Download Death and the Rock Star by Catherine Strong, Barbara Lebrun PDF

By Catherine Strong, Barbara Lebrun

ISBN-10: 1472430913

ISBN-13: 9781472430915

The premature deaths of Amy Winehouse (2011) and Whitney Houston (2012), and the ’resurrection’ of Tupac Shakur for a functionality on the Coachella track competition in April 2012, have targeted the media highlight at the courting among well known song, popularity and loss of life. If the word ’sex, medicines and rock’n’roll’ ever certified a way of life, it has left many casualties in its wake, and with the ranks of lifeless musicians turning out to be over the years, so the categories of dying concerned and the reactions to them have different. Conversely, as many artists who fronted the rock’n’roll revolution of the Nineteen Fifties and Nineteen Sixties proceed to age, the belief of loss of life younger and leaving a stunning corpse (which gave upward push, for example, to the parable of the ’27 Club’) not contains an analogous resonance that it as soon as may need performed. This edited assortment explores the reception of lifeless rock stars, ’rock’ being taken within the widest feel because the artists mentioned belong to the genres of rock’n’roll (Elvis Presley), disco (Donna Summer), pop and pop-rock (Michael Jackson, Whitney Houston, Amy Winehouse), punk and post-punk (GG Allin, Ian Curtis), rap (Tupac Shakur), people (the Dutchman André Hazes) and ’world’ tune (Fela Kuti). whilst song artists die, their fellow musicians, manufacturers, fanatics and the media react in a different way, and this e-book brings jointly their intertwining modalities of reception. the industrial effect of loss of life on list revenues, copyrights, and print media is taken into account, and the several justifications by way of residing artists for being concerned with the lifeless, via covers, sampling and tributes. The cultural illustration of useless singers is investigated via obituaries, biographies and biopics, staring at that posthumous reputation offers coping mechanisms for lovers, and shoppers of pop culture extra quite often, to house the data in their personal mortality. analyzing the contrasting ways that female and male lifeless singers are portrayed within the media.

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Paradoxically, the musical attracts both audiences who otherwise would never go to a Hazes (or levenslied) concert, and principal Hazes aficionados, many of whom otherwise would not go to a theatre. Yet, although the musical is carried by Hazes’s songs, it offers a different experience from a Hazes concert. Rephrasing and recomposing have made singing-along impossible, a disappointment for many ‘true’ Hazes fans. Significantly, the musical has spurred other, widely promoted and mediatised Hazes initiatives: a ‘people’s singer’ (volkszanger) talent scouting show titled Blood, Sweat and Tears (Bloed, zweet en tranen), named after Hazes’s most 10 As advertised on the musical’s website and posters.

Mijdrecht: Melvin Producties. ), Zo de ouden zongen: De mooiste levensliedjes met bladmuziek. Amsterdam: Nijgh en Van Ditmar, pp. 8–19. Mackenbach, Johan (2010) Ziekte in Nederland: Gezondheid tussen politiek en biologie. Amsterdam: Elsevier Gezondheidszorg, Mouria. nl/voorstellingen/2012-2013/hij-gelooft-in-mij/. nl/event/402/Holland-zingt-Hazes. nl/#home. 12 The Afterlife of the People’s Singer 31 Prendergast, David, Jenny Hockey and Leonie Kellaher (2006) ‘Blowing in the Wind? Identity, Materiality and the Destinations of Human Ashes’, Journal of the Royal Anthropological Institute, 12 (4), pp.

A self-proclaimed ‘Gypsy Motherfucker’, Allin’s approach to touring was beyond simply a way to prove his anti-mainstream position as a musician, but a consistent lifestyle. During the peak of his career Allin was essentially homeless, his only possessions the clothes on his back and sleeping in cheap hotels, the homes of his fans, or in hospitals and prisons.

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Death and the Rock Star by Catherine Strong, Barbara Lebrun

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