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The Blindness of Religious People
- Thread starter Mariahxxx
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- crazy woman
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Jack Davenport
I'm too lazy to set a usertitle.
LOL @ George The Cable Guy
:rofl:
:rofl:
Im headed to my house in Bimini for 4 days then taking a charter sea plane to Staniel Cay for 10 days. It's where they filmed the James Bond movie Thunderball and also into the Blue with Jessica Alba. They have an island with wild pigs that swim out to meet your boat 
it's my favorite place on earth. the last time I was there Jimmy Buffet was staying in the villa next to me with his son. truly amazing place.
PS....I would much rather be accused of not seeing outside the box than being so stubborn and egotistical to not see inside the fucking box!
it's my favorite place on earth. the last time I was there Jimmy Buffet was staying in the villa next to me with his son. truly amazing place. PS....I would much rather be accused of not seeing outside the box than being so stubborn and egotistical to not see inside the fucking box!
Jack Davenport
I'm too lazy to set a usertitle.
Im headed to my house in Bimini for 4 days then taking a charter sea plane to Staniel Cay for 10 days. It's where they filmed the James Bond movie Thunderball and also into the Blue with Jessica Alba. They have an island with wild pigs that swim out to meet your boat
Of course he was. You run into more celebrities than Perez Hilton
I flew 87000 miles last year and almost that many in 2011. i spend a lot of time on planes. I grew up in LA and I'm there for 10 days every 6 weeks since I moved to Florida. So I have had many encounters with famous people. Oh well. You need proof of these things? I can give it to you if you'd like. one of my good friends is David Wells.
And buffet flew his sea plane there and was bone fishing.
And buffet flew his sea plane there and was bone fishing.
"I've always wanted to do 'The Jimmy Buffett 10 Best Bars in the Caribbean' as a show. Just get in my seaplane and play these bars. I'd start in Bimini at the Complete Angler, where Hemingway lived and which influenced The Old Man and the Sea. Then the Staniel Cay Club in the Bahamas and Happy People Marina. Happy People has a great dance floor and Staniel Cay's got a great dinner." - Jimmy Buffet
Jack Davenport
I'm too lazy to set a usertitle.
I wonder why he would want to spend time there when he owns his own island in the Caribbean? That's right I forgot that you always fly first class.
I do always fly first class. I am a platinum medallion member with delta. have been since 2009.
and since when does he own an island? I know he has a house on st Barts but he owns an island? might wanna check your facts on that. we went to johnny Depps island on jet skis. beautiful we didnt get on the island we just cruised it
and since when does he own an island? I know he has a house on st Barts but he owns an island? might wanna check your facts on that. we went to johnny Depps island on jet skis. beautiful we didnt get on the island we just cruised it
Jack Davenport
I'm too lazy to set a usertitle.
There was a Today Show segment called "where in the world is Matt Lauer?" where the next day he was with Buffet on his island.
Jack Davenport
I'm too lazy to set a usertitle.
Corrected: Matt was at Richard Branson's island down in the Caribbean and Jimmy was the entertainment.
he doesn't own an island. I'm 99.9% sure of it. i just googled it and can't find that info anywhere. I keep finding he has a house in St Bart's and he lives on Long Island currently he is opening a time share on St Thomas but nothing anywhere about him owning an island.
so you challenging me on running into celebrities? first of all my father owned the largest set construction company in LA for 18 years. When I was a kid I had access to any studio lot I wanted. I didn't even know my dad well but used his name to meet all kinds of people. My fathers company did all the sets for ridley and tony scott films starting with beverly hills cop.
and flying to and from LA all the time you see people. oh well.
so you challenging me on running into celebrities? first of all my father owned the largest set construction company in LA for 18 years. When I was a kid I had access to any studio lot I wanted. I didn't even know my dad well but used his name to meet all kinds of people. My fathers company did all the sets for ridley and tony scott films starting with beverly hills cop.
and flying to and from LA all the time you see people. oh well.
Jack Davenport
I'm too lazy to set a usertitle.
No I am not challenging you on your brushes with greatness, I have had a few encounters myself I just don't talk about it. The one I will brag about is my uncle was a very famous songwriter and he allowed me to join him and Johnny Cash for dinner at his house when I was 19.
Probably the greatest moment of my life.
I also corrected myself that it was Richard Branson's island that Matt and Buffet were visiting.
Elwood70
Torn & Frayed.
I'm insanely jealous.....
Jack Davenport
I'm too lazy to set a usertitle.
I didn't appreciate it as much as I should have. It was later in life that I grew to appreciate the experience more. I was a long haired metal head into Iron Maiden, Motorhead etc. I played the guitar for Mr. Cash and he said "Boy if you keep picking that thing like that..it will never get well.." I thought it was an insult at the time but he meant it as a compliment.
Jack Davenport
I'm too lazy to set a usertitle.
A gentleman in every sense of the word.
Sam Fisher
Banned
Mariah... seek help.
Being-in-the-world of celebrity: The phenomenology of famemore
by David Giles
The experience of being famous was investigated through interviews with 15 well-known American celebrities. Te interviews detail the existential parameters of being famous in contemporary culture. Research participants were celebrities invarious societal categories: government, law, business, publishing, sports, music,film, television news and entertainment. Phenomenological analysis was used toexamine textural and structural relationship-to-world themes of fame and celebrity.Te study found that in relation to self, being famous leads to loss of privacy,entitization, demanding expectations, gratification of ego needs, and symbolicimmortality. In relation to other, or world, being famous leads to wealth, access,temptations, and concerns about family impact. Areas of psychological concernfor celebrity mental health include character-splitting, mistrust, isolation, and anunwillingness to give up fame. Being-in-the-world of celebrity is a processinvolving four temporal phases: love/hate, addiction, acceptance, and adaptation.Findings are presented in the form of a Composite extural Description and twoIndividual Structural Descriptions.
Keywords
fame, celebrity, media psychology, pop culture, phenomenology Most everybody secretly imagines themselves in show business and everyday on their way to work, they’re a little bit depressed because they’re not . . . Peo-ple are sad they’re not famous in America. (Waters, 2004)
Movie producer John Waters’s quotation may not only apply to the United States. Over the last century the mass media have glorified the exploits of famous people to all corners of the globe, so that being recognized and D. Rockwell, D. C. Giles / Journal of Phenomenological Psychology 40 (2009) talked about by millions of people has become a desirable goal for many individuals in contemporary society. But what of the lucky few who actu-ally attain that goal? In this paper we describe the experience of fame forthose who have achieved it at some point in their lifetime.Te psychology of fame and celebrity has been a very restricted academicfield thus far. Apart from a small body of largely speculative work (e.g., Evans& Wilson, 1999; Giles, 2000; Griffi ths & Joinson, 1998) and a handful of studies examining popularity (Adler & Adler, 1989; Schaller, 1997), con-temporary psychologists have preferred to study audience relationships withcelebrities under the banners of “parasocial interaction” (Giles, 2002) and“celebrity worship” (Maltby, Giles, Barber & McCutcheon, 2005; Maltby,Houran & McCutcheon, 2003; McCutcheon, Lange, & Houran, 2002).Te strongest academic research on fame and celebrity has been con-ducted largely in sociology and the humanities (e.g., Braudy, 1997; Gam-son, 1994; Holmes & Redmond, 2006; Marshall, 1997). Although this work is illuminating from a theoretical perspective, it lacks an empiricalcontribution, largely because famous individuals are diffi cult to recruit asresearch participants. Te study reported in this paper involved conduct-ing in-depth interviews with a number of individuals who have attainedsome degree of celebrity in the United States.
The purpose of the present study was to investigate the experience of fame, effectively asking the question:
What is it like to be famous? Whatmeans of coping do individuals adopt for such situations? Are paparazziand fan encounters experienced as problematic for famous people? Are thebenefits of the celebrity experience worth the loss of privacy and anonym-ity, meeting cherished expectations of “the big time?” Troughout, it mustbe borne in mind that retrospective accounts bear a gloss that may reflecta reconfiguring of the life narrative (Bruner, 2002), but within this con-fine, this study captures the experience of being famous as told to theresearcher by contemporary American celebrities. A distinction between fame and celebrity is made by a number of authors(e.g., Braudy, 1997; Gamson, 1994). Fame is considered a long-standingphenomenon largely deriving from mass society, typically urban, in whichindividuals are glorified for their deeds. Braudy (1997) traces this processto Alexander the Great and the Roman Empire. Celebrity, in contrast, isviewed as a modern phenomenon related to mass media, brought about by newspaper, magazine, television, the Internet, and such technologically
D. Rockwell, D. C. Giles /
Journal of Phenomenological Psychology 40 (2009) 178–210
sophisticated art forms as cinema and pop music (Gamson, 1994). Boorstin(1961) is succinct in his definition: “Te celebrity is a person who is knownfor his well-knowness” (p. 57).Te two phenomena—fame as a condition “of being glorified” andcelebrity as a process of media exposure—coincide in contemporary cul-ture, so that a local television personality is accorded the same kind of famebestowed on Shakespeare. Fame may be experienced in various waysaccording to its domain. Te experiences of a star athlete, for example,may be very different from those of a pop star, whose “greatness” is relianton fast-changing aesthetic and cultural values. Te focus of this investiga-tion is on the lived-experience of celebrities from diverse walks of Ameri-can life as they move through the world of fame.
Methodological Issues
The data were collected and analyzed according to the phenomenologicalapproach outlined by Moustakas (1994). Tis method reveals “the rhythmand relationship between phenomena and self” (Moustakas, 1994, p. 90),the defining characteristics of one’s being-in-the-world. In part, it derivesfrom the work of Husserl (1913/1963, p. 39), who developed methods forgrasping essences through the eidetic analysis of empirical examples. It isnot the individual’s account of phenomena that is the object of inquiry,but rather the essential meanings of the phenomena that the accountdescribes. Te researcher’s role, then, is to understand the invariant inten-tions and meanings that constitute the phenomena.
In accordance with phenomenological principles, scientific investigation isvalid when the knowledge sought is arrived at through descriptions that makepossible an understanding of the meanings and essences of
experience . . .()he filling in or completion of the nature and meaning of the experiencebecomes the challenge. (Moustakas, 1994, p. 84/ 90)
Each interview (or “narrative”) is organized by means of textural themes —broadly similar to the superordinate themes in Interpretive Phenomenoloical Analysis (IPA) (Smith & Osborn, 2004) which are grasped through thesample as an overarching set common to the individuals in the study andfreely imagined variants. Tese themes are further interrogated in accordance with the seven universal phenomenological givens or structures (Moustakas,
Being-in-the-world of celebrity: The phenomenology of famemore
by David Giles
The experience of being famous was investigated through interviews with 15 well-known American celebrities. Te interviews detail the existential parameters of being famous in contemporary culture. Research participants were celebrities invarious societal categories: government, law, business, publishing, sports, music,film, television news and entertainment. Phenomenological analysis was used toexamine textural and structural relationship-to-world themes of fame and celebrity.Te study found that in relation to self, being famous leads to loss of privacy,entitization, demanding expectations, gratification of ego needs, and symbolicimmortality. In relation to other, or world, being famous leads to wealth, access,temptations, and concerns about family impact. Areas of psychological concernfor celebrity mental health include character-splitting, mistrust, isolation, and anunwillingness to give up fame. Being-in-the-world of celebrity is a processinvolving four temporal phases: love/hate, addiction, acceptance, and adaptation.Findings are presented in the form of a Composite extural Description and twoIndividual Structural Descriptions.
Keywords
fame, celebrity, media psychology, pop culture, phenomenology Most everybody secretly imagines themselves in show business and everyday on their way to work, they’re a little bit depressed because they’re not . . . Peo-ple are sad they’re not famous in America. (Waters, 2004)
Movie producer John Waters’s quotation may not only apply to the United States. Over the last century the mass media have glorified the exploits of famous people to all corners of the globe, so that being recognized and D. Rockwell, D. C. Giles / Journal of Phenomenological Psychology 40 (2009) talked about by millions of people has become a desirable goal for many individuals in contemporary society. But what of the lucky few who actu-ally attain that goal? In this paper we describe the experience of fame forthose who have achieved it at some point in their lifetime.Te psychology of fame and celebrity has been a very restricted academicfield thus far. Apart from a small body of largely speculative work (e.g., Evans& Wilson, 1999; Giles, 2000; Griffi ths & Joinson, 1998) and a handful of studies examining popularity (Adler & Adler, 1989; Schaller, 1997), con-temporary psychologists have preferred to study audience relationships withcelebrities under the banners of “parasocial interaction” (Giles, 2002) and“celebrity worship” (Maltby, Giles, Barber & McCutcheon, 2005; Maltby,Houran & McCutcheon, 2003; McCutcheon, Lange, & Houran, 2002).Te strongest academic research on fame and celebrity has been con-ducted largely in sociology and the humanities (e.g., Braudy, 1997; Gam-son, 1994; Holmes & Redmond, 2006; Marshall, 1997). Although this work is illuminating from a theoretical perspective, it lacks an empiricalcontribution, largely because famous individuals are diffi cult to recruit asresearch participants. Te study reported in this paper involved conduct-ing in-depth interviews with a number of individuals who have attainedsome degree of celebrity in the United States.
The purpose of the present study was to investigate the experience of fame, effectively asking the question:
What is it like to be famous? Whatmeans of coping do individuals adopt for such situations? Are paparazziand fan encounters experienced as problematic for famous people? Are thebenefits of the celebrity experience worth the loss of privacy and anonym-ity, meeting cherished expectations of “the big time?” Troughout, it mustbe borne in mind that retrospective accounts bear a gloss that may reflecta reconfiguring of the life narrative (Bruner, 2002), but within this con-fine, this study captures the experience of being famous as told to theresearcher by contemporary American celebrities. A distinction between fame and celebrity is made by a number of authors(e.g., Braudy, 1997; Gamson, 1994). Fame is considered a long-standingphenomenon largely deriving from mass society, typically urban, in whichindividuals are glorified for their deeds. Braudy (1997) traces this processto Alexander the Great and the Roman Empire. Celebrity, in contrast, isviewed as a modern phenomenon related to mass media, brought about by newspaper, magazine, television, the Internet, and such technologically
D. Rockwell, D. C. Giles /
Journal of Phenomenological Psychology 40 (2009) 178–210
sophisticated art forms as cinema and pop music (Gamson, 1994). Boorstin(1961) is succinct in his definition: “Te celebrity is a person who is knownfor his well-knowness” (p. 57).Te two phenomena—fame as a condition “of being glorified” andcelebrity as a process of media exposure—coincide in contemporary cul-ture, so that a local television personality is accorded the same kind of famebestowed on Shakespeare. Fame may be experienced in various waysaccording to its domain. Te experiences of a star athlete, for example,may be very different from those of a pop star, whose “greatness” is relianton fast-changing aesthetic and cultural values. Te focus of this investiga-tion is on the lived-experience of celebrities from diverse walks of Ameri-can life as they move through the world of fame.
Methodological Issues
The data were collected and analyzed according to the phenomenologicalapproach outlined by Moustakas (1994). Tis method reveals “the rhythmand relationship between phenomena and self” (Moustakas, 1994, p. 90),the defining characteristics of one’s being-in-the-world. In part, it derivesfrom the work of Husserl (1913/1963, p. 39), who developed methods forgrasping essences through the eidetic analysis of empirical examples. It isnot the individual’s account of phenomena that is the object of inquiry,but rather the essential meanings of the phenomena that the accountdescribes. Te researcher’s role, then, is to understand the invariant inten-tions and meanings that constitute the phenomena.
In accordance with phenomenological principles, scientific investigation isvalid when the knowledge sought is arrived at through descriptions that makepossible an understanding of the meanings and essences of
experience . . .()he filling in or completion of the nature and meaning of the experiencebecomes the challenge. (Moustakas, 1994, p. 84/ 90)
Each interview (or “narrative”) is organized by means of textural themes —broadly similar to the superordinate themes in Interpretive Phenomenoloical Analysis (IPA) (Smith & Osborn, 2004) which are grasped through thesample as an overarching set common to the individuals in the study andfreely imagined variants. Tese themes are further interrogated in accordance with the seven universal phenomenological givens or structures (Moustakas,
Yeah Sam, I'm the one who needs to seek help. Your rambling quotation fest is confusing and I'm not sure to where it's aimed? at me?
I know you'll scoff and dismiss this but in case you haven't noticed, I am famous. Not as much as a Michael Jordan or Tom Cruz, but famous nonetheless. Worldwide even. I've had people recognize me while walking down a crowded Paris street and ask for autographs and in New Zealand there was a line around the convention floor when I was there. I know you want to see me as some liberal big mouth, but I have been around the world and have mixed it up with some very famous people. I am NOT impressed by most of them but a few were impressive. Ringo Starr was as was Tom Jones. Other than that, eh. Most are just selfish people who look down on those who look up to them.
I know you'll scoff and dismiss this but in case you haven't noticed, I am famous. Not as much as a Michael Jordan or Tom Cruz, but famous nonetheless. Worldwide even. I've had people recognize me while walking down a crowded Paris street and ask for autographs and in New Zealand there was a line around the convention floor when I was there. I know you want to see me as some liberal big mouth, but I have been around the world and have mixed it up with some very famous people. I am NOT impressed by most of them but a few were impressive. Ringo Starr was as was Tom Jones. Other than that, eh. Most are just selfish people who look down on those who look up to them.
Jack Davenport
I'm too lazy to set a usertitle.
Casey Anthony is famous too. lol
Let's face it, it's not the kind of fame that really gets you all that far. It's not like you are Katy Perry and when a parent sees you can go and get an autograph with their kids.
Let's face it, it's not the kind of fame that really gets you all that far. It's not like you are Katy Perry and when a parent sees you can go and get an autograph with their kids.
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