Nielsen's Big Catastrophe

I suppose NBC could now stand for a lot of things, but in the spirit of cancellation...er...I mean, upfront season (that's when the major networks roll out their lineups for the upcoming TV year), I figured Nielsen's Big Catastrophe was an appropriate title for this post. Nielsen, of course, being the corporate research firm that collects and tallies the information providing the backbone of the American television ratings system. We've all taken it for granted for decades that this information is accurate and, above all, meaningful. I think that the powers that be in the entertainment industry need to rethink that assumption, and moreover, how they make decisions based on the ratings.

I have spent several years as a media buyer, pouring over said Nielsen ratings in order to provide sound advertising recommendations for various companies, big and small. And I've spent even longer as an avid TV watcher, so I form the following theory based on solid scientific knowledge: the current system is worth about as much as a pile of horse crap.

I'm used to having TV shows I watch cancelled. I've perfected the art of choosing to watch those programs which become one-season, or worse, partial-season duds. So, it came as no surprise that this trend continued this year. Interesting to note: I'm probably the only person in America who watched three prime time shows on NBC this season. Let's face it - the Peacock network ain't what it used to be. "Awake" featured an interesting premise, but never caught on. "The Firm," despite being (or perhaps BECAUSE it was) my favorite new show on any network this season, scored some of the most abysmal ratings in the modern era. But the one that really stung me was the termination of "Harry's Law." The Kathy Bates-led legal drama featured some of the best writing and acting I've seen on prime time TV in a while. One could have made an argument that Bates was the best actor on any network show. But the real kicker: it was one of NBC's highest rated shows, pulling in about 9 million viewers a week. That's right...the lowest rated network by a country mile torpedoed one of its most watched programs. Why, you ask? Because the WRONG people were watching; people aged 50 and older. These poor, helpless creatures obviously spend no money on advertisers' products, rendering them worthless in the eyes of network executives. In all seriousness, the pervading theory for many years has been that older folks are set in their ways, and therefore, are less susceptible to changing their buying habits based on advertising messages. This theory, of course, is about as scientifically sound as my horse crap one mentioned above. Alas, the 18-49 demographic segment remains the one that dictates any and all critical network decisions.

The fact is, the TV viewing landscape has changed drastically just over the past few years. Very few of us even WATCH commercials any more, unless the surrounding program is called the Super Bowl. Yet no one in the vast pool of entertainment geniuses working in the television business has seemed to devise any innovative changes in the way products are advertised to their audiences. They're all sticking with the two-minute pods segmented into 15- and 30-second commercial spots. Do we still use horses and oxen to travel cross-country? No...because our evolving modern lifestyle dictated that we invent more appropriate methods of transportation. So why on Earth are they still adhering to this antiquated system in the world of TV advertising?

I can come up with several, at least somewhat feasible, ideas for revolutionizing the business just sitting here on my couch. Develop closer and more tailored relationships with your advertising partners. Realize that different age groups might gravitate toward different products, giving each segment value in certain circumstances. Use new technology to advance how you communicate your advertisers' messages to the audience - interactive overlays enabling viewers to opt in to certain offers, crawls on the bottom of the screen (hell, they already feature those annoying network promos down there like every other minute), use interactive Web sites/micro-sites to capture email addresses and other pertinent audience info...and on and on. Am I the only one with half a clue here?

It bears mentioning that NBC itself commissioned a research report to demonstrate that the prevailing "wisdom" regarding older audiences was not necessarily correct. And then they went and used the same baseless paradigm in making the decision regarding "Harry's Law." Given that TV episodes are taped well in advance, it was quite poetic that after having gotten the axe on Friday, "Harry's Law" aired what may have been its best episode yet on Sunday. AND...in a laugh-out-loud inspiring move, show-runner, David E. Kelley obviously had the actors re-shoot the opening scenes at the last minute, as Bates' wisecracking character, Harriet Korn, upon being awoken at 6am, lamented how getting old sucks, and how she longed for the days when she was 18-49.

If you ever find episodes of "Harry's Law" online or elsewhere, I suggest Sunday's brilliant The Whole Truth, amd last November's American Girl. And here's hoping that Kathy Bates lands another series soon. Maybe the "important" viewers will come along for the ride next time.

The Year in Music: 2011 - Top 10 Songs

My series of blog posts on the best music of 2011 concludes with my nominees for Record of the Year. These are essentially my top ten favorite tracks of the year...the ones I haven't been able to get out of my head; all but a couple of which have already made appearances in my other categories. I hope, if anyone's been reading this, that you picked up a new favorite song or two along the way. If not, then, you're missing out :-)

Record of the Year

Never Gonna Leave This Bed - Maroon 5

These guys came close to topping my year-end list a few years ago with "Won't Go Home Without You." It seems like they've improved with every album, in my opinion. Hands All Over may very well have been my album of the year, except for the fact it was released in 2010. This single just stuck in my head from the beginning, and still hasn't left. Pop perfection.

Walk - Foo Fighters
Fuckin' Perfect - Pink
Give Me Something - Scars on 45
Mr. Know It All - Kelly Clarkson

The One That Got Away - Katy Perry
Even when my tastes coincide somewhat with popular opinion, I still manage to go against the grain. As I had mentioned, my favorite songs and artists this year were atypically commercial, and Katy Perry is certainly the best example of that. Perry tied Michael Jackson's record for scoring five #1 singles on the Billboard Hot 100 from the same album. "The One That Got Away" was, in fact, the one that got away, only making it to #3, and preventing Perry from breaking the record. So, of course, logic would hold, that this was my favorite of all the singles. Hey, I tried.

Down By The Water - The Decemberists
A little more of a folky sound with The Decemberists album than what I normally listen to. I gave The King is Dead an honorable mention in Album of the Year, and this was the most catchy tune of the bunch.

Slave to the Grind - Halestorm

Sorry - The Smithereens
I won't call myself a huge fan of The Smithereens. There isn't really one album of theirs that I would listen to start to finish, but they always seem to come up with a few great tracks each time out. I heard this one played twice on a local radio station, and that was pretty much it. The Smithereens are long past their heyday, but this track is still worth a listen, or several.

Werewolves - The Damnwells

The Year in Music: 2011 - Part V

Hope everyone had a great holiday season! Hopefully, 2012 will bring some great new music. For now, I leave you with the second to last category in my year-end Jerammy nominations - Song of the Year. As the real Grammy voters typically ignore the distinction between this and Record of the Year, I will point out that these nods are supposed to be for achievement in songwriting, and hence, go to the songwriters...not necessarily the same as the performers. To me, excellence in songwriting doesn't have to indicate some deep, world-changing lyrical passage, but there should be something unique and non-cliched about both the lyrics and the music. The melodies should also grab you - an engaging hook is definitely part of masterful songwriting. That having been said, the nominees are:

Song of the Year

Fuckin' Perfect - Pink, Max Martin, and Shellback (performed by Pink)

Nothing too complicated or poetic here. It's a simple song with an admirable message and a tight melody. Enough to be my top choice.

Werewolves - Alex Dezen (The Damnwells)
Another song that isn't exactly treading any new topical territory, but Dezen certainly has a way with words, which lifts this one to a higher level. The hook is great too, with the backing vocals to the chorus even featuring a sort of "howling" tone to them. It's the details that count when you're deciding on the best.

Someone Like You - Adele Adkins, Dan Wilson (Adele)
Nine years after the release of Semisonic's signature rock tune, "Closing Time," lead singer Dan Wilson scored a Song of the Year Grammy win for co-writing the Dixie Chicks' "Not Ready to Make Nice." Four and a half years after that, he notched his first #1 single on the Billboard Hot 100 with this Adele track. I am personally not the biggest Adele fan in the world, and think she is overhyped. However, the raw emotion conveyed in this song warrants that props be given to both Adele and her writing partner, Wilson. Plus, I'm such a huge Dan Wilson fan, that I wanted to recognize him here. I wish he had more of his OWN music out there, and that he had more success with those songs. The fact that he's so ably adapted his writing across genres through the years shows that he is simply one of the most talented songwriters out there today.

Give Me Something - Danny Bemrose (Scars on 45)
Love Shines - Ron Sexsmith (Ron Sexsmith) 
The Cave - Marcus Mumford (Mumford & Sons)

The Year in Music: 2011 - Part IV

My end of year music recap took a week and a half off but now returns with the final four categories. This post tackles Best New Artist and Album of the Year.

New Artist

This was the easiest category for me for one simple reason: I wasn't really impressed with many new additions to the music scene this year. Only one really stood out for me, so they are the only nominee, and hence, the winner. I'm talking about Scars on 45. I already mentioned a bit about them in the Pop Duo/Group Performance post, and they'll make a couple more appearances yet in subsequent posts, so on to the next category...

Album of the Year

Stronger - Kelly Clarkson

The pop diva has always had great singles, but this is really this first time it's all come together on a full album, top to bottom, in my opinion. There's only one throwaway track here - the lyrically goofy "Einstein" - but the rest provide a variety of tempos, beats and melodies with great energy, and of course, other-worldly vocal performances. Clarkson finally lives up to her status as a pop/rock goddess. Standout tunes include, "What Doesn't Kill You (Stronger)"; "Dark Side"; "I Forgive You"; and "Breaking Your Own Heart."

The Truth Is... - Theory of a Deadman
TOAD has a track record of being able to craft strong melodies while still maintaining their rock cred. They continue that trend here, albeit a little light on the "rock" end of things. The first four tracks are easily the strongest, and at 16 songs total, there is a bit of filler here - even a lame, ill-advised attempt at a wedding song with "Better or Worse" - but still about nine very listenable songs.

Break the Spell - Daughtry
Another real solid album. Not quite the masterpiece their last effort was, but at least 8-10 songs that I could listen to repeatedly, and that's saying something these days.

Holding Onto Strings Better Left to Fray - Seether
See above description for the Deadman album, except the part about the first four tracks, and substitute a lame, ill-advised attempt at a country ditty with "Country Song" - inexplicably chosen as the lead single. But there are other rock gems here.

No One Listens to the Band Anymore - The Damnwells
In a perfect world, The Damnwells would be a staple on pop/rock radio. Instead, I find comfort in knowing that I'm one of the lucky few to have discovered them (thanks, Pandora). Alex Dezen is a great songwriter, and this effort showcases that talent. Some weaker tracks on the second half of the CD, but all in all, one of the best of the year.

HONORABLE MENTION:
Sky Full of Holes - Fountains of Wayne
This Loud Morning - David Cook
Wasting Light - Foo Fighters
The King is Dead - The Decemberists
The Return of Spring - Mike Garrigan

The Year in Music: 2011 - Part III

...And we continue with Best Pop Solo Performance. One of the category changes the Grammy Awards imposed this year is eliminating the segregation of male and female pop stars. So, now the distinction is simply between duo/group and solo. Here are my picks for the best individual vocal performances of 2011:

Pop Solo Performance

Mr.Know It All - Kelly Clarkson

No doubts here. I don't know anyone on the music scene who can match KC vocally. She basically just needs to open her mouth, but in this case, she's just the perfect choice for this specific song. She effuses the right attitude, which brings what could have been a bland pop ripoff to another level. I actually didn't care for the tune upon first listen, but Kelly won me over.

Fuckin' Perfect - Pink
Another one of the best pure vocalists out there. Don't like all her songs, but can't argue with the pipes.

Aftermath - Adam Lambert
I absolutely detested Lambert while he was on American Idol. His debut album was no masterpiece, but thankfully, someone realized that screaming was not the equivalent of a strong vocal performance. He sounds a lot more natural on the recorded work, and allows his vocal prowess to stand on its own. "Aftermath" was my favorite track as soon as I sampled the album, though it was released as a single to little commercial fanfare.

Edge of Glory - Lady Gaga
I have admittedly been disappointed by the Born This Way album. I was hoping to like it, but it's just not my thing. "Glory" is not a fantastic pop song, but it does showcase the fact that the meat-adorned one is still underrated as a singer.

Lucky Now - Ryan Adams
This is an example of where less can be more. Adams' gravelly voice adds just the right texture to this standout track from his Ashes and Fire CD.

Hey Angel - Mike Garrigan
Still one of the most overlooked singer-songwriters of the last couple decades, Garrigan continues his mastery of pop/rock with this love ditty.

If You Ever Get Lonely - John Waite
I've seen the ex-Babys/ex-Bad English vocalist live three times in recent years, and he's a surprisingly good singer, which doesn't always seem obvious on his recorded work. This is the standout track from his most recent album.

The Year in Music: 2011 - Part II

Continuing my nominations for this year's "Jerammies" - time for Best Pop Duo/Group Performance. Again, going based on the assumption that this category is meant to pay homage to the best vocal performances. This was not as clear-cut of a choice for me to pick a winner, as there's only one person mentioned here who could be considered an out of this world singer. These selections were more about the nuances of the performances, the harmonies, and just creating the right vocal vibe for the particular song. The nominees are:

Pop Duo/Group Performance

Never Gonna Leave This Bed - Maroon 5
I'd say this was, overall, my favorite song of the year. Adam Levine and company put out a great album with Hands All Over, and simply know how to handle a pop song. Both the lead and backing vocals sound great, and flow well throughout the song, creating a bouncy little number that sticks in your head.

Werewolves - The Damnwells
The Damnwells, mainly a vehicle for singer-songwriter, Alex Dezen, have not enjoyed huge commercial success. They do have some great music out there, though. That's why they're tied for the most Jerammy nominations with 4. With whom are they tied? See below.

Give Me Something - Scars on 45
A new band out of the U.K. featuring dual lead vocals from Danny Bemrose and Aimee Driver. They also received nods in 4 categories here on my humble blog. Not having even released a full-length album yet, their two EP's from 2011 provided a nice glimpse into what will hopefully become a strong catalog of pop/rock songs. The version of their catchy first single, "Give Me Something" that I included below is actually a performance sponsored by local radio station 107.1 The Peak, and features a cool coda that blends into a riff on Fleetwood Mac's "Dreams."

Don't You Wanna Stay - Jason Aldean featuring Kelly Clarkson
Normally, Kelly would have won anything in this category. However, the fact that this is actually a song from country star, Jason Aldean's album kind of tempered my enthusiasm. Miss C certainly delivers with her trademark killer vocals, but Aldean kind of grates on me, leaving me to honor this one only with a mere nomination (and it IS an honor just to be nominated, right?). 

She Walks in So Many Ways - The Jayhawks
For the First Time - The Script 

The Year in Music: 2011

It's that time of year again - when I have nothing better to do than to recap my taste in pop culture from the preceding 300-some-odd days. Last December, I simply listed my top 20 favorites songs of 2010, but in prior years, I had compiled my votes for the Grammy Awards. No, not the actual Grammy's...because they don't really ask my opinion on those. I went ahead and created the "Jerammies" - a cheesy take-off on the real awards, based on my own oddball musical preferences. I decided to revert back to that idea for 2011, but this time, I'm actually sharing my choices with you all (or tormenting you with them, depending on how you look at it). I've selected several of the more mainstream Grammy categories, and tried to remain true to the actual meaning behind the category names (which the actual Grammy voters never seem to do). This year's posts are replete with actual widgets from the Grooveshark site, which will allow you to listen to the songs I've foisted upon you. Wow, see how remarkably technologically inclined I've become?! In any case, in some instances, my selections this year seem to be uncharacteristically in line with the real nominations (I compiled my list before they were announced), but there are still several obscure gems that I feel should have gotten much more exposure. So, without any further babbling, here is the first category.

Rock Performance

The Grammy's condensed some categories this year, including eliminating the separation of solo and group rock performances. I have followed along with the changes here on my blog. Keep in mind, this category is supposed to highlight the best vocal performances in the rock genre. Again, the Grammy voters never seem to take this into consideration, instead just picking their favorite songs. In my mind, vocal performance is not only about who can belt out the loudest and longest, although that helps. It also encompasses matching the right type of voice with the right song, and other more subtle characteristics of the overall performance. That having been said, there is nothing SUBTLE about my pick for the winner in this category (highlighted in blue italics) - it was easily the most clear-cut decision I made in any of the categories. The nominees are:

Slave to the Grind - Halestorm
Lead singer, Lzzy Hale, is one of rock's best kept secrets. I don't know why Halestorm didn't make a bigger splash with their debut album, but this year's Reanimate - The Covers EP provided a few standout tracks to hold me over until their sophomore effort comes out. Chief among them: Heart's "All I Wanna Do is Make Love to You," Lady Gaga's "Bad Romance," and this rip-your-face-off take on the amazing Skid Row screamer from 1991. Sebastian Bach was perhaps the greatest vocalist of the hair band era, and Lzzy Hale unbelievably almost matches him note for every throat-destroying note on this remake. And, if you check out any live clips on Youtube, you'll see this is no trick of studio engineering; she HITS the notes. Overall, the recording is not an improvement on the original, but the vocal performance deserves to be recognized for what it is: stunning.

The Fire - Rev Theory
The Ballad of Mona Lisa - Panic! at the Disco
Stand - Ed Kowalczyk (ex-lead singer, Live)
Walk - Foo Fighters
Lost in Paradise - Evanescence