In this post I will be studying pop stars in which have really made it in to the music world, and then other artist who will never see 50 again. The pop stars who continue to sell, and to define upcoming
generations of singers. So for example 'Michael Jackson' is died
but it is seen to be the king of pop, and with all his very well known songs around the global his music is still being played now, and people still love it even though it has been played lots and not the most recent stuff.
'In such a youth-obessed medium, it's surprising that the dead are so venerated. Nonetheless, the members of the fabled '27 club' who lived fast and died young have all had long-lasting careers, i.e. their music has been adopted (and continues to be brought) by successive generations of fans. We can then argue that it is defining the qualities of pop music: that it is shaped by historical era and cultural context, that it is aimed primarily at the young, and that its value is dependent on the currency attached to it by it fans. 'While pop music changes, and is constantly evolving into a variety of hybrid forms, pop stars retain common characteristics. The songs change, but the singers remain the same. Weather your pop star gyrates their pelvis in 1951 or 2011, they embody the same set of values, namely:
* Youthfulness
* Rebellion
* Sexual Magnetism
* An anti- authoritarian attitude
* Originality
* Creativity/ talent
* Aggression/ anger
* A disregard for social values relating to drugs, sex and polite behaviour
* Conspicuous consumption, of sex, drugs and material good
* Success against the odds
But on the other hand, the longer the star remains successful on stage, it is more difficult to continue to embody these values. The originality and creativity burns out with the pop stars in which has spend decades on the stage.
Pop stars offer use semi- mehological role models, and that's why so many great popstars die young, as they are too busy living out the dreams of the masses to work out who they really want to be.
A Top 10 Of Dead Pop Heroes (in rough order of demise)
1: Billie Holliday 6: Sid Vicious
2: Jimi Hendrix 7: Karen Carpenter
3: Jim Morrison 8: TupacShakur
4: Elvis Presley 9: Michael Jackson
5: Sid Vicious 10: Amy Winehouse
Dyer's Star Theory applied to Pop Stars
As we understand songs differently on who singing them, as we see there personality or star persona is fused with the music and lyrics. A song forms part of a pop star's ongoing narrative (eg. with a 'break-up album;, like Adele's 21, or Eminem's self- explanatory and recovery).
So when a pop star dies, their lives can then be organised into a three- act narrative; their story (usually a tragedy). The songs become the soundtrack for that narrative. But if the star is died it doesn't mind the music is over. So for a example. When Michael Jackson dies, it was a shock to the whole world, and it hit all the headlines on the news, which meant that there was a massive tribute to his music. He sold more music in that week than he had done for years previously. So this is when producers, record companies and other interested parties start to make sense of the music, re- ordering and packaging it into a new brand. So this therefore Amy Winehouse's lioness is not marketed, as originally intended, as long- awaited comeback from a troubled talent, but as an obituary, the capping of a brilliant, but short career.
Dyer's Star Theory applied to Pop Stars
As we understand songs differently on who singing them, as we see there personality or star persona is fused with the music and lyrics. A song forms part of a pop star's ongoing narrative (eg. with a 'break-up album;, like Adele's 21, or Eminem's self- explanatory and recovery).
So when a pop star dies, their lives can then be organised into a three- act narrative; their story (usually a tragedy). The songs become the soundtrack for that narrative. But if the star is died it doesn't mind the music is over. So for a example. When Michael Jackson dies, it was a shock to the whole world, and it hit all the headlines on the news, which meant that there was a massive tribute to his music. He sold more music in that week than he had done for years previously. So this is when producers, record companies and other interested parties start to make sense of the music, re- ordering and packaging it into a new brand. So this therefore Amy Winehouse's lioness is not marketed, as originally intended, as long- awaited comeback from a troubled talent, but as an obituary, the capping of a brilliant, but short career.
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