Of all the Chicago auto dealers who ever graced the small screen as their own TV pitchman, few were as delightfully campy as Bob Rohrman.
Rohrman’s low-budget commercials radiated good humor and bad production, featuring his mustachioed and bespectacled face peering out from a variety of goofy costumes, a uniquely awkward delivery and flubbed lines that often devolved into a joyous cackle.
The spots were punctuated by a cheesy cartoon lion and the tag line: “There’s only one Bob ROHRRRR-man!”
Somehow it all worked, turning the Bob Rohrman Auto Group into one of the largest family-owned dealership groups in the Midwest, and its spokesman/founder into something of a Chicago celebrity.
In the era of cable and satellite television, streaming options, declining network television and local radio, and targeted commercials on particular platforms, we may be at the end of local advertising like this. All the advertising then becomes more corporate, slick, tied to national or multinational corporations. And we lose a few public characters who few people may have actually met but who many could recognize.
We purchased a vehicle from a Rohrman dealership several years ago. At no point, did I think about the commercials in that process. But, given the number of Rohrman commercials I have seen and heard over the years, who knows if it influenced me. (I can safely say that other auto pitchmen or dealers, including Max Madsen or the Webb boys, did not lead me to visit their lots.)
An interview with Todd Boyd, featured in ESPN’s “The Last Dance,” included this answer regarding evaluating Michael Jordan’s competitive fire:
I would say it’s American, that’s what I would say. I wouldn’t characterize it as positive or negative, it’s American. I think what Michael represented was an especially American desire to win at all costs, to dominate.
Sports have the ability to both reflect America and lead to social change. Jordan’s example could serve both. He was wildly successful in American terms on and off the court as a winner and earning oodles of money. He helped usher in a new era of global superstars, taking a third-place American sport (behind football and baseball) to global heights, and a lasting brand built around shoes. He is still successful today as an NBA owner.
It can be easy to chalk up his success to his legendary work ethic and a quest to become better when others who had similar skills or athletic gifts took it easier. But, it would also be helpful to place Jordan in his context. He came along at the right time for multiple reasons: he built on the NBA stars of the 1980s, he was around at the spread of hip-hop (also discussed in the interview), he succeeded during an era of capitalist growth (“the end of history” and the demise of communism), and technology helped spread his play and brand (even down to the crying Jordan meme of recent years).
All of this means that Boyd’s answer is two-fold: Jordan exemplifies America (work hard and you will get ahead!) and what it considers success (become a winner and global icon!). Is this what Americans want to promote for their children or in schools or in politics? That is a much bigger debate.
You might be tempted to cap the perceptual 2000s in late 2008, when Obama was elected president and the investment banks Lehman Brothers and Bear Stearns collapsed, taking down the housing market and much of the American economy with them. That collapse ended the tacky prosperity of the early 2000s, a period when the McMansion flourished, cheap gas fueled a love affair with giant SUVs, and pop culture was overrun with paparazzi shots of Paris Hilton and Lindsay Lohan falling out of Los Angeles nightclubs while wearing low-rise jeans and trucker hats. Meanwhile, Facebook was metastasizing beyond college students, sculpting the basic contours of the digital environment much of the world now lives in. In hindsight, the moment in 2007 when the pop princess Britney Spears cracked under the paparazzi glare, attacked a car with an umbrella, and shaved her head feels like foreshadowing of the cultural brink to come, when none of this would feel so innocent or breezy.
Adding pop culture to this pair is an interesting choice. Do all three of these together suggest bigger is better or that consumption of all things – cars, homes, and people/celebrities – is what Americans want to see and experience? We have many images of celebrities driving around in expensive SUVs and living in large homes. As Americans in general like the idea of large homes, those in the public eye seem to gravitate toward large and showy homes. Their residences, such as those of sports starsandHollywood stars, are usually beyond what the average American could buy (as are most McMansions).
“I’ve got no dark secrets, I wasn’t beaten up, my parents were kind to me and there was a low crime rate where we lived. Maybe that’s where the comedy comes from, as some sort of reaction to the safe, boring suburbs. Although, I gotta say, I never had any resentment of the place. I loved the suburbs”, he told The Observer.
Right before this quote, the profile suggests this bucolic upbringing is unusual:
Oddly for a comedian, his was a golden and uneventful Californian childhood.
Rather than a reaction to adversity, it sounds like Ferrell had a number of advantages – including later attending USC – that gave him freedom to explore comedy. Or, perhaps this relative comfort channeled his energy into more zany humor rather than dark humor.
I am not sure it is worth a full study to explore the connections between place of upbringing and how this affects comedians but a broader look at place of upbringing and artistic creativity more broadly could provide interesting. Given that America is largely a suburban nation today, are the majority of its creative types from the suburbs or from cities? The biggest cities have long been upheld as more cosmopolitan and cultured places in addition to often serving as homes of clusters of artists and performers. In comparison, stereotypes of conformist and homogeneous suburbs abound even as a good number of those who grew up there would have had opportunities that may not have been available elsewhere.
Another quick thought: how many celebrities and famous today would freely admit “I loved the suburbs”?
As multiple devastating wildfires raged across California, a private firefighting crew reportedly helped save Kanye West and Kim Kardashian’s home in Calabasas, TMZ reported this week. The successful defense of the $50 million mansion is the most prominent example of a trend that’s begun to receive national attention: for-hire firefighters protecting homes, usually on the payroll of an insurance company with a lot at risk.
The prominence of celebrities in the story may attract controversy but the use of private firefighters is part of a larger trend:
The National Wildfire Suppression Association represents 250 private wildfire-fighting companies, who provide on-demand services to federal, state, and local governments. Budget cuts have forced privatization onto the Forest Service, as the NWSA itself explains. “The emergence of private contract resources—national and regional 20-person firefighting crews, engines, dozers, tenders and other specialized equipment, and support services such as caterers and shower/handwashing units—gives agencies the flexibility they need to increase or decrease support with the most cost effective solution,” the NWSA media backgrounder says.
While Americans generally think certain public goods should be available to all or many (though this is notably missing in certain areas, such as a right to housing), those with wealth often can access different options or better versions of what the public can use. A historian puts it this way:
“Are the present examples (Kanye West et al.) the thin end of a wedge that will lead to the wealthy buying better services in all these realms: education, policing, healthcare, firefighting?” Bailey wondered. “Or are we already a long way down this path?”
I wonder if Americans feel differently about natural disasters, sometimes termed “acts of God.” It is hard for anyone to completely prepare or defend against major disasters including flooding, hurricanes, tornadoes, earthquakes, and fires. The wealthy can rebuild and recover more easily but only so much can be done in these situations. This differs from more typical goods or public services people can access where we have much less conversation about buying into higher levels of service or quality.
Early Monday morning, Cyrus tweeted that her Malibu home — a $2.5 million mansion she purchased with her fiance, Liam Hemsworth, in 2016 — had been destroyed. The Woolsey Fire, which has been burning swaths of Los Angeles and Ventura counties in Southern California since Thursday, has forced evacuations and threatened thousands of homes from Thousand Oaks to Malibu…
Butler focused the camera on the charred frame of his former house, surrounded by ash and the blackened shell of a truck…
In a post on his website, Young stated that he had just lost “another” house to a California fire, referring to the Malibu home he shared with Daryl Hannah…
As The Post’s Sonia Rao reported, the historic Paramount Ranch production set in Agoura Hills burned on Friday, while wildfire threatened the nearby homes of a slew of celebrities, including Guillermo del Toro, Alyssa Milano, Lady Gaga, Will Smith, Kim Kardashian-West and Kanye West, James Woods, Orlando Bloom, Melissa Etheridge, Rainn Wilson, Cher and Pink.
Given the amount of money wealthy people put into their homes, what features could help a home avoid wildfires? A few options:
An exterior sprinkler/hose system to help keep the home wet and not burst into flames.
A protective shell that could arise around the exterior of the home.
Construction out of certain materials that would be more fire-resistant.
Building homes within communities that have permanent fire breaks around them or other devices to help slow fires before they arrive at individual homes.
None of these options would be cheap but there could be an opportunity here. And if these options could be had at a reasonable price, perhaps they could make their way to the general market.
The 20-year-old, who first became internet-famous on the now defunct app Vine, has been living with friends and “coworkers” in a Beverly Grove rental near Melrose and Kilkea. Mic reports they use the house as ground zero for loud parties and for some of his “stunts,” including lighting a pile of furniture on fire in the house’s drained pool and popping wheelies on a dirt bike on the street…
Paul has been living in the McMansion-style contemporary—where rent is $17,459 per month, MLS records show—since June 2016. (Paul is reportedly pulling in “millions” of dollars and is an actor on the Disney Channel show Bizaardvark, so he can afford it.)
The house is described on the MLS as having five bedrooms and five bathrooms. It was recently a Spanish-style duplex, but building permits show a new house was built on the site in 2016.
Is there a behavior code for McMansion owners? If your neighbors already don’t like your house, which may often be the case with teardowns, perhaps it would be best to lay low and try not to ruffle many feathers. On one hand, there is a stereotype that McMansion owners are the types who drive in and out of their cars without seeing anyone else yet there are often presumed to be people who have to prove something (and this comes out through their house and maybe through other behavior).
Are McMansions more acceptable for celebrities and wealthy people? When people generally use the term, they are referring to more middle or upper-middle class who are trying to show off their wealth. But, celebrities typically have more resources than the average person. At the same time, the truly wealthy celebrities live in mansions that are far beyond typical McMansions.
To sum up, I would argue that celebrities who don’t antagonize their neighbors are rarely accused of living in McMansions.
By now, Kim Kardashian and Kanye West have surely settled in at their tasteful Hidden Hills mansion, not far from Kris Jenner’s place, so it makes sense that they’re moving toward unloading the tacky Bel Air Crest estate that they’ve been renovating since they purchased it in 2013 (hopefully to make it less tacky). TMZ hears that the couple are readying to put the Tuscan-inspired McMansion on the market within the next few days, and that the house will be asking “more than $20 million.” Kim and Kanye paid $9 million, and reportedly dropped $2 million on renovations.
Shortly after buying the house, the British press reported that the couple’s deep renovations included things like a fridge covered in Swarovski crystals, a million-dollar security system, and four gold-plated toilets. We’ll have to wait for the listing photos to see whether those items ever made it into the house. Last September, perhaps fed up with trying to turn the estate into their dream home, Kim and Kanye reportedly whisper-listed the half-finished house for $11 million.
Lots of pictures follow.
I’ve discussed a number of these mansion/McMansion claims over the years. This particular house provides another strong example. On the mansion side, you have a large home, a wealthy location, numerous luxury goods inside, and famous owners (average people might live in McMansions but not famous people). On the McMansion side, it features the Mediterranean style common in many McMansions, it was a fixer-upper (if an expensive one), and using this term provides permission to criticize the home (it is tacky compared to their real mansion).
Although I presented two sides above, this isn’t much of an argument: given the size and expense of this house, it is clearly a mansion.