What, then, is The Susan Effect?

Posted by Guessedworker on Saturday, 18 April 2009 00:50.

This is a bit of a lightweight post that takes me into a world I rarely enter. But you’d have to live in a faraway galaxy not to have heard this week about Susan Boyle. Todate, sentimentally-minded YouTubers everywhere have fought back the tears at least 40 million times as overnight this stout and frumpy 47 year old spinster, an unemployed church volunteer, has become Scotland’s least likely superstar.

Since the age of twelve Miss Boyle has hoped to do justice to the gift of a wonderful voice. The high-point of her efforts was a track she recorded for a charity CD in 1999. Her chance finally arrived in January at an audition for Simon Cowell’s Britain‘s Got Talent, and this was the show that aired on ITV last Saturday. Now she has a huge fan base, a fansite, a Sony contract in the offing, and this commendation from Les Miserables producer Cameron Mackintosh, commenting on her rendition of I dreamed a dream:

“Vocally it is one of the best versions of the song I’ve ever heard. Touching, thrilling and uplifting. I do hope she gets to sing it for the Queen.”

Singing in front of Her Majesty the Queen, it should be said, is the reward for the winner of BGT every year. The chances this year of that not being Miss Boyle are negligible to non-existent, and probably less than that.

Well, a lot of clever folks have wiseacred in the world’s press about why this curious little episode has wrought such an enormous emotional impact, particularly in America. Of course, it’s never enough to say the obvious: that it’s simply a heart-warming and uplifting story, which it plainly is. No, we’ve been treated to everything from a new anti-capitalist sensibility in these recessionary times to protest against the cult of celebrity to the love of the underdog to the fulfilment of the American Dream. A particularly viperous Jewish feminist in the Guardian even took the opportunity to berate “us” (in whom it is not at all clear that she included herself) for judging women by appearances.

So I thought I’d also reject the heart-warming and uplifting scenario, and join this motley throng with a few observations of my own.

I once read somewhere that laughter is a physiological response to two irreconcilable opposites. Embarrassment is surely in the same vein. The audience’s discomfort at this hopelessly unglamorous, funny little woman’s ambition to be a professional singer, and even another Elaine Paige, is just an example of how the human animal copes with irreconcilables of this type. It doesn’t have to carry deep sociological meanings. Not for American Dreamers. Not for the Guardian feminist, Tanya Gold, who would be well-advised to find some way to advance her ethnic interests other than opinion journalism because she’s no bloody use at that. Indeed, all those who said “The Susan Effect” is a reflection of society are, in my opinion, wrong.

It is a reflection of our nature. This is a story about the deep and vexing desire people - and Europeans in particular - have to include within their circle of love and care those not necessarily like themselves but who nonetheless display a conspicuous humanity.

Susan Boyle was immediately identified by the audience members and by the judges as someone fatally at odds with the buffed-up and manicured image of the entertainment world they expected to find. It was as if your worrying maiden aunt had blundered on stage … Eleanor Rigby alive and kicking in 2009, and about to take out her false teeth. In every way Miss Boyle was the epitome of the embarrassing no-hoper - something a previous BGT winner Paul Potts, to whom she has been compared, never was.

And then she sang. Within seconds, the audience had turned around and taken her to their hearts. Piers Morgan, a hard-bitten journalist, was swallowing the lump in his throat. Cowell was grinning like the Cheshire Cat. Amanda Holden only just stopped short of cupping her hands over her mouth in astonishment. They were all totally converted.

Interviewed by Fox News Cowell said:-

“I thought this audition is going to last about three seconds. So did the audience behind me … And then she started to sing and I’ve never felt anything like it in my life. I mean, the whole place just turned, and it was just the most astonishing feeling at the time.”

Now, I know that, psychologically, what happened was a display of altruism. But it can’t be ascribed to the promotion of a genetic interest in adaptive behaviours such as humility, courage, doggedness, all of which Miss Boyle has exhibited but none of which were made known to the judges or the audience before she began to sing. Further, it falls outside of Hamilton’s inclusive fitness theory because there is no cost to the giver. It might function in terms of recognition as building a public good, I suppose. Or, if we put aside pure altruism, it might function as a projection in some way, a celebration of self.

It’s puzzling and interesting, and I wondered whether any readers had their own thoughts on the matter - that is, of course, beyond stating the obvious that the kid is an untapped treasure and deserves some riches from life, and a lot of people are highly sentimental.

Finally, I think I should assure anyone who thinks I’ve gone soft in the head with this post that I will not be revisiting BGT next week!

Tags: Popular Culture

Comments:

Posted by nonuthin on Sat, 18 Apr 2009 03:32 | #

Your writing is every bit as remarkable as Susan Boyle’s singing. Well done and very profound.

Posted by GR on Sat, 18 Apr 2009 03:33 | #

Perhaps it was a genuine surprise—aren’t these things rehearsed to avoid mistakes, and isn’t it likely the judges were tipped off to what they were about to hear by whoever screens the applicants?—but Holden was ready with the underdog rhetoric, claiming “everyone was against you”, giving everyone their cue to reaffirm that “you shouldn’t judge a book by its cover!” and so on, but really, “everyone” was just laughing at her appearance and self-consciously jovial behavior; and with the way these shows go, was anyone in the audience so naive that they couldn’t anticipate a good performance from yet another “unlikely” contestant? It’s an entertainment device that’s been used for decades. My point being, she’s been used to stir up the underdog sentiment, in particular the slimy platitude about not judging by appearances. Women are “beautiful inside”, which is code for: Women are always right, good and unquestionable, no matter what.

Posted by Desmond Jones on Sat, 18 Apr 2009 04:33 | #

A beautiful singing voice appears to have no fitness value. A higher appreciation of beauty is incidental to sexuality, like sympathy is incidental to altruism. A teleological moment? Maybe there is a God after all.

Posted by The Voice Itself? on Sat, 18 Apr 2009 05:46 | #

The human voice is the most beautiful musical instrument. A beautiful human voice, in itself, has a powerfully moving effect on human beings. Witness the total silence in a full opera house when a famous voice is about to sing a favorite aria, and the burst of enthusiam and admiration and appreciation if it’s sung well, or wonderfully, as is often the case. No one cares what the singer looks like or if they have a shred of acting ability at that point. And this woman doesn’t just have a voice, she has a developed voice, great delivery, a style - she performed with poise and dignity. like a professional. That’s also a surprise. And she didn’t do anything to spoil the whole scene, being just a bit odd, but more importantly, a natural.

Posted by the Narrator... on Sat, 18 Apr 2009 07:15 | #

Well written Guessedworker and though I hate to be ants at a picnic here, never-the-less,

Call me cynical but I’m of the mind that everything on TV is fake. Whether its news reported out of context to create a story to fit an ideology or a reality show, its all smoke and mirrors.

I’ve actually never watched American Idol or its British counterpart or any other reality show for that matter as they are unabashedly insulting to the intelligence by presenting themselves as “real” to begin with.

But I’ve heard about this woman from various friends and without seeing it for myself I assured them that the producers of the show spent a considerable amount of time seeking out just such a person and most likely dressed her down for her appearance on the show.
That’s how it works.

She brings a brush to the “audition” and the producers tell her to trash it.
She plans on dying her hair to hide the gray, the producers tell her to keep the gray.
She buys a new -well fitting- dress, the producers give her a less flattering ‘old maid’s outfit’ instead.
She try’s to drop a few pounds before her tv appearance, the producers take her out for cheeseburgers and milkshakes.

In other words she may have a vocal ability, but as she now appears in the media, she’s a contrived character. About as authentic as Nicholas Cage’s hair…

Posted by maslow on Sat, 18 Apr 2009 07:27 | #

and with the way these shows go, was anyone in the audience so naive that they couldn’t anticipate a good performance from yet another “unlikely” contestant?

Half the audience, probably yes. The other half, well, it’s like your friend breathlessly telling you about an uncommonly beautiful girl he met: you might sincerely believe him but it’s still another thing when he introduces you to her.

Further, it falls outside of Hamilton’s inclusive fitness theory because there is no cost to the giver.

Perhaps not if you believe as the Spanish allegedly do that “there is no happiness; there are only moments of happiness.” But what if you’re a lefty shitbag, appalled that life is nasty, brutish and short, who wants to preserve these moments indefinitely and parcel them out to all and sundry?

Posted by Beavis on Sat, 18 Apr 2009 13:13 | #

when she came out i thought she was gross

after the singing bit i still thought she was gross

Posted by James Bowery on Sat, 18 Apr 2009 15:12 | #

She’s cheap alimony to the discarded corporate concubine, aging boomer church ladies of Holocaustianity—many of whom are nearing the point of breaking with their True Church.

Posted by Justin Huber on Sat, 18 Apr 2009 18:08 | #

There is no doubt that this woman can sing. However, I think this thing is a bit of a set up job. Like one of the posters above, I do not trust anything that comes from the mainstream media and its Jewish wire pullers.

Posted by Wolf on Sat, 18 Apr 2009 21:55 | #

THE PATRONISING OF SUSAN BOYLE GOES GLOBAL

That’s just about hit the nail on the head.

Posted by Lurker on Sun, 19 Apr 2009 05:15 | #

Narrator - I notice on youtube there is an interview with her by her local paper. She looks better dressed in a subtle way which I feel may give credence to your theory.

Wearing that dress on BGT she looks like someone who who doesnt ‘get’ it fashion wise, in the interview thats much less the case.

Posted by Spirit of 1776 on Sun, 19 Apr 2009 23:05 | #

No need to over think this one. Susan Boyle is what she is and BGT is an entertainment franchise. Plain Jane with a story has a voice of gold; BGT plays up the obvious to its jaded, phony audience of shallow twits who are suddenly ashamed of themselves for their wicked judgment of the woman’s appearance (since talent and beauty are synonymous in the age of Britney Spears—not my truth, just theirs).

So what if she spent a few pounds on nice clothing for a tele interview? She is certainly not playing a Dorothy McGuire “ugly duckling” role as in “The Enchanted Cottage”.

And anyone that believes there is no mating advantage to (even dodgy) artistic ability ought to hang out at the local philharmonic hall after a concert, let alone the local rock/rap/reggae venue!

Posted by Fred Scrooby on Sun, 19 Apr 2009 23:17 | #

“talent and beauty are synonymous in the age of Britney Spears” (—Spirit of 1776)

Pay attention to these photo series you see every now and then “capturing” the big female movie and pop singing stars without make-up. Once you’ve seen a single one of those photo series you understand forever that in the majority of cases “beauty” has nothing to do with stardom, it’s all done with extremely skillful make-up and very savvy selection of whom you favor with your best blow-jobs.

Posted by e goldstein on Mon, 20 Apr 2009 06:13 | #

Prolefeed.

Posted by Terminal cynics? on Wed, 22 Apr 2009 05:03 | #

Comment on youtube:

“Proof that ” video killed the radio star”. The music business has ruined an art form by making the world focus on the outward appearance and not the quality of the talent. It’s truly a shame what the world has missed!! This is what art is supposed to do. Grab your heart and take you some where you have never been. Susan your a blessing to hear and a true artist. A breath of sweet fresh air in a cynical and sorrowfully shallow world.”

“This is what art is supposed to do. Grab your heart and take you some where you have never been.”

As good a definition of art as I’ve ever heard. CvH’s poetry doesn’t do that, so what’s the use of it?

Don’t lean back and look askance at something fine, however it’s packaged. Why are many people awed by this marvel of nature but you’re all just cynical? There truly are gifts and this white woman has one. Are you afraid to be moved?

It’s the voice, the voice, the voice. Look up Jussi Bjoerling, Ezio Pinza, Fritz Wunderlich, Maria Callas, Joan Sutherland, to experience more amazing white voices.

Posted by Mentious on Thu, 23 Apr 2009 07:20 | #

What I notice most is that she is:

1) A white woman,
2) Singing in a classic White vocal style, and
3) Singing to music that is primordially White, full of melody, structure, etc. and with full orchestra.

What I’ve noticed about these kind of shows the past few years is that black musical “values”—especially black singing styles—have dominated to a grotesque degree. The style consists of a histrionic emotionalism, extremes of staining, constant undulations and embellishments (triplet notes, etc.), and loads of pure affectation. In the White style, ancient and well-cultured, a definite structured melody is prized, and sustained-note singing which is a more difficult vocal accomplishment and denotes discipline, strength, and a kind of fidelity. For some analysis of White musical and vocal values as contrasted to White, see:

“]“In Praise of the White Singing Voice”
http://www.WhiteWays.org

Again, these shows have been literally deluged with the annoying black singing styles (and musical styles), and this woman and this winner is, to my ears, a soul-saving change. This woman is singing White music in a White way. Maybe, just maybe, that’s partly what the emotion is all about. Maybe many White people also feel it’s a soul-saving change.

Posted by Mentious on Thu, 23 Apr 2009 07:28 | #

Incidentally, I thought the “Whiteness” aspect of the performance was simply calling with the screen with a loud voice and I find myself quite surprised it was not obvious to others here. There has been an aggressive attack on European musical values for a long time, through the heavy promotion of black musical values, and this event represented a real torquing twist back. It was this racial aspect that gave me tears as I saw this woman sing.

Posted by Lurker on Thu, 23 Apr 2009 09:44 | #

Many white performers are concerned to parade their black credentials in terms of emphasis on beat as opposed to melody and more complex structure. And they can manage it. Black performers rarely seem able or willing to reciprocate, to adopt a white style of performance.

BGT and the MSM are earnestly pushing their next find - the Welsh, sorry ‘Welsh’, boy Shaheen Jafargholi who is fully paid up singer in the black style, and thats what it is overblown style without substance. If youtube views are any indication, he is already out of the game.

Of course they do have to keep the show on the road for another few weeks.

Posted by Mentious on Thu, 23 Apr 2009 21:07 | #

Many white performers are concerned to parade their black credentials in terms of emphasis on beat as opposed to melody and more complex structure.

Yes, melody is a highly important White musical value that black styles have corrupted. “Fidelity to a melody” is easily discernible as a primordial White musical value.

But the black singing style that’s been plaguing these shows is much more that beat and dispensing with melody. It’s featured the entire gamut of negro* singing traits. And typically it’s been White singers who have been aping them. The traits include:

—Affectation: Like little aspirate gasps at the close of a note, to effect passion, like the sound of sex. (Michael Jackson was big with that stuff.) Or, constant heavy vibrato and blatant, unconstrained emotionalism. “Affectation” is an insincere element in singing.

—“Blaring”: Singing high but with a forced, harsh sound rather than with the chaste, disciplined tone of Susan Boyle. (Whites strive for going high while maintaining a sense of self-control and decent tone; blacks just force it.)

—A certain voice tone that can only be described as “black.” Just as you can hear the sound of a black voice over the phone, these White singers have been imitating the actual tone of the black singing voice, which lacks the round white Tones, having a more limited tonal range, sort of like the sound of a goat, actually. Britney Spears is a great example of this. She started with a great, pure, soaring and strong White voice as a little child. She began imitating the black style. At this point she has this little toneless pidgeon voice that is 90 percent affectation (posturing), incapable of sustaining notes, and practically toneless.

—Excessive emotionalism (effected by going “all over the place” constantly and singing as many notes as possible whenever possible.

—Lots of 16th notes, 32nd notes, and fast tripletts.

—Heavy vibrato instead of much straight, sustained singing. Vibrato is actually a lazy singing device that covers up the inability to hold a clean, conscious, sustained note with quality. This latter thing is much more difficult to do and reveals the singer’s real voice. Blacks use tons of vibrato to cover this weakness up, and it’s just one more “affectation” on the pile of black singing affectations.

SUSAN BOYLE, who put an entire nation on the edge of their seats, brought tears to hardened eyes, and sent chills up the spines of millions, used none of these black tricks. She was pure voice, pure sincerity, and pure music. She showed the true, elevating spiritual power of music, and of the voice, that White musical culture has long known and long strived to foster in musicians and singers.

Black singing reminds me of gaudy black style, like a pimp’s suit. White singing has long been very different, and it’s been increasingly shunted aside on these talent shows. Susan Boyle was a bald-faced restatement of European values in singing and music.

The White singers I’ve seen on these shows have been imitating all and every one of these black vocal qualities. It’s really been sad. I grew up hearing actual singing. The soaring, toneful, sustained-note voices of:

—Roy Orbison
—Paul McCartney
—Andy Williams
—Frank Sinatra
—Greg Lake
—Ian Gillen
—Elvis

And so countless, countless, countless more. Where was the White Singing Voice on American Idol?????? I got so I could hardly stand the show. Instead of enjoying sharing it with my kids, I would turn it off. I’d say, “That is not real singing, kids. That’s not the voice of your people.”

Hail Susan Boyle! Queen of White Singing and a woman I love!

In Praise Of The White Singing Voice
http://www.WhiteWays.org

Posted by Lurker on Sat, 25 Apr 2009 03:12 | #

Perhaps MR should be linking to www.WhiteWays.org.

You started something here GW. I’d never even heard of Susan until your post. I pretty much avoid the talent/reality shows. Even when I first went to the youtube link I didnt really listen, just watched it. But then I actually listened, then another go, and another etc etc. I really do think she is a great singer. So Ive been drawn in, now Im another part of the global phenomenon, a Susan fan.

Following on from Mentious; we should look at this as another front in the culture war. Susan is the whitest singer in every respect. Vote for her - even if its not a style you particularly like. Take it a step further, look at other talent shows, who is the most acceptable white contestant? Vote for them. Remind them, the producers, that white contestant = winner.

Hail Susan!

Posted by Desmond Jones on Sat, 25 Apr 2009 07:31 | #

Take it a step further, look at other talent shows, who is the most acceptable white contestant?

White talent dominates American Idol. Adam Lambert’s rendition of Steppenwolf’s Born to Be Wild was amazing. John Kay’s is an interesting story.

Carrie Underwood was an American Idol winner and is a great voice especially if you love Country & Western.

Posted by Al Ross on Sat, 25 Apr 2009 08:44 | #

The White, populist, singing voice is represented, for me, by the muscular tones of Johnny Cash. Hank Williams Jr also has his good points as anyone can hear in the lyrics of “A Country Boy Can Survive”.

I hope that the Jew shyster Simon Cowell leaves Susan Boyle with sufficient money to purchase her first car. After all, when one is a star, walking is so pedestrian.

Posted by Mentious on Sat, 25 Apr 2009 09:32 | #

“White talent dominates American Idol.”

No, White talent singing like black people has dominated American Idol, which was the point.

Susan represents a definite, sharp pulling away from that, to our better singing values. And that’s REALLY what the “Susan Effect” is all about, which was another point. That’s why her presentation and reception was so emotional. She broke through that “program” and brought us back to those values.

God love this woman.

Posted by lurker on Sun, 26 Apr 2009 01:36 | #

Susan’s success will enrich a slimeball like Cowell but by requiring him to promote a white singer who sings in a white style he is forced to note in some why white interests. As it is he gets in rich in the culture war undermining white culture. At least lets try and steer things around so that if he wants to enrich himself he has do it on terms more conducive to us ie the success of Suan and her ilk.

www.WhiteWays.org

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