Tina Fey's Comedy Bat Mitzvah

This year's recipient of the Mark Twain Prize for American Humor was none other than my favorite lady, Tina Fey, and I can't believe I haven't blogged about this yet.

Perhaps it's because whenever it comes to Tina Fey, all I can ever really do is gush about her. Lucky for you, a handful of Really Awesome People came together and did exactly that, and far more eloquently than I ever could. Also, they actually know her and so that carries some extra weight.

As I watched the ceremony Sunday night, I will say that I got a little teary-eyed. It's extremely silly to say this, but the fact is that I'm damn proud of Tina. I've been watching her on my TV since she was doing Update with Jimmy Fallon, and I'm so glad that not only is she still on my TV, but also that she's getting recognized for her talent and hard work. Even without all the political crap, I think she's left her mark on American comedy and deserves to be honored.

If you get a chance to watch the ceremony, you should. The parade of people toasting Tina's success was seriously a single-file line of Awesomeness (Betty White! Steve Martin! Jimmy Fallon! Tracy Morgan! Jon Hamm! Jane Krakowski!) but I think I loved Amy Poehler's speech the most.

Mark Twain once said, “Against the assault of laughter, nothing can stand." But it was Shania Twain who said, “Man! I feel like a woman!” Tonight, we celebrate a dynamite woman, a first-class lady, an upstanding broad, and a straight-up dame. Tina, I am so honored to be able to attend your Comedy Bat Mitzvah tonight. So far the food has been excellent, and your Evita theme is really working.

Without missing a beat, Tina opened her arms majestically over the balcony where she was seated, and proved to everyone in the room that she and Amy really have been comedy partners for 17 years. Amy closed out her homage with an "I love you, sister," and I couldn't be happier that these comedy sisters both made it all the way from improv classes in Chicago.

Naturally, Tina's acceptance speech is also excellent. Full of self-deprecating humor, topical humor, warmth, sass, and humility, it's classic Tina. I'm so glad this lady has been on my TV since 2000.

Watch the full episode. See more Mark Twain Prize.

An Open Letter to the Ladies of McKinley High

While Glee gives us great music, inspiring storylines, and excellent performances, it's becoming increasingly apparent that one of its weak spots is in the way the show handles its female characters. There are times when Glee talks a big talk about feminism in episodes like "The Power of Madonna," but on a week-to-week basis, the female characters seem to suffer from sloppy execution in the details.

So, in the interest of imparting some wisdom to the women of Glee, I give you...

AN OPEN LETTER TO THE LADIES OF MCKINLEY HIGH

I. to Rachel Berry:

Never let the haters get you down. Never let a boyfriend list reasons not to be with you when he says he loves you. Finn is not a better person than you are. Your life can be whole without a boyfriend in it. Your hopes and dreams are valid. Your self-confidence is not a flaw. Don’t sacrifice something you truly want just because it makes you unpopular. Know that you can carry the Glee club on your own, but that you don’t have to. Keep taking the high road. Hold out for a real friendship - someone who accepts you for who you are and doesn’t try to change you. You are a good person, and you deserve that.

II. to Quinn Fabray:

Wear the uniform, but don’t let the uniform wear you. Be who you want to be and don’t let anyone else tell you that you should be skinnier, or easier, or more popular. Don’t feel like you owe Puck anything. Channel your inner Sue Sylvester wisely. You don’t need to dominate anyone to feel good about yourself. Remember Beth, but don’t carry an undue burden - you did the right thing. Be nicer to Rachel. She’s been good to you, in spite of everything. Don’t rely on a boy to tell you you’re beautiful. Maybe try dating outside the football team. And choose someone who likes you, not just what you look like or what you represent.

III. to Mercedes Jones:

Girl, you are beautiful. Don’t let anyone ever tell you otherwise - not Sue Sylvester, not a boy, not anybody. Fight to sing full solos in Glee, and not just the vocal runs. Keep supporting Kurt. Be nicer to Rachel. Don’t be afraid to try out for the lead, whether it be on the Cheerios or in Rocky Horror. And if another boy tries to date you just to rehabilitate his reputation, send him packing. You deserve better. And you’re totally capable of starting a sex riot.

IV. to Tina Cohen-Chang:

Keep sharpening that righteous blade of feminism. Keep holding on to what makes you unique, and never let a boy try to change that. Good for you for dumping Artie. You deserve better. Hold onto Mike - he respects you. If Artie wants you back, don’t just think of Mike’s abs - think of how he’s treated you and if you truly like him. But don’t ever let your relationships with these boys define you. Don’t give up on your solos so easily. You’re just as deserving as Rachel or Mercedes.

V. To Santana Lopez:

Honey, do not look to Puck for examples on how to treat people. Remember that Glee Club is the best part of your day, okay? Be nicer to Rachel. Be nicer to Mercedes. Be nicer to Tina and Quinn. Don’t worry so much about image. Don’t get caught up in scheming. If Brittany makes you half as happy as she seems to, then honor that and treat her properly. You deserve unconditional love, and you’re lucky to have it in your best friend. Don’t take that for granted. You are beautiful without the boob job. Don’t let other people’s standards of beauty determine how you view yourself. And try not to swindle Breadstix out of millions of dollars.

VI. to Brittany S. Pierce:

Keep seeing the best in people. Don’t let people call you stupid or a slut. Don’t let a boy guilt you about “taking” something that he willingly gave. It’s also okay if you don’t sleep with every guy in school - it’s about quality, not quantity. Keep loving unconditionally. If Santana can’t see what’s right in front of her face, then don’t wait around for her forever. You can be your own person, and you deserve happiness with someone who recognizes how much they love you.

VII. to Emma Pillsbury:

Never let anyone tell you that you need to be “fixed.” Seek help for yourself as you see fit, on your own pace. Have sex when and with whom you want. Don’t be afraid to move forward with Carl just because Will is still a part of your work life. Look after the female students of McKinley. They need good advice, especially in the romance department. Don’t let Sue, or anyone else, intimidate you. Stand up for yourself, and what you want. Try not to over-romanticize a relationship. Love someone for who they are, not what they represent, and expect the same out of your partner.

VIII. to Shannon Beiste:

You are beautiful, period. You deserve someone who sees that, and who will love you for who you are. Never let anyone demean or dehumanize you. You are a caring woman, and don’t be afraid to show it. Demand respect from your students, and your co-workers. It’s okay to cry. And most importantly: don’t let Sue bully you. You deserve to be treated with respect. All those who refuse? Show them the door.

IX. to Sue Sylvester:

Sue, not all of us can be held to the same standards you hold yourself to. So when you’re quick to cut someone down, show a little mercy. Give your students half as much self-confidence as you have, and you’ll have imparted them a great gift. If Rod tries to date you again, tell him to take a long walk off a short pier. You deserve better than that. Don’t be so harsh with Emma. You could both learn from one another. Keep your fearlessness for truth-telling, but know when to ease up from cruelty. And, as much as it pains you to hear it: winning isn’t everything.

----------

This is seriously all I want for my Glee girls, and I want to the writers to deliver that. I'm not saying I want them to be perfect; I just want them to be real, and good examples of women on my TV.

Examining Generation, Age, and Gender Dynamics Onscreen

For reasons entirely unknown to me, I saw Morning Glory this Wednesday, its opening day. It entertained me enough, but one thing struck me in particular. It was very apparent that the centerpiece of the entire film was the dynamic between Mike Pomeroy (Harrison Ford), a curmudgeonly, seasoned news anchor, and Becky Fuller (Rachel McAdams), a spunky, over-achieving TV producer.

The focus given to this relationship was rightfully due; their push-and-pull interactions masquerading a true affection and mutual understanding were the best in the whole movie. But the dynamic's not exactly unfamiliar. Many of their characters' conversations seemed to be lifted out of 30 Rock's Jack Donaghy-Liz Lemon handbook, which of course is an homage to the Lou Grant-Mary Richards relationship of The Mary Tyler Moore Show.

The formula is simple: begin with one (1) Type A, over-achieving, PC, and/or workaholic younger woman entirely capable of conquering any obstacle in her life except in the realm of love or a social life. (It also helps if she has no filter.) Then, add her boss, one (1) well-groomed older man to act as a mentor and/or father figure, who criticizes the younger woman's ideals and by-the-book nature, and often accomplishes what she cannot with effortless ease. (It also helps if he is sometimes slightly offensive and/or misogynistic.) Let marinate in a plotline for 22, 44, or 100 minutes, and voila! The result is delicious.

Why, then? Why does this recipe work so well?

Ultimately, it boils down to the interaction between two utter and complete opposites, who actually benefit from their relationship, without any hint of romantic entanglements. Free of sex and dating, the dynamic can crackle with the friction of man vs. woman, old vs. young, veteran vs. rookie. And through all this back-and-forth can emerge a mutual respect, whether it be in the form of a father/daughter relationship, or in the case of Liz Lemon and Jack Donaghy, "work husband/uncle" and "co-worker/little brother."

Perhaps more interesting than the "why" is the "why now?" - why is this homage to Mary Tyler Moore emerging as a popular dynamic to portray on screen? In addition to the emergence of 30 Rock and Morning Glory, we saw a similar rapport between Ryan Bingham (George Clooney) and Natalie Keener (Anna Kendrick) in last year's critical darling Up in the Air.

It's perhaps easiest to answer "why now?" by examining the dynamics using the concept of the "generation gap." Movies about generation gaps are nothing new; but each one is specific to the generation of context. Now, we're starting to get movies about the Millennial Generation, as they enter adulthood. Previously, we've seen a lot of Generation X (born 1961-1981). Gen X seemed to display a certain amount of angst about interacting with society and their elders, due to growing up in the shadow of the Vietnam Conflict, economic crises, the negative swing of recreational drug use, and the rise of broken families. Gen X is casually referred to as the MTV Generation, and usually gave way to stories of youthful rebellion and dealing with feelings of isolation.

But then the Internet came along and assured young people that they're certainly not alone in their growing pains. The Internet shaped Millennials, and connected members of this new generation in a way that helped to remove some of the drama of interacting with society. We're understood! We have AIM and fan forums! Other people 'ship Draco and Hermione too! We're not alone! We don't need to crank up "Smells Like Teen Spirit" and wallow in detached solitude! Thanks, Internet!

Okay, that was a huge (but kind of necessary) aside. Let me continue, on topic.

In the case of Natalie Keener (Up in the Air) and Becky Fuller (Morning Glory), both young women are products of the Millennial Generation. Millennials, or Generation Y, are characteristically jettisoned into the workplace with an absurd amount of optimism and new ideas about the ability of technology and innovation to change an industry. Working with a Millennial Kid is probably the most annoying thing to an aging Baby Boomer or even a Gen X-er. (Especially because Millennials are freakishly proud of being Millennials. If you were born between 1982-1995, you are a Millennial; and if you said "HELL YES I AM!" when you read that, then you just proved my point. Still, high five!)

We saw a Millennial-Baby Boomer dynamic a few years back in the Dennis Quaid-Topher Grace 2004 movie In Good Company. That part was interesting enough. But, replace Topher Grace's character with a woman, and you're golden (and more aligned with the topic of this entry). Millennial Feminism is a different breed than Boomer Feminism. Boomer Feminism struggled for equality and the eradication of discrimination. There was a lot of bra burning. But Millennial Feminism has moved forward, and is tackling the power of choice and the female "image." We're now operating on the basic established concept that Boomer Feminists fought for: that a woman is equipped with all the same workplace ability as a man and should therefore be treated no differently than a man.

Liz Lemon and Mary Richards, being embedded as a Boomer and a Gen X-er, bridge all the traits of Boomer Feminism and Millennial Feminism. It's even perhaps because of Mary's influence that Millennial Feminism even happened, and Liz's contributions that Millennial Feminism is reinforced. (I can't be the only one who watches 30 Rock every Thursday night and wonders if Liz Lemon is my spirit animal, can I?)

However, the world is still adjusting to the concepts put forth by Boomer Feminism (really, World?) and the Boomer Bosses in Lou Grant, Jack Donaghy, Mike Pomeroy, and Ryan Bingham like to poke holes in the idealism of their younger co-workers. Mary, Liz, Becky, and Natalie still have a lot to learn, despite their college educations and stringent ideals about the corporate world.

Of course, the most genius part of it all is the classic "we're not so different after all!" wherein the two parties realize they understand one another far more than they originally thought. The Liz Lemons realize they've come to rely on the advice of the Jack Donaghys, and the Ryan Binghams discover they've learned a lesson from the Natalie Keeners. Then you get a relationship something like a bittersweet chocolate - yes, they fight, but there's a real respect there. Even better than that, neither character (or generation) is 100% right or 100% wrong. Their relationship is a discussion, not a statement. And that's just the classic hallmark of good storytelling.

In short, the best movies strive to reflect the current sociology through cultural examination. And what better way to tap into the zeitgeist by creating two opposing characters who have been shaped by their differing environments, and then forcing them to play nice?

The reason the Mary Richards-Lou Grant dynamic is interesting again is that it has found new relevance. It is feminism effectively applied to the delicate overlap in which Boomers and Millennials are interacting in the workplace, and results in fascinating and relevant conflicts. Perhaps no two generations are ripe for squabble like Boomers and Millennials, and those creative Hollywood types are wise to capitalize on that. And no one ever gets tired of a man and a woman arguing - as fans of EVERY SITCOM EVER can attest.

I have to say, it's really one of the closest things to storytelling perfection these days. In each of the four works discussed, that particular character dynamic is easily the show-stealer. And if you were to change any little detail, it just throws the relationships completely off-balance. What if the woman were the boss? What if they were the same gender? What if they were similar ages, or from similar backgrounds? What if feminism were not even on the table? Or the worst - what if you introduced sex into the mix? Well, then you're - well, you're screwed. The whole thing would just be ruined, and Mary Richards would want a word. Sorry, Jack/Liz shippers!

Phew. Thanks for reading, nerds! If you made to this point, I salute you. You have spunk, and I love spunk.

Glee Character Approval Ratings, part deux

Alright, gang. My somewhat arbitrary character approval ratings are back, updated for "Duets," "Rocky Horror Glee Show," and "Never Been Kissed."

We're really seeing some breaks out of the pack! Kurt, Brittany, and Quinn have separated themselves nicely, and Rachel, Finn, and Will are pulling themselves out of the negatives. Puck, Sue, Santana, and Sam have dipped a bit in recent weeks.

Check it out, math nerds! Who doesn't love a good graph?

The RBI Report: "Never Been Kissed"

I won't lie, as soon as I saw the crazy dramatic promos for this episode, I got worried. Anytime Glee drifts into "very special episode" territory, I brace myself for maximum Liz Lemon eyerolls and feeling terrible for being such a cynic. I was already preparing my disclaimer for the RBI Report, prepping myself to talk about the differences between concept and execution, and warning Glee against the perils of getting preachy about bullying when all of their characters have been bullies at some point in the show's timeline.

But then, something miraculous happened. To the RBI Report, shall we?

"Never Been Kissed," written by Brad Falchuk, directed by Bradley Buecker.

What's interesting about this episode is that it was directed by Bradley Buecker, Glee's editor! Okay, so it's interesting to me. Seriously, I've heard it said that editors make good directors. Editing is the last stop on telling a story before it's finalized, so editors need to know their stuff when it comes to communicating the story to the audience.

As such, I think Buecker did a stand-up job. With Brad Falchuk's solid writing behind him, he was able to steer the episode away from being saccharine and heavy-handed and instead portrayed the conflicts compellingly and the characters honestly. Because of it, I did not roll my eyes once! This is what happens when Ryan Murphy is not allowed near the execution of an episode.

There were a lot of sensitive issues touched on in "Never Been Kissed," mainly concerning Coach Beiste and Kurt. Both storylines were handled brilliantly. Seriously, major kudos to the show for the inclusion of Coach Beiste's character. Here is a 40-year-old woman who does not fit the "normal" standards of beauty, isn't gay, and is heartbroken over having never been kissed. It's easy to portray someone like this as pitiable, but instead she was truly empathetic. How could anyone not feel for the lady? (Though I must protest and say that, yes, women like to know they are respected. I get where Coach was coming from, but the line made me raise an eyebrow. Quibbling, party of one!)

And guess what? Responsible and Mature Adult, Will Schuester, was back in this episode! I rather loved his interactions with Coach Beiste. He treated her with respect and compassion, and it was lovely to see. Yes, he kissed her, which is definitely sparking debate amongst fans. But I appreciated it. They made it clear that it wasn't a pity kiss, but rather the seal on a bond that I find to be good for both characters. Coach Beiste didn't seem to mind, so I don't mind. I approve, and want to see them become good friends.

Kurt; oh, Kurt. He really did take a bruising in this episode, and it breaks my heart that his first gay kiss was with someone who not only torments him, but who also has issues to work out. Karofsky's abuse is inexcusable, but him kissing Kurt certainly adds an unexpected new dimension to his character. And I must applaud Brad Falchuk for not resolving it with a tearful coming out or Karofsky even acknowledging what happened. Karofsky is clearly not ready to confront the issues, and unfortunately, that's how life is sometimes. Things don't always get wrapped up nicely with a big bow on it. The Glee Club doesn't always sing to you about acceptance at the finish of every episode.

It may seem like no progress was made, with Kurt still being bullied at the end of NBK, but I think it was made clear that a glimmer of hope exists for Kurt Hummel, and that glimmer is Blaine. The reaction shots of Kurt watching Dalton Academy sing "Teenage Dream" made it abundantly clear that he wasn't just watching a performance, or even a cute guy. He was getting a glimpse into what his life could be like. Seeing him with tears in his eyes, smiling bigger than he ever had before was so much more rewarding than any big dramatic actions or a heavy-handed monologue. Bradley Buecker knows: it's all in the reaction shots, especially when it's the beautifully expressive face of Chris Colfer.

The third storyline in this episode belonged to none other than Noah Puckerman, fresh out of juvie. I think it was an interesting choice to include a Puck storyline in an episode about bullying, because it's confronting the harsh truth that Puck, much as we love him sometimes, is a bully. All of the characters have been bullies at one point or another, but Puck is the most consistent with his insistence on being a "badass."

Rightfully so, the writing didn't favor Puck in "Never Been Kissed," and I applaud that. The fact that Puck has been a bully shouldn't be dusted under the rug to make a statement. He was truly offensive for most of the episode, and no one can blame Quinn for sarcastically remarking that Puck was "a catch." What upsets me is that Santana clearly likes Puck because he's a bully, idolizing him for his boastful stories of kicking ass in juvie. I wish she would get straightened out on this falsehood (don't giggle over my word choice!), because Puck, in this incarnation, is a jackass. I like that at least Quinn doesn't put up with his crap, and apparently, neither does Artie.

The Artie/Puck team seems to be mutually beneficial. Lately, Artie has himself been flirting with some asshole behavior, and it at least makes sense that he could connect to Puck on some level. Maybe they'll be good for each other, and shape up before trying to get Tina and Quinn back, respectively. Because right now? Puck and Artie do not deserve those relationships. At the very least, Puck had his own run-in with bullies - they stole his waffles! - and has hopefully discovered once and for all that he wants to stop being such a jerk. I'm hoping against hope that this is the start of some great character development and not just another false start on the Glee character carousel.

This review is quickly getting to be mammoth-sized, but I do want to give a little round of applause for some excellent continuity! Glee successfully remembered that Will and Beiste have an established trust, that Quinn is a prude (but conveniently forgot that Rachel isn't), that Sue wanted confetti cannons with Beiste's budget, that Artie and Brittany had a brief relationship, that Puck went to juvie, and that Kurt wanted to perform with the girls mashup last year. I choose to ignore the ignoring of Santana and Brittany's obvious all-consuming love (shipper alert!) and instead focus on the other successes. Bravo!

Ultimately, I think this was a solidly executed episode. The important messages were communicated, from start to finish. Kurt had courage, stood up for himself, and cemented a bond that gives him hope, and reinforces to him that he is truly not alone. The grievances against Coach Beiste were addressed sensitively and apologized for. Puck wasn't rewarded for his delinquent behavior. Lessons were learned, but no one was preached to. All in all, I was very pleased. My crush on Brad Falchuk is back, with a vengeance!

I leave you with these choice words from the episode that stuck with me. No matter if you are Kurt Hummel, Shannon Beiste, or Noah Puckerman: Refuse to be the victim. Prejudice is just ignorance. And most importantly - free your mind, and the rest will stop. (Seriously, whoever thought to mash up those lyrics into that sentiment is just a genius.)

The RBI Report Card...
Musical Numbers: A
Dance Numbers: A
Dialogue: A+
Plot: A+
Schuester: A+
Episode MVP: Shannon Beiste, with honorable mention to Kurt Hummel and Will Schuester

Glee's Most Versatile Performer: Kevin McHale

I recently decided that I could be a huge dork and award superlatives to Glee cast members like you do in real high school. I put some thought into which actor would get "funniest," or "best dressed," but really, those superlatives are stupid because we could argue for days.

The only "superlative" that I'm really interested in giving (today, at least) is that of Most Versatile Performer - the cast member who's fielded the most variety in song and dance and done so with excellent results. We're not talking acting, or line deliveries, or number of solos - we're talking musical performance versatility.

I'm going to go ahead and say it's Kevin McHale.

Vocally, he's tackled the likes of Ike Turner, Jay-Z, Travie McCoy, Bill Withers, John Lennon, Usher, Billy Idol, MC Hammer, Doris Day, Men Without Hats, and Britney Spears. (In case you weren't sure, that's 80s pop, 90s rap, contemporary rap, female 90s pop, female 50s jazz, 70s roots rock, 70s soft rock, 70s soul, and R&B.)

Vocal versatility? Check. How 'bout dance? Well, Kevin performs all of the choreography in Artie's wheelchair, with the notable exception of "Safety Dance," where he actually gets up and proves that he can dance damn well without it. I'd say that's a check for dance versatility. Instrumentally, he's played the guitar on several occasions, and handled the vocoder on "It's My Life/Confessions Pt II." To boot, he's the boys' go-to rapper, the male counterpart to most of Amber's Season 1 leads, and a damn fine soloist within his own right.

That's all the evidence I need, really. The only thing he's really lacking is the showtune element, if you're not counting the smidge of "Sit Down You're Rocking the Boat" from the pilot. The showtunes tend to go to Kurt and Rachel, and I'm fine with that.

Yes, you could argue that Lea Michele has shown enormous vocal range with Barbra Streisand, the All-American Rejects, Rihanna, and Bonnie Tyler. Or that Cory Monteith and Mark Salling have played the drums and guitar, respectively, and rapped just as much as Kevin has. Or that Chris Colfer has sung as many female leads as male. Valid points, all. (Frankly, I think the best case could be made for the rapping, ballading, ukelele-playing and break-dancing talents of Matt Morrison as Mr. Schuester.)

But I'm going to stick with Kevin for my made-up honor. I think it's well-deserved. Plus, I already made the graphic.

Daylight Savings: The Couch Potato's Side Effects

Last night, the entire United States - excluding Hawaii and Arizona - shifted their clocks back one hour to accomodate Daylight Savings Time.

I admit; I don't know much about the why or wherefore, I just generally do what I'm told when it's to do with everyone else in the nation essentially re-synchronizing their watches. Sure, it's annoying getting hungry one hour earlier, and it's disorienting to have it be daylight when I wake up again, but why fight it? It's pointless.

I discovered, though, the worst side effect of Daylight Savings. And by "worst," I mean "the one that demonstrates to me just how addicted I am to pop culture."

Tonight, as it started to get dark, I thought, "I'm hungry! I shall eat." And so I did - a weird microwave burrito which sounded very promising and turned out not to be. Not the point.

Then, when I was done, I noticed that it was suitably dark outside, and my body seemed to say, "Aha! It's time to sit on the couch and watch Dancing with the Stars!"

Except I looked at the clock and it was only 6:24. I drew two conclusions from this information:

1. Dancing with the Stars is not on for another hour and thirty-six minutes. Sigh.

and,

2. My circadian rhythms are adjusted to give me instincts about television programming.

The latter is truly disturbing. But not disturbing enough to actually make me stop indulging in TV. So don't worry, Glee; I haven't canceled our date tomorrow night. Even if you are showing up a full hour later than anticipated.

Really Awesome Covers: An Addendum

Yesterday I posted a 10 Things: Really Awesome Covers, and frankly, 10 wasn't enough. Turns out Billboard.com has its own series of artists covers, and some of them are also Really Awesome. So, here's the two extra dabs of icing on the cake. Happy listening!

XI
Florence + The Machine covers Mario Winan's "I Don't Wanna Know"


XII
Sara Bareilles covers Beyonce's "Single Ladies"

10 Things: Awesome Covers

Music Appreciation Week continues, with a 10 Things: Awesome Covers. I picked most of them for being unexpected or unusual reinterpretations of contemporary songs. They're certainly not a 10 Best, but they're still Pretty Damn Great. Let's count!

X
Gaslight Anthem covers Kelly Clarkson's "I Do Not Hook Up"


IX
The Script covers Eminem's "Lose Yourself"


VIII
Katy Perry covers Sam Sparro's "Black and Gold"


VII
Lily Allen covers Britney Spears' "Womanizer"


VI
The Fray covers Kanye West's "Heartless"


V
Eliza Lumley covers Radiohead's "Black Star"


IV
Glen Hansard covers Britney Spears' "Everytime"


III
Lady Gaga covers Coldplay's "Viva La Vida"


II
Florence + the Machine cover Beyonce's "Halo"


I
Mandy Moore covers Rihanna's "Umbrella"

"Voices," and the Music Industry

Music Week continues with some pondering...

I am not a music snob - which is a valid explanation for the fact that I own three Kelly Clarkson CDs. And I fully support the opinion that Kelly Clarkson is awesome - because she is. Girl is crazy talented, humble, and has a voice for days. Every so often I just frolic around YouTube revisiting her performances from American Idol.

And that's when it struck me. As much as I appreciate Kelly Clarkson's genre niche in her career, I really love her voice more than I love her music. It's not that I don't love her girl-power anthemic pop-rock; it's great. But when she was on AI, she tackled the likes of Motown and Big Band, and she absolutely killed it. What I wouldn't give for her to release a CD of those genres!

But the sad truth is that it'll probably never happen. It's not that I don't think Kelly won't return to her "Idol" roots. It's just that it probably wouldn't sell, and the people who greenlight such projects completely know this.

You can't just be a "Voice" anymore in today's music industry. It used to be that you didn't have to write your own songs. Sondheim and Bacharach and Berlin took care of it for you, and all you had to do was sing "The Standards." A song started with one artist, and then circled through several others' reinterpretations. It was no big deal. Barbra Streisand recorded countless albums that were just, "Barbra Streisand sings the hits of Broadway!" and nobody batted an eye.

But somewhere along the way - perhaps with the invention of karaoke or the Internet or the reality show - it just wasn't good enough to be a "Voice." Popular music, when penned by someone other than than its singer, began to be seen as inauthentic. Your songs had to be your music. Look at Taylor Swift - does she have the strongest voice in the music industry? No, but she has the strongest point of view. Homegirl can write and deliver a song like no other, and it's perfect for what audiences want these days. Even on American Idol, a singing competition, it's ill-advised that contestants should simply sing - they have to show up and play the piano or the guitar, and restructure the classics so that they can prove their "artistry," and don't just look like they're doing karaoke. (Not to mention, they need to be marketable. Sorry, Melinda Doolittle!)

It's a strange phenomenon, and it's certainly not necessarily a bad thing. Musical artistry is important, and if you do indeed have the talent to craft lyrics and melody and make them appeal to people, then by all means, take it to the bank. But we've somehow lost the ability to appreciate the vocal artistry. Perhaps with half of YouTube weighed down with people singing into their webcams, we've become disenchanted with it all.

But I'd like to see it swing back the other way, at least a little bit. And perhaps with Glee covering songs from Bacharach to Jay-Z, we're already a step in the right direction. But then again, I hear time and time again that Glee is "ruining" the songs they choose to cover, so maybe not. Frankly, the idea of an artist "ruining" a song is just preposterous. Covers are simply reinterpretations. Some don't measure up, but many do. And again, may I remind all of humankind that what is simply different is not necessarily bad.

So, I guess I'll continue to support the Josh Grobans and Michael Bubles for singing the old standards, and hope for the Kelly Clarksons and Lea Micheles to one day follow suit, even if the CD sales are less than stellar. Because I'm fairly certain they can sing almost anything - and they should show off their voices. There are people out there who will appreciate it.