Genre Trouble Selecting Hits, Histories, and Bodies on Rock Star: INXS
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by Laurel Westrup
Genre
Trouble
Selecting Hits, Histories, and Bodies
on Rock Star: INXS >>>
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D
uring the summer of 2005 CBS and rock stardom as a structuring myth of the
broadcast Rock Star: INXS, a reality rock music industry. In attempting to define The efforts to
television show helmed by Mark the meaning of “rock star” in the first decade
Burnett (famously the producer of Survivor) of the twenty-first century, the show begins distinguish rock as a
in which contestants competed to take the by sketching rock as a historical, legitimate,
helm of waning rock band INXS following the and pluralistic genre, while finally settling for a genre separate
1997 suicide of singer Michael Hutchence. much narrower definition of the rock star.
Each week contestants performed rock To make claims for rock as a genre from pop usually have
“standards” ranging from songs by the Rolling is no easy task, partly because the word
Stones to recent popular hits by such bands “genre” itself can imply different degrees of to do with
as the Killers. After voting by an at-home essentialism, exclusion, and mobility. Johan
audience, the bottom three contestants were Fornäs elucidates two forms of rock as genre: rock’s claims
called to the stage and asked to perform an one that is inclusive and indistinct from other
INXS song. Based on these performances, the forms of popular music, and one which is to authenticity...
surviving members of INXS made a decision defined in opposition to non-rock musics such
*
about which contestants would be allowed to as rap, pop, and country.1 In selecting songs
stay and which would be sent home. On the and singers, the producers of Rock Star: INXS
surface the show’s parade of midriff-baring and the surviving members of INXS had to
divas and leather-clad impersonators seemed engage with both concepts of rock-as-genre in
to offer little more than a laughable homage to order to define rock in a way which worked
rock culture à la American Idol, but Rock Star: for the band, the producers, the network, and
INXS actually provides a unique barometer of the fans.
contemporary industrial and cultural trends The efforts to distinguish rock as a genre
within rock music and media convergence. separate from pop usually has to do with
Here I concentrate on the show’s performance rock’s claims to authenticity, which might be
of complex, and at times contradictory, rehearsed in binary oppositions such as rock
discourses surrounding rock music as a genre album vs. pop single, rock interiority vs. pop
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toc 15shallowness, and rock’s affective value vs. to popular music scholar Keir Keightley’s idea
The tension between pop’s commercial value. While such binary that, “Pop is understood as popular music that
constructions of the rock/pop divide are isn’t (or doesn’t have to be, or can’t possibly
constructing rock as highly problematic, any definition of rock be) ‘taken seriously’. Rock, in contrast, is
must contend with the pop question. Rock mainstream music that is (or ought to be, or
an “open” popular Star: INXS sought to distinguish itself from the must be) taken seriously.”3 It is precisely this
unabashedly “pop” American Idol by having argument that those involved in getting Rock
music genre that runs its contestants perform authentically “rock” Star: INXS off the ground mobilized in their
(read: not pop) songs and, in order to get the discussions with the artists/rights holders of the
the gamut from Stevie rights to these songs (often denied network songs they wanted to use and this logic was
television productions), those involved with also foundational to the choices the program
Wonder to Courtney the show had to convince rights holders that made in pursuing various songs/artists.
the songs would be used for an authentically While the show initially had to utilize
Love, and policing the “rock” (read: not American Idol) show. This a narrow genre definition of rock in order
logic was funneled through claims to rock’s to bracket itself off from the most insidious
boundaries of what seriousness in relation to conceptions of qualities of pop characterized (or perhaps
“pop” music as frivolous. Typical is Variety caricaturized) by American Idol, this work was
counts as rock, plays critic Phil Gallo’s characterization of Rock only the first prong of a two-pronged genre
Star: INXS: “No auditions, no criticism, no strategy. Having distinguished itself as a rock-
out throughout Rock cut-ups–none of the ‘American Idol’ stuff that oriented show, Rock Star: INXS was then free
makes [audiences] convulse with laughter. to grapple with the question of what such a
Star: INXS.
*
This is serious business from the start.”2 categorization entailed, ultimately embracing
American Idol’s lack of seriousness, often a concept of rock that was ostensibly open,
characterized as “the William Hung factor” but which paradoxically mandated a more
after the hilariously untalented Idol contestant, narrow concept of who could be a “rock
is contrasted with the sincerity of INXS’s efforts star.” During its search for what executive
to find a real rock star. Such rhetoric speaks producer David Goffin calls “legitimacy,” the
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toc 16show was particularly spurred on by obtaining Fornäs’ manifesto proves prophetic in the case
the rights to songs that resonated with a of Rock Star: INXS’s ultimate lineup of songs Following a campaign
normative white male conception of rock: he and performers. One can, indeed, go through
states, “When we got the Doors, I believe we the above list and point out performances of counter-pop
obtained legitimacy.” The tension between
4
of Sam Cooke’s “Bring it on Home to Me”
constructing rock as an “open” popular music (Afro-American soul), Bob Marley’s “No positioning, Rock
genre that runs the gamut from Stevie Wonder Woman, No Cry” (reggae), Britney Spears’
to Courtney Love, and policing the boundaries “Hit Me Baby One More Time” (female pop), Star: INXS ultimately
of what counts as rock, plays out throughout in addition to a host of other songs which
Rock Star: INXS. might qualify as “Other” than rock: Stevie opened its stage to
Johan Fornäs has argued that generic Wonder’s “Superstition” (funk), Elvis Presley’s
openness is essential to the survival of rock, “Suspicious Minds” (rock’n’roll),6 Bob Dylan’s a highly pluralistic
proclaiming: “Knocking on Heaven’s Door” (folk)7, and so
on. Naturally, Rock Star: INXS also includes (if not entirely
Rock will die (petrified into a cliché) its share of white male rock, and white male
if its hegemonic line is strong and stiff performers, but it is important to note that groundbreaking)
enough to repress all Others in its efforts three of the most popular (and long surviving)
to establish a pure origin and canon. If contestants on the show were an African definition of the
and when rock can be unambiguously American man with a mohawk (Ty Taylor), a
*
defined, then it will be dead. But as long white Canadian woman (Suzie McNeil), and a rock genre.
as various Others (‘Afro-American’ soul, Filipino Australian man (MiG Ayesa).
reggae and rap, ‘female’ pop, non-Anglo- The apparent diversity of Rock Star:
American voices, and so on) fight stylistic INXS’s conception of the rock genre, and the
wars with the male, white, Western rock potential for rock stardom seems to be a point
heroes for the right to rock, the genre will of pride for the show, ultimately adding to,
survive as an open and unpredictable rather than diminishing its rock legitimacy.
field. 5
Consider show co-host and “genuine”
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toc 17rock star Dave Navarro’s description of The first episode is highly indicative of by the members of INXS and Dave Navarro.
the show’s content: “We have songs from the first phase of the show, which revolves Navarro is so confounded (perhaps partially
Nirvana, Living Colour, Courtney Love, the around remaining “true” to the painstakingly because of Ty’s uncanny resemblance to Living
Black Crowes, Rolling Stones, the Who, gathered tunes the show has access to. The Colour frontman Corey Glover) that he utters
to name a few. The songs they’re going to first episode is somewhat conservative in the of Ty: “He’s like modern, he’s like classic,
be performing are real, great rock songs.”8 choices it offers the rockers. None of the initial he’s like timeless.” It is difficult to overlook
Navarro is careful here to foreground not fifteen songs (which do cover a significant the fact that Ty, the only African American
only the “white male heroes” of classic range of music, tracing rock history from Bob man on the show, begins his Rock Star: INXS
rock such as the Stones and the Who, but Dylan to Nirvana) rock the boat, so to speak, stint by doing a song by one of the best-
also black hard rock band Living Colour of rock genre. In the earliest episodes of the known modern black rock bands. Deanna’s
and controversial female rocker Courtney show, the primary goal seems to be not so treatment of Janis Joplin’s “Piece of My Heart”
Love within his definition of “real” rock. much performing as impersonating the star is perhaps the most convincing impersonation
Similarly, the media’s scrutiny of the show’s whose song the contestant has chosen. In the of all. Deanna’s big, bold voice is well suited
contestants often favorably emphasized first episode, the would-be rockers are thus to “do” Joplin. However, she goes beyond
the program’s decision to include non- praised for their ability to cover rock greats or vocal impersonation, opting to leave her long
white-male rockers. After the first episode, punished for their inability to do so. The three hair down and messy, donning a longish skirt
one journalist remarked, “Nearly half the contestants who receive the highest praise on and allowing her midriff to show. She even
contestants are women and fortunately, the first episode, Neal, Ty, and Deanna, also adds a Joplin-esque “Shut up!” in the middle
based on just one [performance], several of emerge as the best suited for impersonating of a phrase and raunchily grabs her thigh at
them are stronger than some of the men. the singers they have chosen for the episode. one point. Neal, Ty, and Deanna’s successful
Were they not, their casting would feel Neal, a lanky New Yorker with longish, curly performances, or rather impersonations, are
like an eye-candy decision and nothing brown hair, is praised for his performance thrown into sharp contrast by MiG and Dana’s
more.”9 Following a campaign of counter- of the Rolling Stones’ “Brown Sugar” after less successful starts.
pop positioning, Rock Star: INXS ultimately convincingly impersonating a swaggering, While MiG eventually placed third in
opened its stage to a highly pluralistic (if not stomping Mick Jagger. African American singer the Rock Star: INXS competition, his first
entirely groundbreaking) definition of the Ty’s performance of Living Colour’s “Cult of performance, Nirvana’s “Smells Like Teen
rock genre. Personality” is met with even greater praise Spirit,” puts him off to a bad start. His
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toc 18decidedly un-Kurt Cobain stage presence
(he cheerfully waves at the audience as
he sings “Hello, hello, hello…”) causes
Dave Navarro to cringe and mouth the
word “no.” MiG is saved from elimination
by his ability to sing but is chastised for
picking a song that he could not deliver with
appropriate reverence.10 Dana, who attacks
Bob Dylan’s “Knocking on Heaven’s Door,”
is not so lucky. Her velvet pants and fringed
shirt do not match Dylan’s image, just as her
voice does not match his vocal style. When
the struggling singer lets out a strange growl
toward the end of the song, the camera cuts
to reaction shots of horrified contestants and
the INXS band members, and soon after
Dana becomes the first one to be cut. INXS Rock Star: INXS, CBS.com
bassist Gary Beers explains that if you are
going to do “one of the greatest songs” by
“the greatest songwriter,” you must perform
it “perfectly.” Perhaps what he means is
that you must perform it as Dylan would.
Rock history must be taken seriously and
a woman (Dana) and Filipino Australian
(MiG) are deemed unable to live up to the
standards of the white male rock stars they
attempt to cover.
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toc 19Had Rock Star: INXS continued as an meant dispensing with a somewhat inclusive (and that, in turn, the listener’s sense of self
impersonation show, it is likely that fans (both interest in genre as interpreted by a variety may be diminished).”12 JD is authenticated as
of rock and of television) would have grown of voices and bodies in favor of an increased a rock star by his origination of a song that can
tired of the program’s mere rehearsing (or focus on white male subjectivity which has, be circulated creatively and commercially.
rehashing) of rock history. As one journalist since the 1960s (when white rock largely Even when JD does not write his own
notes, “Skilled and big-voiced as they may supplanted black rock’n’roll), been linked to original songs, he is celebrated for creatively
be, almost all of them have cloned themselves the “authentic” production of rock. altering the work of others in a way that suits
on a specific predecessor… the singers of Despite the fact that Rock Star: INXS his (and arguably the show’s) conception of a
Rock Star have the mannerisms of rock’n’roll contestant JD Fortune began his career as an rock star. The Rock Star: INXS website paints
performance down pat–the rasp, the raunch, Elvis impersonator, he was ultimately chosen JD as “the rocker who takes the most chances
the strut. Their repertoire of hackneyed to front INXS based not on his ability to and the most control over his choices.”13 This
gestures makes Rock Star akin to a TV version rehash classic rock idols, but to do “his own” is demonstrated by his performance of Alanis
of the Jack Black movie The School of Rock– thing. JD is one of only two performers (both Morissette’s “Hand in My Pocket,” of which
except that the humor…[comes from] the of whom are white men) who wrote and the site says, “Above a driving Bo Diddley
contestants’ hopelessly uncool rendition performed single-worthy songs during the run beat, he pushes the song forward, singing
of cool.”11 Uncool or not, this author’s of Rock Star: INXS. JD’s song, “Pretty Vegas,” just a little in front of the beat, transforming
allegations of humor speak to the danger of a collaboration with INXS member Andrew the original’s resignation into something that
contestants straining the generic boundaries Farriss, became the first single off INXS’s Dave [Navarro] describes as ‘more masculine.’
that the show so carefully sets up. While the post-Rock Star album. The gravity of JD’s Andrew is impressed with the way JD ‘took
performances that begin the show are meant authorship in the context of a show attempting command.’”14 Here JD’s authorship and
to solidify rock as a genre and demonstrate to make claims for the ongoing vitality of authenticity are expressly connected to
the contestants’ sincerity in their desire to rock is explained by Keir Keightley, who his masculinity, demonstrating the show’s
rock, Rock Star: INXS must move beyond a says, “Like ‘authenticity,’ the word ‘author’ is implication that while women can perform
somewhat limited definition of rock (great etymologically related to the ‘self.’ If the rock rock, only men can master it.
songs by great songwriters/performers) in musician’s ‘self’ is not involved in originating Rock Star: INXS is a complicated document
order to maintain audience interest and avoid the text she or he performs, rock believes that in that it wrestles with the complex history of
ridicule. In the case of Rock Star: INXS this self is more likely to be corrupted or alienated rock which can be mapped onto skirmishes
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toc 20between “pop” as frivolous and “rock” as Notes 11. Press, Joy. “Almost Famous.” Village Voice. July 26,
1. Fornäs, Johan. “The future of rock: discourses that 2005: 99.
serious, as well as the problematic legacy of 12. Keightley, 134.
struggle to define a genre.” Popular Music 14, no. 1
racial borrowing and gendered exclusion. The (1995). 13. Rock Star: INXS website: http://www.rockstar.msn.
2. Gallo, Phil. “Rock Star: INXS.” Daily Variety. July 11, com/recaps/week2/performance.
relationship between television (a medium 14. Ibid. An entire study might focus on the
2005: 6.
for the masses) and rock music puts further 3. Keightley, Keir. “Reconsidering Rock.” In metanarrative of the Rock Star website, which is
Simon Frith, Will Straw, and John Street, eds. careful to orient performance recaps (and video
pressure on the show and its mission: to footage) not only in the context of the show, but in
The Cambridge Companion to Pop and Rock.
define the rock star in 2005. The show’s early Cambridge: Cambridge University Press, 2001: 128. the context of rock history and criticism.
4. Seibel, Deborah Starr. “The Real Story Behind a
efforts to be inclusive of rock music’s “others”
Real Turnaround.” The New York Times. Sept. 20,
are ultimately given the lie by its privileging of 2005: E4.
5. Fornäs, 121.
the white male rock star. The show’s “genre
6. Many critics and scholars, following Charlie Gillett’s
trouble,” which plays out in the difficulties of work in The Sound of the City: the Rise of Rock and
Roll (1970), make a generic distinction between
locating particular bodies and subjectivities
1950s “rock and roll” or “rock’n’roll” and “rock,”
within the ever-changing confines of genre as which is generally said to begin with the British
Invasion of the 1960s.
a historical and discursive formation, provides
7. Actually, this song is itself a complicated one to
a productive case study in understanding the position generically, since many folk purists consider
Dylan’s post-1965 electric work to be disqualified
negotiation of race, gender, and sexuality
from any meaningful designation as folk.
within the culture industries. 8. Quoted in O’Hare, Kate. “INXS Selecting New
Performer on ‘Rock Star.’” Palm Beach Post. July 10,
2005: TV Post 3.
Laurel Westrup is a Ph.D. candidate in the 9. Gallo. It should be noted, however, that Navarro’s
Cinema and Media Studies Program in the behavior toward the women on the show was often
Department of Film, Television, and Digital somewhat indistinguishable from sexual harassment.
Media at UCLA. She received a Center for the He tells Deanna at one point that after her first
Study of Women/Graduate Division Irving and performance (of Janis Joplin’s “Piece of My Heart”)
that he “needed a cold shower.”
Jean Stone Dissertation Year Fellowship earlier
10. Dave Navarro, having come of rock star age during
this year. Nirvana’s heyday, is especially critical of the Nirvana
performances throughout the show. It might be
argued that by demonstrating his reverence to a
“real” rock star (the deceased Cobain) Navarro
effectively bolsters his own rock authenticity.
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toc 21You can also read
