“For Jesse and I, we get comments and compliments from gay moms and gay dads, and kids of same sex parents. They say, ‘Hey, thanks for being a couple that I can point to,’ like, ‘Cam and Mitchell are kind of like my family.’ Things like that that transcend our job.”
-Eric Stonestreet backstage at the 2011 SAG Awards, after “Modern Family”deservedly won the award for outstanding performance by an ensemble in a comedy series.
I’m thrilled to be a part of Nashville Scene’s 11th annual Country Music Critics’ Poll, published today. I voted and submitted commentary for the first time, joining 76 other writers from all over North America – some of whom I’m lucky enough to call colleagues. I have a special admiration and respect for these country music writers, so it’s humbling to see one of my comments published right alongside theirs. Check out all the coverage below.
“You’ve got to be absolutely in the moment. It’s your senses, in a way, that tell you, and you’ve got to think with your heart –not your head– in situations like that. That’s why most people in the music business screw it up – because they don’t think with any emotion. And emotion is absolutely key to this.”
-Simon Cowell on an episode of Oprah Winfrey’s new TV show, “Master Class,”speaking about decision making in the music industry. An interesting interview, though the production choices (wolves?) are odd.
Slant Magazine recently published a monster list of the best 100 singles of the 90s- with commentary that’s made me think, reminisce and, quite frankly, wish I were a better writer.
About six months ago, over at Country Universe, we similarly counted down thebest 400 country singles of the 90s. It’s a decade we hold close to our heart as a staff, so it was a rewarding experience to compile and explore our list, which ended with this (unembeddable) gem. Here’s an excerpt from Kevin Coyne’s excellentwrite-up for the song:
“It’s a record that could’ve only existed in the nineties, when country music was broad enough to allow outside influences, but self-confident enough to incorporate them without sacrificing its own identity and integrity. “Maybe it Was Memphis” defines an era of country music that approached meritocracy, an era where genuine talent paired with a worthy song was regularly rewarded. An era where a young artist’s debut single could become a classic as easily as the latest from a veteran superstar.”
The tenth season of “Idol” premieres today, and it’s prompted plenty of insightful coverage on the show’s past, present and future. It’s always fun to dig into the show’s history by exploring the defining moments of each season – but what about the moments that define your own journey as an “Idol” fan? Here are a few of my own:
Season 3: Camile Velasco, “Ready or Not”
I didn’t start watching “Idol” until its third season, and Camile was the first contestant I ever rooted for. The 18-year-old IHOP waitress from Hawaii had an admittedly flawed run on the show, thanks to uncontrollable nerves, but her first audition embodied all the stuff that’s kept me coming back for more on “Idol”: humility, genuine passion and promising, uncultivated talent.
Season 4: Carrie Underwood, “Angels Brought Me Here”
Although she’s grown into an explosive performer in the five years since she won, in many ways, this finale night performance is a perfect representation of Carrie’s persona as an artist: poised, polished yet emotionally raw. It’s a combination that makes it easy (and understandable) for critics to mistake her as one-dimensional, but as someone whose personality is freakishly similar to hers –flaws and all–, I just get it. And in turn, I’ve been able to connect with her and her music on a very special level.
Season 5:
Hands down, my favorite season to date. It didn’t have the most talented Top 12, but it certainly had the most memorable – a somewhat amateur bunch of characters, bubbling over with distinct personalities and skills. A good chunk of my all-time favorite “Idol” performances come from this season, including Katharine McPhee’s “Until You Come Back To Me,” Chris Daughtry’s “Have You Ever Really Loved a Woman?” and Elliot Yamin’s “Somebody to Love.” The season also began during a trying time in my life and, in its own small way, helped pull me through.
Season 8: “Kradam”
This hug is heart-melting on its own, but it’s representative of a larger lesson Adam and Kris weaved through Season 8: tolerance. They were an unlikely pair –the church music director from Arkansas and the then sexually ambiguous hipster from California– and the media relentlessly pitted them against each other. But they forged ahead with a genuine friendship, even making a point to highlight it ininterviews by explaining that you can always find common ground if you look hard enough. It’s stuff like this that cuts through the commerciality and glitz of “Idol” and reminds me that there are real people with real stories at its core – and you never know what you might learn from them.
“USA Today” is reporting that a tour bus filled with “Idol” memorabilia –the “Idol Across America Mobile Experience”– will visit 16 cities over the course of four weeks, beginning Jan. 19. Among the goods, you’ll find framed platinum records,David Cook’s guitar and Ryan Seacrest’s…suit? You’ll also have the chance to pose for pictures with lifesize cutouts of the judges and record your own twist on “This is ‘American Idol.’”
Actually, this is ridiculous. And hilarious. But who am I kidding? I’ll be checking out the bus on Feb. 2 when it stops in Houston.
Dear James: You’re awesome. Let’s be friends. (And I totally saw you in this last month, during my Hallmark Channel Christmas movie binge. Yep.)
I dig pop culture.
