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Pop Rock Nation

Author: Paul Lorentz

  • Big In Germany – Idol Edition: “Superstars” Mark Medlock and Mehrzad Marashi Are On A Boat

    Back around maybe the second or third season of American Idol, when the show was becoming the established pop cultural phenomenon it is today, we started hearing about similar shows being developed by Lord of the Idols Simon Fuller and 19 Entertainment in other countries like Sweden and Poland and Indo(friggin)nesia. To date, there have been approximately 30 various Idol-esque franchises created around the world. I remember reading around that time about Kurt Nilsen, the first-season winner of Idols Norway – just how cool he seemed. He was a guitar player and unlike earlier seasons of American Idol, he could actually accompany himself on the show. I don’t remember that I ever heard him sing until he did a duet with Willie Nelson on the song “Lost Highway” in 2008 (at which point I was duly impressed), but I remember thinking that he sounded like – well, like an artist. Specifically, the kind of singing-songwriting-guitar-playing artist that our own American Idol showed seemed to hold in contempt.

    It’s easy to trash the pop we Americans produce because we’re fairly buried in it. And just like any landfill, you can bet that there are a few treasures in that giant mound of refuse (future ski-hill?), but the smell from the rest of it is way too powerful – even if we thought the Hope Diamond were buried in it, would that be enough for us to throw on the haz-mat suits and go digging? Instead, we see from a distance pretty flowers growing on what looks like a majestic purple mountain shrouded in the soft fog of an early spring morning, and we think: All those international Idol competitions are actually producing, real, good, legitimate stuff. Or at least better than that awful Kelly Clarkson that we’re stuck with. She’s never gonna last. (Editorial Note: This is my 2003-4 self speaking. In gross ignorance. I didn’t watch any of Season 1, and Clarkson hadn’t put out Breakaway yet, which I contend is one of the best start-to-finish pop records of the last decade. Carry on.)

    But maybe that majestic purple mountain is really just another gigantic, disgusting, depressing landfill, and maybe its shroud of early morning spring fog is really just a cloud toxic fumes rising out of it.

    Maybe it’s just my deeply ingrained musical Europhilia, but I think it’s always easy to fall into thinking that Europeans are just naturally more artsy than we are; that they’re more willing to hear songs in languages other than their first, more open to genuine weirdness in the name of art; and thus, easier to romanticize their Idols – Kurt Nilsen, for instance – as more talented, more legitimate, more worthy. But in 2010, American Idol‘s metamorphosis from mere singing competition to artist farm team is complete, a metamorphosis that probably began around the time of Taylor Hicks‘s win in Season 5 (the show’s peak ratings season, by the way) and has culminated with the coronation of an Idol, Lee DeWyze, not so very dissimilar from that chunky (for a Scandinavian) blonde troubadour from Norge; and this against Crystal Bowersox, a very white girl from Ohio, with white-girl dreadlocks, a serious Janis Joplin jones, a long-standing residency at one of her local pubs, and really bad teeth, who not only writes her own songs, but writes them well enough that one of them was actually featured in an Idol video package last week. American Idol has become the very epitome of the Idols I’d always imagined all those Euro Idols to be. (And yet, this season, I couldn’t have been less interested in watching it.)

    Meanwhile, the most recent winner of the German Idol equivalent Deutschland sucht den Superstar , 29-year-old Iranian-born singer Mehrzad Marashi has just released the follow-up to his debut, show finale single “Don’t Believe”, which is still charting in Germany’s Top 10 this week. The song, “Sweat (The A La La La La Long Song)” is a pop-reggae duet with openly gay former Superstar winner Mark Medlock, the German franchise’s most successful winner to date. If you are still harboring any romantic notions about the presumed artistic superiority of the artists developed by international (read: non-American) Idol franchises, let the video you’re about to see be your reality check.

    BTW: Marashi’s the one whose ridiculous, Guido-er-than-thou facial hair doesn’t form the weird trident points on his chin. And did I mention Medlock’s gayness? Also: Andy Samberg should sue.

  • LCD Soundsystem Suffer For Their Art in “Drunk Girls”

    In the 1970s, performance artist Marina Abramović created a piece called Rhythm 0 in which she arranged a collection of 72 objects – instruments of both potential pleasure and potential violence (including a gun and a single bullet) – on a table, and sat passively for six hours essentially inviting viewers to do what they would to her with those objects without fear of either reciprocation or retaliation. You can hear the artist talk about the results – yes, someone did load the gun – here.

    Well, this isn’t quite so extreme. But there are parallels. “Drunk Girls”, the new video by LCD Soundsystem for the first single of their just-released album features the band, led by songwriter-producer James Murphy, surrendering themselves to the initially merely annoying but increasingly violent whims and wiles of a gang of people dressed up as evil pandas. For instance, James Murphy’s trying just to get through the song’s first verse, not pulling any crazy rock star moves, no windmilling arms, or skyward fistpumps – just a guy standing there singing while being prodded and fondled by panda suit people.

    The video’s camerawork seems to be working in conspiracy with the pandas. Before we can get too wrapped in the minor abuses being rained upon Murphy, who only momentarily seems to defend his personal space (and seems to catch himself, as if he knows he’s transgressed somehow), the camera jerks to bandmate Nancy Whang. The pandas jiggle her microphone while she tries to sing. Annoying, yes, but harmless. Soon enough, though, the evil pandas are blowing air horns in people’s ears, gassing people with colored stage fog (I think?), stripping them of their clothes, tackling them, dragging them around the floor, smearing make-up on faces, duct taping them together and setting off firecrackers around their bodies. There’s property damage. There’s vandalism. It’s like a contained riot.

    Sure, this was almost certainly a more controlled “happening” than Abramović’s Rhythm 0 – at the very least, there were no fatal weapons being brandished about – but you start to get a sense by the end of the video things have gone a little beyond the group’s “artisto-masochistic” capacities. Moreover, there’s something strangely adorable about the panda people – specifically their costumes, the cheap-looking coveralls, the Sharpee facial features are as cute a third-grader’s homemade Halloween costume, but as one of the video’s Youtube commenters noted, it’s also as sinister as a Slipknot get-up. It certainly looked a lot more fun to be one of the pandas than to be “with the band”, so to speak.

    All this sorta got me thinking: Lindsay Lohan. (Deep thoughts by Paul Lorentz.)

    But then again, maybe this was just another exercise in personal limit-stretching and self-defeating unrockstardom for James Murphy, whose video for the 2002 debut LCD Soundsystem single “Losing My Edge” (a hilariously specific indictment of hipsters) featured Murphy getting slapped in the face by an anonymous hand (or several)… like a hundred times. The band’s third, and what Murphy has suggested will be final, album This Is Happening, hit stores last week.

  • Glee’s Gaga Episode Leaves Me… “Speechless”-less

    Though the show’s most beloved (for her unapologetic hatefulness) character, Sue Sylvester (played with all the purposefulness and empathy of a power drill by Jane Lynch) was pretty much absent from tonight’s Lady Gaga themed episode of Glee, the show still had a lot of great moments. Unfortunately, none of those great moments were musical. Tonight’s show was useful not only in demonstrating the essential commonality between the artistry of Lady Gaga, Barbra Streisand, and KISS – that is, in a word the show beat us over the head with tonight, theatricality – but also in explaining the symbology behind the KISS members’ made up personae. Who knew, right?

    It also boasted two of the season’s most dramatic and surprisingly uncartoonish plot developments. Kurt’s father’s confrontation with their potential future stepbrother/son over Fin’s use of the “F” word (not the four letter one) was powerful and moving, and suggested a new layer of complexity in the three characters’ relationships with each other.

    Meanwhile, Rachel’s thwarted reunion with her birth mother – rival glee club coach and disappointed former Broadway aspirant Ms. Cochrane (played by real life Broadway star Idina Menzel in a brilliant bit of lookalike-soundalike-no-way-these-two-don’t-share-genes casting) – felt almost underplayed. It was emotionally three-dimensional, as the relief of confession turned not into a happily-ever-after ending, but into a sort of relationship limbo. Moreover, when Rachel (Lea Michele) admitted with some degree of regret that she just didn’t feel a daughterly need for her mother, the show seemed to honor her relationship with her adoptive dads in a way the show, which has never really shown us her adoptive dads (which, as an adoptive dad, infuriates me!), never has before.

    Unfortunately, the show’s musical numbers tonight were uniformly duddish, from strictly imitative versions (in both staging and arrangement) of Streisand’s “Funny Girl”, KISS’s “Shout It Out Loud”, and, of course, Gaga’s “Bad Romance”, a performance so synthesized and Autotuned that the show momentarily felt like a trailer for RockStar: Lady Gaga Edition, to a boy-band-on-stools rendition of KISS’s “Beth”, similar to their take on Madonna’s “What It Feels Like For a Girl” a few weeks back. But at least in that performance, there were, y’know, harmonies and stuff. Here, the Glee boys couldn’t be troubled to throw in even the most rudimentary harmonies, instead singing key lines of the song’s chorus in an emotionally empty unison. It was like Kidz Bop performed by teenagers. Or rather Kidz Bop performed by 28-year-olds playing teenagers.

    But the show, sadly, saved the worst for last. Seriously, what were the writers thinking when they had Rachel and Ms. Cochrane (biological mother and daughter, remember) sing a duet on Gaga’s “Poker Face”? Confoundingly, this was the one musical number in tonight’s episode that did anything new with the song. In this case, it was given a cutesy, playful, old-timey vaudeville melodic treatment that rendered the song virtually unrecognizable – quite a feat given its 18-month pop-cultural omnipresence – while preserving the song’s aggressively graphic sexual innuendoes. It wasn’t just disappointing. It was sort of disgusting. Let me clarify: if this were a duet between Rachel and one of her peers – say, Quinn Fabray, her longtime rival for Fin’s affections – the song would have had a fun, kinky, but ultimately harmless, sexual tension. But the Michele/Menzel duet on the song had an unintended (I hope I hope I hope) incestuous undertone. It was just all kinds of wrong.

    Compounding my disappointment is the fact that there actually is a Lady Gaga song that could have served the scene well, and though it’s not one of The Lady’s hit singles, it’s no obscurity either. She’s performed it in numerous television appearances, and it even makes a cameo in tonight’s Glee episode – in an early scene, Kurt’s got it playing on his stereo. “Speechless”, from The Fame Monster, is a big Elton John-style ballad (which she performed with Elton John at this year’s Grammys) that she says was inspired by her own relationship with her father. The song is a full-throated, gut-wrenching emotional plea pounded out with big arena-rock power chords, and seems made for a moment like the one Rachel had with Ms. Cochrane at the end of tonight’s show – a moment full of conflicting emotions, a moment that was neither hello nor good-bye but rather “see ya ’round, I guess”. Unfortunately, especially after their gorgeous duet on “I Dreamed a Dream” (i.e. that Susan Boyle song from Les Mis) in last week’s episode, I can only imagine what Lea Michele and Idina Menzel could have done with “Speechless”.

    I could say, to the tune of “Speechless”, “I’ll never watch again.” But that would be dishonest. I still love the show. But as tonight’s episode has proven, it can be wildly – wildly – off the mark.