First, I would like to thank my mother’s computer for allowing me to put up a blog post. As some of you know, me and my computer have been forcibly separated by circumstances beyond my control (*cough* Olive oil *cough*) and until some kind of brilliant solution is worked out, I need to mooch off of other peoples’ computers to get blog-related work done. So thanks, Mom! (and Mom’s computer. I’m sorry I made fun of you for not having an alarm clock.) It’s also a minor miracle that my mother and I are in the same city, so thank you, giver of miracles.
[My mother would like to take this opportunity to note that:
1. She doesn’t like my blog theme (hey, you should see the other ones. But shall work on it.)
2. She thinks it’s too hard to comment on my blog (fair point. Shall work on it)
3. She thinks I should talk more about why the title of the movie Shame is an example of America’s moralizing puritanism (yeah…that’s probably not going to happen)
4. If I don’t talk about why the title of Shame is an example of America’s moralizing puritanism, she threatens to take over my blog for a day and do it herself (oy! Get your own blog!)]
Secondly, I would like to register my outrage at the fact that Skylar Laine was eliminated from American Idol this week.
Skylar should not have gone home in fifth place. Let’s just say that when I found out, I used language that I would not repeat on the internet.
Skylar was not necessarily my favorite contestant – I kept switching between her and Jessica Sanchez for the female contestants (and Joshua Ledet for the male contestants) – but she was a bloody incredible singer and performer; she was charismatic and always fun to watch; and unlike certain other contestants, she was consistently improving, consistently pushing herself, consistently staying on pitch and on key, consistently challenging the boundaries of her vocal abilities.
SHE SHOULD NOT HAVE GONE HOME FIFTH PLACE, is what I’m saying.
Heck, she made me, a non-country fan, like country music. Which is Saying Something – one of my best friends has been trying to get me on board the country bandwagon for years.
Her ouster is particularly frustrating because the one contestant who messed up both of his performances (I’m sorry, Phillip Phillips fans, but he was off-pitch for most of the night, and the melody got beaten into a bloody pulp in his first performance) was STILL nowhere near the bottom 3. At this point, I think Phillip Phillips could kill a kitten onstage, and he’d still sail through to next week.
And no, I still won’t blame teen girls. I don’t need to. Last week, after a particularly bad Phillip Phillips performance, Jennifer Lopez said: “I need you to do songs that are going to get you to that last show so you can win.”
Did she say the same thing to Elise Testone, Jessica Sanchez or Skylar Laine in one of their less-spectacular performances?
Even in Phillip Phillips’ bad performances, he’s still tagged as the winner.
Bias? What bias? I don’t see bias!
(And Lopez, let’s be clear, is the judge who has explicitly said she wants a girl to win idol this year)
Bah. I shall bring this rant to a close, because, in the immortal words of Skylar Laine, the show must go on:
On with the (book-related) show!
This is, of course, my monthly act of reading-related naval-gazing, whereupon I list and discuss all the books I read in the past month. Let’s look at my reading list for April, shall we?
1. The Warrior’s Apprentice by Lois McMaster Bujold
2. After the Apocalypse by Maureen McHugh
3. Libra by Don Delillo
4. The Vor Games by Lois McMaster Bujold
5. The Jew of New York by Ben Katchor
6. Cold Fire by Kate Elliot
7. Chime by Franny Billingsley
8. The Stepsister Scheme by Jim C. Hines
For those of you who have been following my monthly reading roundups since the start (ie: my brother)… have you noticed the drop? Eight books! Eight! That’s well below my monthly average of thirteen (for last year), and it’s a four book drop from March.
I would be worried, but, let’s face it: it was finals.
It’s surprisingly hard to read when you’re trying to memorize a hundred and fifty pages of lecture notes, or desperately trying to find your way out of Heidegger’s Hermeneutic Circle. (What is the hermeneutic circle, you ask? Don’t ask. You don’t want to know).
On the other hand, I enjoyed every single book I read, which is… rare. Very rare. It’s why I didn’t star and italicize the books I would recommend – because I would honestly recommend any of the books I read this month. Very bizarre. Very VERY bizarre, even. Maybe I’m becoming less picky in my old age? (hey, my brother thinks I’m old. And I can buy alcohol in the United States. That’s pretty old).
I even enjoyed Don DeLillo, who I was convinced I would dislike based on the reviews I’ve read of his work. I also tend to dislike contemporary American “literary” writers (*cough* Jonathan Franzen *cough*), but… I liked DeLillo. Maybe it was just the pre-finals adrenaline rush. Maybe it was just the fact that Libra is a spy novel, and I like spy novels. I’ll have to read something else of DeLillo’s, and make my mind up then.
The Jew of New York was the most painful read of the month, but it wasn’t the book’s fault (necessarily). For some reason, every time I tried to read it, I would fall asleep, which would, in turn, make me freak out that I wasn’t going to finish the book before my Graphic Novels final. Not a good reading experience. In the book’s defense, I think my falling asleep was due more to my finals-related exhaustion than to the contents of the novel – it’s not a boring read. Once I’d had a couple hundred cups of coffee, I really enjoyed it.
Of course, in a moment of supreme irony, I spent the days before my graphic novels final desperately finishing The Jew of New York… and it ended up being the only book of the entire course that I couldn’t find a place to talk about in the exam. We read 13 comics. I managed to talk about every single one except this one. GAAAH. ( I added it to my definition of graphiation, just so I could say I’d covered every book. Yes, I’m slightly obsessive, why do you ask?)
April would have been a good reading month if only because I continued my foray into Lois McMaster Bujold’s Vorkosigan saga. Yes, I do now understand why everyone in Sci-Fi is obsessed. I read Shards of Honor and Barrayar during winter break, and was immediately hooked onto the series (as evidenced by the fact that I put both books in my list of great SF books for women). Sadly, Young Miles, the omnibus that contains The Warrior’s Apprentice and The Vor Game, was unavailable at my local bookstore, and checked out of the city library… so it took me a while to get my hands on it.
I was somewhat worried that I wouldn’t like Miles as much as I loved his mother, Cordelia Naismith (the hero of the first books in the Vorkosigan Saga). But although my love for Cordelia is eternal, I have managed to find a place in my heart for Miles, who is just… divine.
Miles Naismith Vorkosigan lives on Barrayar, a planet where physical strength and military ability are valued above all else. Worse yet, his father, Admiral Aral Vorkosigan, is an intergalactically reknown military hero (his mother, Cordelia, is also a military hero, but Barrayar is a highly patriarchal society, and thus prefers not to talk about a woman’s military achievements).
Unfortunately, Miles is a dwarf. A biological attack on his parents while Cordelia was pregnant with him permanently damaged Miles’ spine and bones, leaving him short and disabled. His bones break easily; he needs leg braces and canes to walk correctly. On Barrayar, someone like Miles would usually be aborted; only the courage of his parents saved his life. As someone with extreme physical disabilities, Miles has no real place in Barrayar’s militaristic society. Indeed, the beginning of The Warrior’s Apprentice sees him failing out of officer training when he breaks his legs on an obstacle course.
So Miles needs to find… alternatives.
Alternatives which include (among others): commandeering an ship, running guns to a besieged planet, impersonating an admiral and, somewhat accidentally, gaining the control of an entire mercenary fleet. For kicks, Miles wins a war and then goes to save the emperor of Barrayar from an evil plot.
He’s pretty resourceful, is what I’m saying.
All of Miles’s achievements should feel ridiculous, but Bujold crafts the character so well that I bought them, hook, line and sinker. I never felt like Miles was a Gary Stu. He’s real. And the stakes are sufficiently high, and the plot is sufficiently dark that the books are more than just a caper. When I started to worry that Bujold was making things too damn easy for Miles, she hit me with a great plot twist, and I was satisfied: there are consequences to Miles’ actions.
Yet even with the darkness, Miles is just so damn fun to read. I found myself laughing at the sheer audacity of his schemes, or cheering at his ridiculous and hard-earned successes. You can’t help but enjoy him. Case in point:
“Am I reading too much into all that innuendo, or did you in fact just connive to assassinate Gregor in one breath, offer to cuckold him in the next, accuse your father of homosexuality, suggest a patricidal plot against him, and league yourself with Cavilo—what are you going to do for an encore?” (Bujold, The Vor Games)
I, for one, can’t wait to see what Miles does for an encore. Damn, I love these books.
I’ve been trying to read more short stories – they are not my genre of choice, sadly, but I’m learning to appreciate them. Since I was a big fan of Maureen McHugh’s novel China Mountain Zhang, I thought I would pick up her short story collection, After the Apocalypse.
That turned out to be a good decision – as it turns out McHugh is one of a very few writers whose short stories I enjoy every time (Octavia Butler is another of this rare breed).
All the stories in this collection are linked by the title theme – they tell stories of people surviving after some kind of major, apocalyptic change. And, just as she does in China Mountain Zhang, McHugh focuses in on the stories of individuals, and the way they live (or don’t) in the midst of these changes.
Although I admired all of the stories in the book, I was particularly impressed by four: “The Naturalist,” “Special Economics,” “The Effect of Centrifugal Forces” and “After the Apocalypse.” I’m actually glad I was spoiled for the ending of “After the Apocalypse,” because I think it would have been too much of a blow if I hadn’t known it was coming – it’s a tale of mother-daughter survival that… does not go the way reader’s expect (I shall refrain from spoilers). “The Effect of Centrifugal Forces” is a bit of a companion piece to “After the Apocalypse” – it too, focuses on mother-daughter relations, although in this case, the “apocalypse” is a degenerative disease.
“The Naturalist” has a fascinating premise: Zombies have been confined into a sort of natural reserve; the government drops criminals into the reserve as punishment. One of the criminals (our protagonist) becomes fascinating by the zombies, and starts using his fellow criminals as bait so he can observe the zombies’ behavior when they feed (I mean, people have to find a way to occupy themselves…).
I suppose one of McHugh’s central questions is whether or not “natural” relationships and instincts are that “natural” when people are in extreme circumstances. Do mothers and daughters remain close in the face of the apocalypse? Do we keep our link with our humanity, even when we’ve been abandoned to die? McHugh’s exploration of this theme is brutal (if fascinating) which is why I appreciated ‘Special Economics,” a somewhat more light-hearted take on two women navigating an exploitative Chinese company.
I also thoroughly enjoyed Cold Fire by Kate Elliot, but have no idea how to review it without giving spoilers for the first book in the series, Cold Magic. I’ll just say that you should check both books out: they’re pretty fantastic.
The series as a whole is:“An Afro-Celtic post-Roman icepunk Regency fantasy adventure with airships, Phoenician spies, the intelligent descendents of troodons, and a dash of steampunk whose gas lamps can be easily doused by the touch of a powerful cold mage.”
And if that’s not enough to send you running to the bookstore, the series also includes irritatingly handsome men who would be more attractive if they weren’t trying to kill you, cat-human shapeshifters, dragons, trolls (the intelligent descendents of troodoons), witty (and less witty) banter, and an awesome protagonist who has her priorities straight (when married off without warning, first: locate food. When sent to the spirit word, first: locate food. When exiled to an island full of zombies, first: locate food. Priorities: Cat has ’em).
Oh yes. There are now zombies.
Seriously, why didn’t I know about Kate Elliot earlier?
(Dear Universe: When there are awesome authors I should read, please let me know about them early, okay? An intergalactic newsletter will do just fine! Thanks!)
Okay, I lied before: the worst part of my reading this month was the cover of Chime. Seriously. Worst and least accurate cover ever. Yes, it’s pretty…I suppose. But why does Briony look like a half-buried barbie? For that matter, why is she so darn pretty? The cover makes it seem like poor Briony is off to a very, very bizarre school dance (she’s not).
If you can’t already tell, I REALLY dislike this cover. Maybe it’s because I spent my childhood decapitating my barbies and burying them in the backyard (totally normal behavior!). Or maybe it’s because the book is about a girl who is convinced she’s a horrible witch who deserves to be hung, and not about a girl going to her prom (not that there’s anything wrong going to your prom).Chime is dark and edgy and tortured and the cover… is a very pretty version of that.
On the other hand I really liked the book, which is one of the most original YA novels I’ve read this year.. It’s very rare to read a young adult character quite as self-loathing as Briony, who is convinced she’s a witch, and responsible for the death of her stepmother, and the mental illness of her twin sister. Briony’s voice and her journey is fascinating. I was disappointed by the ending, which was a bit too pat for my taste – I was hoping that such a nuanced character would merit an equally nuanced ending. Or perhaps I wanted this nuance to translate to the rest of the “monsters” in the story. If Briony is redeemable, shouldn’t witches be redeemable as well? Are all (other) witches evil? Are all dark creatures evil? Did anyone else feel unsatisfied by the ending, or is that just me?
I also feel like there’s a trend in YA these days to write about protagonists who would usually be the villains – I’m thinking of Briony, of course, and also of Cassel Sharpe in Holly Black’s Curse Workers series. But maybe that’s always been a trend, and I’ve just missed it? The villain-as-hero seems particularly pertinent to the YA genre, in any case (since the genre is oriented towards teenagers).
I’ve been following Jim C. Hines’s blog for a while, and he did me a big favor a couple of days ago (he doesn’t know he did me a favor, and I don’t know him personally. He just wrote something very helpful on his blog). So I figured since I was getting so many benefits from his blog, I should probably buy one of his books (rather than just mooch off his free stuff).
The Stepsister Scheme is the very, very long epilogue to the Cinderella fairy tale. Cinderella (Danielle) and her prince (Armand) are happily married. Unfortunately, Danielle’s evil stepsisters haven’t given up on marrying Armand themselves, and kidnap him (they’re persistent, you have to give them that). Danielle goes off to save Armand; she’s joined by two of the Queen’s employees, Snow and Talia.
It took me a while to get into the plot of The Stepsister Scheme – I almost needed three more chapters of info-dump than I got. Since the story begins in medias res, it was harder to attach to the characters – I almost needed three more chapters of info-dump than I got. I know, I just said I wanted more info-dump. I’m sure the universe will punish me for this horrific statement somehow…
Once I was hooked, however, the book was very good. What’s fascinating about the story is that it’s not just the epilogue of one fairy tale – Snow turns out to be “Snow White,” and Talia turns out to be “Sleeping Beauty” The interactions between the three princesses – Danielle, Talia and Snow – are also quite interesting. They’re all deeply traumatized by their “fairy tale” experiences, and who can blame them?
I’m intrigued to see what else Hines does with the series – the characters are great, and it’ll be interesting to see how they continue to evolve in the rest of the series. Plus, I’m hoping for the appearance of Little Red Riding Hood. Apparently, she’s an assassin now.
Random Other Stuff
Apparently, when I’m super -stressed out for finals, I find awesome things on youtube. Yes, those two things seem… incompatible. I am a woman of many skills.
The Lizzie Bennet Diaries: a video-blog (re)telling of Pride and Prejudice. I loves it very much. It is my precious. And it is helping me get over the end of my Austen course.
America’s Next Top Doll
It is a truth universally acknowledged that I, to my great shame, have watched every single episode of America’s Next Top Model. More than once. Yes, I pretended it was some kind of deep sociological problem, but really? I was hooked. Hooked on the weaves and the photoshoots and the drama. And hooked on the weirdness of Tyra Banks.
(For the record, my favorite cycles are 3, 6, 7 and 13).
I have since gotten over my obsession, but the scars of those months run deep. Very deep. And this youtube parody has helped me heal. With the gift of laughter.
(Oh, Michael Slezak, where would I be without you?)
Sadly, the season is not complete (and probably never will be…) , but my money is on Zombie-girl to win it all.
And that’s all for now! Hopefully my computer will be fixed soon, and I can return to some kind of normal blogging schedule… but until then, I remain, as ever, trapped in Heidegger’s Hermeneutic Circle.
(p.s: in my next post, there may be a cat. No promises, but I figured I’d give advanced warning just in case for those allergic to cat hair. And cuteness)
“There’s going to be a couple of trainwrecks. Haley Reinhart is going to be a trainwreck.” – Michael Slezak, TVLine, March 1st 2011
I don’t watch American Idol.
I mean, I didn’t.
Oh, I knew it existed. I mean, I wasn’t THAT far under the rock. But my parents didn’t believe in TV, and they especially didn’t believe in reality TV.
Neither did I. In my teenager idealism, I thought American Idol was a “commercialized, manipulative, exploitative piece of garbage” (I had a thing for adjectives). And I patently refused to support it. No, I would sit in my room and blast my African Pop, feeling virtuous. Youssou n’Dour was the sound of my adolescence, not David Archuleta or Jordin Sparks.
Yet American Idol crept up on me. Based on seeing his youtube performances, I became an Adam Lambert convert, though I still refused to watch show. And then I discovered a fantastic commentary writer called Michael Slezak. Unfortunately for me, Slezak wrote American idol reviews. But since he was fun and smart and snarky, I started reading his recaps anyways. Sometimes I’d go on youtube to see a performance – but usually Slezak’s writing was more interesting than the singers.
And then Slezak convinced me to watch season 10 contestant’s Haley Reinhart’s performances. One song later (“You and I”), it was all over for me; I was madly in love with her.
And I shouldn’t have loved Haley. I mean, she’s a jazz vocalist (I don’t like jazz). She picks weird songs to cover (I don’t like weird songs). She was on a show called American Idol (I don’t like American Idol). The entire production did everything it could to send her home early (I am usually easily manipulated by producer tricks).
But I loved Haley Reinhart. And I still love Haley Reinhart. In fact, I go all kinds of fangirl when I listen to her. I have listened to her new single “Free” approximately 20 times today. It’s a bit embarrassing.
But why? Why do I love Haley?
Well, I always love the underdog. And there’s rarely been as big an underdog as Haley Reinahart.
She was in the bottom three for her first two weeks on the show. The judges consistently trashed her performances. The producers hated her. She was, in other words, “cannon fodder” – someone who was never, ever, ever supposed to get into the top 10 of American Idol.
But miraculously, Haley didn’t go home. And she started getting better. Much, much, much better. She began at the bottom of the pack of contestants; she ended as someone who turned in the best performance almost every week. She began as someone no pundit could see winning; she ended in third place, knocking out early favorites like Casey Abrams, James Durbin and Stefano Langone.
And she did it without any help.
Even as Haley morphed into a genuine contender, the producers continued to ignore and sabotage her. The judges refused to give her any credit. In a season where the judges were notoriously easy on people – where they almost never called contestants out on pitch problems, missed notes and bad singing (and when I, with my complete lack of expertise, notice that someone is off-pitch, or singing badly, they’re REALLY singing badly) – where everyone got a “in it to win it” and a “gold star” – Haley Reinhart’s treatment was shocking. As she survived elimination after elimination, Haley became the one and only contestant the judges would critique – despite her noticeable improvement, and the fact that she always stayed on key.
Even when the judges finally acknowledged just how incredible Haley was – she did get the most standing ovations of the season (3 in a row, not counting her standing ovation from her duet with Casey Abrams) – it was always more muted than with other contestants. The others were so good that there was “nothing to judge here.” They were “in it to win it.” They were “the one.” On the other hand, Haley was, at most, “the best performance the night.” Or she had a “good, good, good, good round.” No judge ever discussed her as a potential winner. No one ever said she could make the top three or the top two. No judge ever discussed her appeal as a potential recording artist. There’s actually a recording of Randy Jackson saying of Haley (during top 5 week, before the cameras were on him) “I’m not rooting for her.”
If you want proof of the blatant favoritism, look no further than top four week. After the first round of songs, all the contestants – Haley, James Durbin, Scotty McCreery and Lauren Alaina – were called back on stage. Ryan Seacrest, the host, asked the judges who did had done best. Randy Jackson said – and I quote – “Uh, I think it’s a tie between Scotty, James and Lauren.”
(notice someone missing?)
I almost threw my coffee at the TV screen on that one. Seriously? Seriously.
When I say Haley was the underdog, I really, really mean: she was the underdog. No one was on her side. Not the producers. Not the judges. Not (initially) the voting public. And usually, when you don’t have all three of those guys in your corner, you are dead in the water. But not Haley Reinhart. And that’s why I love her.
Most contestants would buckle under the pressure; not Haley. Even when it was clear that no one thought Haley would win, she refused to play it safe. She pushed her vocals. She took risks. She choose songs that no one in their right mind would choose – a Led Zepplin song, an unreleased Lady Gaga track, Adele’s “Rolling in the Deep”, the completely unknown jazz ditty “Moanin’.” And as Haley was doing everything a contestant should not do, she was also single-handedly destroying the producer’s genius plan for the final five.
Which is what’s so incredible about her: by throwing out every rule in the book (except for: sing like a queen) Haley Reinhart single-handedly destroyed the producer’s genius plan for the top three.
With all of those things – the judge’s riducata, the production’s sabotage and Haley’s own grit and spunk – it was basically impossible for me NOT to root for her.
But even though I love an underdog – and I do always love an underdog – I wouldn’t love Haley nearly as much if it weren’t for that aforementioned quality: her talent.
And her jaw-dropping singing.
When Michael Slezak erupted with outrage at the Judge’s refusal to praise Haley’s “You and I,” I went to youtube, and watched it. And started laughing. Not because it was bad, no – but because of how ridiculous her voice was. The growl! The passion! The grit! The clarity of her tone as it hit the higher register!
And then I flipped to Haley’s “House of the Rising Sun,” and had a full scale meltdown of hilarity. I didn’t even know singers could do things like that. She looped her voice between low and high notes with a timing that left me gasping with laughter. She slid between champagne-velvet smoothness, and a powerful growl like a DJ flipping tracks – effortlessly.
One of the reasons I don’t watch idol is because I’ve found that, no matter how good the singers are, they don’t do anything I can’t find on my iPod, or in the current crop of recording artists. They’re fine, sure, but other people are fine too, and I don’t have to watch a whole seasons worth of a TV show in order to get my hands on their music. Adam Lambert is of the few exceptions to this rule – Haley Reinhart is the other. She does things that I didn’t even know were vocally possible, like go from her rich, bluesy, simmering lower range to the stunning clarity of her upper register in seconds. I’ve never heard a voice like hers before. It’s a medley of elements that shouldn’t go together – a warm, smooth velvet tone; a passionate growl; a rocker’s intense, sugar and alcohol-laced rasp; a yodel and a haunting, whispery register. Yet somehow, under Haley’s direction, all those different edges combine into utter perfection.
Haley was a convincer. She transformed Michael Slezak, who hated her at the beginning of the season, into an obsessive fanboy. She got the American public to vote for her all the way to the top three. And she convinced me. I didn’t think an American-idol singer would ever top my list of favorite musicians. I didn’t think I could ever love a jazz vocalist. I didn’t know I needed a singer like Haley Reinhart in my life. But I need her now. She convinced me.
And in honor of the fact that she did the impossible, and made me, an utter music-phobe, care about American Idol – and also because her first single “Free,” just came out (it’s FANTASTIC) – I’m celebrating my favorite Haley Reinhart performances. Please pardon my utter fangirlness.
1. “House of the Rising Sun”
The best performance of season 10, hands down, and probably in the top ten performances on American Idol, ever. The a Capella opening sends chills down my spine. The way her voice loop up and down. The “breaks” in her smooth melodies. The way she handles her notes. Some of them are straight lines; others slide sharply around the edges of bubble, like she’s curving them, drawing a perfect 360 with her voice.
And then she rips into the melody with determination in her eyes and raw power of her tone, and it’s just incredible, especially as she draws back into the haunting stillness of “oh mother” before her voice explodes on the final few lyrics. She felt every word of the song. She, a 21 year old woman, embodied the mood, the power, the despair of a male Louisiana drug addict. Well played, Ms. Reinhart. Well played.
2. “What is and What should Never Be”
My favorite Haley Reinhart performances are the ones where she goes between her creamy velvety register, and her rock-and-roll rasp. And her “What is and What should Never Be” vocal exemplifies that: it’s blues and rock and jazz; it has elements of both ethearality and grit. There’s a magnificent, controlled-yet-raw sense to the vocal.
And you gotta love a girl who can fall down and still deliver one of the best performances all season, right? You also gotta love a girl who performs an obscure Led Zepplin song after being trashed two weeks in a row for bad song choice. Haley “I don’t care about your terrible advice” Reinhart.
I’m going to quote Beyonce on Haley’s song choice (because everyone should quote Beyonce at least once in their lives): “It shows her guts. It shows her *bleep*. It shows her strength and her fearlessness. She is a risk taker, because she didn’t pick a pop song or something that everyone knows. She has conviction. She makes you believe in what she believes in – which is a huge part of being a superstar.”
Oh, by the way? The guy on electric guitar? Her dad. The look that lights up her face as she comes down the stairs and sees him? Priceless.
(I am a total sap, and the first time I saw Haley and her father playing together, I MAY have teared up. Or I may just have had REALLY BAD ALLERGIES.)
3. “Bennie and the Jets” (exit)
Haley’s original performance of Elton John’s “Benny and the Jets” on Top 11 week put her on the map. It was a stunning vocal from a contestant who everyone had already written off – in the space of ninety seconds, Haley the inevitable loser had transformed into a bonafide dark horse.
When she reprised “Benny and the Jets” as her exit song, right after getting cut from the competition, it was even more incredible.
And this is after she’d been cut. AFTER.
I know some people think the performance shows Haley’s arrogance. I don’t get that. I think it shows her passion for singing; her love for her music. And that’s not something that always came across with other contestants. That’s not even something that comes across with professional singers. But with Haley – yeah. You can tell. She’s just living inside every single on of those notes, burrowing deep within, enjoying every second of being up there. And it’s almost impossible not to enjoy it right along with her (which is why I’ve watched this performances approximately eleventy five billion times)
The moment when she leans back and slides down the stairs, and her voice flies up to the rafters like a helium balloon on “magazine” is incredible. And when she changes the lyrics to include the names of the judges, softening into a lovely soprano for “Steven,” – I got chills. Or when she starts rocking out with her fellow booted contestants. Or that final run of notes, right before the end. And then her “This end of this! Shindig!” and hug with her parents was just –
I almost wasn’t upset that she’d been cut anymore.
4. “Moanin’” (duet with Casey Abrams)
I have nothing to say. Because it’s just too wonderful for words.
Oh, I’ve got something to say after all. Whoops. When Haley comes in to the song, her voice it so light and soft and lovely it barely touches the lyrics. And then she scats! SHE SCATS! (so does Casey, who I think is pretty fantastic here).
But the moment I fell out of my seat (figuratively) is at the 1:37 mark of the video. When her voice emerges from nowhere and hits that series of ridiculously high notes – How do you even…
Just watch it.
5. “I (who have nothing)”
Let’s take a scenario here. You sing your song. You are the only contestant out of the four who is criticized. You are then brought up on stage where you are told that EVERY SINGLE OTHER CONTESTANT is beating you. The camera pans to you, and it’s clear that you’re on the verge of tears.
And then you have less than five minutes to pull yourself together before you perform again.
See, this is when it’s completely justified to be a trainwreck. Seriously.
Haley, though? Not having it. She comes back with a theatrical, bluesy, bordering-on-the-psychotic version of “I (who have nothing).” The performance oozes with longing and pain and is threaded with viciously powerful vocals.
It’s also proof that Haley doesn’t need her signature growl to sell a song. She only uses it once in the entire song, and it’s still one of the best vocal performances of the season.
6. Oh, what the hell.
Like I could decide on the rest of them! I’m just throwing in her Top 3 rendition of Rhiannon, which is dreamy and cool and lovely in all the right ways. She puts the slightest hint of her growl into her creamy upper register, which gives the performance an undertone of the ghostly. And the way she pulls back her final note into the whisper? Girl’s got skills.
Oh, and her top 5 performance of “You and I,” which the judges hated. And which, conversely, made me fall in love with her. Judges: Go jump in a lake.
I will end with Michael Slezak, who says it all:
“Like a salmon swimming upstream and dodging the vicious claws of grizzly bear Randy Jackson and the gallons of pollutants dumped by toxic she-beast Jennifer Lopez, Haley made what has to be the most sensational (and artistically satisfying) come-from-behind run in Idol history. I’d also argue she scored more “Idol Moments” than any other contestant this season: “Bennie and the Jets,” “Moanin’,” “You and I,” “House of the Rising Sun,” “I (Who Have Nothing),” “What Is and What Should Never Be,” and “Rhiannon. And in what felt like a love note to the fans who watched her grow from awkward, slurry cannon fodder to a poised and confident musical risk-taker, Haley turned what could’ve been a tearful exit performance into a moment of pure triumph.” – Michael Slezak, TVLine, May 20th 2011
You go, girl.
So apparently, the internet has found this post – my blog traffic suddenly spiked around two in the morning when someone posted this on the idol forums Which is great, if a bit overwhelming (this blog is two weeks old – I have no traffic yet)! Hello, fellow Haley fans! Nice to meet you!
I’m assuming that if you’re enough of a die-hard Haley fan to find this post, you’ve probably heard every song Haley’s played off of her album, but just in case anyone hadn’t, I thought I’d put a collection of links below. I’m going by least-to-most trafficked on youtube.
“Now that You’re Here” – this is the newest I’ve found online, and it’s fantastic. I had the chorus stuck in my head after two listens, and my roommates kept asking me what I was humming while I was cooking.
“Hit the Ground Runnin'” (at House of Blues). My fingers are crossed that this will be her second single. As much as I love “Free,” “Hit the Ground Runnin'” is my favorite song off her album (that I’ve heard so far), and I think it would sell extraordinarily well to radio. Also: lyrics= win.
“Wasted Tears” (at Hard Rock Cafe). Apparently she sang this while sick. Which is ridiculous. When I’m sick, I usually curl up in a ball and die.
The lead single, “Free.” If you have not bought it, buy it. Because it’s incredible. I also highly recommend listening to her performance of it on the American Idol results show – her phrasing of the “let it be/let it be/just a beautiful memory” gives me goosebumps.
If anyone knows of other new videos and leaks, let me know and I will put them up!
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