Google Scholar
  37. Kinder, Marsha (1984). ‘Music video and the spectator: Television, ideology and dream’, Film Quarterly 38(1), pp. 2–15.CrossRefGoogle Scholar
  38. Kofman, Eleonore and Lebas, Elizabeth (1996). ‘Lost in transposition–Time, space and the city’, in Kofman, Eleonore and Lebas, Elizabeth (eds), Henri Lefebvre: Writings on Cities (Oxford: Blackwell), pp. 1–60.Google Scholar
  39. Kraidy, Marwan M. (2012). ‘Contention and circulation in the digital middle east: Music video as catalyst’, Television New Media 14(4), pp. 271–285.CrossRefGoogle Scholar
  40. Kramer, Michael J. (2002). ‘“Can’t forget the motor city”: Creem magazine, rock music, Detroit identity, mass consumerism, and the counterculture’, Michigan Historical Review 28(2), pp. 42–77.CrossRefGoogle Scholar
  41. Krims, Adam (2002). ‘The hip-hop sublime as a form of commodification’, in Regula Burckhardt Quereshi (ed.), Music and Marx (London: Routledge), pp. 63–78.Google Scholar
  42. Laughey, Dan (2008). ‘Music media in young people’s everyday lives’, in Jamie Sexton (ed.), Music, Sound and Multimedia (Manchester: Edinburgh University Press), pp. 172–188.Google Scholar
  43. Lefebvre, Henri (2003). The Urban Revolution (Minneapolis: University of Minnesota Press).Google Scholar
  44. Lefebvre, Henri (2004). Rhythmanalysis: Space, Time and Everyday Life (London: Continuum).Google Scholar
  45. Lefebvre, Henri (2005). Critique of Everyday Life Volume III: From Modernity to Modernism (London: Verso).Google Scholar
  46. Longo, Julie (2006). ‘Remembering the renaissance city: Detroit’s bicentennial homecoming festival and urban redevelopment’, Michigan Historical Review 32(2), pp. 89–118.Google Scholar
  47. Lim, Merlyna (2014). ‘Seeing spatially: People, networks and movements in digital and urban spaces’, International Development Planning 36(1), pp. 51–72.CrossRefGoogle Scholar
  48. Lynch, Kevin (1960). The Image of the City (Massachusetts: MIT Press).Google Scholar
  49. McKinley, James (2013). ‘Pop videos? I want my YouTube!’, New York Times 162(56237), pp. C1–C2.Google Scholar
  50. Merrifield, Andy (2006). Henri Lefebvre: A Critical Introduction (London: Routledge).Google Scholar
  51. Millington, Nate (2013). ‘Post-industrial imaginaries: Nature, representation and Ruin in Detroit’, International Journal of Urban and Regional Research 37(1), pp. 279–96.CrossRefGoogle Scholar
  52. Nemtsova, Anna (2013). ‘Russia: One big Detroit’, Newsweek Global 161 (44), p. 23.Google Scholar
  53. Nunes, Mark (2006). Cyberspaces of Everyday Life (Minneapolis: University of Minnesota Press).Google Scholar
  54. Petchers, Brian (2012). ‘The Branding Power of Today’s Music Videos’, Forbes 952, pp. 66–69.Google Scholar
  55. Peterson, James (2006). ‘“Dead Prezence”: Money and mortal themes in hip-hop culture’, Callaloo 29(3), pp. 895–909.CrossRefGoogle Scholar
  56. Rice, Jeff (2012). Digital Detroit: Rhetoric and Space in the Age of the Network (Philadelphia: Southern Illinois University).Google Scholar
  57. Ringen, Jonathan (2012). ‘Why the future of Detroit is your future, too’, Rolling Stone 1166, p. 34.Google Scholar
  58. Rose, Tricia (1994). Black Noise: Rap Music and Black Culture in Contemporary America (Hanover: Wesleyan University Press).Google Scholar
  59. Sack, Robert David (1997). Homo Geographicus A: Framework for Action, Awareness, and Moral Concern (Baltimore: John Hopkins University Press).Google Scholar
  60. Shmitt, Bertel (2011). ‘Chrysler has a city to sell to you’, The Truth About Cars. http://www.thetruthaboutcars.com/2011/02/chrysler-has-a-city-to-sell-to-you/Google Scholar
  61. Sugrue, Thomas J. (1996). The Origins of Urban Crisis: Race and Inequality in Postwar Detroit (New York: Princeton University Press).Google Scholar
  62. Vernallis, Carol (2004). Experiencing Music Video (New York: Columbia University Press).Google Scholar
  63. Vernallis, Carol (2013a). ‘Music video’s second aesthetic?’, in John Richardson, Claudia Gorbman, Carol Vernallis (eds), The Oxford Handbook of New Audiovisual Aesthetics (Oxford: Oxford University Press), pp. 437–465.Google Scholar
  64. Vernallis, Carol (2013b). ‘Audiovisual change: Viral web media and the Obama campaign’, Cinema Journal 50(4), pp. 73–97.CrossRefGoogle Scholar

Copyright information

© Żaneta Jamrozik 2015

Authors and Affiliations

  • Żaneta Jamrozik

There are no affiliations available

Personalised recommendations