PM Pick

Sex & The Apprentice: The Art of Over Exposure

Beth Gottfried

Gottfried considers the acting, the acting out, and the act put upon the females of The Apprentice.

As if there weren't enough cheesy made-for-TV movies in the US based on some larger-than-life pop icon, another one aired recently. Trump Unauthorized was inspired, no doubt, by the hit reality TV show, The Apprentice. Trump Unauthorized is an exposé, a dirty tell-all about Trump and his many loves, like for example, Slovakian women. Truthfully, I didn't watch the movie. I shudder at this form of public exposure.

As a seasoned viewer of The Apprentice I really do set out to take myself a bit more seriously than most. That's because I accepted an assignment to write a weekly recap column for The-Trades.com, which covered Season 1 of The Apprentice. I considered my weekly column an opportunity to entertain and educate the masses by providing useful social commentary on an otherwise shallow topic. And maybe that's why TV movies like Trump Unauthorized really gets my goat: because in some small way such made-for-TV movies serve to remind me that it's all a bunch of schlock. And this in turn, undermines my credibility.

It wasn't always this way, however . . .

Thanks to that work, soon after I started writing that column, I got to meet a cast-off from the show, engage in a brief fling, and even secure a book deal (10 Secrets I Learned from The Apprentice Penguin, 2004). It should be noted that the book deal was in no way, shape, or form related to the brief fling. My love interest didn't have that kind of pull. My dalliances never do. And this all transpired within the course of four short months.

It seems stories like that are what "E True Hollywood Stories" are made of. Unfortunately, I had no intention of following that slippery path to stardom. Drugs, Sex, and Rock 'n Roll, just ain't my bag, I guess. So instead, I opted for the creature comforts of sobriety and reclusion wherein I can sit happily perched up on my soapbox and proclaim all that is evil and hypocritical about the world of pop culture. For the purpose of Girlz Only, however, I'll stick with the subject matter of representations of gender. It's a touchy subject, any way you look at, but at least this way, I can focus my energies on what I do best: that is, rank on men and women in a socially constructive way.

Back to The Apprentice, which is a ripe topic for representations of gender. You know something has reached cultural icon status when Gary Trudeau uses The Apprentice as fodder in his "Doonesbury" strip. Not long ago, the cartoonist had a piece that depicted a man listening to headlines from The Apprentice promos/commercials. All these headlines had to do with a mythical candidate, "Sheraleeza", who is shown as ruthless and unethical in her pursuit to become Trump's next Apprentice. She strips to get ahead, and will stop at nothing. At the end of the comic, Trump says, "Sheraleeza you used sex to promote yourself. You're fired!" Of course the irony being that the show's producers were using Sheraleeza's sexuality throughout to promote the show.

I found the cartoon particularly funny because it hit upon the form of self-aggrandizing hypocrisy that's inherent in the show. Throughout all three seasons of the The Apprentice, the consistent trend I've noticed is its blatant hyper representation of sexuality and its ability to use the female candidates as sacrificial lambs in its quest to boost ratings. While it might not be as shameless in its depiction of sexuality as it was first season, culminating in many of the female cast-offs posing for the Australian men's magazine, FHM (although second season female candidates followed suit), the show's promotionals still seem to overwhelmingly employ female sex appeal and cattiness as major marketing tactics. As such, I'm not sure what that does for the credibility of the female contestants, on a whole.

In Season 3 of The Apprentice, two of the show's male contestants, John and Craig, both behaved in a demeaning manner toward women. While John seemed to have a general disrespect for his fellow females and liked to resort to sexist clichés when working with Erin or Stephanie, his most offensive behavior was directed at Audrey, the so-called "just a 22-year-old girl." I have to say Audrey didn't do her best to represent her gender at a level of maturity that might warrant more respect. She broke down in front of the camera and her team several times, spouting off about how hard she had it. Apparently, at some point she said something about wanting to "scar herself" just so she wouldn't have to be evaluated based on her looks. But let's face it, Audrey didn't seem to have much else going on. A huge chip on her shoulder and an attitude that matched it, she seemed beholden to her looks and tried to capitalize on them in the boardroom, even though she vehemently resented the validation she received when based solely on her looks.

Unlike John, Craig's animosity and disdain was entirely targeted at Kendra. The two fought constantly and their tension definitely reached a boiling point in the final weeks. The majority of Craig's comments: "I am speaking to you slowly like I speak to my children", and "I'm giving you respect you don't even deserve, young lady", and "You don't even know what that word (condescending) means", and "You're a liar", only served to further infuriate Kendra. Kendra called Craig a "butt hole". In the end, however, she managed to get the better of the situation and learn to tune him, but his comments weren't cross-examined the boardroom. Thus, he was never held accountable for his demeaning behavior.

Gender theatrics are nothing new for The Apprentice. Season 1's Omarosa had been milking her diva-like persona from the second she stepped on to the set of the reality TV show. Omarosa appeared on a recent episode of Fear Factor, wherein she claimed she intentionally cops the difficult personality as a means of generating more bling and launching her celebrity further into the stratosphere. It works, too. We all hate her and yet no one can stop talking about her. While others who might have achieved more serious success on the show, such as Bill, author of You're Hired: How to Succeed in Business and Life from the Winner of The Apprentice (HarperBusiness, 2004) and Amy, author of What It Takes: Speak Up, Step Up, Move Up : A Modern Woman's Guide to Success in Business (St. Martin's Press, 2004) both books about The Apprentice, their celebrity has waned and it's no longer as likely that you'll find mention of them in your typical variety of pop culture tabloid-style grocery store check-out staples like US or In Touch. Even Ereka and Katrina, who later went on to pose for FHM seem all but erased from our memories.

While on the subject of over exposure, one thing that has definitely approved over the past three seasons is attire. First season, the women dressed like New Jersey Hooters girls prior to being reprimanded by Trump for "using their sexuality too much". After which they transformed overnight into sorority sisters, albeit with an affinity for pleated micro-minis. Second season went the opposite extreme, with women toting Brooks Brothers/Burberry conservatism fashion trends I haven't seen since Margaret Thatcher was Prime Minister. Season 3 has the women streamlining to "acceptable" professional business attire that isn't too risqué or intentionally provoking. In this light, it's not as exciting, either.

The men's fashion hasn't been as paramount on the show. There was Raj and his bow ties, but aside from that, nada. I think perhaps, in an effort to balance it out a little, maybe more episodes should feature the men in their skivvies. Hey, it worked for Kevin on Season 2. How many times did he answer the phone in his tight boxer briefs? I'm not sure this act didn't, in and of itself, insure him making the cut to the final four candidates.

The latest season of The Apprentice just wrapped up and delivered a variation in the "Battle of the Sexes" theme. The premise changed from Men vs. Women to Books Smarts vs. Street Smarts. With less emphasis placed on gender, more competition was based on education and ability. Perhaps a telling sign, in the end, it boiled down to two female candidates: a "Street Smart" seller of Mary Kay cosmetics mother from Iowa versus and a "Book Smart" real estate broker from Florida. In a recent interview, Trump was cited as saying he felt obligated to pick a woman this go-around as the last two seasons had only men making it to the final round. The statement irked me in that it somehow serves to downplay Tana and Kendra's capabilities and contrary to former seasons, I couldn't think of a man on this season's cast who would have been better qualified to win this season's competition than either of those two women.

At any rate, in the end, Trump again went with the more conservative of choices and picked Kendra, the 26-year-old Florida real estate broker. As the promos never lie, I could smell this one coming a mile away. Did I sincerely care who became Trump's next Apprentice this season? Not really. Especially after I found out that Tana was not in fact a Midwesterner, but a woman who grew up in a fairly affluent suburb outside of Philadelphia and attended parochial school and college there. As a Midwesterner myself, this form of betrayal was just too much for me. Loyalty to an Apprentice contestant, loyalty contrived from some perceived affinity such as girl power, can only extend so far.

Charlie Brown, Snoopy, and Woodstock each did their stint as a lonely Mexican cowboy, it seems. These and other things you didn't know about A Charlie Brown Christmas.

How Would You Like to Be the Director of Our Christmas Play?

It's really a beautiful little movie and has affected my life in numerous ways. For years, especially when we were poor, we always tried to find the littlest saddest Christmas tree possible. In fact, my son Eli has a Christmas tree set up right now that is just one single branch propped up in a juice bottle. And just a couple weeks ago we were at a wedding, everyone was dancing, and me and my wife Amy and my friend Garth started dancing like the Peanuts characters do in the Christmas special.

-- Comic artist James Kochalka.

Bill Melendez answers questions with the sort of vigor that men a third his age invest thousands in herbal supplements to achieve. He punctuates his speech with belly chuckles and comic strip taglines like "Oh, boy!" and "I tell 'ya!" With the reckless abandon that Melendez tosses out words like pleasure, it's clear that 41 years after its premiere, A Charlie Brown Christmas remains one of his favorite topics of conversation. "It changed my life," he states simply, "being involved with this silly little project."

Melendez celebrated his 90th birthday in November. "When I think of my last 40 or 50 years, I can't believe it," he says, capping off his comment with that inevitable one-man laugh track. The curly-mustachioed animator was born José Cuauhtemoc Melendez in Hermosillo, Mexico, in 1916. "I was literally a cowboy," he says. "From there, I crossed the border and started growing up. Just recently I went back, and when I got there I realized where my home was: across the border. When I was a little kid, I would have killed myself had I known such a thing was going to happen. I'm one of you. Whether you like it or not, I'm one of you."

Melendez recalls his blind leap into the world of animation as though the story's end still managed to catch him by surprise. "I was working in a lumberyard, and one of my mates said, 'Hey, I read in the paper that some guy up on Hyperion Avenue is hiring young guys like you who can draw.' So I went to this stranger and said, 'Hey, I understand someone here is hiring young artists.' The man asked me for my samples and I said I'd show them to him tomorrow. I went home that night and made the samples. I brought them in the next day, and he asked me what art school I went to. I'd never been to an art school. He said, 'Well, you have talent,' and he hired me to work in a place called Walt Disney."

Four years later, after lending his hand to Disney canon fodder like Bambi and Fantasia, and after fighting for his new country in World War II, he spent the next decade or so hunched over the drawing board, producing animated commercials and industrials by the thousands, including a number of spots featuring syndicated comic strip characters. Among them were the Peanuts characters.

Of all the Charlie Browns in the World, You're the Charlie Browniest.

I was around 10 when it first premiered, and seeing A Charlie Brown Christmas for the first time was enough to prove even to a young child that a well-written thing is superior to most of what is out there. I'll probably be watching it again tonight or tomorrow, because I have a copy of it and a six-year-old daughter. She loves it.

-- Comic artist Gilbert Hernandez.

By 1959 Charles "Sparky" Schulz's Peanuts kids found themselves at the center of their first print advertising campaign, pushing Ford's new Falcon make of cars. As the story goes, the idea of using Schulz's characters came from a daughter of one of Ford's advertising people.

"I think Sparky was flattered when they wanted to use his characters, says Schulz's widow, Jean, who now is one of the driving forces behind the Charles Schulz Museum in Santa Rosa, California. "It was a new way of extending his creativity. From the get-go Sparky always said a comic strip is a commercial venture. Newspapers put the comic strip in to sell newspapers. He would then bitterly say, 'No one considered comic strips art in the first place, so why would you get on your high horse about that?'"

When the time came for the characters to make their animated debut in a Ford commercial, Melendez was brought into the fold, and he brought along a cast of unknown child actors to voice the parts. The team reunited five years later, when Lee Mendelson, a filmmaker from San Francisco, requested two minutes worth of animation for a film he was shooting based on a Peanuts story line.

"I had done a Willie Mays documentary in 1963, A Man Named Mays, which had done really well," Mendelson says. "Then I was reading a Charlie Brown baseball strip, and the idea came to me: I've just done the world's greatest baseball player; now I'll do the world's worst." It's an old joke -- the same he used to open his 2000 coffee-table retrospective, A Charlie Brown Christmas: The Making of a Tradition -- but it's one for the ages. "Two years later Coca-Cola called, and I thought they were calling to do the documentary," Mendelson explains, "but they said, 'Have you guys ever thought about doing A Charlie Brown Christmas?' I said absolutely. And that's how I got in the animation business." His executive producer role on that film was the birth of a career now well into its fourth decade.

"So Lee called Sparky and said, 'Well, I just sold our Christmas show," explains Jean. "Sparky asked, 'What Christmas show?' and Lee said, 'The one we're going to write tomorrow." Sparky said, 'If we're going to do it, we need to have Bill.'"

Melendez was brought into direct, and as with the Ford commercial, he gave the parts of the Peanuts kids entirely to children, many of whom had never acted. Getting them to learn their roles was a trying task, given that Schulz's script had his characters regularly waxing philosophical and tossing off words like ailurophobia (a fear of felines, for the record). Melendez had to teach the young actors long portions of the script phonetically. "Sometimes they didn't understand a word," he remembers. "They'd say, 'Just tell me how you want it said.' Then they'd say it, and I'd turn to the engineer and ask if he recorded it. The kids were all startled when they got screen credit and happily startled when they started getting royalty checks."

Melendez's also tried to coach a voice actor for the part of Snoopy, whose lines were limited to a handful of non-words. "I recited Snoopy's lines for the actor, and the actor turned to the engineer and said, 'Did you record that? Just use what Bill has done. I don't want to repeat your words.' " This happy accident left Melendez playing the role of Snoopy and, later, his yellow bird companion Woodstock for the next 40 years.

For the film's soundtrack, Mendelson and Melendez embraced Schulz's love of jazz. "Driving back from Sparky's over the Golden Gate Bridge I heard a song called 'Cast Your Fate to the Wind,'" Mendelson writes in The Making of a Tradition. The song was written by Vince Guaraldi, a jazz pianist from the beatnik-dense San Francisco neighborhood of North Beach. It had won the musician a Grammy Award for best original jazz composition in 1962. Guaraldi enjoyed Schulz's script and happily accepted his invitation into the Charlie Brown Christmas fold.

This Doesn't Seem to Fit the Modern Spirit.

The one thing that has always bothered me about the Charlie Brown Christmas special is that the other kids never admit to Charlie Brown that he was right about the little tree. They ultimately accept the tree, but no one ever says, 'Well, Charlie Brown, I guess you were right all along. We were idiots.' However, it's still cool to see a mainstream children's program show that is so stridently nonsecular, which could never be done in this day and age. Linus gets some good face time with all that shepherd talk.

-- Pop culture critic Chuck Klosterman.

Beyond the inclusion of Schulz's cast of wildly popular characters, 1965's A Charlie Brown Christmas seemed a production earmarked for failure. The special's small crew was given a mere six months between the film's conception and its maiden broadcast. At his own insistence, Schulz signed up to pen the script, his first attempt at a screenplay. "He said that if he was going to get screen credit for something, he wanted to be doing something," says Melendez. "He was very proud and curious and didn't want credit where he didn't deserve it."

Despite the Ford commercials that gave birth to the collaboration, and Coca-Cola's strong sponsorship presence in the special, Schulz's script centered around a pensive Charlie Brown attempting to find the true meaning of Christmas. "The 1960s were when Christmas first began to start the day after Thanksgiving," says Mendelson. "There was an irony to this, given the commercialization of the comics. That wasn't really his doing. He said, 'If people want to buy stuff, that's up to them. I'm not in the business of making stuff and selling it. I'm in the business of making a comic strip, and if people want products, then so be it.' "

"We're all a little schizophrenic in that way," adds Jean Schulz. "You live in this world, and you despair. If you think at all, you're always wrestling with this. I think that's exactly what Sparky was expressing." The special opens with a characteristically distraught Charlie Brown, speaking to the perpetually blanket-wielding Linus on a snow-covered version of the brick wall, the bald third-grader's preferred location for vocalizing his ever-present inner despair. "I think there must be something wrong with me, Linus," he begins. "Christmas is coming, but I don't feel happy."

In case that wasn't enough to threatren the film's commercial potential, the producers added one final nail to the prime time coffin: Schulz's script called for Linus to deliver a subdued monologue at the film's climax, a word-for-word recitation of Jesus's birth, taken from the Gospel of Luke. "Bill said, 'You can't have the Bible on television!' Sparky said, 'If we don't do it, who will?' By the time that Coca-Cola and CBS saw it, they had no choice but to play it. They had nothing else to put in there."

What the roomful of executives saw upon the first screening was a shock -- a slow and quiet semireligious, jazz-filled 25 minutes, voiced by a cast of inexperienced children, and, perhaps most unforgivably, without a laugh track. "They said, 'We'll play it once and that will be all. Good try,' " remembers Mendelson. "Bill and I thought we had ruined Charlie Brown forever when it was done. We kind of agreed with the network. One of the animators stood up in the back of the room -- he had had a couple of drinks -- and he said, 'It's going to run for a hundred years,' and then fell down. We all thought he was crazy, but he was more right than we were."

I Never Thought It Was Such a Bad Little Tree

That show is probably the closest I've ever come to having any interest in religion. That part where Linus quotes from the bible is extremely touching and very deftly handled. I was raised in a nonreligious household, and that was a moment that actually had some religious significance to it just because Schulz expressed it so well.

-- Comic artist Seth.

Upon its airing, the special received a 50 share. The network immediately ordered four more films from the team. "We watch it every year to make sure that it actually happened. We thought it would be on one time and be gone," Mendelson says. "The message is simple. Schulz wanted to do a show on the true meaning of Christmas. Any good writer like Schulz deals in truisms and things that are timeless. There are themes about unrequited love and bullies. They work as well now as they did in the 1960s, and they'll probably work for another 50 or 100 years as well."

"I think it touches something in the viewer. We didn't do it on purpose, but there's something ethnic about it," Melendez adds. Schulz expressed his own surprise that the film found its way into the canon of holiday classics. "He would say things like, 'I never thought it would be around 25 years later,'" Jean remembers. "One of the reasons that Christmas is so great is that back in 1965 there were no VCRs or DVDs, so you saw that show once, and you had to wait a whole year to see it again. And when it came on, it still held up. It was still charming."

Forty-one years after its premiere, A Charlie Brown Christmas remains a towering if unassuming presence in holiday TV. It's an oasis of sincerity, managing never to be drowned out by its overzealous neighbors' rush to cross-promote themselves. It's a quiet testament to what children's programming could be: introspective, unpretentious and, above all, respectful of the intelligence of its target audience. "Children's programs were held in low regard by everybody -- including me," says Melendez. "But I realized that it wasn't just for kids. I was dealing with adults. They were giving me suggestions and criticism."

For a film with an anticommercial message, A Charlie Brown Christmas produced its own market bonanza. But it still suggests the spirit of its writer, who sensed the real magic of Christmas was not in the spectacle of lights, commerce and big aluminum Christmas trees, but in those fleeting moments of silence, which seem to become rarer with each passing day. "They weren't afraid to have quiet," Jean says. "Most of the time when the kids are walking, it's very quiet. We came out of a new animated movie one day, and Sparky said, 'I missed the quiet places.'"

Over the years, the Schulz-Mendelson-Melendez team created more than 75 half-hour television specials and four feature films, and five Peanuts films have been made since Schulz's death, in 2000, at the age of 77. Outside of the films, Peanuts continues to be an incredibly lucrative license for its owners, United Features Syndicate. "If Sparky had the volume of stuff crossing through the office that we have today, it would have driven him nuts," laughs Jean. "He probably would have walked through the office and said, 'We're cutting all of the licensing off. I don't want to do it anymore.'"

From genre-busting electronic music to new highs in the ever-evolving R&B scene, from hip-hop and Americana to rock and pop, 2017's music scenes bestowed an embarrassment of riches upon us.

60. White Hills - Stop Mute Defeat (Thrill Jockey)

White Hills epic '80s callback Stop Mute Defeat is a determined march against encroaching imperial darkness; their eyes boring into the shadows for danger but they're aware that blinding lights can kill and distort truth. From "Overlord's" dark stomp casting nets for totalitarian warnings to "Attack Mode", which roars in with the tribal certainty that we can survive the madness if we keep our wits, the record is a true and timely win for Dave W. and Ego Sensation. Martin Bisi and the poster band's mysterious but relevant cool make a great team and deliver one of their least psych yet most mind destroying records to date. Much like the first time you heard Joy Division or early Pigface, for example, you'll experience being startled at first before becoming addicted to the band's unique microcosm of dystopia that is simultaneously corrupting and seducing your ears. - Morgan Y. Evans

Keep reading... Show less

The Best Country Music of 2017

still from Midland "Drinkin' Problem" video

There are many fine country musicians making music that is relevant and affecting in these troubled times. Here are ten of our favorites.

Year to year, country music as a genre sometimes seems to roll on without paying that much attention to what's going on in the world (with the exception of bro-country singers trying to adopt the latest hip-hop slang). That can feel like a problem in a year when 58 people are killed and 546 are injured by gun violence at a country-music concert – a public-relations issue for a genre that sees many of its stars outright celebrating the NRA. Then again, these days mainstream country stars don't seem to do all that well when they try to pivot quickly to comment on current events – take Keith Urban's muddled-at-best 2017 single "Female", as but one easy example.

Keep reading... Show less

It's ironic that by injecting a shot of cynicism into this glorified soap opera, Johnson provides the most satisfying explanation yet for the significance of The Force.

Despite J.J. Abrams successfully resuscitating the Star Wars franchise with 2015's Star Wars: The Force Awakens, many fans were still left yearning for something new. It was comforting to see old familiar faces from a galaxy far, far away, but casual fans were unlikely to tolerate another greatest hits collection from a franchise already plagued by compositional overlap (to put it kindly).

Keep reading... Show less

Yeah Yeah Yeahs played a few US shows to support the expanded reissue of their debut Fever to Tell.

Although they played a gig last year for an after-party for a Mick Rock doc, the Yeah Yeah Yeahs hadn't played a proper NYC show in four years before their Kings Theatre gig on November 7th, 2017. It was the last of only a handful of gigs, and the only one on the East coast.

Keep reading... Show less
Pop Ten
Mixed Media
PM Picks

© 1999-2017 Popmatters.com. All rights reserved.
Popmatters is wholly independently owned and operated.