Macro level Trends – EM Economic Templates – Glocal “Auto-Replication” of the Californian Original (Part 3)

The remainder of this ongoing web-log consists of this commentary and following Part 4.

They seek to examines and conject upon how the past, present and futures of what are today world-wide entrenched American media and automotive interests, through acting symbiotically, will seek to maintain an ongoing 'Californiacation' of relevant world markets. But one which critically, whilst invariably further commercialising foreign cultures, will do so with increased sensitivity and subtlety.

California's 21^st century focus upon the 'post-industrial' (as well as seemingly simultaneously America's rediscovery of 'mid-value industrial' to revitalise an internal economy), primarily relates to the immediacy and so theoretically 'high-value' commercial arenas of: 'info-comms' access, entertainment (and 'info-tainment') and personal transport.

To better appreciate what lays behind the 'Californiacation' drive for new era glocalisation this Part 3 seeks to convey its underlying (heavily post-modern) concept. Wherein the process of cultural progression and indeed new culture forming, utilising commercial entities, plays the critical role.

To do so across the global space, the learning born from the previous 60 years within the USA - and concentrated within California specifically – will be refined and effectively re-run.

Socio-Economics -

In order to maintain a powerful yet globally accepted soft-power stance, the US will continue to follow the usual historical practice seen with ancient world powers. That of adapting and subtly shifting the belief systems or perspectives which surround socially engrained traditions. So the re-shaping of cultural norms to create ever more socio-connected commercial opportunities.

One example was the now near-fabled adoption of Santa Clause's red and white, fur trimmed out-fit. Added to Christmas cards and general seasonal advertising, it was apparently introduced to befit the red and white branding of the Coca Cola Company. More recently, given the importance of multi-culturalism and need to span various religions (not just Christianity), Santa has been replaced by the brilliantly lit Coca Cola Truck, with reflective overtones of what many faiths call the “festival of the lights” (diwali etc).

To do so, as historically seen by the views of Plato, Nietzsche and more recently Jean Baudrillard, will rely upon the ideology of 'simulacrum' and its plural 'simulacra'; as pertaining to the perception of an ever more man-made, self referential, 'reality'.

'Reality' is obviously an ongoing, but ever more man-made, self-referential construct. The commentaries of Wittgenstein (on use of language), Barthes (on semiotics) and Neitzsche (on seeking truth) perhaps the most pertinent.

Future Belief vs Disbelief -

Often socially constructed, and so accepted, schisms exist between perceived reality and perceived truth. Blurred areas exist from the desire for inter-relationship harmony, or from a hierarchically derived acquiescence, whereby obvious and less obvious non-truths are absorbed. An unwillingness to accept or 'compute' such social norms (ie perceiving as purely right and wrong) is one supposed sign of certain 'learning disabilities' (ie prevalent in Downs' Syndrome ). This especially the case on on moral grounds wherein bad behaviour of another child/person or indeed the world at large is overlooked by adults: those with authority and supposedly superior morality to the child/teenager. (The 1955 James Dean film 'Rebel Without a Cause' uses this internal conflict as its unstated central plot-line).

It is plausible that in an ever more created and critically perceptionally manipulated world, that such a schism becomes greater and so more problematic; as the supposed reality of screen-based stories and images become in themselves 'unbelieved', creating an increasingly disaffected society – the very opposite of social stability.

Whilst no doubt advantageous to the medical fraternity (therapies and drugs) such social fragmentation further undermines the already depleted 'grande narratives' required to unify society and societies.

Under this possible scenario, people and consumers will seek-out those authentic, 'truth-telling' brands and companies, those with heritage and seen as socially responsible and positively proactive.

Those for whom CSR (corporate social responsibility) was a byword long before the phrase was coined.

It is believed by investment-auto-motives that such companies – exemplified by The Walt Disney Company – in decades to come will increasingly be seen as such social guardians; and though today their appears a conflict between social influence and commercial opportunism, these two apparent contradictions will be more harmoniously integrated.

To do so will require intelligent management of an increasingly globalised society's 'modern hieroglyphs', the semiotic imagery and cognitive associations that make-up social constructs, their short-hand connections and the fundamental underlying 'belief maps'.

To do such firms will inevitably continue to rely upon 'progressive copies' of said imagery, or 'simulacra', which itself will be based upon selectively used and indeed combined national. regional and glocal imagery with its inherent meanings and values.

Simulacra: a Definition -

This term has been peppered throughout this weblog given its now entrenched global culture poignancy. Any reader not aware of the term – largely used as an academic descriptor in specific circles – will have undertaken a web-dictionary search for its meaning.

But to recap, the following general definitions are given:

Derived from the Latin “simulacrum”:

“likeness or similarity”(initially as ascribed to icons of the gods)

Latterly...

“a representation or image of something”

“something similar; a vague, tentative or shadowy resemblance”

Came to be viewed as a copy of the original and so lacking in original substance/quality

Baudrillard argues that the copy has become so pervasive in contemporary society that the simulacrum becomes the “real thing” (to quote the Coca Cola strapline) and so the hyper-real becomes the truth.

Whereas Plato saw 2 versions of the copy (the faithful and the intentionally distorted used to 'correct' visual perspective on pillars, tall statues etc), Baudrillard sees 4 versions:

1. basic reflection of reality

2. distortion of reality (in many ways)

3. pretence of reality (where there is no actual original model, but created as loose multi-perceptual configuration)

4. simulacrum – which “bears no relation to any reality whatsoever”

The 1960s Baudrillard, like the late 19^th century Neitzsche and Plato millennia earlier, sees this as a negative occurrence, and indeed a ploy, used for effectively 'manufacturing culture' and 'creating new realities', so instilling an ever bigger divide between (wo)man and the (enlightened) truth that is nature.

However, the 1960s Deleuze further describes the process of man-made repetition as actually unique given its directed progression, instead viewing nature as the systemic and generalised (the sequence of: sun/moon, day/night, seasons, etc); so QED the very process of simulacrum a valid social progression.

Whilst these viewpoints exist in the echelons of philosophy, over the last half century, the worlds of commerce and policy-formation have come to absorb the Baudrillardian description, given the meteoric level of 'Americana' culture-creation which arose from the late 1940s onward, itself duplicated across the world.

The Foundations of “The American Dream” -

The vital elements of what was once called 'global Americanism', obviously under-pinned by capitalism, stemmed from the ideology of an ever improving lifestyle; as per the 'American Dream', was eventually available to all.

Yet, as others well recognised, that betterment for American society and its individuals from 1945 onward had (ironically) been enabled by the combination of specific factors and outcomes: the Federal Reserve, the Bretton Woods Agreement and the victor's post WW2 inbound global liquidity flows.

The previous creation of a wholly autonomous Federal Reserve (as today) enabled the ability to print money at will (so able to win WW2 on both European and Pacific fronts massive production of munitions and transport). The Bretton Woods Conference of 1944 ostensibly created the IMF and World Bank and other systems so robustly conjoining international monetary transactions. Which in turn enabled the various payments from foreign governments (lend-lease repayments from allies and reparation payments made from the new installed authorities of the old 'axis powers' of Germany and Japan; this partly through immediate currency but partly by way of industrial agreements.

Thus America's win of what had ostensibly been for it a global war meant that it could capture large portions of the associated international wealth potential, turning that into wealth creation and so liquidity to trickle-down through its banking sector, through Wall St, through commerce and industry and through its society of ever increasing upward consumption.

This formula then, ie all that went before, was the basis of an envied society; a technically progressive society formed from education, comfort and joy (via entertainment). It was what allowed middle class families to buy the cheap and cheerful import of the VW Beetle for their children's college years, provided the imported iron-ore for its own steel-making, a portion of the imported oil for its plastics industries, both materials under-pinning Detroit's previously far more aspirational cars, and provided the foreign (Japan at first) sourced components which went into American branded white goods and brown goods.

The Social Construct of the 'American Dream' -

However, ironically although American consumer success had been built upon cheap inbound imports (visible and less so), American society itself became ever more distinctly insular and arguably isolated. Obviously not in a similar way to the previous cases of China or Japan, (seeking to avoid what they saw as corrupt internationalism), but obversely.

For most Americans the rest of the world was a long long way off and any desire to travel there had been 'cured' by WW2, especially for returned servicemen. The world beyond American shores was a shattered world of general deprivation. After the war only the rich, commercially-minded and culturally-aware, saw opportunities for either cheap import trade or an American 20^th century replication of the European Grande Tour.

The 1950s film 'Funny Face' provides a idealised snapshot of the era.

Starring Audrey Hepburn, Fred Astaire and Kay Martin, a New York fashion magazine discovers their 'new face' in a bookish unmaterialistic philosophy student (Hepburn). An offer to travel to Paris for a fashion photo-shoot is agreed with her primary objective of meeting a reputed philosopher. But she herself philosophically returns to 'the American way' after the European 'high-brow' exhibits himself as little more than a self-conceited, woman-chasing, “typical” man. She then enters the arms of Astaire for a presumed “happily ever after”.

Thus the intriguing world of European high-culture is depicted as sham, in favour of the materialistic stability and inferred wholesomeness of 'American Dream'

In an evolved simulacrum of typical Hollywood self-reference, the opening sequence of 'The Devil Wears Prada' is literally super-imposed over Funny Face by plot and location. A similar 'anti-fashion' character (Anne Hathaway) likewise reluctantly working for a NY fashion magazine is also transformed to the aspirational norm. The opening sequence shows her exiting a New York subway station; doing so in front of the apparent self-same book-store in which the bookish Hepburn was discovered

This the all too typical exercise of supposed directorial 'cleverness', wherein Hollywood cinematic self-reference creates further simulacrum. With any knowledgeable viewer possibly (and ridiculously) believing they too are 'in the know' and so somehow special for being so, and very likely in this camara-phone era, seeking to make art out of their own everyday life.

One sub-theme of the plot to 'American Beauty' alludes to this long before the notion of the cinematically influenced self-directed, pictorially based 'life' became merged into the norm].

On the Road -

In Part 2 investment-auto-motives demonstrated how today “the car is the star” of EM aspiration, at the top of the consumption lifestyle ladder.

This then an obvious re-run of the previous 'advanced markets' template across the USA and remainder of the triad regions.

By the time Jack Kerouac had written his now almost mythical 1951 counter-culture novel for the 'beat-nik' generation - opposing consumerism in favour of experentialism - the far more socially powerful fact is that the automobile had already become wholly engrained within the national psyche, familial psyche and individual psyche.

Ever more remote suburban 'satellite' neighbourhoods had been created by virtue of the automobile (Los Angeles the prime example) which along with extensive country-side settlements meant that the car was a very necessary personal travel tool to undertake basic everyday functions, for trips to the shopping mall or to town, and as a weekend escape mechanism or for a longer holiday. All the while an ever more prevalent symbol of achievement and notional social status.

Automobiles and Pop Culture -

As such an engrained totem, the car and truck become an ever more important staple element and instrument within cinema, TV and music from the 1930s onward. Sixty years later the prime components of dedicated and general video games such as the best known Grand Theft Auto - as personal realities become further blurred. And revived from grass roots, street level with productions like 'Fast and the Furious' (and sequels) aswell as retro-flavoured efforts like 'Gone in Sixty Seconds' and now the game inspired 'Need for Speed'. 

Yet, the true heyday for the USA was the booming post-war era, from the mid 1950s to the 'muscle-car' peak by the early 1970s, and a plethora of associated films by the mid 1970s to re-boost a then flagging US economy.

In Summary:

1950s

Music-wise, initially 'Rockabilly' bands drawing their inspiration from a broad mix of influences, including 'blue-grass', 'beat-nik' and importantly a self-created, “built not bought” 'hot-rod' culture.

Car-based films:

'Thunder Road'

1960s

Musical references to specific vehicles and hot-rod terms becoming intrinsic to (unsurprisingly) the 'Motown' musical output of Detroit. The Ford Mustang production line used in one early music video by Martha Reeves for 'Nowhere to Run'; the pony-car also referred to by Wilson Pickett in' Mustang Sally' in the same year of 1965. Conversely, the Californian lifestyle - representing youth and broad 'counter-culture' - offered by likes of The Beach Boys and their "309", Ronny and the Daytonas with a "Little GTO", and the humour of Jan and Dean's "Little Old Lady From Pasadena" in her 'hopped-up' Dodge. 

Car-based films:

'Fireball 500'

'The Great Race' (early auto era retrospective)

'Bullitt'

'Le Mans'

'Winning'

1970s

Musically, the obvious references to car-culture became diluted as musical influences broadened with retro, ethnic, heavy rock and classical infusions.

However, this decade saw a generated interest in coast to coast and similar long distance car sprints, often brash and illegal and so popularly celebrated as “sticking two fingers up to 'the Man'”. Such filmic story plots were matched by TV series, with ironically anti-heros playing both against and for the law; so demonstrating the way in which 'counter-culture' is absorbed into the systemic norm.

Car-based films:

'Vanishing Point'

'American Graffiti (a hyper-real 1950s simulacra retrospective)

'Two Lane Blacktop'

'Dirty Mary, Crazy Larry'

'Gone in Sixty Seconds' (re-made in 2000)

'Moonrunners'

'Cannonball Run (films 1,2,3 and inspiring later events)

'Gumball Rally' (inspiring the later '3000' event)

Smokey and the Bandit (films 1,2,3)

Cannonball Run

The Driver

Starsky and Hutch

Dukes of Hazzard

Automotive 'Commodification' of Counter-Culture -

As seen previously with the predominantly southern black 'Blues' sound, the predominantly white 'Beat-nik' movement and the later muted rebellion of the white college-boy Beach Boy's sound, the embodiment of contrast (or the flip-side in record parlance) is quickly absorbed by commercialism. Whatever is seen to emerge as potentially popular becomes modified, packaged and sold.

This is seen by Starsky's role, his inferred polish immigrant background, his bright red, white-striped Ford Gran Torino (playing the role of police-car in the imagined 'Bay City' of S. California), it is typically the marginalised and often foreign elements which formulate a 'counter-culture' which itself becomes absorbed into the mainstream.

But there is no better automotive example than the plucky little 1963 VW Beetle 'Herbie'.

“Think Small” Across the Big Screen -

It seems that Herbie was the last character created by (the then) Walt Disney Productions whilst under the watchful eye of Walt Disney himself, the Beetle chosen because its innate shape and size evoked a pet-like reaction, it was the anti-thesis of the big boxy American saloons of the period, and also was itself a worldwide product, from Europe to Mexico to Brazil to S.Africa to India to Australia. It was the perfect 'global vehicle' for Disney's and America's soft-power play.

However, ironically, here was a car which in reality came into being through Hitler and the Nazis as the 'strength through joy' vehicle for the German masses. It formed the base of its small lightweight military vehicles in WW2. It was resurrected as a reliable and critically cheap mode of mass transport after the war. It was imported into the USA and perversely publicised by a Jewish advertising firm with the now famous “Think Small” tag-line. And (again ironically) within America became a badge of anti-war, eco-friendly, pro-gay left-wing 'socio-intellectualism'. As such the embodiment of a heavily west coast influenced counter-culture against the east-coast 'establishment'.

[NB For those less aware, the US political system generally consists of east coat, mid-west and southern states Republicans (various protestant churches) verses west-coast and northern Democrats (jews, catholics and the absorption of other less powerful minorities. This seeming culture-war has extended throughout the US media for decades. (However, Lewis Carol's “the Walrus and the Carpenter” is highly apt regards entwined interests)].

'Herbie' then was seen by Hollywood's 'champagne left' as the perfect vehicular foil for national and international distribution, sales and income, offering an underdog which can become embraced by large sections of the immigrant derived American public, since 'he' (in an anthropomorphic manner) represents them.

In the first 1969 film 'the Love Bug' the car is first purchased in San Francisco for the maid of a socialite; hence with immigrant overtones from the start, and is victorious against a dastardly, upper-class British race-driver. In the 1974 film 'Herbie Rides Again' Herbie is owned by an elderly lady who faces the loss of her home by an unscrupulous rich developer, wherein the car and his human and vehicular friends come to her aid. The 1977 film 'Herbie Goes to Monte Carlo' sees the race format re-appear in France, this time against a German 'baddie' and involving a diamond theft. The 1980 film 'Herbie Goes Bananas' is set in Mexico wherein the car and a young boy experience different adventures, posing as various locals from taxi-service to farmers, using bananas to avoid the escape of criminals seeking to steal an antique golden disc. A 1997 television-film was made also called 'The Love Bug'. In 2005 'Herbie Re-loaded' was distributed, this time with a female lead and using the familiar regeneration of a previously scrapped Herbie and good vs evil plot on the race-track; commercially synergising NASCAR with VW then new Beetle.

The crux of the matter here is that the counter-culture object – in this case the loveable car – becomes engrained into the norm through the layering of applied emotionality, and so influence, via the story itself.

As regards Baudrillard's posited theory of simulacrum and the hyper-real, the successive Herbie sequels (which each demonstrate various subtle sub-plots) demonstrates the seemingly similar – but actually often subtly visually changed – icon.

In doing so, The Disney Corporation, effectively created an embedded cultural short-hand (by way of that icon) in which the modest good overcomes brash evil, and critically implicitly: “all roads lead to America”.

The Dream as The Real -

Thus we can see that film – the primary vehicle of the 'American Dream' – has seeped so deeply into an American consciousness, and increasingly worldwide consciousness, through its unifying impact, that the publicly consumed 'image object' (as theoreticians might say) has become a substantial portion of a personal reality for many millions, if not some billions, of the world's 7.2 billion people.

The American Dream then, is both a distant lifestyle expectation for the global masses, and ironically simultaneously through immediate visual absorption, a created 'alternative reality which people already populate to differing degrees.

From creating immediate consumer desires amongst the masses, to the belief by supposedly intellectual others that 'one is aware' of the depth of the socio-cinematic impact, to now the smart-phone extolled as an instrument of public good via citizen reporting whilst in actuality eroding privacy.

The fact remains that today 99.9% of society is image-immersed, those images accompanied by apparent 'truths'.

Far Earlier “Merged Constructs” -

“The Wonderful World of Disney”

The merging of belief and created worlds could be said to have arrived with religion, but in the televisual sense, truly came to being with the advent of manipulated photography (eg the Victorian fairies at the bottom of the garden created through double exposure) and specifically with cinematography (ie the seemingly very threatening head-on advancing steam locomotive).

At this point by the 1880s, the power of the image upon a naïve public was irrefutable, but obviously by the 1950s image, whilst still very influential, had lost that merging of two worlds.

To once again mesh both image and real worlds, the cartoonist and film-maker Walt Disney sought to furthering the escapist fantasy aspect of amusement parks (eg Colney Island etc) in his own created image. Achieved fifty-nine years ago, when Walt Disney's cartoon creations were brought to life via the development of Disneyland, in Anaheim, south of Los Angeles, California.

During a pre-screen age the commercial imperative to connect the general public with famous yet remote figures through entertainment was arguably best established by Madam Tussauds via her waxwork museum. But as soon as the 'silver screen' arrived, a new set of intriguing characters were born. Yet whilst Tussauds would go on to replicate the human and non-human film stars of those early times through to today, it would be Walt Disney (and his brother Roy) that truly brought the screen to life.

Walt doing so literally through the now legendary group of theme-parks, originating from Disneyland in 1955.

A Snapshot of 20^th Century Disney -

Given its social impact upon the world, a detailed history of Disney's activities and the emergent Disney Corporation is hardly required, but a snap-shot worthwhile. Simply because, for most of the public (American and otherwise) and the majority of the investment community, the history of the company which forms a cornerstone of popular culture remains patchy.

Animation began in the “pre-talkies” era with 'Alice's Wonderland', followed by 'Oswold the Lucky Rabbit'. From this came Mortimer Mouse (in 'Steamboat Willie' etc) which in turn gave fully formed Mickey Mouse. Soon joined by Minnie Mouse, Donald Duck, Goofy, Pluto etc.

The success of Mickey and 'Snow White' distributed via two powerful 'lot studios' provided expansion funds. In 1939 these monies built a new production centre in Burbank (still the HQ) for a new raft of releases, whilst in early 1940 the company undertook an IPO to re-supply production funding for new releases with infusing overtones: 'Pinocchio' (moralistic), 'Fantasia' (educational), 'Dumbo' (family) and Bambi (family).

Perhaps more importantly Disney sought to effectively create new American-made folk-tales (which could be seen as stemmed from 'old-country' European folk-tales) but 're-imprinting' the critical American identity and an early eco-consciousness, through regional stories on what was an diffuse and often uneducated public. So 'Song of the South' (a prototype mixed live-animation effort), 'So Dear to My Heart', 'Seal Island' and 'The Vanishing Prarie' were made.

[NB This also coincided with true mass motoring, inspiring people to buy cars and buy gas/petrol so as to take road trip holidays to see “the real (ie natural) America' whilst staying at motor-hotels (mo'tels) and roadside eateries, so distributing city-made money into poorer country communities. Hence the car as a vehicle for economic good].

[NB As will be seen in Part 4, the plot of the original film 'Cars' (2006) alluded to the loss of these self-induced intra-state sub-economies].

The 1950s saw a mix of animation and live-action features, taken from disparate sources reflecting literary popular culture to that point. The former being 'Cinderella', 'Alice in Wonderland' and 'Peter Pan', the latter being 'Treasure Island', 'Robin Hood', 'The Sword and the |Rose', '20,000 Leagues Under the Sea'.

Coca-Cola sponsored Disney's first TV show in 1950.

But it was in 1954 that a TV series name 'Disneyland' came into being run on the ABC network. Obviously pre-cursing the physical opening of the same-name theme-park in 1955 – in which ABC had an interest - deployed as an obvious televisual conveyor and entry-point.

The TV series also called “Walt Disney Presents” and “The Wonderful World of Disney” went on to be the longest running weekly broadcast TV series until 2008, when it transferred to Disney's own cable channel

Thus, Disney's output has been consistently absorbed by 3 or 4 generations of Americans.

So much so that through TV, film and theme-park that it has now come to represents a form of hyper-real (ie truly tangible) escapism from the ills of American society and thus the modern world.

The corporation's long back-catalogue means that it has virtually engrained feel-good 'social antidote' into the minds of many.

So much so, that the strength of its associated brand values – arguably reflecting those same values of America's own 'founding fathers' – has allowed it to create what may be described as an alternative, preferred reality. Not just on screen or in a theme-park, but in the wider world by way of the Florida town (near DisneyWorld) named 'Celebration'.

Thus arguably, fact has indeed come to follow fiction, in which through community based rules, Disney has indeed created the experience of an improved society.

The Cult of Walt Reborn -

Whilst the Disney brand and its hand-written script name is known by millions the world over, for many decades the connection to the originator, Walt Disney himself, had been lost. Whilst invariably the case at corporate board level (given the pitch battle for control, especially through Michael Eisner period 1984-2005), what had become apparent was that not only today's children but also their parents and previous generation knew little of Disney's origins. And that problem would only grow as Disney sought to both draw from, and sell to, foreign cultures.

That dilemma of a lost connection to 'the spiritual father' thus required mending.

Hence the production of the recent Disney film 'Saving Mr Banks'. The film's mission to demonstrate how Walt Disney (and thus America) sought to retell in yet a more popularist manner the created middle-class children's stories of yesteryear. In this instance using the renowned children's favourite 'Mary Poppins' from the 1960s; a specific 'behind the scenes' story retold given the pinnacle of Walt's influence at the time. He himself a powerful soft-power actor on the heavily American induced worldwide stage, with Mary Poppins the outcome of a notionally American-British-Australian cultural marriage.

[NB Infact another political aspect of the film presumably seeks to maintain Australia as a strong friend of America, and conduit for US soft-power influence, given Australia's own Asian geo-political sphere].

In effect the re-telling of the Walt story, from the different corporate angle, seeks to reflect today's Walt Disney Company in Walt's own perceived image: as paternal to the world's children.

Thus very interestingly, yet another phase (or over-layed 'map' to quote theorists) of self-perpetuating and subtly evolving simulacrum.

To Follow -

Part 4 will speculate from the premis thus far provided, as to how corporate America and The Walt Disney Company in particular will seeks to once again reach-out across the world.

Yet, although still by far the greatest military super-power, it also recognises that future cultural conquests throughout much of the remaining 21^st century will need to be based upon truly socio-economic grounds, as opposed to those previously seen in the geo-political sphere.

This in turn requires a local cultural filtration and re-application of the learning captured over the last 60 years or so, both from the social laboratory that was post WW2 California, and from the more culturally progressive foreign commercial out-posts which have served as the early ports of call for modern American corporate minds.

As seen throughout this web-log, given the immense psychological consumer attraction and broad economic traction of the automobile, it will remain centre-stage depicted in many forms, representing many characters and undertaking many roles: helping to weave McLuhan's 'global village' together, even in this supposed age of all invasive, meta-physical, cyber-space.

Macro level Trends – EM Economic Templates – Glocal “Auto-Replication” of the Californian Original (Part 2)

Previously in Part 1 this investment-auto-motives web-log highlighted the major socio-political global trends which have emerged over the last 15 tears or so. These being:

'Shifting Middle:

The 'Shifting Middle' regards the reality of an upward life-enhancing trajectory for a new middle-class across EM regions (viewed as earning between $10-100 per day), versus at best a stagnancy and often decline of lifestyles of the established middle-class in the Triad regions as earnings are capped by necessary company budgeting during what is still a fragile western economic period. Whilst a wide demographic have felt the subsequent affects of constrained finances (leading to family problems, separation, divorce etc), perhaps the greatest impact on life outlook is felt by a disaffected youth; themselves caught between the unrealistically high 'bling' lifestyles within much of youth media and created aspiration verses the apparent bleak reality that actually ahead.

New Economic Order:

Whereby the top 30 rising EM countries account for 40% of global GDP, and wherein the lessons learned over the latter half of the 20^th century are been increasingly implemented. Specifically to rectify the 'boom and bust' phases of the 1997/8 Asian Tiger Crash, a rationalisation of Latin America's regional fragmentation across left vs right policy-thinking (with even Argentina now pro-reform), Africa's new desire for greater continental economic unity and likewise across the CIS region.

Internationalist Angst:

The perception that whilst standards of living are indeed being improved for many across EM regions, that the spread of global capitalism also brings with it the local decentralisation and reduction of power and influence, this increasingly handed to multi-national corporations, who are themselves seen as promiscuous; quickly able to “lift and shift” operations elsewhere, so undermining growth. Or indeed cautious of altering economic course when involved with big businesses, as seen in coffee-bean farming and production through the aligned 'agenda-pushing' between mid and high grade beans for different corporate buyers serving different consumer markets.

Beyond this Angst:

The desire to create commercial and economic platforms which allow for the “rising of all boats” and not at the “expense of some”, ie a win-win global approach and not the winner-loser, 'zero-sum' experiences of global capitalism of some to date. Given the innate nature of capitalism thus far based upon the premis of comparative advantage, new opportunities for productivity improvement so attracting capital flows, what has historically been essentially a competitively based “zero sum game” system will require far greater 'joined-up' global thinking'.

Hence the need for a true appreciation for that all too post-modern term 'glocalisation'.

A New Era of 'Glocalisation' -

This is a recognition that broad spread of western influence must inevitably adopt ever increasing cultural sensitivity to the local conditions of any singular country or region. Not to do so effectively forfeits entry through an ever widening door into ever more networked global trade.

Put simply, a case of respecting and extending the old adage “when in Rome, do as the Romans do”

Perhaps the only exception that proves the rule is that European 'high culture' has been and will continue to be adopted virtually unchanged within EM countries. Doing so across the various realms of haute couture fashion, wine, opera, equestrianism etc; so fulfilling the new participants' desire for high brow 'culture-dipping' and to demonstrate to others their own appreciation of 'taste'.

In direct contrast, the massively broad spread of American influenced mass consumption culture, itself very closely correlated to what has largely been a California-centric media-culture, must likewise continue to evolve.

This looks set to alter its own course and modus operandi, so as to suit the distinct wishes of an ever more culturally diverse emergent consumer base; one which whilst keen to seek the once powerful 'American dream' also wants it essentially translated so as to match its own growing national and regional confidence.

Critically given the typically different social structures of EM regions, which have historically seen a massive negative wealth divide between the small sliver of rich and the rest of the mass populace, such countries will demand their own 'new dreams'.

Whereas the 'American dream” was effectively originated from a WASP (white anglo-saxon patriachial) base – which was seen to systemically fail its immigrant non-whites (blacks, latinos and asians) – though the first fruits of economic growth typically goes to the incumbent powers, the 'EM dream' in many of those countries will need to be better directed to spread the wealth across their own immigrant populations; and seen to do so to compel intra-EM trade.

The Cultural Tensions of Globalisation -

Before trying to guestimate the future, based upon past and current circumstances, it is worth absorbing a snap-shot of the past, through the with the obvious influence of

Western culture across drinks, foods, music, cinema and cars, was initially digested by what were once second-world and third-world countries in what could be described in a (quite literally) wholesale manner during globalisation's early phases.

At first distributed unchanged to a usually eager and enthusiastic young audience keen to experience 'better' things. Later items – typically commodity goods - were simplistically altered to suit mass-absorption via advertising, packaging and distribution channels. Once again the highly influential and largely Californian based film industry utilising sub-titles and voice dubbing as soon as was practicable.

But, even the most rudimentary and basic production techniques and tools were soon acquired locally – typically with government backing recognising cultural erosion – to create a localised counter-trend to outside influence. So helping to create an internalised, circular, new sub-economy, so as to redress the homeland vs foreign cultural balance, and importantly maintain cultural control.

As Seen Through the Lens -

Cinematography was actually born in Europe, but typically exploited by wealthy Jewish emigrés at the turn of the 20^th century across the world. Most notably through the industrial productivity wealth created in the US, with the masses serviced by new metropolitan cinemas themselves fed by the value-stream inter-connectedness of Hollywood. That model replicated elsewhere through FDI, local funds and a mix of both, with varying degrees of success.

Cultural control has of course been the prime issue for India since 1947 Independence, China since the 1966 Cultural Revolution (even through its decline), Brazil's modernisation period of the 1960s and Russia's rise and contraction since the 1920s and since 1989, the latter arguably creating yet greater 'cultural containment'.

India is of course the prime example. As its own populations migrated to 'the west' so indigenous cinema spread, just as did favoured foodstuffs and tele-communications services; to provid that all important ancestral connection which underpins self and group identity. Hence today, much the result of India's historical disporas, and the ever higher degrees of cross-cultural coverage reaching what are termed 'mosaic' audiences, Mumbai's 'Bollywood' is nearly as well recognised worldwide as its 'Hollywood' derivation, yet historically produces far more output, approximating 2000 films per year.

China, in contrast to India's gradual cinematic global exposure over decades, has not been well exposed globally, because of obvious political circumstances. Yet that has altered over the last 5 years, with a basic understanding of the Chinese cinematic sphere communicated outwards, as part of its own cultural exportation. Previously largely unseen in western mass culture and kept within ex-pat communities, thus far only seen through mid-brow events and media such as the 2013 London Chinese Film festival and insights into its inner workings through pertinent articles from The Economist and similar. However, the odd television showing of films such as 'Ip Man' (informing of its martial arts history), that Chinese culture – even if somewhat presently stereotypical - is being dispersed.

Brazilian cinema started in 1898 during a period when S.America was arguably at its most economically powerful (to be soon eclipsed by N.America). Though there was a flourishing national film sector up to the mid 1920s, but the USA's economic dominance saw Latin cinema effectively used as PR tool to enhance US-Latin political and trade relations through the first half of the 20^th century. As a more separatist region post WW2 up until the 1990s, its cinema was initially a private sector concern with US and Italian influences and true economic clout in the 1940s and 50s, but as the general economy contracted and socialism gained popularity so it became a largely government funded concern, ironically including risqué films of the 1970s to serve both domestic and overseas Italian audiences, so as to strengthen Brazilian-Italian trade ties (eg the establishing of FIAT Brazil).

Russian cinema, likewise started in the late 1890s, started with the crowning of Nicholas II. Thereafter, during what became tumultuous times indiginous film-making took on an anti-German propogandist aire during WW1, and much held in the hands of Bolshevics became increasingly anti-royalist. After the Revolution cinema maintained a propogandit slant, though localised to suit the very different ethnic regions held within the USSR. After WW2 homeland productions became more experimental, innovating in some techniques, though still heavily censored. That censorship declined as time passed, encompassing greater creativity and imagination, so much so that various icon films heavily influenced the works of western film directors. Of specific note were the cultural efforts to more closely tie distant Havana to Moscow.

Thus for many decades regards cinematic endeavours, there has been a “glocal replication” of what may be described as the Californian 'original'.

One which has manufactured perceptional 'realities'; as part of both the original 'American dream', aswell as 'Indian (fantasy) Escapism', 'Chinese (Moaist-Confuscianist) Unity', 'Brazilian (self-asserting) Celebration' and 'Russian (inter-territory) Collaberation'.

From Culture Toward Cultural Goods -

The televisual then has been used for approximately a century as an endemic cultural tool, and one which beyond the notions of maintaining national identity, has been deployed as the promoter of consumption.

And since industrial economies inevitably grow in a phased manner of industrial complexity, from FMCG in drinks, foodstuffs and personal goods, to clothing fashions, to household 'white and brown' (kitchen and leisure) goods, to now personal computer goods, and eventually reaching the pinnacle of durable goods: the vehicle, so the televisual has itself played the lead role upon the stage of economic development.

Though of course reliant upon buying-in foreign industrial know, typically from previously competing US vs USSR world powers, so as to obtain either: cost advantage, suitably aligned processes or advanced processes.

Manufactured Realities -

Here, investment-auto-motives uses the term 'manufactured realities' because over the course of the 20^th century the masses have been invariably influenced by the visual stories told which have befitted respective locales and respective zeitgeist.

So much so that such televisual stories have shaped what has become effectively merged realities for billions of people, with seemingly graspable dreams achieved via materialistic consumption; a process by which people even sub-consciously actually compare and indeed steer their lives.

Once again the brilliantly adroit, poignant and now decade old TV commercial for the Peugeot 206 is highlighted. Set in India, but broadcast to western markets, the hero transforms a yesteryear Hindustan Ambassador into the simulacra (ie near copy) of a modern 206.

Yet, because of the innate 'neural power' the televisual its influence by way of combined imagery and script seeps deep into the mass consciousness, often and intendedly sub-consciously.

As such the term 'manufactured reality' has long been in use amongst culture pundits.

[NB Such powerful influences can and is be used as manipulation devices by not just propogandist governments, but by those within social groups who seek to intrinsically control the lives of others. Of those who are less aware, usually the naturally trustworthy and naïve, done so by identifying their fears and desires. Disingenuous individuals, who appear to be multiplying in this age of increased 'awareness' and selfishness, view such people “gullible or stupid”, and view them as akin to the unaware mouse, its head in the teapot, at the the tea party in 'Alice in Wonderland')].

B2B and B2C 'Point and Counter-Point' -

A similar story of trends toward globalisation and counter-point localisation has been seen across the replicable industrial and consumer goods.

Although initially reliant upon buying-in of foreign industrial know - typically from previously competing USA vs CCCP world powers, so as to obtain either: cost advantage, suitable 'bolt-on' processes or indeed leapfrog advanced processes – the very nature of now well enmeshed international and inter-regional trade means that the days of industrialisation and consumerism being heavily politicised and either American or Russian led largely have gone. Though they continue to lead in specific fields, other nations have come to the fore relative to their own economic template agendas, such as Japan now in propulsion methods, medical research, bio-mechanics and robotics, and S.Korea in aspects of personal computing.

But, undeniably whilst the battle for industrial independence and 'democracy' has been increasingly won by EM nations, able to themselves gain from the export of everything from base commodities to mid-tech capital equipment and ever more sophisticated durable goods, they recognise the need to influence portions of global culture itself, if they are to continue to economically expand, and not become caught in the endemic “trapped culture” model which saw Japan unable to extend beyond its industrial pinnacle in the early 1990s and so causation to dramatically stagnate.

So, whilst small incursions into global popular culture are made by other nations, often using the immediacy of the web – such as S.Korean pop singer Psy with “Gangnam Style” and “Gentleman” hits, simultaneously adopting and undermining high culture motifs in the formulaic pop manner – the fact is that whilst other nations are able to now export their own literal pop cultures (though not seemingly their high-cultures), they must do so through what is a heavily American monitored, policed and controlled global communication web.

And as seen with the US vs G20 leaders telephone hacking scandel, for all the diplomatic apologies made, that Big Bother like control looks unlikely to diminish in the near or mid terms.

As shown in the last web-log post, since the early days of Hollywood and to date, whilst California is known for its tourism, fruit-growing, oil and defence sectors, beyond a shadow of a doubt, the state has for many decades moulded itself as the focal-point of cultural creation (global cultural creation), this grasp strengthened with the ever advancing and ever incursive computer age. (Just as New York's Wall Street has been and is the focal-point of financial creation).

Together these two influential centres, along with US military capabilities, effectively controlled much of the world over the last century.

And whilst there is much discussion about a necessary loosening of tight foreign affairs policies, so reducing military costs so as to help pay-down US national debt levels, the fact is that California through the combination of historical precedence and proactive soft-power planning remains the technological hub at the centre of international “cultural processing”.

“Californiacation” Revisited -

The web-log at the end of 2013 applied the term 'Californiacation' to describe the manner in which automotive high-culture represented by 1920s and 1930s masterpiece cars was itself being imported from elsewhere in the US, from Europe and Japan.

'Californiacation' itself as a word was created as a parody label created by counter-culture commentators to describe the LA-centric ultra-liberalism that reached heady heights by the late 1990s, specifically amongst the media-based 'in-crowd'.

The term first came to broader appreciation when used as the title for an album by the Red Hot Chili Peppers in 1999, then used as a self-referential TV series title in 2007. Loosely, Californiacation is wherein the cult of the 'LA media personality' rules, and in doing so becomes a social norm. Behaviour patterns of such people, typically removed from conventional life and living within their own bubble become, conveying extreme narcissism entwined with fashion obsession and social trend setting. In a navel-gazing way, such personality types became in the focus and content of new threads for TV entertainment under the banner of 'Reality TV'.

This LA effect reverberated and was intentionally replicated elsewhere across the USA and overseas to the UK etc. To such an extend that today each region (typically a correlated to specific TV region or social strata) has its own simulacrum of the LA original; whether it be the 'Houswives of Orange County' (mimicing the close by LA set) expanded to the 'Housewives of Atlanta', or in Britain, 'The Only Way is Essex' leading to 'Geordie Shore' and even (very sadly) 'Made in Chelsea', (an overtly previliged 'cast' of people who really ought to know better.)

Hence, from the social perspective 'Californiacation' is already endemic within a merged modern culture wherein the physically real is blended almost imperceptively with the image portrayed on screen. Something set to continue as the screens of personal devices become the lifestyle 'brokers and prompters' of those willing to unquestioningly accept such IT intrusion.

[NB the new film 'Her' alludes to this as a lonely man becomes infatuated with his human-like electronic personal assistant. A BBC Newsnight interview with the film's director negated the assumption that the plot set out to pose a question for humanity, and instead sought to present the plot as an expected future outcome, a socially networked, social engineering fait accompli].

'Californiacation's' Modus Operandi -

As seen, American cultural hegemony through the 20^th century has led to what may be described as a contemporary global mass culture.

As also seen, Hollywood itself has been replicated to varying national degrees of success across the world. Bollywood (and similar regional others), Hong Kong, and now 'Chinawood' (the Hengdian World Studio) the most high profile and prolific, to reach respective EM audiences and beyond.

Yet as the rest of the world seeks to catch-up, California is set to continue its global cultural domination. But doing so recognising the vital importance of 'glocalisation'.

Doing so in three ways:

A. “Centrifugal Initiatives”

B. “Centripetal Initiatives”

C. “Copy Plus Cloning Initiatives”

Centrifugal efforts whereby it continues to export its televisual wares, whether: music videos, films, video-games or literally 'spun-off' franchising agreements with foreign production companies.

Centripetal efforts whereby the Californian epicentre remains ostensibly in control, the creative 'gravity', exemplified by US produced films such 'Bride and Prejudice' (set in Los Angeles, London and Goa), and 'The Mistress of the Spices' (set in San Francisco).

Copy plus cloning is (a poorly phrased but apt) term to describe the production companies of California (and all US) setting up local joint venture production houses with prime foreign markets. The presumed ideal to where possible to recreate the once all powerful 'Hollywood Studio System' (which ran between 1927-48) provided nigh on full control to the oligopoly of film studios. Though of course such an ideal problematic since it is unlikely that foreign film and television operators and regulators would allow a 50-50 split of the full value chain between itself and the USA.

The Car is the (EM) Star -

As is well recognised today, a major contribution to the success of national and regional economic templates through the 20^th century was the concomitant dual processes of increased televisual immersion 'into' the created reality of cinema/television prompting an increase in lifestyle aspiration and so consumer spending, from the affordability of FMCG items and upwards as improved personal and household circumstances (typically earning through learning) allow.

Also as seen, besides the aspiration of home ownership, at the very top of the consumption ladder is purchase of an automobile. The vehicle - whether small car, light van or pick-up truck - has since its invention been revered by the masses. For many reasons. Though primarily as a provider of autonomous freedom for driver and passengers, and as a vitally culturally important symbol of social achievement. The latter based upon the ladder-climbing process of successive purchases of: used car, affordable new car, better model or brand, ongoing replacement improvements.

This aspirational reality well understood by Alfred P Sloane, the modern father of General Motor' after being established by Durant. He recognised in the 1920s that the American masses would seek (though not necessarily require) something more than the functional but stark Model T Ford; thus creating the amalgamated group brand ladder from Chevrolet to Cadillac, ironically poaching Harley Earl as lead designer who had honed his theatrical styling skills in Hollywood

The next 45 years saw Detroit prosper, as the capitalist economic model combined with televisual driven consumerism created a near virtuous circle of wealth creation. That period contracted in the 1970s, so allowing the previous trickle of Japanese import brands morph into FDI trans-plant players, whilst by the mid 1980s the USA had become revitalised with by the 1990s domestic large cars and truck derived SUVs the reflective symbols of economic confidence.

[NB a similar story but based upon very different product types played-out in Europe over the same

70 year period]

But ever since the erosion of the Cultural Revolution in China and the fall of the Berlin Wall so conjoining West and East Europe, the winds of global change re-set the mid and far global economic horizon. And with it auto companies across the world have shifted gear accordingly.

Let us not forget that it was the Trabant and its encapsulation of an old, now defunct political order which captured the mood of the times,. Ex-GDR citizens looking to 'time-travel' into the future with desire for modern, svelte and comfortable VWs, and hopefully eventually BMW's and Mercedes'.

From the western viewpoint toward Eastern Europe, the BRIC countries and beyond, it was recognised that affordable automotive 'time-travel' was a prime requirement, wherein private consumers, new start-up enterprise and indeed privatised old state businesses could demonstrate their new standing through symbols of modernity.

To this end, since 1999 Renault used the name 'Symbol' for its small sedan; reflecting the intention of global manufacturers to replay the consumption model of the western 20^th century for 21^st century EM regions.

To this end, aspirational vehicles remains an increasingly important economic topic. Consequentially, “the car is the (EM) star”.

Rapid Economic Advancement -

Although slowed from previous rapid growth rates, the outer districts of the BRICs and those of the CIVETS nations, continue to transform from what what has been ostensibly a '2^nd class' consumption culture (in B2B and B2C spheres) over the last half century. This derived from locally re-branded yesteryear generation western goods (eg India's and Turkey's truck sectors).

Now toward a '1st class' consumption basis, enabled from broader and deeper wealth trickle-down through education, many seeking western levels of quality from local and regional producers, from drinks to clothes to cars.

So setting the scene for a new stage in the continued era of 'glocalisation', one spanning more intelligently formulated, hybridised identities and functions, achieved through ever more integrated EM-Triad corporate joint ventures and local producers accessing more capital from local and global sources to improve quality and broaden goods and services reach, domestically and regionally.

Each offering deployed localised business models aligned to local B2B and B2C demands, and reliant upon the economies of scale manufacturing for products and scale distribution for film.

Items which shifted from the initial appeal of foreign exotica to eventually for many millions the very staples of their everyday lifestyle. But expanded by the Apple Inc, a brand which for many Generation Y-ers reflects their inclusion within a cutting-edge, notionally socio-tech advanced global tribe.

Creating Cross-Cultural Connections -

The emergence of new economic order countries obviously required that the Euro-American economic template, which had largely proven itself over the preceding hundred years, be fundamentally reconsidered per the apparent opportunities that lay ahead elsewhere across the world.

Whilst the formula for doing so was relatively simple for automotive companies – such as Renault re-utilising a previous generation – critically capex-absorbed – platform, the approach required by the formulators of (to date western) mass-culture had to be arguably more holistically considered.

The highly successful 2008 film 'Slumdog Millionaire' the prime example as both a reflection of the zeitgeist and simulacrum product of these times. Produced by a company which had already developed the original format of TV's 'Who Wants To Be A Millionaire' (and franchising its simulacrum / replication across the globe), it sought to created its own staircase of continued EM success by using that general knowledge quiz as a focal-point to connect with old and new audiences.

The by now very well known Indian plot centres around the 'Millionaire' gameshow, a 'glocalised' product itself; though often wrongly perceived as derived from Hollywood.

'Slumdog Millionaire' accords to the rather conventional but compelling Indian plot of the underdog overcoming poverty, social adversity, friendship betrayal and conspiratorial accord between the elite and local police; wherein lost love is recaptured just as the hero's life is massively altered thanks to his ability to learn and recall.

Interestingly, given the context of new EM target audiences, as sub-themes there are subtle allusions to: the corruptive vs positive social power of the US dollar as the global currency (via “Benjamin Franklin on the $100 bill”), the spread of American might (via the Colt 45 handgun), and globalisation itself, via the backdrop of the “off-shored” Indian call-centre, This constructed as an Anglo-Indian cultural matrix itself, with the in-joke of cultural faux pas (via a rabidly Scottish customer) so highlighting the cross-cultural problems of globalisation.

To Follow -

The original remit of this second part of the web-log was to subtly segue into the manner in which the California-centric culture industry had well recognised the need for cross-cultural sensitivity and affiliation. This as a required action so as to simultaneously maintain its soft-power momentum and so continued global leadership across a yet wider multi-cultural global canvas.

Doing so by deploying its biggest soft-power players, such as Disney-Pixar, which has been centre-stage in creating televisual and experiential feasts, aimed at youngsters across both Triad and EM nations. And vitally through which the presently powerful US media companies can ride a future wave of increasingly EM sourced growth.

However, before moving to such an thesis, it was necessary that the historical context to that broad global canvas to date be given; this providing the natural bridge.

Hence, instead a Part 3 will now offer a very basic examination of how the corporate futures of the US media sector and US auto sector, have been advantageously intersected, and so set to reap from the expanding the global stage.

Done so through the entertaining but yet potent case study of Disney-Pixar's film-animation releases of 'Cars' and 'Cars 2'. And by which a mode of ever expanding 'auto-replication' of the original Californian cultural template, will be sought - deploying the ideology of culture-specific simulacrum.

Macro level Trends – EM Economic Templates – Glocal “Auto-Replication” of the Californian Original (Part 1)

The talking heads and chattering crowds of a recent DAVOS sought to better appreciate those important PESTEL topics of today, the remainder of 2014 and beyond. So theoretically providing for greater shared thinking and group impetus toward meeting many of the modern-day regional and global issues.

Challenges re-orientated into opportunities via “the mother of invention”.

One such, not generated from DAVOS but instead the suburbs of London with investment-auto-motives, is the idea that commercial templates can be continually evolved globally using the concept of 'Simulacrum', a latin term which underpins philosophical theorems about copies of reality.

Referred to with increasing clarity as the human time-line expanded it has been a prime subject discussed by many, from Plato to Neitzsche, but perhaps best known by the post-modern Jean Baudrillard's mid 20^th century writings.

His French intellectualism essentially directed at the growing cultural influence American popular culture, from Walt Disney's transmogrification of celluloid fantasy into physical realities within set commercial entities of the cinema and theme-park, to the the adoption of 'pop-u-lux' influenced architecture.

Today, investment-auto-motives believes that a new chapter of commercial simulacrum is upon us as aspirational populations from EM nations seek to themselves replicate the materialism and lifestyle satisfaction seen across the west previously.

Such an expansionism of newly created evolved and alternative realities will of course be exploited in tandem with the already massively influential 'mind-shifting' internet and the new concept of “the web of things”.

This new era, like so much to date, will be heavily influenced by the USA's West Coast and could be argued as a continued cultural hegemony.

However, today's much changed times with the strength and coalescence of EM nations (seeking to redress the cultural balance) will add a new layer of political, commercial and referential complexity; but with it bring new opportunities to be captured.

The Shifting Middle -

One prime topic covered at DAVOS, amongst that of corporate cash-piles to discredited general government has been the ideology of “the shifting middle”. A matter of a perceived new dislocations between the global middle-classes, whereby the relatively high societal wealth once enjoyed by North Americans, Europeans and Japanese is notably diminished vis a vis the much improved fortunes of the emergent middle-classes of EM nations. Also recognising that although the growth strides of those acronym groups (whether BRICs, MINTS or CIVETS) though presently more subdued have themselves sought to reduce input costs by expanding activities and export opportunities in other countries beyond.

So testing times for international relations as the global influence of what were the economic giants is comparatively diminished, as The Economist states that now the top 30 EM countries represent 40% of global GDP.

New Economic Order -

Very understandably, the re-surfacing of protectionist mentalities amongst the BRICs, MINTS and CIVETS was born during the US induced Financial Crisis, with many of the once collapsed Asian Tiger economies on firmer economic footings in areas such as national debt, trade balances and critically growth platforms that seek to avoid 'boom and bust' repetition; including much greater control of what constitutes conservative models of intra-national debt financing across housing, white and brown goods, automobiles etc. Many EM nations no doubt today quietly gloat over the new economic growth disparity between East and West; and what they see as the crumbling of previous western financial authority.

Internationalist Angst -

Given their own histories and recent events, convincing many of the what are now fundamentally much stronger EM nations who are still cautious of western agenda setting (and subsequent “real-politik”) will be tough. “Once bitten twice shy, many times bitten very very protective”.

Since they are constituted of and led by people, countries obviously act like human beings and will become separatist if banished from the international community, threatened or indeed subtly but powerfully persecuted.

This no doubt still the view of China, given that the Opium Wars and Japanese Invasion are still deep in the psyche of the PRC as is the later privation suffered. Hence unsurprisingly, given its viewpoint and recognition of the value of its massive population, it in turn since the 1980s has sought what its sees as a proportionately greater JV advantage from each individual incoming Triad-based firms seeking in-market penetration. It would only participate in global capitalism – seen as its previous undoing – if it set the terms. Perhaps only Germany given greater respect for its continuous industrial prowess, the similarity of separatist historical suffering and socialist-leaning attitude.

Indeed, China very probably sees Germany as the capitalist ideal given the manner in which social fairness appears to prevail; as seen by the constructs of: the nuclear family, community activities and indeed corporate supervisory boards. Whilst still existent (as with wealthy industrialist families) the reduced obviousness of social hierarchy and so inter-class friction has arguably led to a betterment of educational standards for all, and so increased the population's contribution to overall national productivity.

[NB this is neither a pro-EM nor anti 'olde world' stance, since ultimately all nation's power constructs are essentially the same].

Yet as for the here and now, China like Russia, obviously seeks to retain influence over neighbouring nations and historically allied countries. Critically many internal leaders and inhabitants sees its own cultural pillars – the values by which privation has been battled through self-reliance - as threatened by the liberal and weakening “western global agenda”. Hence Vladimir Putin's retained power as a Russian “strongman”, and choice of an open but cautious Xi Jinping by the CPC Polit-Bureau.

Beyond Internationalist Angst -

Whilst this is obvious so, without full appreciation of the broader issues and facts regards international relations a “blame game” can all too easily surface between what could become rival world hemispheres, north vs south, and west vs east; this in turn crystallising Orwellian notions of powerful separatist regions (ie Oceana, Eurasia and Eastasia).

Whilst this has not arisen, populist tensions did indeed grow during the EM dominated early 2000s period, as seen previously with the BPO 'off-shoring' trend; which ironically by its very nature is a key feature of global capitalism.

Thankfully any such simplistic political recoil has itself been partly disarmed as those prime EM nations themselves suffered as a consequence of western economic contraction. So seeking a range of partial to possibly painful reforms so as to re-set internal competitiveness.

Today major focus once again is upon the power-houses of the USA and China. The former seeking not to derail its recent improved 'turnaround' performance, and the latter charting and testing its roadmap for continued transition.

Thus, in this context, any simplistic (and what internationalists describe as xenophobic) perspective and rhetoric is flawed.

Instead, to diffuse the possibility of old and new tensions, ever deeper insights must be gleaned as to how a new pan-regional rising-tide may be created; which likewise metaphorically lifts all nations' boats.

A New Era for Cultural Glocal-isation ? -

Herein, investment-auto-motives cannot possibly offer an immediate panacea to such internationalist tensions; but instead proffers the notion that 'glocalisation' should continue to create various “glocalisation streams” ranging from the purity of reverential cultural traditional, to a range of formulae for (typically post-modern) cultural hybridisation.

What is today the oft over-used, often ill-considered term “glocal-isation” ostensibly came into general use during the late 1980s and 1990s, a suitable time lag after the final decay of what had been European colonialism and the need to alter viewpoints about American 'imperialism'. Importantly it was the umbrella for new thinking (by western corporations) as to how to maintain local market influence by altering the premis of their regional business models' activity chains to become closer to the fundamental requirements of the region and gain greater influence.

As seen by the efforts of various FMCG companies in Latin America and Asia, the process necessarily continues and must become ever more sensitive and so insightful and so influential.

Within this world of materialistic consumption, western foodstuffs, personal care items and (faked) branded clothing has played by far the most powerful role.

Whether it was a South Korean child of the 1960s cherishing a can of Coca-Cola, or today a middle-aged woman in a Brazilian favella purchasing 'European' personal care products, the desire by individuals to feel as if their lives are improving through consumption (for status or comfort) is today a “global village” imperative.

And no doubt, as experienced in the still notionally advanced Triad nations with advancement of vinyl record, cassette tape, CD, DVD and down-load, Marshall McLuhan's theories regards “the medium as the message” referring to consumed style over substance, will inevitably be the case as EM nations prosper.

McLuhan's 1960s conceptualisation of “the global village” which at the time was prescribed upon international telephone cables, jet-powered aircraft and the promise of satellite connectivity – fundamental to his early prediction of the web - has over the years created the perfect environment for not just a metaphysical interpretation of the term, but the endemically post-modern realisation of what may be called “cultural streaming”.

“Cross-Cultural Streaming” -

Over the latter half of the 20^th century some 'futurologists' have recognised the concept that one emergent, dominating trend is often accompanied by a counter-trend. Whilst experienced in many fields from scientific to sociological, it is in the latter that it becomes most evident. This very probably surfacing as 'individualists' (once predominately the young, but now across all age groups) seek to retain their self-valued separateness by going against the new norm and seeking out new adapted, adopted or over-laid identities to do so.

Inevitably over time such individualist actions become ever more mainstream as others copy the originators to acquire their own supposed 'individualism', such mass adoption prompting new incentive for exploration and self-recreation by the originators.

With the socio-economic boom years of the 1990s and 2000s, a fortunate segment of young and middle aged people from within the Triad region were able to travel internationally for leisure and education. And though not quite experiencing the culture-shock of globe-trotting 18^th century sailors, or indeed the migrant masses of the 19^th century, were able to absorb the influences of what foreign cultures. And though their social histories and mentalities have invariably been moulded and 'modernised' by western influence, the apposite counter-trends have arguably re-enforced local identities; both for commercial gain in tourism, but also to re-affirm self-identity within an increasingly homogenised world.

To such an extent that western youth culture itself has now long been a hybridised milieu of interwoven cultural facets. The most obvious being the 24/7 cyber-connected 18-35 year olds who brandish the simulacrum of a “long lost” Maori or Amazonian tribal tattoos down one arm.

[NB there is one saying derived from Victorian middle-class circles which states that “if a man cannot make a mark on life he makes a mark upon himself”, presumably to re-affirm personal existence. Today this belief is rare, yet given the disillusionment of today's western university leavers - educated but lacking opportunity – it is little surprise that the personal signification of the tattoo trend took such hold].

Cultural Fragmentation vs Economic Centricism -

More than ever, today we see how people, followed by commercialism seek to interweave sensitive (and possibly insensitive) forms of cultural hybridisation. This across what historically have been very different ethnic groups in very different countries / territories.

And parallel to such populist social hybridisation achieved through the advent of expanded global trade, travel, mixed relationships and cultural curiosity, has been the undoubted worldwide dominance of the American economic template.

Western derived macro and micro economics have unified the industrious and productive efforts of billions of people, and whilst there are still variances in general accounting rules (such as financial year-end dates) the fact is that such consolidation of an economic status quo will be the business basis for creation and exploitation of culturally informed (or exploited) activities.

Thus whilst Davos is indeed a truly useful meeting place to become made aware of broad trend PESTEL issues, Switzerland stands as remote as possible relative to the rest of the world. Instead investment-auto-motives directs such thought leaders to look in a meta-physical manner to the low-land coastal plains of the USA, California specifically, and the outer reaches of Los Angeles.

For it is here that the culture industry was effectively born – Simulacrum a central tool - and from which it's tentacles had worldwide influence.

'Californiacation' Revisited -

At the end of 2013 a web-log trilogy reviewed the concept of 'Californiacation' regards Europe's master-piece classic cars. A generalised notion by which this state's most wealthy individuals and foundations have been able to 'suck-in' various high-culture foreign artefacts .

But of course it cannot be denied that in proportionate comparison with regards to the far more influential and critically commercially linked matter of 20^th century mass culture - and specifically its global exportation - California has been the leading actor on the American stage. From the early film studios set within the original 'HOLLYWOODLAND' hills which sprawled and expanded LA, to the advent of the silicon-chip revolution that established Silicon Valley, to the latter internet-based and eco-directed business models formed from Palo Alto, California has been perhaps the most important cultural hub of both the 20^th and 21^st centuries.

Of course the previous 'American Century' was build upon the internationalist achievements of many goods and services companies. most from all over the “lower 48”, their in-roads primarily made across Latin America, Japan, S.Korea and remaining S.E. Asia; obviously the influence of US military might (whether enacted, threatened or perceived) allowing for initial foot-holes that were expanded with the mutuality of international trade.

This stage was set many decades ago, leading to the near ubiquitous worldwide presence of Coca-Cola, Marlborough cigarettes, McDonald's burgers and of course the avid visual and aural consumption of what are the most powerful subliminal architects of the human mind: cinema, television and the world-wide-web; with now enmeshed brands such as Google, Amazon, Facebook and Apple able to provide a connective immediacy to the powerful reach of “Glocalised Americana”.

However, along with the new power shifts of EM countries comes their own populations desire to both emulate the 'American Dream', yet also participate within it through a bifurcated, hybridised manner; one in which goods and services include national and regional substance, so much more than simply a tokenist gesture via branding palettes or sales-force patter. Something which instead includes the appropriate credible formulaic mix.

This, investment-auto-motives believes is recognised by a new band of industry orientated cultural theorists.

But moreover, investment-auto-motives believes that (inevitably) given idolatry offered to the automobile by well established and newer EM nations, that a new era of glocalised auto-cultural meaning will be created.

To Follow -

Part 2 of this weblog undertakes a basic review of how California, and specifically the multi-media production house Disney-Pixar through its Cars and Cars 2 animated films and merchandising will lead America's continued foray into an ever attractive array of economically developing foreign markets. Seeking to seep into the auto-cultural hearts and minds of new generations via ever greater and necessarily more sensitive. ''glocalisation'.