ICorrect and Celebrity Rumor Patrol

8 04 2011

What I love most about celebrity culture is the constant battle for dominance amongst its various players. My own work focuses on these tensions, drawing out how gossip media outlets, for example, are based on the idea of breaking down the celebrity facade so carefully constructed by publicists, managers and even the celebrity him/herself.

Tabloids are built on the premise that audiences want to know more about the stars than the stars will give up. Audiences love to play the game of determining what is “real” about the star and what is “fake” or controlled by other forces. Are Kristen Stewart and Robert Pattinson really dating, or is it just for publicity? It’s the ability of tabloids (and, of course, blogs) to intervene into the more controlled system that makes them so appealing.

Is she really going out with him?

At times, this intervention into the star’s image has radical implications. Britney’s shift from good girl pop star to party girl to Hollywood cautionary tale is largely related to the tabloid construction of her image. She and her manager/publicist/other official team members work(ed) hard to counter these constructions and regain control of her image, its circulation and its meaning in popular culture. I’ve written about a component of this particular struggle before, and am currently working on an article about how bloggers offer a new sort of intervention into celebrity culture that draws on both their roles as audience members and as producers or official commentators on celebrity culture. I’ll be presenting a part of that project at ICA this May.

Anyway, such interventions are a necessary part of the celebrity system, in part because they keep us the celebrity in the public eye. Celebrities (and their handlers) know this, and certainly turn to media outlets (including tabloids) to attempt to counter stories that tarnish their image. They typically turn to more “legitimate” celebrity media sources, notably places like People magazine, because they’ll be treated with kid gloves and get the chance to at least attempt to regain control over a tarnished pubic image in a way that gives the appearance of authenticity and truth.

In the midst of a potential divorce scandal, Britney turned to People to set the record straight

This is nothing new, stars have been doing this since the earliest days of the studio system. For example, in exchange for “exclusive” information, Louella Parsons would allow stars to put out their side of the story during scandals (often ones she herself broke and perpetuated). In addition to using these media outlets, celebrities now can harness the tools of new media (indeed, the same tools that are used to expose them via blogs etc) to attempt to control their own images. Celebrities have official websites, some cultivate relationships with fan sites, and many have turned to Twitter as a place to get the news “direct” from the source–the celebrity herself.

Within this tension filled system comes a new, and frankly puzzling, mode for the celebrity to “correct” rumors and media reports: ICorrect. The site’s founder, David Tang, was the guest on Wednesday’s episode of The Colbert Report. You can watch the interview here. Basically, for an annual fee, Tang’s site offers a place for celebrities to write their own corrections/rebuttals to any and all rumors they feel need to be addressed. My cursory look at the site reveals such shocking revelations as Tommy Hilfiger countering the (age old) rumor that he doesn’t want black people to wear his clothes and Cherie Blair denying she will take part in Strictly Come Dancing (the British Dancing with the Stars. Riviting.

I have to say, I don’t get it. Why does this site exist? Who is reading it? And what’s in it for the celebrity, who could find many other outlets to do this sort of image correction/management? The stars have historically turned to places like People because they already have an audience, and I just don’t see a large audience being drawn to this site (in part because the layout is terrible, imo). It seems the cache is that the celebrity (or, let’s face it, a manager or publicist) can quickly correct and control a rumor. Not every star or rumor can get on the cover of People, yet every little rumor can play an important role in the star’s overall image. So ICorrect offers a way for stars to deal with any intervention into their public image.

But how does that make ICorrect different from Twitter or a celebrity’s official website? I’m not seeing how the fact the correction is on ICorrect makes the audience feel it is more “real” or “true.” ICorrect positions itself as “the first website to correct permanently any lies, misinformation and misrepresentations that permeate in cyberspace.” Um, how is a correction on this site any more “permanent” than any other?

In his interview with Colbert, Tang says ICorrect addresses the fact that sites like Twitter don’t verify that the person tweeting/writing is actually the celebrity. But Twitter does verify “well known account users” and gives them a “verified account” checkmark to indicate they have passed the “real” test. It’s all here. So, again, how is ICorrect offering a new sort of intervention into the gossip game that allows celebrities greater control? Yes, Twitter can be more fleeting, but, really, so are most rumors in terms of impact on a celebrity’s image. Remember when Ashlee Simpson got busted for being drunk at McDonald’s? Yeah, I thought so. Are audiences going to look up the “truth” about older rumors? Is such permanence really necessary, particularly in the age of new media where celebrity rumors are constantly changing?

Furthermore, how ICorrect is supposed to reach a larger audience than any other source? This is the most important part of rumor control. If no one reads it, who cares? Now, when celebrities use their websites or Twitter to counter a rumor, you often see those posts/tweets pop up on blogs or in other celebrity media as part of the story. This is crucial for the recuperation of control over a particular story. I know my gossip blog reading isn’t what it used to be, but I haven’t seen ICorrect popping up anywhere. The first time I heard about it was on Colbert. It needs way more access to the media side of the production system in order to become truly effective.

ICorrect also claim it “enables the Corrector [celebrity] to post precise corrections, without the danger of third parties quoting them out of context.” How are they going to prevent third party persons, like a blogger who reposts the “correction,” from quoting them out of context? If they need outside media exposure to bring attention to the correction, how can such a thing be controlled?

So while I love a good intervention into the celebrity system of production, this is, well, lame. It strikes me as an attempt to catch up to new media’s impact on celebrity culture, but one which is way behind. As my friend Zach would say, “Welcome to 2005!”





Thinking about New Media: Interactivity

19 02 2011

My TiVo is on the verge of exploding with films about stardom, but I’m going to take a brief break from that series. Spring break will be here soon (one more week of classes!) and TiVo and I have a date for a stardom film series that will hopefully result in some more posts as well. But for now, I’ve been working on a couple of more think piece oriented posts about new media and its influence not only on how we get our content, but also on what that content looks like and how audiences actually engage with/read/invest in that content.

I’ve been considering new media in a broad sense this semester, for a variety of reasons, and here I am just trying to work out some major ideas that have been floating around in my head. This is sort of like a comps exam (because weren’t those fun?) where I’m trying to get a hold of scholarly approaches to new media and relate them to my own particular interests. In short, these are some ideas informed by a lot of the reading I’ve been doing this semester as well as some questions that I’m still working through. This is the beginning of my thinking—not the end—so I would definitely appreciate feedback.

What’s so “new” about new media?
The umbrella term “new media” has been used to refer to a wide range of media platforms and technologies. But the vast array of platforms makes it somewhat confusing to really think through exactly what new media are, and, indeed, what’s so new about them. If Netflix streaming is clearly a new media platform, does that mean that Netflix home delivery system is not? Or, is an iPhone the same sort of new media as Netflix? Each technology serves a different function, but the potential spaces of overlap (using your iPhone to watch streamed movies as opposed to using it to make a phone call or send a text) makes, I think, a precise definition of “new media” pretty challenging.

But then again, part of the shifts brought about by new media come from the fact that the technologies are so varied and can be harnessed for many different purposes. Though the technologies that have reshaped everyday communication and media are vital to understanding this new category, but, as I suggest to my students based on the work of numerous scholars in this area (including Henry Jenkins, Sonia Livingstone, Nancy Baym and many others), what’s so new about new media are the ways the technologies enable users to interact with information and with each other. These interactions are tied to how the technology functions or what it makes possible (e.g. the iPhone lets you make phone calls, text, surf the web etc through its digital platform) but also to how individuals actually use that technology in their everyday lives. (

What’s so new about new media, then, is the fact that users can be both producers and consumers of content (even if that production is limited to a very small audience). New media trouble traditional media consumption models that assume users/audiences are on the receiving end of the communication and do little but absorb meaning. Instead, new media shed light on the range of (sometimes invisible) active meaning making that goes when one consumes media and/or communicates with others through these platforms. While it’s easy to see how things like iPhones or Twitter are considered new media, I think we should also consider how older media forms have transformed to meet the demands of our new media society. I think new media, for all the fancy technological advancements, also offer new sorts of ways to think about and engage with “old media.”

One example I’ve been considering recently is the case of reality television. Reality TV certainly has roots traced back to the early days of television (in the form of game shows, documentaries, etc), its explosion into our television consciousness within the past 10 years is, I think, tied to the simultaneous shifts in media platforms and consumption practices. In other words, I want to argue (and I know I’m not the first to do so) that reality TV is a form of new media. Even if you view it on regular “old” broadcast television, I think reality television embodies some important characteristics that, at the very least, strongly tie it (and its contemporary ubiquity/success as a genre) to new media.

1. Reality television assumes (varying levels of) interactivity
Some reality shows are explicitly built upon the audience as a participant in the production of the show, making new media technology and engagement central to the existence of the program. The most obvious examples here are reality shows, like American Idol or Big Brother, where audiences vote for their favorite contestants, thus securing participants a place on future episodes and, ultimately, choosing the winner of the show. Of course these votes come through a range of new media platforms, like text messages or online voting, but the key is that they enable the audience to play (or at least think they are playing) a vital role in creating content of the show.

Text message voting for American Idol

The success of Idol comes, in part, from the idea that we are the ones that are deciding who will be our next pop star or who will stay in the house for the next week. The (in)famous “Vote for the Worst” campaign that, for example, kept mediocre singer Sanjaya in the running for several weeks during the show’s sixth season, is clear evidence that audience participation shapes the show, and sometimes in ways unanticipated/unintended by the show’s producers. Nevertheless, if no one voted, there would be no show. The feeling of participation in the show is an important space for audience pleasure that hinges on interactivity.

There are, of course, elimination style shows where viewers do not directly vote for contestants, such as Survivor, The Bachelor/Bachelorette, Top Chef, Project Runway etc., as well as a range of reality television shows that do not feature any sort of elimination (docu-soaps like The Real Housewives or any number of celeb-reality shows focused on the private life of a star). But even these shows encourage audience interactivity as a key part of viewing the show. There is something about the focus on back stories of contestants or narratives about what goes on outside the competition (like on Top Chef) that calls up a certain notion of interactivity to me. That audiences are given “more” than “just” the competition narrative seems to be a different sort of engagement. Not sure how to work this out yet, but something about this extended engagement strikes me as more interactive than fictional TV in its style and form.

On one hand, I think new media technologies play an important role in increasing this sort of implied interactivity. Advances in digital and handheld cameras are important to how reality television is actually produced. For the most part, we’re not talking about the participants creating their own footage for the show, though we do sometimes get some glimpses of this (an old example: Britney and Kevin: Chaotic was based in large part on the actual footage shot by Brit-Brit and K-Fed during the early days of their courtship). I’ve written elsewhere about how this emphasizes her “authenticity” as a star, and that’s related to the way the digital camera allows the audience to interact with the real person behind the pop star image. Here’s an outtake that didn’t make the show that shows the use of her personal footage. You’ll see how riviting this footage is and why this show lasted a full half season!

Even without the sense of the footage being shot by the participants, digital technologies have increased the range of the voyeuristic eye of the camera, allowing it to more easily go wherever the “reality” is happening. We are in the homes, cars, work places, etc of reality show participants. The fact that the bathroom is the only place where cameras don’t go on The Real World means that we are able to get into the lives of the housemates and, in a sense, interact with–or at least observe–them at any and every moment.

But it’s also about how audiences are encouraged to engage with these shows that highlights the centrality of interactivity to the overall style and narrative of these programs. Fictional narrative television has, of course, long inspired fan communities and people who want to take their engagement with a show and its characters beyond the boundaries of the narrative offered in the weekly broadcast. I think narrative reality television shows as well as the non-audience voted elimination shows named above are increasingly built on the assumption that audiences engage with the characters/participants and narrative outside the boundaries of the weekly broadcast.

The internet plays a key role here, with character/participant blogs giving us a way to read beyond the actual events of the show itself. In other words, to interact with the characters/participants in other platforms as a way to extend viewing pleasure. I, for one, was pretty obsessed with the RHONJ blogs as a way to get each woman’s perspective on the drama of that week’s episode as a way to see what was left out in the actual episode. Yes, I know that many fictional television shows have websites where their characters “blog” about that week’s episode. I’m wondering if those stay as closely tied to the overall narrative of the show as reality TV character blogs? I have to admit that I don’t know because I don’t follow any fictional character blogs.

However, in another connection between “old” and “new” media, the reality shows have the added extratextual site of engagement in the tabloids. Print tabloids like Us Weekly and In Touch are increasingly built upon the backs of reality television stars. The women of The Hills, Teen Mom, or Keeping Up With the Kardashians would not have the same level of fame, nor would their shows have such high ratings, without the constant coverage from these outside sources. More on the connection between celebrity and reality in my next post.

Interacting with Teen Mom in tabloids

What’s fascinating to me is the “inside information” revealed by these gossip magazines is pretty much always the plot of the next week’s episode, as opposed to any new information! So they are giving audiences some information to bring with them to their viewing of the episode, allowing them to interact with the narrative using that knowledge, as well as encouraging them to watch the show. You don’t see Michael Scott on the cover of a magazine talking about his argument with Dwight on next week’s episode of The Office because he is clearly a fictional character. The appeal to “reality” in RTV means that even though we know these shows are edited and that the action is scripted or at least prompted by producers, we are still encouraged to see the participants as “real” people. Thus, by interacting with them in these outside sources, the audience enriches their viewing experience.

Audiences do have some choice in how they interact (or not) with these shows, a topic I will return to in a later post. Additionally, reality television is certainly not the only television genre where new media technologies have had an impact in form and content. Nevertheless, I think the case of reality TV provides some clear insight into the ties between new media interactivity and the production and consumption of media in this shifting landscape.





Stars–They Tweet Like Us!: Some Thoughts on Celebrity and Twitter

23 10 2010

This post is really overdue, as I’ve actually had it written for some time. I attended the *amazing* Flow 2010 Conference at UT-Austin just over three weeks ago, and this post is taken from the position paper I submitted and presented at that conference. I really cannot say enough positive things about this conference. It’s non-traditional set-up consists of panels where presenters have 5 minutes (no, really!) to discuss their position papers around a common topic and the rest of the time is used for discussion between panelists and audience. This allows for a really productive dialogue to emerge and everyone (from grad student to senior scholar) has the opportunity to participate. It meets every other year, and you can bet I will be submitting for 2012. I highly encourage any media scholars to check it out. Plus, Austin = awesome.

Since completing my dissertation on gossip blogs, I’ve been widening my view to think about intersections of celebrity culture with other forms of new media. Twitter and celebrity is basically a match made in heaven. I know Twitter can serve lots of different functions (and I highly recommend checking out the other position papers from the Flow Twittertube panel) , but its use by and for celebrities is really fascinating to me because it so perfectly encapsulates the private/public blurring that is inherent to the celebrity image. It’s also very distracting, as I can’t seem to go through a day without checking for Kanye’s latest tweets. Where is his antique fish tank anyway?

So here is my position paper, which explores how celebrities use Twitter to manage the private self and manage scandal. I will also mention that I have a post on celebrities using Twitter for more straightforward self-promotion that will appear on next week’s In Media Res. I’ll post the full link when it is published on Thursday, October 28.

Celebrity Twitter Feeds and the Illusion of Intimacy
The media product known as the celebrity emerges from a “circuit of celebrity production” in which various cultural intermediaries—the celebrity, her industry producers, the “legitimate” and the gossip-oriented celebrity media—feed off of each other in a constant struggle to control how that individual is represented to audiences.

In modern celebrity culture, the extratextual media coverage of stars has played an increasingly important role in promoting the “illusion of intimacy” between a star and her fans/audiences by elevating the private side of the image as the privileged site of meaning. Tabloids and other entertainment-oriented media forms encourage the audience to pursue the “real” person behind the star persona with the hope that, beneath the controlled surface, the star “really” is who she seems to be.

Tabloids, in particular, seek to disrupt the carefully constructed public image forwarded by the celebrity-industry producers (studios, publicists, managers, etc) through the revelation of the “unguarded” private self as the “real” or “authentic” star, often challenging the dominant meaning of the celebrity’s image. But the contradictory and ambivalent nature of celebrity means the circuit of production is a highly unstable process and no one player ever fully controls the meaning of the celebrity image for audiences. In other words, the meaning of the celebrity is constantly contested terrain.

Tabloids attempt to define the meaning of Angelina's image. This certainly is not sanctioned by her or her management. But nevertheless becomes an important part of how we read her image.

Social networking platforms, particularly Twitter, offer new insight into this fraught process of production by highlighting the ways in which the illusion of intimacy can be manipulated by various players in the circuit. On Twitter, unlike traditional celebrity media outlets, audiences are offered immediate and interactive engagements with the celebrity that (purportedly) originate outside of industry control and even specifically challenge other representations of the “real” celebrity. Though celebrity media outlets have also taken to Twitter, I suggest that Twitter offers the celebrity-industry intermediaries a way to recuperate control over the image using the same appeals to the unguarded and private self central to gossip media constructions of celebrity. That is, celebrity Twitter feeds recuperate celebrity-industry control over the image by explicitly engaging the same media discourses and platforms that typically disrupt that control.

The most successful celebrity Twitter users offer a glimpse of the everyday and even mundane details of their private lives, thus stressing the ordinary self behind the extraordinary public image.

Twitter’s appeal is based in its interactive nature, offering audiences a more direct sense of engagement with the celebrity than, say, reading a publicist-sanctioned interview in Vanity Fair. Though there is typically no way for a fan to know whether a Twitter feed is actually written by the celebrity (or to what degree other intermediaries influence the tweets), the very nature of Twitter as a social network gives at least the illusion of the celebrity herself as the sole author of her tweets. [NB: Annie Petersen has an excellent blog post about the believability of celebrity tweets]

This is not to suggest that celebrity tweets are not “real,” and indeed many are genuinely authored by the celebrity. Yet as a site of image production, celebrity Twitter feeds offer glimpses of the star’s private life that appear uncontrolled and authentic, even as these glimpses are limited and, often, deliberately staged. In this way, Twitter provides the celebrity and her intermediaries greater control over her image by engaging the same appeal to the unmediated and authentic self more typical of the tabloids.

The illusion of intimacy promoted by Twitter’s interactive access is also a site of struggle in which the star can challenge the tabloids’ construction of her as the “truth.” For example, in the days leading up to Lindsay Lohan’s court appearance and jail time, she used her Twitter account to challenge the negative way she was represented in the gossip media. Such a move uses the illusion of intimacy promoted by Twitter as a means to control the representation of her image to her most important audience, existing fans. In fact, she explicitly encouraged fans to “get the news straight from me” via her Twitter feed rather than turn to other media outlets, thus rejecting their representations of her as false and untrustworthy.

Of course, using Twitter cannot guarantee her version of her image will be the dominant one, and many of Lohan’s tweets have been used by the gossip media as further evidence of her instability. Nevertheless the ability to speak directly to her fans about the “truth” of her situation exploits the illusion of intimacy and offers Lohan and her producers a controlled platform from which to “fight back” against tabloid gossip in the midst of scandal. In these tweets, Lindsay attempts to control the scandal after she tested positive for drugs and alcohol just days after being released from jail:

Such image control is crucial if she wants to rebuild her public career post-incarceration. Within the contested terrain of celebrity culture, Twitter enables the celebrity to (at least appear to) bypass other players in the circuit of celebrity production, recuperate (if temporarily) control over her image and, most crucially, increase the illusion of intimacy with her audience/followers.





Link-o-rama: What I Did on My Summer Vacation

19 08 2010

I know. It’s been quite a while since I posted anything to the blog. But the move has been made, the kinks in the new internet connection have (mostly) been worked out, and I’m falling into end of summer procrastination mode on all other work that should be done. Here’s a quick run down of some of the celebrity-related things that have been occupying my mind of late.

Kanye (and Erin) Joins Twitter
I’m honestly amazed that it took so long for Mr. West to join Twitter. His blog is already a thing of celebrity overshare legend. And Twitter’s stream of consciousness format seems tailor made for Kanye. But he has certainly made up for lost time, most notably starting a public love fest with Justin Beiber. I told you Bieber Fever knows no bounds. Inoculate yourself now, people! His tweets are just what you would expect…grandiose, egotistic, and (unintentionally?) hilarious.

Speaking of late arrivals to Twitter, I also recently joined. You can see my feed (which is nowhere near as exciting as Kanye’s, let’s be honest) on the right or you can follow me @erin_meyers. I’ll admit, I kind of like it. There’s something about the 140 character limit and the fact that following in no way implies any reciprocal commitment (unlike *coughcoughFacebookcoughcough*) that I’m getting into. Mostly just following celebrities at this point for something I’m working on, and it’s a pretty interesting window into how celeb’s attempt to control their images. More on that to come.

Celebrity Weddings
Celebrity weddings have dominated the gossip landscape this summer. Hilary Duff and Mike Comrie, John Krasinski and Emily Blunt, Javier Bardem and Penelope Cruz, Carrie Underwood and Mike Fisher, to name just a few. The coverage of these, of course, paled in comparison to the big one, Chelsea Clinton and Marc Mezvinsky’s wedding in Rhinebeck, NY on July 31.

Celebrity Wedding of the Season

Chelsea’s wedding was fascinating to me for the massive amount of coverage it received from gossip media (natch) as well as the mainstream press. She never courted the spotlight and it is really her parents’ (political) star power that was the draw for the media. So suddenly all these media outlets who eschew celebrity-oriented stories as not news are falling all over themselves to find out how much she spent on port-a-potties for her guests and interviewing every resident of Rhinebeck twice to find out some tiny detail. Look, I know that celebrity content constantly bleeds into “real” news, but there is really no difference between covering Carrie Underwood’s wedding and covering Chelsea Clinton’s. It seems in this case that the fact they are political celebrities is just a gloss that somehow makes it more acceptable for mainstream media to cover it without sneering. Nevertheless, she looked amazing and did a relatively good job of keeping the celebration private. Mazel Tov!

Real Housewives of New Jersey
I really need to dedicate a post just to this show and my addiction to it. Chuck Klosterman has already written an excellent piece debunking the term “guilty pleasure,” rejecting the idea that we need to be embarrassed about any media consumption. But I think guilt is a major part of my personal pleasure in this show, because there is really so much wrong with it, and that is crucial to my weird love for it. I know it’s wrong, and that’s part of why I like it. It’s complicated. Stop judging me.

Real Housewives of New Jersey

In an interesting twist on the reality of reality TV, it seems resident villain, Danielle Staub, has been fired the show and will not appear in season three. One rumor has it the reason she will not return to the show is because she failed to bring the reality to her BravoTV.com blog about the show. Instead of addressing all the drama going down on the show that ostensibly documents her real life (and, if you don’t watch, there has been plenty this season) and giving viewers more insight, her blog posts mostly just thank people for standing by her and gloss over any of insanity. The key to this show is the gossipy nature, the idea that you get different parts of the story from the various housewives and, yay new media, get even more insight if you read their blogs. By not keeping up her end of the bargain by delivering more “reality,” she was, allegedly, canned.

I kind of want that to be the reason. More likely, however, the firing was the result of her sex tape scandals or her too-volatile-for-reality-tv relationship with the other housewives. (quite a feat in itself!) But the actual reason seems to be that she’s getting a Bethany Frankel style spin off. Which simultaneously horrifies and delights me.





Can’t Be Tamed

21 06 2010

And I thought I’d have more time after I defended my dissertation! But when it rains, it pours, and my life has been pretty hectic lately. Between getting a job (yay!), looking for new apartments, doing revisions for a journal article, revisions for my dissertation, and working as an RA, there’s been precious little time for blogging. Since I’m headed out of town for a mini-vacation/family wedding this week, I figured I better get something up. Not to mention this whole Miley Cyrus/Perez Hilton fracas nearly demands that I comment upon it!

On June 15, notorious gossip blogger Perez Hilton (allegedly) posted an upskirt paparazzi photo of 17-year-old pop star Miley Cyrus on his Twitter account. The original photo (allegedly) showed that Miley, in the tradition of Paris Hilton and Britney, was not wearing any underwear. Though Perez took the photo off his Twitter account, we all know that once something goes out in the world of the internet, it’s nearly impossible to delete it completely. So the photo continued to circulate on other web sites, though most blurred out her lady parts.

The problem, of course, is that Miley is underage and such a photo could be classified as child pornography. Perez has faced a lot of legal problems before, but this is a new one. And in his typically classy way, has defended himself by saying that 1) he blurred out the naughty bits anyway (though then backtracks and said he didn’t pixilate anything) 2) Miley “should know better” because she’s been in the business too long to make such an “unladylike” exit from a car when she “knows” paparazzi are present and 3) (and this is my personal favorite) that the pictures aren’t pornography because they “aren’t arousing”. That’s the nutshell of his “side,” but you can watch his full interview on Joy Behar here:

I think his main justifications are ridiculous (particularly when he backtracks) and really just designed to keep the controversy going so that he can reap some pageviews. But Miley is also in her Britney-esque moment of trying to break free from the Disney pop princess image and become more of a grown up pop star. So to me, this just raises a whole set of questions about the sexualization and objectification of female celebrities in general. Miley is, in a way, trapped in this moment where she has to become more sexual in order to continue as an adult pop star while simultaneously being lambasted for doing so because of her Disney past that is absolutely reminiscent of Britney’s “I’m a Slave 4 U” moment. For example, see her new video for “Can’t Be Tamed,” which is clearly working to make her more of an adult (read: sexual) star. The fact that I could see Britney doing this exact same song is really no coincidence.

Miley’s just playing the game as it, for better or worse, exists for female celebrities in general. Perez makes this point, though, of course, in a bratty sort of way that slut-shames Miley for expressing her sexuality in any form. This is certainly not the first time he has slammed her for behavior he deems to be inappropriate, further shrinking the already precariously thin line separating proper female sexuality from “slutty” behavior. Margaret Schwartz has a great piece on the upskirt photo during its Paris/Britney heyday of early 2007 that I highly recommend as a way to think about the construction of female sexuality and agency in these moments of exposure. But this, of course, is not the way most of the media discuss this controversy.

I find it maddening, but not particularly surprising, that few people are talking about the overall objectification of female celebrities inherent to these sorts of photos. While I would certainly take some pleasure in Perez (finally!) going down for something, I think to consider the photo a problem only because of her age is missing some of the larger issues at work here in the construction of female stardom. Even though Miley may claim she “can’t be tamed,” such “out-of-control” female sexuality is simply recuperated back into a contemporary celebrity culture in which female stars are both praised and shamed for their sexuality.





Random Thoughts and Link-o-Rama

5 06 2010

Things have gotten unexpectedly busy in the first few days of Dr.-hood. So a random thoughts and link-o-rama post is about all I can muster. But at least they will cover a variety of topics!

Celebrity Deaths
I don’t know if it is a function of getting older or the fact that the celebrity pantheon has expanded so much in the past few decades (to include all sorts of stars, not just movie stars), but it sure seems like a lot of amazing people are passing on. Two recent celebrity deaths got me thinking about the different ways such moments are presented in the media. Both are steeped in nostalgia (an mode of engagement with celebrity that somehow seems more a function of this contemporary media culture), but from very different perspectives.

First, Gary Coleman. Since he was primarily known as a child star from the late 70s-early 80s sitcom Diffr’nt Strokes, coverage of his life and death are definitely steeped in nostalgia. At the same time, the coverage is also closely tied to ideas of fame damage. Coleman, like many child actors, struggled to find work after the end of the series. He also struggled with health and personal problems that became fodder for gossip media. Part of his struggle was the fact that he was always linked with his character, Arnold, and his famous catch-phrase, “what’chu talking ’bout, Willis.” His “real” self was never really able to escape this “public persona.” The coverage of his death is, to me, a continuation of this inability to split the character from the person, as it connects the fame damage to his child-star persona. Amber Watts offers a thoughtful and respectful analysis of this complicated star and his death on Antenna that speaks to this much better than I can today.

Secondly, Rue McClanahan. Her performance as Blanch Devereaux The Golden Girls made her an icon, even though she had a robust career before and after the show. I see the same sort of nostalgia surrounding her image as with Betty White’s. Many of her fans are people who discovered her work, particularly on The Golden Girls, well after the show ended its run. I think this is a positive side of nostalgia as a mode of engagement with celebrity, as it can re-evaluate older media through contemporary eyes. McClanahan, like White, challenged norms surrounding female sexuality, desire, and cultural value. She did so during a time (the Reagan years) when such things were largely frowned upon. And she did so both as Blanche and as “herself.” Jezebel has a great retrospective salute to McClanahan that is well worth the read (and features some awesome video clips).

This Week in Bizzare Celebrity
Though I don’t watch The Hills and am generally bored to tears by the antics of its so-called “stars,” I can’t ignore its impact on celebrity culture and reality TV. The over-constructed and controlled images Heidi and Spencer Pratt are just becoming increasingly ridiculous (granted, they didn’t have far to go). Heidi’s plastic surgery and its coverage in the gossip media could be its own post. But I’m sort of fascinated with the new narrative of Spencer as crazy crystal loving hobo. Since these two are so clearly versed in playing the game of contemporary fame (e.g. creating a public persona character and sticking to it at all times, stage paparazzi photos, doing outrageous things to keep one’s name in the press), this new narrative reads to me as a last ditch effort to keep our attention. But a truly bizzare attempt. I mean, what are we supposed to take from his transformation from Hollywood d-bag scenster to crystal-loving mountain man? I don’t know what to make of this. Maybe that’s the point? So deep, Spencer, so deep!

Spencer as Militia Member?

New Media and Politics
And finally, politics. Particularly since the Obama presidential campaign, the creative and concentrated use of new media platforms is an increasingly important part of the political process. It allows politicians to rally supporters and spread your message on your own terms. Thanks to Jovi and Wingo over at The Rad Dudes I was introduced to this important moment of collision between new media and politics. I mostly post this video because it is (unintentionally) hilarious and what is the Internet for if not to laugh at random weird things? Yes, I know, porn and shopping. And LOL Catz. BUT! I also include it for the random way that new media is clearly influencing all sorts of political campaigns. And as another example of how social networking platforms are often used in unexpected ways. Lesson: don’t talk smack about this guy on Facebook because we’re better than that.

That’s about all the scattered thoughts I have for this week. I think it’s time to play outside!





New Media and Bieber Fever

25 05 2010

I’m in the midst of preparing my dissertation defense (that’s why I haven’t been posting…I swear!). In trying to discuss future directions for my research, I’ve been thinking about the role of social networking platforms (most notably Twitter) in celebrity culture. Celebrity gossip blogs have already changed the game in important ways that are directly related to the rise of new media as technology and social space. The most obvious way is the immediacy of the internet. No longer do we have to wait for the weekly tabloids to hit the newsstand to get our latest gossip fix. In fact, the magazines can’t even keep up at this point, and my survey of gossip blog readers suggests many see the magazines as “old news” and don’t necessarily read them regularly, let alone subscribe. Yet we are also closer to the daily lives of celebrities than ever before thanks to the constant stream of gossip updates provided by paparazzi photos on gossip blogs.

Which brings me to Justin Bieber. I do not personally have the Bieber Fever, but after seeing him perform “Baby” on SNL (rerun last week), I get it. I mean, OMG, he is so cute!!! His songs are typical catchy pop and he has a cute baby face and fancy hair. So I get it, tweens, but he’s still not for me. But then again, he’s not supposed to be. If you are unfamiliar with the non-threatening boy adorable-ness of Bieber, here is the official video for “Baby.” I’m not saying he’s the greatest singer ever to grace this Earth, but he is a reliably cute and reasonably talented boy band sort of pop star. Watch at your own risk, as this song will get stuck in your head for DAYS…DAYS I TELL YOU!!

He may not be for me, but he is ENORMOUSLY popular with younger audiences. Which makes it particularly interesting that he apparently doesn’t move magazines. He still is regularly featured in teen-oriented celebrity magazines in their “gallery of stars” type coverage where they feature photos of a bunch of young stars, but his solo covers are not big sellers. This seems to indicate that how and where (particularly the young) audiences go for extratextual and “private” side personas has changed. By which I mean, social networking platforms.

When Bieber was on the cover of People back in April, the issue sold 20% below average. But in the new media age, this makes perfect sense to me. Why buy a magazine when you can read his inner most tweets for free? Indeed, Beibs has over 2 million Twitter followers and frequently among the top trending topics, indicating that he has a large fan base who are interested in the details of his private life. Even more interesting for the old vs. new media divide is that Bieber actually tweeted that he thought he “looked as crazy as heck” in the People photo just before the issue was released.

I doubt this is the only reason for the poor sales of Bieber’s People cover (a magazine aimed at an older audience than Beiber ‘s typical fans), but it does reflect a change in how fans interact with their favorite celebrity. Though you can’t hang a tweet on a wall like a pull out Tiger Beat poster (or a People cover), social networking platforms like Twitter offer access to the star that (at least in appearance) is more authentic and intimate than a magazine profile. For (young) audiences well versed in the revelation of the self through social networking platforms, it seems this would be more satisfying than any magazine profile.

But the move away from old media as primary extratextual source of celebrity lifestyles is not related just to the youth of Bieber or his audience. This Daily Beast story argues that celebrities as cover models are not selling (non-gossip) magazines as much as they once did. Unless they are young celebrities, like Miley Cyrus or Taylor Swift (because Angelina Jolie is so 2008). Even though these younger stars are more likely to be active social network users (Cyrus in particular famously “quit” Twitter and even used her YouTube channel to let fans know why), there is still some sort of appetite for magazine features on the (new/young) celebrity. The key seems to be integrating the two by giving something new across the platforms to keep fans/audiences interested. Younger audiences may be much more interested in the daily minutiae of a Twitter feed, so the magazines have to figure out how to give something new in their profiles that will still draw these audiences. Often it is images in the form of official photos exclusive to the magazine (as seen in the above People cover) that are glossy and beautiful in contrast to grainy paparazzi photos. So maybe Bieber’s “crazy as heck” cover photo was not enough of a draw both because of his Twitter-take on it and a lack of appeal to the fans.

Celebrities and magazines both have to adapt to this new media world. But, celebrity-oriented magazines, whether gossip tabloids or more legit outlets like Vanity Fair, are not going anywhere. Sure, their numbers are down, but they still rake in millions. Some, particularly Us Weekly and People, have online counterparts that, along with the print versions, remain major players in the gossip industry. More importantly, the magazines continue to have access to celebrities that the blogs and other online outlets do not, Twitter-feeds notwithstanding. They still claim to bring us a private and unguarded side of the celebrity that one wouldn’t necessarily get in a 140-character tweet.

As I mentioned before , the bloggers I interviewed pretty emphatically told me they are not journalists. Blogs, even Perez Hilton and all its alleged “exclusives,” are largely reactive. They rely on existing online content (culled from places like People.com) as a springboard for their commentary and gossip talk. This is certainly a problem for the magazines, as audiences may be less likely to buy a magazine if they’ve seen the pictures or heard the details of the story online. But it can also help. I’d wager the Sandra Bullock People cover was helped by the fact that the gossip blogs were exploding with this revelation and many audiences wanted to see it for themselves. Even though I saw all the pictures online and knew most of the details of the story, I still bought this issue (which, unlike Bieber’s cover, sold twice as many newsstand copies as a typical for that week).

So there’s still a place for print magazines as well as the type of content and access they bring to the gossip media landscape. But I’m fascinated with the increasing popularity of Twitter as a medium for celebrities to (again, allegedly…many celebrities (like Britney) do not actually write their own tweets) bypass these media outlets to bring their fans a more intimate view of themselves. And how the media (both “old” and “new”) is working to incorporate this sort of perspective into their own content.

Finally, is it wrong that I find it oddly soothing to watch Justin Bieber dry his famous hair? It’s some sort of Zen moment for me.