疯狂的水星

Q2 Arts and Humanities
E. McGoun
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引用次数: 0

摘要

当我们购买一辆汽车时,我们也获得了一种无形但非常真实的形象,也就是说,这辆汽车向公众表明了它的主人。这样的形象在流行文化中被塑造,水星是一个在二战后流行文化中首次亮相的吉利汽车品牌。1948年,K.C.道格拉斯(K.C. Douglas)用一台每分钟78转的10英寸唱片录制了《水星不羁》(Mercury Boogie),副歌中有一句令人难忘的歌词:“我为水星疯狂”。五年后的1953年,乔治·巴里斯和山姆·巴里斯将一辆1951年的水星俱乐部双门跑车改装成了Hirohata Merc,创造了一个被描述为“有史以来最著名的定制”的经典定制(Taylor 2006: 56)。福特偶尔会试图利用这些在大众文化中形成的强大根基,但该公司的努力并没有取得显著成功。尽管水星在媒体领域有很好的开端,但它在音乐和电影领域的影响力很小。水星的形象在最初几年之后就再也没有影响到汽车市场,也无法阻止这个品牌在2011年的消亡。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Crazy 'Bout a Mercury
When we purchase an automobile, we are also acquiring an amorphous but very real image, that is, the statement which the automobile makes about its owner to the public. Such images are forged in popular culture, and Mercury is an automobile brand that had an auspicious post-WWII popular culture debut. In 1948, K.C. Douglas recorded “Mercury Boogie” on a 10-inch 78-RPM, with its memorable line in the chorus “I’m crazy ‘bout a Mercury.” Five years later in 1953, George and Sam Barris transformed a 1951 Mercury Club Coupe into the Hirohata Merc, creating a classic of customization that has been described as “the most famous custom of all time” (Taylor 2006: 56). Ford occasionally attempted to take advantage of these strong roots in popular culture formed in the make’s earliest days, but the company’s efforts were not notably successful. In spite of Mercury’s promising beginnings in media, it has had only a slight presence in music and film. Mercury’s image never influenced the automobile market beyond the first few years, and it was unable to prevent the brand’s 2011 demise.
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来源期刊
Review of International American Studies
Review of International American Studies Arts and Humanities-Literature and Literary Theory
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