Showing posts with label creativity. Show all posts
Showing posts with label creativity. Show all posts

Monday, November 23, 2009

Adam Lambert: DID YOU SEE THAT??




Okay: The Voice was a little rough but that was TOTALLY NOT THE POINT.



25 yrs ago Motown celebrated its 25th anniversary on TV (pretty novel at the time) and Michael Jackson blew everybody's mind with his moonwalk. This weekend Motown celebrated its 50th anniversary, and coincidentally everybody’s mind got blown again– but not by Motown. That happened on the American Music Awards, of all places.


America, meet Adam Lambert. Again.



Wow. Wow wow wow. ABC Television did its best to “bleep” some of those visuals but Adam was operating waaaay over their heads. The producers gave him the finale – maybe because they figured the kiddies would be in bed by that time? – which comes with the weight of its own expectations, on top of the promise of the boy’s sheer talent. The pressure on Adam was significant. But he is a pro – seizing the moment, recovering a slip seamlessly, layering shock on top of surprise.



Do I like s&m as a subject of art? Not especially. And yes, there’s an unapologetic s&m theme, both in the lyrics and unsurprisingly in the choreography, but Adam Lambert’s message to his audience is not just about sexplay. Imagine all those people who haven't seen him since he "lost" Idol? The next message they get from him is the unequivocal “For Your Entertainment” (pardon the paraphrase, I'm going from memory) -- you thought I was so soft and sweet ... it's gonna get rough for you ...
If that song isn't a shot across the bow of everything everybody thinks of American Idols, nothing ever could be. I DID NOT GET ON TV TO BE AN AMERICAN IDOL, I GOT ON AMERICAN IDOL TO BE ME.




I applaud him for every career-risking (career-making) step of it, and damn you I WON'T even stumble, I'll roll with every hazard you throw at me... That was breathtaking. In part because it was on the typically bland and pandering American Music Awards. If his much-celebrated vocal technique was a little ragged last night, well, we can forgive him: his vocal performance was quite secondary to his arrival as a significant cultural force.



Bono's had rough vocal nights that made people cry. (Hell, he's had laryngitis!) Springsteen has had rocky technical nights that he carried on sheer passion. And that's what Adam did, on adrenaline and voracious creativity. And you know what? that kind of go-for-broke, to-hell-with-pretty attitude onstage is where his rock'n'roll lives... there’s a little bit of punk in that brand of audacity. It proves his cred, for all the clubby buzz about the album.



The guy’s got ****ing stones, man...



The queer community's gonna be, Yay, Adam, standing up for us! and the artsy community's gonna be WHOA, Adam, what a throwdown! and the AI tweenies are gonna be too embarrassed to say they don't really get it to each other, but they might just ask their moms why Adam's got those boys on a leash ... and the rest of us rock'n'roll grown-ups are just gonna say, okay, the boy's got more balls than I was willing to give him credit for. AND THEY WILL ALL BUY HIS RECORD. Even if some of them have to smuggle it into the house (like my dad wouldn't let me go see Rod Stewart only after he saw him on Midnight Special in pink spandex. I guess a lot of little girls won't get tickets to Adam's first tour. LMAO)



Wow, again. That was insane. That was the "insanely good" his fans wanted it to be, but even they couldn’t have expected this. He didn't have to prove he could sing pretty. The whole world already knows that. What he needed was to break through every last box that people thought they could put him in. The enemy of the Artist is the very idea of "nice." People now know ... or at least, suspect ... that as gentlemanly as he may be, his art has no intention of being nice.



Watching him sing made it clear for me that he wasn't after all singing about S&M, he was singing about his art, about creative freedom, and the imagery was his symbol for the rough and dangerous ride ahead (and okay, yeah, he also likes naughty sex). I am so thrilled for him, and proud of him, and a little protective of him -- because he was naked out there, man -- that was 110% of him.



This morning I caught his little post-show interview with Access Hollywood. Completely calm, assured, a little cheeky, and utterly unconcerned about any viewers he might have alienated. “If you were offended … then maybe I’m not for you.” Shrug.



I think we are witnessing the making of a superstar. Done and done.

The legend begins…

Wednesday, July 8, 2009

Peace, Brother Michael




So U2’s finally on the road again, with their usual state-of-the-art panache. In celebration of last week’s opening gig in Italy, I popped Rattle and Hum into the DVD player. Ah, the velvety lusciousness of film, instead of the hard edges of tape! Great portions of the movie are steeped in Americana, peaking with the band’s pilgrimage to Graceland. Surely the best part of that sequence is hearing more than 5 words out of stoic Larry Mullen, and that’s on the subject of his admiration for Elvis, the musician. To be a young rock star visiting the earthly remains of the original Rock Star, the first one to burn out before he could fade away, must be a humbling pilgrimage indeed. And then the movie makes a poignant connection that in 20 years I never truly felt until now.


Larry lapses into contemplative silence while the camera lingers, and the soundtrack segues into the trembling intro of the band’s 1984 song, Bad.

If you twist and turn away
If you tear yourself in two again…

Bono’s inspiration for his lyrics was the scourge of heroin addiction among Dublin kids, but the band makes it a musical intervention – a desperate, muscular attempt to pull the addict, any addict, out of the blackness of their powerlessness.

If I could through myself
Set your spirit free
I'd lead your heart away
See you break, break away
Into the light
… Through the flame

It is as full an expression of sorrow and love as you will ever hear. In the film Rattle and Hum, it becomes in part a prayer for Elvis, an artist and a brother lost to us for the sorry sake of prescriptions too easily obtained. Or as Springsteen put it in his own farewell song, for “a whole lotta trouble runnin’ through his veins.”

Of course I thought of Michael Jackson.
Like everyone else, I’d been thinking about Michael Jackson all week. The whispers about his own pharmaceutical habits started almost as soon as word of his death got out, and I couldn’t help but compare him, needlessly and inevitably, with Elvis.

I was too young to be a proper Elvis fan, but I sure liked his songs and the day he died is burned into my memory. I never followed Michael Jackson’s career (unless my sisters’ collection of Jackson 5 45’s counts), but surely, it followed me. In the Eighties, MJ was a fixture. And oh, I’ve never ever tired of the complete package that is Beat It. You kids may not believe it, but there was a time when the possibilities of “performance video” were unimagined and untested … and in 1983, Michael Jackson exploded the potential of the video clip. He proved it was possible to electrify a pop audience … with interpretive dance, staged for the camera. Who knew? Impeccable musical sense, visual innovation, visceral sexuality. His creative power was breathtaking.

I remember about 10 years ago, I stumbled across one of those great old black-and-white TV clips of the Jackson 5. I hadn’t heard any of those songs since I was a child myself. And Michael’s voice … was a revelation. The boy is TEN! Even on the chirpy, bubblegum numbers like ABC, you can hear sophistication in his delivery … On a ballad like I’ll Be There? That’s an old soul. That’s experience and compassion. All bundled into a beautiful, unnaturally assured child who could hardly know his own depths. Smokey Robinson himself captured the shock of that voice at the memorial yesterday.

I’m wide awake
Wide awake
I’m not sleeping

Much has been said in the last two weeks about what a cultural force we experienced in Michael Jackson. It’s a balm to hear those affirmations now. The wide-angle perspective of the tributes we’re hearing is a corrective for the distortions of both his private life – we can never know, nor truly judge – and the public’s perceptions. That perspective should be a rebuke to the likes of Republican Peter King, who seems proud to be ignorant of the arts. Maybe he really does think war has more value to the community than the arts do. If so, then his constituents need to set him straight.

And if anyone thinks that Michael Jackson’s very life was not given in the service of his country, then they do not take seriously the gifts and sacrifices inherent in the creative process. Particularly, I would add, in the popular performing arts.

To be genuinely creative – innovative, original, unconventional – and also famous? And then rich? Toxic brew. Creation requires a profound surrender. Sure, some of the biggest egos in the world have also been wildly creative. But it’s no less true that in the moment of creation, in the leap and the risk and the not knowing what the “finished” work might be … that requires a surrender of one’s known limits and all safe appearances. It takes a sturdy psychology – or a disciplined spirit – to balance the mundane requirements of normal life with art’s deep spiritual demands. Many artists simply lack both the psychology and the spiritual ballast to tolerate “normal,” – and they suffer.

But if your art touches the masses, you must learn that the role of the Good Celebrity carries a whole new set of rules and obligations, which can undermine everything inside you that values beauty and newness. Today even more than in the Eighties, and on a wholly different level from back in the Sixties, the public appetite does not want celebrities to be complex or subtle. Yet, the gift of the visionary is to see layers, connections and nuances that the rest of us have never seen before. Or to beautifully embody instincts and compulsions the rest of us are afraid of. Or both.

Michael Jackson did both, even moreso than Elvis. He also lived through fame in the Sixties, the Seventies, the Eighties, and through the very worst of celebrity in the Nineties, up to today. Well, until June 25. Forty years of his creative life he gave. And his life was not without the same dysfunctions of us regular folks, who get to cope or not in relative privacy.

To let it go
And so to fade away
To let it go
And so fade away

If I could, you know I would
If I could, I would let it go --
This desperation
Separation
Condemnation
In temptation
Isolation
Revelation
Isolation
Revelation
Desolation

Let it go

As is their custom, U2 is creating a space in its concerts for the outside world – in their first few shows, they have paid tribute to Michael’s legacy. Bono has sung from Man in the Mirror, Don’t Stop Till You Get Enough, Billie Jean, and dedicated Angel of Harlem to his memory. Perhaps one night Bono will nod to the righteous funk of Jackson’s Bad … or maybe we’ll hear them perform their own song, which might lay bare for us the compassion and sorrow, the passion and triumph and contradictions, of this remarkable artist’s life.

I’m wide awake
I’m wide awake
Wide awake
I’m not sleeping

Sunday, June 7, 2009

WE GET TO CARRY EACH OTHER




Kris Allen has my vote … for the classiest man of faith on prime-time television.


Oh yeah, he won that Fox TV talent thing last month? Yeah, that one. But the real drama, the storyline that put some reality in “reality” TV for once, was and is his new friendship with the runner-up, Adam Lambert. The understated Mr. Allen probably wasn’t looking to change the world when he auditioned for American Idol – he apparently wasn’t even looking to win, God bless him – but I think he and Adam together will deserve some credit for having altered the cultural landscape. I’m well aware that the lion’s share of press has gone to Adam Lambert, not to mention the stratospheric numbers he’s generated on Google. Yet, if Kris hadn’t played the part he did, Adam’s story would have been quite different. And not nearly so powerful.

Adam Lambert is completely magnetic, and not only because of his astounding voice. He has charisma, he has star power; and he has what many "stars" do not: manners. Grace. Thoughtfulness. And did anyone else mention he's as beautiful as a screen goddess (hair and makeup by The Cure)? Oh, you probably noticed that.
I had never watched an American Idol episode in my life. But one of my Fave Fab Females started sending me cryptic notes and pictures: "You have to see this guy. Click here, and here, and here...And oh, wait ‘til you hear him sing 'Brigadoon!' " 'Scuse me, Brigadoon? Sure, and there's internet footage of Adam in an elegant suit, singing The Prayer at the Yitzhak Rabin Tribute concert; there's him upstaging Val Kilmer in The Ten Commandments; there's some extraordinary clips of him vamping some hard-rock burlesque surrounded by dancers of various sexes and persuasions... the boy is clearly a club creature, openly glam, proudly theatrical, but also well-trained and a serious professional.


So he struts into American Idol's carefully contrived world, and apparently blows it apart, one sector at a time.

Week after week, he kept showing up and wowing his audience, and probably drawing in more and more people like me, who otherwise would never watch. I don't know what American Idol usually looks like, but it was pretty thrilling by ANY standards to see the likes of Glambert in full-throated sex-machine howl on Whole Lotta Love -- and props to the band who also rode it hard -- in American prime time.
Yet, at the end of every Idol performance, he steps out of his hellcat prowl (or purr) and instantaneously becomes the boy next door. He's articulate and self-aware, shrewd about his career but spontaneous enough to gush about the cool outfits he gets to wear for work. The world is his oyster now, and he will be one to watch for the next few years (especially once he's off the Idol leash, after this year's tour).


Adam is a compelling personality because he appears so completely at ease in his own skin -- and in this world. He knows what he's good at; he knows what he has to work at, he's educated about his medium. His confidence -- however hard-won it might have been -- is ... well, kind of infectious. He treats everyone with respect and puts people at ease. In a word, he is likeable. Flamboyant, theatrical, goth, guyliner and all, he is genuinely likeable.
But he is more than just "nice." So much more. He doesn't speak in spiritualized terms, but he does speak with disciplined positivity and, I dare say, a certain sense of mission about acceptance and inclusion of difference. Given a new and vast platform, he's using it to encourage parents to applaud and support their children who are a little "different," who want to be creative. Send them to dance class, give them vocal training. "Artists are a little bit special, they need the support," he says.


Now, the (pink) elephant in the room is nudging me to mention the difference that all of America is talking about, and it ain't about practicing scales. But Adam has been more honest than any of the speculators or gossips, because all of us know of some poor boy who was taunted and tormented and called "gay," NOT because he yet had any carnal inclinations at all, but simply because he was different. Adam's is the most relevant message we could hope for, because he refuses to let anyone be reduced to labels and be filed coldly in some moralistic category.
And he may just be the most effective messenger we could want, a goth boy of the demi-monde who is perfectly comfortable with Middle America (read: American Idol); but one who respects that audience enough to offer them "something maybe they didn't know they wanted." Creativity is his message, more than cultural disruption. He isn’t Marilyn Manson – he wants not to bludgeon his audience, but to woo them.

But none of that fully explains why he's on my blog.
It’s true that audacious creativity and originality and self-awareness like Adam's does alone merit spiritual reflection. The creative process is a deeply spiritual process, even in those who would never call it that. So I'm not presuming anything about Adam's beliefs.
I do think he’s an old soul. Yet, prudently he has no pretensions to Deep Thoughts or Political Statements (in public), he says he just wants to sing, and be judged on his art. Of course he’s more sophisticated than that, and he knows full well that asking to be judged for his art alone IS his political statement.


Countless commentators wanted the Idol competition to be about more than just singing. With Danny Gokey rounding out the Top Three, many wanted to make it a tally of endorsements for, oh, shall we call it “lifestyles?” You know, Danny (and likewise Kris, the dark horse bringing up the rear), the card-carrying Christian versus Adam the flamboyant one who hasn’t said he’s gay.
Let us pause to decode that snapshot of American pop culture. In social shorthand, those characterizations imply juxtapositions, i.e. a Christian can’t be flamboyant, and the one who “looks gay” can’t (or wouldn’t) be Christian; or, the one is restrained, temperate, and “good,” the other is … not. (Alternatively, the one is open, creative, and "good" -- while the other is not!)
Whatever. Moving on now, to real three-dimensional people, and the reason Adam Lambert and Kris Allen are important to our spiritual health.

Now, it is American Idol after all, folks: it is a popularity contest. And in the end, maybe the guyliner was a little more than America could stomach in its new American idol. But the punchline in this story is that it wasn’t squeaky-clean Danny whose votes ousted Adam. The showdown finale was between Kris and Adam – tagged respectively, Christian and flamboyant, yes, but demolishing the rules of American hit television by refusing to stay in their boxes.

I know next to nothing about Kris Allen’s non-musical life, except that he’s married, he calls himself Christian and he’s done missionary work across the world. I heard about the exchanges among the other contestants that made reference to what is supposedly “godly” and right in relationships, but Kris’s name wasn’t part of that. I don’t know what kind of Christianity he practises, or how he envisions his God. I do know this: he declares himself Christian to the television audience – i.e. to the world; and he freely, publicly, verbally, and especially non-verbally, loves Adam Lambert like a brother.

The blogosphere of Idol fans --"prolific" hardly suffices -- have dedicated millions of keystrokes to the warm relationship between Adam and Kris.
I needn't reiterate what everyone from Rickey.org to the New York Times and Ryan Seacrest have had to say about the contrasts between the two men. There’s the obvious: LA glamboy, Arkansas country boy; but also their personalities could not be more distinct. Kris was self-effacing even in his moment of triumph, while Adam was eating the Idol soundstage for lunch with Feelin' Good and Whole Lotta Love. Meanwhile they were assigned as roommates in the mansion midway through the season, and they obviously clicked.
They’ve both spoken freely about becoming friends, and joked publicly about their differences. Online fans have dubbed their relationship a "bromance," which is charming and maybe not inaccurate; nonetheless it is flip and much shallower than the bond that is apparent between them.
In an interview the day after the finale, Adam departed from the usual breezy soundbytes required of him to emphasize what he felt was most important about the competition -- that the friendship and respect between himself and Kris might be an example for others in transcending difference, for the reward of becoming enriched by it. Both of them become animated when they talk about how much their new friendship has meant to them. Still, their words never exceed generalities.


But pictures do.


One blogger dedicated a whole .jpg- and .gif-stuffed page to the story of the “bromance,” which brings together all the images (collated from a hundred other sources online) that speak more eloquently than any interview. Kris really isn’t much of a talker anyway, and Adam is nothing if not deliberate and professional in his public comments. But body language is like soul-talk, direct and poetic. Certainly between Adam and Kris, it has been.

Watching them together, both before and after the results, we saw no wariness or distance between them (compared with, say, Danny’s cold, take-no-prisoners duet with Kris). And heck, didja see those hugs?? Sure, there’s a lot of hugging on Idol, and I take most of it as genuine: the 5 months of competition are grueling, especially for the finalists, and I’m sure many of them feel a bit like comrades-in-arms. Certainly Kris and Adam must have felt like that.

But their physical way with each other is more than social or circumstantial.


And let me make this abundantly, loudly, perfectly clear: I AM NOT TALKING ABOUT ROMANTIC ATTRACTION. Kris obviously loves his adoring wife, and Adam is quite capable of feeling platonic love for other men, hey, just like regular folks. So let my words not be misconstrued in any way, shape or form. End of Disclaimer.


A brilliant (and hilariously insane) male blogger from the equally brilliant website Television Without Pity summed up the sub-cultural tremors we are feeling this way: And if that's the choice that America's handing us -- the choice between these two men who are soft, but manage to be anything but weak, and are the only two out of the whole Top Twelve you could say that about -- that's the best news I've heard in a long, long time.



Say amen, brother. It’s joyously evident that Kris has no qualms whatsoever about his trust in Adam, or about the message he’s sending to viewers. When they hugged, they hugged for real – there was none of the typical back-slapping not-too-close! hugs between men in public. To pick just one, there’s a telling moment in front of the press corps immediately after Kris’ win. Adam is patiently doing his post-episode 10-minute Q&A beside the Fox logo, when Kris comes around the corner into camera range and nearly tackles Adam with a broadside bear-hug. It’s spontaneous, genuine, and affectionate, for the world to see.


They’ve had each other’s backs. They’ve learned from each other, and they’ve advocated for each other. With and for each other they are respectful and generous. Open. Trusting. And loving.
Adam Lambert could not be happier for his friend, Kris Allen, American Idol 2009. And Kris Allen admires and celebrates the extraordinary gifts of his larger-than-life friend, Adam Lambert.


Kris Allen is my kind of Christian.