How the Super Bowl Halftime Show is Exactly like the Andrews Sisters (Kind Of)

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Last year's halftime show pulled a 95 share among viewers 25-54 who thought Caligula was "kind of arousing."
Let me enter these facts into evidence: I enjoy the Super Bowl Halftime Show well enough, and I love the Andrews Sisters. One more: I think the 2013 Super Bowl Halftime Show, featuring the indestructible Beyonce, is liable to be the strongest show in--well, since your favorite of the aging rock stars performed post-Janet.

It's the last and biggest slice of appointment-TV--of broad, monolithic culture--available to pop stars, and as long as sports are the final refuge of live TV it'll stay that way. But being the last of something is an inherently dangerous position, and short of an eventual reimagining I'm not sure what the halftime show can do to avoid an eventual case of Andrews Sisters syndrome.

The Halftime Show is like Elvis: It's such a big deal that it can only be influenced by itself. That kind of feedback loop might eventually mean we'll see it lumbering around QVC in off-white jumpsuits, but for the most part it manifests itself in the way the Halftime Show changes: Always and exclusively as a reaction to itself.

So Janet Jackson's wardrobe malfunction famously led to a series of aging rock stars; aging rock stars gave way to the Black Eyed Peas, who are apparently our generation's answer to Paul McCartney, or at least Tom Petty and the Heartbreakers. When it became apparent that putting apl.de.ap and Taboo in TRON costumes did not make them any more memorable, 2012's halftime show combined both impulses: An impossibly famous aging star (Madonna) and a bunch of recognizable contemporary stars of varying repute (LMFAO, Nicki Minaj, M.I.A., et al.)

After 11 months of scraping the excess kitsch off the field at Lucas Oil Stadium, then, they reacted once more: Class! Only class! Beyonce, fresh off a year so stellar that a lip-synching pseudo-scandal couldn't touch her.

So--the Andrews Sisters. Patty, the leader and the last surviving sister, died last week at 94, and I took the opportunity to reacquaint myself with all the things I enjoy about them: The remarkably taut harmonies, the idiosyncratic rhythms and readings, the raucous arrangements. But this is the thing about the Andrews Sisters--the Andrews Sisters Syndrome. No matter how many times I listen to them, I'm not sure I've ever really heard them.

It's having to work to watch this without hearing it as a funny or diverting novelty, or a lost piece of the culture, or a history lesson. Once you can't enjoy a style in the moment--once you have to approximate yourself to it--it's lost something, as pop music, that you can't get back. On some level this is all supposed to be immediate.


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4 comments
Myrna.Minkoff-Katz
Myrna.Minkoff-Katz topcommenter

Growing up with Greatest Generation parents I listened to the Andrews Sisters and adored them, along with other white-soul greats.  African-American culture was "ripped-off" by a Hollywood too racist and segregationist to include Blacks in their films; an awful pity.  But at least we can enjoy what we have.  Try this one:

http://www.youtube.com/watch?v=TurG8WeEQk4

danup
danup

@Myrna.Minkoff-Katz One of my favorite big-band songs. Thanks for the YouTube link, this is a great rendition. 

Myrna.Minkoff-Katz
Myrna.Minkoff-Katz topcommenter

P.S. The saxophonist is Tex Beneke, a Fort Worth native.

Myrna.Minkoff-Katz
Myrna.Minkoff-Katz topcommenter

@danup It's from Orchestra Wives, which also features one of the best dance routines ever filmed, by the incredible Nicholas Brothers, a rare appearance by African-American dancers in vintage movies.

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