Captain fantastic and the brown dirt cowboy: um capítulo de história da fama (1975).

Abstract

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”.