O-town is an egregious example of “manufacturing” a pseudo-celebrity, or in this case a pseudo-celebrity group. But their function has not changed from that traditionally promoted by shrewd entertainment marketers for over a half century: to produce a young masculine phenomenon which a large proportion of the adolescent female population can “safely” gratify their libidos with – meaning that traditionally they are not supposed to have sex objects but can sublimate by being fans of young male celebrities that function in that role.
As has been noted before, the truly talented among those so marketed will survive.
Remark made by my father a few years before I was born: “No talent, just a young stud that the girls can go wild about. He’ll never last, that Sinatra.”
Some years later, it was Elvis, and then Dion – in all cases, along with forgettable types whom I’d name, but have mercifully forgotten.
Then Bobby Sherman and the Brothers Cassidy. “Where are the Leif Garretts of yesteryear?”
It’s been noted that Mark Wahlberg was originally in a boy-band. But he’s gone on to acting, and while I haven’t seen any of his movies, I’ve noted that he gets good-to-neutral reviews, not pans. There must be some talent there, other than for self-promotion. Anybody care to comment on how he did in “Boogie Nights” or “The Perfect Storm”?
And on it goes.
And I haven’t even gone back far enough, because I would have mentioned Rudy Vallee…quick, Ike, the smelling salts!! Eve’s fainted!
And my eight-year-old female colleague notes to me that Nick Carter’s twelve-year-old brother Aaron now has a CD out, and is being promoted for all he’s worth.
I can see today’s teens fifty years from now: that Jedediah Frobisher is just a flash-in-the-pan, not a good performer that will last, like Justin Timberlake was when we were kids.