Wednesday, January 18, 2012



This past Sunday morning couldn’t have been pleasant for singer Lana Del Rey.

The already controversial up-and-comer had just made her American television performance debut as the musical guest on Saturday Night Live. With this month’s upcoming release of her first major label album, Born To Die, there was much hype and anticipation before her SNL appearance. But her two performances (which you can watch here) were distinctly underwhelming.

Del Rey looked nervous and bored and had very little stage presence. Not to mention her vocals seemed off. All of a sudden, her post-SNL career seemed to have been given the Ashlee-Simpson-kiss-of-death before it had even really started. Across the web, Del Rey was panned from all angles.

But there’s just one problem: a large portion of the criticism of her failed to focus on her music. Which is why I say let’s not rush to judgment.

True, I haven’t yet been blown away by any of the songs I’ve heard from Del Rey. But I want to listen to Born To Die before forming my opinions. Sadly, I seem to be the exception here. Many people are all too eager to write her off before the record even has a chance to hit stores. Why? On the grounds that she is “inauthentic” – an adjective that has been used by Del Rey’s critics almost synonymously with her name.

But how exactly is Del Rey “inauthentic”? Because she was born as Lizzy Grant and opted to use a stage name for her pop persona? That argument really sucks. Think of Judy Garland, Audrey Hepburn, Marilyn Monroe and a substantial chunk of the rest of the entertainment industry. Stage names are everywhere and we love stars who use them, forgetting that they ever were called anything else.

Or is it because she had obvious plastic surgery? If Del Rey’s infamous pout had been enhanced by Photoshop on a magazine cover instead of by needles at a doctor’s office, we’d probably be okay with it. She’d be adhering to our cultural expectations of what a 25-year-old female singer should look like.

What so many people aren’t willing to admit is how petty and illogical many of the “authenticity” critiques of her really are. Or that the “identities” of other pop stars we culturally embrace are not carefully manufactured to maintain certain public perceptions of who they are.

Take Lady Gaga. One day, she’s Tisch alumn Stefani Germanotta playing open mic nights at piano bars on the Lower East Side. The next, she’s a global pop icon who can sell out three headlining shows at Madison Square Garden in just one hour.

Yet the fact that Gaga transformed herself into this expertly crafted piece of performance art when she released her debut record in 2008 never produced the charge that she wasn’t “being true to herself.” Instead, it got fans so interested in her that she’s selling millions of copies of her records and is the world’s most followed person on Twitter.

Lana Del Rey is no different. She is to Lizzy Grant what Lady Gaga is to Stefani Germanotta: a carefully crafted character who illustrates the side of her that she feels best represents the music she’s making. And there’s no arguing that the character of Lady Gaga is what put Stefani Germanotta on the map.

Then there’s Katy Perry. Before she was singing wretched songs about blacking out on Friday nights, she was gospel singer Katy Hudson. But when she wanted to rip off her wimple in favor of whipped cream shooting out of her chest, she started fresh by releasing her “debut” album under the pseudonym of Katy Perry. Now she’s a record-breaking pop sensation and international sex icon who couldn’t be more opposite from the wholesome pastor’s daughter character she was when she first entered the music scene. Yet of all the things that have been said and written about her, Perry has never been crucified (at least on a mainstream level) for her lack of authenticity.

So then why is Del Rey? If she had waited until she experienced Billboard success and then slapped “Sasha Fierce” to the title of her next album, would it have been okay for her to take on an alter ego? To be relevant in a continuously and rapidly evolving pop climate, you need to at least be open to the idea of revamping your image. Do you really think Madonna would be playing the halftime show at the Super Bowl in 2012 if she hadn’t reinvented her persona time and time again after her 1983 debut?

There’s a reason that artists like Christina Aguilera have entirely brand new looks with each new album they put out. It’s so that the focus of the conversation is on them. That doesn’t mean they’re not genuine. It means that they’re smart business people.

And that’s exactly what’s happening with Del Rey. Her first major album hasn’t even been released yet and she’s already been asked to be the musical guest on Saturday Night Live and has made countless headlines. She’s even got NBC news anchor Brian Williams sharing his opinion of her. How many people can make these claims? And despite the seemingly negative attention, Del Rey’s album sampler EP climbed to #2 on the iTunes charts (falling just under the adorably untouchable chart-hog Adele).

“It’s evident that the American public is now not only aware of this controversial new singer, but that they’re interested in learning more about who she is and what she sounds like,” wrote VH1 Managing Editor Mark Graham in a blog post following the SNL debacle. “In other words, mission accomplished for Team LDR.”

So if you want to dismiss Lana Del Rey, that’s obviously totally fine. Just realize that the criteria you should be judging her on is her music and her music alone. Her “authenticity” should play no role in how her songs are received. Sorry America, but as the genius South Park episode about Britney Spears pointed out, it’s not your job to dictate how pop stars should live their lives. Not to be that guy, but can we just for once collectively decide to let the music do the talking?

Born To Die is now available to pre-order from iTunes.

Originally published on PopBytes
And thank you to THE WEEK for linking to this article in this feature.

Monday, January 16, 2012



In Italy, her actions could be considered a crime of passion. On The Real Housewives of Beverly Hills, she would be dubbed “morally corrupt.” But no matter how you see it, there’s no denying that when Dr. Izzie Stevens (Katherine Heigl) cut her terminally ill fiancĂ©e’s LVAD wire to bump him to the top of the heart transplant recipient list, she would never be the same again.

In fact, you’ll be hard pressed to find a fan of ABC’s primetime medical drama Grey’s Anatomy who doesn’t consider Denny’s (Jeffrey Dean Morgan) death in the show’s second season finale to be one of the series’ most iconic and heartbreaking moments.

And while the episode itself was more of a tearjerker than Nicholas Sparks could ever dream of concocting in the estrogen-soaked lab he shares with Jodi Picoult, the sting felt by its aftermath was just as harsh.

It was after Denny’s death that Izzie became a hollow shell of the person she used to be. Who could forget the season three premiere when she lay on her bathroom floor, unable to move or accept the help she was being offered? Even when she found love again in Alex Karev (Justin Chambers) seasons later, she was still (and quite literally in the case of season five) haunted by the memory of Denny.

Now in its eighth season, Grey’s Anatomy remains one of ABC’s highest rated shows. And while Izzie may be long gone (Heigl ended her contract to pursue a career as a film “star”), a situation similar to hers is currently shaking the grounds of Seattle Grace/Mercy West Hospital: the death of Henry Burton.

For those of you who hate good television and therefore don’t know, Henry Burton (the unfairly handsome Scott Foley) was married to Dr. Teddy Altman (Kim Raver). Like Denny, he too began his journey down the road of Grey’s romantic drama as a patient. But despite what many critics and fans are currently hypothesizing, Henry’s death will not turn Teddy into Izzie 2.0.

For starters, Teddy is a tough cookie. This is not to say that she isn’t incredibly impacted by Henry’s unfortunate fate or that Izzie is weak – but rather to point out that Teddy has a thick coat of armor from the tragedy she’s already had to endure. She is, after all, a woman who lost her best friend in 9/11 and later served as a doctor to our troops in Iraq. And whereas you got the impression that Izzie spent her whole life planning a fairytale wedding and ripping out pages of Cosmo, Teddy has never been the girl who wears her heart on her sleeve.

Therefore, the main dividing line at which the comparisons between Denny and Henry’s deaths are drawn is at the coping mechanisms of their significant others.

Following Denny’s death, Izzie immediately wanted to quit her internship program and leave the medical field. Her entire world stopped and she lost sight of her purpose in it. Without Denny, Izzie temporarily lost her entire sense of identity.

But in the episode that followed Teddy’s discovery of Henry’s death (which aired this past Thursday), she was back in the OR, dry-eyed and characteristically bossy as she continued to save the lives of others.

And where Izzie largely blamed herself for Denny’s death, Teddy comes to the realization that Henry’s death was inevitable. In the most recent episode, there’s a devastating reoccurring scene in which Teddy asks Cristina to tell her from beginning to end the measures she took to try and save Henry’s life while operating on him. Difficult as it is, Cristina does this over and over again as she knows that this is something she must do to help her friend begin to heal.

Yet despite Cristina’s inability to save Henry, Teddy points no fingers. At the end of the episode, there’s a particularly poignant scene in which Cristina is once again recounting the events of Henry’s surgery and Teddy chimes in to finish the story with her. The details have all sunk in. She understands how and why Henry died. She knows that nothing could have been done differently to save him. Once again, Teddy comes to terms with the fact that she has lost the most important person in her life.

From what we’ve seen so far, it’s safe to say that Teddy will prove the naysayers wrong and will externalize her pain in a very different way than Izzie did. She refuses to let her loss serve as a catalyst for her personal demise and there’s no doubt that she’ll force herself to soldier on. Now it’s just the question of how.

“I can’t even imagine how she’s going to trust to open up her heart again,” Raver told The Hollywood Reporter. “When she did lose her best friend in 9/11 and went to Iraq, her PTSD wasn’t really apparent; she was very positive. I think that is one of her amazing qualities: she finds the positive, life-affirming thing. But I think there is a depth of sadness underneath all of that. I can’t imagine how she will bounce back from the loss of Henry because I feel for her that was her first and major true love. She imagined the rest of her life with him so I don’t know how she will open up to that again. But that will be an interesting journey.”
Grey’s Anatomy airs on ABC on Thursdays at 9:00. Below, watch the trailer for this week’s new episode:

Originally published on PopBytes