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Entries by tag: kelly clarkson

Man In Quandary Lauds Elementary School Exercise In Beginning Poetry (my Country Critics ballot)
WhiffingCollapse )

1. Taylor Swift "Red"
2. Miranda Lambert "Fastest Girl In Town"
3. Charles Esten & Hayden Panettiere "Undermine"
4. Lionel Richie ft. Jennifer Nettles "Hello"
5. Taylor Swift "We Are Never Ever Getting Back Together"
6. Eden's Edge "Too Good To Be True"
7. Eric Church "Creepin'"
8. Kelly Clarkson ft. Vince Gill "Don't Rush"
9. Luke Bryan "Kiss Tomorrow Goodbye"
10. Kix Brooks ft. Joe Walsh "New To This Town"

Other categoriesCollapse )

COMMENTS: QuandaryCollapse ) "We Are Never Ever Getting Back Together" has the sort of glorying in self-deception that country lyricists and singers drool over; and even if the sound is fundamentally pop, there's a clarity in the arrangement that likely comes from country. Meanwhile, "Red" is the first time Taylor's written what sounds like an actual teenybopper song, as if it had been created during an elementary school exercise in beginning poetry. That's meant as a huge compliment.

Hayden Panettiere, who as a true teenpopper had thoroughly bored me, suddenly has a bead on my emotions. Talk about finding her voice.

I don't know if "Don't Rush" is a direction for Kelly Clarkson or just a blip. She was confused and feckless on her last two albums, the wrong big blast of this person's and that person's pop rock. And now here she is in '70s middle-of-the-road warmth and pain, and the richness of her pipes returns. And Lionel Richie, who to a good extent defined '70s middle-of-the-road warmth and pain, provides a terrific setting for Jennifer Nettles' half sandblaster of a voice, lushness that doesn't lose its gristle.

Lots of great male voices in country, which is fortunate because in every other genre I pay attention to the men tend to sound ridiculous.

Frank Kogan

Still More Years In America January 27, 2011
In which a blogger blogs briefly:

Nicki MinajCollapse )

Jason Aldean with Kelly ClarksonCollapse )

From Arcade to Ashlee
"Here's Frank Kogan, here's Chuck Eddy, and here's this dude!"

Dave Moore has posted a transcript of his rockcritics.com interview - had originally been a podcast (Scott Woods the interviewer):

(When I saw there was a third vote for I Am Me, I said to myself, "Must be the father of a couple of pre-teen girls. What other critics listen to this stuff, outside our circle?")

Why don't girls who like ballads become critics?
Jonathan writes ("Luis Miguel 'La Incondicional'"):

This project has really been testing my patience with the Big Ballad, the single song form which I have to work harder to appreciate and, appreciation won, have less desire to revisit, than any other. I'm hardly alone: the single most widely-hated song of the last twenty years (at least among respondents with pretensions to youth and cool) is "My Heart Will Go On"...

So I thought I'd reprint here my Pazz & Jop ballot for 2005, where I asked "Has a ballad ever won Pazz & Jop?":

Frank Kogan's Pazz & Jop Ballot 2005

Has a ballad ever won Pazz & Jop?

The answer is maybe - if you're willing to call "Ms. Jackson" and "Gangsta's Paradise" ballads ("Fast Car"? "When Doves Cry"? "O Superman"?). But basically no, and whichever nonballad wins this year will come from a long line of previous nonballads. (None of the strong contenders is a ballad, though I suppose "Stay Fly" is something of a crypto ballad, which is why I didn't vote for it.) Occasionally a ballad makes my list (for what it's worth, Hilary Duff's "Fly" - which is something of a power ballad, if "power" is a word that's usable in connection with small-voiced Hilary - would have been my number one in 2004, if I'd been paying attention to Hilary), but in general I don't vote for them, and in general I don't like them.

This isn't just about ballads. I'm looking back on Nelson George's half-smart essay in the 1989 P&J supplement, wherein he identifies white critics' blind spot in regard to upscale bourgeois black music but doesn't take in that the blind spot is shared by most black critics as well and that it's a blind spot that critics black and white have in regard to white music too (Phil Collins, anyone?); furthermore it's based on a very questionable idea of what counts as upscale: the Sex Pistols' progeny that we (or "we") often vote for are at least as upscale as the performers we shun, but it's our version of upscale, and we're not willing to call it such (among other reasons because it, and we, have some genuine populist ideals).

Let's pretend for the sake of argument that most P&J voters are pretty good critics. Well, this means that Pazz & Jop has a built-in blind spot in regard to music that sucks. I mean, most ballads are sentimental shit, and they're deadening to listen to. That's why I don't vote for them. But it therefore means that P&J doesn't represent the year in pop and semipop. It can't. My ballot doesn't even represent my year in music, much less pop's. It wasn't designed to. "Gasolina" made the bottom of my Top Ten, and I'm guessing it'll make the bottom of P&J's Top 40, but it - and the hot-dance Luny Tunes reggaeton thing it represents - is not the major story in Latin crossover of the last few years, or it's only half the story, the other half being genteel stuff for smooching like "Suga Suga" (which is nice enough, but kind of bland); for the most part it's only Latinos who even know that the guy - Baby Bash - who did "Suga Suga" is Latino.

Why do women rock critics hate ballads? Why don"t girls who like ballads become critics?Collapse )

Boy you're gonna pay 'cause baby I'm the one who's keepin' score
If you want to join in there or here, I'm in an interesting convo with someone named Petra over on a comment thread on one of Tom's Tumblrs in regard to how or even whether angry songs by women are perceived (convo inspired by an incompetent and incoherent Jude Rogers trend piece in the Guardian).

And the best is no one knows who you are, just another girl alone at the bar
Nitsuh writes about my homies in the 303:

It's not like there's anything new about boyish white guys trying on the kind of masculinity they're getting out of hip-hop - in these cases it can lead to some incredibly boyish bullshit. No, the bits that get me are the really pop ones, these 3OH!3 choruses that represent pretty much the only place you can hear boyish white "rock" guys singing the kinds of pop hooks you could almost expect from a Gaga or Britney song. (Or, you know, Ke$ha or Katy Perry collaboration.)

And Nitsuh says much more as well. Cites FOB and MCR as precursors but thinks of 3OH!3 as breaking a barrier. Then he gives us 140 characters to say what we think, so I write this:

Stooges-Eminem (self)contempt but deliberately paper thin; Kelly C crucial precursor for tune-rock, Megan McC "Tap That" for tune-rap-rock

Meanwhile Tom, expanding luxuriously in his tumblr lair, writes:

3OH!3 and Ke$ha and even Katy Perry (still not heard Brokencyde) are the first pop to make me feel old. Maybe just 3OH!3 Not in a "I don't get this" or "I couldn't get this" way, I think I get it OK even if I couldn't articulate it - but I don't think getting it could feel natural.

Tom also points out that grime-pop amalgams are hot atop the Brit charts these days.

I cite the Stooges and reflect on my inability to get oldCollapse )

Microwaving A Tragedy (extended freestyle mix)
Last month I linked the "radio edit" of my decade's end piece, the version that was printed in the Las Vegas Weekly. Here under the cut is the "extended freestyle mix" (a.k.a. director's cut), a full one thousand words longer – that's 60 percent more, for the same price! To put it in brief, I'm suggesting that the musical story of the Web is words, but that this Web word story can be one of distance and isolation.

Microwaving A Tragedy: The marriage of romance and romanticism in "00s popCollapse )

Another Year In America September 17, 2009
Familiar faces as the summer stumbles to a close.

Lady GaGaCollapse )

Kelly ClarksonCollapse )

CascadaCollapse )

Feeding frenzy
Made a couple comments on Dave's tumblr in regard to a post by abbyjean.

What"s left to sell?Collapse )

What if the joke is on you?Collapse )

Another Year In America May 7, 2009
A star glistens typically, a couple of country acts straddle the borderline, and there's a dead man walking.

Kelly ClarksonCollapse )

Brad PaisleyCollapse )

EminemCollapse )

SugarlandCollapse )

Another Year In America January 29, 2009
New song barrels its way to the top of the sucking fucking charts, while country boys still can't get in on the guest list.

Kelly ClarksonCollapse )

Lady GaGaCollapse )

Keri Hilson f. Lil WayneCollapse )

U2Collapse )

Rules Of The Game #26: Because Of You I Am Afraid
I'M BACK! Well, I was always here, but my column is back, dealing with an issue that has stirred the hearts and shaken the minds of many a poptimist: what is the nature of legacy and continuity in country music; or, if my mother blows her house to pieces, does that mean I have to blow my house to pieces too when I grow up?

The Rules Of The Game #26: Because Of You I Am Afraid

Links to my other Rules Of The Game columnsCollapse )

Kelly and Hillary, Kelly and Obama, Kelly and Cole
While googling myself I found a blog called Lisa's Blog with a subcategory on Kelly Clarkson; Lisa posts videos of Kelly singing a couple of old jazz-pop standards (voice a bit too heavy for 'em), posts live videos of Kelly's astonishingly great "Maybe" (the one I'd linked in my livejournal and another version from a couple of days later), and prints what seems to be the correct lyrics. Also prints photos of Kelly and other luminaries on Capitol Hill, and gushing praise from a Nashville exec who found her a delight to work with.

Kelly's "Maybe" could be my number one single of 2007, if it's released as a single.

Kelly Clarkson joins Metal Skool w/ her friend Jack Daniels
I'm getting poxy fuled over on the teenpop thread, so I'll post the link here:

Kelly Clarkson joins Metal Skool w/ her friend Jack Daniels.

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