English

Etymology

Written form of a reduction of "want to be"
Wannabe is a noun formed from a complex verb combination of the phrase, "want to be". Wannabe can be considered a conversion, category change, or functional shift.

Noun

wannabe (plural wannabes)

1. someone who wishes to be or do something, but lacks the qualifications or talent; an overeager amateur; an aspirant.
   

   That wannabe thought he was very clever to get past level 1.

   Hollywood's restaurants are full of wannabe actors waiting to be discovered.

Translations

someone who wishes something but lacks the qualifications

From Wiktionary

Wannabe

From Wikipedia, the free encyclopedia

A "wannabe" (slang for "want to be") is a person with an ambition to be someone or something that he is not. The term is mildly pejorative, intended to convey the foolish nature of the desire due to the incompetence of the "wannabe" to accomplish the goal.

Poseur

From Wikipedia, the free encyclopedia

Poseur is a pejorative term, often used in the punk, heavy metal, hip hop and goth subcultures to describe a person who adopts the dress, speech, and/or mannerisms of a group or subculture, generally for attaining acceptability within the group or for popularity among various other groups, yet who is deemed to not share or understand the values or philosophy of the subculture. While this perceived inauthenticity is viewed with scorn and contempt by members of the subculture, the definition of the term and to whom it should be applied is subjective. While the term is most associated with the 1970s- and 1980s-era punk and hardcore subculture, English use of the term originates in the late 19th century.

Contents 1 Etymology and definitions 2 Punk subculture 2.1 1990s-2000s 3 Heavy metal subculture 4 Hip hop subculture 5 Other genres and subcultures 6 Further reading

Etymology and definitions

The term coined from the French verb "poser" in the 1870s, to refer to people who "affect an attitude or pose"; earlier versions of the verb in Old French meant "to put or place". Etymonline, an online etymology dictionary, argues that since the "word is Eng.[English] poser in Fr.[French] garb", thus it "could itself be considered an affectation."
Dictionary.com says the word refers to "a person who habitually pretends to be something he is not."The Merriam-Webster dictionary notes that the term was also used to refer to a "person who pretends to be what he or she is not" or an "insincere person"^].The Encarta dictionary states that the term is used to describe a "pretentious person" or "somebody who tries to impress others by behaving in an affected way".The Cambridge Dictionary defines a "poseur" as "someone who pretends to be something they are not, or to have qualities that they do not have."
Many individuals misspell the word as Poser, which by Merriam-Webster's definition is either "a puzzling or baffling question" or "a person who poses" as if for a portrait.

 Punk subculture

The punk subculture classifies members who are deemed to not understand or respect the subculture values as "poseurs".

Music journalist Dave Rimmer wrote that the first punks in London used "terms in which they expressed their disdain for hangers-on and those whose post-hip credentials didn’t quite make it came straight out of the authenticity movements: "Poseurs" was the favorite epithet." Ross Buncle argues that eventually the Australian punk scene "opened the door to a host of poseurs, who were less interested in the music than in UK-punk fancy dress and being seen to be hip".He praises the gigs where there "were no punk-identikit poseurs" in the audience.
In a review of The Clash film Rude Boy, a critic argued that this "film was another sign of how The Clash had sold out – a messy, vain work of punk poseurs." US music journalist Lester Bangs praised punk pioneer Richard Hell for writing the "strongest, truest rock & roll I have heard in ages" without being an "arty poseur" of the "age of artifice"^.Another critic argues that by the late 1970s, "punk rock had already, at this early date, shown signs of devolving into pure pose, black leather jacket and short hair required."Please Kill Me includes interviews with punks in New York and Detroit who "rip their English counterparts as a bunch of sissified poseurs."
The term poseur was used in several late-1970s punk songs, including the X-Ray Spex song "I am a Poseur" and the Television Personalities song "Part-Time Punks". The Television Personalities' song "was a reaction to the macho posturing of the English punk scene". The lyrics argue that, "while Television Personalities were not themselves punks in the orthodox sense, neither was anyone else." The song "declared that either everyone who wanted to be a punk was one or that everyone was a poseur (or both)", and it argues that "the concept of ... punk rock authenticity, of Joe Strummer, was a fiction." Red Cross included the song "Standing in front of Poseur” in their debut EP (however, it can be argued that the song is strictly about a local record store named 'Poseur').
An article in Drowned in Sound argues that 1980s-era "hardcore is the true spirit of punk" because "[a]fter all the poseurs and fashionistas fucked off to the next trend of skinny pink ties with New Romantic haircuts, singing wimpy lyrics..." It argued that the hardcore scene consisted only of people "completely dedicated to the DIY ethics"; punk "[l]ifers without the ambition to one day settle into the study-work-family-house-retirement-death scenario."

 1990s-2000s

Joey Keithley of D.O.A. has said "for every person sporting an anarchy symbol without understanding it there’s an older punk who thinks they’re a poseur."

Dave Rimmer writes that with the revival of punk ideals of stripped-down music in the early 1990s, with "Cobain, and lots of kids like him, rock & roll ... threw down a dare: Can you be pure enough, day after day, year after year, to prove your authenticity, to live up to the music [and] live with being a poseur, a phony, a sellout?"^]Refused's Dennis Lyxzén and Bad Religion's Brett Gurewitz used the term to refer to early 2000s-era pop punk fans as "kids — more specifically the new wave of punk poseurs who came to the music via bands like Good Charlotte..." They argue that these young listeners want "not to have to think and [instead they] would rather use music as escapism [,] and too many bands seem willing to comply."
One writer argued that the Los Angeles punk scene scene was changed by the invasion of "antagonistic suburban poseurs", which bred "rising violence ... and led to a general breakdown of the hardcore scene." A writer for The Gauntlet praised the US Bombs' politically oriented albums as "a boulder of truth and authenticity in a sea of slick poseur sewage", and called them "real punk rockers" at "a time where the genre is littered with dumb songs about cars, girls and bong hits."
University of Texas professor Neil Nehring argues that some performers "who in their time we thought of as schlocky pop poseurs" are now seen as interesting and worthy of study." Daniel S. Traber argues that attaining authenticity in the punk identity can be difficult; as the punk scene changed and re-invented itself, "[e]veryone got called a poseur".
Many people believe actors and actresses who form a band on the side are poseurs. An example is how people critique The Pretty Reckless as poseurs, mainly because front-woman Momsen is both a model and actress but still categorizes herself as grunge and punk. Other examples, i.e. Green Day and Paramore, are also called sellouts and phonies, which refers to the fact that they do stunts for money and personal gain and not for music.
Joe Keithley, the singer for D.O.A. said in an interview that "for every person sporting an anarchy symbol without understanding it there’s an older punk who thinks they’re a poseur." The interviewer, Liisa Ladouceur, argued that when a group or scene's "followers grow in number, the original devotees abandon it, ... because it is now attracting too many poseurs—people the core group does not want to be associated with.
The early 1980s hardcore punk band MDC penned a song entitled "Poseur Punk", which excoriated pretenders who copied the punk look without adopting its values. As part of MDC's 25th anniversary tour in the 2000s, frontman "Dictor's targets remain largely the same: warmongering politicians, money-grubbing punk poseurs (including Rancid, whose Tim Armstrong once worked as an M.D.C. roadie), and of course, cops."NOFX's album The War on Errorism includes the song "Decom-poseur", part of the album's overall "critique of punk rock's 21st century incarnation of itself." In an interview, NOFX's lead singer Mike Burkett (aka "Fat Mike") "lashes out" at "an entire population of bands he deems guilty of bastardizing a once socially feared and critically infallible genre" of punk, asking "[w]hen did punk rock become so safe?"

 Heavy metal subculture

In the heavy metal subculture, the term poseur is used to refer to "someone dishonest who adopted the most rigorous pose, or identity-affirming lifestyle and opinions." In the heavy metal subculture, some critics use the term to describe bands that are seen as excessively commercial, such as MTV-friendly glam metal groups. Jeffrey Arnett argues that the heavy metal subculture classifies members two categories: "acceptance as an authentic metalhead or rejection as a fake, a poseur." In a 1993 profile of heavy metal fans' "subculture of alienation," the author notes that the scene classified some members as poseurs, that is, heavy metal performers or fans who pretended to be part of the subculture but who were deemed to lack authenticity and sincerity.
Ron Quintana wrote that when Metallica was trying to find a place in the LA metal scene in the early 1980s, it was difficult for the band to "play their [heavy] music and win over a crowd in a land where poseurs ruled and anything fast and heavy was ignored."
David Rocher described Damian Montgomery, frontman of Ritual Carnage, as "an authentic, no-frills, poseur-bashing, nun-devouring kind of gentleman, an enthusiastic metalhead truly in love with the lifestyle he preaches... and unquestionably practises." In 2002, Josh Wood argued that the "credibility of heavy metal" in North America is being destroyed by the genre's demotion to "horror movie soundtracks, wrestling events and, worst of all, the so-called "Mall Core" groups like Linkin Park, SlipKnot and Korn. ... true [metal] devotee’s path to metaldom is perilous and fraught with poseurs."
In an article on Axl Rose, entitled "Ex–‘White-Boy Poseur'", Rose admitted that he has had "time to reflect on heavy-metal posturing" of the last few decades: "We thought we were so badass... [until] N.W.A came out rapping about this world where you walk out of your house and you get shot. ... It was just so clear what stupid little white-boy poseurs we were."

 Hip hop subculture

In the hip hop scene, authenticity or street cred is important. Larry Nager of The Cincinnati Enquirer wrote that rapper 50 Cent has "earned the right to use the trappings of gangsta rap — the macho posturing, the guns, the drugs, the big cars and magnums of champagne. He's not a poseur pretending to be a gangsta; he's the real thing."
A This Are Music review of white rapper Rob Aston criticizes his "fake-gangsta posturing", calling him "a poseur faux-thug cross-bred with a junk punk" who glorifies "guns, bling, cars, bitches, and heroin" to the point that he seems like a parody.A 2004 on BlackAmericaWeb claims that the late Russell Tyrone Jones, better known as rapper Ol' Dirty Bastard, was not "a rough dude from the ’hood" as his official record company biographies claimed. After Jones's death from drugs, the rapper's father claimed that "his late son was a hip-hop poseur, contrary to what music trade magazines published in New York" wrote. Jones' father argued that the "story about him being raised in the Fort Greene [Brooklyn] projects on welfare until he was a child of 13 was a total lie”; instead, he said "their son grew up in a reasonably stable two-parent, two-income home in Brooklyn." The article also refers to another "hip-hop poseur from a decade ago", Lichelle “Boss” Laws. While her record company promoted her as "the most gangsta of girl gangstas", posing her "with automatic weapons" and publicizing claims about prison time and an upbringing on the "hard-knock streets of Detroit", Laws' parents claim that they put her "through private school and enrolled [her] in college in suburban Detroit."
As hip hop has gained a more mainstream popularity, it has spread to new audiences, including well-to-do "white hip-hop kids with gangsta aspirations—dubbed the 'Prep-School Gangsters'" by journalist Nancy Jo Sales. Sales claims that these hip hop fans "wore "Polo and Hilfiger gear trendy among East Coast hip-hop acts" and rode downtown to black neighborhoods in chauffeured limos to experience the ghetto life. Then, "to guard against being labeled poseurs, the prep schoolers started to steal the gear that their parents could readily afford."  This trend was highlighted in The Offspring song "Pretty Fly for a White Guy."
A 2008, Utne Reader article describes the rise of "Hipster Rap", which "consists of the most recent crop of MCs and DJs who flout conventional hip-hop fashions, eschewing baggy clothes and gold chains for tight jeans, big sunglasses, the occasional keffiyeh, and other trappings of the hipster lifestyle." The article says this "hipster rap" has been criticized by the hip hop website Unkut and rapper Mazzi, who call the mainstream rappers poseurs or "fags for copping the metrosexual appearances of hipster fashion."Prefix Mag writer Ethan Stanislawski argues that there "have been a slew of angry retorts to the rise of hipster rap," which he says can be summed up as "white kids want the funky otherness of hip-hop...without all the scary black people."

Other genres and subcultures

An on-line reviewer argues that in Norman Mailer's 1956 essay The White Negro, which "lauded a 'white hipster elite' for talking, listening, and playing like black people," Mailer "comes off like a poseur attempting to articulate this minority mimicking a minority, these white kids’ existential attempt to deal with the 'psychic havoc' of the atomic age though jazz and dope." Mark Paytress writes that in 1977, Rolling Stones frontman Mick Jagger called singer/songwriter Patti Smith a "poseur of the worst kind, intellectual bullshit, trying to be a street girl...".
The skateboarding subculture attempts to differentiate between authentic skaters and pretenders. A New York Times article on the 2007 skateboarding scene notes that "some first-time skaters drawn into the sport by catchy choruses or candy-colored sneakers are dismissed as poseurs" who are "walking around with a skateboard as an accessory, holding it in a way we call ‘the mall grab. ..."
A LA City Beat magazine writer argues that "dance music had its Spinal Tap moment some time around the year 2000," arguing that "the prospect of fame, groupies, and easy money by playing other people's records on two turntables brought out the worst poseurs since hair metal ruled the Sunset Strip ... Every dork with spiky locks and a mommy-bought record bag was a self-proclaimed turntable terror."A Slate magazine article argues that the while the independent music scene "can embrace some fascinating hermetic weirdos such as Joanna Newsom or Panda Bear, it's also prone to producing fine-arts-grad poseurs such as the Decemberists and poor-little-rich-boy-or-girl singer songwriters..."
The term "drugstore cowboy" denotes people whom dress up like cowboys or cowgirls but whom are not involved in associated cowboy activities such as herding cattle, putting horseshoes on horses, fixing fences and working on ranches.

 Further reading

• Andes, Linda. "Growing Up Punk: Meaning and Commitment Careers in a Contemporary Youth Subculture." Youth Culture: Identity in a Postmodern World. Blackwell Publishers: Massachusetts, 1998, 213-231.

• Fox, Kathryn J. “Real Punks and Pretenders.” Constructions of Deviance. Wadsworth Publishing Co: Belmont, CA, 1992, 373-388.

• Popham, George. "Sellouts, Poseurs and Suicides: Punk Rock and the Pursuit of Secular Otherworldliness" (currently pending publication).

• Widdicombe, Sue and Rob Wooffitt. “‘Being’ versus ‘Doing’ Punk: On Achieving Authenticity as a Member.” Journal of Language and Social Psychology. 1990:257-277.

 Celebrity impersonator

From Wikipedia, the free encyclopedia

Celebrity impersonators are entertainers who look similar to celebrities and dress in such a way as to imitate them.
Impersonators are known as look-alikes, impressionist, imitators and tribute artists. The interest may have originated with the need or desire to see a celebrity who has died.One of the most prominent examples of this phenomenon is the case of Elvis Presley. There are claimed to be more Elvis impersonators and tribute artists in the world than for any other celebrity.Some figures state that there are 30,000 Elvis impersonators in the world today.while others suggest there are only about 500 Elvis impersonators in the world.
Edward Moss has appeared in movies and sitcoms, impersonating Michael Jackson.

Look-alike

From Wikipedia, the free encyclopedia

A look-alike is a person who closely resembles another person. In popular Western culture, a look-alike is a person who bears a close physical resemblance to a celebrity, politician or member of royalty. Many look-alikes earn a living by making guest appearances at public events or performing on television or film, playing the person they resemble. A large variety of celebrity-lookalike images can be found throughout the web, including images placed by professional agencies that offer their services.
Look-alikes have also figured prominently at least since the 19th century in literature, and in the 20th and 21st centuries in film.

Contents 1 Live 2 Literature 3 Film 4 Video Games 5 See also

 Live

Charlie Chaplin, The Tramp, 1914

• During the 1920s, Charlie Chaplin once went to a Charlie Chaplin-look-alike competition. Chaplin didn't even make it to the finals.

• Mikheil Gelovani, a Georgian actor and Joseph Stalin look-alike, played the Soviet leader in propaganda films of the 1930s and 1940s. In 2008, 88-year-old Felix Dadaev, a former dancer and juggler, disclosed that he had been one of four look-alikes whom Stalin had employed as decoys to mislead enemies and potential assassins (there in fact were attempts on Stalin's life — two at Yalta alone).
• In 1944, shortly before D-Day, M.E. Clifton James, who bore a close resemblance to Field Marshal Bernard Montgomery, was sent to Gibraltar and North Africa, in order to deceive the Germans about the location of the upcoming invasion. This story was the subject of a book and film, I Was Monty's Double.
• A notable conspiracy theory holds that Paul McCartney died in 1966 and was replaced by a Canadian policeman named William Shears Campbell.
• In the 1970s, actor-comedian Richard M. Dixon (born James LaRoe), look-alike to then-President Richard Nixon, gained some celebrity, portraying the president in the films, Richard (1972) and The Faking of the President (1976). He also appeared in the unreleased short film Men of Crisis: The Harvey Wallinger Story.
• Jeannette Charles has, since the early 1970s, worked as a look-alike to Britain's Queen Elizabeth II.
• Saddam Hussein allegedly employed several look-alikes for political purposes during his Iraq reign. According to a CBS 60 Minutes segment in late January 2008, Saddam Hussein denied to an American interrogator that he had employed doubles.
• The BBC comedy programme Doubletake made extensive use of look-alikes playing their doubles in apparently embarrassing situations, seen through CCTV cameras and amateur video, using distance shots and shaky camera-work to disguise the true identity of those being filmed. Due to the nature of this programme and conditions of filming, many of the world's most authentic lookalikes boycotted the project leaving the producer to rely on the careful use of soft focus, lighting and carefully positioned camera angles to make the mainly amateur lookalikes resemble the characters they portrayed.
• Armando Ianucci's Friday Night Armistice (1996–98) featured "the bus of Dianas", a bus full of Princess Diana look-alikes which was dispatched to "care" at the sites of various minor tragedies.
• Since the year 2001, the UK's most successful lookalike has been Derek Williams ("Svenalike") as Sven-Goran Eriksson's lookalike/soundalike double who was selected by The FA as a stand in for Eriksson at VIP receptions and for Official pre-match Hospitality and has achieved widespread acclaim and the most extensive TV, film and video exposure of any celebrity double in recent history.
• Steve Sires, a look-alike of Microsoft's Bill Gates, came to attention when he attempted to trademark "Microsortof", and subsequently acted in Microsoft commercials. He became especially famous for his role in the 2002 film, Nothing So Strange, in which his character makes a speech, looks up and is assassinated.
• UK Big Brother contestant Chantelle Houghton worked briefly and unsuccessfully for a look-alike agency as a Paris Hilton look-alike, earning the nickname "Paris Travelodge". By the time Chantelle Houghton won series 4 of Celebrity Big Brother, the same agency had already signed up a professional model who made a more convincing Paris Hilton look-alike... and who was briefly also offered as a fake "Chantelle".
• UK Richard and Judy ran a competition for Little Britain Lookalikes in 2005. After the live final broadcast on Friday, 28 January 2005, on Channel Four, two winning contestants, Gavin Pomfret and Stuart Morrison, formed a Little Britain tribute act called "Littler Britain."
• Comedian Tina Fey and politician Sarah Palin have been noted to look alike. In 2008 during the final months of Palin's vice presidential campaign, Fey became widely popular for her Saturday Night Live depictions of Palin.
• Elvis Presley is said to have sent out look-alikes before he left his house to distract fans so he could walk in peace.

 Literature

• In Edgar Allan Poe's short story "William Wilson" (1839), a man is followed by his double.
• Alexandre Dumas, père's, The Man in the Iron Mask (1850—the third part of Dumas' novel, The Vicomte de Bragelonne) involves King Louis XIV of France and the King's identical twin.
• In Charles Dickens' novel A Tale of Two Cities (1859), two characters, Charles Darnay and Sydney Carton, bear an uncanny resemblance to one another. At the close of the novel, Carton sacrifices his life for Darnay—"a far, far better thing that I do, than I have ever done..."
• In The Woman in White (1859), by Wilkie Collins, the protagonist meets two women, Anne Catherick and Laura Fairlie, who strongly resemble one another. The villain of the story, Count Fosco, uses this resemblance to steal Laura Fairlie's fortune.
• In Mark Twain's first historical fiction (1882), the novel The Prince and the Pauper, Prince Edward, son of Henry VIII of England, and his pauper look-alike, Tom Canty, trade places.
• In Anthony Hope's novel The Prisoner of Zenda (1894), a man impersonates a king he closely resembles, after the king is abducted on the eve of his coronation.
• Bolesław Prus' historical novel Pharaoh (1895) features several cases of look-alikes. The characters include the Haranian Phut (aka the Chaldean priest Berossus) and his look-alike (chapter 20), and the protagonist Ramses and his look-alike and nemesis, Lykon. Also, chapter 33 makes reference to look-alikes of an earlier pharaoh, Ramses the Great.
• Georg Kaiser's 1917 play The Coral depicts a powerful industrialist whose male secretary is his exact double. The secretary's duties include impersonating his employer at public functions. Other employees can tell the two men apart only by the fact that the secretary always wears a coral watch-fob.
• In Robert Heinlein's novel Double Star (1956), a down-and-out actor portrays, then replaces, a powerful political figure.
• In Jack Higgins's 1975 novel The Eagle Has Landed, Nazi German paratroopers attempt to abduct British Prime Minister Winston Churchill from an English village he is visiting. It subsequently transpires that the actual Churchill had been elsewhere while a political decoy visited the village.
• In Clive Cussler's 1984 novel Deep Six, a double is used after the U.S. president is kidnapped by Korean and Soviet agents.
• Christopher Priest's novel The Prestige (1995) features two rival magicians, one of whom uses his twin brother as a double in a disappearing-and-reappearing act.
• In Neil Gaiman's novel Coraline (2002) the heroine meets up with improved look-alikes of her parents and all her neighbors when she enters the Other Mother's world Film
• Charles Dickens' novel A Tale of Two Cities (see "Literature," above) has been produced as three film versions between 1911 and 1958, as well as television and stage adaptations.
• Anthony Hope's novel The Prisoner of Zenda (see "Literature", above) has been the basis for many film and stage adaptations, the first film version being in 1913; the best-known film version is John Cromwell's 1937 film.
• Mark Twain's novel The Prince and the Pauper (see "Literature," above) has been the basis for many film and stage adaptations, the earliest film version being in 1920.
• Alexandre Dumas, père's, The Man in the Iron Mask (see "Literature," above) has been adapted into eight film versions between 1929 and 1998.
• The 1932 musical film The Phantom President depicts a man who is eminently qualified to be President of the United States but who is unlikely to be elected because he is dull and lacks charisma. Fortunately, he has an exact double: a patent-medicine salesman and vaudeville hoofer who is a charismatic campaigner but has no actual political qualifications. The film cynically suggests that most American voters would prefer the latter to the former. Both roles are played by legendary song-and-dance man George M. Cohan. Although a weak movie, The Phantom President is historically significant as the only film record of Cohan's song-and-dance performance.
• The 1940 comedy The Great Dictator was Charlie Chaplin's first talkie and his most commercially successful film. Chaplin plays both "Adenoid Hynkel" (a satirized Adolf Hitler) and a Jewish barber who is Hynkel's spitting image. The barber eventually replaces Hynkel, who has been arrested after having been mistaken for the barber. On nation-wide radio the barber, impersonating the dictator, declares an end to anti-semitism and a return to democracy.
• In The Strange Death of Adolf Hitler (1943), by James P. Hogan, Hitler's double (Ludwig Donath) becomes the target of an assassination.
• In The Scapegoat (1959), Alec Guinness plays both a French aristocrat and the English schoolteacher who is maneuvered into taking his place so the Frenchman can have an alibi for a murder.
• In the James Bond film Thunderball (1965), French NATO pilot François Derval is murdered by Angelo, a SPECTRE henchman who has been surgically altered to match Derval's appearance. Angelo then takes Derval's place aboard, and seizes, a NATO plane loaded with two atom bombs.
• Pharaoh (1966), directed by Jerzy Kawalerowicz, is adapted from Bolesław Prus' historical novel Pharaoh (see "Literature", above).
• Love and Death — 1975 Woody Allen satire on 19th-century Russian novels, set during the 1812 French invasion of Russia. A coward, Boris Grushenko (Allen), and his wife Sonja (Diane Keaton) decide to assassinate Emperor Napoleon Bonaparte. A double of the Emperor is killed, and Allen's character is executed.
• In The Eagle Has Landed (1976), based on Jack Higgins's novel, German paratroopers attempt in 1943 to abduct Prime Minister Winston Churchill from an English village. It is revealed that it is actually a political decoy who visits the village and is assassinated.
• in Foul Play (1978), starring Goldie Hawn and Chevy Chase, the twin of an American archbishop kills the archbishop, impersonates him, and plots to assassinate a fictitious Pope Pius XIII.
• In Akira Kurosawa's Kagemusha (1980), the warlord Takeda Shingen (1521–73) is sometimes impersonated by his brother Nobukado. Nobukado saves a thief who is to be executed, because the man bears an astonishing resemblance to Shingen. The thief becomes a kagemusha (shadow warrior) and learns the role of Daimyo Shingen, who is subsequently killed by an enemy sniper. The false identity of the kagemusha is revealed when he is unable to ride Lord Shingen's favorite horse; but in the final battle at Nagashino the kagemusha accepts his role and fights as the last man holding the banner of the Takeda clan.
• In a feature-length episode of the British sitcom, Only Fools and Horses, entitled "Miami Twice," Derek is mistaken for a Mafia don who is his spitting image, and he is used by the Mafia in an attempt to fake the don's assassination (though several tries fail). The likeness is so uncanny that even Derek's brother Rodney is tricked. Both Derek and the don are played by David Jason.
• Paul Mazursky's film Moon over Parador (1988), in which a man who is filming in a fictional country in Latin America called Parador, is forced to play the role of the country's late president, whom he closely resembles.
• Dead Ringers, a 1988 psychological horror film, features Jeremy Irons in the dual role of two identical-twin gynecologists.
• In Roberto Benigni's Johnny Stecchino (1991), the main character is passed off for a snitch hiding from the mob.
• Gary Ross' film Dave (1993), in which an impersonator is hired by the president's Chief of Staff as a temporary decoy.
• The 2002 film Bubba Ho-Tep starred Bruce Campbell in the role of an elderly Elvis Presley who had traded places with an Elvis impersonator named Sebastian Haff (also played by Campbell) and now lives in a nursing home.
• "Sherlock Holmes and the Case of the Silk Stocking", a 2004 BBC TV film directed by Simon Cellan-Jones from an original story by Alan Cubitt, features the sleuth, played by Rupert Everett, tracking down a killer of aristocratic young women. Holmes' suspect seems to have airtight alibis—until the detective deduces that the culprit has a confederate: an identical twin.
• The 2005 film Star Wars: Episode III - Revenge of the Sith features actor Wayne Pygram, who, in the film, looks remarkably like Peter Cushing. Through stock footage, the film's producers wanted Cushing to reprise his role of Grand Moff Tarkin from Star Wars. However, the footage was deemed unusable.
• The Prestige (2006), directed by Christopher Nolan, and adapted from the novel by Christopher Priest, in which two rival magicians employ doubles in their astonishing disappearing-reappearing acts.
• Vikramarkudu (2006), Tollywood film in which Ravi Teja plays a dual role.
• The film Goal! 3 is set during the 2006 soccer World Cup and features convincing look-alike doubles including Derek Williams  for Sven-Goran Eriksson, Frank Lampard and others who blend the transition from archive footage of the tournament with the fictional action depicted.
• In Vantage Point (2008), a decoy helps protect the president from a possible assassination threat — and is shot. The film claims that "doubles have been used since Reagan."
• In an episode of The Simpsons, Homer is banned from drinking at Moe's tavern. Then a man, who appears to be Homer in a very bad disguise, enters Moe's tavern but is savagely beaten and kicked out. The real Homer then walks up to the unconscious man's body and remarks, "This man is my exact double!"

 Video Games

• In Final Fantasy VIII, SeeD mercenaries and Forest Owls resistance fighters devise a complicated plan to kidnap the president of Galbadia Vinzer Deling, which includes switching the presidential train wagon from its tracks and replacing it with a mockup. Deling foresees the plan and sends a shapeshifter monster to take his place, who attacks the game protagonists. The monster is ultimately killed, but the plan's failure forces the Forest Owls into hiding.

• In Metal Gear Solid, former drill instructor and advisor to the game's protagonist Solid Snake McDonnell Benedict Miller, better known by his nickname Master Miller is murdered before the game main events and replaced by main antagonist Liquid Snake in disguise. Liquid, as Master Miller, tricks Solid Snake into unknowingly do his bidding. The plot is discovered by Colonel Roy Campbell and his staff, who track Miller's communications and find out they are coming from Shadow Moses Island after the real Master Miller's corpse is found dead in his cabin.

External links

• Look-alike collection

 See also

• Assassinations in fiction
• Body double
• Doppelgänger
• Impersonation
• Mimic
• Political decoy
• Shadowman
• Simulacrum
• Stand-in

 

Fake

Definition:

1. [noun] something that is a counterfeit; not what it seems to be
   Synonyms: sham, postiche
2. [noun] a person who makes deceitful pretenses
   Synonyms: imposter, impostor, pretender, fraud, sham, shammer, pseudo, pseud, role player
3. [noun] (football) a deceptive move made by a football player
   Synonyms: juke
4. [verb] make a copy of with the intent to deceive; "he faked the signature"; "they counterfeited dollar bills"; "She forged a Green Card"
   Synonyms: forge, counterfeit
5. [verb] fake or falsify; "Fudge the figures"; "cook the books"; "falsify the data"
   Synonyms: fudge, manipulate, falsify, cook, wangle, misrepresent
6. [verb] talk through one's hat; "The politician was not well prepared for the debate and faked it"
   Synonyms: bullshit, bull
7. [adjective] fraudulent; having a misleading appearance
   Synonyms: bogus, phony, phoney, bastard
8. [adjective] not genuine or real; being an imitation of the genuine article; "it isn't fake anything; it's real synthetic fur"; "faux pearls"; "false teeth"; "decorated with imitation palm leaves"; "a purse of simulated alligator hide"
   Synonyms: false, faux, imitation, simulated

Related Words:

• juggle
• fake book
• name dropper
• ringer

From http://www.elook.org/dictionary/fake.html

These Days

Bon Jovi

I was walking around, just a face in the crowd
Trying to keep myself out of the rain
Saw a vagabond king wear a styrofoam crown
Wondered if I might end up the same
There's a man out on the corner, singing old songs about change
Everybody got their cross to bare, these days

She came looking for some shelter with a suitcase full of dreams
To a motel room on the boulevard
I guess she's trying to be James Dean
She's seen all the disciples and all the wannabe's
No one wants to be themselves these days
Still there's nothing to hold on to but these days

These days - the stars seem out of reach
These days - there ain't a ladder on these streets
These days - are fast, nothing last in this graceless age
There ain't nobody left but us these days

Jimmy shoes busted both his legs, trying to learn to fly
From a second story window, he just jumped and closed his eyes
His mamma said he was crazy - he said mamma "I've got to try"
Don't you know that all my heroes died
And I guess I'd rather die than fade away

These days - the stars seem out of reach
But these days - there ain't a ladder on the streets
These days - are fast, nothing last in this graceless age
Even innocence has caught the midnight train
And there ain't nobody left but us these days

I know Rome's still burning
Though the times have changed
This world keeps turning round and round and round and round
These days

These days - the stars seem out of reach
But these days - there ain't a ladder on the streets
These days - are fast, love don't last in this graceless age
Even innocence has caught the midnight train

These days - the stars seem out of reach
But these days - there ain't a ladder on the streets
These days - are fast, nothing last
There ain't no time to waste
There ain't nobody left to take the blame
There ain't nobody left but us these days
Ain't nobody left but us these days

Here Comes My Baby

Scorpions

Well here comes my baby
She's dressed oh so cute
She looks a little crazy
In her Hollywood shoes
Well baby loves driving
In my hot brand new car
She thinks less than flying
Is not fast enough
But when you turn upside down
Life ain't too much fun I wanted to cry but the tears wouldn't come
Here comes my baby
She's the one I adore
Well she's a lucky lady
Born in a Gucci store
With gold cards in motion
And the platinum too
She jets across the ocean,
A little faster than you
But when it rains in St. Barth
Life ain't too much fun I wanted to cry
But the tears wouldn't come
I wanted to cry
But the tears wouldn't come
Every night without you
I miss to have you by my side
Ohh, so I keep waiting,
I keep waiting I swear I never let you go again
Well here comes my baby
With a Brad Pitt lookalike Right through immigration
And straight out of my life
Well it seems the friendly skies
Are pretty good fun I wanted to cry but the tears wouldn't come
I wanted to cry
I wanted to cry
I wanted to cry
But the tears wouldn't come...

Underground (British subculture)

From Wikipedia, the free encyclopedia

The Underground was a countercultural movement in the United Kingdom linked to the underground culture in the United States and associated with the hippie phenomenon. Its primary focus was around Ladbroke Grove and Notting Hill in London. It generated its own magazines and newspapers, bands, clubs and alternative lifestyle, associated with cannabis and LSD use and a strong socio-political revolutionary agenda to create an alternative society.

Contents 1 Beatnik influence 2 History 3 Commentators 4 Lifestyle 5 Aesthetics 6 The overground

 Beatnik influence

Many in the blossoming underground movement were influenced by 1950s Beatnik Beat generation writers such as William Burroughs and Allen Ginsberg, who paved the way for the hippies of the 1960s. During the 1960s, the Beatnik writers engaged in symbiotic evolution with freethinking academics including experimental psychologist Timothy Leary.
An example of the cross-over of beatnik poetry and music can be seen when Burroughs appeared at the Phun City festival, organised in 24-26 July 1970 by Mick Farren with underground community bands including the Pretty Things, the Pink Fairies, The Edgar Broughton Band and, from America, The MC5.

History

The UK's underground movement was focused on the Ladbroke Grove/Notting Hill area of London, which Mick Farren said "was an enclave of freaks, immigrants and bohemians long before the hippies got there" . It had been depicted in Colin MacInnes' novel Absolute Beginners which depicted street culture at the time of the Notting Hill Riots in the 1950s.
The underground paper International Times (IT) began to appear in 1966 and Steve Abrams founder of Soma summarised the underground as a "literary and artistic avant-garde with a large contingent from Oxford and Cambridge. John Hopkins (Hoppy) a member of the editorial board of International Times for example, was trained as a physicist at Cambridge"
Police harassment of members of the underground (often referred to as "freaks", initially by others as an insult, and later by themselves as an act of defiance) became commonplace, particularly against the underground press. According to Farren, "Police harassment, if anything, made the underground press stronger. It focused attention, stiffened resolve, and tended to confirm that what we were doing was considered dangerous to the establishment."

Oz number 33, back cover advertising "A Gala Benefit For The OZ Obscenity Trial"

Key Underground (community) bands of the time who often performed at benefit gigs for various worthy causes included Pink Floyd (when they still had Syd Barrett), Soft Machine, Hawkwind, The Deviants (featuring Mick Farren), and Pink Fairies; other key people included, in the late '60s, Marc Bolan, who would leave "the Grove" to find fame with T Rex and his partner Steve Peregrin Took, who remained in Ladbroke Grove and continued to perform benefit gigs in the anti-commercial ethos of the UK underground.
Within Portobello Road stood the Mountain Grill greasy spoon (working man's) café which in the late 1960s and early 1970s was frequented by many UK Underground artists such as Hawkwind featuring, at the time, Lemmy. It was of sufficient import to the members of the UK Underground that in 1974 Hawkwind released an album titled Hall Of The Mountain Grill and Steve Peregrin Took wrote Ballad of the Mountain Grill.

 

“

My own feeling is that, not just sex, but anger and violence, are part and parcel of rock n' roll. The rock concert can work as an alternative for violence, an outlet for violence. But at that time there were a lot of things that made us really angry. We were outraged! In the U.S. the youth were sent to Vietnam and there was nothing we could do to change the way the government did it. Smoking marijuana and doing things to get thrown in jail were our own way of expressing our anger, and we wanted change - I believed that picking up a guitar, not a gun, would bring about change".  It's like Germaine Greer said about the Underground - it's not just some sort of scruffy club you can join, you're in or you're out... it's like being a criminal.

”

Lifestyle

The underground movement was also symbolised by the use of drugs. The types of drugs used were varied and in many cases the names and effects were unknown as The Deviants/Pink Fairies member Russell Hunter, working at International Times (part of the Underground press at the time), recalled. "People used to send in all kinds of strange drugs and things, pills and powders, stuff to smoke and that. They'd always give them to me to try to find out what they were! (Laughs)".
Part of the sense of humour of the underground, no doubt partly induced by the effects of both drugs and radical thinking was an enjoyment at "freakin' out the norms". Mick Farren recalls actions sure to elicit the required response. "The band's baroque House of Usher apartment on London's Shaftesbury Avenue had witnessed pre-Raphaelite hippy scenes, like Sandy the bass player (of The Deviants and Pink Fairies), Tony the now and again keyboard player, and a young David Bowie, fresh from Beckenham Arts Lab, sunbathing on the roof, taking photos of each other and posing coyly as sodomites".

 Aesthetics

The image of the underground as manifested in magazines such as OZ and newspapers like International Times was dominated by key talented graphic artists, particularly Martin Sharp and the Nigel Waymouth – Michael English team, Hapshash and the Coloured Coat, who fused Alfons Mucha's Art Nouveau arabesques with the higher colour key of psychedelia.

The overground

There was a smaller, less widely spread manifestation from the UK Underground termed the "Overground", which referred to an explicitly spiritual, cosmic, quasi-religious intent, though this was an element that had always been present. At least two magazines — Gandalf's Garden (6 issues, 1968–72) and Vishtaroon — adopted this "overground" style. Gandalf's Garden was also a shop/restaurant/meeting place at World's End, Chelsea. The magazines were printed on pastel paper using multi-coloured inks and contained articles about meditation, vegetarianism, mandalas, ethics, poetry, pacifism and other subjects at a distance from the more wild and militant aspects of the underground. The first issue of Gandalf's Garden urged that we should "seek to stimulate our own inner gardens if we are to save our Earth and ourselves from engulfment." It was edited by Muz Murray who is now called Ramana Baba and teaches yoga.
These attitudes were embodied musically in The Incredible String Band, who in 2003 were described as "holy" by Archbishop of Canterbury, Dr Rowan Williams, in a foreword for the book Be Glad: An Incredible String Band Compendium (Helter Skelter Books). He had previously chosen the band's track The Hedgehog's Song as his only piece of popular music on the radio programme Desert Island Discs). The late critic Ian MacDonald's had stated "much that appeared to be profane in Sixties youth culture was quite the opposite".

Subculture

From Wikipedia, the free encyclopedia

In sociology, anthropology and cultural studies, a subculture is a group of people with a culture (whether distinct or hidden) which differentiates them from the larger culture to which they belong, for example, if a particular subculture is characterized by a systematic opposition to the dominant culture, it may be described as a counterculture.

Contents 1 Definition 2 Identifying subcultures 3 Subcultures' relationships with mainstream culture 4 Urban tribes 5 Sexual subcultures 6 See also

 Definition

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As early as 1950, David Riesman distinguished between a majority, "which passively accepted commercially provided styles and meanings, and a 'subculture' which actively sought a minority style ... and interpreted it in accordance with subversive values".In his 1979 book Subculture the Meaning of Style, Dick Hebdige argued that a subculture is a subversion to normalcy. He wrote that subcultures can be perceived as negative due to their nature of criticism to the dominant societal standard. Hebdige argued that subcultures bring together like-minded individuals who feel neglected by societal standards and allow them to develop a sense of identity.
In 1995, Sarah Thornton, drawing on Pierre Bourdieu, described "subcultural capital" as the cultural knowledge and commodities acquired by members of a subculture, raising their status and helping differentiate themselves from members of other groups. In 2007, Ken Gelder proposed to distinguish subcultures from countercultures based on the level of immersion in society. Gelder further proposed six key ways in which subcultures can be identified:

1. through their often negative relations to work (as 'idle', 'parasitic', at play or at leisure, etc.);
2. through their negative or ambivalent relation to class (since subcultures are not 'class-conscious' and don't conform to traditional class definitions);
3. through their association with territory (the 'street', the 'hood', the club, etc.), rather than property;
4. through their movement out of the home and into non-domestic forms of belonging (i.e. social groups other than the family);
5. through their stylistic ties to excess and exaggeration (with some exceptions);
6. through their refusal of the banalities of ordinary life and massification.

 Identifying subcultures

The study of subcultures often consists of the study of symbolism attached to clothing, music and other visible affectations by members of subcultures, and also the ways in which these same symbols are interpreted by members of the dominant culture. According to Dick Hebdige, members of a subculture often signal their membership through a distinctive and symbolic use of style, which includes fashions, mannerisms, and argot.
Subcultures can exist at all levels of organizations, highlighting the fact that there are multiple cultures or value combinations usually evident in any one organization that can complement but also compete with the overall organisational culture. In some cases, subcultures have been legislated against, and their activities regulated or curtailed.

Subcultures' relationships with mainstream culture

It may be difficult to identify certain subcultures because their style (particularly clothing and music) may be adopted by mass culture for commercial purposes. Businesses often seek to capitalize on the subversive allure of subcultures in search of Cool, which remains valuable in the selling of any product.This process of cultural appropriation may often result in the death or evolution of the subculture, as its members adopt new styles that appear alien to mainstream society.This process provides a constant stream of styles which may be commercially adopted.
Music-based subcultures are particularly vulnerable to this process, and so what may be considered a subculture at one stage in its history—such as jazz, goth, punk, hip hop and rave cultures—may represent mainstream taste within a short period of time. Some subcultures reject or modify the importance of style, stressing membership through the adoption of an ideology which may be much more resistant to commercial exploitation.The punk subculture's distinctive (and initially shocking) style of clothing was adopted by mass-market fashion companies once the subculture became a media interest. Dick Hebdige argues that the punk subculture shares the same "radical aesthetic practices" as Dada and surrealism:

Like Duchamp's 'ready mades' - manufactured objects which qualified as art because he chose to call them such, the most unremarkable and inappropriate items - a pin, a plastic clothes peg, a television component, a razor blade, a tampon - could be brought within the province of punk (un)fashion...Objects borrowed from the most sordid of contexts found a place in punks' ensembles; lavatory chains were draped in graceful arcs across chests in plastic bin liners. Safety pins were taken out of their domestic 'utility' context and worn as gruesome ornaments through the cheek, ear or lip...fragments of school uniform (white bri-nylon shirts, school ties) were symbolically defiled (the shirts covered in graffiti, or fake blood; the ties left undone) and juxtaposed against leather drains or shocking pink mohair tops.

 Urban tribes

In 1985, French sociologist Michel Maffesoli coined the term urban tribe, and it gained widespread use after the publication of his Le temps des tribus: le déclin de l'individualisme dans les sociétés postmodernes (1988). Eight years later, this book was published in the United Kingdom as The Time of the Tribes: The Decline of Individualism in Mass Society.
According to Maffesoli, urban tribes are microgroups of people who share common interests in metropolitan areas. The members of these relatively small groups tend to have similar worldviews, dress styles and behavioral patterns. Their social interactions are largely informal and emotionally laden, different from late capitalism's corporate-bourgeoisie cultures, based on dispassionate logic. Maffesoli claims that punks are a typical example of an "urban tribe".
Five years after the first English translation of Le temps des tribus, writer Ethan Watters claims to have coined the same neologism in a New York Times Magazine article. This was later expanded upon the idea in his book Urban Tribes: A Generation Redefines Friendship, Family, and Commitment. According to Watters, urban tribes are groups of never-marrieds between the ages of 25 and 45 who gather in common-interest groups and enjoy an urban lifestyle, which offers an alternative to traditional family structures.

 Sexual subcultures

The sexual revolution of the 1960s led to a countercultural rejection of the established sexual and gender norms, particularly in the urban areas of Europe, North and South America, Australia, and white South Africa. A more permissive social environment in these areas led to a proliferation of sexual subcultures—cultural expressions of non-normative sexuality. As with other subcultures, sexual subcultures adopted certain styles of fashion and gestures to distinguish them from the mainstream.

Homosexuals expressed themselves through the gay culture, considered the largest sexual subculture of the 20th century. With the ever increasing acceptance of homosexuality in the early 21st century, including its expressions in fashion, music, and design, the gay culture can no longer be considered a subculture in many parts of the world, although some aspects of gay culture like leathermen, bears, and feeders are considered subcultures within the gay movement itself. The butch and femme identities or roles among some lesbians also engender their own subculture with stereotypical attire, for instance drag kings.A late 1980s development, the queer movement can be considered a subculture broadly encompassing those that reject normativity in sexual behavior, and who celebrate visibility and activism. The wider movement coincided with growing academic interests in queer studies and queer theory. Aspects of sexual subcultures can vary along other cultural lines. For instance, in the United States, the term down-low is used to refer to African-American men who do not identify themselves with the gay or queer cultures, but who practice gay cruising, and adopt a specific hip-hop attire during this activity.

 See also

• List of subcultures
• Popular culture
• Underclass
• Urban culture
• Urban sociology
• Youth subculture
• Art world
• Adolescence
• Folk culture
• History of Western subcultures in the 20th century
• Intercultural competence