Journal Article Analysis, Module 1-3

For the Love of Joe: The Language of Starbucks

By Constance M. Ruzich

As a self-professed coffee junkie, I an attest to how a slow “cup of Joe” is better than a mere quick fix in the morning. Starbucks is commonly known as the company that built itself one cup at a time. The company’s culture is infused with specialty coffees and the complex factors that constitute a way of life.

Looking back, coffeehouses were shut down in the sixteenth century as coffee was condemned as a stimulant for rebellion, gambling, and sexual perversion (Ruzich, 2008). By the eighteenth century, the cultural views for the pleasurable drink began to perk up. Nicknamed “penny universities” for the cost of a cup of Joe and stimulating conversation, more than two-thousand coffeehouses dynamically launched the specialty coffee movement. Identified in the nineteenth century as an international commodity, coffee has become the nationalistic drink of choice, and the second most valuable trading commodity in the world (Ruzich, 2008).

The driving force in history enlightens the influence of the coffee experience. Expanding, the must-have drink has become a component in our culture by creating patterns of behavior among communities of people. Furthermore, the cup of Joe is becoming a tradition with a specific flavor. Highly dependant on consumption of goods in a culture, Starbucks heavily relies on the discretionary spending of consumers. Starbucks doesn’t stratify the consumers according to social or economic standing; hence, there is no upper class, middle class, or lower class – just the “cup of Joe” class. Rather, the company stratifies its consumers by “taste”. This taste culture bases their choice as a result of personal and emotional reasons. Influenced by the factors of home life, peer pressure, and emotional attachment, coffee is associated with some type of pleasure.

With current annual global sales estimated in the billions, Starbucks has unlocked the romance and mystery of coffee by exposing the social aspect (Ruzich, 2008). Described by the company’s founder Howard Schultz, Starbucks can be described as “an extension of people’s front porch” (Ruzich, 2008). This extension creates what the article refers to as the “third place”, a place away from the daily grind of the workplace and the narrowness of being in the home. (Ruzich, 2008). The company portrays the “A good old place” like your own front porch, attempting to associating coffee with a much needed break from traditional days.

It is not the easy chairs, the soft jazz music, or the café lattes that draw consumers to Starbucks’ coffee shops, but rather the crafted use of language that encompasses the manifestations of love full circle (Ruzich, 2008). Beyond the purchase of a super-dose of caffeine, consumers are reaffirming pop cultural passion. Popular culture appeals to our senses, and the caffeine links it with a “jolt”. The tone for gourmet coffee has become seductive and exotic, triggering the feeling of comfort, self-indulgence, and relaxation (Ruzich, 2008).

The socially acceptable addiction stems from the creative, carefully crafted language that evokes romance, relationships, and self-expression. Starbucks has become a household word, despite their lack of reliance on traditional advertising (Ruzich, 2008). Full steam ahead, the company has become a “word-of-mouth” wonder for encouraging consumers to envision their favorite coffee choice as an extension of their own unique personality (Ruzich, 2008).

Reflecting, Starbucks’ use of language appeals to more than just a craving, the Java shops encompass the language and social experiences designed to foster the feelings of personal enrichment and the desire for human connection (Ruzich, 2008). All the while, they are able to convince consumers that the “good life” can be purchased, and the inspiration is served daily!


Reference:

Ruzich, C. (June, 2008). For the love of Joe: the language of Starbucks. The Journal of Popular Culture: 41, 3, pp. 428 – 442. Retrieved on May 17th, 2009 from http://0-journals.ohiolink.edu.olinkserver.franklin.edu/ejc/issue.cgi?issn=00223840&issue=v41i0003

Weekly Written Analysis 5-1

The Power of the Suit…

Isn’t it amazing how ordinary people inexplicably develop amazing confidence with the mere changing of clothes? Superhero imagery has infused with almost every aspect of popular culture. The prevailing style of dress is fueled by the fascination of the superhero ideal.

Permeating our fashion industry, the power of the suit has triggered mass-market success (Keveney, 2008). The iconic costumes worn by superheroes continue to inspire issues such as identity, sexuality, and nationalism. Likewise, the garments we adorn ourselves with amplify morality, virtue, poise, speed, strength and more– it’s what the multitudes choose to embrace, or not accept. Today’s market tries to cater to these choices. (Petracca, 2007).

Consider Flash Gordon, the character that possessed superhuman speed - his suit depicted aerodynamics and velocity. Consider again, the stars and stripes ensemble worn by Wonder Woman, and how it portrays patriotism (Tuzik, 2007). Cultural acceptance can be linked with much of the garments available today. From sportswear (such as “Speedo’s”, Nike’s “Swift-Suit, etc.) to the luminous, “glow-in-the-dark” clothing, metal adorned garb, freedom wear, and leather apparel, the underling roots reflect the suits worn by Superman, Wonder Woman, The Crow, Daredevil, and Iron Man!


The key is that society accepts Superheroes and identifies with their wardrobe. Why is it the norm to “dress” for an interview? Have you heard of the saying “your appearance should reflect the job you want, not the one you have”? The formula is that these ideals and values grow out of the cultures that support them (Browne, 2005).

Instinctually, acknowledgement of the visual preempts that which exists within. With superheroes, viewers have to “flesh out” the character. The costumes portray confidence, and amplify the character’s inner strengths. Culturally, acceptance dithers with our appearance. Much like the designer “power-suit” for the classic executive, once they put it on, they are committed (to something).

Attire doesn’t actually change who you are – you can’t jump any farther, but you feel like you can! This feeds on the desire to do better, be better, and to be regarded as better, just like the superheroes. Most heroes have flaws and struggle with them. Society identifies with heroes as they are often portrayed to battle these matters within themselves, mirroring humanity.

For those having trouble trying to relate, maybe if you put on a suit…you’ll figure it out!


References:

Browne, R. B. (2005). Profiles of popular culture: A reader. Madison, WI: The University of Wisconsin Press. Formula. (pp. 115 – 117).

Keveney, B. (2008, March 18). Marvel superheroes power up. USA Today. Retrieved on June 14th, 2009 http://www.usatoday.com/life/television/news/2008-03-17-marvel-nicktoons_N.htm

Petracca, M. & Sorapure, M. (2007). Common culture: Reading and writing about American popular culture. Pearson Prentice Hall: 7, pp. 523 – 565.

Tuzik, R. (2008, January 18). Metropolitan Museum Salutes Power Of Superheroes Imagery In Fashion. Retrieved on June 12th, 2008 from http://www.huliq.com/47545/metropolitan-museum-salutes-power-superheroes-imagery-fashion


[Turnitin.com Submission: Weekly Analysis [4-1] 06-16-09 - 0%]

Weekly Written Analysis 4-1

Analysis: Achilles must have worn “flats”!

Touched upon under the key points for classical heroes, Achilles is widely known from Greek mythology in the literary works of Homer’s Iliad. The epic tale begins for Achilles as an infant, when his mother held him by the heel and dipped him the River Styx (Matherne, 2004). This inherently gifted him with a superhuman ability known as resistant to death. His heel; of course, became his mortal weakness.

Fated to be great, his heroic warrior abilities during the Trojan War are widely considered as paramount. Many who are familiar with the story; however, do not know that the divine Achilles lived as a girl in a neighboring king’s court after being trained for battle (Ross, 2002) Culturally speaking, this definitely puts a spin on what was considered “modern dress” in Greek times. Regarding his mortal heel, as a present time transvestite, Achilles choice in women’s footwear would have been severely limited!


Of course, the pattern for the heroic epic follows course even in light of his apparel. His life as a hero began when infused with divine grace. Patterns and characteristics are common across both century and culture in this manner, as the film character “Superman” was blessed with super-human power with ancestral ties. As challengers or villains will surely be encountered, the birthright of hero-children are often hidden or disguised to prolong life. For Achilles, the same held true. He was hidden away to be unrecognized by his mother when Achilles was nine years old in order to prevent the declared prophecy that her son would either die a young hero or live a humiliate life (Myth-man, 1999). Known as “Pyrrha” for his red hair, Achilles lived disguised quietly as a young woman. Later exposed by trickery, Achilles entertained his destiny and joined the Greek expedition that led to the infamous Trojan War.

Subsequent in the pattern of a hero, his life was then intertwined with his destiny. Achilles accepted his predetermined call to duty, and began his journey. His quest in Greek times encompassed the seeking of a challenge or achieving a goal in physical terms (Myth-man, 1999).
Achilles adventure and peril required both courage and sacrifice. He avenged his companion Patroclus (with sexual reference), by killing the Trojan hero that took his life. Homer referred to the character of Achilles as highly noble and admirable (Matherne, 2004).
Particularly, the classic heroes from Greek mythology are both appealing and amicable not only for their super-human powers, but for the array of emotions and reactions displayed. The epic tale of the heroic Achilles is famed for displayed eccentricity, humanism, and competitiveness.
As destiny would have it, Achilles life was brief. As the story goes, his one fatal flaw, Achilles mortal heel, befell him. As an archetypal hero, Achilles is idolized in the form of statues and the portrayal of scenes in certain parts of Greece (Ross, 2002).

References:

Matherne, Bobby. (2004). Review Achilles, by Elizabeth Cook. Book Review. Retreived on June 10th, 2009 from http://www.doyletics.com/arj/achilles.htm

Myth Man. (1999). Myth Man’s Achilles. Retrieved on June 10th, 2009 from http://www.thanasis.com/achilles.htm

Ross, Susannah. (2002). Holding out for a Hero: Curriculum Notes. Retrieved on June 11th, 2009 from http://www.unm.edu/~abqteach/gods_cus/01-02-09.htm

[Turnitin.com Submission: Weekly Analysis [4-1] 06-12-09 - 3%]

Weekly Written Analysis 3-1

"Clean Impressions..."

Soap operas are among the most popular genres of television today. Originally introduced as an American radio program over seventy years ago, Soap Opera’s were transmitted via television (sponsored by soap manufacturing companies) in the 1950s. This year, viewers young and old await the 36th Annual Daytime Emmy Awards.

So just what is it about the “Soaps” that continues to spark interest and gain new viewers? In the broadest sense, the popularity of daytime serial dramas can be attributed to its entertainment value. It is not the content, but how the audience relates to a show that makes it accepted (Lewis, 1997).

Narrowing, our favorite shows provides for a means of escapism – the opportunity to break our daily routine and delve into a “parallel life”. This allows for viewers to find their own sense of identity with a show that progresses as their own lives do, with fictional characters that share the same opinions, lifestyles, and experiences-but with different scenarios. Furthering the appeal, melodramatic storylines encompass the presence of suspense and the ability to predict future events.

Dynamically, viewers can join a soap opera at any point. Story lines are woven over 265 episodes annually, and the plots are not linear. Particularly open to individual interpretation, Prime-time serials highlight stereotypical figures. It is not difficult to identify the grandmother type, the rogues, the withdrawn men, the “good girls”, the career women, and the gossip-givers. (Dyer, 1981).


References:

Dyer, Jordan. (1981). Stereotypes. T.V.Soap Opera Genre. Retrieved on May 31st, 2009 from http://www.aber.ac.uk/media/Modules/TF33120/soaps.html


Lewis, Paula. (November, 1997). Why are Soap Operas so Popular? Retrieved on May 30th 2009 from http://www.aber.ac.uk/media/Students/pjl9601.html


[Turnitin.com Submission: Weekly Analysis [3-1] 05-31-09]