As the Simpsons predicted several things, all of which occurred, so that famous episode of South Park in which Britney Spears arouses clamor in the city urinating on a ladybug is to be considered, to all intents and purposes, at least plausible. It is therefore not surprising to read about this new investigation of the New York Times, according to which the now former pop star would have come to secretly deliver letters to his lawyers, up to the point of calling 911 in order to free himself from the legal protection of his father Jamie: he became administrator of his daughter’s assets and life in 2008, the year of the (probable) psychic crisis in which Spears, artistically and not, seems to have remained Trapped.
Speaking for the first time publicly, albeit remotely, last June 23 the singer complained in court, that she could not withdraw from the scene precisely because of the opposition of her father, Forced indeed several times to perform despite his health conditions, mental and physical, were far from good. Forty years in December, to Britney Spears would have been banned also to have a child from the current partner, and personal trainer, Sam Ashgari: the only certainty in his life for five years now.
If we struggle to discuss his artistic consistency, which I find almost nothing, it is equally true that few other icons they have so strongly marked the transition from ninety to two thousand in the field not only of music. Pop artist in a perspective more of public than stylistic, Britney Spears has represented the archetype of what would come after her: think of the documentaries about her private life, the reality show that told instead the relationship with the dancer and rapper Kevin Federline or the more recent institution, by his followers, of the movement #FreeBritney which boasts among its supporters Miley Cyrus, Paris Hilton and Chiara Ferragni.
Her parable has the contours of a self-fulfilling prophecy: conducted for years an existence of which she was but a means, especially for the enrichment and prosperity of others, Spears finds herself today struggling to regain a freedom that he chose, consciously or not, not to have from the beginning. Moving the border between public and private further and further, here she is boating today to return to being forgotten: after having altered her image to the point of having altered her image to the point of not being able to more go back.
It is no coincidence that its history and the processes that concern it make us discuss, even these, more for the details, the gossip, than for the sad truth behind it: it is possible never, yesterday as today, chasing success without having the tools to dominate it, contain it, somehow predict its side effects? The answer, granted, is “no“: the same that comes from Titian Iron watching the almost homonymous documentary, of which he is the direct protagonist, released at the end of last year. The image of him forced to change at the airport, so as to appear manly enough to meet the expectations of the fans, is something that makes you shudder to say the least.
Who knows then we can not get to soon to separate the life, the lives of each one, from the product of their own art: limiting the experience of enthusiasts or even simple art consumers to the enjoyment of the fruit of the talent of others. So that current events do not soon offer one story, another, like that of Britney Spears, we should, however, begin to recognize and separate music from entertainment, simply limiting ourselves to recognizing one and the other thing.