credited <\/a>Winehouse with smoothing the path to
mainstream success for other ‘strange girls’.<\/p>\n
The tributes to Amy Winehouse clotting the front pages this past
weekend reflect the other aspect of her fame: the purpose she
served as media cipher. The narrative into which she was coralled
\u2013 discovered, lauded, rewarded, exploited, drug-ravaged and
wrung dry by the cynics and sycophants around her \u2013 is a
traditional trajectory for women in the public eye, from Marilyn
to Britney. Mixed in with the clich\u00e9s <\/a>of the demon-driven artist,
Winehouse’s dedication to the life of a good-time girl
provided an obvious temptation for the press to shoehorn the
shapeless and slippery business of living into a rigid mould of
Meaning, to make her a signifier of the plagues afflicting modern
womanhood – not all of modern womanhood, of course, just
those of us susceptible to the lure of urban independence and its
giddy, glittering thrills.<\/p>\n
There is an obvious irony in the fact that the media’s very
concentration on her as a reliably scandalous page-filler embedded
her in public consciousness as not an artist but a cautionary tale
of misjudged relationships and worse-judged substance indulgence,
eliciting a weird and volatile mixture of compassion and contempt.
There was, too, a ghoulish and lascivious edge to public concern
over Winehouse – as there was, back in the day, over
Courtney Love and, latterly, Britney Spears – which is
seldom present in attitudes to their male counterparts. The same
organs which engorged themselves with pictures of Winehouse in her
various stages of decline, distress and debauchery are continuing
to objectify and sensationalise her as, inevitably, a
‘brilliant but troubled’ combination of tragic loss
and dreadful warning. She deserves a better class of
memorialist.<\/p>\n