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lifeonashelf · 4 years

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CLARKSON, KELLY

Since we’ve already tackled a fairly diverse musical sampling in this tome, it may not shock you to learn that I sincerely think Kelly Clarkson is awesome-sauce. And I’m not just referring to her talent (which is obviously abundant) or her register of great songs (which is also obviously abundant), I’m referring to her essence—the authenticity she embodies, and how much more fundamentally likeable she is than any other pop star of her stature or epoch. I have not met Kelly Clarkson, yet her entire vocational ethos has been so blessedly free of pretention that I kind of feel like I know her, even though the only thing I know for a fact about Kelly Clarkson is that she is a singer named Kelly Clarkson.

I never viewed one episode of the American Idol season she won and I have never seen her interviewed as far as I can recall. The impressions I have of her character are intrinsic, based on nothing more than the calmative sound of her voice and the traits I instinctively suppose a person whose voice sounds like hers must surely possess (certain voices are just like that—I don’t think anyone on the planet assumes Morgan Freeman is a dick, for instance). By that criteria alone, I am led to believe Kelly Clarkson is a kind human being, the sort of gentle soul who gleans authentic happiness from making other people happy. I am led to believe she is a humble human being, the sort of grateful and unaffected luminary who lends her resources to numerous charitable causes without requiring any fanfare for it. I am led to believe she is a wonderful mother, although I am merely presuming she has kids since I don’t actually know anything about her personal life. And I am so innately certain of these things that if someone told me they have it on good authority that Kelly Clarkson bathes in the blood of kittens to preserve her youth, I wouldn’t believe that person for a second, even if they had pictures (conversely, if someone told me the same thing about Taylor Swift, they wouldn’t even need photos to convince me).

I have an anecdote which supports my hypotheses, even if the anecdote isn’t my own. My cousin Lauren worked at a restaurant in Hawaii for a few years, and on her last day at this café, a vacationing Kelly Clarkson happened to stop in to eat there. Since it was Lauren’s final shift, her co-workers were scribbling farewell messages on her uniform with magic markers throughout the day, inscribing it like the pages of a yearbook. My cousin’s engraved vestment drew the notice of the eatery’s eminent visitor, who amiably asked about its significance; when Lauren explained the circumstances to this world-renowned superstar in her establishment, Clarkson proceeded to gush about how delightful she thought the gesture was and asked if she could add her signature to the shirt. As a result, my cousin is now the proud owner of a decidedly unique piece of apparel which is autographed by a slew of her former hospitality industry peers… and Kelly Clarkson. When Lauren told me this story, I was acutely charmed and—yes, I admit—a little envious. But I was not a bit surprised, because that is exactly the sort of genial exchange I imagine everybody who meets Kelly Clarkson probably has with her (conversely, if Lauren told me that Taylor Swift came into her restaurant, wrote “fuck you” on her t-shirt, then defecated on the floor, she wouldn’t even need the signed garment to convince me).

While artists like Lady Gaga and Nicki Minaj have allocated periods of their careers to embodying post-apocalyptic femme-bots or community-theater sorceresses or whatever-the-fuck, Kelly Clarkson has exclusively devoted her career to embodying a performer named Kelly Clarkson who doesn’t come across as markedly different than the self-effacing lass named Kelly Clarkson who curls up on her tour bus after her concerts to watch old episodes of Friends (granted, I have no idea if Clarkson is a fan of that particular show, but she sounds like she must be). The only way I would ever recognize Lady Gaga in the wild is if she walked up to me and said, “Hi, my name is Lady Gaga”—and after I nodded and remarked, “oh, that’s kinda neat for you,” I can’t imagine I’d have much else to say to her. Yet if I happened to be at a craft store and I spotted Clarkson browsing the yarn aisles (for some reason, I also presuppose she knits a mean sweater), I would instantly know who I was spotting because she would probably look exactly like Kelly Clarkson always does, and I’d feel duty-bound to approach her, shake her hand, and thank her for being all of the things I assume she is. And if she wanted to hang out for a little while and chat about patterns, I would totally hear her out, because listening to Kelly Clarkson extrapolate on the textile arts sounds like a perfectly pleasant way to spend an afternoon. I have a strong sense that if I were to meet up with Kelly Clarkson for coffee—actually, now that I think about it, she probably prefers tea—we would totally get along; I also have a strong sense that Kelly Clarkson is precisely the kind of celebrity who actually would meet up with a fan for tea (not me, obviously, because I clearly sound like a lunatic right now).

“The Girl Next Door” is such a tired trope (especially in my case, since the girls who live next door to me are a Goth lesbian couple), but that is indeed the model Clarkson educes: an ingenuous small-town gal-done-good who spent her teenaged weekends canning homemade jam with her grandmother and reading YA romance novels on her porch with a glass of fresh-squeezed lemonade beside her (again, I’m not sure Kelly Clarkson did any of these things; regrettably, my insights into small-town living are limited to the saccharine tableaus represented in the Lifetime Original movies I’ve watched over the years—which, consequently, I presume Clarkson also enjoys). Her comportment evokes a high-spirited yet enduringly sweet kid sister you impulsively want to protect from the leering eyes of the world, and while she is certainly a beautiful woman, my attraction to her has never ventured anywhere near the realm of the erotic (my pop chanteuse crush is Demi Lovato, whose open struggles with bi-polar disorder, depression, and substance abuse—perhaps unfortunately—make her way more my type than Clarkson is). Honestly, I can’t envision making out with Kelly Clarkson; any fantasies my brain might entertain about her would be more likely to involve tracking down whatever scoundrel inspired the fervent pathos in her performance of “Behind These Hazel Eyes” and defending her honor by punching that fucker in the face.

I guess the word I’m really looking for here is “refreshing.” While Clarkson built her renown in a realm of play-acting, her career has been defined by an absence of artifice, which is ultimately a much more substantive thing to define oneself by than prowling around in spangled booty shorts. At her peak, Clarkson’s implicit message to the young women in her fanbase seemed to be, “you don’t have to pretend to be something you’re not; just be who you are and great things will happen.” I’m certainly no prig, but if I had a music-consuming daughter who looked to pop idols for guidance, I’d much rather her absorb that philosophy than the one proffered by, say, Rihanna—whose well-publicized turbulent coupling with Chris Brown would instead tacitly edify my fictional offspring that “ride-or-die” means sticking by your man even after he beats the absolute fucking shit out of you.

Of course, Kelly Clarkson’s ascent was predominantly reliant on her faculty—I doubt millions of people bought her records solely because she’s a nice person—yet in that respect also, she handily outshined her contemporaries. While most of the circa-aughts female pop icons were essentially sonically interchangeable, Clarkson’s soaring vocals always had enough distinctive character to render them unmistakably hers—surely, no amount of Auto-Tune could have endowed the bottom-scraping likes of Fergie with enough juice to do “Because of You” justice. She was also savvy beyond her years, and it was her refusal to let her handlers dictate the course of her career that ultimately allowed her to flourish when so many of her fellow American Idol graduates floundered.

Clarkson’s sophomore album—2004’s Breakaway—turned out to be the best-selling entry in her discography, and will likely forever remain her most iconic opus. But she had to fire her manager and battle just about everyone else in her camp to make that disc happen on her terms. After riding the wave of Idol worship which lifted her safe and satisfactory debut Faithful to its logical ceiling, she was tenacious in her resolve to transcend that threshold and announce herself as an artist capable of achieving far greater heights than triumphing in a televised popularity contest. As preparations for Breakaway began, Clarkson insisted on being heavily involved in the songwriting process—disregarding the protests of her mostly-male producers, who myopically deemed that a twenty-something woman couldn’t possibly possess any insight into what the twenty-something women who comprised the largest audience for the record they were making wanted to hear. She was also adamant about integrating more diverse and dynamic elements into her sound instead of simply settling upon another cycle of tepid pop-contemporary numbers. The result was a monster of a record that offered up five chart-igniting classics and a supporting cast of remarkably strong deep cuts. As evidenced on Breakaway, Kelly Clarkson’s vision of her craft encompassed something much weightier than a series of Pez-dispenser singles and shark-costume dance numbers. She clearly wanted to make a cohesive album that never gave the listener occasion to reach for the Track-Skip button, and she succeeded brilliantly. Commencing with the anthemic title cut, the feisty “Since U Been Gone”, the masterful “Behind These Hazel Eyes”, and the show-stopping apogee “Because of You” in immediate succession, Breakaway is surely a front-loaded disc, but it’s nevertheless one that continues delivering gems long after it exhausts its radio bait: “Addicted” is as solid as anything else on the record, “Walk Away” brims with irresistible quirk, and despite being buried near the tail-end of the track listing, “You Found Me” is more indelible than most other artists’ biggest hits.

This, too, illustrates a refreshing component of Clarkson’s mien—she made an entire record worth listening to, a feat which regrettably few artists on the pop landscape ever seem to bother themselves with. None of the tunes on Breakaway resonate as throwaways; each has something to offer beyond a hummable chorus, and each is solely Clarkson’s domain, firmly entrenched in her esthetic wheelhouse and blessedly devoid of any posturized pandering or blundering Ja Rule cameos. Even at this early stage of her artistic development, she possessed a seasoned understanding of the clear difference between making a song marketable and making a song memorable, and a keen awareness that those two things are not mutually exclusive. Surely, Clarkson was just as aggressively promoted as any of her peers, but her product wasn’t aimed at the audience hungry for gyrating, hypersexual caprice—peddlers like Christina Aguilera already had that demographic covered. Kelly Clarkson wasn’t selling her navel, she was selling a much more durable commodity: fantastic songs performed by an exceptional singer. And the grandeur of her vocal acumen elevated her wares beyond the disposable and into the timeless—indeed, as of this writing, Breakaway remains a thoroughly satisfying listen; meanwhile, nobody would bother spinning an Ashlee Simpson album from start to finish today, not even Ashlee Simpson.

And unlike far too many of her colleagues, Clarkson didn’t require a force-field of studio trickery to bolster her transmission. The organic nuance and passion in her voice floated atop the reverb rather than drowning in it, and the intricate, exquisite descants she conjured revealed hours spent mining her soul for the best way to communicate the emotion each track called for instead of pondering what shoes to wear in the eventual video. Which is probably why “Since U Been Gone” still makes me pogo around my apartment every time I put it on, while every Katy Perry song sounds like it was specifically written for a lipgloss commercial.

Clarkson’s output has waned in the last decade or so—though “Stronger” is a notable high-point—but even if her most significant work is destined to remain behind her, the legacy she built for herself transcends her standing as the first and most successful American Idol victor (at press time, that is; I’m willing to entertain the possibility that Lee DeWyze or one of the seven other winners whose names nobody remembers might still create the most amazing record ever made). After weathering an era replete with shameful moments like the skinhead meltdown of Britney Spears, The Pussycat Dolls pledging the drooling males in their litterbox echelons of filthy sluttery their lowly mortal girlfriends could never aspire to, and Lindsay Lohan being Lindsay Lohan, Kelly Clarkson emerged with her class, her dignity, and her career intact. The reality-TV platform that introduced her to the world is now a footnote, but her catalog continues to stand the test of time. And even though I actually shook Randy Jackson’s hand when he ate at the restaurant where I work (take that, Lauren), Clarkson will always be the American Idol alumnus I feel most closely connected to.

Speaking of… Kelly, if you’re reading this: my last shift at Eureka is on Monday, January 28. If you happen to be in the vicinity of Claremont that night and feel like swinging by, I’d be honored to have you sign my shirt. Just don’t invite Taylor Swift, please; I heard she does some really gnarly shit to kittens.

January 17, 2019

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