Introduction
Whether it is film, fashion or even music, pop culture not only has mass appeal, but also general acceptability. For ages, music has been a key aspect of pop culture. Today, music is a crucial component of our everyday life and towards this end, it comes in formats and forms that are as diverse as its audience. Thanks to the special bond or connection that people have with music, they tend to develop a cult-like affinity to the composers of such music. Thus, the listening audience becomes drawn to celebrity musicians – and soon enough, the said celebrities are elevated to a deity status. The listening audience starts pegging all its hopes, aspirations, and dreams on these mortal composers of popular music; with the obvious result being celebrity worship. In addition to occasioning significant damage to the moral fabric, celebrity worship also infects the collective conscience of the society and leads to significant character weaknesses, amongst other things.
Discussion
It is important to note, from the onset, that for a large part, celebrities are largely characters that are not only packaged, but also primed and conditioned for dissemination via the relevant media so as to provide (and sustain) entertainment for a specific target audience (Levy 214). This is to say that in most cases, celebrities are far from the freely expressing and authentic beings that we deem them to be. As a consequence, it is the audience that becomes conditioned to specific ways of thinking via the interaction they have with their select celebrities via various mass media. It should be noted that for a celebrity, the relevance of maintaining a certain image for public consumption cannot be overstated. This is more so the case given that, as Levy points out, the public judges celebrities on the basis of what they appears to be – the image they projects (218). In this case, the image projected is rarely genuine. As a matter of fact, in entertainment, celebrities have over time refined the art of personality refinement – in which case they can successfully manufacture and sustain a character that is the exact opposite of their actual personas. The audience is in this case presented with a fake persona of their idol on which it anchors its fantasies. The result is what could be referred to as the worship of synthetic personas. According to Sheridan, North, Maltby, and Gillett,...
Works Cited
Jackson, Sue, and Vares, Tar. “Too Many Bad Role Models for Us Girls: Girls, Female Pop Celebrities and 'Sexualisation'.” Sexualities, vol. 18 no. 4, 2015, 143-154.
Levy, Michael. Celebrity and Entertainment Obsession: Understanding Our Addiction. New York, Rowman & Littlefield, 2015.
Sheridan, Lorraine, North, Adrian, Maltby John, and Gillett Raphael. Celebrity Worship, Addiction and Criminality. Psychology, Crime, and Law, vol. 13 no. 6, 2007, 559-571.
Beatles vs. The Rolling Stones Although both were seminal musical bands during the 1960's, the Beatles and the Rolling Stones formed, and continue to mark distinct cultural styles and trends in the history of 1960's and 1970's music. The Beatles have the advantage over the Rolling Stones, in some sense, in securing their place in musical history because they no longer are a band and had a far briefer history.
Authors Donald Lively and Russell Weaver describe Hustler Magazine as Falwell's "antagonist (p. 79)," no doubt representing for Falwell abuses of our Constitutional freedoms. "In 1983, Hustler Magazine decided to parody Falwell using a Campari Liqueur advertisement. The actual Campari ads portrayed interviews with various celebrities about their 'first times.' Although the advertisement actually focused on the first time that the celebrities had sampled Campari, the ads portrayed the double
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