Worcester

My shopping experience has lead me to the small historical city of Worcester. Famous for the cathedral gracing the back of the British twenty pound note for years, and the birthplace of the composer Edward Elgar – to which there are many memorial statues. The city remains dominated by its array of Victorian building and shops. It does have a fairly modern shopping precinct called Crowngate, which is home to a few modern shops, coffee places and travel agents. It is also occupied by nationwide department stores such as House of Fraser and Debenhams. Similar to those that were first introduced in the 19^th century in France.

Marks and Spencer have two stores here in Worcester, one for women, children and their food hall, and another for men and homeware. A Next, TOPSHOP, and TKMaxx are also present down the high street, along with an array of other well known stores. Phone shops are also in plentiful supply, as well as coffee houses and cafe’s.

It is not a bad place to visit for shopping, and it’s layout is easy on the eye too, in a traditional way. The shops however are widely dispersed so sensible shoes are advisable as there is a fair amount of walking to be done if you want to see it all!

I imagine Worcester was not ahead of it’s time when it was first developed, but it is more on an average par with other similar towns and cities, don’t get me wrong it has everything you need, but if you want a wider choice of the same objects you might be best advised to travel further afield.

Photographs to follow.

Holmes and Redmond - Understanding celebrity culture

Adulation, identification and emulation are all key motifs of understanding the study celebrity culture, as explained in this reading. As well as the desire for fame, as highlighted in the case study of Leif Memphis.
Non famous people are around to form groups of fans around famous people, and circulate in the popular media.
'I' and 'me, me, me' are the narrative strand of post modern celebrity in a commodity driven nature. 'To be famous is to be famous and that is all that matters' this is descibed as everyone is psychologically damaged whether it is the anomic fan or the lonley famous person.
According to Elliot (1999) the relationship between fan/ star/ celebrity may acutally be the most intimate and far reaching forms of sociability in modern times. From the dedicated websites to in institutions and creative enterprises.
New and old media technologies have allowed celebrities to be timeless, replayed and circulated in an endless fashion which has become extremely important in todays celebrity culture - in this game of finding authenticity.
Apparently the body of the star is the key to finding their 'real' persona - as fans we are comforted when we see them stripped of their fancy clothing, jewellry and make up, exposing their flaws enables us to identify with them in their natural form rather than their representation.
Celebrities are divided into categories from A-list to Z-list, but their appeal can still be far reaching no matter where they originate. In Z-list will usually be the reality star - holding onto their 15 minutes of fame.
In relation to discourses of cultural value, two key points are made: Firstly it is impossible to discuss contemporary celebrity without addressing such judgements; as they form an integral part of how the celebrity circulates in the public sphere. Secondly issues of cultural value simultaneously structure the varying perspectives our contributors offer on celebrity; some are keen to defend whilst others are more critical.
The term celebrity in itself is ambiguous in it's meaning and the study of which contributors explore how the internet, magazine, tabloid newspaper, photograph and gallery film determine how celebrity culture travel across the media landscape.

Joshua Gamson: The name and the product, late twentieth century celebrity

It is written that celebrities have now become the powerful ones in the world of cinema. And that they are the 'propreitors of their own product' where once the job would have been left to personal management and agents, yet these are no longer the powerful players.
Advertisement and lifestyle has changed dramatically since World War II which has reflected in the celebrity world too, which has been described as becoming more of a 'scientific' formula.
Entertainment PR of the film and TV industry has adapted to cope with the change and demand of the modern audience. 'Star Quality' has a certain magical feel to it, almost like an enigma - which has turned out to be a profitable commodity to sell. Fame is a sales device with celebrities making a lot of money through endorsements since the 1950's.
The concept of 'quality' has been dismissed as irrelevant and old fashioned and has been replaced with the notion of image.
The role of the publicist has now altered into now coaching the celebrity into "how to look cool in talk show hot seats" and such which can lead to demanding the cover on a magazine.
One clear question that I feel is important is 'If celebrities are artificial creations, why should an audience remain attached and lavish attention on their fabricated lives?'
The hype and irony seems to do no damage to the stars image, and even if it did, it could be sold in a different way using alternative characteristics.
Irony plays a huge part in the maufacturing of films and programmes, but it only makes the audience more intreagued.