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By Ernest Cashmore

During this attention-grabbing and topical newcomers advisor, together with literature reports and an overview of key modern issues, Ellis Cashmore explores the exciting factor of big name tradition: its origins, its which means and its international influence.

content material: publication conceal; HALF-TITLE; name; COPYRIGHT; CONTENTS; 1 CULTIVATING/TASTES; 2 MAKING/NEW principles; three GIVING/IT ALL; four FABRICATING/FAME; five WORSHIPPING/FROM AFAR; 6 CONSUMING/BEAUTY; 7 COMMODIFYING/RACE; eight THRIVING/ON SCANDAL; nine BUYING/SALES; 10 TELEVISING/REALITY; eleven BLURRING/THE LINE; 12 CREATING/LEGENDS; thirteen ANSWERING/THE large query; TIMELINE; BIBLIOGRAPHY; movies; INDEX;
summary: during this attention-grabbing and topical newcomers advisor, together with literature studies and an summary of key modern subject matters, Ellis Cashmore explores the fascinating factor of superstar tradition: its origins, its that means and its international impact

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Thereafter, her presence may have faded, but her influence GIVING/IT ALL 49 remained. After her, no one could aspire to becoming a celebrity if they wanted anything resembling a private life. The boundaryblurring that had started in Rome in 1961 was completely obliterated during Madonna’s rise, or, as some might have it, diabolically masterminded descent. Writing for Rolling Stone, Britney Spears offers the view: “Madonna was the first female pop star to take control of every aspect of her career and to take responsibility for creating her image, no matter how much flak she might get” (2004: 124).

Viewers could not only see and hear a new array of people: they could almost reach out and touch them. In a way, they could almost swear they knew them. The more they felt they knew them, the more they became entranced. Giles invokes a term from a 1956 article in the journal Psychiatry to capture the emerging relationship between tv figures and viewers: “parasocial interaction” (Horton and Wohl coined the term in 1956). The 1950s was the decade of growth for television: at the start, few households had a tv; by the end over 90 percent of households in the USA and 70 percent in the UK had at least one set.

But: “You can’t be a pop icon and a spiritualistic writer and sing about the flaws of American consumerism and make out with same-sex pop stars half your age and be the face of one of the most generic brands in America all at once” (2003: 32). This might read like a criticism, though it’s no more than a complimentary observation: it doesn’t diminish the overall impact she made on popular culture. Commemorating two decades of her influence, Harper’s Bazaar, in September 2003 (issue 3502), held that “the ultimate pop-culture icon(’s) .

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