“You Suck” and Other Passive-Aggressive Jams

15 12 2014

As much as look forward to new releases and awards season, moments of triumph and honor for my favorite stars… I am completely guilty of enjoying their personal and professional lows just as well. I consume pop culture and celebrity news each waking hour of my day; absorbing the good, the bad, and the ugly indiscriminately.
Sorry not sorry but the silly, weak, thinly veiled instances where they lash out at each other are just as satisfying as when a cast lauds each other and their project, because it reminds me that they’re still just people! The following list of songs are some of the more passive-aggressive tunes in recent memory; they basically exist because the celebs in question have issues to address & feelings to express, but they pretend their privacy is so valuable that they can’t just come out with it about a given feud.

Inspired by Abigail Breslin’s recently released song “You Suck” which is a not so stealth attack on former flame, Michael Clifford, of 5SOS ‘fame,’  here’s a little list of my favorite passive-aggressive musical moments! An angry tweet can entertain us for days, but an ambiguously targeted lyric can spark fodder for a career (Carly, Alanis — I’m looking at you!).

 

10 – 7. Gwen Stefani, “Hollaback Girl” – Trent Reznor/NIN, “Starfuckers, Inc” – Stone Temple Pilots, “Too Cool Queenie” – Foo Fighters, “I’ll Stick Around
Target: 
Issue: General bitchery and fame grubbing
Most scathing lyric: [STP] “There was this boy / He played in a rock-n-roll band / And he wasn’t half-bad, At saving the world / She said he could do no right / So he took his life / His story is true…  It’s ok cause what goes around, comes around / It’s all right cause what goes around, comes around”

 

6. Rihanna, “Cold Case Love
Target: 
Issue: On-going Physical & Emotional Abuse
Most scathing lyric: “But your love ain’t the kind you can keep / Release me now cause I did my time / Of this cold case love / My heart’s no longer cold & confined / I’ve had enough”

 

5. Jonas Brothers, “Much Better
Target: 
Issue: Less than amicable break-up
Most scathing lyric: Get a rep for breakin’ hearts / Now I’m done with superstars / And all the tears on her guitar / I’m not bitter / Now I see everything I’d ever need / Is the girl in front of me / She’s much better”

 

4. Katy Perry, “Circle the Drain
Target: 
Issue: Addiction
Most scathing lyric: “Wanna be your lover, not your fucking mother / Can’t be your savior, I don’t have the power / I’m not gonna stay and watch you circle the drain”

 

3. Justin Timberlake, “Cry Me A River
Target: 
Issue: Infidelity
Most scathing lyric: “You don’t have to say, what you did / I already know, I found out from him / Now there’s just no chance, for you and me, there’ll never be / And don’t it make you sad about it”

 

2. Selena Gomez, “The Heart Wants What It Wants
Target:
Issue: General Douchebaggery & Insensitivity
Most scathing lyric: 
“You got me scattered in pieces, Shining like stars and screaming / Lighting me up like Venus, But then you disappear and make me wait / And every second’s like torture, Hell over trip, no more so / Finding a way to let go, Baby baby no I can’t escape”

 

1. Taylor Swift, “Dear John
Target: 
Issue: 
General Douchebaggery & Game Playing
Most scathing lyric: “You are an expert at ‘Sorry,’ And keeping lines blurry / Never impressed by me acing your tests / All the girls that you’ve run dry have tired lifeless eyes, Cause you’ve burned them out / But I took your matches, Before fire could catch me, So don’t look now / I’m shining like fireworks, Over your sad empty town”

 

 





I Wished for this on New Years Eve…

24 01 2014

… As Miley Cyrus idiotically rang in 2014 with Ryan Seacrest, and as Dick Clark no doubt turned over in his grave, I told my family I wanted but two things to happen this year:
1. I want Miley to go away. Girlfriend is twerking all over my last nerve!
2. I want a cure for Bieber Fever. This kid is such a tool (who hasn’t EVER had a #1 single in the US)!

J. Bieber Mugshot, via Miami PD Twitter

J. Bieber Mugshot, via Miami PD Twitter

So as I started my day (1/23), with usual still bleary-eyed readings of People and TMZ to get my pop culture juices flowin’, I was filled with joy at the headlines about Justin Bieber’s early morning arrest in Miami, FL.
Do I wish him harm? Of course not. He is incredibly lucky he has a huge team around to cater to his every whim and block off public streets for drunken drag racing. He’s also damn lucky no one was injured or killed, as he did have a passenger in the obnoxious yellow Lambo.
I do wish someone would teach this fucking moron man-child a thing or two about responsibility. It’s obvious his parents are not capable of influencing him in a positive or constructive way (Mom, Dad; let the finger-pointing begin). You can’t help someone who doesn’t want to be helped, someone who just won’t take your advice that waving to fans as you are released from jail is tacky… Especially if that someone is your teenaged child, who makes more in one month than you could in a lifetime.

This is a 19-year-old KID who has more money than he can actually fathom what to do with, and millions of fans who hang on his every tweet, affirming all of his poor behavior with empty pledges of “love” and praise. Under normal circumstances, the Biebs would be just another college kid. And college kids make mistakes. The difference here is, the whole world is watching him– and because he takes their money for iTunes singles, stupid flashy merchandise, and concert tickets– he is accountable to that audience. He has to play the part of squeaky-clean, hormonally-neutral, parent-approved teeny bopper. That is literally what he signed up for.

Justin Bieber: Professional DBag.

Justin Bieber: Professional DBag.

The Biebs is just the latest example of a child star gone off the rails. Historically, a family background of addiction, generational criminality or domestic abuse, and disadvantaged economic status are common among child performers. Such factors are present in the Bieber background, having been not only acknowledged, but openly discussed for [further] profit, by Bieber’s mother, Pattie Mallette.
As the adorable-now-sophisticated Mara Wilson, former child star (Matilda, One Simple Wish, Mrs. Doubtfire), explained in a spring 2013 article for Cracked.com, ‘many child stars find themselves wanting to rebel in ways that would be detrimental to their careers.’ Some stay in line, and end up miserable,’ having been pushed into acting as a means of supporting their families.’ Others are presented with inappropriate opportunities or set up for exploitation, given the ‘adult nature of Hollywood that sometimes prevents even the best parents from being able to protect their child from the industry.’
Joke as we will, but with too much money, nothin’ but time, and nobody to say ‘no,’ there are a finite number of conclusions to the career (and life, if he keeps this up) of Justin Drew Bieber. Here’s a little list for you, with other child stars individuals to consider, as we think about what’s going to be Team Bieber’s next move…

*Best Case Scenarios:
Drew Barrymore
Demi Lovato

*Desperate Obscurity:
Dustin Diamond
Erin Moran

*Worst Case Scenarios:
Mackenzie Phillips
Brad Renfro





Grammy Breakdown (FULL)

14 02 2012

In Brief:  3.5 hours, 17 performances, 9 awards.  6 Whitney comments, 2 Whitney clips, 1 Whitney song tribute.

The 54th Annual Grammy Awards aired last night on CBS, hosted by musician/actor LL Cool J.  He did little more than introduce the presenters.

Fan favorite Bruce Springsteen, accompanied by the E Street Band, opened with “We Take Care of Our Own.”  They played tight, it was a good note to begin the show on…   Well, it was until LL Cool J brought everybody back down by immediately starting in about Whitney Houston.

The second performance of the night was nominee Bruno Mars and his Doo-Wop Hooligans.  The best part of his appearance was when he said for everyone “to get off your rich asses!”
The Grammys are known as the informal awards show of the season, anything can happen. Mars is quickly making a name for himself as an innovative and exciting artist, but this performance was predictable! The flashing lights, kitchy gold outfits and throwback choreography will not land the hooligans on top of any memorable lists for this year.

Alicia Keys and Bonnie Raitt — an interesting duo — shared the stage briefly to pay tribute to two fallen female icons, Etta James & Whitney Houston, with a rendition of “Sunday Kind of Love.”  The pair lead in to the first award of the night: Best Pop Solo, which ultimately went to Adele for “Someone Like You,” her second smash single off 21. The other contenders for this category included Lady Gaga for “You and I,” Bruno Mars for the uber popular “Grenade,” Katy Perry for “Firework,” and P!NK, who was not in attendance, for “F**kin’ Perfect.”

Chris Brown took the stage for the fourth performance of the evening, if you can call it that.  The beleagured wannabe-Michael Jackson was TOTALLY LIPSYNCHING.   My brother (14) was watching with me, and as soon as Brown was introduced he said, “Oh, the Beater.”  No doubt similar sentiments echoed from homes across the viewing nation.

Fergie, who was dressed in one of her tackiest ensembles yet,  took the stage with an underenthused Marc Anthony to present the second trophy of the night, for Best Rap Album.
I can’t believe I’m saying this but, luckily the award went to Kanye West for My Beautiful Dark Twisted Fantasy, and he was not in attendance. Therefore we were not subjected to an idiotic acceptance speech riddled with reminders of his self-assured genius and the gift that it is for us to get to listen to him.

 

One of the highlights of the evening, for me, came in the form of Kelly Clarkson and Jason Aldean reprising their duet single “Don’t You Wanna Stay.”  Aldean always wears a hat that covers half his faaaace! Clarkson was dressed well in a black Grecian gown, accented with sparkly bondage straps.  These two have sung together several times now, and it only gets better!

Then… the moment my brother and I had been waiting for!
THE FOOOOOOOO ❤
Jack Black rambled on about indie cred, how often it’s lost by attending/being honored at the Grammys, and something about the artistry being stolen at the door only to be “sold out back to Bon Iver.”
Under a cloudy LA evening, the tent outside the Staples Center was packed with people eager to have their faces rocked off, something the Foo Fighters always deliver on.  They played “Walk” off thier latest record, Wasting Light.

The second pairing of the night came in the form of a three-song medley from Rihanna and Coldplay.  Rihanna opened with “We Found Love,” surrounded by about two dozen dancers in various levels of undress. Then Chris Martin appeared, and the two sang their duet “Princess of China,”  before Martin finally broke off with the rest of his London mates for “Paradise.”

The third golden gramophone of the night went to the Foo Fighters for “Walk.”  Frontman and founder Dave Grohl gave the speech for their Best Rock Performance win; he was well spoken and topically appropriate. That’s so important– and obviously it was appreciated by the crowd because he got a standing ovation!

The only appearance talked about as much as, but not more than, Adele’s comeback was the 50 Year Reunion of the Beach Boys– which also featured Maroon 5 and Foster the People.  It was low energy and failed to evoke any rich feeling of nostalgia due to the steady 20-something average age of the noms.  Additionally, the remaining Beach Boys who appeared were dressed for BINGO, not a CELEBRATION.

16-time Grammy recipient Stevie Wonder introduced another oldie-but-goodie performer: Sir Paul McCartney. Accompanying the former Beatle on his new single “My Valentine” was legendary Eagles guitarist Joe Walsh (upon seeing whom my brother squealed like a 10-year-old girl does at Justin Bieber) and pianist Diana Krall.

The fourth and arguably most controversial award of the night, for Best R&B Album, went to Chris Brown.
Up against R. Kelly, El DeBarge, Ledisi and Kelly Price, the kid we sometimes hate to love but always love to hate feigned graciousness and stumbled through his thank-yous.
Personally, I deleted any songs of his I had the day news broke of his violence toward then-girlfriend Rihanna… which was two years ago almost to the day of this ceremony. I think it is BULLSHIT that the Recording Academy or the voting audience award this spoiled petulant child with ANYTHING. He has done less than nothing to make strides to redeem himself. He constantly seeks attention in negative ways and refuses to publically take any formal responsibility for what he did.   If I were Neil Portnow, I would have banned him for life.

The tenth performer of the night was usual award show darling, Miss Taylor Swift. She sang “Mean” off her hugely successful Speak Now album.  (The single that won praise in the Best Country Solo* and Best Country Song categories.)
I love her, she is a brilliant lyricist, but I am a little tired of her for two reasons; 1) OMG. If you’ve always wanted to be a country star, DO NOT try to manipulate the markets and release TWO versions of your songs. If you’re good enough to crossover, you will! Shania and Faith never did thaaaat;  2) When you finish singing and everyone stands up to clap, wipe that stupid doe-y surprised look off your face! Staying humble is one thing, and good for you for knowing how lucky  you are… but after all the money and attention and awards, you know we like you. Say “thanks” and wave like everyone else who’s happy to be there.

*This arguably should have gone to Carrie Underwood for “Mama’s Song” which was a stunningly beautiful track.

One of the biggies, Song of the Year, was awarded next, and went to Adele! “Rolling In The Deep” was everywhere this year, and she was genuinely moved by the response to it.  When you can tell the artist is really grateful, it makes it all the more fun to watch. I never liked seeing someone who thought they deserved to win something, win it.

A blue-haired Katy Perry broke it down with a high-flying performance of “Extra Terrestrial” …which lead into the debut of another number: “Part Of Me.”  Girlfriend looked PISSED the whole time, but it is defnitely going to be a smash. She may not be the best singer out there, but she is a great entertainer who is honest with her work.

Shifting genres from the pop performance by Perry, attention was paid to a country trio Lady Antebellum, who won for Best Country Album (Own The Night).  I don’t like them, they’re stuff is kind of catchy but nothing super special.

ADELE FINALLY TOOK THE STAGE AFTER BOUNCING BACK FROM THROAT SURGERY THIS FALL.

SHE GAVE AN AMAZING PERFORMANCE OF “ROLLING IN THE DEEP” AND WAS JUST BEAMING THE WHOLE TIME!
NO WONDER EVERYONE AND THEIR MOTHER LOVES HER.

It was a hard act to follow but somebody had to do it, it was only 10:0 after all.

The Band Perry and Blake Shelton paid tribute to Lifetime Achievement recipient Glen Campbell, before he joined them onstage for a joyful rendition of the classic “Rhinestone Cowboy.”

Another country star came out with the incomprable Tony Bennett for a version of “It Had to Be You” — currently featured on his album Duets II.
They then gave out the award for Best New Artist: which did NOT go to Nicki Minaj! HA HA HA!  The incredibly deep indie rocker Bon Iver took the prize.  He thanked the fans, saying it was a “sweet hookup.”

The highly anticipated ‘In Memorium’ segment of the show was extensive, eliciting “Wow, a lot of people died this year,” from my brother. “I don’t like Jennifer Hudson,” he added before running downstairs for a drink.

The one-time American Idol contestant and longtime Whitney Houston admirer tearfully made her way through “I Will Always Love You.”

So as not to disrespect the somberness of the main hall, the commercial break resumed back outdoors in the tent where the Foo Fighters performed earlier.
The “Grammy Dance Party” of sorts commenced– with Chris Brown lookin like early Run DMC/Ice-T/Sir Mix-a-Lot. It was ridiculous. And he most certainly was using AutoTune in his mic. DJ David Guetta spun for the first part of the ‘party,’ while Brown sing-talked and danced alongside rapper Lil Wayne who looked like he just woke up and rolled of his tour bus.

On the opposite side of the tent, the Foo Fighters started in with “Rope.”  With Deadmau5′ help it got a remix treatment about halfway through.

Things got to an all-time low level of weird with a short play acted out by Nicki Minaj. “The Exorcism of Roman” was such a mess. Minaj was trying way to hard to be memorable, and now she will be for the wrong reasons.  I think the she-rapper was going for some Lady Gaga “Paparazzi”-level performance art, but there was just so much going on and you couldn’t totally understand her. And the blatant religious imagery that wasn’t really defined as good or bad in the scene, would make Sinead O’Connor ask “What the hell do you think you’re doing here?”

The final two award categories to be televised, as there are over two dozen actually given out, were Record of the Year and Album of the Year… which both went to ADELE.
The beautiful Brit was so gracious and cute and in awe of the response to her work, she cried as she told the audience “It’s been a life changing year.”

The finale was, in no uncertain terms, an Epic. Musical. Moment.  For the men on stage, for the viewers in the theater, and fans watching from home.
Sir Paul McCartney reemerged on the grand stage to (appropriately) play the Beatles “The End” with the help of Joe Walsh, Dave Grohl and Bruce Springsteen.  Yeah, I’m serious. It was a freaking fantastic way to end the night, with all these incredible musicians jamming out.





This TWILIGHT Thing Is Totally Lost On Me

27 11 2011

In 10 days, the latest installment of the Twilight saga has raked in over $220 million domestically, and just under $500 million in the international market.

The franchise as a whole is worth just over $2 billion.

Some of the cast & crew appeared together at the 2009 MTV Movie Awards

I think it best to examine my feelings of confusion and disinterest in list form…

1. Vampire trend.
      Why are they so big? People act like this series of books/films are totally novel. Like The Lost Boys and Interview with a Vampire weren’t totally freaking amazing a mere decade or so ago.
     If vamps are the monster of the moment, fine.  Werewolves, zombies, demons and deformed cretins have had their share of exposure in creative, popular culture — but I find the Twilight series to have exasperated the genre.

2. Die-hards argue that the books are “so well written.”
    BULL. SHIT.  Stephanie Meyer got lucky, and that’s all there is too it. I have skimmed the novels and I have sampled the films. THEY. ARE. GARBAGE!  The writing is poor, the filming is strangely filtered, and the acting is C-List AT BEST.
   These books were totally targeted at middle-school age girls, and all it has done is reiterate the archane idea that everybody better find a man to sweep them off their feet.  These books have made an entire generation of young women, already at a disadvantage thanks to desensitization at the hands (mouth) of the Biebs and Miley Cyrus, stupider.

3. Fandemonium.
     Grown people, 99.999% women, getting tattoos of imagery from this “saga.” IT IS INSANE! They are ridiculous!
I hope they have people in their lives to taunt them relentlessly about their epicly poor choice to permanently etch a piece of literature that people in the future will look back and laughingly condemn us for.

4. The subject matter is a little mature considering Bella, Edward & the gang are supposed to be high school students. I thought followers of the LDS Church were highly moral individuals — this is risque stuff for Meyer to have thought up, never mind write down and publish.
       Women are going nuts for this, and taking their like 6 year old children to the movies! It freaks me out, plain and simple.   If you are a mother, you should not have a purse from Hot Topic with Robert Pattinson’s flat fucking no talent  pale face on it.  End of story.





Is Nothing Sacred Anymore?

26 08 2011

So, that little bastard from up Canada way just isn’t bowing out as quickly as other over-night tween sensations have (Anyone heard from Chingy lately? How about the Chicken Noodle Soup kid?).

Justin Bieber is reportedly going to release a Christmas album.

Here’s some other indulgent gems that have been released between Thanksgiving and New Years…

 
NSYNC, Home for Christmas (1998)

 
Mariah Carey, Merry Christmas (1994)

 
Jessica Simpson, Happy Christmas (2010)  ; Rejoyce: The Christmas Album (2004)





Auto-Tune: Destroying the Music Industry One Pitch Correction at a Time

30 03 2011

This will serve as an open letter to the likes of Ark Music Factory, and any ‘label’ who purport to be cultivating “undiscovered” teen talents.  Well done, you have made innocent kids the ridicule of the free world and worse, made them think they are really on their way to some kind of Miley Cyrus-Justin Bieber stardom.

I know someone is going to comment and call me a “cyber bully” but I am in no way trying to ruin the self-esteem of these girls! That said, it cannot be ignored that Rebecca “It’s Friday, Friday, Friday” Black, Alana Lee, Madison Bray and Abby Victor are decidedly less talented than the mainstream teenyboppers like Emily Osment, fellow Disney star Selena Gomez, Bieber and the Jonas Brothers.  Luck and opportunity have a great deal to do with success, but people who are paying thousands of dollars to any studio or agency don’t realize they are gambling with neither on their side.
{{ RELATED: Read more about AMF founder, Patrice Wilson HERE }}

At least the gimmicky bubblegum singers of the 90s were in on the joke, and they profited handsomely. These songs blowing up online today, they have nowhere near the level of natural showmanship found on “I Want It That Way,” “Bye Bye Bye,” or “Genie In A Bottle.”
I can look back on my tween years with a grain of salt: I know they weren’t great, that they won’t go down in music history with the Beatles, Bruce Springsteen, Billy Joel and Cher. 
I give my mom a lot of credit for putting up with all the shreiks I shreiked over BSB, NSync, LFO, the Spice Girls and Hanson. Their songs still bring a smile to my face and I can whip out a dance move or two, but they are just childish nostalgia. I assure, my tastes have improved with age.  I can only hope the same goes for the Ark girls.

It is sincerely freaking me out that at 22, I’m already having moments of “Oh, kids today.”

Anyway, the difference between the boybands and girl power groups of my youth? They had to at least be able to sing when they recorded. [Lipsynching in concert is a whole different animal.]

So here is where the real culprit in this whole do-they or don’t-they singing arguement comes in:  A U T O – T U N E .
The not-so-well kept industry trick, concieved by Antares Audio Technologies in 1997, is described on Wikipedia as a phase vocorder “used to disguise off-key inaccuracies and mistakes,” allowing “singers to perform perfectly tuned vocal tracks without needing to sing in tune.”

The software has been used intentionally, to achieve a particular effect on the voice, to much success by artists from Cher (Believe, 1998) to Kanye West (808s and Heartbreak, 2008).  The topic of major names in music using the tool even garnered press from Time magazine in ’09– with writer Josh Tyrangiel declaring, “It’s like Photoshop for the human voice. Auto-Tune doesn’t make it possible for just anyone to sing like a pro, but used as its creator intended, it can transform a wavering performance into something technically flawless.”

Rap mogul Jay-Z included a track called “DOA (Death of Autotune)” on his 2009 album The Blueprint 3, and later commented that the device had crossed over from an aid in the arsenal of legitimate artists to a societal joke. 
“It was a trend, it was cool in the beginning. Some people made great music with it, now it’s time to move on,” he told MTV.

So why is something that is sort of shunned by the better part of the entertainment industry, or at least thought of as a last resort on your off-est of days, so beloved by the people coming onto the scene now?  Jason Derulo, Taio Cruz, and most recently Kim Kardashian, have released singles in the last year that were heavily and obviously put through the digital wringer before reaching our radio waves.

The issues with Auto-Tune have consistently reared their ugly heads– but this time the anger is geared toward the vanity labels and personal projects posted to Youtube.

Yes, I’m looking at you, Rebecca Black. 

 

*Joseph Birdsong, you’ve got some sweet editing skills, but you’re not innocent in this either.*

—————————————

So what do we do?
Phenomenal songwriters like Taylor Swift don’t jump out of suburban high school every day.  Kids aren’t teaching themselves to play an instrument as much as they’re pretending to play one on GuitarHero(TM of Activision).

But does that mean we ought to settle for garbage like the “My Jeans” song by some girl with giraffe lips and grasshopper legs, who may or may not be Dustin Diamond’s illegitimate child?

Diamond, now 34 - Swerdlow, 12

 The only good thing I can say about her song, “My Jeans” (which I heard about last week from Tyler Oakley) is that this song is age-appropriate, but alas, her parent’s weren’t at the creative consultations that followed, which is evident by her current single, O.M.G., and its Miley Cyrus at the 2009 Teen Choice Awards-level disturbingness.
{{ RELATED:  MICHAEL BUCKLEY OF “WHAT THE BUCK” GIVES HIS TAKE ON “OMG” @ 1:33 MARK }}

It scares me that most middle schoolers don’t have the sense to sift through their parent’s CDs or (gasp!) records and discover the magic that is Elton John, Styx, Heart, or Janis Joplin.  And I blame Auto-Tune for that; the under 19 set don’t even know music exists without digital airbrushing- and how could they when we have all been buying it?!!

MetroStation made me consider taking a pencil to the ear, but Rebecca Black and Jenna Rose… I could never have seen this shit coming. 
I almost miss that horse-faced nepotistic poseur Trace Cyrus.       Almost.





American Idol 2011: Traumas Continue to Eclipse Talent

28 01 2011

I’ll be up front, I haven’t watched a season of “American Idol” from beginning to end since 2006- or as I like to call it, The Year Chris Daughtry Should Have Won.

My opinion of and interest in the competition series has changed from the Kelly & Carrie days- back when talent triumphed over whatever tale of trauma the participant was toting.

Arguably, the audition episodes are no more than an expensive forum for shenanigans and sob-stories. Some of the contestants who really set themselves apart in Hollywood week or on the final stage aren’t even showcased during the selection period. (The “Top #” group has ranged from a final 8 to 13.)

 It is telling that rules or protocol have changed from season to season- with the age requirement/range and wild card round being prime examples. The age thing makes me think that they know the quality of the show isn’t what it has been, and they are reaching as young as possible to try to find a Justin Bieber or Miley Cyurs kind of gold. (ATTN AI PRODUCERS: ONE OF THEM IS ENOUGH!)  As for the wild card, it worked for four seasons and it really made for a burst of excitement (or anger, depending on who was picked) right before the finals. LWhy not reintroduce that to spice things up instead of letting middle schoolers audition?

I think that it is time for ‘Idol’ to bow out gracefully- much like Simon Cowell just did.  Nobody in the 19 Entertainment offices took it as a clue when Cowell turned down over $100 million contract that maybe the show had run it’s course?

I digress.

The issue at hand is

From the beginning, instead of a short backstory about why these people love to sing, their experience level, and their goals if chosen- we got tears.  (I’m looking at you, Jim Verraros.)

Dozens of bloggers have posted about last night’s episode, which featured a four-minute segment on Chris Medina, 26, from Chicago, IL.  Before he was even able to get out the title of his chosen audition tune (“Break Even” by The Script), Medina became the latest face on the seasons-old issue: The Sympathy Vote.

Now, don’t misunderstand, my heart is not made of stone.  I got a little choked up when Randy, J.Lo, and Steven Tyler asked Medina to bring his fiance, Juliana, in to meet them.  A little act of kindness from these percieved untouchable, mega-celebs is always welcome!
Contrary to others online, I don’t think that Medina was in any way trying to exploit his situation or his fiance… But these sort of scenarios are thrust upon us watching at home way too early in the game.  Sharing the tragedies of their past off the bat makes contestants memorable for the wrong reasons.

Yahoo! Blogger Lyndsey Parker hit the nail on the head with this morning’s “Reality Rocks” column, in which she pointed out “TV producers love this sort of tearjerking tale and the buzz it creates. So if any exploitation was perpetrated, the producers are probably to blame, not Chris.”

Parker really got me thinking…  All of my anger is displaced! I shouldn’t be upset with Danny Gokey for going on (and on and on) about his late wife, or Chris Golightly for playing the orphan card, or even Lil Rounds for bringing up the whole homeless by tornado thing.

The dozens of bloggers who so quickly aimed to crucify Chris Medina should all take a step back and acknowledge that Medina wouldn’t have just offered up this painful experience if nobody interviewed him beforehand.
 

Why can the hordes of hopefuls not just come in, sing, and leave- with or without their golden ticket?

If the intentions of the big shots over at ‘Idol’ was truly to find the next great musical icon, the emphasis should be on the 10 or so bunch of finalists, not the hundreds of dressed up, tone-deaf idiots who make it on-air for the first month.