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In Reply to: RE: CUT........................... posted by Todd Krieger on June 11, 2012 at 22:18:18
"what I find disappointing is the militant attitude from those either defending or denying the practice of faking performance"
You're confusing "defending or denying" with having some concern for informed comments and facts. "I am certain it is high" is neither.
"You're confusing 'defending or denying' with having some concern for informed comments and facts."
So you believe the concern over accuracy of the quantity of pop music being lip-synced or playback is more important than the concern over the fact such practice is ghastly widespread?
"'I am certain it is high' is neither."
So what are the facts? Your bold statement suggests you have some deep and detailed knowledge on this subject. Maybe some of us here will learn something. Thank you.
"Your bold statement suggests you have some deep and detailed knowledge on this subject."
I know what a fact is for starters, and how it is different from an opinion or a wild guess or rampant internet speculation based on an uninformed opinion.
I also have experience both with live performance and using various forms of technology, and as a result I understand what is possible and what is not possible.
I guess all of these reporters are lying, all of this is BS, all "pulled out of their ***', and none of them "know what a sound check is".
Some artists switch between live singing and lip-synching during the performance of a single song.
Some singers habitually lip-sync during live performance, both concert and televised.
Sometimes lip-synching performances are forced by television for short guest appearances, as it requires less time for rehearsals and hugely simplifies the process of sound mixing. Some artists, however, lip-synch as they are not as confident singing live and lip-synching can eliminate the possibility of hitting any bad notes.
Artists often lip-sync certain portions during strenuous dance numbers in both live and recorded performances, due to lung capacity being needed for physical activity (both at once would require incredibly trained lungs).
Ian Inglis, author of Performance and Popular Music: History, Place and Time (2006) notes the fact that "Jackson lip-synced 'Billie Jean' is, in itself, not extraordinary, but the fact that it did not change the impact of the performance is extraordinary; whether the performance was live or lip-synced made no difference to the audience."
In 1989, a New York Times article claimed that "Bananarama's recent concert at the Palladium", the "first song had a big beat, layered vocal harmonies and a dance move for every line of lyrics", but "the drum kit was untouched until five songs into the set, or that the backup vocals (and, it seemed, some of the lead vocals as well-a hybrid lead performance) were on tape along with the beat". The article also claims that "British band Depeche Mode, ...adds vocals and a few keyboard lines to taped backup onstage" although this practice is common place in the genre of electric music.
Chris Nelson of The New York Times reported that by the 1990s, "[a]rtists like Madonna and Janet Jackson set new standards for showmanship, with concerts that included not only elaborate costumes and precision-timed pyrotechnics but also highly athletic dancing. These effects came at the expense of live singing." Edna Gundersen of USA Today reported: "The most obvious example is Madonna's Blond Ambition World Tour, a visually preoccupied and heavily choreographed spectacle. Madonna lip-syncs the duet Now I'm Following You, while a Dick Tracy character mouths Warren Beatty's recorded vocals. On other songs, background singers plump up her voice, strained by the exertion of non-stop dancing."
Similarly, in reviewing Janet Jackson's Rhythm Nation World Tour, Michael MacCambridge of the Austin American-Statesman commented "[i]t seemed unlikely that anyone—even a prized member of the First Family of Soul Music—could dance like she did for 90 minutes and still provide the sort of powerful vocals that the '90s super concerts are expected to achieve."
During the 2008 Beijing Olympics, CTV news reported that a "nine-year-old Chinese girl's stunning performance at the Beijing Olympics opening ceremony has been marred by revelations she was lip-synching". The article states that "Lin Miaoke was lip-synching Friday to a version of "Ode to the Motherland" sung by seven-year-old Yang Peiyi, who was deemed not pretty enough to perform as China's representative".
During Super Bowl XLIII, "Jennifer Hudson's flawless performance of the national anthem" was "lip-synched ...to a previously recorded track, and apparently so did Faith Hill who performed before her".
On the 2009 finals of The X Factor, Cheryl Cole partly mimed one of her new songs. In 2009, US pop singer Britney Spears was " 'extremely upset' over the savaging she has received after lip-synching at her Australian shows".
Teenage viral video star Keenan Cahill lip-syncs popular songs on his YouTube channel. His popularity has increased as he included guests such as rapper 50 Cent in November 2010 and David Guetta in January 2011, sending him to be one of the most popular channels on YouTube in January 2011.
Then there's no problem.
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