Exit Stage Left: The curious afterlife of pop stars

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Exit Stage Left: The curious afterlife of pop stars

Exit Stage Left: The curious afterlife of pop stars

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Ebooks purchased here can be read on your usual Kindle, phone, tablet, other branded e-reader or any digital device. Anybody who has followed a pop musician's career will appreciate the alarm and horror of the protagonists as the adulation fades - but most of the musicians are wiser for it. By covering their successful histories and the artist filling in how their lives have gone since, it certainly made a worthwhile read. We live in a culture obsessed by the notion of fame – the heedless pursuit of it; the almost obligatory subsequent fallout. Elsewhere there are fascinating interviews with Lloyd Cole, Natalie Merchant, Roisin Murphy and Wendy James on the relative benefits of success and the words of Kevin Rowland, Musical Youth’s Dennis Seaton and Ed Tudor-Pole are touching and somewhat humbling.

In other words, I appreciate Duerden helping each artist form a more cohesive whole to their narrative. The starts interviewed for the book range from Robbie Williams, who has a career that is still thriving, but as a member of Take That is more than qualified to talk about life in the pop bubble. But what’s it like to actually achieve it, and what’s it like when fame abruptly passes, and shifts, as it does, onto someone else? I found that I knew or at least had heard of 80% of the musicians in the book, and the book introduced me to a few new acts (hello Tenpole Tudor!

He still enjoys playing the hits catalogue live, he’s sold hundreds of millions of records, and he’s proved his worth.

In these interviews, they went really deep and they were quite existential and philosophical and I had gotten the sense that it was a subject that they had given an awful lot of private thought to. By completing your purchase, you agree to Audible's Conditions of Use and authorise Audible to charge your designated card or any other card on file. I enjoyed Duerden’s writing style - it’s witty and astute, and subtle enough to know when he’s (deservedly) gently ribbing a particular quote from his interviewees, without being sneery.

I also think that by narrowing the focus of "Pop", the author builds a narrative that im not sure is true in that things discussed in interviews need to tie directly back into what it means to be a "pop star" or part of the "pop" scene. Some sustain themselves on the nostalgia circuit, others continue to beaver away in the studio, no longer Abbey Road, perhaps, so much as the garden shed.

Warning: Attempt to read property "post_title" on int in /home/bkjxxpmy/public_html/wp-content/plugins/events-calendar-pro/src/views/v2/widgets/widget-events-list/event/venue.g. Don McLean and Leo Sayer) up to the 2010s, with the bulk coming from 80s pop, and 90s indie bands. Duerden runs over the symbiotic and vile relationship that seems to exist between the music business, the press and more latterly reality TV producers as he speaks to musicians, singers and former pop stars up and down the spectrum.

More personal subject matter — how is the artist really doing — usually wasn’t the topic of conversation.The irony that any of the achievements of his subjects overshadows his own achievements is completely lost on him. I remember opening for the Who towards the end of my time in the Ordinary Boys, the band with whom I enjoyed brief fame in the 00s.

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