Running head: Contemporary Artifact/Popular Culture 1

Rhetorical Analysis of Contemporary Artifact and Popular Culture Influence

Andre A. Voudy
University of Central Florida

CONTEMPORARY ARTIFACT/POPULAR CULTURE 2
Abstract
Social structure often has a major influence on the ways of communication, the impact,
and style of all rhetoric. Visual rhetoric is not different in its impact and being impacted by
society and different cultural values, ideology, and styles. Symbols and other components of
visual rhetoric vary in meaning from culture to culture, and even sometimes within subgroups of
cultures. In summary, signs that can have different quantifiers such as color, perspective, or
meaning influence the way visuals are interpreted by these cultures throughout time.
Keywords: Visuals, Popular Culture, Interpretation, Persuasion, Languages, Rhetoric.
CONTEMPORARY ARTIFACT/POPULAR CULTURE 3

Historical Impact
Visuals have throughout history had the capacity to resonate messages even when the
times or situational matters have changed. With visuals, understanding can travel through
language barriers and generational gaps. The way this is achieved is through the interpretation of
the artists argument. Visuals can be anywhere or anything, as long as one can communicate the
meaning of what was seen, a visual could represent an artists motivation or challenge of
something current. It could also be taken out of context and misrepresent an on-lookers miscued
idea of what the artist was trying to pitch. Taken a step further, a digester of a visual could
become the new author or artist, and spin an interpretation of the original visual by manipulating
the content to pitch their personal position. For example, in Lucus de Heeres painting Family
of Henry VIII c.1572, the artists vision was influenced by the times and drawn accordingly to
Queen Elizabeth I skewed view of the harmony her family and father, Henry VIII, bestowed on
earth. (https://www.museumwales.ac.uk/art/online/?action=show_item&item=737) The artists
argument on canvas was truly not his and used Queen Elizabeths influence to add certain aspects
to the visual. By having the Queen manipulate the artists rendition, it encapsulated her vision of
the times and her royal familys involvement in larger than life activities. With no actual words
on the painting, the only understanding of the pitch would be through knowing the historical
meaning of the artwork. Once again by manipulating an original message, a new artist could
elaborate or influence audiences with his interpretation and direct meaning, even if that artist is
years removed from the originals time period. That is what happened in the manipulation of
Lucus de Heeres painting by Gisella Velasco when she added a Popular Culture reference to a
Hip-Hop superstars lyrics. The lyrics are in reflection to Notorious B.I.G. larger than life
CONTEMPORARY ARTIFACT/POPULAR CULTURE 4
persona of the 1990s. Specifically used, is the popular lyric from his 1995 hit Big Poppa: I
love it when you call me Big Pop-pa. Looking further into details of both visuals would divulge
what both artists were trying to relay to their respective audiences and allow an underlying tone
to be recognized.
Velascos Popular Culture Image of The Family of Henry VI I I
Initially, what is digested by the audience in this new rendition of a classic art piece is the
bold message and lyrical reference to Notorious B.I.G.s song Big Poppa. In order to truly
interpret the visual, a breakdown of the language and visual aspects would provide reference to
Velascos time period and challenge, or message, trying to be conveyed.
By using The Family of Henry VIII as the medium to her message, Velasco used Lucus
de Heeres vision (or truly Queen Elizabeths) of the royal family and their twisted pitch of living
out a life in luxury and excessiveness. By adding the lyrical reference in bold white letters, it
suggests that whatever is going on in the background of the new image is in relation to being a
Big Poppa or King; specifically in this one using King Henry VIIIs elaborate lifestyle. King
Henry VIII was Queen Elizabeths father, so another name in reference to a father would be
Poppa. The artist of the new image, Velasco, encapsulated the original message into her new
reflection, or influence, of Popular Culture. That original message would be detailed in the
explanation of Queen Elizabeths allegory, which commissioned the original painting in the first
place along with the lyrical meaning of Notorious B.I.G song Big Poppa.
Detailed Aspects and Description of Original Painting. Providing the basis of the new
renditions message, the original artwork by Lucus de Heere lends understanding through certain
aspects of the detailed description of it. This picture celebrates the harmony established by
Queen Elizabeth I. Elizabeth is on the right, holding the hand of Peace and followed by Plenty.
CONTEMPORARY ARTIFACT/POPULAR CULTURE 5
Her father Henry VIII, the founder of the Church of England, sits on his throne, and passes the
sword of justice to his Protestant son Edward VI. On the left are Elizabeths Catholic half-sister
and predecessor Mary I and her husband Philip II of Spain, with Mars, the God of War. The
picture, a gift from Queen Elizabeth to Sir Francis Walsingham, exemplifies the 16th century's
fascination with allegory, the Queen's vision of herself as the culmination of the Tudor dynasty
and her concern with the legitimacy of her
regime.(https://www.museumwales.ac.uk/art/online/?action=show_item&item=737) By using
these visuals, and coupling it with the lyrical meanings of the 1990s Popular Culture hit song,
the argument or tone in Velascos rendition has changed.
Detailed Aspects of 1990s Popular Culture Hit: Big Poppa by Notorious B.I.G. By
dissecting the Popular Culture of the 1990s, you reference a time where Hip-Hop was emerging
on the radio and continuing to influence the change that was taking place across America with
race relations and the financial situation of individuals. Notorious B.I.G. was a figure that
embodied the elaborate lifestyle of a King of the times. His lyrics referenced his successful
financial status along with the accompanying credibility of being a leader in the Rap community.
Essentially by being Big Poppa, he was being looked upon and labeled as a King that
allowed prosperous times in the 1990s culture. He even, at times, wore a crown during his
public appearances to self-address the King aspect of his life. The details referenced in the
original artwork, still remain relevant to Notorious B.I.Gs message in Big Poppa. Being a God
of War, or bestowing Peace and Harmony on his community are still all aspects related to the
larger than life persona of both King Henry VIII and Notorious B.I.G.
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With Notorious B.I.G. being murdered, and the resulting God-like or King-like labeling
attributed to him, the message of loving to be called Big Poppa amplifies the underlying tone,
or allegory, of power throughout both visuals.
Influence. After taking the original artwork, the new rendition of the original artwork,
and the lyrical message behind the referenced song in the new rendition; the argument for Gisella
Velascos visual is revealed. That argument being that even if the figures are from classical
periods or not, people of the times respected and looked up to them in a Royal light. By having
this title, the audience considers that anyone would enjoy their respective lifestyles as one of
these figures, thus loving to be called Big Poppa. Always relevant are the pursuits to financial
success and power that are entwined in Popular Cultures influential players, regardless of the era.
The specific influences used throughout the changes in these artworks are 21
st
century
Hip-Hop verbiage, visuals pertaining to Royal lifestyle in the 16
th
century, and Popular Cultures
view on success and power. In manipulating the classical part of the visual into a contemporary
pitch the audience gains understanding of the artists motivation without asking the artist directly
about her intentions. This is the beauty that visuals can offer. Argument and positions are relayed
through the power of the non-verbal. Proof of this is definitively exposed through the
transcendence of messages through time and their continued influence on the cultures hosting the
audiences.
PLEASE, PROOF-READERS PROVIDE ME WITH AN ELABORATION ON MY IDEAS
BECAUSE I CAME TO A POINT OF REDUNDENCY AND IM HAVING A HARD TIME
TRYING TO CONVEY THE REFERENCE TO A KINGS POWER AND THEIR GOD-LIKE
INFLUENCE OVER THEIR RESPECTIVE CULTURES. ALONG WITH TODAYS
POPULAR CULTURE AND WHAT INFLUENCES THE COMMUNITY USING VISUALS.
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References
Heere de, Lucus. FAMILY OF HENRY VII. (1572)
https://www.museumwales.ac.uk/art/online/?action=show_item&item=737
Krueger, Kathleen. Dialogues: An Argument Rhetoric and Reader. 8th ed. New York: Longman,
2003. 343-352. (2009)
Velasco, Grisella. FLYART. (2000)
http://flyartproductions.tumblr.com/post/89440082735/flyartproductions-notorious-henry-
viii-the