By Catherine Strong, Barbara Lebrun
The premature deaths of Amy Winehouse (2011) and Whitney Houston (2012), and the ’resurrection’ of Tupac Shakur for a functionality on the Coachella song pageant in April 2012, have concentrated the media highlight at the dating among renowned song, status and demise. 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 useless musicians growing to be over the years, so the kinds of dying concerned and the reactions to them have various. Conversely, as many artists who fronted the rock’n’roll revolution of the Fifties and 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’) now not contains an analogous resonance that it as soon as may have 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), folks (the Dutchman André Hazes) and ’world’ tune (Fela Kuti). while song artists die, their fellow musicians, manufacturers, lovers and the media react otherwise, and this e-book brings jointly their intertwining modalities of reception. the industrial influence of loss of life on checklist 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 lifeless singers is investigated via obituaries, biographies and biopics, gazing that posthumous popularity presents coping mechanisms for enthusiasts, and shoppers of pop culture extra quite often, to house the information in their personal mortality. reading the contrasting ways that female and male lifeless singers are portrayed within the media.
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Additional resources for Death and the Rock Star
Presence through Disposal The Amsterdam ArenA, home of the Amsterdam football team Ajax, is a multifunctional stadium with 50,000 seats, purposely designed to host megaevents that include football matches, but also concerts, dance events and festivals. As a singer, a football supporter and a football song composer, Hazes had a long-time connection with the stadium. In 2003, he celebrated his silver jubilee there with two concerts. His 1988 song ‘We houden van Oranje’ (‘We Love Orange’, ‘Orange’ referring to the national football team) instantly became a hit when Oranje won the European Championship that year, and has remained the national football anthem ever since.
Before discussing the particular trajectories through which Allin countered Western constructions of the body, however, it is first necessary to frame his work and lifestyle properly. The Masochist Hours before his death, Allin played what would become his last and perhaps greatest show. 2 In a fan-made video recording of the performance, we see a clearly inebriated and likely high Allin wearing military boots and women’s underwear. Before the performance starts, Allin visibly ingests small white pills given to him by a fan, and then grabs and kisses a female audience member, who seemed not to have any objections.
Gewoon een heel bijzondere man’. Death and the Rock Star 20 A Dramatic Life The story of Hazes’s life is a narration of a ‘jack-of-all trades and master of none’, gifted with a remarkable vocal talent from childhood on. Virtually all accounts start with the endearing anecdote of Hazes as a boy of eight, singing at the Albert Cuyp market to earn some money to buy a present for his mother. This account disseminates three important elements: first, it locates Hazes as an Amsterdam working-class lad; second, it testifies to Hazes’s natural talent as a singer; and third, it gives proof of Hazes’s sentimental and emotional personality.