Glee: We All Need Somebody to Lean On
Posted on November 27, 2009 at 3:12 pm
I love “Glee” and I especially love this great number, a wonderful choice for a week of thanks and family.
Posted on November 27, 2009 at 3:12 pm
I love “Glee” and I especially love this great number, a wonderful choice for a week of thanks and family.
Posted on November 25, 2009 at 11:49 pm
Some commenters have criticized my post about Adam Lambert’s performance at the American Music Awards because they say I should not have singled him out. There were other provocative and even outrageous musical numbers in the show. That’s a fair point, but it seems to me there was a difference between Eminem and Lady Gaga, whose entire persona is built around their transgressive, edgy, sometimes offensive material, and Adam Lambert, who did something of a bait and switch on his fans in a manner that impaired the primary reason for his being there in the first place — his ability to sing.
But that doesn’t mean his was the only troubling performance. I thought Trish Kenney at the Huffington Post had a great column on the other performances at the AMAs and what they said about the way women are portrayed (and portray themselves) by rock and pop stars. She wrote about the “brazen entitlement” mutating into rape fantasy, dancers in black panties, writhing, and crotch-grabs throughout the show.
Imagine if an alien landed outside the auditorium Monday night and snuck in for a peek at our culture by watching the AMA’s. What impression would the alien have of women? And our society in general? If the alien had an entrepreneurial spirit, he would immediately go into women’s lingerie, preferably little black panties.
Posted on November 23, 2009 at 11:02 pm
I was looking forward to Adam Lambert’s performance on the American Music Awards last night because I was impressed with his ability and stage presence on “American Idol.” The show included some of the industry’s biggest stars, but they saved him for the last song of the night and really built it up as something special. Knowing that his first album has been released to such glowing reviews heightened the anticipation.
So it was a terrible disappointment to see the almost desperate gyrations that were not just awkward and vulgar but a distraction from the song he was trying to deliver. Wearing some sort of outfit that looked like a spacesuit from a cheesy 1950’s sci-fi movie, Lambert made the number into a quick trip through a manual of sex acts. According to a slightly stunned Entertainment Weekly column by a committed Idol fan, the song featured:
Adam dragging a female backup dancer across the stage by her leg, as if she were a lace-covered sack of potatoes; Adam grasping the head of a submissive-styled male backup dancer and pulling him into an uncomfortable round of simulated oral sex (while ABC muted the audio to protect us from who only knows what); a tutu-clad woman cupping Adam’s nether-regions; Adam grasping and snapping the leather “bikini area” (for lack of a better term) of a female dancer’s costume; and Adam taking a break from his singing duties for an impromptu game of tongue twister with a keyboardist of indeterminate gender.
Was Lambert trying to get Britney-kisses-Madonna headlines? Was the Idol contestant making up for lost time playing coy about his sexual orientation until after the Idol votes were in and he came in second? Is there any chance it was a genuine expression of some artistic statement by this very commercially-oriented performer?
EW says it was more likely to be the former:
But the bottom line is that Adam’s AMA performance felt less like a genuine expression of his high-octane sexuality (so playfully erotic when he fondled the mic stand during “Whole Lotta Love” this summer), and more like a carefully planned stab at dominating the post-AMA blogosphere/water-cooler discussion. I’m certainly no prude…the idea of saucy boy-on-boy/boy-on-girl/boy-on-not-quite-sure action does not rattle my cage — certainly not at 10:55 p.m. on a school night. And yet, what’s sad is that unlike, say, a J.Lo or even a Rihanna, Adam could’ve had tongues wagging just from his vocals alone. Instead, that golden voice took a backseat tonight at the AMAs, and I’m not sure exactly who was occupying the driver’s seat.
The Parents Television Council has issued a statement objecting to the performance and called on its members to express their concern to the network, Dick Clark Productions and the show’s advertisers.
“American teenagers – and especially teenaged girls – are literally under siege by the entertainment media. It is outrageous that children today cannot watch a televised awards program for an industry that is built squarely on their backs. Teens comprise a huge portion of music sales, yet this is how they are treated? It is beyond contemptible,” said PTC President Tim Winter.
ABC has already received thousands of complaints, which it described as a “moderate” response, according to the Huffington Post. Lambert “told CNN that his kiss was ‘in the moment’ and that if people were upset about it, ‘That’s a form of discrimination and it’s too bad.'”
The kiss was not the problem. And the objections are not discrimination. The star of a top-rated show that is often watched by families chose to pay less attention to staying on pitch and delivering a top-quality musical performance than to a desperate, clumsy, and crude effort to be shocking.
To send your objections to ABC, use this form. You can reach Dick Clark Productions at 2900 Olympic Blvd, Santa Monica, CA 90404
310-255-4600
To speak with a representative from the Parents Television Council, please contact Kelly Oliver (ext. 140) or Megan Franko (ext. 148) at (703) 683-5004.
Posted on November 23, 2009 at 10:37 am
Slate TV critic Troy Patterson echoes the concerns about the smarmy qualities of the Disney series “The Suite Life on Deck” that Dan Savage discussed in the essay I linked to in June. “On Deck” is the follow-up series that takes real-life twins Cole and Dylan Sprouse. They are the proteges of child stars turned moguls Mary Kate and Ashley Olson. The show is a sort of “Love Boat” for tweens and much of its humor comes from Zack’s precocious ring-a-ding-ding hit-on-everything-in-a-bra personality.
The Suite Life is of course mild in its sexual content, offering double entendres-once-removed and gentle references to oiling up bikini models and such. How did the protagonists’ rock-star father meet their lounge-singer mother? It is strongly implied that she threw her underwear on stage, or so Dad claims. It takes a little effort to get one’s own panties in a bunch over a kids show employing material like that, but it’s a snap to feel unqualified disgust for the way the show giggles at Zack’s crass predations. In one episode, a new passenger turns his head, but he’s turned off by her baggage, her literal baggage. The luggage locks are a bad sign. “That means she’s suspicious and cautious,” he says. “I’m looking for naive and vulnerable.” Cue the laugh track. Elsewhere, he describes part of his philosophy of life to a pal: “There is nothing–nothing–better in this world than an unhappy hot girl.” In watching eight episodes of the show, I haven’t seen Zack achieve any romantic success, but nor have I seen him receive any proper sanction. Thus do I eagerly await Walt Disney’s presentation of a feature-film spinoff titled Zack & Cody’s Rockin’ Roofie Frat Party.
According to Patterson, this is the number one television program for children 6-11. It is hard for me to imagine that parents — or Disney — find this charming, funny, or appropriate.
Posted on November 20, 2009 at 8:54 am
My friend Bob Elisberg has a marvelous salute to the sensational Rocky and Bullwinkle, “from the maniacally clever mind of Jay Ward,” who yesterday celebrated the 50th anniversary of their first broadcast.
My parents were very strict about television, but this was one of the few shows they let us watch. They not only let us — they watched with us. It was one of the first television shows for children to have jokes for adults. As I grew up, there were innumerable times when I would learn something new and suddenly have the retroactive pleasure of understanding some past Rocky and Bullwinkle joke. There’s an opera called “Boris Godunov?” Aha! That explains the name of R&B bad guy Boris Badanov! And remember the name of their alma mater? Wassamata U? Remember “fan mail from some flounders?” And “watch me pull a rabbit out of my hat?” (“That trick never works!”)
Few people today will get the joke about the Kerward Derby (a play on the name of then-minor-celebrity Durward Kirby), but this is still purely delightful.
And of course I always had a special fondness for Dudley Do-Right because his leading lady was named Nell.