FARIAS, E.J.S.; http://lattes.cnpq.br/5399780420154038; FARIAS, Elton John da Silva.
Resumo:
May 19, 1975. More than one million people uneasily expected, only in the United States, the
release of a record. On that day each one of them bought the new Elton John album.
Beforehand I can say that it was not a current record, because it dealt about a musical opus
that tried to tell the life story of its own creators. So, this research investigates in what degree
the album Captain Fantastic And The Brown Dirt Cowboy, released by singer/songwriter Elton
John and by lyricist Bernie Taupin, produced some senses about the past of the due, because
by the way they put images of themselves at the disposal of the public, they delineate one way
of access to the things they lived together that suggest to incite the researcher for
interpretation, for deviation and for the relative. Also discuss if the album would be a self
writing, an autobiography or an autobiographical report, considering the construction of the
historicity of their both lives, their relation with the musical-artistic context at the end of the
60’s until the middle of the next decade and the production of a sense of fame in this
opportunity. Argues, just as well, how the cover of the album reinforces the “countercultural”
ideas of the first compositions of the due, using images that awes the look and emanates to
the spectator a sort of information that are hitched to the existence of John/Taupin from the
“libertarian” enunciations of their first songs as a door for fame as a way of life. Presents and
puts in question hence the possible relation between the due’s opus, the Glam/Glitter Rock
musical gender, the star system and the culture of personality to say how was produced a
sense of “being famous” in the 70’s, appraising the uses of star system, fame and stage as
places of “postmodern performance”.