Using the example of Cliff Richard fans, this article investigates to what extent the rites and rituals exercised in fandom can be regarded as representations of a religious form as understood by the French sociologist Émile Durkheim in The Elementary Forms of Religious Life. Because empirical research has established its significance, the pop concert experience and its echoing effects are used as a starting point to explore the thesis that fans draw and cultivate a distinction between a profane and a sacred domain in their lives. These suggestions are further enriched by Randall Collins' and Gabriele Mordt's analyses of passions. This article adopts their concept of the sacred object as a passion-preserving device. In addition, the argument of popular music scholar Daniel Cavicchi (based on Bruce Springsteen fans) is taken one step further. Finally, I suggest a typology of fan experience that differentiates between primary interaction ritual, secondary interaction ritual, the cult of the individual and special rites.
Although tremendously popular, Great Britain’s long-term icon Cliff Richard has been widely neglected by popular music studies. This article aims to correct this omission by introducing an argument that claims that Cliff Richard portrays himself to a considerable degree as a saviour figure. Evidence for this thesis will be drawn from three meaningful dimensions in popular music: song lyrics, pictorial self-representations, and image components. These three areas can be shown to be semantically concordant in presenting Cliff Richard as a redeemer. While the promise of redemption by the singer persona is a recurring motif in his song lyrics, this assurance gets repeated in pictorial representations that make allusions to Jesus Christ (through posture, lighting, and elevation) and is further reinforced by a number of components of Richard’s image such as the (apparently) incorruptible body, the asexuality, and the demonstrative benevolence towards the sick and poor. The combination of these sign-complexes creates a meaningful pattern around the singer that sets him apart as a surrogate saviour.
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Explorative, authentic and cohesive: factors contributing to successful boy band reunions Anja Löbert earned an MA in Sociology, Media Studies, and English Studies at the Martin Luther University Halle-Wittenberg in Germany. She also studied at the Institute of Popular Music in Liverpool in 2002. Since 2005 she has worked as a freelance journalist specialising in British and American popular culture and society and is an affiliate scholar of Salford University, while her ongoing scholarly work is carried out in an independent, freelance capacity. Her research specialisms are fandom, ethnography, and empirical social research. AbstractUsing a comparative approach, this article looks at the different elements contributing to the success of boy band comebacks, primarily by contrasting the Take That reunion with the somewhat flopped reformation of their precursors, New Kids on the Block, but also by drawing on British examples such as the Spice Girls, East 17, and Boyzone. Firstly, the parameters of the breakup are analysed as possible predictors for the success of a reunion, especially, here, the popularity at the point of breakup, its staging and framing. Secondly, the parameters of the reunion are scrutinised, in particular the mode of re-entry into the market (explorative or assumptive), the discourse (re-) established in the comeback video (typical or atypical boy band theme) and the marketing strategy as such. Thirdly, the article examines the dynamics within the band and its personalities as factors influencing the potential success of a reunion (particularly problematic in the case of East 17). And finally, the article considers the impact which successful solo careers of individual band members may have upon the success of a reunion, arguing that the immense popularity of Robbie Williams kept Take That relevant even during their latency and increased Take That's chances of finding large audiences again (a dramatic factor which is unique to Take That).
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