University Press of Colorado Utah State University Press Chapter Title: OBAMA HOPE, PARODY, and SATIRE Book Title: Still Life Wi
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University Press of Colorado Utah State University Press Chapter Title: OBAMA HOPE, PARODY, AND SATIRE Book Title: Still Life with Rhetoric Book Subtitle: A New Materialist Approach for Visual Rhetorics Book Author(s): LAURIE E. GRIES Published by: University Press of Colorado, Utah State University Press. (2015) Stable URL: https://www.jstor.org/stable/j.ctt130hktr.13 JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms University Press of Colorado, Utah State University Press are collaborating with JSTOR to digitize, preserve and extend access to Still Life with Rhetoric This content downloaded from 129.210.6.137 on Thu, 30 Jan 2020 05:56:50 UTC All use subject to https://about.jstor.org/terms 8 OBAMA HOPE, PARODY, AND SATIRE Just as the scandalous affairs in which Obama Hope would become embroiled were unpredicted, one could never have anticipated how wildly Obama Hope would transform as it entered into diverse asso- ciations throughout and since early 2008. While certainly other iconic images—Uncle Sam, the Mona Lisa, the Last Supper, and most recently the Pepper Spray meme—have undergone intense transformation, no image designed for presidential campaign purposes has experienced reproduction, appropriation, and transformation on such a mass scale. In this chapter, I illustrate how the image experienced mass commodi- fication and fueled what some call Obamamania. Yet, I mostly focus on how it took an ironic rhetorical turn to become a popular enactment of parody and satire, and, in the eyes of many, a quintessential political meme. In addition, I disclose how Obama Hope has inspired a novel cybergenre called Obamicons that has become a staple in political par- ticipation on the World Wide Web. When we zoom in on such diver- gent transformations, it becomes undeniable that Obama Hope has experienced a constant process of rhetorical becoming as it has taken on unexpected functions and has actualized in surprising and some- times disturbing forms. Via this focus on rhetorical transformation, it also becomes even more clear how this single multiple image was able to achieve viral circulation and become iconic in such a short time is it drew many people into collective activity. COMMODIFICATION During the 2008 election season, Obama Hope’s transformation and cir- culation accelerated as its commodification became rampant and online news sources began reporting about the “Obamabilia craze” that was sweeping the nation. As discussed in chapter 6, Obama Hope surfaced on merchandise sold by the official Obama campaign and items Obey Giant and other companies such as Sticker Robot produced and distributed. Yet, DOI: 10.7330/9780874219784.c008 This content downloaded from 129.210.6.137 on Thu, 30 Jan 2020 05:56:50 UTC All use subject to https://about.jstor.org/terms Obama Hope, Parody, and Satire 203 Figure 8.1. Obama Change Print Dress, Alessandra Tarantino, 2009. Permissions by Associated Press. at street fairs, flea markets, political rallies, and online stores, those in the private sector also began producing Obama Hope on a plethora of diverse merchandise. In addition to its appearance on the expected t-shirts, sweat- shirts, and hats, it has surfaced in typical commemorative fashion on coins and medals. Yet in a more random show of artifacts, Obama Hope has also turned up on action toys, silver business-card holders, cell-phone stickers, coffee cups, water bottles, and a variety of accessories such as tennis shoes, purses, earrings, watches, ties, barrettes, and lapel pins. Obama Hope even showed up on tote bags in Ghana while its red, white, and blue style, which influenced Fairey’s Change poster, appeared on a woman’s haute couture dress in Milan, Italy (see Figure 8.1). While such commodifica- tion certainly intensified when the US National Portrait Gallery acquired the Hope collage and cemented Obama Hope’s national stardom, its com- modification did not begin then. In fact, its commodification began as soon as people realized they could profit from sales of original posters that they paid for through Fairey’s Obey website. This content downloaded from 129.210.6.137 on Thu, 30 Jan 2020 05:56:50 UTC All use subject to https://about.jstor.org/terms 204 Obama HOPE, PARODY, AND SATIRE The “eBayification” of the Obama Hope image became especially popular when people who had gotten hold of Fairey’s original Progress posters began selling them on eBay for prices as high as $1,000. These auctions began in February 2008, shortly after their initial publication on the Obey website. Ebay had become such a central location for cir- culating the Obama posters early, in fact, that the Wall Street Journal began tracking the prices of the Obama Progress poster on eBay during the Obama campaign (Lewis 2008). Its interactive “Obama’s ‘Progress’ Report” illustrates how prices on eBay were driven by news and events throughout the campaign. Just after Hillary Clinton conceded in June of ‘08, for instance, the poster’s price shot up to over $4,000 (Lewis 2008). Such eBay sales accelerated the circulation of the Obama Hope image in ways Fairey neither expected nor approved of. In fact, as soon as the eBay transactions began occurring without his permission, Fairey (2008) expressed disappointment on his Obey website, calling the eBay profi- teers “greedy.” He claimed all the proceeds from the Progress poster’s sales on his own Obey website were intended to generate support for Obama, not enhance the pockets of people looking to make a profit off his work. The reality is, however, that the desire for Obama Hope had become so strong that Fairey could not produce enough prints to satisfy US Americans’ desires for it. The prices of the Progress posters were thus driven up because of a lack of supply and high demand. Fairey tried to keep the prices of the Hope posters down by putting them up for sale on his website for thirty-five dollars. Yet, by April of 2008, even these posters were up for auction on eBay for over $300. At the time of writing, sales of Obama Hope in a variety of manifes- tations can still be found on eBay. An original Obama Hope poster dis- tributed at the 2008 Democratic National Convention has gone down to the thirty-five-dollar price Fairey was originally asking on his own site. But some of the items are priced quite high. While a signed edition of the Hope poster is going for $500, for instance, a limited edition of the Progress poster is up for international auction for over $13,000. A brand- new, unused, and unopened Obama Hope action figure is also available for $150, over six times its original price. Such items and others are also easily accessible on Amazon.com, other online stores, and entire websites devoted to the sales of Obama products and gifts. On Etsy, for instance, Obama Hope can be currently found stamped onto rings, mag- nets, and phone covers as well as crocheted, beaded, and weaved with dryer lint onto cloth canvases, the latter of which is on sale for $250. While it is unclear how much profit has been gained from the image’s sales on various products, it is clear that even though the campaign is This content downloaded from 129.210.6.137 on Thu, 30 Jan 2020 05:56:50 UTC All use subject to https://about.jstor.org/terms Obama Hope, Parody, and Satire 205 long over, Obama Hope’s commodification is still ongoing and is per- petuating its continued circulation. Desires for ownership of Obama Hope in the United States, which are both a stimulant for and a consequence of its mass commodification, vary with individuals. Obviously, people purchased Obama Hope goods to identify as Obama supporters, build alliances with other Obama supporters, and commemorate this monumental moment in US his- tory. Yet individuals also consumed Obama Hope for a wide range of other personal reasons. George Clooney, for instance, is reported to have an Obama poster hanging in his home as a reminder of his work with Obama on behalf of Darfur and the fact that he was sitting next to Obama when Garcia’s photo was taken (Gardner 2012). Young art- ist Anna Jacobs, on the other hand, claims (pers. comm.) she bought a t-shirt printed with Obama Hope simply because it was a powerful image in and of itself. Others such as Gene Mackles (pers. comm.) explain they tried to purchase a Progress poster on eBay because they liked the image and thought it would become important in the future. Still oth- ers such as artists Andy Howell and Ginger Che (pers. comm.) were con- vinced “this iconic image served to help unify a voting public in chang- ing the course of history.” Obama Hope thus reminded these artists of the power visual things can have on an entire populace. As for myself, I obtained a signed, original print of the Hope poster as inspiration to work on this research project. Hanging over my desk, the picture serves as motivation to keep writing. As is evident in such testimonies, no single cause for the rampant commodification and consumption of Obama Hope can be identified. Yet, interestingly, once Obama Hope’s mass reproduction began, people began to speculate as to why this image had become so desired.