"...Watching at first, we too are the sneering audience members, the young girls who roll their eyes. (Note how carefully edited the audience shots are.) But—then, cue the music, and even as Boyle is just opening her mouth, people's faces are lighting up. She has relaxed into herself and her voice is... pretty good. (Not great.) And so we get to exhale and let our saccharine hearts soar with the schmaltzy music as, for a moment, we see "proven" on TV that looks and sex aren't everything. For that moment, the light mantle of eros even seems to rest around Boyle—she smiles, she has some cultural worth, someone, we think, might even kiss her one day! Thus, release. In a sense, Boyle inhabits the role of the scapegoat of early village traditions whom we punish with exile (or sneering), but whom we now, through the magic vehicle of TV, welcome back into the fold, surprising ourselves with our capacious hearts."
Wednesday, April 22, 2009
"Something like a Phenomenon?"
Words. For Your Consideration...
"...Watching at first, we too are the sneering audience members, the young girls who roll their eyes. (Note how carefully edited the audience shots are.) But—then, cue the music, and even as Boyle is just opening her mouth, people's faces are lighting up. She has relaxed into herself and her voice is... pretty good. (Not great.) And so we get to exhale and let our saccharine hearts soar with the schmaltzy music as, for a moment, we see "proven" on TV that looks and sex aren't everything. For that moment, the light mantle of eros even seems to rest around Boyle—she smiles, she has some cultural worth, someone, we think, might even kiss her one day! Thus, release. In a sense, Boyle inhabits the role of the scapegoat of early village traditions whom we punish with exile (or sneering), but whom we now, through the magic vehicle of TV, welcome back into the fold, surprising ourselves with our capacious hearts."
SLATE: The Contrarian Take on Susan Boyle
"...Watching at first, we too are the sneering audience members, the young girls who roll their eyes. (Note how carefully edited the audience shots are.) But—then, cue the music, and even as Boyle is just opening her mouth, people's faces are lighting up. She has relaxed into herself and her voice is... pretty good. (Not great.) And so we get to exhale and let our saccharine hearts soar with the schmaltzy music as, for a moment, we see "proven" on TV that looks and sex aren't everything. For that moment, the light mantle of eros even seems to rest around Boyle—she smiles, she has some cultural worth, someone, we think, might even kiss her one day! Thus, release. In a sense, Boyle inhabits the role of the scapegoat of early village traditions whom we punish with exile (or sneering), but whom we now, through the magic vehicle of TV, welcome back into the fold, surprising ourselves with our capacious hearts."
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