Fandom, Image and Authenticity: Joy Devotion and the Second by Jennifer Otter Bickerdike

By Jennifer Otter Bickerdike

Kurt Cobain and Ian Curtis. via dying, they grew to become icons. notwithstanding, the lead singers were faraway from their humanity, changed by way of simply replicated and disbursed commodities bearing their photo. This ebook examines how the anglicised singers offer secular tips to the fashionable client in an ever extra doubtful global.

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Extra resources for Fandom, Image and Authenticity: Joy Devotion and the Second Lives of Kurt Cobain and Ian Curtis

Sample text

The separate groups also watch, review, criticise and critique each other’s performances, I was repeatedly asked by the bands I interviewed about other Joy Division groups I had seen. Kurutz (2008: 32) noted this pattern, hypothesising that by ‘impersonating a celebrity [one can become] something of a celebrity [in their] own right’. The tribute bands, themselves an evolved reproduction, watching other tribute bands, continue and create a new text, a replication of a replication ad infinitum. The very original look and feel that the bands attempt to create is threatened by their every performance, as each crowd response, video review and interaction changes the dynamic, thus, in itself, evolves the idea of ‘Joy Division’.

Their first full-length studio album, Unknown Pleasures, sold out its initial pressing of 10,000 copies, an unheard of feat at the time for a band on an independent label. Curtis’s suicide on the eve of his group’s first ever American tour has created an unshakeable aura of a despondent, misunderstood prodigy. This idea has been moulded, proliferated and evolved by magazines, websites, movies and books. Many contributing factors might have played a part in his choice. Curtis was diagnosed with epilepsy in 1979.

Debord sees this as an example of how, Images detached from every aspect of life merge into a common stream, and the former unity of life is lost forever. Apprehended in a partial way, reality unfolds in a new generality as a pseudo-world apart, solely as an object of contemplation … the spectacle in its generality is a concrete inversion of life, and, as such, the autonomous movement of non-life. (Debord, 1967: 2) In this manner, the image is flexible, in its ability to move, twisting and tweaking in meaning, while maintaining a static appearance.

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