By David R. Shumway
EPUB eISBN: 9781421413938
"All stars are celebrities, yet no longer all celebrities are stars," states David Shumway within the creation to Rock megastar, an off-the-cuff heritage of rock stardom. This deceptively basic assertion belies the advanced definition and which means of stardom and extra in particular of rock icons. Shumway appears on the careers and cultural legacies of 7 rock stars within the context of renowned track and culture—Elvis Presley, James Brown, Bob Dylan, the Rolling Stones, the thankful useless, Joni Mitchell, and Bruce Springsteen. Granted, there are various extra names that fall into the rock icon classification and that may rightfully look in this record. partially, that's the element: "rock star" is a well-recognized and wanted type but additionally a contested one.
Shumway investigates the rock superstar as a specific type of cultural development, varied from mere big name. After the golden age of moviemaking, media publicity allowed rock stars extra political sway than Hollywood's studio stars, and rock stars steadily changed motion picture stars as key cultural heroes. as a result of adjustments in American society and the media industries, rock stars became even more explicitly political figures than have been the celebrities of Hollywood's studio period. Rock stars, furthermore, are icons of swap, notwithstanding no longer regularly innovative, whose public personas learn like texts produced collaboratively by way of the performers themselves, their managers, and checklist businesses. those stars thrive in numerous media, together with recorded track, live performance functionality, costume, staging, hide paintings, motion pictures, tv, video, print, and others.
jam-packed with memorable photos, Rock big name will entice an individual attracted to glossy American pop culture or song history.
About the Author
David R. Shumway is a professor of English and literary and cultural stories at Carnegie Mellon collage and writer of constructing American Civilization: A family tree of yank Literature as an instructional self-discipline.
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Additional resources for Rock Star: The Making of Musical Icons from Elvis to Springsteen
3 In Rocky Horror, to look ahead a bit to the following discussion, an analogous form of intertextuality is expressed through movie references (as opposed to musical ones), such as the long list of science fiction films and stars in the opening number “Science Fiction/Double Feature,” but musical references exist as well. For instance, in the floor stomping number “What Ever Happened to Saturday Night? (Hot Patootie),” Meatloaf ’s Eddie notes that “a saxophone was blowing on a rock and roll show” and “Buddy Holly was playing his very last song” as the adolescent male in the song makes his move on his date in the backseat of his car.
1 Although glam rockers shared the sonic landscape with artists of all kinds in the United States, they dominated the UK charts for the brief period from 1971 to 1975 until being superceded by punk and disco. Despite its chart-topping popularity with music fans, glam rock proved troubling and controversial in many respects, especially in the rock press. Much of the denigration of glam came from the genre’s winking, reflexive awareness of popular music as being an inauthentic image driven commodity.
Called glitter in the United States because of the propensity of the glam rockers to wear face paint and put sparkles in their hair and on their clothes, the musical genre was primarily a British phenomenon. As the term itself indicates, glam—short for glamour—placed star image and fashion on equal footing with the music itself. 1 Although glam rockers shared the sonic landscape with artists of all kinds in the United States, they dominated the UK charts for the brief period from 1971 to 1975 until being superceded by punk and disco.