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Comeback killed: Think twice before you head back to the spotlight

Don't call it a comeback. Actually, let's rephrase that: just don't call it a "good" comeback.
That's what typically is the response publicly when so called superstars of music, film or any sort of entertainment decide that they've been in seclusion long enough and now want a peace of the spotlight again.
That sentiment typically is met with mixed reviews from critics, mostly because that decision essentially is devoid of passion and returning to the stage or screen for all the wrong reasons.
More often than not, when the comeback finally comes to fruition, the general public and fans alike find themselves terribly underwhelmed, eventually disinterested and ultimately frustrated with what they received in the way of a performance.
The most recent example of this is the late 1990s phenom Lauryn Hill, whose 1998 album "The Miseducation of Lauryn Hill" instantly was lauded and praised as being terrific and made Hill an instant icon with tremendous album sales and subsequent shows.

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Hill hasn't done much between that album and now, aside from a few comeback shows in Britain that were met with horrendous reviews from fans who took to social media to vent on just how poor the experience was.
To that point, you have to ask one pertinent question:
What did you expect?
No one can be truly sure, other than Hill herself, why she decided after 16 years to start modestly touring again. Maybe she is out of money (she did spend time in prison for tax evasion) and needs a few paychecks to put herself back on the map financially. Perhaps she loved performing almost 20 years ago and, for her own ego, wants to recapture that passion she once had when it comes to music.
The problem is most of the drive behind these comeback falls under the former category and center on money more than reasserting yourself as a premiere musician, songwriter or performer.
The end result is what Hill experienced in her comeback in Britain recently: late shows, odd performances and fans leaving wondering why they paid so much and received so little.
When you're talking about comebacks, that formula tends to be the rule, rather than the exception. You can blame the artist for these woefully pathetic performances but the consumer also deserves their fair share of the blame as well.
Chances are if you're a fan of a band or artist that has seen better days or are well past their proverbial prime, your excitement often clouds your judgment and prudent thinking. Deep down, you know that artists like Hill are looking for quick payday and hopeful that they have enough fans leftover from their heyday to make money, while putting forth little or no effort.
The customer knows what to expect but refuse to believe that the artist or musician they loved isn't going to deliver as planned. If you're talking about a comeback, however, you should probably get used to being overly pumped about a performance and being wildly disappointed by the time the show concludes.

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