Dizzee Rascal's "Dream"
'Dream' Dizzee Rascal.
The music video for "Dream" begins as some building blocks (with animals printed on them) rotate to reveal the name of the artist "Dizzee Rascal". A children's music box tune plays as the camera zooms in on a woman at a piano a parody based on Annette Mills and Muffin the Mule. She then starts playing the piano and the song starts. Dizzee appears out of a music box, He then states that the track he's rapping on is "too sensible for him," a nod to this song's sample of a Captain Sensible song. Then he starts rapping the song. During the video, several notable incidents happen; two puppet men steal a TV, and the puppet police appear in a police car, and beat the puppet thieves; another puppet spray paints a shop wall; an ostrich dances on a bench; Dizzee walks into a disco; Dizzee raps for a microphone in a recording studio, with a pony puppet as a DJ; two puppets walk on screen pushing prams containing ugly babies. The video ends with Dizzee climbing back into his music box, and the lady says "Goodbye, Dizzee, Goodbye, Boys and Girls, Goodbye..." and the building block logo appears again, and the video ends.
The fact that the song is an adaptation of 80s song 'Happy Talk challenges audience preconceptions because the lyrics are interpreted in a different way and are used to make a social comment. This video contains elements of intertextuality. Dizzee makes intertextual references to 1950s TV shows as well as inner-city riots. The two worlds join together, as the presenter is telling the story of the contemporary rapper which contains a message. The 1950s world is created through the iconography, including the grand piano and the room itself. The inclusion of this world could suggest a time when society seemed less complex and contrasts the social issues discussed in the song's lyrics.
It also reflects aspects of contemporary British society in relation to ethnic and social groups. There is the use of binary opposites reflecting tensions within society, for example police and young people. However, the social and cultural context is seen in a more positive way as Dizzee Rascal's 'dream' becomes a reality, showing that contemporary society can offer opportunities to under-represented cultural groups. The juxtaposition of the young peoples' cultural context with nostalgia of the 1950s provides a wider social, cultural and historical context.
Dream conforms to and challenges Gilroy's postcolonial theory. The juxtaposition of the white matriarchal presenter and the black urban youth reinforces cultural differences and whilst there is a more positive representation related to Dizzee and his 'dream come true' narrative, there is still a sense of hierarchical control as in the end he is still put back inside the box. The woman may represent Britain. Also, it is noticeable that Dizzee is the only one without puppet strings, possibly indicating that he has free will. It also slightly links to Todorov's narrative theory of equilibrium, disruption, equilibrium. The video constructs recognisable stereotypes. These include: the youth who are causing trouble, the Scottish character who looks like a drunk and the white police officer who beats the youth with a baton.
The fact that the song is an adaptation of 80s song 'Happy Talk challenges audience preconceptions because the lyrics are interpreted in a different way and are used to make a social comment. This video contains elements of intertextuality. Dizzee makes intertextual references to 1950s TV shows as well as inner-city riots. The two worlds join together, as the presenter is telling the story of the contemporary rapper which contains a message. The 1950s world is created through the iconography, including the grand piano and the room itself. The inclusion of this world could suggest a time when society seemed less complex and contrasts the social issues discussed in the song's lyrics.
It also reflects aspects of contemporary British society in relation to ethnic and social groups. There is the use of binary opposites reflecting tensions within society, for example police and young people. However, the social and cultural context is seen in a more positive way as Dizzee Rascal's 'dream' becomes a reality, showing that contemporary society can offer opportunities to under-represented cultural groups. The juxtaposition of the young peoples' cultural context with nostalgia of the 1950s provides a wider social, cultural and historical context.
Dream conforms to and challenges Gilroy's postcolonial theory. The juxtaposition of the white matriarchal presenter and the black urban youth reinforces cultural differences and whilst there is a more positive representation related to Dizzee and his 'dream come true' narrative, there is still a sense of hierarchical control as in the end he is still put back inside the box. The woman may represent Britain. Also, it is noticeable that Dizzee is the only one without puppet strings, possibly indicating that he has free will. It also slightly links to Todorov's narrative theory of equilibrium, disruption, equilibrium. The video constructs recognisable stereotypes. These include: the youth who are causing trouble, the Scottish character who looks like a drunk and the white police officer who beats the youth with a baton.
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