Editor's Choice

Everybody is a star

Anthropologist Grant McCracken points to this New York Times article by David Carr about former Us Weekly editor Bonnie Fuller and makes an interesting point about the ideological effects of the celebrity-gossip tabloid Fuller pioneered.

The [article's] most illuminated observation comes from Janice Min.... Here's how Min explains Fuller's success. "She is able to almost distill the id of the reader. She channels them in a way few others do, and what she heard is: ‘I don’t care about your acting method in your last movie. I just want to know what workout you used to get that fabulous body.’ "

This suggests that there has been a shift in the celebrity culture, a movement from admiration to imitation. Fans now treat the star less as a god and more as a set of transformational pointers. Celebrities by this reckoning are better than us but not different from us.

This is a very big change. Among other things, it marks the democratization of celebrity and the rise of a culture in which everyone imagines themselves a star, or at least transform themselves with a star's effort and care.

This seems right. We don't particularly admire the celebrities in these gossip magazines at all; they are more like mirrors for our self-admiration.

The essence of Us always seemed to me to be the "Stars -- they're just like us!" page, which sets up the rest of the magazine, which is advice couched as gossip. And it helps explain why the people famous for doing nothing -- Paris Hilton, for example -- are the magazines' prime attractions. These are the people who invite the strongest identification in readers, the most vicarious appeal, because their lack of talent seems to confirm our own fantasies of becoming famous merely for existing. In a society in which there is a lot of attention apparently waiting to be spent, it's not such a far-fetched dream.

What's strange is that people now seem to believe that it is better, more significant, to have fame than talent. A species of anti-intellectualism seems to be at work. Talented people stand out from the mass, marking themselves as de facto elitists. The merely famous, though, give hope to us all.

In the wake of Malcolm Young's passing, Jesse Fink, author of The Youngs: The Brothers Who Built AC/DC, offers up his top 10 AC/DC songs, each seasoned with a dash of backstory.

In the wake of Malcolm Young's passing, Jesse Fink, author of The Youngs: The Brothers Who Built AC/DC, offers up his top 10 AC/DC songs, each seasoned with a dash of backstory.

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Pauline Black may be called the Queen of Ska by some, but she insists she's not the only one, as Two-Tone legends the Selecter celebrate another stellar album in a career full of them.

Being commonly hailed as the "Queen" of a genre of music is no mean feat, but for Pauline Black, singer/songwriter of Two-Tone legends the Selecter and universally recognised "Queen of Ska", it is something she seems to take in her stride. "People can call you whatever they like," she tells PopMatters, "so I suppose it's better that they call you something really good!"

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Morrison's prose is so engaging and welcoming that it's easy to miss the irreconcilable ambiguities that are set forth in her prose as ineluctable convictions.

It's a common enough gambit in science fiction. Humans come across a race of aliens that appear to be entirely alike and yet one group of said aliens subordinates the other, visiting violence upon their persons, denigrating them openly and without social or legal consequence, humiliating them at every turn. The humans inquire why certain of the aliens are subjected to such degradation when there are no discernible differences among the entire race of aliens, at least from the human point of view. The aliens then explain that the subordinated group all share some minor trait (say the left nostril is oh-so-slightly larger than the right while the "superior" group all have slightly enlarged right nostrils)—something thatm from the human vantage pointm is utterly ridiculous. This minor difference not only explains but, for the alien understanding, justifies the inequitable treatment, even the enslavement of the subordinate group. And there you have the quandary of Otherness in a nutshell.

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A 1996 classic, Shawn Colvin's album of mature pop is also one of best break-up albums, comparable lyrically and musically to Joni Mitchell's Hejira and Bob Dylan's Blood on the Tracks.

When pop-folksinger Shawn Colvin released A Few Small Repairs in 1996, the music world was ripe for an album of sharp, catchy songs by a female singer-songwriter. Lilith Fair, the tour for women in the music, would gross $16 million in 1997. Colvin would be a main stage artist in all three years of the tour, playing alongside Liz Phair, Suzanne Vega, Sheryl Crow, Sarah McLachlan, Meshell Ndegeocello, Joan Osborne, Lisa Loeb, Erykah Badu, and many others. Strong female artists were not only making great music (when were they not?) but also having bold success. Alanis Morissette's Jagged Little Pill preceded Colvin's fourth recording by just 16 months.

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Frank Miller locates our tragedy and warps it into his own brutal beauty.

In terms of continuity, the so-called promotion of this entry as Miller's “third" in the series is deceptively cryptic. Miller's mid-'80s limited series The Dark Knight Returns (or DKR) is a “Top 5 All-Time" graphic novel, if not easily “Top 3". His intertextual and metatextual themes resonated then as they do now, a reason this source material was “go to" for Christopher Nolan when he resurrected the franchise for Warner Bros. in the mid-00s. The sheer iconicity of DKR posits a seminal work in the artist's canon, which shares company with the likes of Sin City, 300, and an influential run on Daredevil, to name a few.

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