In the essay sing Britney Spears and her rise to celebrity and descent into changeless dirt. the writer argues that the currency of her popularity today is built non upon famous person ideal. but media schadenfreude. Simply put. Britney Spears has permitted her personal battles and good publicized errors to dominate her past successes in utilizing the media to foster her calling.
The writer observes that while Spears may non possess the fecund endowments or proficient workmanship of past dad icons. she is no less an icon and ace within the dad music Zeitgeist. and has later set the cast for immediate aces to follow. such as Christina Aguilera. Mandy Moore and Jessica Simpson. The writer draws a strong and direct comparing between Spears and Elvis Presley. the rockabilly vocalist who burst onto the dad music scene in the early 50s.
Towards the terminal of the seventies. Presley became every bit ( in ) celebrated to Americans for personal wellness jobs spawned by hapless diet and substance maltreatment as he was for his music and movie calling. The writer strongly implies that the flight of Spears career straight analogues that of Presley: equitation on the moving ridge of monolithic success as a really American symbol of success and the all excessively common descent into personal play. However. what is to be gleaned from this is non a prophylactic narrative of professional success and personal bad luck. for those are the platitudes that E!
True Hollywood Story specials are made of. Rather. the foundation of the author’s statement is that the never-fading limelight dramatis personae upon Spears. in paralleling Presley’s. will ne’er melt from public consciousness. The writer covertly suggests such by proclaiming that her entreaty as a pop civilization compulsion lies in both her sufferings and successes. and that compulsion persists with unusual length of service because of her position as an American icon.
This makes the flight of her celebrity unlike that of many other famous persons who disappear into obscureness. despite non holding made the same errors that she has. and in malice of the fact that she garnered far more success than many famous persons could conceive of in their life-time. In consequence. Spears. like Presley. corsets within the public’s imaginativeness because of the blunt contrast between calling success and personal failure.
Still. it is of import to acknowledge that differentiations still exist between a bend of the twenty-first century dad music sex kitty and a mid-20th century Southern stone and axial rotation gentleman. particularly with respects to how famous person news media treats the two. There is a difference between how it regards the behavioural fake pas of male famous persons and female famous persons: “…recent impregnation coverage of female stars “in crisis” contrasts forcibly with the journalistic restraint frequently exhibited in relation to male stars.
If current media codifications invite/expect us to “root against” such putatively “toxic” stars as Britney Spears and Amy Winehouse. it is taken for granted that we “root for” their troubled male opposite numbers. ” ( Negra & A ; Holmes ) Thus. while the point that Spears and Presley parallel each other in their ability to accomplish monolithic success and monumental suicide and the decision that neither have or will of all time be able to accomplish any gloss of normalities are sharp observations. the writer neglects taking into consideration the extent to which news media and the populace at big consumes these narrations.
Despite the fact that Presley’s twilight old ages saw him traveling through the gestures of his concerts. his staying fanbase supported him despite legion professional defects in these public presentations. Simply put. fans stayed strong to back up him during this hard stage of his life. In contrast. Spears’ behaviour is viewed mostly with derision and jeer. and although her calling has regained some moderate terms. she is seen by many as the prototype of the hysterical adult female.
Whether or non Spears or Presley deserve their several public sentiments. is non the point. but instead. that such differences lie along media-coded gender lines. is.
Negra. Diane and Holmes. Su. “Introduction to Travel CHEAP? Female Celebrity in Reality. Tabloid and Scandal Genres. ” Genders Online Journal. Issue 48. 2008. Retrieved online on April 18. 2009 from: hypertext transfer protocol: //www. genders. org/g48/g48_negraholmes. hypertext markup language