This morning, as we were drinking our coffee and trying to come online for the day, TLOML asked me whether “all of Facebook is in an uproar over the wrong guy winning American Idol.”
My response? “It seems they are. Apparently, (Cue me talking in my very bestest Dewey Cox’s dad voice) the wrong guy won; the other guy had more talent. It apparently has two levels of unfairness. The story goes that the winner guy is a ‘teeny bopper’, whatever that is—I thought they all died in Fifties plan crashes—but it’s okay because the other guy will have more artistic control over his career. (switch to weird, Don Pardo-esque emcee voice) So eff you American Idol. Other guy is coming at you. Chris Daughtry-style. (Return to smug, bored, pseudo-intellectual voice. You know, my normal tone…) The second level of unfairness is that, apparently, it was some sort of conservative backlash by this damned country because America just wasn’t ready for an openly gay idol.”
TLOML: (with all the deadpan sarcasm he can muster this early in the morning)“That’s right. America doesn’t have many openly gay entertainers.”
I continue, “also, apparently they dug out all the octogenerian rock stars they could find. The non-dead members of Queen, Rod Stewart and that bizarre tartan tuxedo he’s taken to wearing, even AC/DC. So that should be helpful for young singers.”
We can’t sustain our eyerolling, coffee-drinking and discussing all at the same time, so we let it drop.
This story has two morals, really. The first is that it should really come as no surprise to anyone that my fiancĂ© and I have trouble making friends because we’re more than a little aggressive in our smug obnoxiousness. The second, which is more my point, is that American Idol and its slick, easily-produced talent show brethren are, sadly, here to stay. I may not watch them, but I certainly can’t escape them. AI has eaten into our collective consciousness over its roughly ten thousand seasons. Some artists have mercifully gone away, like noted Silver Fox Taylor Hicks, while others keep beating their insidious garbage into our skulls like mind-control torture tactics. I dare you to walk through the touristy end of downtown Nashville at any time during the day or night; the “public entertainment” speaker in front of the awesome Mexican restaurant at 2nd & Broadway plays that one Carrie Underwood song on a 24-hour loop. Don’t even act like you don’t know the one. “AAAhhhh …tuk a Leweyville Slugger to both Heydlihhhhts”….or whatevs. My point? American Idol is, at its root, nothing but a stupid karaoke contest and a popularity contest. That’s okay, because in a lot of ways, so is life.
I’ll admit I’ve watched some episodes of American Idol. TLOML and I consider it as important to stay abreast of cultural zeitgeists as politics and world events. And, I really, really like the cattle call episodes at the beginning of each season—the ones in which people make utter fools of themselves by voluntarily discarding any of the dignity or self-awareness that their mamas tried to instill in them. That is funny stuff. However, once they get to Hollywood, I’m out the door. The singers, as a general rule, sound awful. And the judges’ antics are one-note jokes that grow tiresome almost immediately.
In case you aren’t one of Idol’s 500 trillion viewers (you lucky, lucky bastard), here is the general premise: unknown 17-29 year-old singers audition for the opportunity to humiliate themselves in a nationally televised forum. The winner lands a record contract. Along the way, the contestants are subjected to the critique of a panel of “celebrity” judges: a dude who maybe sort of played bass for Journey and who tells every contestant “that was a little pitchy, dog”, a caustic record-producing Brit with a penchant for displaying his pecs in the tightest t-shirts since Farrah Fawcett’s retirement, and Laker Girl, singer and choreographer Paula Abdul, who clearly realized that her professional zenith was reached with such awe-inspiring videos as “Rush, Rush” and “Opposites Attract” and has decided to go gently into that dark night with the help of many, many prescription drugs. The hopefuls sing songs that have been pre-selected every week – both to fit into the week’s “theme” and to ensure that the show has cleared the song’s rights before airtime. So, we are treated to such groundbreaking vocal treatments as a 17 year-old tattooed straightedge chick, who has never left Arkansas, singing Happy Xmas (War is Over) with no indication that she knows which war it references. After her performance, she is subjected to a review by the judges. The Journey dude, Randy, will tell her “dog, that was a little pitchy.” Paula will say “sweeeeetttharrrttt… that was soooo beautiful”, then slip into a Vicodin coma worthy of Dr. House. The British dude, Simon, will rip her to shreds, tell her that she should go home and work at the Wal-Mart, and smirk. (I think there’s a fourth judge this season, brought in to ultimately hasten Paula’s exit.) Then America votes, via phone. Anybody with telephone access can call as many times as they like and vote for as many people as they like. It’s like all of America is electing a Homecoming Queen.
I’ll let you stop and ruminate on the fact that this show was ever greenlighted, let alone viewed.
Then I’ll remind you that it’s one of the most popular shows in America.
I think it’s safe to assume that Idol is never going to revolutionize American pop music. However, as I watch the Twitter and Facebook feeds go nuts as people cheer for their most-favoritist Idol, I realize that Idol is a lot like life. It’s a big karaoke contest and the popular kids win.
Every week, Idol has some sort of theme. Every single contestant must sing songs from the theme/genre/artist presented; they are even presented with celebrity mentors who “guide” the participants through the song selection. So, the truck-driving cowboy singer might have to sing from the Carole King songbook, while Carole herself looks on in abject horror. Or the gay goth kid may have to sing Willie Nelson. And it’s single-elimination, so one bad week and you’re gone. (Apparently, this season incorporated some sort of “save” by the judges, to be used once in extreme emergency). Basically, we are being told that these fledgling singers’ professional success or failure hinges on their one shot to sing just like a professional recording artist. I often imagine my very favorite artists attempting to succeed in this format: Amy Winehouse on Beatles night, turning Imagine into a seedy torch song? Lyle Lovett or Lucinda Williams getting advice from the members of ABBA on how to nail a disco sound? Nickelback giving Bob Dylan some pointers on how to sing the ultimate pop song?The Killers’ Brandon Flowers paired with Burt Bacharach to reinvent the perfect show tune? Yeah, no.
American Idol neither fosters creativity nor individuality. The voting public wants to hear a spot-on imitation of a song they know and love. Two of the most popular Idol participants, who seemed utterly devoid of any discernable talent, were the Luther Vandross guy and the Michael McDonald guy. They did nothing but imitate, note for note. And America loved it. Now, I don’t blame all of this on the show itself. This is a normal response. The show is predicated upon the audience’s vote. The audience needs a normative rubric on which to judge the competitors. This rubric only makes sense to be the original version of the song being performed. By this logic, of course, Johnny Cash would be voted off the show for his brilliant cover of Nine Inch Nails’ Hurt, but let’s focus on the greater good. American Idol is about repetition and reproduction.
Now, it seems absurd that a creative medium like singing could be reduced to such a formulaic, two-dimensional standard. But look at any of the great historical music factories – Motown producers created performers in their own images, while Phil Spector hid everyone behind his storied Wall of Sound. The artists were often subjected to very little creative control or even input about their own voices. In our own, far more banal lives (at least I hope none of us work for egomaniacal, gun-wielding, giant Jewfro-sporting control freaks…), we are subjected to mindnumbingly prosaic and repetitive tasks. Trial lawyers don’t pull out Perry Mason-esque surprises in their closing arguments like they do on TV, nor do they even ask original questions of their potential jurors. Rather, they adhere to a very controlled, very specific set of proscribed rules and forms. Or else. When I was working in sales, I advised clients on the use of sophisticated research software. Although I held a graduate degree in deciphering the software’s algorithms and optimizing its use, my performance was evaluated on my capacity to repeat the same loop of four questions – tapering down in specificity to eventually end in a yes or no. We are all performing professional karaoke, to some extent. Somehow, John Grisham keeps landing on the Times’ Best Seller List with the same damn book every few months. It must be what the people want.
American Idol competitors, it seems, give the people what they want. The viewers fall in love not only with the singers’ talent, but with their personalities and their backstories. The harder they’ve had to work, or the more they seem to want victory, the more vehement their supporters. There were even legions of die-hard Clay Aiken fans, which, while freakish and inexplicable, demonstrates the triumph of charisma over talent in Idol voting. In our own lives, we see many Clays—the guy who isn’t that talented, but who always gets the promotion, the success, the credit for a job well-done (even if his own contribution was mediocre), simply because people find him charming. The rest of us may have the skills and the work ethic, but we don’t have that indefinable quality that guarantees our position at the top. And the Clays do.
Maybe there is something to this stupid karaoke show, after all...