Susan Boyle's Got Talent

mk18831

My feminist comments are not obnoxious.
You don't work on Broadway, you work under a rock in the Jurassic Period, and Ted, you're just like a five year old with no concept of modern day society.
I would not even dignify calling you a moron. You're worse.

Read Beverly McPhail's article on Google today,
"Let's makeover cultural bias"

Read and learn

MORONS

I am so very happy for Miss Boyle. She certainly deserves all the recognition she gets. I believe that record producers will be knocking down her door. Be careful Susan, & don't let anyone rip you off. Make sure you have someone you have 100% confidence in, to look over any contract you sign, so that you are well protected. Best Wishes, & GOD BLESS.....

Her voice is simply incredible.

I do hope the fame doesn't go to her head; there are rumors she is considering plastic surgery! Part of her charm is her natural beauty. . .

Grandmommie

You're absolutely right. It's called manipulation. And we as an audience were manipulated to think Ms Boyle was a "weirdo", hence the "funny music" as she came onstage.

I'm not denigrating Susan Boyle's obvious talent at all ... just the dishonesty factor the GBT Team use to make her even more of an underdog.

She had to go through a preliminary audition and they'd have known then they had something special.

Cowell at least, if not Dumbo Morgan and Mutton-dressed-as-lamb Holden, knew of Ms Boyle well before her very public first showing. PR Guru (and general pain-in-the-bum) Max Clifford said as much in a very recent interview.

And of course ... the manipulation was successful.

25 million YouTube and worldwide fame through viralvid is testament not just to Susan Boyle's talent ... but also how intrusive media-manipulation can be!

Like most people, I was moved to tears within the first few notes Susan sang. I have followed with interest the comments of those with voice training and vocal experience. I have neither, and could certainly hear nothing amiss in her delivery. What did strike me, though, in both her BGT and "Cry Me a River" recordings was the difficulty any singer has singing to recorded music. Much of the magic, I think, occurs in the emotional and stylistic "dialogue" and interchange between a singer and her back-up band or orchestra. Singing, as Susan has, to a recording seems a lot like an actor performing a dialogue scene with a tape recorder, or like high-tech Karaoke. I can only imagine how rich and nuanced her voice and performance can be when she is responding to (and being responded to) by a live orchestra. I hope such a CD isn't long in coming!