Alas, Poor Richard: Fandom, Personal Identity and Ben Myer's

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14 : 1 | 2017 Varia

Alas, Poor Richard: Fandom, Personal Identity and Ben Myer’s Novelization of Richey Edwards’ Life Story Alas, Poor Richard : fandom, identité personnelle et fictionnalisation de la vie de Richey Edwards par Ben Myer

Mark Duffett and Paula Hearsum

Electronic version URL: https://journals.openedition.org/volume/5351 DOI: 10.4000/volume.5351 ISSN: 1950-568X

Publisher Association Mélanie Seteun

Printed version Date of publication: 13 December 2017 Number of pages: 65-84 ISBN: 978-2-913169-43-2 ISSN: 1634-5495

Electronic reference Mark Duffett and Paula Hearsum, “Alas, Poor Richard: Fandom, Personal Identity and Ben Myer’s Novelization of Richey Edwards’ Life Story”, Volume ! [Online], 14 : 1 | 2017, Online since 13 December 2020, connection on 29 July 2021. URL: http://journals.openedition.org/volume/5351 ; DOI: https:// doi.org/10.4000/volume.5351

L'auteur & les Éd. Mélanie Seteun 14 1 Abstract: Paula Hearsum of (University Brighton) & Chester) of (University Duffett Mark Story Life of Edwards’ Richey Novelization Myer’s Identity Ben and Personal Fandom, false belief that they know the actual person, fans should be be should fans person, actual the know they that belief false to the cling who loyalists blind irrational, as them dismissing than rather that We argue portrayal. his of accuracy the and motives Myers’ both challenged Fans poacher. textual come “cult of Richey” apprehended interaction and mythologization, the shows piece that the parasocial as such ideas Addressing book. to the responded reviewers and fans how on also and afan as himself tioned impersonation literary assesses article This story. wrote a fictionalizedaccount first-person Richey’s of life called anovel in troubled guitarist’s mysterious last days, fifteen years later the to explore order In suicide. committed had Edwards assumed was It bridge. Severn the at discovered was car his found, never was body his tour. aUS of Although advent the on disappeared Edwards Richey propaganda” for “minister and guitarist rhythm their before piece afour as show last PoorAlas, Article

In 1995 the Manic Street Preachers played their their played Preachers Street Manic the 1995 In Richard by focusing on the way its author posi author its way the on by focusing the music journalist Ben Myers Myers Ben journalist music the Richard as a perceived act of of act aperceived as Richard Richard’s Richard author as an unwel an as author : - -

Résumé : / interaction psychologicalparasocial autopsy / poaching /textual fandom music popular Keywords: concerns. ethical shared to serve studied as individuals who use their accumulated knowledge meanings and understand their heroes. As As heroes. their understand and meanings make about how fans something indicate can phenomenon fan of face acontinuing the in / parasociale autopsie psychologique interaction / textuel /braconnage :amateurs Mots-clés d’une éthique partagée. service au savoir leur mobilisent qui individus des comme considérés être devraient fans les contraire, Au mythe. du paillettes les derrière personne vraie la connaître de lusion àl’il s’agripperaient qui irrationnels, et aveugles dévots de celles comme réactions ces rejeter pas faut ne qu’il l’idée et de braconnage textuel. Dans cet nous défendons article, de son récit, l’accusant notamment d’usurpation d’identité l’exactitude et auteur son de motifs les doute en mettant publication, àla négativement réagirent critiques les et derniers ». Ces Richey de culte « du membres les par roman du réception la et auteur son par revendiqué fan de statut le analyse article Cet jours. derniers ses de mystère le explorer pour d’Edwards, tourmentée vie la de fictive autobiographie u Richard, écrit Myers Ben musical journaliste le tard, plus an Quinze suicide. au conclut l’on et corps, son pas retrouve ne on mais Severn, la de pont le sur découverte est voiture Sa américaine. tournée d’une àl’aube disparaît, groupe, du » propagande la de «ministre et rythmique guitariste Edwards, apparitiondernière sur scène à quatre. Peu après, Richey out the authenticating materiality that he [Richey Edwards] Edwards] [Richey he that materiality authenticating the out was indeed “real,” as opposed to only being known to known being to only opposed as “real,” indeed was “Manic Street Preachers’ fan culture remains with remains culture fan Preachers’ Street “Manic The study of stars that die or disappear or disappear die that of stars study The En 1995, les Manic Street Preachers font leur leur font Preachers Street Manic les 1995, En them as a mediated construct.” amediated as them Steven Gregson (2005: 144) (2005: Gregson Steven ne ne s s - - 65 Article Alas, Poor Richard Ruth Finnegan (1997: 68) has noted, identity attention. 1 Ben Myers’ Richard, an account is a site of struggle where power relations of the last days of Richey Edwards from are reproduced. In a star’s absence, his or the Welsh post-punk rock band the Manic her image can become a site of struggle, a Street Preachers, provides an interesting contested terrain on which the bonds of case study. 2 After introducing the novel’s affect are privately established and publi- real life subject and examining how its author cally performed. Creative interventions and positioned himself, this article concludes with reiterations can extend the star’s myth in a discussion of Richard’s reception amongst the Manics’ fan base. We argue that the fans’ Mark Duffett & Paula Hearsum ways that are not appreciated by the core of their traditional audience (see, for example, general rejection of Myers’ book was more Marcus, 1999). Whether deliberate or by than a blind response to its author treading accident, these interventions can exploit and on the hallowed ground of Edward’s celebrity explore specific aspects of celebrity and/or image. Instead some fans drew on a “moral fan culture. Responses to them are worthy economy” that included judgments about of academic attention as moments when fans the author’s ethics in relation to the fan role police others who have transgressed bound- he claimed to inhabit. aries of acceptable behaviour. By stitch- Richey Edwards had a successful career as the Manic Street Preacher’s rhythm ing together fragments of what is already guitarist, lyricist and “minister for propa- known rather than holding up a mirror to a ganda.” Edwards’ shortcomings as a guitar purported essence, and thus by emphasiz- player were unimportant to the punk and ing the “truth” of the star’s life as a form of post-punk fans that understood that musi- (intertextual) coherence rather than corre- cianship was not the only way for each spondence, semi-fictional books about dead individual to make a creative contribution musicians seem to disrupt the idea of truth as intimacy that forms the kernel of each star’s romantic myth. A series of researchers have 1 As well as authors of commercial fiction, in this explored the continuing interest in deceased category we might include amateur “real person musicians. Jones and Jensen’s book Afterlife fiction” fanfic writers, and those who claim to channel as After-Image (2005), for example contained the famous, or conduct celebrity séances. several chapters discussing “posthumous 2 A note on nomenclature: I am aware that Richey fame” in terms of mourning, hagiography, changed his real name to Richard James in his last few months of his time with the Manics, That image ownership and technology. Jennifer change—which could be read as hastening his Otter-Bickerdyke (2014) has studied fandom, disappearance—in set aside in this piece. Here “Richey Edwards” refers to the real person (and specifically, by considering the “second lives” sometimes, following Ben Myers, I use “Richey” for of cult musicians such as Ian Curtis and Kurt his stage persona). Richard refers to Myers’ novel and Cobain. Other scholars, such as Homan “Richard” to the character in the novel who speaks (albeit with a divided inner voice) as the “real” Richey (2006) and Gregory (2011) have examined Edwards. I have avoided the nickname that the press why audiences continue to be interested bestowed on Edwards—“Richey Manic”—as it does not contribute anything new to the argument. For an in tribute artists. Literary dramatizations academic discussion of the split between the private 66 of dead musicians have received much less and public self see Rojek (2001: 11). 14 1 quarters of the album had lyrics written by Richey. by written lyrics had album the of quarters album, Bradfield and Wire said that around three DVD of the 10 the of DVD the for interviewed were band the of rest the 4 When capabilities. creative his of perceptions on capitalize to right own his in auteur amusical as emerged then McLaren musician could have significant creative input. believed, Malcolm McLaren showed that a non- be to is story Pistols Sex the of version his 3 If advent on car the of a US tour.appeared His dis Richey London. in Astoria piece at the show afour as last playedPreachers their Street Manic the In 1995 camps. death Nazi of inclusion asong about the the to part, in atmosphere a melancholic due, had album of days modernity. evoke darkest the to clips media and quotations tribution—used con creative on Edwards’ based heavily was album, third Manics’ mediatedrealized and it was say that we can it caused, that pain or the trauma personal Richey’s of veracity the denigrating Without art. for his suffering his baring and exploited, vulnerable, impaired: he was that is actions of Richey’s reading A romantic project. its of authenticity the and band of his direction cultural about the astatement make to life professional his in himself by Edwards exploited creatively but was catastrophe, aprivate not was (just) descent personal Richey’s that recognize to therefore, tant, impor It dead.” is presumed is and vanished abruptly in 1995 problems, alcohol and and depression manic suffered self-mutilation, Rojek Chris theorist celebrity to According intrigued. of people found themselves variety a wide public, persona emerged in creative fragile, or project her of group. the his to th

anniversary editionanniversary of their (2007: 178) through his music. The The music. his through The Holy Bible Holy , he “engaged in in , he “engaged publically publically Holy Bible Bible Holy 3 —which —which As his his As 4 The The - - - life story called called story life Edwards’ first-personaccount of alized Myers a fiction Ben wrote music journalist disappearance, Richey’s after years Fifteen suicide. committed he had assumed it was never was body recovered, Edwards’ Richey Although Bridge. Severn the found near was become central to the expression of Richey’s expression of the Richey’s to become central the advent the education.” of By and intelligence levels of high of their asign as taken is this sleeves, album on their and lyrics their both in Larkin from Philip directly quote band, the Davies Helen As kudos. references significant achieve to literary used that sensibility post-punk ern, emerged from apostmod arguably laging brico His himself. locate to others quoting world of the samplerfore in of prose, akind there was Edwards canonization; literary of aftermath the formed in was identity His introvert. and interesting teristically charac was personality and stance own his define to quotation of literary use Richey’s sources. appropriation ofelegant literary on the based was performance “original” image of his construction the in agent scious but self-con ambivalent an was Edwards creative fiction? or autobiography” “faked as understood impersonation” be of “literary acts such should For example, issues. complex some of reception and style The fans. by Manics written reviews of online analyses author, its textual and with view of upon reading a close based is article This days. last mysterious explore guitarist’s troubled to the designed Manic Street Preachers, an all-male all-male an Manic Street Preachers, Holy Bible Holy As Myers outlined in his book, Richey Richey book, his in Myers outlined As and legend and album, literary quotation had had quotation literary album, (2001: 306) Richard (see Roxie, 2010) explained, “When “When explained, Richard , a “novelization” “novelization” a , Richard , an inter , an raises raises . His His . own own ------67 Article Alas, Poor Richard dark and nihilistic attitude. 5 Bassist Nicky in the novel Richey adds literary quotes to Wire saw fans of The Holy Bible as “dedicated the set list when his band plays their final to the whole lifestyle, the literary aspects, show as a four piece at the Astoria in London the film aspects, the whole package really. (Myers, 2010: 385). Quotation therefore It’s not just liking the music” (Price, 1999: became a means by which Ben Myers could 59). Without Edwards’ input, the Manics inhabit Richey’s persona and connect with turned into what one critic called a “meat fans. Myers told the NME, “A lot has been and spuds” rock band, one less vibrant with written about Richey Edwards, but I thought intellectual intrigue. 6 a fictional setting would be a better medium Mark Duffett & Paula Hearsum Richard maintained the process of to explore his personality, especially because literary quotation within the remit set by he was a particularly literate person who Edwards. According to reviewer Johnathan injected a wealth of literary influences into Gibbs in the Independent, “Myers gives a fairly staid British rock scene that was [Manics biographer Simon] Price a special lacking any true iconoclastic voices at the credit in a bibliography that also runs to the time.” 8 likes of Yukio Mishima, Albert Camus and In relation to self-identity, the use of Guy Debord—all inspirations for Edwards quotation has an inherent ambiguity, because himself.” (2010) At one point we find Myers it can alternately be seen as the intelligent quoting Richey quoting Camus, saying, exposure of a projected attitude, or a car- “What is called a reason for living is also a apace: a form of hiding in public by cover- reason for dying” (Myers, 2010: 92). 7 Later ing yourself over with the words of others. Defining his style like a suit made from the garments of others, Edwards became a kind 5 Ironically, Richey’s quotation approach was the of literary flaneur. At times, for Myers, this very reason Steve Lamacq “had accused them of camouflaging was used to signify Richey’s traducing the spirit of the music, of shamelessly precarious self-esteem: “I feel like I am made mining its history for their music and attitude, and of committing the ultimate crime of inauthenticity” of the thinnest paper, I feel hollow, like a (Pattie, 1999: online). Lamacq’s tired rockist ethos could be read the advocating a particular way of expressing identity (being who you are) when Richey instead performed his identity, in an alienated way, Edward’s disappearance, for instance, the body of a through quotation. sixteen-year old fan called Christopher Goodall was found washed up on the tidal banks of the Severn. 6 James Dean Bradfield’s 2009 collaboration with Summing up at the inquest, his coroner said that mainstream show singer Shirley Bassey could be read “clearly Christopher was influenced by this media as an indication of the group’s loss of edge. pop idol and undoubtedly he was in a very disturbed state, probably following what he had read about 7 Suicide remains a taboo subject even in fiction. this idol” (Skirvin, 2000). For some, Richard raised The media effects argument controversially suggests media effects issues: “Obviously, there are dangers that media products can determine the conduct of in representing a human mind set on suicide.” (Gibbs, “vulnerable” audience members. Although it did 2010) not have a directly causative function on otherwise healthy individuals, Richey’s mediated suffering 8 From “Novel about Manic Street Preachers’ Richey and presumed suicide became a social resource for Edwards to be released,” available online: http:// vulnerable, depressed teenagers who felt a kind of www.nme.com/news/manic-street-preachers/52338 68 kinship through their own suffering. Two years after (retrieved 09/08/11). 14 1 structed “a version of the truth” about “a version truth” of the structed (retrieved 09/08/11). (retrieved www.nme.com/news/manic-street-preachers/52338 Edwards to be released,” available online: Richey Preachers’ Street Manic about “Novel 9 See Edwards. AuthorThe Fan as Impersonation: Justifying Richey. of tions percep their for develop to share them and one represented way literature in interest Edwards career, of his for span that the thought fans of this.” for Idon’t people’s other any want feelings. responsibility absolved be to of all I want say. peace. to anonymity, Icrave Nothing. have nothing “I redundancy: is world, fame 2010:(Myers, 241) criticism” to “impervious Richey it makes not because least self-denial, and of hiding context, this behind.” left is what out crawled Iam of me and has creature Finding and differentiating between those two voices and and two voices those between differentiating and Finding running in tandem—Richey’s early life and the rise of the the of rise the and life early tandem—Richey’s in running then weaving them together so that they were coherent coherent were they that so together them weaving then band, then his final few days, told in the present tense. tense. present the in told days, few final his then band, to find the right voice. The novel has two narratives narratives two has novel The voice. right the to find Myers explained that he had con he had that Myers explained “As for the writing process it was a case of trying trying of acase was it process writing “As the for (Myers, 2010:(Myers, 198) 9 did He therefore began to position to He therefore began Richard have something to say. to have something An . In Richard’s miserable miserable Richard’s . In locates fame as a form aform as fame locates (Myers, 2010:(Myers, 190) Ben Myers (in Roxie, 2010b) Roxie, (in Myers Ben was the big challenge.” . Yet, of course,

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- - was a former Manics fan who was now who was a fan aformer Manics was Myers that is interpretation of this aspect 13 2006: Busse 1992: Jenkins and 34) productivity of one from aphase fan’ came that person fiction” minology, aform of “real novelization suggested that Richard Richard that suggested novelization stone” weigh six fate: “You and dread self-consciousness, of anguished voice asense to leads singular second story, of person the use Edwards’ 8) 2010: own.” your company more than his like you that actually you realize And upon encroach day. your to begins Manic Richey gestating... is Manic’ here ‘Richey out “Somewhere persona: star his and self private Richard’s between shift the signify avoice could Myers create that to allowed when...” day the remember definitely “you like: sentences with life Richard’s voice narrate to singular second person the used novel partly His of torment performer. ayoung inner the portray would away that in experience ofmode expression for personal Edward’s a finding also He was of aprose narrative. space the moments in together temporal two therefore, collapsing notauthor was just, onto self-destruction” goad him ego to alter italicized an with Edwards in 2010) (Jonze, license” artistic exercises dialogue but the accurate, are band, of essence the the and to license of artistic degree his He described writer. commercial and critic music professional the book as a tribute: to use fan studies ter studies fan use to atribute: as book the The Independent The Given our knowledge of the Richey Richey of the knowledge Given our The Guardian The (see, for example, Hellekson and (Myers, 2010:(Myers, 4) . Jonathan Gibbs explained explained Gibbs Jonathan . (Myers, 2010:(Myers, 364) that Myers “provides “provides Myers that : “The period details, details, period : “The . This device device . This (2010) s semiotic semiotic s (Myers, (Myers, became became . The The . . One One . . The The . - 69 Article Alas, Poor Richard Richey in order to escape himself. 10 By to discover a truth that might have authen- using such devices, Myers impersonated ticated his own performance. The author Richard Edwards in the process of con- had to draw on shared reference points. structing Richey the rock star as a public He included Richey’s struggle to be taken mask, making an incarnation that ultimately as authentic by explaining the guitarist’s dissatisfied its owner. famous self-cutting incident in front of Steve Since Myer’s work rested on his dram- Lamacq: atization of Richard’s missing voice, it raised issues of authenticity. What was the ideal Mark Duffett & Paula Hearsum “But it’s a quiet time, the NME need something to position from which to pursue such a project? write about and this fits neatly with their whole Van Gogh / Intrinsic to the question of recognition and Iggy / Sid self-destruction-as-art lineage. You can’t pretend misrecognition is the idea of emotional and you didn’t think it would go unnoticed. Of course you can’t. critical distance. Commitment to authenticity That would be stupid and naive. And a lie. And you’re not a was not something that Myers himself could, or did, claim. When Myers was asked if he liar. You are many things, but a liar is not one of them. You are for real.” (Myers, 2010: 159) was hurt that Nicky Wire had been critical of his book, he replied, “If I was him I would On the next page Myers added, “You be skeptical of the book, too; I’m a nobody, feel good confirming your commitment an outsider. But Nicky Wire has also said that (Myers, 2010: the band have mythologized rock’n’roll (and in cuts that spell ‘4 REAL’.” 11 themselves) to such an extent that it would 155, 360) The same pledge of authenticity be hypocritical of them to put an embargo could not apply to the author himself. After all, Myers’ predicament was sealed by his on this book” (Jonze, 2010). By saying “I’m a nobody, an outsider” Myer’s located himself medium: as a novelist, he could never quite in the place of an external analyst and ren- occupy the same stratospheric position as the dered his own identity invisible by drawing famous but troubled rock star. In an inter- on the view that only an “insider” has the view with the “Cult of Richey” fan website experiential right to speak about Richey. he explained: From this perspective, ultimately, Richey would have been the best person to speak “Yes, I would consider doing a book signing… If about himself. For fans and reviewers, Myer’s I thought that anyone would turn up. I think I would feel “nobody” status was verified by the fact that strange doing readings, though, because so much of the he had not suffered similar mental anguish to Richey and was therefore in no position 11 Academics have seen it as a strange moment of performed authentication too: “It is both a private act, a moment of bizarre intimacy between James 10 For at least one reviewer, however, the vexed and Lamacq; but it has a strongly public element to dialogue between Richard’s internal voices was “far it—it is, after all the most visible sign possible that from convincing” (Gibbs, 2010). Part of the problem the Manics’ public image was an authentic one, and with the second-person singular voice in Richard was it is hard to imagine any other statement carrying the that it read more like pre-ordained celestial injunction same emotional impact of James’ desperate, last- 70 than a frustrated personal confession. ditch assertion of authenticity” (Pattie, 1999). 14 1 some public way might seem too much.” too seem might way public some in Richey of identity the assuming and person first is book had been a Manics fan, he also, perhaps he also, fan, aManics been had part-i/ com/2010/08/15/manics-fans-interview-ben-myers- available online: 12 12 Guardian the In point. starting their as texts specific take that processes emerges from cognitive personae of celebrity knowledge that was 2010) Richey, butI knew Ididn’t.” maybe Ithought I mean, who he was… knew they somebody notion thinks that “The explained, investigator. objective an as himself away qualify to as fandom Manics from distance his highlighted necessarily, understand. would of some Richey knowledge with readers author produce that to representation its too. count spective, per its and appears, portrayal the which in the medium as such identification—factors leap of empathic of an basis on the assessed not is just of dramatization act of an value the that idea highlights the tribute, a musical not portrait, Myers aliterary created Whilst voice. and mediation distance, critical tude, of verisimili issues raises that translation of act an as autobiography” a“fake expose not fully to however, aconcern as interpreted, be actually could apublic reading perform to reluctance but no longer avoice. had Myers’ natural appeal an had who still aperformer sonating imper been clearly effect, in have, would

From “Manics Fans Interview Ben Myers (part 1)” (part Myers Ben Interview Fans “Manics From (retrieved 09/06/17). (retrieved What Myers also, perhaps, alluded to to alluded perhaps, Myers also, What Although Myers declared that he that Myers declared Although author the reading, such any During impersonation he explained: he https://richeyedwards.wordpress. —a process of cultural of process cultural —a Richard Richard’s 12 challenged challenged (Jonze, (Jonze, author author - - - impartial outsider to get to the heart of matters.” (Jonze, 2 (Jonze, matters.” of heart the to get to outsider impartial an takes it sometimes it.” Ithink written have Icould way no there’s Edwards Richey known Ihad “If responded, have I to which personally?” Richey known not having this like persona he adopted as awriter. hepersona as adopted of the but matter, subject because from the distance critical of any not somuch because space, evicted avoluntarily as some senses, in therefore envisaged, be could fandom own His community. fan from the readers with empathize and version life of Richey’s accurate an construct both felt he could that loyalty,” “blind Myerswho lacked may have (Roxie, 2010b) days” early the in band of the afan being by a lotsimply I did offeel research that almost “I Noise, in websitefrom A the Future He told one interviewer acritic. as distance objective his establish and a fan as credentials his affirm biography simultaneously to own 2010) Jonze, in (Myers flaws.” Manics’ the see can I too. albums awful their to like to pretend have you means loyalty because anyway, to bands loyalty blind of nature the of suspicious been always I’ve band. the with associated devotion of levels fervent to the subscribed Inever though five ye next the for fan committed I say a was pretty role by saying: “impartial” his clarified author The right.” details minor get to deep delved pretty “I ahistorian: as primarily self 2010) spoke fondly” all though sion of him, impres a different had Everyone key events. or were at certain there Richey who knew . In . In He added, “I also spoke to lots of spoke to people also “I He added, abook write you can “How said, have people “Some With this statement the author used his his author used the statement this With 15… was I’dI 1991, in when Manics the into got “I The Guardian The . As a “pretty committed fan” fan” committed a“pretty . As , Myers him located (Jonze, (Jonze, ars or so, so, or ars 010) - - 71 Article Alas, Poor Richard least from one perspective, premised on a Alas Poor missing object. No obituary ran for Edwards until November 2008, the month that he was Richard: Literary legally declared “presumed dead.” In life he created a spectacle and his disappearance Impersonation and left a kind of void in people’s lives. Richard’s author used his own interest Fan Culture in literature as a way to structure his empathy for Richey and the band. To authenticate Mark Duffett & Paula Hearsum “I didn’t speak to any of the band or Richey’s the book, Myers explained to fans that he’d family while writing the book… I do, however, have quite a talked to some of Richey’s friends, people few friends who knew Richey pretty well. Mutual friends, who knew him well. The quotation is interest- I think you could call them: people who worked with him ing because it reads like the famous soliloquy in the music business… None of these fall under the from Act five of Shakespeare’s Hamlet, where archetypal ‘Richey Manic fan’ banner either—and some two grave diggers exhume a skull while pre- of them I only discovered knew him in passing. So I’d be paring to bury Ophelia. Upon seeing it the talking to a friend on the phone and when I told them what young prince Hamlet nostalgically remem- I was working on they said, “Oh, Richey? Yeah, I knew bers his friend the jester: “Alas, poor Yorick! him well…” I knew him, Horatio.” The irony could not Ben Myers 13 have been lost on Myers, who prefaced his chapters with quotes from Hamlet. One fan All celebrities are, to an extent, phys- located this practice as homage to Richey: ically separate from the daily lives of their followers. A star’s death or disappearance “Mention of Richey and Shakespeare in the same makes their social status as a lost but shared sentence likely conjures up this interview quote from Edwards object, a person reduced to a media image. in the minds of Manics fans: ‘When I was 13, I did a Shake- Talking about the relationship between stars speare project that was 859 pages long. Everyone else did and their fans, the late rock singer Ronny six!’” (Roxie, 2010). James Dio said, “Without them, we [stars] are nothing. Without us they [the fans] will Myers’ use of Shakespeare is more always be.” 14 Dio’s dictum highlights a crucial ambiguous than just being a kind of in-joke point: because fans come to “know” their for fans, however. If his first use of a Hamlet stars at a distance, celebrity fandom is, at quote was simply to mythologize Edwards as an individual (2010: 2), its continued re-iter- ation linked his novel to the theme of litera- 13 From “Manics Fans Interview Ben Myers (part 1)” ture and quotation. In the Guardian, Myers available online: https://richeyedwards.wordpress. com/2010/08/15/manics-fans-interview-ben-myers- defined his appreciation in terms of cultural part-i/ (retrived 09/06/17). capital by saying, “I think his [Richey’s] intellectual interests and his continued influence 14 This quote is taken from the DVD of Dick Caruthers’s 2006 documentary Heavy Metal: Louder warranted a literary treatment… I value a 72 Than Life. lot of what they said as much as I value the 14 1 characterize most star-fan relationships, a relationships, most star-fan characterize to continues that agap illuminated fans his from distance on Edwards’ focus frequent fabrication. insane an hallucinatory, bond as star-fan the framed but it also tials, creden literary own Myers cement to his a way for as play may have designed been the Mentioning hallucinated. ghost is his as 153) 2005: Gregson, ated.” (Steven cre be to fantasies future for potential the offering thereby power, iconic images’ these perpetuating in critical are ‘sites’ these behind, left Edwards images media the circulating by time, same the At posited. are, and be, can experience ‘performed’ of stories where ‘sites’ discursive the of form the in spectacle to the tie deeper even an ensures which ‘interactivity’ of degree agreater facilitated has media the circulation: in image helped Richey’s keep to has of loss that apublic culture enact fans of testimonials mediated the here because make didn’t that but head, Gilmore’s Gary in on going was what known havepossibly can’t Mailer makers. of film hundreds have so genre, crime true the in it done have Capote Truman o Mailer Norman as such Writers lives. their dramatized then an points starting as people real took output Shakespeare’s of Half precedents. literary any setting not is it But Richard. of aspect controversial the perhaps is content the than rather concept the though be, can person areal about a book himself: acquit to him allow would that work something prose was his as 2010) literature” English in I did degree is mingled with moments of personal madness madness moments of personal with mingled is The Executioner’s Song Executioner’s The . He also thought that the mediation of mediation the that thought . He also In Hamlet grief for a departed loved one for adeparted grief Hamlet In disappearance, Edwards’ of light the in course, “Of important is Myers’ of Hamlet use “I completely respect and how understand upsetting any less valid.” (Jonze, 2010) (Jonze, valid.” less any Richard’s (Jonze, (Jonze, d d - - r r

over-reaching mass. In this equation, their their equation, this In mass. over-reaching an to in able coalesce to collectively are who individuals irrational loyalists: blind as have dismissed been fans one On ways. hand different in gap this formulate to attempted have writers popular and story. Academics Richey’s in apparent seemed already that gap available online: 15 exploited his it commercially that suggesting of publication the public!” the to released book being away months from the still its direction—and your in hatred deep pretty spewing about this, over online all groups Manics in “quite a stirring caused had site noted Richard of Richey” “Cult the of web master anonymous the publication, distance” contemplative by gained insights “access to unable are and immediacy” of affective “pleasures the in immersed are To they outsiders texts. of their drama affective the to in drawn and engaged too overly as seen emotional, sometimes are Jenkins Henry close?” too “Sitting titled book first of his a section in culture, commercial from distance critical spectator’s by the characterized aesthetic” notion Bourdieu’s of a“bourgeois Examining texts. chosen their involved too with as fans describe outsiders sometimes because is This aproxy for as fans positions sometimes way, culture a different popular To put it hero tarnished. is of their myth the if of vengeance display adangerous in erupt to liable perceived as are they that means Dionysian tendency inherent supposedly part-i/ com/2010/08/15/manics-fans-interview-ben-myers- From “Manics Fans Interview Ben Myers (part 1)” (part Myers Ben Interview Fans “Manics From (retrived 09/06/17). (retrived Interviewing Myers before book’s the Interviewing

https://richeyedwards.wordpress. Richard (1992) 15 (1992, 61) (1992, Fans challenged challenged Fans in three ways: ways: three in fundamentalists noted that fans fans noted that . . 73 Article Alas, Poor Richard phenomenon, disrespected his family, and Johnathan Gibbs said, “True fans will end failed to approximate Richey’s skillful liter- up skipping, especially if they have read ary flair. Commentators compared Myers’ Simon Price’s band biography, Everything.” book to a recent, exploitative, commercial (2010) Was Myers’s book nothing more than dramatization that was infamous for twisting a poorly conceived biography? Richard was its subject matter: David Peace’s portrayal understood as something different to a biog- of Britain’s most colourful football manager raphy. It also contained end references to Brian Clough’s spell at Leeds in 1974, The runaway and missing persons’ help lines Damned United . Since fans (Myers, 2010: 397). Mark Duffett & Paula Hearsum (see Jonze, 2010) “remain the most visible and dedicated of Extending the theme of respect, a any audience” (Lewis, 1992: 248) we might comment poster who went by the name of expect them to form the target market for Hoppo said after Myer’s Guardian interview most books dedicated to particular celebri- was published online, “I hope and assume ties. Posting after an interview with Myers the ‘certain people’ he contacted were the was published online, one commentator Edwards family. Will Ben be sharing the said, “I’m no Manics fan, but I can spot a profits with Richey’s estate, as I believe the blatant cash-in when I see one. Go and write a Manics have done with their royalties, or proper book, Ben Myers.” 16 In reply, a poster perhaps donating a proportion to a missing called chedonize added, “As a cash-in this is a persons charity?” (Jonze, 2010) The interest- strange choice. The only people who are sure ing thing about that demand is that it would to buy it are the ones who are sure to hate not have been made of a music biographer like it.” 17 Second, its reception was marked in Simon Price, Rob Jovanich or, indeed, one of part by the question of respect for the dead. this article’s own authors (Shutkever, 1996). One theme running through fans responses A third category of fan complaints was what other members of the band might framed the book as a poor imitation that did not have thought about the book. Bassist Nicky do full justice to its subject matter. Compared Wire found it too upsetting to read (Jonze, to the previous two types of complaint, this 2010). The book was subtitled “a novel,” sometimes began from a different place accept- but prefaced with a statement that it was a ing the notion of impersonating of Richey’s fictionalization written with respect to all voice whilst aiming for greater accuracy. concerned (Myers, 2010: ix-x). Richard was Fans took issue with Myers’ style, arguing dismissed by many reviewers as bad biog- that the author had been posturing in his raphy. Reviewing it for The Independent, use of literary references. They implied that Richard seemed like bad poetry in places, in a sense: Hamlet reduced to a series of 16 This comment can be found online following sound bites. 18 Sometimes Myers’ work was Myers’ interview with the Times (Jonze, 2010).

17 This comment followed on the same online page as Myers’ interview with the Times (Jonze, 2010). 18 An example of Myers’ unfortunate literary heavy Myers (2011) has also said, “Perhaps the most handedness: “You know what. Death. Departure. common reaction has been ‘I hate this book—where Dissolution. Demise. Extinction. Passing. Parting. 74 can I buy a copy?’” Whatever you want to call it. Self-slaughter. Seppuku. 14 1 now?” right feeling he’s way the also and about writing he’s people the of some of mindset the in get to supposed I am How thinking: remember I can And own. his and blurred the distinction between other people’s lives he also and lives people’s other on observation an is like Yes song “A Bradfield: Dean James singer lead to 20 20 reviewed 19 lacked Richey’s and sensitivity eloquence. he thought commentators why see to easy is it alone Oblivion. Quietus. Curtains.” (246) From quote this fans what to focus the shifts it more specifically, engagement; audience dedicated understand works to from which you?” Tolstoy not for enough good Ben? Those and Dante about Virgil, What Dostoevsky! and Shakespeare including end of aline at the but himself now he’s Isee putting Peace, David to himself up by comparing himself bigging he was Ithought “Christ, acomment exclaimed, interview, poster one in mentioned Shakespeare when Ben of day.” time it the giving You Richey book. the imagine can’t damns that ambition of literary sense it’s this end, the “In of critique: focus the became therefore frequently sources highbrow to voice. of his register the assume fully to failing and subject its to enough close problem not getting was inspiration. original its to enough not prose faithful did seem his but because Edwards, impersonated dramatically had he not because critics and by fans dismissed discussions on issues of verisimilitude. their base usually critics and fans where biopic, film adaptation inherent in inherent adaptation of processes any and quotation of use Myer’s What was interesting was that nobody who who nobody that was interesting was What This makes the reception of Richard similar to a to similar Richard of reception the makes This Fan studies suggests a set of aset frame suggests Fan studies (Jonze,2010) Richard registered any parallel between Edwards’ own Edwards’ . (Gibbs, 2010) 20 Myers’ attention attention Myers’ art. According According art. do with do 19 Equally, Equally,

Richard’s their their -

Green (2013). as the pursuit of intellectual creativity— of intellectual pursuit the as here conceptualized is fandom reception, simply aform of than Rather activism). roles (such or transformative as spoiling) or remixing, writing, (such fanfic as tices prac creative ofshape “transformative” the takes this whether metatext, favourite 21 21 space for their cultural within concerns dominant representa a open to pry on) so and gays, young, the (women, groups fandom: about media orthodoxy popular apessimistic challenge to Jenkins Wohl’s and Horton after piece, years thirty poacher.” over Just “textual term—a Jenkins’ Henry use asense—to in he was, that argued be it could of aportrayal, such expectations Myer’s between novel fans’ and disjuncture Given the music fandom. popular to applied been have rarely ideas such boundaries, memes). political or progressive resistant propagate to media (the of social media use spreadable pervasive of meanings) and (the co-creation collective culture of texts), participatory meanings given (the the refashion ing fans notion that poach textual as such concepts contributing decades, two past the in discussion led the has scholarship Jenkins’ Henry Fiske, John work the approach of in lie of this origins the While industries. promoted media by the those to contrary some may of run which readings, of different avariety facilitates becomes a thus image star’s The image. celebrity the co-creates reworks or or actively play—which labour

See Jenkins (1992), (2006a) and Jenkings, Ford & Ford Jenkings, and (2006a) (1992), Jenkins See “Fandom is a vehicle for marginalized subcultural (2006b: 40-41) 21

Because of disciplinary of disciplinary Because

developed this term term this developed social resource that that - - - 75 Article Alas, Poor Richard tions; fandom is a way of appropriating media texts and “Fans respect the original texts yet fear that their rereading them in a way that serves different interests… the conceptions of the characters and concepts may be jeop- fans often cast themselves not as poachers but as loyalists, ardized by those who wish to exploit them for easy profits… rescuing elements of the primary text…” The ideology of fandom involves a commitment to some degree of conformity to the original program materials, as Jenkins’ textual poaching metaphor well as a perceived right to evaluate the legitimacy of any was developed in relation to telefantasy use of those materials, either by textual producers or textual fandom, not popular music portrayals. It consumers.” (2006: 55)

Mark Duffett & Paula Hearsum is now a relatively entrenched reference point in fan studies. Rather than dismiss- To those who disapproved of what ing readers as socially inept, it elevates he was doing, Myers was an interloper, a their tendency to “queer” the text as part textual poacher of the “wrong” sort. When of everyday engagement. It assumes that we asked him about this perception, Myers media representations are both composite agreed: “I was a textual poacher trespassing and contested. Readers bring their own on their various versions of Richey by offer- 22 unexpected agenda and take away their ing / creating my own.” In the rest of this own meanings. However, what the “textual section, we examine three perspectives on fans’ concerns about Myers use of aspects poaching” idea leaves open is the variety of of Richey’s celebrity image. reasons that might motivate fans to rework The concept of parasocial interaction, a text. These may include, for example: to which stems from the mid-1950s work of prolong its life, to “rescue” it from media psychologists Donald Horton and Richard producers who do not appreciate (or chose Wohl (1956), is premised on the pseudo-in- to ignore) its existing history, or to include teractive nature of celebrity culture in an more progressive values or make it more era of broadcast media. Horton and Wohl’s socially inclusive. It also raises the issue of theory suggests that a star’s emotive perfor- poaching as a practice contested by members mance can misleadingly invite the audience of the fan base attempting to rouse support to believe that they really “know” him or for “proper” uses of the text. The alteration her. When fans build up personal connec- of even fictional characters, for instance, tions to their heroes, these connections are can sometimes be met with accusations of interpreted as unrequited and one-way. The “character rape” (Jenkins, 1992: 193). idea portrays fans as fooled by mediation It could be argued that Richard dis- into entering a space of engagement that turbed the protocols that governed how the only they, in reality, occupy. The fact that star’s image was appreciated. In that sense stars are better known as individuals than Myers was a “textual poacher” on the mar- each of their followers—is accompanied by an gins of the fan community who traversed a celebrity image that the fans shared in a way that they did not appreciate. To quote 22 “An Interview with ‘Richard’ author Ben Myers” can be found at: http://pop-music-research.blogspot. Henry Jenkins writing analogously about co.uk/2014/03/an-interview-with-richard-author-ben. 76 Star Trek fandom: html (retrived 09/06/17). 14 1 (Duffett, 1999a: 111). 1999a: (Duffett, falsification is ones everyday and relationships mediated between difference absolute an of notion heads. If every individual is, to us, an idea, then the our in other each about knowledge of degrees varying compile all we that far so in parasocial extent some to are relationships all that argued Ihave Finally, xii). 2011: &Harris, Ferris (see life real in behaviour their their interactions with celebrities and carefully tailor in imbalances social various the of cognizant highly are fans that suggest also They imaged. than frequent encounters with celebrities on a basis that is more life real unstaged and staged in engage also fans dedicated most The 2009). Stever, 2002; Giles, (see elaboration more needs work Wohl’s and Horton that stressed have theory interaction parasocial to updates Recent followers. their all for time the have not do who people important social as seen still are themselves and their audiences, popular performers between barrier the down break they when Even 23 concept has becoming increasingly familiar interaction. of parasocial discussion Wohl’s and Horton since initial sophisticated have become much more audiences that was about discussion popular about the things interesting of One dom. the of star rewards undeserved and pressures social imputed about the for anxieties wider areceptacle projection, object of cultural ajanus-faced as ambivalence with represented have—especially fans Media advances. misguided to vulnerable as stars It posits intrusive. potentially as fans locates imbalance of this knowledge Public material publicity roles screen and of their analysis through shaped been fan’s has of them knowledge the that also and fan, donot the they know that cognizant is celebrity the encounters close During misunderstanding. mutual of adegree create to potential the has that divide affective and physical informational, en masse en (Ferris & Harris, 2011: 30) —therefore become become —therefore Richard , however, however, , 23 The The - . media psychology, prevalent less media been it has in important idea remains interaction cial Stever, 2011)2002; variants pathological its from interaction parasocial “normal” separate to have psychology attempted media ers in itself. culture popular in feature documentary feature documentary 2010 Grenier’s Adrian is this of example Agood 24 they instead individual; a private mately as inti Richey of knowing experience the had fans that evidence is there Second, death. singer’s the grieving for who were those closure still create to novel the have one expected might First, person. areal as him come know had to they that believed and Richey with bonds social para in were stuck fans that presupposing area. work the academic in pursue to continue studies, cultural and media working those including of scholars, avariety platforms, media interactive and of social rise by the Inspired paradigms. discredited entirely not is an interaction cial 2013:Duffett, 85-94) interaction of parasocial assumptions the questioned also has article ofauthors this of One the audience. by the enacted writing) fanfic (like practices “transformative” to or genre) and text distribution, (production, music the to either related encounter: star-fan the to peripheral objects with deals usually fields of each these because studies, fan and studies music popular studies, celebrity in the cast of the USA TV series series TV USA the of cast the (2015), and Clark (2016). Clark and (2015), Conner (2015), Rojek (2014), Cohen (2014), Courbet &Fourquet- Courbet example, for See, 25 parasocial interactions with their fans. There are at least two problems with problems two with at least are There Teenage Papparazo . Although the paraso the . Although . Nevertheless, paraso . Nevertheless, knew Entourage 24 that they had not had they that Recent research Recent 25 discuss (see Giles, (see Giles, , in which which , in (see (see - - - - - 77 Article Alas, Poor Richard recognized that their fannish knowledge has conducted a research interview with Ben significant limits. In more detail, if “the cult Myers he said, “Closure? I couldn’t say. I of Richey” was based purely on parasocial suspect not. I’m not sure it’s that simple.” 26 interactions, we might expect that responses As Myers perhaps understood, Manics fans to the book would reveal the intimately appreciate their hero’s creativity, but do not personal, one-to-one, “authentic” nature of claim to “know” the “real” Richey: fan attachments. Perhaps Manics fans might still be grieving their hero or affronted by a “When questioned as to whether they would like fictionalized account. A strong way to test to meet him [Edwards], the majority of fans I questioned Mark Duffett & Paula Hearsum parasocial interaction theory is therefore by said that they would not because they have a high level of considering whether Richard aided fans in awareness of the chasm between their own personal fan- their hypothesized search for closure over tasy image of him and the mediated image of him and him Edwards’ disappearance. as an actual person: ‘It’d ruin my perception of him, which Richard was certainly based on the I’m aware is completely constructed. What he is like as a known evidence about Richey’s last days: real person isn’t important to me, because that’s not what room 516 at the Embassy Hotel (his last I know of him.’” (Gavin) (Skirvin, 2000) room), the Severn Bridge (where his car was found), and various “sightings.” For reviewer Equally, reviewing the book as a fan, Tim Jonze (2010) in The Guardian, Myers’ the web master of the “Cult of Richey” web- novel worked as a therapeutic insight into site explained: Richey’s troubled mind. Jonze explained that “from an outsider’s perspective the “Richard really isn’t for fans and here is why. We book approaches its subject with sensitivity know everything already. ‘We have read all the books,’ and a real understanding of the tensions was Richey said in an interview. We’re going to pick up the bands have to endure—both internal and novel and expect broken stream of consciousness writing. external—in order to make it.” Myers’ book But that’s not what Richard is—because it’s not meant to did not, however, become read in that way be reality. If you want Richey told by Richey then go to his by the most vocal of its detractors. Given lyrics. If you want Richey as Richard, Ben Myers’ rendition, such a tragic mystery, on one level Richard read the novel. It’s that simple.” 27 might have seemed like an act of creative closure. It is relevant here to mention “psy- Such statements open up a completely chological autopsy,” a term first adopted different perspective on fans comments in 1958 by Edwin Shneidman and used, about Richard, a perspective that transcends first by Coroners then dramatist, to piece together the inner life of the subject in the last few days before he or she departed. While 26 “An Interview with ‘Richard’ author Ben Myers” can be found at: http://pop-music-research.blogspot. the methodology guiding psychological co.uk/2014/03/an-interview-with-richard-author-ben. autopsy is rather varied (Brent, 1989: 43-57), html (retrived 09/06/17). the approach has been used to investigate 27 From “Richard a Review” available online: https:// the demise of icons from Marilyn Monroe richeyedwards.wordpress.com/2010/09/18/richard-a- 78 to Elvis Presley (Ronan, 2011). When we review/ (retrieved 09/06/17). 14 1 of knowledge in their own way own their in of knowledge stock particular from their image celebrity the assemble constantly effect, in who each, readers—individuals posit “neutrosemic” problem, we have either to this To address journeys. learning and biographic own their in points themselves at various find and material, of this subsets different to access members have audience different tantly, More impor evolving. constantly and vast inevitably is texts of these entirety collective However, the other paratexts. and publicity scandals, interviews, public interventions, music, recorded and live case, Richey’s ers: in of oth composite assemblages as understood a “metatexts”—texts as them understand We different. might quite are images celebrity one On however, ways. level, various it in interpret they even if of attention, focus the same share film—they song or feature for a a “text”—say, example, with engage fans 1999b). When (seehappened Duffett, have to of thought a kernel whatever was around spun of reports series self-referential a deliver—only to true no such is there sense a in because truth, unmediated a pristine, deliver cannot biographies that argued has one of us Elsewhere, or her following. his it celebrated by is because matters but really performer, by the or shaped shared may be myth simply a relatively as reformulated is image celebrity’s the that suggests engagement fan mythologization. consider we will idea, of this limits the understand order identity. to In personal singular and notions of “authentic” simplistic atively rel to constellations of complex textual apprehension the reduce to tends that term interaction—a of parasocial assumptions the : a popular, satisfying interpretation that that interpretation satisfying : apopular, A further framework for understanding for framework understanding A further (Sandvoss, (Sandvoss, - - - with industrial agents, promote mythic promote mythic agents, industrial with tandem in fans, that argues She Curtis. Ian and Cobain work of Kurt reception on the Otter-Bickerdyke Jennifer mythology. is ground ofform this One understanding. and communicating for 2005) a parallel escape in their own self-harm. own their in escape a parallel minority of whom found kinship with his struggle and significant but asmall fans: of variety awide for focus the become already had Edwards stage that By 28 element the in acrucial was disappearance Richey’s it implies as lingers that phrase a of auto-destruction,” act unplanned and “a brilliant as gig Astoria last at the guitar hired up his smashing Richey describes also troversy con media created and arm on his “4 REAL” letters the cut famously Edwards values. and band’s authenticity his questioned Lamacq Steve journalist when NME came ascent media and descent personal simultaneous but key moment Edward’s uncomfortable in An myth. of his ascent the have secured representations media that descent inspired personal tragic ofzation Richey. Edwards’ mythologi ongoing the subvert to attempt Myers framed interpretation. satisfying widely and it offers acompelling more that is but what matters or false, true may be that parts include can away that in image celebrity the of able simplification abrand. as star the eventually of course, flawless; and, as sanctified star the art; for who dies his amartyr as recognized star the of youth culture; representative a as star the rebel; social as star idea the the include These clichéd. themselves in hero’sversions are of that their identities —or suggest that they have they that suggest —or Mythologization suggests manage suggests Mythologization (Pattie, 1999) (Pattie, (2014) . 28

At oneAt Myers point has done relevant has Richard shared ground shared as an an as - - -

79 Article Alas, Poor Richard making of his legend (Myers, 2010: 385). In Adorno’s adoption of psychoanalytic theory. an interview with the website A Future One interpretation is that it suggests that in Noise, Myers explained his motive for the listener narcissistically invests in, and writing: “I felt as if his story was getting lost projects on to, their favourite artist. Taken within the myth that seems to have arisen in to an extreme, it therefore implies that fans his absence” (Roxie, 2010b). He went on to choose heroes who can easily be employed as explain that the idea of the troubled, isolated “blank slates” because their images are able, rocker was incongruous with the fact that to some degree, to neutrally accommodate a Richey sometimes enjoyed himself, chatted wide range of specific projections—whether Mark Duffett & Paula Hearsum up girls and even moon walked drunk across those are idiosyncratic individual interpre- a bar in Portugal. Elsewhere he noted that tations or shared myths. However, there is a Richey had attended an East 17 concert just different way to read Adorno’s dictum, which before his disappearance. By battling with is that fans find it hard to chose performers what he saw as mythic misconceptions, who have contrasting value systems to them. however, Myers was, ironically, helping to Evidently, self-harming or not, for example, extend the legend of Richey the rock star. Richey’s fans shared some of his outlook Although Richard may not have been the on the world. One explained to Francesca only time Richey had appeared in fiction, Skirvin that he “did not consciously choose it was the first time he been given the lead Richey but ‘just became attached to him role. To Tim Jonze in the Guardian, Myers because he is a manifestation of my ideals said, “I actually see Richard as flattering; of humanity’” (2000). no one ever spent two years writing a novel When fans were given a chance to about Shed Seven” (2010). Richard was an “answer back” and ask Myers questions on intervention into the Edwards phenomenon the “Cult of Richey” website, few if any that therefore marked its coming of age. 29 were actually as negative as might have Theodor Adorno’s research offers a been expected from the comments Richard perspective on the way that audiences align received before publication. 31 One called with celebrities. 30 Adorno claimed, “What Franny asked, “Ben, how far do you think the gramophone listener actually wants to writers should be allowed to ignore factual hear is himself, and the artist merely offers detail in the writing of biographical fiction? him a substitute for the sounding image of his Your book ignores certain facts but I feel that own person” (2002: 274). This notion reflects this is justifiable.” 32 The web master further pursued this “realist” line of thinking:

29 As Myers reminded readers, “You wanted to be the tortured, detached artist and now you are” (2010: 31 It is possible, of course, that negative questions 149). were not selected by the web master who conveyed them to Myers. 30 Ironically, Adorno rarely talks about fandom for music celebrities, even in passing. He wrote a lot 32 From “Manics Fans Interview Ben Myers (part 2)” around the subject, however, discussing such notions available online: https://richeyedwards.wordpress. as regressive listening, the voice as trademark and com/2011/05/21/manics-fans-interview-ben-myers- 80 the standardized nature of music production. part-ii/ (retrieved 09/06/17). 14 1 express a creative persona. acreative express they finally, quotes); interview his contradicting instance, for (not, image public his of aspects other with align they author; undoubted their was Richey here: important are lyrics the about points Several expression. authentic of traces as them sees that Richey’s 34 What is interesting here is that fans often take part-ii/ com/2011/05/21/manics-fans-interview-ben-myers- available online: 2)” (part Myers Ben Interview Fans “Manics From 33 2010 (Roxie, reading.” to pre-requisite a as band the of edge knowl requiring necessarily not a work as alone stand could that I’d to think like myself, done I’ve group the of exploration related and listening Manics heavy the from myself identities: fannish own to aimed reviewers online say. to had a way position what to they Some as fandom to relationship their distance itly book felt explic about need the to the talking everyone Almost reviews. from fan drawn simplication. it not by reshaping image, celebrity of the complexity the recognizing and knowledge expert on amassing premised is fandom scene?" this to write you motivated What times. at been [Richey’s] self-image—no matter how depressed he may hav to his regards in Hitler—especially Adolf about redeeming anything found have ever would Richey that subject, the on done interviews and lyrics his given feel, Idon’t lievable. unbe particularly part this found I still but Richey, knew Inever light]. anegative [in himself regarding ways some from aquote on (retrieved 09/06/17). (retrieved “Although as a reader it has been tricky to distance to distance tricky been has it areader as “Although dedicated suggest statements Such “About halfway through the novel, Richey reflects lyrics as evidence of his identity, a position aposition identity, his of evidence as Mein Kampf 34 https://richeyedwards.wordpress. A similar conclusion can be be conclusion can Asimilar and seems to agree with it in in it with to agree seems and step outside step of their of their Richard 33 e - - - )

identity. In this alternative reading, fans fans reading, alternative this identity. In or hercomplex of personal his assessments more more and reformulating constantly of knowledge, together ofprocess piecing a is about astar learning which one in tion, or mythologiza interaction parasocial to author-ben.html blogspot.co.uk/2014/03/an-interview-with-richard- at: found be can 35 provoke upon to outrage therefore drawn be could which and obligations” and norms of social view traditional upon aconsistent were “grounded which common weal” the and notions passionately of held, “definite, presupposed that of assumptions by astock 79) (1971: for Thompson England, century eighteenth poor in the studying omy.” ahistorian As Thompson’s borrow from EP to is “onject principal” Myer’s pro enon who of criticized those valid." were responses all Ithought principal. on me despised who those biography—to than rather literature of context the in book the saw least at to do—or trying Iwas was it what understand to seemed really who people from board, the across right ran responses critical the did, they When opinion. an offered Myers explained: him, with interview own our In contribution. creative and life celebration person’s of in the identity,nity form acommu and of knowledge guardians become empathy to by their motivated are part-ii/ com/2011/05/21/manics-fans-interview-ben-myers- “An Interview with ‘Richard’ author Ben Myers” Myers” Ben author ‘Richard’ with “An Interview (retrieved 09/06/17) (retrieved This begins to suggest a different view view adifferent suggest to begins This One way to understand the phenom the way understand One to then and it, read people that is time the at “All I asked 35 , the “moral economy” was defined defined economy” was “moral , the

http://pop-music-research. https://richeyedwards.wordpress. (1971) notion of “moral econ notion of “moral - - - - -

81 Article Alas, Poor Richard and call for action. Henry Jenkins has already but evaluated on the grounds of a specific adopted the term in relation to media fan moral economy of fandom. According to activity (Jenkins, 2006: 58). It emphasizes celebrity theorist Chris Rojek (2001: 19): those in the fan community may already “Strictly speaking, the public faces that shares certain norms that can be levered to celebrities construct do not belong to them, police transgressors. The interesting thing since they only possess validity if the public here is that members of Richey’s fan base confirms them.” While fans that call upon objected to a novel on ethical grounds before shared norms do not necessarily speak for reading it. They were not, therefore, simply Mark Duffett & Paula Hearsum everyone in the fan base, they offer exam- aiming to maintain one myth—a notion that ples of how audiences attempt to control would presume the specification of some the popular representation of their heroes. kind of meaningful content. Once portrayals are released, fans usually In conclusion, although Ben Myers assess them by comparing their existing was sometimes perceived as an interloper, stock of knowledge about the celebrity. Their his book and its controversy helped maintain public interest in Richey’s story. This article contestation is neither based on parasocial has used this critical response to Richard interaction (grieving the real Richey’s loss as an entry point to examine the cultural or speaking for him) nor mythologization politics of literary impersonation as a mode (reducing the complexity and variable recep- of celebrity portrayal that exposes the relation of his celebrity image). It shows that tionship between a fan base and the image rather loyally clinging to simplifications of of its dead hero. In relation to fan studies, their hero, fans use their growing knowl- what the reception of Richard has shown edge bases in service of shared projects is that acts of “textual poaching” are not that support the continuation of their own perceived by fans from a neutral standpoint, phenomenon.

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