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Susan Boyle Where Big Brother’s ratings have been on a
steady decline, the TV talent show has really hit its stride in 2009. One of the biggest stories of the year came out of reality television: the story of Susan Boyle who rose to national prominence when she took to the stage for Britain’s Got Talent in April 2009. The original broadcast of her performance was swiftly uploaded to YouTube and, thanks to Twitter, word rapidly spread about the ‘shock’ performance on the show. Hollywood stars, politicians and the news media quickly got involved in discussions about Boyle and the discussions included comment on the relatively new phenomena that has been developing over the last few years: the power of e-media technologies to spread information quickly and across national borders. Within days, Boyle’s’ performance was the ‘most watched’ video on YouTube and the singer had achieved international fame by the end of the week. This was, of course, just the start of the Susan Boyle narrative which continued for several weeks and had several threads: her past was scrutinised and judged; her next appearance on Britain’s Got Talent was eagerly anticipated; the impact of the sudden fame on a ‘simple woman from Scotland’ was discussed and her physical appearance and its changes became a story in itself. The story built to the climax that was the TV programme’s final. This climax became more of an anti-climax though, as Boyle came second to a dance troupe and the excessive media interest in her seemed to have tarnished her talent in the eyes of the voting audience – perhaps a victim of media saturation. After losing the competition, Boyle had a stint
in ‘rehab’ and ironically the media that couldn’t get enough of the Boyle story began to blame the producers of the television programme for not protecting her from the pressures of stardom – perhaps that should have been the pressures of media attention? A subsequent tour had Boyle pull out of a number of performances and she has, until recently, been off the media radar as she is working on the recording of an album. Now the hype has died down it’s worth
considering what the story was really about. ‘Woman can sing’ is hardly news even if ‘contestant in TV talent show can sing’ is slightly more unexpected. Boyle appeared to be newsworthy in the first instance, not because she could sing but because of the way she looked. Susan Boyle surprised people because she does not meet audience expectations: she is a middle-aged, plump woman who has talent. Any exploration of the news values of the Boyle story has to explore the idea of the representation of women, given that the most common positive representations of women, in today’s media are as being thin, young and attractive. Despite the recent ‘Size 0’ debates, the idealised physical image of women is still very narrow and often a woman’s accomplishments are secondary to her physical appearance. Myleene Klass for example is a classically trained pianist. This fact has been played on in recent Pantene ads but the main point of the campaign has been that Myleene has great hair. The surprise that was created by Boyle, is
evident in the video of the original performance where the cuts focus us on the responses of the
26 MediaMagazine | December 2009 | english and media centre
judging panel and the audience which were clearly based on her appearance. What is clearly visible in people’s faces is mockery and disdain because Boyle did not present the image expected of women singers. She was immediately judged on her appearance and seen to be ‘other’, an outsider in a culture that favours physical perfection, grooming and youth. Piers Morgan reacted with disgust when Boyle, responding to a question about her age, challenged the preconception of her by saying that being 47 was ‘just one side of me’ while gyrating her hips. Morgan reflected the contemporary focus on youth culture by being revolted at the idea that an older woman could be sexual – until she started to sing. Boyle’s voice created an unexpected juxtaposition to the expectations created by her physicality and shone a light on some naturalised contemporary values, forcing people to re-examine them. However, as the story progressed, Boyle’s
emotional breakdowns became the focus of the story and reporting began to consolidate the ideas her performance had originally challenged. Her lack of urban sophistication and what was seen as her sheltered existence reinforced the notion that she is different – ‘not one of us’. The fact that she found the media attention difficult to handle reinforced the view that she was an anomaly, suggesting our initial surprise was, perhaps, the right response as she clearly was not cut out for the glamorous and exciting world of media celebrity. Boyle underwent a makeover and began to look more polished but nothing could alter the fact that she is a plump, middle-aged spinster from the country – not the usual candidate for tabloid attention. The original performance created a mini-
narrative in itself where an unlikely hero rose against the problems and conflicts in front of her to reach her goal. As the story developed further conflicts came to light and the heroic victory Boyle initially achieved on the Britain’s Got Talent stage began to diminish. It is still not clear how this story will resolve.
The role of e-media in the Boyle phenomenon
is also significant. The speed with which her story spread, not only across the UK but also across the globe, makes this a unique news phenomenon. Twitter comments and the accessibility of the YouTube video ensured that within 24 hours those who had not seen the original broadcast were aware of it and had access to it. The fact that celebrity support was given to Ms Boyle, notably from Demi Moore, added to the story’s newsworthiness and as more traditional news outlets picked up on the story its impact increased. At the time of writing, the original YouTube video has had over 79 million views (and there are several other versions of the same clip).
Some conclusions Both of these stories identify the importance
of the audience in today’s media landscape. In Boyle’s case, the audience response turned a non-newsworthy event into something that kept the world’s press busy for several weeks. The real story here was about the audience, not Boyle. The fact that millions of people found her performance noteworthy and, perhaps, felt guilty about their initial response to her appearance, was central to the media’s response. Similarly, the media’s focus on Jade’s illness and death was also a response to audience interest. If reality shows did not attract viewers and reality-show-led front page headlines did not enhance newspaper and magazine sales, it’s safe to say the story would not have dominated in the way it did. Given that these two events were followed by another celebrity media frenzy after the death of Michael Jackson (announced on a gossip website and passed round and commentated on via Twitter), it seems the modern audience may have been turned off by Big Brother of late, but the lives and deaths of celebrities big and small capture the public’s interest. New media are playing a major role in spreading the word and enabling audiences to be part of the story.
Steph Hendry teaches Media at Runshaw College and is an examiner for AQA.
Channel 4 Press Site for images from Big Brother; Rex Features for images from Britain’s Got Talent
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