Fame Us

In this stunning book, photographer Brian Howell takes us into the world of celebrity impersonators--the faux famous people who make a living at pretending to be someone else. Taken at various impersonator conventions and stage shows throughout North America, the photographs are both startling and poignant--for all of the frivolity and double takes (''Isn't that Paris Hilton?'') there is also a sense of the real person beneath the makeup and the artifice. Accompanying the portraits are first-person narratives by many of the subjects, many of whom feel personally close to those they are impersonating, even if they have never met them. In addition, in two essays, cultural critic Norbert Ruebsaat looks at the history of celebrity culture, and Geist magazine editor Stephen Osborne delves into the nature of photographing impersonators. As such, the book investigates the nature of fame in this era of celebrity blogs, stalkerazzi, and reality television-and how our obsession with famous people says as much about us as it does about them.

Fame: The Musical has been dazzling audiences since its debut in 1988. Originally based off the award-winning 1980 movie, then a long-running television series and even a reality show, the musical follows the lives of a group of aspiring entertainers at New York's High School for Performing Arts. Catchy songs and spectacular dance numbers fill the Broadway hit that has now been produced in nearly 25 countries worldwide. This summer, Fame: The Musical began a new run at the prestigious Shaftesbury Theatre in London's West End. Alfred now introduces hit songs from the Fame: The Musical soundtrack. All songs include lyrics, melody line, and chord changes with professionally arranged piano accompaniment. Titles: * Prologue: Pray I Make P.A. * Hard Work * I Want to Make Magic * There She Goes!/Fame * Let's Play a Love Scene * Mabel's Prayer * Think of Meryl Streep * Dancin' on the Sidewalk * These Are My Children * In L.A. * Let's Play a Love Scene (Duet) * Bring on Tomorrow * Fame

A free preview collection of essays from Tom Payne, author of FAME We may regard celebrities as deities, but that does not mean we worship them with deference. From prehistory to the present, humanity has possessed a primal urge first to exalt the famous but then to cut them down (Michael Jackson, anyone?). Why do we treat the ones we love like burnt offerings in a ritual of human sacrifice? Perhaps because that is exactly what they are. In this collection of essays, Tom Payne -- of the website Popcropolis and the "trenchant, unsettling, and darkly hilarious" Fame (New York Times Book Review) -- draws the narratives of the past and the immediate present into one intriguing story. INCLUDES AN EXCERPT FROM FAME!

With 8 Pages of Black-and-White Photographs In this captivating history of stardom, Boston Globe film critic Ty Burr traces our obsession with fame from the dawn of cinema through the age of the Internet. Why do we obsess over the individuals we come to call stars? How has both the image of stardom and our stars' images changed over the past hundred years? What does celebrity mean if people can now become famous simply for being famous? With brilliant insight and entertaining examples, Burr reveals the blessings and the curses of celebrity for the star and the stargazer alike. From Mary Pickford and Charlie Chaplin, to Archie Leach (a.k.a. Cary Grant), Tom Cruise, and Julia Roberts, to such no-cal stars of today as the Kardashians and the new online celebrity, Gods Like Us is a journey through the fame game at its flashiest, most indulgent, occasionally most tragic, and ultimately it's most culturally revealing.

Crowdfunding is increasingly becoming a method of mobilizing project finance ventures, particularly in a sharing economy. Moreover, the element of risk sharing which is found in equity crowdfunding makes up the essence of Islamic finance. However, as with any type of risk-sharing contract, Islamic crowdfunding faces the problem of lack of trust and information asymmetry. The author employs a game theory approach to Islamic crowdfunding as a means to tackle the issue of information asymmetry through a "reputation mechanism" which is touted as one of the latest means of solving information asymmetry in web-based social networks. The primary objective of the reputation mechanism is to enable more efficient transactions in communities where cooperation is compromised by post-contractual opportunism or information asymmetry. The game theory approach in this study involves two different games: "without Fame" and "with Fame", and it is proposed that a "with Fame" crowdfunding game produces better results. The reputational mechanism in this research was also designed specifically to eliminate any potential moral hazards and minimize information asymmetry. In this study, "Fame" refers to the credibility of every individual within the crowdfunding system. Fame is a form of systematic, measurable and computable (implicit and explicit) reputation, which allows other members of the crowdfunding social network to better learn about the individual and their credibility.

An analytical study of America's rabid fascination with the lives of celebrities draws on numerous personal interviews--with fans, Hollywood insiders, and would-be celebrities--to examine the psychological, sociological, and biological roots of the obsession, as well as its implications for modern life. By the author of Braving Home. Reprint.

In Just Like Us: Digital Debates on Feminism and Fame, Caitlin E. Lawson examines the rise of celebrity feminism, its intersections with digital culture, and its complicated relationships with race, sexuality, capitalism, and misogyny. Through in-depth analyses of debates across social media and news platforms, Lawson maps the processes by which celebrity culture, digital platforms, and feminism transform one another. As she analyzes celebrity-centered stories ranging from “The Fappening” and the digital attack on actress Leslie Jones to stars’ activism in response to #MeToo, Lawson demonstrates how celebrity culture functions as a hypervisible space in which networked publics confront white feminism, assert the value of productive anger in feminist politics, and seek remedies for women’s vulnerabilities in digital spaces and beyond. Just Like Us asserts that, together, celebrity culture and digital platforms form a crucial discursive arena where postfeminist logics are unsettled, opening up more public, collective modes of holding individuals and groups accountable for their actions.

"John D'Agata is an alchemist who changes trash into purest gold." —Guy Davenport, Harper's John D'Agata journeys the endless corridors of America's myriad halls of fame and faithfully reports on what he finds there. In a voice all his own, he brilliantly maps his terrain in lists, collage, and ludic narratives. With topics ranging from Martha Graham to the Flat Earth Society, from the brightest light in Vegas to the artist Henry Darger, who died in obscurity, Halls of Fame hovers on the brink between prose and poetry, deep seriousness and high comedy, the subject and the self.