Get a Mac: Yoga

“Once you go Mac, you’ll never go back.” It’s not just a catchy slogan, it’s the truth. The line of Macintosh desktop computers and laptops from Apple Inc., are some of the best-selling computers on the market. Known for their innovative and user-friendly nature, as well as for their one-of-a-kind applications, programs, and features, Apple computers are most popular among younger generations, and especially on college campuses. Over the past several years, Apple’s “Get a Mac” advertising campaign has launched dozens of ads beginning with a man dressed in casual clothes who introduces himself as a Mac computer, “Hello, I’m a Mac....” followed by a man dressed in a more formal suit and tie who introduces himself as a Microsoft Windows computer, “...And I’m a PC.” The ads, simple in nature and consisting of a plain white backdrop and only a handful of actors, are often very successful in highlighting the advanced technology, ease of use, special features, and protection from viruses that make the Mac operating system far superior to it’s rival Windows Vista. 

Though the “Get a Mac” ad entitled Yoga is literally set against the usual white screen seen in all other Mac ads, the viewers can assume it to be taking place in a yoga studio. The sender of the ad, clearly identified as Apple Inc., has once again created a simplistic ad representative of their simple, easy to use computers. The fact that the “Get a Mac” ad campaign, now in its third year, has run more than four dozen ads using the same backdrop, actors, and background music, reveals just how successful the ads have been in communicating the sender’s message. 

“Breathe out and expel all that bad Vista energy,” says the Yoga instructor to PC. From the beginning of this short commercial, viewers immediately understand it to be a parody of Windows computers, and especially of “Vista,” Microsoft’s newest operating system, known for being difficult to use and understand. Though this ad plays less on the strengths of Apple computers than other ads do, the message is still clearly communicated, especially as the yoga instructor voices her frustration that “I could have switched to Mac but instead I stuck with PC and now my yoga studio billing is completely screwed up.” The ethos of the ad points out the obvious weaknesses of Microsoft computers, “Forget that Vista still doesn’t work,” in order to convince frustrated Windows users to make the switch to Apple, the better of the two computers.

This message is successfully communicated through the emotions of the ad, the two most prevalent being anger and frustration. Though the ad begins with the yoga instructor’s soothing voice, viewers can sense her mounting frustration as she continues to talk about Vista and its problems. The shift in her tone, from peaceful to enraged, is also marked in the shift from describing generic problems, “Forget that Vista still doesn’t work right,” to describing personal frustrations “...instead you stuck with PC and now your yoga studio billing is completely screwed up.” The pathos of the yoga instructor’s personal vengeance toward Microsoft computers creates a catharsis in viewers who can relate to her situation and feel the same frustration and anxiety.  

The simple template of the ad further communicates the meaning, especially when paired with the presence of simple language and exchange of dialogue. The words “stressed”, “relax”, “energy”, and “ forget” contribute to the ad by creating a scenario in which someone attempts to be calm and relaxed when dealing with Vista, trying to forget all its problems and weaknesses but eventually ends up frustrated as usual. The final line of the commercial, “Maybe I should try Pilates,” suggests that Windows users could try time and again to find a solution for fixing Vista’s problems, or they could simply switch to Mac. 

The simplicity of the commercial is again prevalent in its use of logos to communicate the idea that getting a Mac computer, with its efficient and easy-to-use operating system, immunity to viruses, software like iLife, which include applications such as iPhoto, iMovie, GarageBand, and iWeb, and features like built-in cameras, would be not only a better alternative to getting a PC, but would also be the logical choice. As the angry yoga instructor explains the problems that arose after she chose to stick with a PC instead of switching to Mac, viewers in similar situations begin to wonder if they too, have made the wrong decision in continuing to use Microsoft computers.

As a happy owner of a MacBook, the Apple ad campaigns accurately reflect the frustration I previously felt as I waited for my PC to slowly restart after freezing or “not responding,”  as I exited error messages, only to have them reappear on the screen seconds later, or as I went computer-less for a week or two while waiting for a new hard drive to be installed in the computer that succumbed to virus after virus. These ads, through the use of emotion, language, and logic, not only explain problems and weaknesses of Microsoft computers that I can personally relate to, but also assure me, and other Mac owners, that we have made the right choice in “getting a Mac.”

i've gone identity mad!

Grace Kelly by Mika

I wanna talk to you 

Last time we talked Mr Smith you reduced me to tears 

I promise you that won't happen again 

Do I attract you? 

Do I repulse you with my queasy smile? 

Am I too dirty? 

Am I too flirty? 

Do I like what you like? 

I got to be wholesome 

I could be loathsome 

Guess I'm a little bit shy 

Why don't you like me? 

Why don't you like me without making me try? 

I tried to be like Grace Kelly (mmmm) 

But all her looks were too sad (ahhh ahhh) 

So I tried a little Freddie (mmm) 

I've gone identity mad! 

I could be brown 

I could be blue 

I could be violet sky 

I could be hurtful 

I could be purple 

I could be anything you like 

Gotta be green 

Gotta be mean 

Gotta be everything more 

Why don't you like me? 

Why don't you like me? 

Why don't you walk out the door! 

[Getting angry doesn't solve anything.] 

How can I help ya 

How can I help it 

How can I help what you think? 

Hello my baby 

Hello my baby 

Putting my life on my brink 

Why don't you like me 

Why don't you like me 

Why don't you like yourself? 

Should I bend over? 

Should I look older just to be put on your shelf? 

I tried to be like Grace Kelly (mmmm) 

But all her looks were too sad (ahhh ahhh) 

So I tried a little Freddie (mmm) 

I've gone identity mad! 

I could be brown 

I could be blue 

I could be violet sky 

I could be hurtful 

I could be purple 

I could be anything you like 

Gotta be green 

Gotta be mean 

Gotta be everything more 

Why don't you like me? 

Why don't you like me? 

Walk out the door! 

Say what you want to satisfy yourself 

Hey! 

But you only want what everybody else says you should want 

you want 

I could be brown 

I could be blue 

I could be violet sky 

I could be hurtful 

I could be purple 

I could be anything you like 

Gotta be green 

Gotta be mean 

Gotta be everything more 

Why don't you like me? 

Why don't you like me? 

Walk out the door! 

I could be brown 

I could be blue 

I could be violet sky 

I could be hurtful 

I could be purple 

I could be anything you like 

Gotta be green 

Gotta be mean 

Gotta be everything more 

Why don't you like me? 

Why don't you like me? 

Walk out the door! 

Oooh, oooh! 

[Humphrey, we're leaving.]

Kaching

Mika, a Lebanese born, London based singer-songwriter, has topped UK charts with his upbeat, quirky melodies and unique vocals. But prior to signing his first record deal in 2006, Mika was rejected by labels who saw promising talent in his voice but encouraged him to compose songs with more conventional and commercial lyrics like those of the British pop star Robbie Williams, in order to be more popular and therefore successful. Eschewing this advice, Mika was inspired to write “Grace Kelly,” a song which references the great actress who played a variety of different roles and assumed numerous different identities throughout her career. Through such references, the songwriter creates an interesting and somewhat absurd, yet catchy mockery of those who change their style, behavior, or appearance simply to appeal to fans or to please recording tycoons seeking to make a profit. 

The song begins with a dialogue between a man, the supposed “Mr. Smith,” and a woman, who many believe to be Grace Kelly. Though this conversation does not actually appear in any of Kelly’s films, the reference to Mr. and Mrs. Smith, a Hitchcock film from the same time period, allows Mika to create his own sample of dialogue with a kind of Grace Kelly-esque voice. Assuming the role of another right from the beginning of the song creates an image upon which the songwriter builds as his lyrics continually question identity and the idea of artists reinventing themselves to be popular. This idea, central to the meaning of the song, appears throughout the first stanza in a series of questions, apparently from the musician to his fans, “do I attract you, do I repulse you...?” The rhetorical questions begin to create a satirical tone as Mika seems to be mocking those in the music and film industries who recreate themselves in order to appeal to the public. The parallel rhyming phrases, “Am I too dirty, am I too flirty,” contribute to this satire, especially as the stanza continues, adapting an inquisitive, almost whiny tone when the speaker begs the question, “why don’t you like me, why don’t you like me without making me try?”

Rhyming "wholesome," with "loathsome," creates two contrasting images and identities which the speaker attempts to assume in order to win the admiration of fans. The songwriter expands these differing identities in the following stanza through allusion to Grace Kelly, for whom the song was entitled. But finding "her looks were too sad," the speaker then tries "a little Freddie," a reference to Freddie Mercury of Queen, a singer to whom Mika has been compared. The ABAB end rhyme scheme of "Kelly / Freddie," and "sad/mad," helps to create an almost sing-songy rhythm which heightens the satirical mocking tone of the singer. With the final line of this stanza, "I've gone identity mad!" listeners fully understand the intentions of the songwriter in mocking the identity crises of those in the spotlight who lose themselves in order to please the public. 

The song then takes a nonsensical turn as it moves to the chorus and the writer begins rattling off things he "could be," like "brown, blue, violet sky." The ridiculous rambling continues with the juxtaposition of the slant rhyme "hurtful" and "purple." The two words, having nothing to do with each other, seem to have been chosen only in an attempt to create a rhyme. The absurdity of the chorus allows Mika to rise to a whole new level in mocking his fellow musicians. Their behavior, which he views as ridiculous and absurd, is reflected in his choice of ridiculous and absurd lyrics and images. The simple and concise lines "I could be brown... I could be purple..." in the chorus build anticipation for the delivery of the longer, "I could be anything you like," creating sentence structure that mimics the importance of the lines. Mika returns to his simple diction with the parallel, rhyming lines "gotta be green, gotta be mean," again choosing contrasting words seemingly unrelated aside from their similar sounds. The simple diction of these two short lines again creates an anticipation for the arrival of the longer line, "gotta be everything and more," a line which brings light to the strange, contrasting, and unrelated images developed in the preceding lines. The random thoughts such as "I could be violet sky," and "gotta be green," while ridiculous and nonsensical, help the songwriter to communicate the feelings of other musicians or actors who think they must be "everything and more," to their fans, even if it means accepting a fake or absurd identity. 

The song then reverts back to the almost whiny tone of the preceding stanza as the singer wonders "why don't you like me, why don't you like me without making me try," and then in frustration suggests "why don't you walk out the door!" The temper tantrum that occurs at the end of the chorus is juxtaposed with the input of a voice of reason, which advises that "getting angry doesn't solve anything." Mika then returns to the pattern used in previous lines with the witty and concise parallel phrases, "how can I help ya how can I help it," building up to the longer "how can I help what you think," creating a whining, despairing tone that reflects the excuses of those who say they "can't help it," in response to their absurd behavior. The repetition of "hello my baby," and "why don't you like me?" is interrupted by the line "putting my life on the brink," meant to describe those who live on the edge, seeking thrill as a remedy for their unhappiness in order to seem adventurous, exciting, and therefore appealing to their fans. 

After this digression of sorts from the pattern created throughout the rest of the song, Mika returns to the use of short rhyming parallel phrases such as "should I bend over, should I look older," citing almost desperate attempts to figure out what type of identity or appearance would be most desirable to fans. These pleas are all out of the desire for their CDs and movies to be purchased, displayed, and "put on your shelf."

The song then repeats the chorus once, followed by the lines "say what you want to satisfy yourself." This is the first time throughout the song that Mika, previously acting as other musicians would in an attempt to mock and satirize their behavior, eschews this false identity and can be heard voicing his own ideas in an almost demeaning and condescending tone. Though the rest of the lyrics target his fellow musicians and their absurd behavior, this is the first and only point in the song where he can be heard speaking directly to them, instead of about them, saying "you only want what everybody else says you should want." With this, the chorus repeats, completing the song's ridicule of the rich and famous who adapt their behavior and identities in order to comply with what others want or tell them to be. 

At the close of the song, a voice suggestive of Grace Kelly can be heard saying, "Humphrey, we're leaving." This reference, most likely to Humphrey Bogart, an actor prevalent during the same time period, may have been employed on the part of the songwriter in order to voice Kelly's disgust with and desire to leave her surroundings, possibly the set of a movie, because of the ridiculousness or absurdity of others' behavior.

 

that fateful night

When I met you on that fateful night

I believed every word you had to say

Praying, wishing, hoping our future would be bright

 

In shining armor, you were my knight

I didn't care if we were cliche

When I met you on that fateful night

With you, what once went wrong was now right

Together you and I, we paved our own way

Praying, wishing, hoping our future would be bright

We were inseparable, with our hands clasped tight

Ready to take on the world, come what may

When I met you on that fateful night

Then I began to sense that trouble was in sight

Afraid that our passion would fade to gray

Just praying, wishing, hoping our future would be bright

Standing next to you under that dim light

I didn't know there would soon be hell to pay

When I met you on that fateful night

I was praying, wishing, hoping our future would be bright

inside that chapel of love

I miss you, and your one man show.

But you don't really care because you're in motion

And I'm still standing here, speechless where you left me.

Though your friends, they think I'm only a waitress

You used to tell me I was the jewel inside the mermaid's chest,

A flash of fuchsia among the colorless.

I believed you, but then you let me get away.

I remember the first time I saw you, I mean really saw you.

You were wearing something blue, and under those dark lights

You took my hand in yours, smooth like red velvet, and I fell for you

As I listened to your heartbeat.

There was an aqua chrome twinkle in your eyes, and

Tangerine joy shown upon your smiling china glaze cheeks.

I think back to those carefree days, a few short months ago

When things were perfect, and I was happy, and you were you.

We connected like the sound of live jazz in a quiet cafe

And I had so many plans lingering on the horizon

But then you grew distant, I grew doubtful,

We both got too busy for the wild thing that love becomes

And we broke apart like a crack in the silver ice

We used to skate on.

We were star-crossed lovers, a modern day Romeo and Juliet 

And fate did not approve. You said 

"If it's meant to be, our paths will cross somewhere in the future."

But I don't really believe that, and I don't think you do either.

In this give-and-take world, you only get one chance

And I let ours, that sterling silver rose slip away

As I watched you get into that taxi and drive off, 

To Paradiso Inferno, or Aspen, or somewhere equally as glamorous

Leaving me here in recovery,

Trying to re-load and learn again to feel.

Next to each other under the luminous moon

We were a walking contradiction, you and I.

It wouldn't be easy, this I knew all along.

I guess I just thought that what we had

Would be worth fighting for.

But in the end, racing rubies of hope

Fade to ferrari black and I am left, alone again

Inside that chapel of love.