This is what songwriter Kara Dioguardi recently had to say about her upcoming collaboration with pop princess Britney Spears:
"People don't realize what a good singer she is, and she has the incredible ability to put herself in the music and it elevates the song, because she really brings her own vibe to it.
Wait a minute. "Good singer"? What singing?? Does Britney actually sing? If you watch any of Britney's concerts specials, you will know that she lip-synchs approximately 95% of the concert while performing robotic dance moves, and sings live for the remaning 5%, usually singing some wispy ballad with her equally wispy live vocals. And even when Britney's attempting to sing live, her back-up singers easily overpower her.
There has been so much hype for Britney's supposed "comeback". She's giving "special, surprise concerts" across America, yet the first comment about these engagements is usually "she lip-synched most of it."
And at a recent House of Blues performance, Britney's backing record started to... skip. Surprised? Hardly. It was only a matter of time for that to occur.
Hasn't Britney learned anything at all after her recent trials and tribulations? Is she not able to channel her obvious inner turmoil into some serious singing? Perhaps the pop princess should take props from the Queen herself -- Madonna. Okay, so Madge is not exactly Maria Callas, but at least Madonna sings live for most of her show, and over the years, her voice has improved.
No wonder the music business is in such a bad state; we don't have many singers who can actually sing. When will Britney ever learn to sing live? She's going to need to sing for her supper now that record sales are becoming obsolete. Touring is how singers will need to earn their money, because record sales will not pay for their mansions and manicures. And nobody's going to pay $100 to see Britney mime her record.
Speaking of pop princesses, can I just say how fabulous Kylie Minogue's advertisement for her new H&M-Kylie line is? If you want to see it, you can check it out during the previews for Spider-Man 3. After a hectic few years, which included surviving breast cancer, and breaking up with yummy Oliver Martinez, Kylie's definitely back.
Kylie looks smashing, and at 38, she can still pour herself into a bikini. I'm sure there will be lots of comparisons to Madonna's own H&M line, and I must say, Kylie's line looks like it could be the true winner, and perhaps outsell M's line. The ads and promotions for Kylie's line are far superior to those M had, which I admit were pretty dull (Love you, Madonna, but you never seemed too committed to that line). Whatever the case, it's just great to see Kylie back (still loving that hair).
And for the record, Kylie is a pop princess who actually does SING.
Thursday, May 24, 2007
Wednesday, May 16, 2007
Rosie's Legacy
Now that Rosie O'Donnell has announced that she will not be renewing her contract with The View, I must admit: I am going to miss her. Which is surprising because I'm not a fan of Rosie O'Donnell. I find her obnoxious, egocentric and overbearing; she reminds me of the bullies who teased me (and intimidated me) in elementary school.
And yet I admire her greatly.
Although Rosie is never hesitant to express her views (much to the chagrin I'm sure of The View's executive producer Barbra Walters), I admire the fact that Rosie rarely apologizes for what she says.
Think about it: in an era where Janet Jackson's boobs cause a scandal, and the sight of Madonna appearing on a cross has to be superimposed with images of starving children (that's you, NBC!), a show which allows women to express their views freely seems almost taboo. Rosie talks about everything from women's reproductive rights to gay marriage to Paris Hilton with minimal censure. She just lets loose, leaving the damage control to Barbra.
And Rosie doesn't cave in and give the obligatory "it-was-taken-out-of-context" spin that most celebrities latch onto when a hint of what they really feel makes it into the press. Rosie stands by what she says, and reminds us that we shouldn't feel bad or sorry about what we think.
Sure, Rosie was overbearing as ever on The View. But who didn't feel a sense of satisfaction when she would criticize President Bush? Or when she instigated her much-publicized feud with the pompous Donald Trump?
Now that she's leaving, The View, and television, will not be the same. For one year, The View actually had a point of view. When the show came on in 1997, it was supposed to be about opposing opinions, but the show always seemed to hold back. The women never seemed to get their hands dirty until Rosie came along. She gave the show a spark it never had and never will have again. Fluffy discussions were dropped in favour of fiery debates. Rosie's presence encouraged the other women, particularly Elizabeth, to project their voices and come toe-to-toe with
the ever-dominant O'Donnell.
By hiring O'Donnell, Walters delivered on the show's original promise, even if for a short time. I don't know what the future will bring for The View, but Rosie's one-year stint has already become the legacy for this ten-year-old show.
And yet I admire her greatly.
Although Rosie is never hesitant to express her views (much to the chagrin I'm sure of The View's executive producer Barbra Walters), I admire the fact that Rosie rarely apologizes for what she says.
Think about it: in an era where Janet Jackson's boobs cause a scandal, and the sight of Madonna appearing on a cross has to be superimposed with images of starving children (that's you, NBC!), a show which allows women to express their views freely seems almost taboo. Rosie talks about everything from women's reproductive rights to gay marriage to Paris Hilton with minimal censure. She just lets loose, leaving the damage control to Barbra.
And Rosie doesn't cave in and give the obligatory "it-was-taken-out-of-context" spin that most celebrities latch onto when a hint of what they really feel makes it into the press. Rosie stands by what she says, and reminds us that we shouldn't feel bad or sorry about what we think.
Sure, Rosie was overbearing as ever on The View. But who didn't feel a sense of satisfaction when she would criticize President Bush? Or when she instigated her much-publicized feud with the pompous Donald Trump?
Now that she's leaving, The View, and television, will not be the same. For one year, The View actually had a point of view. When the show came on in 1997, it was supposed to be about opposing opinions, but the show always seemed to hold back. The women never seemed to get their hands dirty until Rosie came along. She gave the show a spark it never had and never will have again. Fluffy discussions were dropped in favour of fiery debates. Rosie's presence encouraged the other women, particularly Elizabeth, to project their voices and come toe-to-toe with
the ever-dominant O'Donnell.
By hiring O'Donnell, Walters delivered on the show's original promise, even if for a short time. I don't know what the future will bring for The View, but Rosie's one-year stint has already become the legacy for this ten-year-old show.
Tuesday, May 15, 2007
Oldies but Goodies
Oldies but goodies
This season of American Idol has featured more guest mentors than usual – everyone from Gwen Stefani to Jennifer Lopez to Jon Bon Jovi has coached this year’s 12 finalists, each with varying degrees of success.
Two of my favourite guests were two female singers who are significantly older than Stefani and Lopez, and who have not had a top ten hit in years: Diana Ross and Lulu.
Miss Ross proved herself to be a capable mentor as she coached the finalists through her extensive and impressive catalogue. It struck me while watching the show how unfortunate it is that Ross’ Motown crown has been chipped away at in the past few decades. Here is a woman who enjoyed 12 number-one hits with the Supremes, along with six number-one hits as a solo artist, in addition to numerous hits as a Supreme and as “Miss Ross”.
Many people forget Ross’ musical legacy – the hit records, her ability to sing everything from pop (“Where Did Our Love Go”), jazz (“Good Morning Heartache”), disco (“Love Hangover”) to rock (“Mirror, Mirror”). And who can forget her astonishing performance as Billie Holiday in Lady Sings the Blues, which won her an Oscar nomination in 1973?
Today many people remember Diana Ross as a washed-up diva who plays casinos, still wearing those outdated Bob Mackie dresses and big wigs as if it was 1970. Others see her as a has-been with a DUI on her record, who gets in fights with security personnel at airports when she’s subject to frisking.
Thankfully, Diana Ross week on American Idol reminded audiences Diana Ross is a professional singer, and not simply the ice-cold bitch some people would like to paint her as. Working with Sanjaya et al, Ross was down to earth, warm, and very knowledgeable about everything from voice projection to performance posture.
But what stood out were those songs. As much as they tried, none of the contestants could make us forget Ross’ originals. Ross may not have been blessed with the powerhouse vocals of singers like Aretha, Whitney, Mariah or Mary J., but in her prime, she sang with great tone and personality, backed up by solid production.
To check out Diana’s artistry, I recommend The Definitive Collection, a 2006 compilation which covers Diana’s solo period, and features many of her big hits from the ‘70s, plus a few hits from the ‘80s including “Swept Away” and her cover of “Why Do Fools Fall in Love”.
Lulu, on the other hand, was never as popular as Diana Ross in her prime, but she’s definitely one of the most underrated female vocalists in pop music. Lulu had hits with her cover of “Shout”, and her beloved theme song for the film To Sir, With Love, but she was never able to sustain a steady pop career, despite a few hits throughout the ‘70s, ‘80s and ‘90s.
Lulu was one of the guest mentors for British week, and although none of the contestants sang any of her own hits, Lulu proved to be one of the best judges this year for her winning personality and thoughtful advice.
Lulu may be older now, but her voice is better than ever. It’s still rich with soul and vibrancy, unlike Ross, whose voice has diminished throughout the years. Perhaps it’s due to the fact that Lulu put out less material than her counterparts, so there's less wear and tear on her voice. But if Lulu herself had been dropped into the Idol competition, she certainly would have provided serious competition for the younger ones.
I’m sure a lot of people watching British Week didn’t have a clue who Lulu was. So, if you’re one of those people, I recommend you check out The Greatest Hits, a 2004 compilation of Lulu’s hits. It’s a fantastic collection which features her classic hits, in addition to her surprisingly good take on David Bowie’s “The Man Who Sold the World” and her latter-day hits such as “Independence” and “We’ve Got Tonight” (a duet with Ronan Keating). It’s one of my favourite compilations, although it’s difficult to find in North America since it's an import. But check out Amazon if you’re interested in purchasing it. It's a little pricey but worth every penny.
I hope the American Idol season will feature guest mentors whose work is ripe for rediscovery. How about Donna Summer? How about Aretha Franklin night? Roberta Flack? Joe Cocker? Who would you pick for a guest mentor for next year?
This season of American Idol has featured more guest mentors than usual – everyone from Gwen Stefani to Jennifer Lopez to Jon Bon Jovi has coached this year’s 12 finalists, each with varying degrees of success.
Two of my favourite guests were two female singers who are significantly older than Stefani and Lopez, and who have not had a top ten hit in years: Diana Ross and Lulu.
Miss Ross proved herself to be a capable mentor as she coached the finalists through her extensive and impressive catalogue. It struck me while watching the show how unfortunate it is that Ross’ Motown crown has been chipped away at in the past few decades. Here is a woman who enjoyed 12 number-one hits with the Supremes, along with six number-one hits as a solo artist, in addition to numerous hits as a Supreme and as “Miss Ross”.
Many people forget Ross’ musical legacy – the hit records, her ability to sing everything from pop (“Where Did Our Love Go”), jazz (“Good Morning Heartache”), disco (“Love Hangover”) to rock (“Mirror, Mirror”). And who can forget her astonishing performance as Billie Holiday in Lady Sings the Blues, which won her an Oscar nomination in 1973?
Today many people remember Diana Ross as a washed-up diva who plays casinos, still wearing those outdated Bob Mackie dresses and big wigs as if it was 1970. Others see her as a has-been with a DUI on her record, who gets in fights with security personnel at airports when she’s subject to frisking.
Thankfully, Diana Ross week on American Idol reminded audiences Diana Ross is a professional singer, and not simply the ice-cold bitch some people would like to paint her as. Working with Sanjaya et al, Ross was down to earth, warm, and very knowledgeable about everything from voice projection to performance posture.
But what stood out were those songs. As much as they tried, none of the contestants could make us forget Ross’ originals. Ross may not have been blessed with the powerhouse vocals of singers like Aretha, Whitney, Mariah or Mary J., but in her prime, she sang with great tone and personality, backed up by solid production.
To check out Diana’s artistry, I recommend The Definitive Collection, a 2006 compilation which covers Diana’s solo period, and features many of her big hits from the ‘70s, plus a few hits from the ‘80s including “Swept Away” and her cover of “Why Do Fools Fall in Love”.
Lulu, on the other hand, was never as popular as Diana Ross in her prime, but she’s definitely one of the most underrated female vocalists in pop music. Lulu had hits with her cover of “Shout”, and her beloved theme song for the film To Sir, With Love, but she was never able to sustain a steady pop career, despite a few hits throughout the ‘70s, ‘80s and ‘90s.
Lulu was one of the guest mentors for British week, and although none of the contestants sang any of her own hits, Lulu proved to be one of the best judges this year for her winning personality and thoughtful advice.
Lulu may be older now, but her voice is better than ever. It’s still rich with soul and vibrancy, unlike Ross, whose voice has diminished throughout the years. Perhaps it’s due to the fact that Lulu put out less material than her counterparts, so there's less wear and tear on her voice. But if Lulu herself had been dropped into the Idol competition, she certainly would have provided serious competition for the younger ones.
I’m sure a lot of people watching British Week didn’t have a clue who Lulu was. So, if you’re one of those people, I recommend you check out The Greatest Hits, a 2004 compilation of Lulu’s hits. It’s a fantastic collection which features her classic hits, in addition to her surprisingly good take on David Bowie’s “The Man Who Sold the World” and her latter-day hits such as “Independence” and “We’ve Got Tonight” (a duet with Ronan Keating). It’s one of my favourite compilations, although it’s difficult to find in North America since it's an import. But check out Amazon if you’re interested in purchasing it. It's a little pricey but worth every penny.
I hope the American Idol season will feature guest mentors whose work is ripe for rediscovery. How about Donna Summer? How about Aretha Franklin night? Roberta Flack? Joe Cocker? Who would you pick for a guest mentor for next year?
Friday, May 11, 2007
Welcome to On Broadview
Yes, I've been bitten by the "blog bug". Who wouldn't want the opportunity to post their thoughts on an array of topics, with the possibility of thousands (perhaps millions) reading them?
But before you start thinking I'm self-indulgent and possess an inflated ego, let me just say that my blog will not be about my daily life. You will not be reading about fights with boyfriends, or my late night escapades (as interesting as they may be - LOL), or even my political thoughts (though inadvertently, some may slip in). And I definitely won't be taking the Rosie route of publishing lame poems (Rosie, you say things well, but you say them better on "The View", not in the form of quasi-haiku).
The purpose of my blog is to talk about entertainment. It's what I like to think about. It's what I like to talk about. And it's certainly what I like to write about. In fact, in the past I have been hired as an entertainment writer, so I do have some experience writing about music, movies, television, books, art and other forms of entertainment.
As entertainment culture envelops our society, I promise you that my blog will not be another Perez Hilton-type gossip site. I'm not interested in writing about Lindsay Lohan. Or Paris Hilton. Or any other spoiled, skinny ingenue who is more famous for their lack of underwear and late night partying than any genuine talent.
This blog is intended for those who have a passion for entertainment. It's for people who like to read about underrated movies that are worth discovering. It's for people who like to discuss their favourite album covers in an era when vinyl is pretty much obsolete, and CDs are heading in the same direction. It's for people who like to make lists of their Top 50 Guilty Pleasure Songs, or Top 20 Disco Songs, or their favourite performances in film history. Sure, it sounds nerdy but what's more geeky: writing about the virtues of Dusty Springfield's "Dusty in Memphis" album or Paris Hilton's drunk-driving 'scandal'? I'll take the former.
If the former interests you, then "On Broadview" is for you. Enjoy!
But before you start thinking I'm self-indulgent and possess an inflated ego, let me just say that my blog will not be about my daily life. You will not be reading about fights with boyfriends, or my late night escapades (as interesting as they may be - LOL), or even my political thoughts (though inadvertently, some may slip in). And I definitely won't be taking the Rosie route of publishing lame poems (Rosie, you say things well, but you say them better on "The View", not in the form of quasi-haiku).
The purpose of my blog is to talk about entertainment. It's what I like to think about. It's what I like to talk about. And it's certainly what I like to write about. In fact, in the past I have been hired as an entertainment writer, so I do have some experience writing about music, movies, television, books, art and other forms of entertainment.
As entertainment culture envelops our society, I promise you that my blog will not be another Perez Hilton-type gossip site. I'm not interested in writing about Lindsay Lohan. Or Paris Hilton. Or any other spoiled, skinny ingenue who is more famous for their lack of underwear and late night partying than any genuine talent.
This blog is intended for those who have a passion for entertainment. It's for people who like to read about underrated movies that are worth discovering. It's for people who like to discuss their favourite album covers in an era when vinyl is pretty much obsolete, and CDs are heading in the same direction. It's for people who like to make lists of their Top 50 Guilty Pleasure Songs, or Top 20 Disco Songs, or their favourite performances in film history. Sure, it sounds nerdy but what's more geeky: writing about the virtues of Dusty Springfield's "Dusty in Memphis" album or Paris Hilton's drunk-driving 'scandal'? I'll take the former.
If the former interests you, then "On Broadview" is for you. Enjoy!
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